Anthology of Post-Tonal Music: For Use with Understanding Post-Tonal Music [2 ed.] 036735540X, 9780367355401

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ANTHOLOGY OF POST-TONAL MUSIC This anthology of over 40 scores and excerpts represents a wide range of music from across the twentieth century and into the twenty-first century, from pieces by Debussy, Stravinsky, and Bartók to works by Arvo Pärt, Thomas Adès, and Kaija Saariaho. Showcasing the vast range of compositional styles encompassed in the post-tonal era, this volume offers a convenient compendium including hard-to-find scores. Designed for use with Understanding Post-Tonal Music by Miguel A. Roig-Francolí, which includes extensive analyses of the scores provided here, this anthology can also stand alone for study and analysis in other courses on the history and analysis of post-tonal music. Miguel A. Roig-Francolí is Distinguished Teaching Professor of Music Theory and Composition at the University of Cincinnati College-Conservatory of Music.

ANTHOLOGY OF POST-TONAL MUSIC For Use with Understanding Post-Tonal Music

SECOND EDITION Miguel A. Roig-Francolí

Second edition published 2021 by Routledge 52 Vanderbilt Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2021 Taylor & Francis The right of Miguel A. Roig-Francolí to be identified as the author of this Work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. First edition published by McGraw-Hill 2008 Custom edition published by Routledge 2019 Library of Congress Cataloging-in-Publication Data Names: Roig-Francolí, Miguel A., 1953– | Roig-Francolí, Miguel A., 1953– Understanding post-tonal music. Title: Anthology of post-tonal music : for use with Understanding post-tonal music / Miguel A. Roig-Francolí. Description: Second edition. | New York : Routledge, 2021. Identifiers: LCCN 2020036479 (print) | LCCN 2020036480 (ebook) | ISBN 9780367355401 (hardback) | ISBN 9780367355388 (paperback) | ISBN 9780429340147 (ebook) Subjects: LCSH: Music—20th century—Analysis, appreciation. | Musical analysis— Music collections. Classification: LCC MT90 .R65 2021 Suppl. (print) | LCC MT90 (ebook) | DDC 781.1/7—dc23 LC record available at https://lccn.loc.gov/2020036479 LC ebook record available at https://lccn.loc.gov/2020036480 ISBN: 978-0-367-35540-1 (hbk) ISBN: 978-0-367-35538-8 (pbk) ISBN: 978-0-429-34014-7 (ebk) Typeset in Times New Roman by Apex CoVantage, LLC

CONTENTS

Preface 1

“La cathédrale engloutie,” No. 10 From Preludes, Book I (1910)

viii 1

CLAUDE DEBUSSY

2

“Canope,” No. 10 From Preludes, Book II (1910–13)

6

CLAUDE DEBUSSY

3

“Sarabande,” From Pour le piano (1894–1901)

8

CLAUDE DEBUSSY

4

Introduction to Part I, From The Rite of Spring (1913)

11

IGOR STRAVINSKY

5

“Song of the Harvest,” No. 33 From Forty-Four Violin Duets (1931)

22

BÉLA BARTÓK

6

“Whole-Tone Scale,” No. 136 From Mikrokosmos, Vol. 5 (1932–39)

23

BÉLA BARTÓK

7

“Diminished Fifth,” No. 101 From Mikrokosmos, Vol. 4 (1932–39)

26

BÉLA BARTÓK

8

“From the Island of Bali,” No. 109 From Mikrokosmos, Vol. 4 (1932–39)

27

BÉLA BARTÓK

9

Five Movements for String Quartet, op. 5, II (1909)

29

ANTON WEBERN

10

Five Movements For String Quartet, op. 5, III (1909)

30

ANTON WEBERN

11

“Angst und Hoffen,” No. 7 From Book of The Hanging Gardens, op. 15 (1909)

32

ARNOLD SCHOENBERG

12

“Schlafend trägt man mich,” No. 2 From Four Songs, op. 2 (1908–09)

35

ALBAN BERG

v



CONTENTS

 13

Agnus Dei, From Mass (1944–48)

37

IGOR STRAVINSKY

14

Interlude in G, From Ludus tonalis (1942)

41

PAUL HINDEMITH

15

“Vom Tode Mariä I,” From Das Marienleben (1923)

