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ADESCRIPTIVEOVERVIEWOFANDCONDUCTOR’SGUIDETOWOLFGANG
AMADEUSMOZART’SSERENADEINCMINORK.388;GORDONJACOB’SOLDWINE
INNEWBOTTLES;ANDEINOJUHANIRAUTAVAARA’SAREQUIEMINOURTIME
ACREATIVEPROJECT
SUBMITTEDTOTHEGRADUATESCHOOL
INPARTIALFULFILLMENTOFTHEREQUIREMENTS
FORTHEDEGREE
MASTEROFMUSIC
BY
JASONGARDNER
DR.THOMASCANEVA—ADVISOR
BALLSTATEUNIVERSITY
MUNCIE,INDIANA
MAY2016
ii
TableofContents
ListofExamples—p.ivListofAnalyticalCharts—p.vIntroductionandPurpose—p.1ChapterOne—Serenadeincminor,K.388
BiographicalOutline—WolfgangAmadeusMozart—p.2 EarlyLife ProfessionalYears Serenadeincminor,K.388—p.4
HistoryoftheComposition Instrumentation FirstMovement—Allegro—p.5 Flowchart MovementOverview ConductingSuggestions SecondMovement—Andante—p.13 Flowchart MovementOverview ConductingSuggestions ThirdMovement—Menuettoincanone—p.17 Flowchart MovementOverview ConductingSuggestions FourthMovement—Allegro—p.21 Flowchart MovementOverview ConductingSuggestionsChapterTwo—OldWineinNewBottles
BiographicalOutline—GordonJacob—p.25 EarlyLife ProfessionalLife OldWineinNewBottles–p.27
HistoryoftheComposition Instrumentation FirstMovement—TheWraggleTaggleGypsies—p.29 Flowchart LyricstoFolkSongTheWraggleTaggleGypsies MovementOverview ConductingSuggestions SecondMovement—TheThreeRavens—p.35
Flowchart
iii
LyricstoFolkSongTheThreeRavens MovementOverview ConductingSuggestions ThirdMovement—Begone,DullCare—p.39
FlowchartLyricstoFolkSongBegone,DullCare
MovementOverview ConductingSuggestions FourthMovement—EarlyOneMorning—p.42
FlowchartLyricstoFolkSongEarlyOneMorning
MovementOverview ConductingSuggestionsChapterThree—ARequieminOurTime
BiographicalOutline—EinojuhaniRautavaara—p.48EarlyLife
ProfessionalYears ARequieminOurTime—p.49
HistoryoftheComposition Instrumentation FirstMovement—Hymnus—p.51
Flowchart MovementOverview ConductingSuggestions SecondMovement—Credo,etdubito—p.57
Flowchart MovementOverview ConductingSuggestions ThirdMovement—Diesirae—p.61
Flowchart MovementOverview ConductingSuggestions FourthMovement—Lacrymosa—p.66
Flowchart MovementOverview ConductingSuggestionsBibliography—p.70
iv
ListofExamples
Ex.1—Mozart,Serenadeincminor,1stMovement,mm.1-5—p.6Ex.2—Mozart,Serenadeincminor,1stMovement,mm.22-26—p.7Ex.3—Mozart,Serenadeincminor,1stMovement,mm.48-53—p.8Ex.4—Mozart,Serenadeincminor,1stMovement,mm.183-188—p.9Ex.5—Mozart,Serenadeincminor,1stMovement,mm.66-69—p.9Ex.6—Mozart,Serenadeincminor,1stMovement,mm.81-83—p.10Ex.7—Mozart,Serenadeincminor,1stMovement,mm.171-176—p.12Ex.8—Mozart,Serenadeincminor,2ndMovement,mm.180-182—p.12Ex.9—Mozart,Serenadeincminor,2ndMovement,PrimaryTheme,mm.1-16—p.14Ex.10—Mozart,Serenadeincminor,2ndMovement,SecondaryTheme,mm.24-39—
p.15Ex.11—Mozart,Serenadeincminor,3rdMovement,aSection,mm.1-8—p.18Ex.12—Mozart,Serenadeincminor,3rdMovement,mm.49-52—p.19Ex.13—Mozart,Serenadeincminor,3rdMovement,mm.40-48—p.19Ex.14—Mozart,Serenadeincminor,4thMovement,ATheme,mm.1-8—p.23Ex.15—Mozart,Serenadeincminor,4thMovement,BTheme,mm.9-16—p.23Ex.16—Jacob,OldWineinNewBottles,1stMovement,MainTheme,mm.4-8—p.31Ex.17—Jacob,OldWineinNewBottles,1stMovement,mm.32-35—p.32Ex.18—Jacob,OldWineinNewBottles,1stMovement,mm.40-43—p.33Ex.19—Jacob,OldWineinNewBottles,1stMovement,mm.60-64—p.34Ex.20—Jacob,OldWineinNewBottles,2ndMovement,MainTheme,mm.8-21—p.
37Ex.21—Jacob,OldWineinNewBottles,3rdMovement,mm.20-36—p.41Ex.22—Jacob,OldWineinNewBottles,4thMovement,Introduction,mm.1-12—p.
44Ex.23—Jacob,OldWineinNewBottles,4thMovement,MainTheme,mm.13-28—p.
44Ex.24—Jacob,OldWineinNewBottles,4thMovement,3rdVariation,mm.68-79—p.
45Ex.25—Jacob,OldWineinNewBottles,4thMovement,6thVariation,mm.121-128—
p.46Ex.26—Rautavaara,ARequieminOurTime,1stMovement,mm.1-4—p.53Ex.27—Rautavaara,ARequieminOurTime,1stMovement,mm.16-20—p.54Ex.28—Rautavaara,ARequieminOurTime,1stMovement,mm.40-46—p.54Ex.29—Rautavaara,ARequieminOurTime,2ndMovement,mm.1-3—p.58Ex.30—Rautavaara,ARequieminOurTime,2ndMovement,mm.7-10—p.59Ex.31—Rautavaara,ARequieminOurTime,3rdMovement,mm.1-3—p.62Ex.32—Rautavaara,ARequieminOurTime,3rdMovement,mm.16-18—p.63Ex.33—Rautavaara,ARequieminOurTime,3rdMovement,mm.47-50—p.64Ex.34—Rautavaara,ARequieminOurTime,3rdMovement,mm.84-87—p.65Ex.35—Rautavaara,ARequieminOurTime,4thMovement,mm.1-6—p.67
v
ListofFlowcharts
Serenadeincminor,K.388—FirstMovement—Allegro—SonataForm—p.5Serenadeincminor,K.388—SecondMovement—Andante—SonatinaForm—p.13Serenadeincminor,K.388—ThirdMovement—Menuettoincanone—Minuetand
TrioForm—p.17Serenadeincminor,K.388—FourthMovement—Allegro—ThemeandVariations
Form—p.21OldWineinNewBottles—1stMovement—TheWraggleTaggleGypsies—Themeand
Variations—p.29OldWineinNewBottles—2ndMovement—TheThreeRavens—Themeand
Variations—p.35OldWineinNewBottles—3rdMovement—Begone,DullCare—Themeand
Variations—p.39OldWineinNewBottles—FourthMovement—EarlyOneMorning—Themeand
Variations—p.42ARequiemInOurTime—FirstMovement—Hymnus—ABCA’Form—p.51ARequiemInOurTime—SecondMovement—Credoetdubito—ABA’B’A”B”A’”
Form—p.57ARequieminOurTime—ThirdMovement—DiesIrae—ABCA’B’Form—p.61ARequieminOurTime—FourthMovement—Lacrymosa—ABA’B’Form—p.66
1
IntroductionandPurpose
Thisstudyisanoverviewandconductor’sguideforthreeworkscommonly
performedinthewindchamberrepertoire.Iwillconductthesethreepiecesfora
graduaterecitalinJanuary2016.Theseworkshavebeenselectedbecauseoftheir
quality,importancetothewindbandrepertoire,andthefacttheyshouldbeknown
bywindconductors.However,inmypreparationforrehearsalsIhavefoundlittle
scholarlyworktoserveasaguideformeasaconductor.Ofthethreeworks,few
scholarlyworkshavebeenwrittenabouttheRautavaara,atleastinEnglish.Ihave
beenabletofindonlyonedissertationontheJacobwork,andsurprisinglylittle
scholarlyworkregardinganalysisandrehearsalpreparationhasbeenpublishedon
theMozartSerenadeinc-minor.
Thepurposeofthispaperistoshowaformalandharmonicoverviewof
thesethreeworksaswellastoprovideaguidetoassistfutureconductorsin
preparationandscorestudytoleadtoeffectiverehearsalsandperformances.Each
sectionwillinclude:1.)Importanthistoricalbackgroundinformationonthelifeof
eachcomposeraswellascircumstancesregardingthewritingofhispiece,and2.)
anoutlineoftheformalstructurenotingimportantthemesandharmoniclandmarks
withineachworkaswellasadescriptionoftextureandinstrumentationwithin
eachsectionofeachwork.Iwillthenincludeinsightsfrommyownpreparation
regardinggestureandinstructionsforthemusicians,whichhopefullywillresultin
moreeffectivefutureperformances.
2
ChapterOne—Serenadeincminor,K.388
BiographicalOutline—WolfgangAmadeusMozart
EarlyLife
WolfgangAmadeusMozartwasbornonJanuary27,1756,inSalzburg,
Austria,anddiedafewweeksshortofhisthirty-sixthbirthdayonDecember5,
1791.ManyregardhimasthemostuniversalcomposerinthehistoryofWestern
musicduetohisabilitytoexcelineverymediumcurrentinhistime.1Hisfather,
Leopold,wasawell-knowncomposerandmusicianinthecourtoftheArchbishopof
Salzburg.Leopoldrecognizedhisson’stalentattheearlyageofthreewhenyoung
Wolfgangdemonstratedtheabilitytoharmonizeattheclavier.2Wolfgang’sfather
washisonlyteacher,andhespenteverywakingmomentplayingtheclavieror
composingmusicasachild.BythetimeMozartwassevenyearsoldin1763,
LeopoldhadarrangedtravelsacrossEuropetoshowoffhistalentsandspreadhis
fame.Witheverystoppeoplelistenedinamazementathisabilitytoplaypiecesat
sight.Duringhisfirsttrip,whichlastedthreeyears,hevisitedcourtsinMunichand
Paris,wheretheyspenttwenty-oneweeks.3FromthereheperformedinEngland,
Holland,backtoParis,andbacktoSalzburg.Anothertripin1768wasarrangedfor
MozarttohaveanextendedstayinVienna,performingfortheEmperorJoseph.It
washistripbeginninginDecember1769toItalyhemetthemusicianPadreMartini
1CliffEisenandStanleySadie,“WolfgangAmadeusMozart,”GroveMusicOnline,OxfordMusicOnline,OxfordUniversityPress,accessedMarch10,2016,http://www.oxfordmusiconline.com/subscriber/article/grove/music/40258pg3. 2FranzNiemetschek,Mozart,TheFirstBiography,trans.HelenMautner(NewYork:BerghahnBooks,2007),p.3.3Ibid.,p.10.
3
andwasgivenarareopportunitytoperformforthePope.4Duringhistravelshe
wascommissionedtowriteoperas,concertos,symphonies,serenatas,andother
works.Hewasabletomeetmastermusiciansandlearnedtoassimilatetheirstyles
intohisownworksatanearlyage.FurthertravelsthroughoutEuropebroadened
hisbaseofknowledgeofmusicaswellashisconnections.In1781Wolfgangsettled
inViennainitiallyintheemployoftheArchbishopofSalzburg.5
ProfessionalYears
Formostofhisprofessionalcareer,Mozartdidnothaveafixedincome.Most
ofhisincomecamefrompianoinstructionandsubscriptionconcertsgiventothe
aristocracy.6Whilewellknownasacomposerofanymedium,itwasasacomposer
ofoperaMozartbecameasensationinVienna.Afteracommissionfromthe
BavarianCourtin1780forhisoperaIdomeneo,EmperorJosephIIofAustria
commissionedhimtowriteanoperainGerman.TheresultwasDieEntfuehrungaus
demSerail,whichbecameamuch-lovedoperetta,eveninPrague,in1782.7Several
otheroperaswouldfollowincludingLenozzediFigaro,DonGiovanni,andDie
Zauberfloete.
