ADESCRIPTIVEOVERVIEWOFANDCONDUCTOR’SGUIDETOWOLFGANG
AMADEUSMOZART’SSERENADEINCMINORK.388;GORDONJACOB’SOLDWINE
INNEWBOTTLES;ANDEINOJUHANIRAUTAVAARA’SAREQUIEMINOURTIME
ACREATIVEPROJECT
SUBMITTEDTOTHEGRADUATESCHOOL
INPARTIALFULFILLMENTOFTHEREQUIREMENTS
FORTHEDEGREE
MASTEROFMUSIC
BY
JASONGARDNER
DR.THOMASCANEVA—ADVISOR
BALLSTATEUNIVERSITY
MUNCIE,INDIANA
MAY2016
TableofContents
ListofExamples—p.iv
ListofAnalyticalCharts—p.v
IntroductionandPurpose—p.1
ChapterOne—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
ConductingSuggestions
ChapterTwo—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
ii
LyricstoFolkSongTheThreeRavens
MovementOverview
ConductingSuggestions
ThirdMovement—Begone,DullCare—p.39
Flowchart
LyricstoFolkSongBegone,DullCare
MovementOverview
ConductingSuggestions
FourthMovement—EarlyOneMorning—p.42
Flowchart
LyricstoFolkSongEarlyOneMorning
MovementOverview
ConductingSuggestions
ChapterThree—ARequieminOurTime
BiographicalOutline—EinojuhaniRautavaara—p.48
EarlyLife
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
ConductingSuggestions
Bibliography—p.70
iii
ListofExamples
Ex.1—Mozart,Serenadeincminor,1stMovement,mm.1-5—p.6
Ex.2—Mozart,Serenadeincminor,1stMovement,mm.22-26—p.7
Ex.3—Mozart,Serenadeincminor,1stMovement,mm.48-53—p.8
Ex.4—Mozart,Serenadeincminor,1stMovement,mm.183-188—p.9
Ex.5—Mozart,Serenadeincminor,1stMovement,mm.66-69—p.9
Ex.6—Mozart,Serenadeincminor,1stMovement,mm.81-83—p.10
Ex.7—Mozart,Serenadeincminor,1stMovement,mm.171-176—p.12
Ex.8—Mozart,Serenadeincminor,2ndMovement,mm.180-182—p.12
Ex.9—Mozart,Serenadeincminor,2ndMovement,PrimaryTheme,mm.1-16—p.14
Ex.10—Mozart,Serenadeincminor,2ndMovement,SecondaryTheme,mm.24-39—
p.15
Ex.11—Mozart,Serenadeincminor,3rdMovement,aSection,mm.1-8—p.18
Ex.12—Mozart,Serenadeincminor,3rdMovement,mm.49-52—p.19
Ex.13—Mozart,Serenadeincminor,3rdMovement,mm.40-48—p.19
Ex.14—Mozart,Serenadeincminor,4thMovement,ATheme,mm.1-8—p.23
Ex.15—Mozart,Serenadeincminor,4thMovement,BTheme,mm.9-16—p.23
Ex.16—Jacob,OldWineinNewBottles,1stMovement,MainTheme,mm.4-8—p.31
Ex.17—Jacob,OldWineinNewBottles,1stMovement,mm.32-35—p.32
Ex.18—Jacob,OldWineinNewBottles,1stMovement,mm.40-43—p.33
Ex.19—Jacob,OldWineinNewBottles,1stMovement,mm.60-64—p.34
Ex.20—Jacob,OldWineinNewBottles,2ndMovement,MainTheme,mm.8-21—p.
37
Ex.21—Jacob,OldWineinNewBottles,3rdMovement,mm.20-36—p.41
Ex.22—Jacob,OldWineinNewBottles,4thMovement,Introduction,mm.1-12—p.
44
Ex.23—Jacob,OldWineinNewBottles,4thMovement,MainTheme,mm.13-28—p.
44
Ex.24—Jacob,OldWineinNewBottles,4thMovement,3rdVariation,mm.68-79—p.