42

PAUL HINDEMITH

16

“The Cage,” From 114 Songs (1906)

49

CHARLES IVES

17

Diaphonic Suite No. 4, III (1930)

50

RUTH CRAWFORD-SEEGER

18

“Contrapunctus secundus,” No. 5 From Quaderno musicale di Annalibera (1952–53)

54

LUIGI DALLAPICCOLA

19

“Wie bin ich froh,” No. 1 From Drei Lieder, op. 25 (1935)

55

ANTON WEBERN

20

Piano Variations, op. 27, II (1935–36)

57

ANTON WEBERN

21

Klavierstück, op. 33a (1929)

58

ARNOLD SCHOENBERG

22

“Lacrimosa,” From Requiem Canticles (1966)

63

IGOR STRAVINSKY

23

Structures Ia, Mm. 1–39 (1952)

68

PIERRE BOULEZ

24

Turangalîla Symphony, Introduction, Reh. 12–22 (1946–48)

74

OLIVIER MESSIAEN

25

Stimmung (Three Pages: Formschema, One Sample Page of Modelle, and One Sample Page of Magische Namen) (1968)

93

KARLHEINZ STOCKHAUSEN

26

Jeux vénitiens, I (1960–61)

96

WITOLD LUTOSŁAWSKI

27

St. Luke Passion, No. 13, “Et Surgens Omnis Multitudo” (1965)

100

KRZYSZTOF PENDERECKI

28

String Quartet No. 2, Reh. 1–21 (1987) SOFIA GUBAIDULINA

   vi

114

 CONTENTS 29

Telemusik, Sections 1–5 (1966)

120

KARLHEINZ STOCKHAUSEN

30

Riverrun, 0:00–8:48 (1986)

126

BARRY TRUAX

31

Sinfonia, III (“In ruhig fliessender Bewegung”), Mm. 1–96 (to Reh. E) (1968)

135

LUCIANO BERIO

32

Ramifications, Mm. 1–44 (1968–69)

146

GYÖRGY LIGETI

33

“Primeval Sounds,” No. 1 From Makrokosmos, Vol. 1 (1972–73)

170

GEORGE CRUMB

34

“Dream Images (Love-Death Music),” No. 11 From Makrokosmos, Vol. 1 (1972–73)

172

GEORGE CRUMB

35

Violin Phase (1967)

174

STEVE REICH

36

Nixon in China, Act I, “News” Aria, Mm. 374–542 (1987)

182

JOHN ADAMS

37

Cantus (1977)

190

ARVO PÄRT

38

Adjustable Wrench, Mm. 1–72 (1987)

195

MICHAEL TORKE

39

Spring Song, Mm. 1–41 (1995)

205

AUGUSTA READ THOMAS

40

Asyla, II, Mm. 1–43 (1997)

207

THOMAS ADÈS

41

Ariel’s Hail (2000)

213

KAIJA SAARIAHO

Acknowledgment of Sources

219

vii



PREFACE

This anthology is meant to be used in conjunction with the study of the textbook Understanding Post-Tonal Music. The book includes detailed analyses of a total of thirty-three pieces by twenty-six composers, ranging chronologically from Claude Debussy and Igor Stravinsky to Kaija Saariaho, Augusta Read Thomas, and Thomas Adès. All of these thirty-three pieces are included in the anthology. Whenever possible, complete pieces or movements have been used. If a composition or movement is particularly long, a substantial and representative fragment has been chosen for analysis and inclusion in the anthology. The remaining eight compositions in the anthology are used for analytical assignments in the textbook. The total number of pieces in the anthology is thus forty-one, by twenty-seven composers. Because of the close relationship between the book and the anthology, the latter is not meant to be an optional supplement to the book, but rather an essential and required component of the pedagogical packet. The exact correspondence between book chapters and anthology pieces is as follows:

Chapter 1 Pitch Centricity and Composition With Motivic Cells Analysis 1.1. Debussy, “La cathédrale engloutie,” from Preludes, Book I (Anthology no. 1) Analysis 1.2. Stravinsky, Introduction to Part I, from The Rite of Spring (Anthology no. 4) Anthology nos. 2 and 3 are used for assignments.

