Benjamin Britten
The Young
Person's
to the
Guide
Orchestra
Variations
and
Fugue
on a theme of
Purcell
Op. 34
Full
Score
Hawkes & Son (London) Ltd.
Sole Selling
London
•
New Y o r k
•
Agents
Los Angeles
: Boosey
& Hawkes,
•
•
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Ltd.
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•
Paris
The
Young Person's Guide to the Orchestra'' should be performed with the inserted
commentary, spoken by the conductor. The music is arranged so that the orchestra
can continue playing at those moments when the conductor is speaking. A separate
speaker can be used for the commentary if preferred.
In order to facilitate performance, a slightly different version omitting the spoken
commentary is included in the score. The version without commentary, cuts or alters,
in some instances, some bars between the sections of the theme and between the
single variations. These instances are indicated as follows:
Bars to be played only in the version with the commentary are bracketed thus
1
: bars marked 2
apply to the version without commentary only.
Notes printed in small type apply only to the version without commentary.
There are sometimes cuts marked with "vi-de" which, of course, refer only to the
version without commentary.
Sometimes there are single bars "repeated ad libitum" so as to allow the speaker
sufficient time. These l)ars are only to be played twice in the version without
commentary. In addition the conductor will forego many pauses which are bracketed
and linger less during the transitions if the commentary is not spoken.
B. & H . 15958
This work is affectionately inscribed
to the children of
John and Jean Maud
Humphrey, Pamela, Caroline and Virginia,
for their edification and entertainment
enjamin Britten^ Op. 34
Young Person's Guide
to the Orchestra
Variations
on
a
and
Fugue
of
Purcell
Theme
The commentary written by Eric Crozier
To be spoken before the music starts:
The composer has written this piece of music specially
to introduce you to the instruments of the orchestra.
There are four teams of players: the STRINGS, the
WOODWIND, the BRASS, and the PERCUSSION.
Each of these four teams uses instruments which have
a family likeness. They make roughly the same kind
of sound in the same way. The STRINGS are played
with a bow or plucked by the fingers. The WOODWIND
are blown by the breath. The BRASS are blown too.
The PERCUSSION are banged. First you will hear a
Theme by the great English composer, Henry Purcell,
played by the whole orchestra and by each one of the
four groups of instruments.
B. & H . 15958
Allegro maestoso e largamente
THEME A
" [j' r
Piccolo
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Flutes
I&n
Clarinets in B\>
I&ll
W
7-^
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Bassoons
I&n
m
I&n
Horns in F
in &IV
Trumpets in C
I & II
TT
- i
i
Ï & II
i
i
1
i n (Bass) & Tuba (
Timpani
Xylo.
Percussion
<
~7
B.D.
SOTIOTO
Harp
f.
V
Allegro maestoso e largamente
V
Violin I
Violin I I
Viola
r
f
Cello
f
Bass
Copyright 1947
^a
-e-
A l l rigMs reserved
Tous droits r é s e r v é s
i n U . S . A . by H a w k e s & Son ( L o n d o n ) , L t d .
Copyright for all countries
Printed
in
Eiip:land
Vln.I
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Cello
*^ Cut to [2
if commentary is not spoken
B
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15958
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The WOODWIND are superior
varieties of the penny-whistle.
They are made of wood.
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B.&
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B. & H . 15958
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The first B R A S S instruments were trumpets
and hunting-horns.
These are their modern descendants.
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B.&
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15958
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The S T R I N G S , large and s m a l l , are scraped with a bow
or plucked with the fingers.
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B.&
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•
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B.& H . 15958
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sec.
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The P E R C U S S I O N group
includes drums, gongs,
tambourines and anything
else you hit. W h e n you
have heard them, the whole
orchestra w i l l play the
melody again. ,
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B.&
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B.& H
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pp
Harp
Presto
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Now let us hear each instrument play a variation^ of its own. ' The highest of the
Woodwind team is the clear, sweet voice of the F L U T E , with its s h r i l l little
brother, the P I C C O L O .
(/^)
(/^)
Vln.I
Vln.n
Via.
'Cello
Bass
Harp
Small notes of F l u t e s and H a r p to be played if commentary is not spoken.
B.&FL 15858
18
V A R I A T I O N
A
p
cresc.
Tria.
cresc.
Harp
Vln.I
Vln. II
Harp
' a s before
Pico.
.B.
I
^ 1
Fits.
II
Tria.
J
P
I
J
P
Harp
Vln.I
Vln.II
mfEP
Harp
a s before
B.& H. 15958
I
19
B . & H . 15958
20
( ^ )
(/TS)
(/TS)
(/TS)
Pico.
(/Ti)
(/TS)
(/TS)
« 6
I
Fits.
(/TS)
(/T\)
(^)
(/^)
II
(/TS)
Harp
PP
/TS
O B O E S
have
composer
i^AJidiv.
f
(/T\)
a gentle,
wants
them
(/^)
plaintive
'
»
(/TS)
quality, but they
c a n be forceful enough
when
the
to.
(/^)
(Z^)
Vln.I
Vln.:
Harp
VARIATION B
Lento
Fl.I
(a
tempo)
largamente-.
PP
cresc.
Oboes
I&II
espress.
PP
Timp.
P
Lento
Vla.
J?P
I f• f r
*Cello
div.
i?p
—ëé.
ë
—ëë
ë 0—ë-ë-^
espreas.
f r
f r
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espress.
m
)l
Bass
pizz. J
7
^
B.Sc H. 15958
—
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cresc.
^
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Oboes
I&II
y
VARIATION C
Moderato
Clts.inBt
n
Tuba
Vln.1
Vla.
'Cello
B.&H. 15958
.22
a tempo
rail
Clts.inBl"
n
Tuba
a tempo
rail.
Vln.I
rs
Vln.n
p
rs
Vla.
p
r\
'Cello
p
Clts.lnBb<
II
Tuba
cresc.
r
Vln.I
cresc.
Vln.n
É
cresc.
-i-
Vla.
1 ^
'Cello
cresc.
B.&H. 15958
23
Clts.inBt
II
Tuba
Vln.I
Vln.II
Vla.
'Cello
Clts.lnBt<
II
^^pp
morendo
Tuba
dim.
PEP
B A S S O O N S
are
l a r g e s t of the
wind team,
so
have
deepest
the
voices.
Vln.I
dim.
C
É
Vln.II
dim.
Vla.
dim.
'Cello
7
7
—*
dim.
PPP
B.&H.
15958
the
Woodthey