45
Ex.25—Jacob,OldWineinNewBottles,4thMovement,6thVariation,mm.121-128—
p.46
Ex.26—Rautavaara,ARequieminOurTime,1stMovement,mm.1-4—p.53
Ex.27—Rautavaara,ARequieminOurTime,1stMovement,mm.16-20—p.54
Ex.28—Rautavaara,ARequieminOurTime,1stMovement,mm.40-46—p.54
Ex.29—Rautavaara,ARequieminOurTime,2ndMovement,mm.1-3—p.58
Ex.30—Rautavaara,ARequieminOurTime,2ndMovement,mm.7-10—p.59
Ex.31—Rautavaara,ARequieminOurTime,3rdMovement,mm.1-3—p.62
Ex.32—Rautavaara,ARequieminOurTime,3rdMovement,mm.16-18—p.63
Ex.33—Rautavaara,ARequieminOurTime,3rdMovement,mm.47-50—p.64
Ex.34—Rautavaara,ARequieminOurTime,3rdMovement,mm.84-87—p.65
Ex.35—Rautavaara,ARequieminOurTime,4thMovement,mm.1-6—p.67
iv
ListofFlowcharts
Serenadeincminor,K.388—FirstMovement—Allegro—SonataForm—p.5
Serenadeincminor,K.388—SecondMovement—Andante—SonatinaForm—p.13
Serenadeincminor,K.388—ThirdMovement—Menuettoincanone—Minuetand
TrioForm—p.17
Serenadeincminor,K.388—FourthMovement—Allegro—ThemeandVariations
Form—p.21
OldWineinNewBottles—1stMovement—TheWraggleTaggleGypsies—Themeand
Variations—p.29
OldWineinNewBottles—2ndMovement—TheThreeRavens—Themeand
Variations—p.35
OldWineinNewBottles—3rdMovement—Begone,DullCare—Themeand
Variations—p.39
OldWineinNewBottles—FourthMovement—EarlyOneMorning—Themeand
Variations—p.42
ARequiemInOurTime—FirstMovement—Hymnus—ABCA’Form—p.51
ARequiemInOurTime—SecondMovement—Credoetdubito—ABA’B’A”B”A’”
Form—p.57
ARequieminOurTime—ThirdMovement—DiesIrae—ABCA’B’Form—p.61
ARequieminOurTime—FourthMovement—Lacrymosa—ABA’B’Form—p.66
v
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.
1
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.
2
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.
3
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.
4
time.Theeffectofthisdecreeallowedformanycomposerstowriteforthis
ensembleasthenobilityalsoestablishedtheirownharmoniemusikensembles.12
WedoknowthatMozartwroteharmoniemusikarrangmentsofhisoperas.13
ScholarshaveahandfulofwindoctetsthatmostlikelyarefromthehandofMozart
aswell.14
Instrumentation
2Oboes
2Clarinets
2Bassoons
2HornsinF
FirstMovement—Allegro
Flowchart
Serenadeincminor,K.388—1stMovement,Allegro
MainSection
Sub-Section
Measures
Key
Exposition
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.
5
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
6
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
7
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.
8
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-minorinmeasureeightytwo(Ex.6).Theexpositionendsinmeasureninety-fourwithacadenceinE-Flat
9
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-hundredtwentytwo.Thisareaexploresmaterialfirstintroducedinmeasurestenthroughtwentyin
theprimarytheme.Atmeasureone-hundredfifteenweseeimitationbetweenthe
firstoboeandbassoonsection,possiblyshowingacross-relationshiptothethird
movement,whichisentirelyincanon.Thismaterialisborrowedfrommeasure
thirteen.Measuresone-hundredtwenty-twothroughmeasureone-hundred
twenty-nineseeaharmonicshiftbacktoc-minorwithab-diminished-sevenchord
followedbyapause,whichresolvesbackintoc-minorfortherecapitulation.The
10
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.Immediatelyafterthemedialcaesurainmeasureonehundredseventy,theoboeentranceisfragmentedandsequencedbymoving
upwardsbystep,andevenshowsimitationinthebassoonsinmeasureonehundredseventy-twoandinthesecondoboeinmeasuresone-hundredseventyfourthroughone-hundredseventy-six(Ex.7).Anotherexampleofthis
fragmentationandsequenceisshownintheoboemelodyinmeasuresone-hundred
eightythroughone-hundredeighty-two(Ex.8).Thekeycontinuesinc-minoruntil
11
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
12
theworktobeconducted.Whenaconductorispresent,heorsheshouldkeepthis
inmind-thatheorsheisaninthmemberoftheensemble.Atseveraltimesthereare
contrastsinstyle,especiallyfrommorerhythmictolyric.Thesegenerallyoccur
betweenthemes.