Chapter 2 Pitch Centricity, Equal Divisions of the Octave, and Symmetry Analysis 2.1. Bartók, “Song of the Harvest,” from Forty-four Violin Duets (Anthology no. 5) Analysis 2.2. Bartók, “Whole-Tone Scale,” from Mikrokosmos, vol. 5 (Anthology no. 6) Anthology nos. 7 and 8 are used for assignments.

Chapter 3 Introduction to Pitch-Class-Set Theory No pieces from the anthology are used in this chapter.

Chapter 4 Analyzing Atonal Music Analysis 4.1. Webern, “Five Movements for String Quartet,” op. 5, III (Anthology no. 10) Analysis 4.2. Schoenberg “Angst und Hoffen,” no. 7 from Book of the Hanging Gardens, op. 15 (Anthology no. 11) Anthology nos. 9 and 12 are used for assignments.

Chapter 5 Drawing on (and Reinterpreting) the Past . . . Analysis 5.1. Stravinsky, Agnus Dei, from Mass (Anthology no. 13) Analysis 5.2. Hindemith, Interlude in G, from Ludus tonalis (Anthology no. 14) Anthology no. 15 is used for an assignment.

   viii

 PREFACE

Chapter 6 . . . And Inventing the Future Analysis 6.1. Ives, “The Cage” (Anthology no. 16) Analysis 6.2. Crawford, Diaphonic Suite no. 4, III (Anthology no. 17)

Chapter 7 Twelve-Tone Music I: An Introduction Analysis 7.1. Dallapiccola, “Contrapunctus secundus,” from Quaderno musicale di Annalibera (Anthology no. 18) Anthology no. 19 is used for an assignment.

Chapter 8 Twelve-Tone Music II: Invariance, Symmetry, and Combinatoriality Analysis 8.1. Webern, Piano Variations, op. 27, II (Anthology no. 20) Analysis 8.2. Schoenberg, Klavierstück, op. 33a (Anthology no. 21)

Chapter 9 Serialism: Developments After 1945 Analysis 9.1. Stravinsky, “Lacrimosa,” from Requiem Canticles (Anthology no. 22) Analysis 9.2. Boulez, Structures Ia (Anthology no. 23)

Chapter 10 Expanding the Limits of Musical Temporality Analysis 10.1. Messiaen, Introduction, from Turangalîla Symphony (Anthology, no. 24) Analysis 10.2. Stockhausen, Stimmung (Anthology no. 25)

Chapter 11 Aleatory Music: Sound Mass, Texture, and Timbre Analysis 11.1. Lutosławki, Jeux vénitiens, I (Anthology no. 26) Analysis 11.2. Penderecki, St. Luke Passion, no. 13, “Et Surgens Omnis Multitudo” (Anthology no. 27) Analysis 11.3. Gubaidulina, String Quartet no. 2, reh. 1–21 (Anthology, no. 28)

Chapter 12 Electronic, Computer, and Spectral Musics Analysis 12.1. Stockhausen, Telemusik, Sections 1–5 (Anthology no. 29) Analysis 12.3. Truax, Riverrun (Anthology no. 30)

Chapter 13 Integrating the Past and Reimagining Harmony Analysis 13.1. Berio, Sinfonia, III (Anthology no. 31) Analysis 13.2. Ligeti, Ramifications, mm. 1–44 (Anthology no. 32) Analysis 13.3. Crumb, “Primeval Sounds,” from Makrokosmos, vol. 1, no. 1 (Anthology no. 33) Anthology no. 34 is used for an assignment.

Chapter 14 Simplifying Means Analysis 14.1. Reich, Violin Phase (Anthology no. 35) Analysis 14.2. Adams, Nixon in China, Act I, “News” Aria, mm. 374–542 (Anthology no. 36) Analysis 14.3. Pärt, Cantus (Anthology no. 37) ix