Mozart’sstringquartetsarealsorecognizedasexemplarycompositions.In
1785hewrotesixsuchquartetsanddedicatedthemtoFranzJosephHaydn.8He
alsowroteforty-onesymphonies,numerouspianoconcertos,concertosforstrings
4Ibid.,p.15.5Ibid.,p.20.6Ibid.,p.23.7Ibid.,pp.22-23.8Ibid.,p.23.
4
andwinds,chamberworks,solokeyboardworks,sacredworks,andmanyother
pieces.Muchofhismusicsurvivesandiswidelyperformedtoday.
Serenadeincminor,K.388
HistoryoftheComposition
MozartmostlikelywrotetheSerenadeincminor,K.388in1782.Itisthe
thirdofthreeserenadesMozartwroteforharmoniemusik.Thesurvivingautograph
isdated1782inahandotherthanMozart.Itwas,however,writtenonpaperthatis
ofthesametypefoundinotherMozartautographsfrom1782.9Unfortunatelythe
finalpageoftheoriginalautographismissingaffectingthefinaltwenty-three
measuresofthefourthmovement.MozartdidmakeaStringQuartetversionofthis
serenade,whichisnumberedK.406.Theeditionusedinthisstudyrecreatedthe
finaltwenty-threemeasuresusingtheautographversionoftheStringQuartet.10
Unfortunatelyscholarsareunsureastotheinfluencebehindthecreationof
thispiece.Itisnotmentionedinanycorrespondence.In1782EmperorJosephIIof
Austriacreatedaharmoniemusikensembletoperformforhisdinnersandother
outdoorentertainment.Harmoniemusikfromthistimeperiodindicatesawind
ensembleoftwooboes,twoclarinets,twohorns,andtwobassoons.11Theeight
musicians,AntonandJohannStadleronclarinet,GeorgTribenseeandJohannVent
onoboe,JakobEisenandMarinRupponhorn,andWenzelKauznerandIgnaz
Trobneyonbassoon,wereperhapsamongthehighestpaidinallofViennaatthe
9DanielN.LeesonandNealZaslaw,Serenadeincminor,K.388,byW.A.Mozart(Kassel,Germany:Barenreiter,1979),V.10Ibid.,VI.11DanielN.LeesonandDavidWhitwell,“Mozart’s‘Spurious’WindOctets,”Music&Letters,Vol.53,no.4(Oct.,1972):379.
5
time.Theeffectofthisdecreeallowedformanycomposerstowriteforthis
ensembleasthenobilityalsoestablishedtheirownharmoniemusikensembles.12
WedoknowthatMozartwroteharmoniemusikarrangmentsofhisoperas.13
ScholarshaveahandfulofwindoctetsthatmostlikelyarefromthehandofMozart
aswell.14
Instrumentation
2Oboes2Clarinets2Bassoons2HornsinF
FirstMovement—Allegro
Flowchart
Serenadeincminor,K.388—1stMovement,Allegro
MainSection Sub-Section Measures KeyExposition PrimaryTheme 1-21 cminor
TransitionalTheme 22-39 cminoràB-flatMajor SecondaryTheme 40-66 B-FlatMajoràE-flatMajor FirstClosingTheme 66-82 E-FlatMajor SecondClosingTheme 82-94 E-FlatMajor
Development 95-129 Recapitulation PrimaryTheme 130-150 cminor
TransitionalTheme 151-170 cminor SecondaryTheme 171-200 cminor FirstClosingTheme 201-217 cminor SecondClosingTheme 217-231 cminor
12Leeson,Serenadeincminor,V.13LeesonandWhitwell,“Spurious,”pp.377-378.14Ibid.,p.399.
6
MovementOverview
Thefirstmovementisinsonataform.Thetempoisconsistentlyallegro
throughout,andthemeteriscut-time.Theprimarythemeopenswithan
introductionstatementinthefirstfivemeasures.Sevenoftheinstrumentsplayan
ascendingc-minorarpeggiointhefirsttwoandahalfmeasures.Thesecondhorn
playsapedalE-flatinunisonrhythmforthefirsttwomeasures.Inthethird
measureallwoodwindsplayanidenticalrhythmwithatrillleadingintoa
descendinghalf-notefigureinmeasurefourcadencingonthedominant.Thesecond
bassoonjumpsupanoctavetoplaythistrillfigureinunisonaftersupportingatthe
loweroctavetheinitialarpeggio(Ex.1).
Ex.1—Mozart,Serenadeincminor,1stMovement,mm.1-5
Theprimarythemeisfragmentedwithalternatingloud-soft-loud-soft
passagesaboutfourtofivemeasuresinlength.Theintroductionmaterialofthe
firstfivemeasuresisrepeatedagaininmeasuretwenty-twothroughtwenty-six.
Insteadofanensembleunison,theintroductionisplayedbythebassoonsinparallel
octaveswithhornsupportinmeasurestwenty-fiveandtwenty-six.Insteadofthe
7
descendingmajorseventh,thehornsascendamajorsecondbeforeresolvingonthe
dominant(Ex.2).
ThetransitionalthememovesthetonalcenterfromcminorintoE-FlatMajor
withthemelodymainlyintheoboe.ThebassoonsmovechromaticallyfromD-flat
tothedominantofE-Flat,B-Flat.Measuresthirty-fourthroughthirty-nineseeall
woodwindsmovinginunisonastheycadenceonaB-Flat-Majorchord,settingup
thenextthemeinE-FlatMajor.
Ex.2—Mozart,Serenadeincminor,1stMovement,mm.22-26—p.12
ThisB-Flat-MajorChordfollowedbyahalfrestinmeasurethirty-nineisthe
medialcaesuraandindicatesthefollowingsectionisthesecondarytheme.This
theme,inE-FlatMajor(therelativemajortoc-minor),beginswithasolofirstoboe
playingdolceabovetheclarinet,horn,andbassoonaccompaniment.Thesolooboe
isjoinedattheimmediateloweroctavebythefirsthornonthesecondstatementof
thefirstphraseinmeasureforty-eight(Ex.3).Thecharacterofthesecondary
themeismorelyricandconnectedthaneitherofthetwoprecedingthemes,which
arequitefragmented.Anunusualfeatureofthissecondarythemeisits
8
transformationwhenrestatedintherecapitulation.TypicallyMozartwould
literallyrestatethesecondarythemefromthealienkey(inthiscaseE-FlatMajor)
intothehomekey(inthiscasec-minor).However,whileMozartkeepsthesame
harmonicprogressionandphrasestructure,themelodyandtheaccompanimentis
noticeablytransformed(Ex.4).InMozart’stimeitwascommonpracticetochange
melodyandtexturewhilekeepingphrasestructureandharmonyintactwhen
restatingthemesintherecapitulation.15
Ex.3—Mozart,Serenadeincminor,1stMovement,mm.48-53
ThefirstclosingthemecontinuesinE-FlatMajor.Thethemecontrastswiththe
precedingthemeinthatitismorerhythmicthanlyrical.Itbeginswithan
announcementfromthehornsansweredbythesecondoboeandsecondclarinetin
measuresixty-six.Theremainingensembleplaysaunisonrhythmicfigure
consistingofsixteenthnotesanddouble-dottedquarternotes(Ex.5).
15BrianNewbould,“Mozart’sLostMelody,”TheMusicalTimes,Vol.132,no.1785(Nov.1991):p.553.
9
Ex.4—Mozart,Serenadeincminor,1stMovement,mm.183-188
Ex.5—Mozart,Serenadeincminor,1stMovement,mm.66-69
Thefinalclosingstatementscontainselementsofrhythmicvitalityinthe
movingbassoonlinewithamoreconnectedstyleintheothersixvoices.Itbegins
unexpectedlywithadeceptivecadence.Theprecedingsectionsetupthelistenerto
hearadominant-tonicmovementinE-FlatMajor.However,thefirstchordofthe
secondclosingstatementmovestothesub-mediantofg-minorinmeasureeighty-
two(Ex.6).Theexpositionendsinmeasureninety-fourwithacadenceinE-Flat
10
Major.Theentireexpositionisrepeatedbeforemovingontothedevelopment
section.Mozartmarkedthedevelopmentandrecapitulationtoberepeatedasone
largesection.
Ex.6—Mozart,Serenadeincminor,1stMovement,mm.81-83
Thedevelopment,beginninginmeasureninety-five,isonlythirty-five
measuresinlength,butitcontainsthreedistinctsections.Thepre-corerunsfrom
measuresninety-fivethroughone-hundredseven.Thecharacterissimilarto
contentfoundintheopeningprimarythemeinmeasuresfivethroughnine.The
coresectionrunsfrommeasureone-hundredeightthroughone-hundredtwenty-
two.Thisareaexploresmaterialfirstintroducedinmeasurestenthroughtwentyin
theprimarytheme.Atmeasureone-hundredfifteenweseeimitationbetweenthe
firstoboeandbassoonsection,possiblyshowingacross-relationshiptothethird
movement,whichisentirelyincanon.Thismaterialisborrowedfrommeasure
thirteen.Measuresone-hundredtwenty-twothroughmeasureone-hundred
twenty-nineseeaharmonicshiftbacktoc-minorwithab-diminished-sevenchord
followedbyapause,whichresolvesbackintoc-minorfortherecapitulation.The
11
rhythmicmaterialinthissectionisborrowedfrommeasurestwenty-twoand
twenty-three.Inmeasureone-hundredtwenty-fourandone-hundredtwenty-five
thehornshaveaunisonwrittenD-sharp.ThisnoteinMozart’stimecouldonlyhave
beenperformedwithastoppedhorn.Foraddedeffect,theconductormaywantto
suggesttothehornstoplaythatnotestopped.
Therecapitulationbeginsinmeasureone-hundredthirtyandbeginsinc-
minor.Theprimarythemeisnearlyanidenticalrestatementoftheprimarytheme
fromtheexposition.Thetransitionaltheme,beginninginmeasureone-hundred
fifty-nine,differsbothmelodicallyandharmonicallyfromtheoriginal.Themain
purposeforthisisthatthesecondarytheme,beginninginmeasureone-hundred
seventy,continuesinc-minor,andthusthereisnotransitiontoanotherkey.Phrase
structureandvoicingsaresimilarbetweenthetwoversionsofthetransitional
theme.
Asidefromthepreviouslymentioneddifferencesbetweenthesecondary
themesinboththeexpositionandrecapitulation,Mozartalsoincludesmore
fragmentationandsequence.Immediatelyafterthemedialcaesurainmeasureone-
hundredseventy,theoboeentranceisfragmentedandsequencedbymoving
upwardsbystep,andevenshowsimitationinthebassoonsinmeasureone-
hundredseventy-twoandinthesecondoboeinmeasuresone-hundredseventy-
fourthroughone-hundredseventy-six(Ex.7).Anotherexampleofthis
fragmentationandsequenceisshownintheoboemelodyinmeasuresone-hundred
eightythroughone-hundredeighty-two(Ex.8).Thekeycontinuesinc-minoruntil
12
theendofthemovement.Thetwoclosingthemesbegininmeasurestwo-hundred
oneandtwo-hundredseventeenrespectively.
Ex.7—Mozart,Serenadeincminor,1stMovement,mm.171-176
Ex.8—Mozart,Serenadeincminor,2ndMovement,mm.180-182
ConductingSuggestions
Ihavewrittenthereminderacrossthetitlepage“RestraintandOrder—
Dignified.”Thisisanoverarchingideawhenconductingthiswork.Keepgestures
small;donottrytocontrolthemusicians.Theyshouldbeguidedwhenneeded.
Mozarthadwrittenthepieceforeightprofessionalmusiciansandhadnotintended
13
theworktobeconducted.Whenaconductorispresent,heorsheshouldkeepthis
inmind-thatheorsheisaninthmemberoftheensemble.Atseveraltimesthereare
contrastsinstyle,especiallyfrommorerhythmictolyric.Thesegenerallyoccur
betweenthemes.
Anensemblemaywishtobringinaconductortounifystylisticideasandto
coachtheplayerstolistenandmovewitheachother.Whenrehearsingthe
ensemble,encouragethemusicianstolistentoeachother.Astronginternalpulseis
amustforaqualityperformance.