Anensemblemaywishtobringinaconductortounifystylisticideasandto
coachtheplayerstolistenandmovewitheachother.Whenrehearsingthe
ensemble,encouragethemusicianstolistentoeachother.Astronginternalpulseis
amustforaqualityperformance.
SecondMovement—Andante
Flowchart
Serenadeincminor,K.388—2ndMovement,Andante
MainSection
Sub-Section
Measures
Key
Exposition
PrimaryTheme
1-16
E-FlatMajor
TransitionalTheme
16-24
E-FlatMajoràB-FlatMajor
SecondaryTheme
24-39
B-FlatMajor
ClosingTheme
39-46
Development
47-69
B-FlatMajoràfminoràA-Flat
MajoràE-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.
13
Theprimarythemeoftheexpositionhastwophrasesofeightmeasureseach.
Thefirsthasthemelodyinthefirstclarinetwhilethebassoonsandsecondclarinet
accompany.Thesecondphraseseesthesamemelodywithdifferentendinginthe
firstoboewithfullensembleaccompaniment.TheprimarythemecadencesonanEflat-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.
14
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
15
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.
16
ThirdMovement—Menuettoincanone
Flowchart
Serenadeincminor,K.388—ThirdMovement—Menuettoincanone—MinuetandTrio
Form
Main
Sub-Section Measures
Key
Characteristics
Section
Menuet
A
1-16
c
Oboesinunisonleadthecanon.
a
with
minoràE- Clarinets,horns,andbassoons
repeat FlatMajor
imitateinharmony.
B
17-48
E-Flat
bismeasures17-28.Melodyin
ba’
with
Majoràc
clarinets.Athemereturnsin
repeat
minor
measure29.
Trio
C
49-62
c
Trioincanonealroverscio—
c
with
minoràG
Invertedmelody.Onlyoboes
repeat
Major
andbassoonsplayduringthe
trio.
D
63-80
G
BothCandDarefour-part
dc’
with
Majoràc canonswithoboetwoleading.
repeat
minor
Menuet
A
1-16
c
Oboesinunisonleadthecanon.
a
norepeat minoràE- Clarinets,horns,andbassoons
FlatMajor
imitateinharmony.
B
17-48
E-Flat
bismeasures17-28.Melodyin
ba’
norepeat Majoràc
clarinets.Athemereturnsin
minor
measure29.
MovementOverview
TheformofthethirdmovementfollowsatypicalmenuetandtrioofABA’
withtheAsectioncontainingsmallersegmentsofaba’andtheBsectionofcdc’
concludingwithareturntoAandaba’.Theinitialasectionhasaneight-measure
antecedent(Ex.11)withaneight-measureconsequence.Aninterestingaspectof
thismovementisthatallvoicesareincanonthroughout.Theoboessoundfirstwith
theothersixvoicesresponding.Thesefirstsixteenmeasuresarerepeated.
Measuresseventeenthroughtwenty-eightmarkthebsectionofB.Duringthese
measuresalessstrictcanonisfollowed.Thecanonmainlyoccursbetweenthetwo
17
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
18
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
19
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.
20
FourthMovement—Allegro
Flowchart
Serenadeincminor,K.388—FourthMovement—Allegro—ThemeandVariationsForm
Section
Measures
Key
Characteristics
A
1-8—Repeats
cminor
Allegro.Oboesandbassons
only.
B
9-16—Repeats
A1
17-24—Repeats
Rhythmicvariation.Double
dottedquartertotriplet
sixteenthnotes.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”offirst
beatinmelodythroughout.
A5
73-80—NoRepeat
Runningsixteenthnotesin
bassoon.Trillsinoboemelody.
B4
81-88—NoRepeat
B5
89-96—NoRepeat
CMajoràc
minor
C
97-112—Repeats E-FlatMajor
Calm.Horncall.Clarinettakes
over.
D/C1
113-120/121
136—Repeats
Transition
137-143
E-Flat
Horncall.
Majoràc
minor
A6
144-151—No
Melodypresentedintact.
Repeat
Differentbassoon
accompaniment.
A7
152-159
Melodyinsecondoboe.
Ascendingfirstoboe
accompaniment.Active
bassoonline.