PREFACE



Chapter 15 Into the Twenty-First Century Analysis 15.1. Torke, Adjustable Wrench, mm. 1–72 (Anthology no. 38) Analysis 15.2. Thomas, Spring Song (Anthology no. 39) Analysis 15.3. Adès, Asyla, II (Anthology no. 40) Analysis 15.4. Saariaho, Ariel’s Hail (Anthology no. 41) The organization of the anthology thus follows the organization of the textbook, which is designed according to a roughly chronological plan and, within that, by general topics. This modular organization following two simultaneous criteria acknowledges that twentieth-century music is best understood not only in technical terms but also in a historical context, and that stylistic and compositional developments do not take place in a historical vacuum. An initial general topic, pitch centricity, covers music by Debussy, early Stravinsky, and Bartók in Chapters 1 and 2. The next topic, atonal music, is covered in Chapters 3 and 4. In Chapter 3, pitch-class sets are studied formally, setting the stage for the analyses of Webern and Schoenberg atonal pieces in Chapter 4. Chapters 5 and 6 discuss two seemingly contradictory, yet highly complementary, stylistic trends: neoclassicism, as found in the music of Stravinsky and Hindemith, and ultramodernism, as found in Ives and Crawford. Chapters 7 and 8 are devoted to the study of “classical” twelve-tone music, with reference to works by Dallapiccola, Schoenberg, Berg, and Webern, and Chapter 9 deals with serial practices after World War II, as illustrated by Stravinsky, Boulez, and Babbitt. Chapter 9 thus provides a link between music before and after World War II. Post-1945 music is covered in the last seven chapters (9 through 15). The general topics in these chapters, and following serialism, are issues of temporality (Chapter 10, including analyses of music by Messiaen, Carter, and Stockhausen), aleatory composition, sound mass, and other post-serial techniques (Chapter 11, with reference to Cage, Lutosławski, Penderecki, and Gubaidulina), electronic and computer music (Chapter 12, with analyses of works by Stockhausen, Harvey, and Truax), quotation, collage, and new harmonic processes (Chapter 13, with focus on Berio, Ligeti, and Crumb), minimalism (Chapter 14, which includes analyses of music by Reich, Adams, and Pärt), and finally a review of some of the most recent compositional trends as found in pieces by Torke, Thomas, Adès, and Saariaho (Chapter 15). Miguel A. Roig-Francolí College-Conservatory of Music University of Cincinnati

 x

1

“LA CATHÉDRALE ENGLOUTIE,” NO. 10 FROM PRELUDES, BOOK I (1910) Claude Debussy (1862–1918)

1



CLAUDE DEBUSSY

 2



 “LA CATHÉDRALE ENGLOUTIE,” NO. 10 FROM PRELUDES, BOOK I (1910)

3



CLAUDE DEBUSSY

 4



 “LA CATHÉDRALE ENGLOUTIE,” NO. 10 FROM PRELUDES, BOOK I (1910)

5



2

 6

“CANOPE,” NO. 10 FROM PRELUDES, BOOK II (1910–13) Claude Debussy

 “CANOPE,” NO. 10 FROM PRELUDES, BOOK II (1910–13)

7



3

 8

“SARABANDE,” FROM POUR LE PIANO (1894–1901) Claude Debussy

 “SARABANDE,” FROM POUR LE PIANO (1894–1901)

9



CLAUDE DEBUSSY

   10



4

INTRODUCTION TO PART I, FROM THE RITE OF SPRING (1913) Igor Stravinsky (1882–1971)

11



IGOR STRAVINSKY

   12



 INTRODUCTION TO PART I, FROM THE RITE OF SPRING (1913)

13



IGOR STRAVINSKY

   14



 INTRODUCTION TO PART I, FROM THE RITE OF SPRING (1913)

15



IGOR STRAVINSKY

   16



 INTRODUCTION TO PART I, FROM THE RITE OF SPRING (1913)

17



IGOR STRAVINSKY

   18



 INTRODUCTION TO PART I, FROM THE RITE OF SPRING (1913)

19



IGOR STRAVINSKY

   20



 INTRODUCTION TO PART I, FROM THE RITE OF SPRING (1913)

21



5

   22

“SONG OF THE HARVEST,” NO. 33 FROM FORTY-FOUR VIOLIN DUETS (1931) Béla Bartók (1881–1945)

6

“WHOLE-TONE SCALE,” NO. 136 FROM MIKROKOSMOS, VOL. 5 (1932–39) Béla Bartók

23



BÉLA BARTÓK

   24



 “WHOLE-TONE SCALE,” NO. 136 FROM MIKROKOSMOS, VOL. 5 (1932–39)