SecondMovement—Andante
Flowchart
Serenadeincminor,K.388—2ndMovement,AndanteMainSection Sub-Section Measures KeyExposition PrimaryTheme 1-16 E-FlatMajor
TransitionalTheme 16-24 E-FlatMajoràB-FlatMajor SecondaryTheme 24-39 B-FlatMajor ClosingTheme 39-46
Development 47-69 B-FlatMajoràfminoràA-FlatMajoràE-FlatMajor
Recapitulation PrimaryTheme 70-77 E-FlatMajor TransitionalTheme 77-85 E-FlatMajor SecondaryTheme 85-100 E-FlatMajor ClosingTheme 100-107 E-FlatMajor
MovementOverview
ThesecondmovementisintherelativemajorkeyofE-FlatMajorandmight
becalledasonatinaform.Thereisanexposition,development,andrecapitulation
section,howeverthedevelopmentisshort,andeachofthemainsectionsofthe
expositionandrecapitulationarealsoshorterinlengthandscope.Ithasatempo
markingofAndanteandisin3/8timethroughout.
14
Theprimarythemeoftheexpositionhastwophrasesofeightmeasureseach.
Thefirsthasthemelodyinthefirstclarinetwhilethebassoonsandsecondclarinet
accompany.Thesecondphraseseesthesamemelodywithdifferentendinginthe
firstoboewithfullensembleaccompaniment.TheprimarythemecadencesonanE-
flat-Majorchord(Ex.9).Thetransitionalthemebeginswithpickupsintomeasure
seventeen.Whileitisonlyeightmeasureslong,itquicklymovesthepieceintothe
dominantkeyofB-flatMajorforthesecondarythemeatmeasuretwenty-four.
Ex.9—Mozart,Serenadeincminor,2ndMovement,PrimaryTheme,mm.1-16
Thesecondarythemehastwophraseseachofeightmeasuresinlengthand
beginsinmeasuretwenty-four.Theaccompanimentismorelyricalinnature
comparedtotheprimarytheme.Muchliketheprimarytheme,thefirstphrasesees
themelodyfirststatedinthefirstclarinetwhilethesecondphrasehasthefirstoboe
restatethemelodywithembellishments.Theaccompanimentisalsoembellishedin
thesecondphraseasthebassoonstakeonafigurethatsuggestsamorepeasant
dance(Ex.10).Theclosingthemerunsfrommeasurethirty-nineandquickly
cadencesonaB-flat-Majorchordonthedownbeatofmeasureforty-six.
15
Thedevelopmentrunsfrommeasureforty-seventhroughsixty-nineand
exploresideasmainlyfoundintheprimarytheme.Therearethreesections.The
firstfragmentstheprimarythemeandseemstocadenceonthedominantoffminor
withaC-Majorchordonthedownbeatofmeasurefifty-two.Theoboesand
clarinetsplayaportionoftheprimarythemeandcadenceonthedominantofA-flat
Majorechoedbythehornsandbassoonsinmeasuresfifty-nineandsixty.Thefirst
hornthengetstheprimarythemebeginninginmeasuresixtyonewithonlyhorn
andbassoonsaccompaniment.ThecadenceonB-FlatMajorisechoedintheoboes
andclarinetsinmeasuressixty-eightandsixty-nine.Thissetsuptherecapitulation
toreturntothetonicofE-flatMajoratmeasureseventy.
Ex.10—Mozart,Serenadeincminor,2ndMovement,SecondaryTheme,mm.24-39
Intherecapitulation,thereisanearlyidenticalrestatementoftheexposition
saveforonemajorchange:thekeystaysinE-FlatMajorthroughouttheentire
16
recapitulation.Thevoicing,texture,harmonicandphrasestructurearesimilarto
howtheyappearintheexposition.
ConductingSuggestions
AconductormaywishtoconsiderMozart’soperaswhenpreparinghis
serenades.Whenstaginganoperaseveralconsiderationsneedtobemade.The
firstiswhoarethecharactersandhowmanyareonthestage.Theconductorneeds
toimaginedetermininghowthelightingissettofocustheattentionoftheother
musiciansonaparticularrole.Thisislikemakingthedecisionaboutwhoisinthe
foreground,background,andmiddleground.
Forexample,itwassuggestedthesecondmovementcouldbecomparedto
theopeningofthefourthactofLeNozzediFigaro.Thelightingisdarkwithsoft
moonlightonBarbarinamourningthelossofSusanna’spin.Barbarinaisinan
eleganteveninggown.ThefirstclarinetrepresentsthemournfulBarbarinaplaying
edolce.Thelightingputsthesecondclarinetandbassoonsindarknesswhile
puttingasoftlightonthefirstclarinetandlaterthefirstoboe.Eyecontactwithall
musiciansisessentialindrawingtheirattentiontowardthemelody.Besuretokeep
gesturestoaminimum,conductingonlytheline.Expressioninthismovementis
notshowninapattern,butinshowingthemusiciansthelineandwhohasit.
17
ThirdMovement—Menuettoincanone
Flowchart
Serenadeincminor,K.388—ThirdMovement—Menuettoincanone—MinuetandTrioForm
MainSection
Sub-Section Measures Key Characteristics
Menuet Aa
1-16withrepeat
cminoràE-FlatMajor
Oboesinunisonleadthecanon.Clarinets,horns,andbassoons
imitateinharmony. B
ba’17-48withrepeat
E-FlatMajoràcminor
bismeasures17-28.Melodyinclarinets.Athemereturnsin
measure29.Trio C
c49-62withrepeat
cminoràGMajor
Trioincanonealroverscio—Invertedmelody.Onlyoboesandbassoonsplayduringthe
trio. D
dc’63-80withrepeat
GMajoràcminor
BothCandDarefour-partcanonswithoboetwoleading.
Menuet Aa
1-16norepeat
cminoràE-FlatMajor
Oboesinunisonleadthecanon.Clarinets,horns,andbassoons
imitateinharmony. B
ba’17-48
norepeatE-Flat
Majoràcminor
bismeasures17-28.Melodyinclarinets.Athemereturnsin
measure29.
MovementOverview
TheformofthethirdmovementfollowsatypicalmenuetandtrioofABA’
withtheAsectioncontainingsmallersegmentsofaba’andtheBsectionofcdc’
concludingwithareturntoAandaba’.Theinitialasectionhasaneight-measure
antecedent(Ex.11)withaneight-measureconsequence.Aninterestingaspectof
thismovementisthatallvoicesareincanonthroughout.Theoboessoundfirstwith
theothersixvoicesresponding.Thesefirstsixteenmeasuresarerepeated.
Measuresseventeenthroughtwenty-eightmarkthebsectionofB.Duringthese
measuresalessstrictcanonisfollowed.Thecanonmainlyoccursbetweenthetwo
18
clarinetswiththeoboesandbassoonsprovidingharmonicrhythmicsupport.When
thea’sectionbeginsinmeasuretwenty-nine,itappearstheoboesaremerely
repeatingtheclarinets.Infact,theoboesarebeginningthecanonagainwithhorns
andbassoonsrepeatingwhiletheclarinetsperformacountermelodytotheoboes.
Thea’sectionrunsfrommeasuretwenty-ninethroughforty-eight.Boththebanda’
sectionsarerepeatedasonecontinuoussection.
Ex.11—Mozart,Serenadeincminor,3rdMovement,aSection,mm.1-8
Thetrioisperformedonlybythedouble-reeds.Mozart’smarking“al
roverscio”indicatesthateachsuccessiveentranceisaninversionoftheprevious
entrance.Forinstance,thesecondoboeplaysanascendingfourthfollowedbya
descendingwholetone.Thefirstoboerespondswithadescendingfourthfollowed
byanascendingwholetone(Ex.12).Whilethetemporemainsconstant,the
characterofthetrioislighterandsofter;morelyric,asindicatedby“amezzovoce.”
Thecsectionrunsfrommeasureforty-ninethroughsixty-twoandisrepeated.The
csectionhasafour-partcanonbeginningwiththesecondoboefollowedbythefirst
oboe,firstbassoon,thensecondbassoon.ThedsectionofDisquiteshort—from
measuresixty-threethroughsixty-eight.Thecanonorderbeginsagainwiththe
19
secondoboefollowedbythefirstbassoon,firstoboe,andsecondbassoon.Instead
ofsixfullbeatsbetweenentrancesasgiveninthecsection,therearetwobeats
betweenthefirsttwovoicesandlasttwovoiceswithsixbetweenthesecondand
third.Measuresixty-ninestartsthec’section.Whiletheorderofvoicesaswellas
themelodicshapeinc’areidenticaltothatinthecsection,thissectioncontainsa
lotmoresuspensionsoverbarlinesthantheoriginal.Thedandc’sectionsare
repeatedasonelargesectionbeforeproceedingwiththedacapo.Theaba’sections
areperformedwithoutrepeats.Inthefinalmeasure,forty-eight,thebassoons
sustainthedownbeatC3ratherthanperformthemarkeddescendingarpeggio(Ex.
13).
Ex.12—Mozart,Serenadeincminor,3rdMovement,mm.49-52
Ex.13—Mozart,Serenadeincminor,3rdMovement,mm.40-48
20
ConductingSuggestions
Asuggestedtempoisquarter-noteequalsone-hundredthirty-eightbeatsper
minute.Giventhistempo,Isuggesttheconductorconductonebeatpermeasure.
Whilethemenuetstylecallsforbeatonetobethestrongestofeachmeasure,take
carenottoconducteachmeasuretooheavily.BecauseitisMozart,careshouldbe
takentoshowthemusicianswherethelineis.
Inmeasurestwenty-twoandtwenty-fouramarkingofsfpispresent.
Sforzandoisanaccentrelativetothedynamicsaroundit.Theseattacksarenot
necessarilylouder,justabitstrongerthanpreviousdownbeats.Whenconducting
thetrio,alighter,morelyricapproachisneeded.
21
FourthMovement—Allegro
Flowchart
Serenadeincminor,K.388—FourthMovement—Allegro—ThemeandVariationsFormSection Measures Key CharacteristicsA 1-8—Repeats cminor Allegro.Oboesandbassons
only.B 9-16—Repeats A1 17-24—Repeats Rhythmicvariation.Double
dottedquartertotripletsixteenthnotes.Activebassoon
line.B1 25-32—Repeats CMajoràc
minor
A2 33-40—Repeats cminor Tripleteighth-notevariation.B2 41-48—Repeats A3 49-56—Repeats Syncopatedvariation.2ndoboe
and1stbassooninunison.B3 57-64—Repeats A4 65-72—NoRepeat Jaunty.Oboesinunison.
Markedaccenton“and”offirstbeatinmelodythroughout.
A5 73-80—NoRepeat Runningsixteenthnotesinbassoon.Trillsinoboemelody.
B4 81-88—NoRepeat B5 89-96—NoRepeat CMajoràc
minor
C 97-112—Repeats E-FlatMajor Calm.Horncall.Clarinettakesover.
D/C1 113-120/121-136—Repeats
Transition 137-143 E-FlatMajoràcminor
Horncall.
A6 144-151—NoRepeat
Melodypresentedintact.Differentbassoonaccompaniment.
A7 152-159 Melodyinsecondoboe.Ascendingfirstoboe
accompaniment.Activebassoonline.
B6 160-167 CMajoràcminor
B7 168-175 CMajoràc
22
minorA8 176-191 cminor Augmentedrhythm.Half-notes
andquarter-notes.Melodyinclarinets.
B8 192-208 Transition 208-215 EndsonV7
A9 216-223 CMajor OriginalthemepresentedinMajorkey.Syncopatedsecondoboeandclarinets.Movingeighthnotesinhornsand
bassoons.B9 224-237 Coda 237-252 CadentialmaterialonCMajor.
MovementOverview
Thefourthmovementreturnstothehomekeyofcminor,andisintheme
andvariationsform.Insteadofonetheme,however,itcontainstwothemes(Ex.14
&15),whicheachundergoninevariations.Thevariationsundergolittleharmonic
variation—theyonlyshiftfromcminortoCMajor.Twominorthemesare
introducedmidwaythroughthemovementwhicharepresentedintherelative
majorkeyofE-flatMajor.