B6
160-167
CMajoràc
minor
B7
168-175
CMajoràc
21
A8
176-191
minor
cminor
B8
Transition
A9
192-208
208-215
216-223
EndsonV7
CMajor
B9
Coda
224-237
237-252
Augmentedrhythm.Half-notes
andquarter-notes.Melodyin
clarinets.
Originalthemepresentedin
Majorkey.Syncopatedsecond
oboeandclarinets.Moving
eighthnotesinhornsand
bassoons.
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
22
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.
23
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.
24
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:ABackgroundandStudyofHisWorksfor
WindOctet”(DMADiss.,FloridaStateUniversity,2010),4.
17Ibid.,pp.6-7.
18EricWetherell,GordonJacob:ACentenaryBiography(London:ThamesPublishing,
1995),p.16.
25
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,”Journalof
theBritishAssociationofSymphonicBands&WindEnsembles,Vol.1,no.1(Spring
1982),accessedMarch7,2016,
http://www.timreynish.com/repertoire/composers/jacob.php.
26
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’sOld
WineinNewBottlesandMoreOldWineinNewBottles”(DMADiss.,Universityof
Iowa,2013),22-24.
25Ibid.,24-25.
26Ibid.,p.27.
27
Instrumentation
TwoFlutes—SecondFlutedoublesPiccolo
TwoOboes
TwoClarinetsinB-Flat
TwoBassoons
DoubleBassoon(adlib.)
TwoHornsinF
TwoTrumpetsinB-Flat(adlib.)
28
FirstMovement—TheWraggleTaggleGypsies
Flowchart
OldWineinNewBottles—1stMovement—TheWraggleTaggleGypsies—Themeand
Variations
Section
Measures
Key
Time
Characteristics
Intro
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,
D-min.
StaccatomelodyinFlute1
RehearsalA
Clarinetaccompaniment.
2nd
24-31
D-min.
MainThemeinFlutes,Oboes,Clarinet2.
Variation
RehearsalB
ImitationoffsetbyonebeatinBassoons,
Horns.Flowingaccompanimentin
Clarinet1.
Transition
32-39
Unstable
Fragmentationofmaintheme.
RehearsalC
3rd
40-47
Unstable
Imitation:fourvoicesoffsetbyone
Variation
beat:Oboe1,2,Bassoon1,2.M.44
moreimitation:fourvoicesoffsetbyone
beat:Flute1,Horn1,Clarinet1,Bassoon
1.
Transition
48-60
Unstable
Moreimitationoffsetbyonebeat.
RehearsalD settling
Variousgroups.Thematic
onDMaj.
fragmentation.
4th
61-72
DMaj. Common
HornSoloatm.59.Thematic
Variation
RehearsalE
(4/4)
augmentation.Some
fragmentation/imitation.
Transition
73-76
Continuousaugmentation,
fragmentation,imitation.
5th
77-82
Dminor
HornSolo.Endsonfermata.
Variation
Coda
83-102
Dminor
2/4
Vivace(quarter=120).
RehearsalH
29
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,rodelow
Andherodethroughthewoodsandcopseslow,
Untilhecametothewideopenfield
Andtherehediscoveredhislady,o!
“Whatmadeyouleaveyourhorsesandland,
Whatmadeyouleaveyourstable,o,
Whatmadeyouleaveyourgoosefeatheredbed
Andthesheetsturneddownsobravely,oh?”
“O,whatcareIforyourhorsesandland,
WhatcareIforyourstable,o?
I’dratherstayinthewideopenfield
Alonewiththeraggle,tagglegypsies,o!”27
MovementOverview
Thelyricsofthismovementtellofthecarefreenatureofaladywholeaves
herwealthyhusbandtotravelwithabandofgypsies.Aliltingbounceisconsistent
throughoutthemovement.Theformofthismovementisthemeandvariations,and
itisindminor.ThetempoismarkedAllegrowitha2/4timesignature.The
movementopenswithalternatingopenfifthsinDbetweentheclarinetsandthe
27ReedSmith,etal,AmericanAnthologyofOldWorldBallads(NewYork:J.Fischer&
Bro.),1937,p.44.
30
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,weseeasixteenmeasuretransition.Throughoutthistransitionweseethetonalitybecomeunstable
asJacobapparentlycyclesthroughseveraltonalcenters.Thefirsteightmeasures
seefragmentationandantiphonalimitationbasedonthefirsttwomeasuresofthe
maintheme(Ex.17).Atmeasurefortyanewsectionofantiphonalimitationbegins
withfragmentationofthethirdandfourthmeasuresofthemaintheme(Ex.18).