25



7

   26

“DIMINISHED FIFTH,” NO. 101 FROM MIKROKOSMOS, VOL. 4 (1932–39) Béla Bartók

8

“FROM THE ISLAND OF BALI,” NO. 109 FROM MIKROKOSMOS, VOL. 4 (1932–39) Béla Bartók

27



BÉLA BARTÓK

   28



9

FIVE MOVEMENTS FOR STRING QUARTET, OP. 5, II (1909) Anton Webern (1883–1945)

29



10

   30

FIVE MOVEMENTS FOR STRING QUARTET, OP. 5, III (1909) Anton Webern

 FIVE MOVEMENTS FOR STRING QUARTET, OP. 5, III (1909)

31



11

   32

“ANGST UND HOFFEN,” NO. 7 FROM BOOK OF THE HANGING GARDENS, OP. 15 (1909) Arnold Schoenberg (1874–1951)

 “ANGST UND HOFFEN,” NO. 7 FROM BOOK OF THE HANGING GARDENS, OP. 15 (1909)

33



ARNOLD SCHOENBERG



TRANSLATION OF TEXT “Anguish and Hope,” by Stefan George

Anguish and hope in turn seize me. My words trail off in sighing. Such tempestuous longing assails me That I do not turn to rest or sleep That tears flood my couch, That I ward off every pleasure, That I seek no friend’s consolation.

   34

12

“SCHLAFEND TRÄGT MAN MICH,” NO. 2 FROM FOUR SONGS, OP. 2 (1908–09) Alban Berg (1885–1935)

35



ALBAN BERG



TRANSLATION OF TEXT “In Sleep I am Borne,” by Alfred Mombert

In sleep I am borne unto my homeland. From afar I come, over peaks, over abysses Over a darkened sea unto my homeland.

   36

13

AGNUS DEI, FROM MASS (1944–48) Igor Stravinsky (1882–1971)

37



IGOR STRAVINSKY

   38



 AGNUS DEI, FROM MASS (1944–48)

39



IGOR STRAVINSKY



TRANSLATION OF TEXT Lamb of God, Who takes away the sins of the world, Have mercy upon us. Lamb of God, Who takes away the sins of the world, Have mercy upon us. Lamb of God, Who takes away the sins of the world, Give us peace.

   40

14

INTERLUDE IN G, FROM LUDUS TONALIS (1942) Paul Hindemith (1895–1963)

41



15

   42

“VOM TODE MARIÄ I,” FROM DAS MARIENLEBEN (1923) Paul Hindemith

 “VOM TODE MARIÄ I,” FROM DAS MARIENLEBEN (1923)

43



PAUL HINDEMITH

   44



 “VOM TODE MARIÄ I,” FROM DAS MARIENLEBEN (1923)

45



PAUL HINDEMITH

   46



 “VOM TODE MARIÄ I,” FROM DAS MARIENLEBEN (1923)

47



PAUL HINDEMITH



TRANSLATION OF TEXT “On the Death of Mary,” by Rainer Maria Rilke

The same great angel who had earlier brought her tidings of her conception stood there, waiting until she noticed him. And he spoke, “It is now time that you appear.” And she was frightened as before and, humbly acquiescing, became again as the maiden. Then he became radiant and, nearing her infinitely, vanished as into her face. And he called together the widely dispersed Disciples to the house on the slope, the house of the Last Supper. They came gravely and entered fearfully. There she lay, along the narrow bedstead, mysteriously immersed in her end and in her chosen state – entirely unharmed, as one unused, listening to the song of angels. Now when she saw them waiting behind their candles, she tore herself from the abundance of voices and, with a full heart, gave away the two robes which she owned. And she raised up her countenance to this one and that one. (O source of nameless streams of tears.) Then she sank back in weakness and drew the heavens so near to Jerusalem that her soul, setting forth, had only to stretch itself a little, for He who knew everything about her was even then raising her to her godly nature.