TheAandBthemesarerepeatedintheirfirstpresentationaswellasintheir
firstthreevariations.Afterwardsanytimetheyarepresented,twoconsecutiveA
themesarepresentedfollowedbytwoconsecutivevariationsoftheBthemes.In
eachvariationtheAandBthemesaretransformedinthesamemanner.Usuallythis
isachievedthroughrhythmandaccompanimentfigures.ThemelodyintheAandB
themesisnearlyalwayspresentedinthefirstoboewiththeexceptionofthethird
variationinwhichitispresentedinthesecondoboeinunisonwiththefirst
bassoon,seventhvariationinwhichitispresentedinthesecondoboe,andthe
eighthvariationinwhichtheaugmentedmelodyappearsintheclarinet.Thefirst
23
oboecarriesthemelodyintheDtheme,butdoesnotplaythemelodyineither
presentationoftheCtheme.
Ex.14—Mozart,Serenadeincminor,4thMovement,ATheme,mm.1-8
Ex.15—Mozart,Serenadeincminor,4thMovement,BTheme,mm.9-16
Harmonically,ineachpairingoftheAandBthemes,theAthemetendsto
endonthedominantG.TheBthemecomplimentsthisbybeginningontheG-Major
chordandmovestowardsitsresolutionatcminor.TheCandDthemesareinE-flat
Major.Thefinalvariationpresentstheoriginalthememodifiedonlyin
accompanimentandharmonicallyinC-Major.Thisisperhapsanodtothefactthat
nearlyallserenadeswerewritteninmajorkeys.
24
ConductingSuggestions
Theconductorneedstodecideuponthecharacterforeachvariationwithin
thismovement.Forinstance,Ihave“flowing”writtenabovethebeginningofthis
movement.Ahypermetermaybeconsideredtoshowlesspatternandmorestyle
andcharacter.Ihavewrittenabovethefirstvariation“angrybassoon.”The
bassoonlinebecomesmorevigoroushereandattentionmaywanttobedrawnto
thisline.“Floating”iswrittenabovethethirdvariation.Iftheconductorisina
hypermeter,Isuggestatwopatternbeshownbymeasureforty-eighttoassistthe
secondoboeandsecondbassoonfindtheupbeatintothethirdvariation.Besureto
makeeyecontactwiththesecondbassoontokeepasteadydownbeatthroughout
thisvariation.
Thefourthvariationis“jaunty”innature;itismore“up”musicthan“down.”I
suggestthebassoonlineinthefifthvariationbeplayedaslightlyaspossiblesoas
nottodragthetempo.Thisisadifficultsectionforthebassoons,soextraoutside
practiceshouldbeencouraged.ThehorncallatthebeginningoftheCsection
shouldbe“distant”innature.
ThesixthvariationoftheAthemeisincharactersimilartothemaintheme,
asistheseventhvariationwiththefirst.Fortheeighthvariationitisimportantfor
theconductortomakedecisionsaboutwherethelineisgoingandtohelpthe
musiciansunderstandwherearrivalpointsoftensionoccur.Mozartconcludesthis
serenadewithahumorousninthvariationinCMajor,whichshouldhavealight,
jollycharacter.
25
ChapterTwo—OldWineinNewBottles
BiographicalOutline—GordonJacob
EarlyLife
GordonPercivalSeptimusJacobwasbornonJuly5,1895,SouthofLondonin
UpperNorwood.Heistheyoungestinalargefamily,mostofwhosemembers
possessedsomedegreeofmusicalability.16Hefirstbeganstudyingpianoattheage
ofeightandshortlythereafterbegantocompose.JacobenrolledintoDulwich
Collegeattheageofninewherehecontinuedtostudymusic.WhileatDulwichhis
interestandtalentwerecultivatedandchampionedbythedirectoroftheschool,
HerbertDoulton.ItwashewhonotonlyaskedJacob’smotherforpermissionfor
himtostudymusic,butalsoorganizedconcertsofJacob’searlycompositions,took
himtoperformancesof“top-notchmusicalensembles,”andencouragedhimto
performkeyboardworksofMozartonschoolprograms.17
GordonJacobwasbornwithacleftpallet,whichhefoundinterferedwithhis
abilitytolearnawindinstrument.Anaccidentwithaknifeirreparablysevereda
tendoninhislefthand,whichhamperedhisabilitytoplayastringedinstrumentor
pursueacareerasaconcertpianist.18
AtthebeginningoftheFirstWorldWarJacobjoinedtheFieldArtilleryatthe
ageofnineteen.WhileintheArmyJacobwastoplaytheharmoniumatSunday
Paradeandwaslatergivenchargetoformandarrangemusicforasmall
16MatthewWilliamFay,“GordonJacob:ABackgroundandStudyofHisWorksforWindOctet”(DMADiss.,FloridaStateUniversity,2010),4.17Ibid.,pp.6-7.18EricWetherell,GordonJacob:ACentenaryBiography(London:ThamesPublishing,1995),p.16.
26
orchestra.19AfterthewarJacobenrolledintotheRoyalCollegeofMusicwherehe
studiedcompositionwith,amongothers,RalphVaughnWilliamsandGustavHolst.
ProfessionalLife
AftergraduationfromtheRoyalConservatoryofMusicin1924GordonJacob
enjoyedsuccessasateacher,anauthor,andasacomposer.Almostimmediatelyhe
beganteachingcompositionattheRoyalConservatoryofMusicandremainedthere
untilhisretirementin1966.20SomeofhisnotablestudentsincludedSirMalcolm
ArnoldandEricWetherell.Jacobistheauthorofthreebooks,whicheventodayare
consideredstandardstudyforcompositionstudents:TheComposerandHisArt
(1931),TheElementsofOrchestration(1944),OrchestralTechniques(1962).21
Hisfirstsuccessasacomposercamein1923whenhepublishedtheWilliam
ByrdSuite,forthethirdcentenaryofWilliamByrd’sdeathin1623.Writtenfirstfor
orchestra,helaterarrangeditforband.In1924,themusicpublisherBoosey&
HawkesaskedRalphVaughnWilliamsforabandarrangementofhisFolkSongSuite,
originallywrittenfororchestra.Becausehewastoobusy,heaskedGordonJacobto
dothearranging.22Fromthenon,Jacobenjoyedwritingforwindbands.His
notableworksforbandincludeOriginalSuite(1928),MusicforaFestival(1951),
FlagofStars(1956),andGilesFarnabySuite(1967).Hereceivednumerous
19Fay,GordonJacob,p.8.20Ibid.,p.12.21EricWetherell,“GordonJacob,”GroveMusicOnline,(OxfordUniversityPress),accessedMarch8,2016,http://www.oxfordmusiconline.com/subscriber/article/grove/music/14035.22TimothyReynishandKevinThompson,“GordonJacobinConversation,”JournaloftheBritishAssociationofSymphonicBands&WindEnsembles,Vol.1,no.1(Spring1982),accessedMarch7,2016,http://www.timreynish.com/repertoire/composers/jacob.php.
27
commissionsevenafterretirementincludingahornconcertoforDennisBrainin
1951aswellasmusicforthecoronationofQueenElizabethII(1953).23
OldWineinNewBottles
HistoryoftheComposition
OldWineinNewBottleswaswrittenfortheSt.BeesFestivalofMusicnear
theEnglishandScottishborder.ThefestivalwassponsoredbytheSt.BeesSchool
andranannuallyfrom1958until1965.Thisfestivalfeaturedchamber,choral,and
orchestralmusicoveraperiodofseveraldaysandwasperformedmainlyby
childrenoftheSt.BeesSchool.TheMusicMasteroftheSt.Beesschoolatthetime
wasDonaldLeggat.ItwashewhocontactedGordonJacobandaskedhimtowritea
pieceforthefestival,whichJacobprovidedintimeforthe1959festivalwithLeggat
conducting.24GiventhattheperformancetookplaceinruralEnglandwithasmall
crowdandlimitedmedia,itisdifficulttotellexactlyhowwelltheworkwas
received.Itmusthavebeenafavoriteforthemusiciansandconductorasitisoneof
twoworksthatreceivedmorethanoneperformancethroughouttheentire
festival.25
OxfordUniversityPresspublishedtheworkoneyearlater,andthatpress
continuestoholdpublicationrights.Itisunclearwhoholdstheoriginalmanuscript,
however,itislikelyOxfordUniversityPressholdsitwithinitsarchives.26
23Wetherell,GordonJacob,GroveMusicOnline.24MarcDavidDecker,“AnAnalysisofandConductor’sGuidetoGordonJacob’sOldWineinNewBottlesandMoreOldWineinNewBottles”(DMADiss.,UniversityofIowa,2013),22-24.25Ibid.,24-25.26Ibid.,p.27.
28
Instrumentation
TwoFlutes—SecondFlutedoublesPiccoloTwoOboes
TwoClarinetsinB-FlatTwoBassoons
DoubleBassoon(adlib.)TwoHornsinF
TwoTrumpetsinB-Flat(adlib.)
29
FirstMovement—TheWraggleTaggleGypsies
Flowchart
OldWineinNewBottles—1stMovement—TheWraggleTaggleGypsies—ThemeandVariations
Section Measures Key Time CharacteristicsIntro 1-4 D-min. 2/4
Allegro
Flutes,Clarinets,Trumpets.MainTheme 5-12 D-min. StaccatomelodyinBassoon1.Transition 13-15 D-min. FragmentsOboe1-Basson2.1stVariation 16-23,
RehearsalAD-min. StaccatomelodyinFlute1
Clarinetaccompaniment.2nd
Variation24-31
RehearsalBD-min. MainThemeinFlutes,Oboes,Clarinet2.
ImitationoffsetbyonebeatinBassoons,Horns.Flowingaccompanimentin
Clarinet1.Transition 32-39
RehearsalCUnstable Fragmentationofmaintheme.
3rdVariation
40-47 Unstable Imitation:fourvoicesoffsetbyonebeat:Oboe1,2,Bassoon1,2.M.44
moreimitation:fourvoicesoffsetbyonebeat:Flute1,Horn1,Clarinet1,Bassoon
1.Transition 48-60
RehearsalDUnstable-settlingonDMaj.
Moreimitationoffsetbyonebeat.Variousgroups.Thematic
fragmentation.4th
Variation61-72
RehearsalEDMaj. Common
(4/4)HornSoloatm.59.Thematic
augmentation.Somefragmentation/imitation.
Transition 73-76 Continuousaugmentation,fragmentation,imitation.
5thVariation
77-82 Dminor HornSolo.Endsonfermata.
Coda 83-102RehearsalH
Dminor 2/4 Vivace(quarter=120).
30
LyricstoFolkSongTheWraggle,TaggleGypsies
Therecamethreegypsiestomydoor, Anddownstairs‘roundmylady,o, Onesanghigh,theothersanglow,
Andthethirdsangbonny,bonny,biscay,o!
Shepulleddownhersilkengown,Andputononeofleather,o,Andthebellrang,rangaboutthedoor,Shehasgonewiththeraggle,tagglegypsies,o!
Itwaslatelastnightwhenmylordcamehome,Inquiringforhislady,o,Theservantsstoodatev’ryend;“Shehasgonewiththeraggletagglegypsies’band.”
Herode,rodehigh,andherode,rodelowAndherodethroughthewoodsandcopseslow,UntilhecametothewideopenfieldAndtherehediscoveredhislady,o!
“Whatmadeyouleaveyourhorsesandland,Whatmadeyouleaveyourstable,o,WhatmadeyouleaveyourgoosefeatheredbedAndthesheetsturneddownsobravely,oh?”
“O,whatcareIforyourhorsesandland,WhatcareIforyourstable,o?I’dratherstayinthewideopenfieldAlonewiththeraggle,tagglegypsies,o!”27
MovementOverviewThelyricsofthismovementtellofthecarefreenatureofaladywholeaves
herwealthyhusbandtotravelwithabandofgypsies.Aliltingbounceisconsistent
throughoutthemovement.Theformofthismovementisthemeandvariations,and
itisindminor.ThetempoismarkedAllegrowitha2/4timesignature.The
movementopenswithalternatingopenfifthsinDbetweentheclarinetsandthe27ReedSmith,etal,AmericanAnthologyofOldWorldBallads(NewYork:J.Fischer&Bro.),1937,p.44.