Measureforty-eightbringsathirdvariationexploringonlythesefirstfourmeasures
31
ofthemaintheme.Theantiphonalimitationiscontinuedthroughoutthisvariation.
AttheendofthisvariationJacobsettlesonthekeyofD-Major.
Ex.17—Jacob,OldWineinNewBottles,1stMovement,mm.32-35
Ex.18—Jacob,OldWineinNewBottles,1stMovement,mm.40-43
32
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.
33
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
34
patternwithclearictusissuggesteduntilthelyricfourpatternisshownatmeasure
sixty-one.Avigorous,yetlight,twopatternreturnsatmeasureeighty-three.
SecondMovement—TheThreeRavens
Flowchart
OldWineinNewBottles—2ndMovement—TheThreeRavens—ThemeandVariations
Section
Measures
Key
Time
Characteristics
Introduction
1-7
Gminor
2/4
Fragmentsofmainthemepassedfrom
Andante
soloclarinettosolohorntoflutesand
throughout
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
Phraseendingselongatedthrough¾
measure55
time.
and60
Coda
65-68
Last
Verysoftending.
chordG
Major
35
LyricstoFolkSongTheThreeRavens
Therewerethreeravenssatonatree,
Downadown,heydown,heydown;
Theywereasblackastheymightbe,
Withadown,
Andoneofthemsaidtohismate,
‘Whereshallweourbreakfasttake?’
Withadown,derry,derry,derry,down,down
Behold!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).
36
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
37
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.
38
ThirdMovement—Begone,DullCare
Flowchart
OldWineinNewBottles—3rdMovement—Begone,DullCare—ThemeandVariations
Section
Measures
Key
Time
Characteristics
Introduction
1-19
FMajor
6/8,Allegro
Marcatoentrancesleadstohornand
Vivo.Dotted
trumpetcallinmeasure4.Upper
Quarter=120
woodwindrespond.
MainTheme
20-37
Phrasestructureis8+8.Second
RehearsalA
phraseisrepeated(measures29-34).
Transition
38-49
Unstable
AscendingfifthcallinHorn1.
RehearsalC
Stepwisedescendingmotioninupper
woodwinds.
1stVariation
50-73
CMaj.
UnisonmelodyinHornsand
RehearsalD
ToF
Trumpetsinfirstphrase.Flutesin
Maj.
secondphrase.Hornsechoflutes.
2ndVariation
74-96
Dminor
Oboeinfirstphrase,Horninsecond,
RehearsalE
Flutesecho.
Coda
97-123
Dminor
Fragmentationandsequence.
toF
Major
LyricstoFolkSongBegone,DullCare
BegoneDullCare
Ipritheebegonefromme.
BegonedullCare,
YouandIwillneveragree.
Longtimehastthoughbeentarryinghere,
Andfaiththouwouldstmekill.
ButI’faith,dullCare,
Thounevershalthavethywill.
Toomuchcare
Willmakeayoungmanturngrey
Begon,fortoomuchcarewill
Turnanoldmantoclay,
MywifeshalldanceandIwillsing,
somerrilypasstheday,
ForIholditoneofthewisestthingsto
drivedullCareaway.29
29Jacob,BegoneDullCare(London:Stainer&BellLtd.1937).
39
MovementOverview
Asthelyricssuggestthisshouldhavealightandcarefreetoneinits
performance.Thetempoismarkedallegrovivo.AdottedquarterequalsonehundredtwentybeatsperminuteistheonlymetronomicmarkingJacobgivesto
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.
40
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
41
carefreefeelingthroughout.Itwillalsobeimportanttoshowlargecontrastsin
dynamicsthroughout.
FourthMovement—EarlyOneMorning
Flowchart
OldWineinNewBottles—FourthMovement—EarlyOneMorning—ThemeandVariations
Section
Measures
Key
Time
Characteristics
Introduction
1-12
B-FlatMajor 2/4Allegretto Horn1solo,passesthroughOboe
1,Flute1cadenza-likesolo.
MainTheme
13-29
RehearsalA
1stVariation
30-51
RehearsalC
2ndVariation
52-67
Rit.atend.
RehearsalD
3rdVariation
68-87
Allegrovivace
RehearsalE
4thVariation
88-105
Menomossoatmeasure101.
