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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


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



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.


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.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.


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


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


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


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


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


Thecodaismarkedvivaceandgoesbackinto2/4.Theentireensemble

beginsbyfragmentingthefirsttwomeasuresofthemainthemeandsequenceitfor

fourmeasures,thenpassitaroundtheensembleindifferenttonalcenters.In

measureninety-threethemainthemeisrestatedinitsentiretyintheoriginalkeyin

thefluteandclarinet.Thelasttwomeasuresgiveafinalcadenceindminor.Ad

minorchordisplayedonthedownbeatofmeasureone-hundredtwofollowedbyall

instrumentsplayingaunisond.


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.


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.


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


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.



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.


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


backtosoft.A’’ 20-24 AMajor Vivace,

Quarternote=120

Solomutedtrumpetabovehorns/trombone/timpani

sustainedchord.B’’ 25-26 AMajor Pesante,

Quarternote=44


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


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.

62

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).

63

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.


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.


65



Theconductorwouldbewisetomakesurethefirst/secondtrumpetand

third/fourthtrumpetpairsarebothmatchingstyleandweightoneachfigure.

Whileweightneedstobeplacedonthefirstnoteofeachfigure,theplayersneedto

takecarethesecondhalfofthefigureisheardandconnectstotheentranceofthe

otherplayerinthepair.Thisistobekeptupthroughouttheostinato.Atmeasure

thirtythisideashouldbenotedasthefirstandsecondtrumpetsendtheiridea—

theyshouldholdouttheirtoneuntilthethirdandfourthtrumpetsenteronbeat

66

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.


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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