31
flutes/trumpetsforthefirstfourmeasures.Inmeasurefivethefirstbassoonenters
withthemainthemeplayedstaccatooverthecontinuingalternatingopenfifths.
Themainthemeisasimplemelodyonlyeightmeasuresinlength.Itisthe
bassoon’sentrancethatdeterminestheminortonality(Ex.16).
Ex.16—Jacob,OldWineinNewBottles,1stMovement,MainTheme,mm.4-8
Afterabrieftransitioninmeasuresthirteenthroughfifteen,thefirst
variationoccurs.Themelodyisplayedinasimilarstyle,however,itismovedtothe
flutevoice.Themainvariationoccursintheaccompaniment,whichissolelyinthe
clarinetspassingtotheoboes.Thephrasestructurestaysthesame.RehearsalBat
measuretwenty-fourstartsthesecondvariation.Thisisincanonoffsetbyonebeat.
Thefirstentrancebeginsatthepickuptomeasuretwenty-fourintheflutes,oboes,
andsecondclarinet,withtheresponseinthebassoons,contrabassoon,andhorns.
Thefirstclarinetplaysarunningsixteenth-noteaccompaniment.Inmeasure
twenty-eightthetrumpetsjointhefirstvoice.
AtrehearsalmarkingC,locatedatmeasurethirty-two,weseeasixteen-
measuretransition.Throughoutthistransitionweseethetonalitybecomeunstable
asJacobapparentlycyclesthroughseveraltonalcenters.Thefirsteightmeasures
seefragmentationandantiphonalimitationbasedonthefirsttwomeasuresofthe
maintheme(Ex.17).Atmeasurefortyanewsectionofantiphonalimitationbegins
withfragmentationofthethirdandfourthmeasuresofthemaintheme(Ex.18).
Measureforty-eightbringsathirdvariationexploringonlythesefirstfourmeasures
32
ofthemaintheme.Theantiphonalimitationiscontinuedthroughoutthisvariation.
AttheendofthisvariationJacobsettlesonthekeyofD-Major.
Ex.17—Jacob,OldWineinNewBottles,1stMovement,mm.32-35
Ex.18—Jacob,OldWineinNewBottles,1stMovement,mm.40-43
33
Thefourthvariationbeginswithasolohornintroductionintroducingthe
newkeyofDMajor(Ex.19).Thetimesignaturemovesfrom2/4tocommontime,
however,thequarter-notepulseremainsconstant.Thereisamarkedshiftinstyle
andmood.Therhythmicvelocityslowsconsiderablythroughaugmentationand
phrasesaremoreconnectedthroughout.Moreantiphonalimitationisusedinthis
newstyle.Thisvariationexploresmaterialinthethirdandfourthmeasuresofthe
maintheme.Thediminuendoattheendofthepreviousthemesetsthisoneuptobe
softerinnature.Afour-measuretransitionfragmentsandimitatesthisideafurther
asthekeybeginstoshiftbackintodminor.
Atmeasureseventy-threethefifthvariationbegins.Thisvariationcontinues
theideaofsoftdynamicsincommontimebutthetonalityshiftsbacktotheoriginal
dminorkey.Alleightmeasuresofthemainthemearestatedinthisvariationyet
therhythmcontinuestobeaugmented.Thefirsthornplaystheresponseincanon
withtheflutesandfirstclarinettwobeatsbehindthecall.Halfwaythroughthe
melodytheoboesandfirstbassoonpickupthemelodyfromthefluteandclarinet.
Afermataonaunisondendsthissectionwiththefirstbassoonmovinglast.
34
Ex.19—Jacob,OldWineinNewBottles,1stMovement,mm.60-64
Thecodaismarkedvivaceandgoesbackinto2/4.Theentireensemble
beginsbyfragmentingthefirsttwomeasuresofthemainthemeandsequenceitfor
fourmeasures,thenpassitaroundtheensembleindifferenttonalcenters.In
measureninety-threethemainthemeisrestatedinitsentiretyintheoriginalkeyin
thefluteandclarinet.Thelasttwomeasuresgiveafinalcadenceindminor.Ad
minorchordisplayedonthedownbeatofmeasureone-hundredtwofollowedbyall
instrumentsplayingaunisond.
ConductingSuggestions
MuchlikewiththefourthmovementoftheMozarteachvariationneedsto
haveacharacteridentityshown.Astudyofthelyricsishelpful.Onemaywishto
considerthecharacterportrayedineachofthestanzasandseeiftheyapplyto
certainvariationsinthework.Theprevailingmoodislightandbouncy.Asmall
35
patternwithclearictusissuggesteduntilthelyricfourpatternisshownatmeasure
sixty-one.Avigorous,yetlight,twopatternreturnsatmeasureeighty-three.
SecondMovement—TheThreeRavens
Flowchart
OldWineinNewBottles—2ndMovement—TheThreeRavens—ThemeandVariationsSection Measures Key Time Characteristics
Introduction 1-7 Gminor 2/4Andantethroughout
Fragmentsofmainthemepassedfromsoloclarinettosolohorntoflutesand
oboe1.MainTheme 8-21 Phrasestructure(2+2+2)+2+(2+2+2)1stVariation 22-35 Mainthemepassedtodifferent
instruments.2ndVariation 36-49 Firstphraseconnected.Second
staccato.3rdVariation 50-64 2/4¾in
measure55and60
Phraseendingselongatedthrough¾time.
Coda 65-68 LastchordGMajor
Verysoftending.
36
LyricstoFolkSongTheThreeRavens
Therewerethreeravenssatonatree,Downadown,heydown,heydown;Theywereasblackastheymightbe,Withadown,Andoneofthemsaidtohismate,‘Whereshallweourbreakfasttake?’Withadown,derry,derry,derry,down,downBehold!Alasinyongreenfield,Downadown,heydown,heydown;Thereliesaknightslainunderhisshield,Withadown,Hishoundsliedownbesidehisfeet,Sowelldotheytheirmasterkeep,Withadown,derry,derry,derry,down,down.Hisfaithfulhawkssonearhimfly,Downadown,heydown,heydown;Nobirdofpreydareventurenigh,Withadown,Butsee,therecomesafallowdoe,Andtotheknightshestraightdothgo,Withadown,derry,derry,derrydown,down.Shelifteduphisghastlyhead,Downadown,heydown,heydown;Andkiss’dhiswoundsthatweresored,Withadown,Sheburiedhimbeforetheprime,Anddiedherself,eree’ensongtime,Withadown,derry,derry,down,down28
MovementOverview
Thelyricsofthesecondmovementtellthestoryofayoungladywhofinds
heryoungloverdeadonthebattlefield.Giventherathermelancholysource
material,TheThreeRavensisamuchslowercontrasttothelivelyfirstmovement.It
ismarkedandanteandisin2/4throughout.Thekeyisgminor,andtheformis
28GordonJacob,TheThreeRavens(Oxford:OxfordUniversityPress,1935).
37
themeandvariations.Themainthemephrasestructurehaseightmeasuresinthe
antecedentwithsixintheconsequence(Ex.20).
Themovementbeginswithfragmentationandimitationonthelasttwomeasuresof
thetheme.Thefirstclarinetplaysthefirstthreenoteswithanaugmentationofthe
rhythmofthethirdnote.Thefirsthornrepeats.Theflutesandfirstoboethenplay
avariationofthefinaltwomeasureswithatwo-measureextension.
Ex.20—Jacob,OldWineinNewBottles,2ndMovement,MainTheme,mm.8-21
Throughoutthismovementthephraseisbrokenupandpassedamong
variousvoices.Intheinitialstatementofthemelodythefirsttwomeasuresare
playedbythefirstclarinet,whichpassesthenexttwomeasurestothesecondflute,
whichpassesitbacktothefirstclarinet.Thenexttwomeasuresincludeasequence
passedfromfirstfluteandfirstoboetothesecondfluteandsecondoboetothefirst
clarinetandbassoontothesecondclarinetandbassoon.Intheconsequencethe
melodyisstatedfortwomeasuresinthefirstfluteandoboe,passedtothefirst
38
clarinetandbassoon,andbackagaintothefirstfluteandoboe.Ineachvariation
thispatternofthemelodystartingoutinonevoice,passedtoanother,thenpassed
backtotheoriginalcontinues.Forthefirstvariationthepatternisoboe-flute-oboe.
Inthesecondvariationitisclarinetandbassoon-horn-clarinetandbassoon.The
thirdvariationshowsaslightdeviationfromthispattern.Itisclarinet-full
ensemble-horn.
Thismovementcontainsonlytwomeasuresnotin2/4(fifty-fiveandsixty).
Inbothcasestheyservetoextendaphrase,givingtheillusionofaslightfermatain
thethirdvariation.Thecodabeginsinmeasuresixty-fiveandisfourmeasureslong.
Itisbasedonmaterialfromthefinaltwomeasuresofthemaintheme.Thefinal
measurecontainsaPicardythirdwhiletheensembleperformsaG-Majorchord.
ConductingSuggestions
Thesecondmovementprovidesagreatcontrastinmoodfromthefirst.Itis
considerablymorelyric,thelineismostimportant.However,duetoitslyricnature
andsustainednotesinthefirstfourmeasures,itisimportanttomaintainastrict
eighth-notesubdivisioninternallywhileshowingasfewdownbeatsaspossible.If
thispulseisnotestablishedthismovementwilldragandcontinuallygetslower.
39
ThirdMovement—Begone,DullCare
Flowchart
OldWineinNewBottles—3rdMovement—Begone,DullCare—ThemeandVariationsSection Measures Key Time Characteristics
Introduction 1-19 FMajor 6/8,AllegroVivo.DottedQuarter=120
Marcatoentrancesleadstohornandtrumpetcallinmeasure4.Upper
woodwindrespond.MainTheme 20-37
RehearsalA Phrasestructureis8+8.Second
phraseisrepeated(measures29-34).Transition 38-49
RehearsalCUnstable AscendingfifthcallinHorn1.
Stepwisedescendingmotioninupperwoodwinds.
1stVariation 50-73RehearsalD
CMaj.ToFMaj.
UnisonmelodyinHornsandTrumpetsinfirstphrase.Flutesinsecondphrase.Hornsechoflutes.
2ndVariation 74-96RehearsalE
Dminor Oboeinfirstphrase,Horninsecond,Flutesecho.
Coda 97-123 DminortoFMajor
Fragmentationandsequence.
LyricstoFolkSongBegone,DullCare
BegoneDullCareIpritheebegonefromme.BegonedullCare,YouandIwillneveragree.Longtimehastthoughbeentarryinghere,Andfaiththouwouldstmekill.ButI’faith,dullCare,Thounevershalthavethywill.ToomuchcareWillmakeayoungmanturngreyBegon,fortoomuchcarewillTurnanoldmantoclay,MywifeshalldanceandIwillsing,somerrilypasstheday,ForIholditoneofthewisestthingstodrivedullCareaway.29
29Jacob,BegoneDullCare(London:Stainer&BellLtd.1937).
40
MovementOverview
Asthelyricssuggestthisshouldhavealightandcarefreetoneinits
performance.Thetempoismarkedallegrovivo.Adottedquarterequalsone-
hundredtwentybeatsperminuteistheonlymetronomicmarkingJacobgivesto
anyofthemovementsintheentirework.The6/8timesignaturegivesthepiecea
lilttoit.ThekeyisFMajor.
Thephrasestructureofthemainthemehaseightmeasuresintheantecedent
witheightintheconsequence.Atthebeginningoftheantecedentisanascending
fourthwiththelowernoteasapickupandtheuppernoteonthedownbeat.This
motiveissequencedthroughouttheintroduction.Afterabuildingpyramidof
concert-Centrancesthroughouttheensemble,theflutes,oboesandclarinetscycle
throughthisascendingfourthpattern,playingitdownafourthfromtheprevious
statementinmeasuresfivethroughseven.Inmeasuresninethroughtwelvethey
repeattheascendingmotiveyetcycledownathirdandthenafourth.
Atmeasuretwenty,thefirstthemeisstatedfirstinthehornswiththeentire
antecedent.Theconsequenceispassedfromflutetooboeandisrepeated(Ex.21).