RehearsalF
5thVariation
106-120
6/8Poco
RehearsalH
andante
6thVariation
128-143
Coda
144-163
42
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-measureintroductioncontainsabriefcadenzalikeflutesolo(Ex.22).Thisistheonlyinstanceintheentireworkwhereonlyone
playerperformsatatimeforanextendedtime.Themainthemeisthenstatedin
thefirstfluteatmeasurethirteen.Thethemehasaneight-measureantecedent
followedbyaneight-measureconsequence.Atmeasuretwenty-onethe
consequencebeginsintheflutefortwomeasuresandisthenpassedtothefirst
horn.Thefinalfourmeasuresareperformedbythefirstoboeplayer,andtheentire
consequenceisrepeated(Ex.23).
30WilliamChappell,PopularMusicoftheOldenTime(NewYork:DoverPublications
Inc.,1965),736.
43
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
44
difficultpassagestoconductintheentirework.Theconductorwouldbewelladvisedtosubdividemeasuresixty-sevenandgiveaquickprepintothenewallegro
tempoatmeasuresixty-eight.Thismarksthebeginningofthethirdvariation.Not
onlyisthetempofaster,butthemainthemeisindiminution,againperformedinthe
flutes.Afterastatementofthefullthemetheconsequenceisfragmentedintoonemeasurestatementsandpassedaroundtheensemble(Ex.24).
Ex.24—Jacob,OldWineinNewBottles,4thMovement,3rdVariation,mm.68-79
Thefourthvariationbeginsatmeasureeighty-eightandcontinuestheideaof
diminution.Thefluteandclarinetperformsthediminutionasthemelodymovesto
d-minorandisplayedthesametimethemainmelodyintheoriginalrhythmagainst
therestoftheensembleinunison.Amenomossoattheendofthevariationsetsup
aPocoandantesettingin6/8timeandmovesthekeytoDMajor.
45
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
46
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.
47
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.
48
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,”TheMusical
Quarterly,Vol.51,no.1(Jan.,1965):130.
35Ibid.,130-132.
36EinoRautavaara,ARequieminOurTime(NorthEaston,MA:RobertKingMusic,
1958),1.
49
requiemmass.Rautavaaraslightlychangesthetitleofcredotocredoetdubito,
whichtranslatedmeans“Ibelieveanddoubt.”
Instrumentation
FourTrumpets
FourHornsinF
ThreeTrombones
OneBaritone
OneTuba
OneTimpani—DoublesonSuspendedCymbal
OnePercussion—PerformsonSnareDrum,Bell(SingleChimeNoteonE4),Cymbals,
Xylophone
50
FirstMovement—Hymnus
Flowchart
ARequiemInOurTime—FirstMovement—Hymnus—ABCA’Form
Section Measures
Key
Time
Characteristics
A
1-15
A-Flat
2/4,Eightnote
Festivamente
9thand7thChords
=132
Statementin
Measures2,9in3/4 Trumpets/Trombone
1,restated
Horn/Baritone,Tuba
Detachedstyle.
Bridge
15
Trumpet/Baritone
B
16-36
C/G9
Most2/4,Measures, HornsandTrumpets
individualmeasures
callandrespond.
in5/8,3/8,3/4
Continuethe
detachedstyle.
Bridge
37-39
2/4,5/8,2/4
Pocoallargando.A
tempoonbeat4of
measure38.
C
40-61
F#9Chords
2/4throughout.
Hornchoir,
RehearsalC ATempo
euphoniumrunning
sixteenthnotes,
Repeatsmainideain
trumpetchoirwith
trombonesquarter
notechords.
Amorelegato,
connectedfeel.
Bridge
62-63
Allargando
A’
64-90
A-Flat9and7
ATempo.¾,then
Fragmented
chords
2/4throughout.
interjectionsand
Individualmeasures extensionsofmain
in3/8.Lasttwoin
themes.
¾
MovementOverview
Tempoforthefirstmovementismarked“Festivamente”withtheeighth-note
equaling132beatsperminute.Itisinfoursectionswithshortbridgesbetween
them.Eachpartitionisdividedintotwosub-sections.Eachsecondsub-sectionisa
restatementofthefirst,whichisvariedmainlythroughorchestration.Thematically
51
thefirstthreesectionsdifferfromeachother.Thethematicmaterialinthefourth
sectionisbasedonthethemefromthefirstsection.Thesecondsub-sectionofthe
fourthsectionextendsthethematicmaterialfromthefirsthalf.