   48

16

“THE CAGE,” FROM 114 SONGS (1906) Charles Ives (1874–1954)

49



17

   50

DIAPHONIC SUITE NO. 4, III (1930) Ruth Crawford-Seeger (1901–1953)

 DIAPHONIC SUITE NO. 4, III (1930)

51



RUTH CRAWFORD-SEEGER

   52



 DIAPHONIC SUITE NO. 4, III (1930)

53



18

   54

“CONTRAPUNCTUS SECUNDUS,” NO. 5 FROM QUADERNO MUSICALE DI ANNALIBERA (1952–53) Luigi Dallapiccola (1904–1975)

19

“WIE BIN ICH FROH,” NO. 1 FROM DREI LIEDER, OP. 25 (1935) Anton Webern (1883–1945)

55



ANTON WEBERN

   56



20

PIANO VARIATIONS, OP. 27, II (1935–36) Anton Webern

57



21

   58

KLAVIERSTÜCK, OP. 33A (1929) Arnold Schoenberg (1874–1951)

 KLAVIERSTÜCK, OP. 33A (1929)

59



ARNOLD SCHOENBERG

   60



 KLAVIERSTÜCK, OP. 33A (1929)

61

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ARNOLD SCHOENBERG

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

22

“LACRIMOSA,” FROM REQUIEM CANTICLES (1966) Igor Stravinsky (1882–1971)

63

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IGOR STRAVINSKY

   64





 “LACRIMOSA,” FROM REQUIEM CANTICLES (1966)

65

IGOR STRAVINSKY

   66



 “LACRIMOSA,” FROM REQUIEM CANTICLES (1966)

TRANSLATION OF TEXT On that day full of tears, When from the ashes arises Guilty man to be judged, Spare him, O God. Merciful Jesus, Lord, Grant them eternal rest. Amen.

67

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STRUCTURES IA, MM. 1–39 (1952) Pierre Boulez (1925–2006)

 STRUCTURES IA, MM. 1–39 (1952)

69

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PIERRE BOULEZ

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

 STRUCTURES IA, MM. 1–39 (1952)

71

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PIERRE BOULEZ

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

 STRUCTURES IA, MM. 1–39 (1952)

73

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24

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TURANGALÎLA SYMPHONY, INTRODUCTION, REH. 12–22 (1946–48) Olivier Messiaen (1908–1992)

 TURANGALÎLA SYMPHONY, INTRODUCTION, REH. 12–22 (1946–48)

75

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OLIVIER MESSIAEN

   76



 TURANGALÎLA SYMPHONY, INTRODUCTION, REH. 12–22 (1946–48)

77

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OLIVIER MESSIAEN

   78



 TURANGALÎLA SYMPHONY, INTRODUCTION, REH. 12–22 (1946–48)

79

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OLIVIER MESSIAEN

   80



 TURANGALÎLA SYMPHONY, INTRODUCTION, REH. 12–22 (1946–48)

81

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OLIVIER MESSIAEN

   82



 TURANGALÎLA SYMPHONY, INTRODUCTION, REH. 12–22 (1946–48)

83

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OLIVIER MESSIAEN

   84



 TURANGALÎLA SYMPHONY, INTRODUCTION, REH. 12–22 (1946–48)

85

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OLIVIER MESSIAEN

   86



 TURANGALÎLA SYMPHONY, INTRODUCTION, REH. 12–22 (1946–48)

87

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OLIVIER MESSIAEN

   88



 TURANGALÎLA SYMPHONY, INTRODUCTION, REH. 12–22 (1946–48)

89

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OLIVIER MESSIAEN

   90



 TURANGALÎLA SYMPHONY, INTRODUCTION, REH. 12–22 (1946–48)

91

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OLIVIER MESSIAEN

   92



25

STIMMUNG (THREE PAGES: FORMSCHEMA, ONE SAMPLE PAGE OF MODELLE, AND ONE SAMPLE PAGE OF MAGISCHE NAMEN ) (1968) Karlheinz Stockhausen (1928–2007)

93

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KARLHEINZ STOCKHAUSEN

   94





 STIMMUNG (FORMSCHEMA, MODELLE, AND MAGISCHE NAMEN)

95

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JEUX VÉNITIENS, I (1960–61) Witold Lutosławski (1913–1994)

 JEUX VÉNITIENS, I (1960–61)

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WITOLD LUTOSŁAWSKI

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

 JEUX VÉNITIENS, I (1960–61)