Atwelve-measuretransitionappearsatmeasurethirty-eight.Atmeasurefifty,the
firstvariationappears.Thehornsandtrumpetsplaytheantecedentphrasein
unison.Themaindifferenceoccursintheaccompaniment.Theconsequencehas
theflutesplayingthefirsthalfwiththehornsrepeating.Thefirstoboeandsecond
clarinetthencompletetheconsequence.Ashortfour-measuretransitionoccurs
beforethesecondvariationbeginsatmeasureseventy-four.
41
Ex.21—Jacob,OldWineinNewBottles,3rdMovement,mm.20-36
Thesecondvariationhasthefirstoboeandfirstclarinetplayingthe
antecedentincanon.Thehornsbegintheconsequencewiththeflutesrepeatingthe
firsthalf.ThehornsthenbegintofinishtheconsequenceatrehearsalFbutthe
upperwoodwindsextendthelasttwomeasuresthroughrepetition.Thecoda
beginsatmeasureninety-sevenintheflutesandfirstoboewithasuddenpiano.At
rehearsalGthehornsenterwithabuildinglinethatfragmentsandsequencesthe
openingascendingfourthpatternasthefullensemblebuildsindynamicsuntilthe
entireensemblecadencesonafinalF-majorchord.
ConductingSuggestions
Thethirdmovementpresentsnoserioustechnicaldifficultiesinconducting.
Abrisktwopatternisapplicablethroughoutasneitherthetemponorthetime
signaturechange.Themainchallengehereistokeepthepatternlightsoastokeep
thefeeling“up”ratherthan“down.”Asthetitleandlyricssuggest,thereshouldbea
42
carefreefeelingthroughout.Itwillalsobeimportanttoshowlargecontrastsin
dynamicsthroughout.
FourthMovement—EarlyOneMorning
Flowchart
OldWineinNewBottles—FourthMovement—EarlyOneMorning—ThemeandVariationsSection Measures Key Time Characteristics
Introduction 1-12 B-FlatMajor 2/4Allegretto Horn1solo,passesthroughOboe1,Flute1cadenza-likesolo.
MainTheme 13-29RehearsalA
1stVariation 30-51RehearsalC
2ndVariation 52-67RehearsalD
Rit.atend.
3rdVariation 68-87RehearsalE
Allegrovivace
4thVariation 88-105RehearsalF
Menomossoatmeasure101.
5thVariation 106-120RehearsalH
6/8Pocoandante
6thVariation 128-143 Coda 144-163
43
LyricstoFolkSongEarlyOneMorning
Earlyonemorning,justasthesunwasrising,Iheardamaidsinginthevalleybelow;“Oh,don’tdeceiveme!Oh,neverleaveme!Howcouldyouuseapoormaidenso?”Oh!Gayisthegarland,andfresharetheroses,I’veculledfromthegardentobindonthybrown;Oh,don’tdeceiveme!Oh,donotleaveme!Howcouldyouuseapoormaidenso?RememberthevowsthatyoumadetoyourMary,Rememberthebow’rwhereyouvow’dtobetru;Oh,don’tdeceiveme!Oh,donotleaveme!Howcouldyouuseapoormaidenso?Thussungthepoormaiden,hersorrowsbewailing,Thussungthepoormaidinthevalleybelow;“Oh,don’tdeceiveme!Oh,donotleaveme!Howcouldyouuseapoormaidenso?”30
MovementOverview EarlyOneMorningis,liketheotherthreemovementsinthiswork,another
themeandvariation.Themovementbeginsin2/4timewithanallegrettotempo.
ThekeyisB-flatMajor.Thetwelve-measureintroductioncontainsabriefcadenza-
likeflutesolo(Ex.22).Thisistheonlyinstanceintheentireworkwhereonlyone
playerperformsatatimeforanextendedtime.Themainthemeisthenstatedin
thefirstfluteatmeasurethirteen.Thethemehasaneight-measureantecedent
followedbyaneight-measureconsequence.Atmeasuretwenty-onethe
consequencebeginsintheflutefortwomeasuresandisthenpassedtothefirst
horn.Thefinalfourmeasuresareperformedbythefirstoboeplayer,andtheentire
consequenceisrepeated(Ex.23).30WilliamChappell,PopularMusicoftheOldenTime(NewYork:DoverPublicationsInc.,1965),736.
44
Ex.22—Jacob,OldWineinNewBottles,4thMovement,Introduction,mm.1-12
Ex.23—Jacob,OldWineinNewBottles,4thMovement,MainTheme,mm.13-28
Thefirstvariation,whichbeginsinmeasurethirty,containstwo-measure
fragmentsoftheconsequenceplayedinimitation.Thesecondvariationbeginsin
measurefifty-twowithacompletestatementoftheentiremaintheme.The
variationismainlyintheaccompaniment.Thepatternofonevoiceplayingthe
antecedentfollowedbypassingtheconsequencetodifferentvoicesisevenupheld
inthisvariation.Theritardandoattheendofthisvariationsetsuponeofthemore
45
difficultpassagestoconductintheentirework.Theconductorwouldbewell-
advisedtosubdividemeasuresixty-sevenandgiveaquickprepintothenewallegro
tempoatmeasuresixty-eight.Thismarksthebeginningofthethirdvariation.Not
onlyisthetempofaster,butthemainthemeisindiminution,againperformedinthe
flutes.Afterastatementofthefullthemetheconsequenceisfragmentedintoone-
measurestatementsandpassedaroundtheensemble(Ex.24).
Ex.24—Jacob,OldWineinNewBottles,4thMovement,3rdVariation,mm.68-79
Thefourthvariationbeginsatmeasureeighty-eightandcontinuestheideaof
diminution.Thefluteandclarinetperformsthediminutionasthemelodymovesto
d-minorandisplayedthesametimethemainmelodyintheoriginalrhythmagainst
therestoftheensembleinunison.Amenomossoattheendofthevariationsetsup
aPocoandantesettingin6/8timeandmovesthekeytoDMajor.
46
Thesixthvariationatmeasureone-hundredtwenty-oneretainsthe6/8time
butismarked“AllaMarcia,vivace.”ThekeymovestoB-flatMajor(Ex.25).Asifto
emphasizethemarch-likenaturethefirsttrumpetplaysthemelodywiththeoboes
andfirstbassoonwiththehornsandsecondtrumpetplayingadrum-likefigureon
anopenfifth.Theantecedentisrepeatedwithrhythmicvariationinthefluteat
measureone-hundredtwenty-eight.Theconsequenceatmeasureone-hundred
thirty-threegoesthroughsomechromaticshiftsbeforereaffirmingB-flatMajorat
one-hundredfifty-two.ThereisasuddenshiftintempoandrhythmasJacobmarks
measureone-hundredfifty-threeas“lento”andmovesto2/4timeforfour
measures.Thisbriefrespiteisinterruptedwithafinal“presto”in6/8torecapture
thelivelyjiginthefinalsevenmeasures.
Ex.25—Jacob,OldWineinNewBottles,4thMovement,6thVariation,mm.121-128
47
ConductingSuggestions Thefourthmovementpresentsmoretechnicalchallengesthaneitherofthe
otherthree.Thisisduetoseveraltempoandtimesignaturechangesthroughout.
FromtheendofmeasuresixthroughmeasuretwelveIsuggestthattheconductor
notconductatall,butratherallowtheflutesoloisttoplaythepassageasifplayinga
cadenza.Itwouldbewisetosuggesttotheplayertokeepsomewhattruetothe
tempointroducedinthefirstfivemeasures.
Theritardandoinmeasuresixty-sixfollowedbyanallegrovivacetempo
markinginmeasuresixty-eightneedscarefulconsideration.Isuggestthatthe
conductorslowthetwopatterninmeasuresixty-six,thensubdividewhile
continuingtoslowinmeasuresixty-seven.Thefluteplayershouldholdoutthefinal
G5whiletheconductorgivesaquickprepinthenewtempo.
Asidefromthesetwoareastheothertransitionsshouldbefairlysimpleto
execute.Aswiththeothermovementsitwillalsobeimportanttoestablisha
characterforeachvariation.Thisfourthmovementperhapsshowsthemost
contrastbetweenvariations.Itisuptotheconductortodecideuponwhatthese
characterchangeswilllooklikeandcommunicatethatwiththemusicians.
48
ChapterThree—ARequieminOurTime
BiographicalOutline—EinojuhaniRautavaara
EarlyLife
EinojuhaniRautavaaraisaFinnishcomposer,bornOct.9,1928,inHelsinki.
TheSecondWorldWarwasadifficulttimeforRautavaaraashelosthisfatherin
1939,andwasorphanedattheageofsixteenwhenhismotherpassedin1944.31He
studiedmusicologyattheUniversityofHelsinki,graduatingin1952.Hethenwent
ontostudycompositionattheSibeliusAcademy,graduatingin1957.JeanSibelius
himselfrecommendedRautavaaratobeawardedtheKoussevitzkyFoundation
Scholarshipin1955.ThisallowedhimtostudyinNewYorkandTanglewoodwith
notablecomposersAaronCopland,VincentPersichetti,andRogerSessions.After
hisstudieshewasappointedprofessorofcompositionattheSibeliusAcademy
whereheservedfrom1966until1991.32
ProfessionalYears
Rautavaara’scompositionshavewonnumerousprizes.ARequieminOur
Timewonfirstprizeinthe1954ThorJohnsonBrassCompetitionandiscredited
withbeingthepiecethatlaunchedhiscareer.33Rautavaaraunderwentseveralstyle
changesthroughouthiscareer.Inhisearlycareerhissoundhasbeencomparedto
31TimHowell,AfterSibelius,StudiesinFinnishMusic(Burlington,VT:Ashgate,2006),115.32MikkoHeinio,“Rautavaara,Einojuhani,”GroveMusicOnline.OxfordMusicOnline,OxfordUniversityPress,accessedOctober14,2015,http://www.oxfordmusiconline.com/subscriber/article/grove/music/22955.33Howell,AfterSibelius,115.
49
thatofStravinskyandProkoviev.34ItwasARequieminOurTime,writtenina
neoclassicalstyle,thatestablishedhimasaseriouscomposer.Otherworksfromthis
periodincludehispianosuitePelimannit(1952)andIkonit(1955)forpiano.His
worksfororchestra,Praevariata(1957)andArabescata(1963),displayuseof
serialism.Inthelate1950sandearly1960shismusicwascomparedtoSchoenberg
andBerg.HisThirdSymphony(1961)andoperaKaivos(1960)fromhis‘New
Romantic’periodhavebeencomparedtoBruckner.35
ARequieminOurTime
HistoryoftheComposition
ARequieminOurTimeiswrittenforathirteen-partbrasschoirand
percussion.Thededicationonthecoverreads“tothememoryofmymother.”36It
callsforfourtrumpets,fourhornsinF,threetrombones,abaritone,atuba,timpani,
andapercussionistplayingsnaredrum,bell,glockenspiel,cymbals,andxylophone.
TheworkisinfourmovementslooselybasedontheformatoftheCatholicmass:
Hymnus,Credoetdubito,Diesirae,andLacrymosa.
Withintheliturgicalrequiemmassformatthereisnoinclusionofthehymnus
orcredo.TheDiesirae(DayofWrath)andLacrimosa(Ah!Whatweeping)areboth
includedinthetraditionalrequiemmassandarelocatedinthemiddleofthe
service.ThesetwosectionstypicallybeginandendtheDiesiraesectionofthefull
34BoWallner,“ScandinavianMusicAftertheSecondWorldWar,”TheMusicalQuarterly,Vol.51,no.1(Jan.,1965):130.35Ibid.,130-132.36EinoRautavaara,ARequieminOurTime(NorthEaston,MA:RobertKingMusic,1958),1.
50
requiemmass.Rautavaaraslightlychangesthetitleofcredotocredoetdubito,
whichtranslatedmeans“Ibelieveanddoubt.”
Instrumentation
FourTrumpetsFourHornsinFThreeTrombonesOneBaritoneOneTuba
OneTimpani—DoublesonSuspendedCymbalOnePercussion—PerformsonSnareDrum,Bell(SingleChimeNoteonE4),Cymbals,
Xylophone
51
FirstMovement—Hymnus
Flowchart
ARequiemInOurTime—FirstMovement—Hymnus—ABCA’FormSection Measures Key Time CharacteristicsA 1-15 A-Flat
9thand7thChords2/4,Eightnote
=132Measures2,9in3/4
FestivamenteStatementin
Trumpets/Trombone1,restated
Horn/Baritone,TubaDetachedstyle.