Thefirstsectionrunsfrommeasureonethroughfourteen.Thetime
signatureis2/4,yetthesecondmeasureofeachsectionisin3/4.Thefirstsubsectionismeasuresonethroughseven.Thetrumpetsandsolotromboneappearto
haveequallyimportantstatements(Ex.26).Thesearerestatedinmeasureseight
throughfourteenwiththeresolutionofthefirststatementonthedownbeatofthe
secondstatement.Thethemefirststatedinthetrumpetsisnowrestatedinthe
hornswhilethetrombonethemeisrestatedinthebaritoneandtuba.Ashortonemeasurebridgeatfifteentakesusintothesecondsection.
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
52
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
53
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
54
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.
55
Whenconductingthe5/8measuretwentyitisbestfortheconductortogive
atwopatternwithaneighthnotegroupingof3+2.Tryingtoconductallfivebeats
atthistempomaymakethemusicheavyandcauseittoslowdowninthebestcase,
andwillconfuseandlosemusiciansintheworstcase.The5/8measuretwentythreeshouldbeconductedintwowitha2+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
56
canbestbeachievedbyperformingonasinglechimenoteofE4.Atrehearsal
markingD,takecaretobalancethetrumpetonesolowiththerestofthebrass.
Anotherallargandooccursatmeasuressixty-twoandsixty-three,howeverasthe
timesignatureremainsthesamethisiseasilyachieved.
SecondMovement—Credo,etdubito
Flowchart
ARequiemInOurTime—SecondMovement—Credoetdubito—ABA’B’A”B”A’”Form
Section Measures
Key
Time
Characteristics
A
1-6
gminor
Common
Seccoeritmico
Time
(Dryandrhythmic)
Vivace
MutedTrumpet/Xylophone
Quarternote
repeatedbyMutedHorn
=120
B
7-8
AMajor
Grave,
Slow-movinghalfnotes/quarter
Quarternote
notes.Connected.Softtoloud
=54
backtosoft.
A’
11-16
gminor
Vivace,
Seccoeritmico,Muted
Quarternote Trumpet/Xylophonerepeatedby
=120
MutedHorn
B’
17-19
AMajor
Grave,
Slow-movinghalfnotes/quarter
Quarternote
notes.Connected.Softtoloud
=54
backtosoft.
A’’
20-24
AMajor
Vivace,
Solomutedtrumpetabove
Quarternote
horns/trombone/timpani
=120
sustainedchord.
B’’
25-26
AMajor
Pesante,
Slow-movinghalfnotes/quarter
Quarternote
notes.Connected.Softtoloud
=44
backtosoft.
A’’’
27-28
G-AMajor
Vivace,
Trumpet/Xylophoneplay
Quarternote fragmentofbeginningstatement.
=120
FinalchordsuggestsshortenedB
section.
MovementOverview
ThesecondmovementCredoetDubito(Ibelieveanddoubt)hasthefewest
numberofmeasuresoffourmovements.(However,intermsoftime,thefirst
57
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
58
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.ThefinalchordisanAMajor/Major-seventhchord.
59
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.
60
ThirdMovement—Diesirae
Flowchart
ARequieminOurTime—ThirdMovement—DiesIrae—ABCA’B’Form
Section Measures
Key
Time
Characteristics
A
1-15
F/B12/8
Trumpetdescending
Natural Allegro,Dotted-Quarter
ostinatos.
=132
MelodyinParallelTritones
inHornsandBaritone.
B
16-37
Disjunct.Spacepunctuated
RehearsalI
byaccentedeighth-note
chords.
C
38-60
C/G-Flat
Mutedtrumpetdescending
ostinato.
Bridge
61-63
MelodyinParallelTritones
instoppedhornsand
trombones.
A’
64-76
F/B
StaccatorepeatedeighthRehearsalL Natural
noteostinatointrumpets.
C#/G#
Twosetsofparalleltritones
inmelody.
B’
77-92
Disjunct.Spacepunctuated
RehearsalM
byaccentedeighth-note
chords.
Hornoctaveglissandos.