99

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27

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ST. LUKE PASSION, NO. 13, “ET SURGENS OMNIS MULTITUDO” (1965) Krzysztof Penderecki (1933–2020)

 ST. LUKE PASSION, NO. 13, “ET SURGENS OMNIS MULTITUDO” (1965)

101

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KRZYSZTOF PENDERECKI

   102



 ST. LUKE PASSION, NO. 13, “ET SURGENS OMNIS MULTITUDO” (1965)

103

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KRZYSZTOF PENDERECKI

   104



 ST. LUKE PASSION, NO. 13, “ET SURGENS OMNIS MULTITUDO” (1965)

105

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KRZYSZTOF PENDERECKI

   106



 ST. LUKE PASSION, NO. 13, “ET SURGENS OMNIS MULTITUDO” (1965)

107

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KRZYSZTOF PENDERECKI

   108



 ST. LUKE PASSION, NO. 13, “ET SURGENS OMNIS MULTITUDO” (1965)

109

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KRZYSZTOF PENDERECKI

   110



 ST. LUKE PASSION, NO. 13, “ET SURGENS OMNIS MULTITUDO” (1965)

111

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KRZYSZTOF PENDERECKI

   112



 ST. LUKE PASSION, NO. 13, “ET SURGENS OMNIS MULTITUDO” (1965)

TRANSLATION OF TEXT From Luke 23:1–22 (Authorized [King James] Version) [Evangelist] And the whole multitude of them arose, and led him unto Pilate. And they began to accuse him, saying: [Chorus] “We found this fellow perverting the nation, and forbidding to give tribute to Caesar, saying that he himself is Christ a King.” [Pilate and Jesus] “Art thou the King of the Jews?” “Thou sayest it.” “I find no fault in this man.” [Evangelist] And he sent him to Herod. [Chorus] Herod questioned with him in many words; but he answered him nothing. [Chorus] And Herod set him at nought, and mocked him, and arrayed him in a gorgeous robe, and sent him again to Pilate. And Pilate when he had called together the chief priests, said unto them: [Pilate] “Nothing worthy of death is done unto him. I will therefore chastise him, and release him.” [Chorus] “Away with this man, and release unto us Barabbas.” [Evangelist] Pilate, therefore, willing to release Jesus, spake again to them. But they cried, saying: [Chorus] “Crucify him, crucify him.” [Pilate] “Why, what evil hath he done? I have found no cause of death in him.”

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STRING QUARTET NO. 2, REH. 1–21 (1987) Sofia Gubaidulina (b. 1931)

 STRING QUARTET NO. 2, REH. 1–21 (1987)

115

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SOFIA GUBAIDULINA

   116



 STRING QUARTET NO. 2, REH. 1–21 (1987)

117

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SOFIA GUBAIDULINA

   118



 STRING QUARTET NO. 2, REH. 1–21 (1987)

119

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29

   120

TELEMUSIK, SECTIONS 1–5 (1966) Karlheinz Stockhausen (1928–2007)



 TELEMUSIK, SECTIONS 1–5 (1966)

121

KARLHEINZ STOCKHAUSEN

   122





 TELEMUSIK, SECTIONS 1–5 (1966)

123

KARLHEINZ STOCKHAUSEN

   124





 TELEMUSIK, SECTIONS 1–5 (1966)

125

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   126

RIVERRUN, 0:00–8:48 (1986) Barry Truax (b. 1947)

 RIVERRUN, 0:00–8:48 (1986)

127

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BARRY TRUAX

   128



 RIVERRUN, 0:00–8:48 (1986)

129

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BARRY TRUAX

   130



 RIVERRUN, 0:00–8:48 (1986)

131

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BARRY TRUAX

   132



 RIVERRUN, 0:00–8:48 (1986)

133

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BARRY TRUAX

   134



31

SINFONIA, III (“IN RUHIG FLIESSENDER BEWEGUNG”), MM. 1–96 (TO REH. E) (1968) Luciano Berio (1925–2003)

135

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LUCIANO BERIO

   136



 SINFONIA, III (“IN RUHIG FLIESSENDER BEWEGUNG”), MM. 1–96 (TO REH. E) (1968)