Bridge 15 Trumpet/BaritoneB 16-36 C/G9 Most2/4,Measures,
individualmeasuresin5/8,3/8,3/4
HornsandTrumpetscallandrespond.Continuethedetachedstyle.
Bridge 37-39 2/4,5/8,2/4 Pocoallargando.Atempoonbeat4of
measure38.C 40-61
RehearsalCF#9Chords
2/4throughout.
ATempoHornchoir,
euphoniumrunningsixteenthnotes,
Repeatsmainideaintrumpetchoirwithtrombonesquarter
notechords.Amorelegato,connectedfeel.
Bridge 62-63 Allargando A’ 64-90 A-Flat9and7
chordsATempo.¾,then2/4throughout.
Individualmeasuresin3/8.Lasttwoin
¾
Fragmentedinterjectionsandextensionsofmain
themes.
MovementOverview
Tempoforthefirstmovementismarked“Festivamente”withtheeighth-note
equaling132beatsperminute.Itisinfoursectionswithshortbridgesbetween
them.Eachpartitionisdividedintotwosub-sections.Eachsecondsub-sectionisa
restatementofthefirst,whichisvariedmainlythroughorchestration.Thematically
52
thefirstthreesectionsdifferfromeachother.Thethematicmaterialinthefourth
sectionisbasedonthethemefromthefirstsection.Thesecondsub-sectionofthe
fourthsectionextendsthethematicmaterialfromthefirsthalf.
Thefirstsectionrunsfrommeasureonethroughfourteen.Thetime
signatureis2/4,yetthesecondmeasureofeachsectionisin3/4.Thefirstsub-
sectionismeasuresonethroughseven.Thetrumpetsandsolotromboneappearto
haveequallyimportantstatements(Ex.26).Thesearerestatedinmeasureseight
throughfourteenwiththeresolutionofthefirststatementonthedownbeatofthe
secondstatement.Thethemefirststatedinthetrumpetsisnowrestatedinthe
hornswhilethetrombonethemeisrestatedinthebaritoneandtuba.Ashortone-
measurebridgeatfifteentakesusintothesecondsection.
RautavaarausesMajorseventhandninthchordsrightawayinmeasureone
withA-flatMajorseventh,E-flatMajorseventh,B-flatMajorninth,andc-minor
Majorninth.Inmeasuretwoheuseschordsthatcouldbeinterpretedasbothmajor
andminorspelledG,B-flat,B-natural,D.Thecomposerappearstoreversetheorder
ofchordswithaB-flatMajorninth,E-flatMajorseventh,leadingintoarestatement
oftheA-flatMajorseventhonthedownbeatofmeasurethree.
Thesecondsectionrunsfrommeasuresixteenthroughthirty-six.Thetime
signatureisprimarilyin2/4withindividualmeasuresin5/8.Eachsub-section
endswithameasurein3/4.Theeighthnotestaysconstantthroughoutthesetime
signaturechanges.Thefirstsub-sectionisaconversationbetweenthehornand
trumpetsectionswithminimalsupportfromthetrombones,baritone,andtuba(Ex.
27).One-andthree-measurestatementsarepassedbackandforth.Thesecond
53
sub-sectioninmeasurestwenty-eightthroughthirty-sixhasthesameconversation
betweenthehornsandtrumpets,butisplayedaperfectfourthlower.Thebaritones
accompanytheconversationinsteadofthetrombones.Thereisashortbridgein
measuresthirty-seventhroughthirty-nine.
Ex.26—Rautavaara,ARequieminOurTime,1stMovement,mm.1-4
Thethirdsectionrunsfrommeasuresfortythroughmeasuresixty-one.A
shortbridgeinsixty-twoandsixty-threecouldbeinterpretedasanextensionofthis
section.Thefirstsub-sectionismeasuresfortythroughfifty-one.Themaintheme
isperformedbyhornsoneandthreewithhornstwoandfourpassingarunning
sixteenthnoteaccompanimentbetweenthem(Ex.28).Thefirstbaritoneparallels
thisaccompanimentsoundingamajorsixthlower.Aglockenspielalternatesf-sharp
andc-sharphalfnotes.Whenthethemeisrestatedatthesamesoundingpitchin
measuresfifty-twothroughsixty-oneitisinthetrumpetonepartwiththeother
54
threetrumpetpartsplayingtherunningsixteenthnotefigures.Trombonesplaya
newaccompanimentfigurethatoutlinesquarter-notechordchangesA,C,D,C,
whichrepeats.
Ex.27—Rautavaara,ARequieminOurTime,1stMovement,mm.16-20
Ex.28—Rautavaara,ARequieminOurTime,1stMovement,mm.40-46
Thefourthsectioninmeasuressixty-fourtotheendbeginswitha
restatementofthethemefromthefirstsectionwithafewalterations.Thefirst
measureisin3/4followedby2/4,althoughtherhythmstaysthesameacrossthe
firsttwomeasures.Thefirsttromboneplaysaparallelofthefirsttrumpetmelody
whiletheothertwotrombonesplaytheoriginalaccompanyingfigureinoctaves.
Someofthethematicmaterialisfragmentedandpassedbetweenthe
55
horns/baritonesandtrumpets/trombones.Thesecondsub-sectionbeginsin
measureseventy-threewiththefirsttromboneplayingamelodyfirstintroducedin
measurefour,yetamajorsixthlower.Insteadoftrumpetsaccompaniment,the
hornsaccompanythistime.Fragmentsarepassedbetweenthetrombonesto
trumpets/upperhorns,thentrumpets/trombonesagainsthorns.Thelasttwo
measuresaugmentthematicmaterialandcadence.
ConductingSuggestions
Theeighthnotemustremainsteadythroughoutthismovement,especially
whenmovingfromsimpletocompoundmeters.Themusicianshaveamucheasier
timeexpressingthe“festivamente”feelingasmarkedatthebeginningifthetempo
nevergoesbeloweighthnoteequals132.Thereisamarkingofeighth-notecirca
132,butIfeelitimportanttostayatorabovethistempotokeepamoreseparated
attack.
Inthefirstmeasuretheconductormusttakecaretobalancefourtrumpets
againstasingletromboneplayerwhoisplayingacomplimentarypart.Inmeasure
fourthetrumpetsandtrombonearepassingoffsixteenthnotefiguresineach
other’ssilencesorheldnotes.Whenthehornsenterinmeasureeightthebalanceis
betweenfourhornsandthebaritone/tuba/timpanitrioismucheasier.The
conductorshouldtakecaretoencouragetheplayerswithdissonances,i.e.,thefirst
andsecondhornplayersinmeasureeight,tobringthosedissonancesout.Itismy
beliefthatthisentireworkshowsadisharmonybetweenthecomposer’sviewof
whatthechurchthinksitrepresentsandwhathefeelsitactuallyrepresents.These
dissonancesmayshowthisdichotomyinthefirstmovement.
56
Whenconductingthe5/8measuretwentyitisbestfortheconductortogive
atwopatternwithaneighthnotegroupingof3+2.Tryingtoconductallfivebeats
atthistempomaymakethemusicheavyandcauseittoslowdowninthebestcase,
andwillconfuseandlosemusiciansintheworstcase.The5/8measuretwenty-
threeshouldbeconductedintwowitha2+3grouping.The3/8measuretwenty-six
shouldbeinone.
Theonlytechnicallydifficultmomentofconductingoccursinmeasurethirty-
sevenandthirty-eight.Thescoreismarkedwitha2/4,5/8,2/4timesignature.A
tempomarkingofpocoallargandoisgivenwithanATempoonbeatfourofthe5/8
measure.Theconductorwouldbestbeservedbyslowingdownandconductingthe
eighthnotesinbeattwoofmeasurethirty-sevenandconductingthefirstthree
beatsofmeasurethirty-eightwhilecontinuingtheallargando.AquickprepintheA
Tempocanthenbegiven,andbeatsfourandfiveareconductedasonequarternote.
Theconductorneedstomakesureeyecontactisgiventothebaritoneplayeras
he/shenotonlyneedsanentranceontheATempo,buttheplayerenterswitha
movingsixteenth-notefigure.
Sofarthefeelingisfestiveandthearticulationshouldbemoreseparated.
However,atmeasurefortytheconductormaywanttoshowamoreconnected
patterntoencourageamoreconnectedstyleofplaying,especiallyinthehorns.
Balancebetweenthewindsandtheglockenspiel,andlaterthebell,willbe
important.Thewindplayerswillneedtoplayatasofterdynamiclevel.Thissection
hasthesoftestdynamicsofthemovement.Atmeasurefortythebellplayermay
wanttousealexanmallet.Atmeasurefifty-two,thebell(notglockenspiel)effect
57
canbestbeachievedbyperformingonasinglechimenoteofE4.Atrehearsal
markingD,takecaretobalancethetrumpetonesolowiththerestofthebrass.
Anotherallargandooccursatmeasuressixty-twoandsixty-three,howeverasthe
timesignatureremainsthesamethisiseasilyachieved.
SecondMovement—Credo,etdubito
Flowchart
ARequiemInOurTime—SecondMovement—Credoetdubito—ABA’B’A”B”A’”FormSection Measures Key Time CharacteristicsA 1-6 gminor Common
TimeVivace
Quarternote=120
Seccoeritmico(Dryandrhythmic)
MutedTrumpet/XylophonerepeatedbyMutedHorn
B 7-8 AMajor Grave,Quarternote
=54
Slow-movinghalfnotes/quarternotes.Connected.Softtoloud
backtosoft.A’ 11-16 gminor Vivace,
Quarternote=120
Seccoeritmico,MutedTrumpet/Xylophonerepeatedby
MutedHornB’ 17-19 AMajor Grave,
Quarternote=54
Slow-movinghalfnotes/quarternotes.Connected.Softtoloud
backtosoft.A’’ 20-24 AMajor Vivace,
Quarternote=120
Solomutedtrumpetabovehorns/trombone/timpani
sustainedchord.B’’ 25-26 AMajor Pesante,
Quarternote=44
Slow-movinghalfnotes/quarternotes.Connected.Softtoloud
backtosoft.A’’’ 27-28 G-AMajor Vivace,
Quarternote=120
Trumpet/Xylophoneplayfragmentofbeginningstatement.FinalchordsuggestsshortenedB
section.
MovementOverview
ThesecondmovementCredoetDubito(Ibelieveanddoubt)hasthefewest
numberofmeasuresoffourmovements.(However,intermsoftime,thefirst
58
movementistheshortest.)Therearetwomainideastothismovement,whichare
extremelydifferentincharacter.Theideasareoppositesintempo,rhythm,
tessitura,anddynamics.
Thefirstideaisaquicksixteenth-notefigureemphasizingarepeating
concertGpitchthatisdoubledinthemutedfirsttrumpetandxylophone,then
repeatedinamutedfirsthorn(Ex.29).Thetempoforthisisvivacewith
performancemarkingsseccoeritmico(dryandrhythmic).Dynamicsarepiano
throughout.
ThesecondsectionatmeasuresevenismarkedGrave,quarternoteequals
54beatsperminute.Thisislessthanhalfthetempoofthefirstsectionmarkedat
quarternoteequals120beatsperminute.Therhythmisprimarilyhalfnotesinthe
accompanimentwithtrombonesplayingaslowmelody.Eventhoughthereareonly
fourmeasuresinthisidea,ittakesnearlytwiceaslongtimetoperformasthefirst.
Thissectionisperformedbyonlythehorns,senzasordino,trombones,and
euphonium(Ex.30).