MovementOverview
TheoverallformofthethirdmovementDiesIraeisABCAB.Justasinthe
firstmovement,theAsectionismadeupofastatementofanideafollowedbya
restatementofthesameidea.InbothstatementsoftheBsection,thethemeis
statedandisfollowedbyanequallength‘codetta’.Tempostaysconstant
throughoutthemovementatdottedquarterequals132beatsperminute.Thetime
signaturestaysconsistentformostofthemovement.Itismostlyin12/8withafew
individual9/8and6/8measuresintheCsection.
61
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).
62
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
63
violentoctaveglissandosaroundanE-flat(Ex.34).Thesectionisrhythmically
disjunct,astarkcontrasttotheperpetualmotionoftheeighthnotesintheprevious
sections.Ashortcodettaatmeasureeighty-eightisarestatementofmaterial
presentedinthefirstBsection,secondhalf.Thelastchordendswithahorn
glissandotoE-flat.
Ex.33—Rautavaara,ARequieminOurTime,3rdMovement,mm.47-50
64
Ex.34—Rautavaara,ARequieminOurTime,3rdMovement,mm.84-87
ConductingSuggestions
Theconductorwouldbewisetomakesurethefirst/secondtrumpetand
third/fourthtrumpetpairsarebothmatchingstyleandweightoneachfigure.
Whileweightneedstobeplacedonthefirstnoteofeachfigure,theplayersneedto
takecarethesecondhalfofthefigureisheardandconnectstotheentranceofthe
otherplayerinthepair.Thisistobekeptupthroughouttheostinato.Atmeasure
thirtythisideashouldbenotedasthefirstandsecondtrumpetsendtheiridea—
theyshouldholdouttheirtoneuntilthethirdandfourthtrumpetsenteronbeat
65
two.Equalbalanceshouldbegiventoallvoicesinthetritonemelodyinthehorns
andbaritone.
Atmeasurefortytheconductorshouldpaycloseattentiontobalance.Itis
difficultforthestoppedhornstoplayoverunmutedtrombonesandafullsectionof
trumpets.Yettheconductormustpointoutthestoppedvoicesmustbeheardover
alltoachieveagoodbalancebetweenbothvoicesinthetritonemelody.
IneachoftheBsectionsitmaybeusefultotheconductortowritedownthe
compositerhythmperformedbytheensembleacrossthetopofthescore.The
conductorshouldbesuretohavethemusiciansplayeachoftheaccentedeighth
noteswithagoodfronttothenoteaswellasfulltonetohearthedissonanttonality.
FourthMovement—Lacrymosa
Flowchart
ARequieminOurTime—FourthMovement—Lacrymosa—ABA’B’Form
Section Measures
Key
Time
Characteristics
A
1-15
Unstable
CommonTime
Trumpetandhornchordsand
Larghetto
ostinatos.
QuarterNote=76
Tranquillo.
SoloBaritoneafterfour-measure
introduction.
B
16-25
Unisonmelodyinhorn1,3.
RehearsalN
Timpani,trombone,tubalend
harmonicsupport.
A’
26-34
Similartexturetobeginning.
RehearsalO
Firstandsecondtrumpets
switchroles.Solobaritoneafter
four-measureintroduction.
B’
35-40
Melodyinoctavesintrombone
1,3.Trumpetsandhorns
continueAsectionostinato.
Coda
41-44
Continuationofhornand
trumpetostinato.Endsppp.
66
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
67
andthirdhornsplayanewslow-movingmelody,whichisrestatedinthefirst
trumpetinmeasuretwenty-one.
TheA’sectionbeginsinmeasuretwenty-six.Theoriginalostinatoissetup
againforthreemeasuresandthebaritoneagainplaysthesoloinmeasuretwentynine.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
68
tubaplayinfive-measurephrases.Theyshouldcrescendoforthreemeasuresand
decrescendofortwo.TheywilldothistwiceinthefirstBsectionandonceintheB’
section.Thecodashouldhaveaslightcrescendofortwomeasuresandadying
awayforthelasttwo.
Conclusion
Athoroughknowledgeofthescoreswellinadvanceofthefirstrehearsalis
stronglyadvisedtofacilitaterehearsals.Eachpieceisdifferentinstyleand
enjoyablenotonlyfortheaudiencemembersbutforthemusicianstoperformas
theyaretechnicallyandemotionallychallengingtotheindividualmusicians.As
longaspartsaredistributedwellinadvance,musicianshavepracticedandlearned
theirparts,andproperscorestudyisdonebytheconductor,themusicianscan
enjoyaminimumnumberofrehearsalstoprepareforperformance.
69
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