Ex.29—Rautavaara,ARequieminOurTime,2ndMovement,mm.1-3
59
Ex.30—Rautavaara,ARequieminOurTime,2ndMovement,mm.7-10
Thefirstideaisrestatedagainwithsimilarvoicing,yetthetrumpetandhorn
areplacedanoctavehigher.Loudinterjectionsfromthetrumpets,hornsand
percussiontransitionintothenextsection.Inmeasuresseventeenthrough
nineteenweseearestatementofthesecondideanotefornote.Measurestwenty
throughtwenty-fourarebasedonmaterialfromthefirstidea.Themelodyismainly
basedoneighth-notefigures,hasmoreornamentation,anddeemphasizesanyone
particularpitch.Horns,trombonesandtimpanisustainanA-Major/Major-seventh
chordunderneathwithnodoublingofthemelodyinxylophone.Hornsdonotecho
thesolotrumpet.AnevenslowerPesante(quarternoteequalsforty-fourbeatsper
minute)occursinmeasurestwenty-fiveandtwenty-sixwithallbrassplayingexcept
trumpetone.Ashortrestatementofthefirstideaendsthemovementwithwide
dynamicchangesuptofortissimodowntopianissimo.ThefinalchordisanA-
Major/Major-seventhchord.
60
ConductingSuggestions
Duetotheextremecontrastingnatureofthetwomainideas,theconductoris
givenagreatopportunitytoshowthesetwodifferingstylesandtemposthrough
movement.Ashort,staccatopatternwithasmallpatternsizeistobegivenatthe
beginning.Theconductorshouldtakecarenottogoover120beatsperminuteas
thatcouldcausetechnicaldifficultywiththehornplayer’sabilitytoarticulate
cleanlywhilemutedandinalowregisterofthehorn.TheGravesectionsgivethe
conductortheopportunitytocontrastthispatternbyshowingamoresmoothly
connectedpatternwhileabletogrowthepatternsizethroughthecrescendo.Atthe
endofeachGravesection,theconductorneedstoshowacontinuousdecrescendo
withtherighthandwhileshowingaslightcrescendofollowedbydecrescendointhe
leftforthetimpaniplayer.AttheendofthesecondGravesection,immediatelyafter
thecrescendoisgiventothetimpanitheconductorneedstomovetothenewVivace
tempowhileshowingthedecrescendo.Thisisdifferentfromtheendofthefirst
Gravesectioninthatareleaseisgiventotheensembleandthenewtempobegins
afterarest.Besuretomakeeyecontactwiththefirsttrumpetplayeroncethe
Vivacetempoissetinmeasuretwentyastheplayerhasamovinglinemidway
throughthemeasure.
61
ThirdMovement—Diesirae
Flowchart
ARequieminOurTime—ThirdMovement—DiesIrae—ABCA’B’FormSection Measures Key Time CharacteristicsA 1-15 F/B-
Natural12/8
Allegro,Dotted-Quarter=132
Trumpetdescendingostinatos.
MelodyinParallelTritonesinHornsandBaritone.
B 16-37RehearsalI
Disjunct.Spacepunctuatedbyaccentedeighth-note
chords.C
Bridge
38-60
61-63
C/G-Flat Mutedtrumpetdescendingostinato.
MelodyinParallelTritonesinstoppedhornsand
trombones.A’ 64-76
RehearsalLF/B-NaturalC#/G#
Staccatorepeatedeighth-noteostinatointrumpets.Twosetsofparalleltritones
inmelody.B’ 77-92
RehearsalM Disjunct.Spacepunctuated
byaccentedeighth-notechords.
Hornoctaveglissandos.
MovementOverview
TheoverallformofthethirdmovementDiesIraeisABCAB.Justasinthe
firstmovement,theAsectionismadeupofastatementofanideafollowedbya
restatementofthesameidea.InbothstatementsoftheBsection,thethemeis
statedandisfollowedbyanequallength‘codetta’.Tempostaysconstant
throughoutthemovementatdottedquarterequals132beatsperminute.Thetime
signaturestaysconsistentformostofthemovement.Itismostlyin12/8withafew
individual9/8and6/8measuresintheCsection.
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TheAsectionhasatwo-measureintroductionwithfirstandsecondtrumpets
passingaquickeighth-notestepwisedescendingfigure.Thirdandfourthtrumpet
passoffdescendingdotted-quarter-notefigures.Thetrumpetsseemtoemphasizea
c-sharp-minortonalityplayingc-sharpande-natural,whicharethethirdandfifthof
thefinalchordinthesecondmovement.Themelodyisplayedindotted-half-note
rhythmsinthehornsandbaritoneinhomophonictritones(Ex.31).TheAsection
lastsfifteenmeasures.
Ex.31—Rautavaara,ARequieminOurTime,3rdMovement,mm.1-3
Inmeasuresixteenthetexturechangesabruptlyassnaredrumemphasizes
shortaccentedsingleeighthnoteinallbrassvoices.Trombonethree,tuba,and
timpaniplayoppositerhythmsastrumpetandtheuppertwotrombonevoices.
Againthemoodchangesabruptlyinthecodettaasfirstandsecondtrumpetstrade
offwiththirdandfourthtrumpetswithsustainedtritonesalternatingbetweentwo
pitchesawholestepaway:G-flat/F-flatandC/B-flat(Ex.32).
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TheCsectionbeginswithatwomeasureintroductionmuchlikethe
beginning,yetemphasizingaG-sharpdiminishedtriad.Thehornsandtrombones
playinparalleltritones(CandG-flat)withhornsplayingstopped.Abrief
aggressivelyrhythmicbridgeatmeasureforty-fiveleadstothesecondhalfoftheC
section(Ex.33).Thisisperhapsthemostaggressivewiththeentireensemble
playing.TrombonesplayglissandosbetweenB-flatandG.Trumpetsoneandtwo
playthemelody.Thissectionseestheonlytimesignaturechangesinthemovement
asitalternatesbetween9/8,6/8,and12/8.
Ex.32—Rautavaara,ARequieminOurTime,3rdMovement,mm.16-18
TheA’sectionbeginsinmeasuresixty-four.ThemelodyfromthefirstA
sectionreappearsagaininthehorns,trombonesandbaritones.Theaccompanying
rhythmicfigureinthetrumpetsismorestaticasinsteadofdescendingstepwise
motion,theyrepeatthepitchesE-flatandA,anothertritone.Thetrumpetfigure
moreresemblestheendingoftheCsection.
TheB’sectionbeginsinmeasureseventy-seven.Whilethetrumpet,
trombone,baritone,tuba,andpercussionpartsarerestatements,thehornshave
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violentoctaveglissandosaroundanE-flat(Ex.34).Thesectionisrhythmically
disjunct,astarkcontrasttotheperpetualmotionoftheeighthnotesintheprevious
sections.Ashortcodettaatmeasureeighty-eightisarestatementofmaterial
presentedinthefirstBsection,secondhalf.Thelastchordendswithahorn
glissandotoE-flat.
Ex.33—Rautavaara,ARequieminOurTime,3rdMovement,mm.47-50
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Ex.34—Rautavaara,ARequieminOurTime,3rdMovement,mm.84-87
ConductingSuggestions
Theconductorwouldbewisetomakesurethefirst/secondtrumpetand
third/fourthtrumpetpairsarebothmatchingstyleandweightoneachfigure.
Whileweightneedstobeplacedonthefirstnoteofeachfigure,theplayersneedto
takecarethesecondhalfofthefigureisheardandconnectstotheentranceofthe
otherplayerinthepair.Thisistobekeptupthroughouttheostinato.Atmeasure
thirtythisideashouldbenotedasthefirstandsecondtrumpetsendtheiridea—
theyshouldholdouttheirtoneuntilthethirdandfourthtrumpetsenteronbeat
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two.Equalbalanceshouldbegiventoallvoicesinthetritonemelodyinthehorns
andbaritone.
Atmeasurefortytheconductorshouldpaycloseattentiontobalance.Itis
difficultforthestoppedhornstoplayoverunmutedtrombonesandafullsectionof
trumpets.Yettheconductormustpointoutthestoppedvoicesmustbeheardover
alltoachieveagoodbalancebetweenbothvoicesinthetritonemelody.
IneachoftheBsectionsitmaybeusefultotheconductortowritedownthe
compositerhythmperformedbytheensembleacrossthetopofthescore.The
conductorshouldbesuretohavethemusiciansplayeachoftheaccentedeighth
noteswithagoodfronttothenoteaswellasfulltonetohearthedissonanttonality.
FourthMovement—Lacrymosa
Flowchart
ARequieminOurTime—FourthMovement—Lacrymosa—ABA’B’FormSection Measures Key Time CharacteristicsA 1-15 Unstable CommonTime
LarghettoQuarterNote=76
Trumpetandhornchordsandostinatos.Tranquillo.
SoloBaritoneafterfour-measureintroduction.
B 16-25RehearsalN
Unisonmelodyinhorn1,3.Timpani,trombone,tubalend
harmonicsupport.A’ 26-34
RehearsalO Similartexturetobeginning.
Firstandsecondtrumpetsswitchroles.Solobaritoneafterfour-measureintroduction.
B’ 35-40 Melodyinoctavesintrombone1,3.TrumpetsandhornscontinueAsectionostinato.
Coda 41-44 Continuationofhornandtrumpetostinato.Endsppp.
67
MovementOverview
ThefourthmovementLacrymosaismarkedLargettoTranquillo,quarternote
equals76beatsperminute.Thecharacterofthismovementismarkedlydifferent
thanthepreviousone.TheformisABA’B’Coda,andcommontimeisthesignature.
Percussionisabsentfortheentiremovementexceptforasupportingtimpaniroll
onaG-sharpinmeasuressixteenthroughtwenty.TheAsectionisinmeasuresfour
throughfifteen.Mutedhornsandtrumpetscreateatritoneandostinato
introductionforthefirstthreemeasures.Thedynamicmarkingispianissimo.A
baritonesolobeginsatmeasurefourandcarriesthroughtomeasurefifteen(Ex.
34).
Ex.35—Rautavaara,ARequieminOurTime,4thMovement,mm.1-6
TheBsectionatmeasuresixteencontinuestheideaofaslowmoving
ostinato,yetitmovestothetrombonesandtubaswithsupportingtimpani.Thefirst
68
andthirdhornsplayanewslow-movingmelody,whichisrestatedinthefirst
trumpetinmeasuretwenty-one.
TheA’sectionbeginsinmeasuretwenty-six.Theoriginalostinatoissetup
againforthreemeasuresandthebaritoneagainplaysthesoloinmeasuretwenty-
nine.TheonlyrealdifferencebetweenthisandtheAsectionisthereversalofroles
intheostinatobetweenfirstandsecondtrumpet.
TheB’sectionbeginsatmeasurethirty-five.Theostinatocontinuesfromthe
previoussectionandthemelodyispresentedinfirsttromboneandbaritone.A
shortfour-measurecodacontinuestheostinato.Theloudestmarkeddynamicinthe
movementismezzoforte,withthemajorityofthemovementmarkedpianoor
pianissimo.
ConductingSuggestions
Forthesakeofthebaritonesoloistitisimportanttonotgoanyslowerthan
quarter-note=76beatsperminute.Thisallowsthesoloisttoplaywithafullsound
throughoutthephrases.Themusicwouldbestbeservedbyhavingtheconductor
paymoreattentiontothephrasingandshapeoftheaccompanimentratherthanthe
melodicmaterial.Thisallowstheconductortocheckforproperbalanceamongthe
accompanimentvoicesandallowsthesoloisttoperformwithoutanymusical
constraints.Themostvoicesonthemelodyatanytimeistwo.
ItisworthnotingthateachphraseintheAsectionostinatosisthree
measureslong.Isuggestthethirdandfourthtrumpetscrescendothroughthefirst
twoanddecrescendothroughthethird.TheywilldothisfivetimesinthefirstA
sectionandthreetimesintheA’section.IntheBsectionhavethetrombonesand
69
tubaplayinfive-measurephrases.Theyshouldcrescendoforthreemeasuresand
decrescendofortwo.TheywilldothistwiceinthefirstBsectionandonceintheB’
section.Thecodashouldhaveaslightcrescendofortwomeasuresandadying
awayforthelasttwo.
Conclusion
Athoroughknowledgeofthescoreswellinadvanceofthefirstrehearsalis
stronglyadvisedtofacilitaterehearsals.Eachpieceisdifferentinstyleand
enjoyablenotonlyfortheaudiencemembersbutforthemusicianstoperformas
theyaretechnicallyandemotionallychallengingtotheindividualmusicians.As
longaspartsaredistributedwellinadvance,musicianshavepracticedandlearned
theirparts,andproperscorestudyisdonebytheconductor,themusicianscan
enjoyaminimumnumberofrehearsalstoprepareforperformance.
70
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