137

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LUCIANO BERIO

   138



 SINFONIA, III (“IN RUHIG FLIESSENDER BEWEGUNG”), MM. 1–96 (TO REH. E) (1968)

139



LUCIANO BERIO

   140



 SINFONIA, III (“IN RUHIG FLIESSENDER BEWEGUNG”), MM. 1–96 (TO REH. E) (1968)

141

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LUCIANO BERIO

   142



 SINFONIA, III (“IN RUHIG FLIESSENDER BEWEGUNG”), MM. 1–96 (TO REH. E) (1968)

143

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LUCIANO BERIO

   144



 SINFONIA, III (“IN RUHIG FLIESSENDER BEWEGUNG”), MM. 1–96 (TO REH. E) (1968)

145

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32

   146

RAMIFICATIONS, MM. 1–44 (1968–69) György Ligeti (1923–2006)

 RAMIFICATIONS, MM. 1–44 (1968–69)

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GYÖRGY LIGETI

   148



 RAMIFICATIONS, MM. 1–44 (1968–69)

149

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GYÖRGY LIGETI

   150



 RAMIFICATIONS, MM. 1–44 (1968–69)

151

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GYÖRGY LIGETI

   152



 RAMIFICATIONS, MM. 1–44 (1968–69)

153

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GYÖRGY LIGETI

   154



 RAMIFICATIONS, MM. 1–44 (1968–69)

155

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GYÖRGY LIGETI

   156



 RAMIFICATIONS, MM. 1–44 (1968–69)

157

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GYÖRGY LIGETI

   158



 RAMIFICATIONS, MM. 1–44 (1968–69)

159

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GYÖRGY LIGETI

   160



 RAMIFICATIONS, MM. 1–44 (1968–69)

161

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GYÖRGY LIGETI

   162



 RAMIFICATIONS, MM. 1–44 (1968–69)

163

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GYÖRGY LIGETI

   164



 RAMIFICATIONS, MM. 1–44 (1968–69)

165

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GYÖRGY LIGETI

   166



 RAMIFICATIONS, MM. 1–44 (1968–69)

167

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GYÖRGY LIGETI

   168



 RAMIFICATIONS, MM. 1–44 (1968–69)

169

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33

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“PRIMEVAL SOUNDS,” NO. 1 FROM MAKROKOSMOS, VOL. 1 (1972–73) George Crumb (b. 1929)



 “PRIMEVAL SOUNDS,” NO. 1 FROM MAKROKOSMOS, VOL. 1 (1972–73)

171

34

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“DREAM IMAGES (LOVE-DEATH MUSIC),” NO. 11 FROM MAKROKOSMOS, VOL. 1 (1972–73) George Crumb



 “DREAM IMAGES (LOVE-DEATH MUSIC),” NO. 11 FROM MAKROKOSMOS, VOL. 1 (1972–73)

173

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VIOLIN PHASE (1967) Steve Reich (b. 1936)

 VIOLIN PHASE (1967)

175

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STEVE REICH

   176



 VIOLIN PHASE (1967)

177

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STEVE REICH

   178



 VIOLIN PHASE (1967)

179

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STEVE REICH

   180



 VIOLIN PHASE (1967)

181

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36

   182

NIXON IN CHINA, ACT I, “NEWS” ARIA, MM. 374–542 (1987) John Adams (b. 1947)

 NIXON IN CHINA, ACT I, “NEWS” ARIA, MM. 374–542 (1987)

183

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JOHN ADAMS

   184



 NIXON IN CHINA, ACT I, “NEWS” ARIA, MM. 374–542 (1987)

185

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JOHN ADAMS

   186



 NIXON IN CHINA, ACT I, “NEWS” ARIA, MM. 374–542 (1987)

187

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JOHN ADAMS

   188



 NIXON IN CHINA, ACT I, “NEWS” ARIA, MM. 374–542 (1987)

189

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37

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CANTUS (1977) Arvo Pärt (b. 1935)

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 CANTUS (1977)

191

ARVO PÄRT

   192

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 CANTUS (1977)

193

ARVO PÄRT

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38

ADJUSTABLE WRENCH, MM. 1–72 (1987) Michael Torke (b. 1961)

195

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MICHAEL TORKE

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 ADJUSTABLE WRENCH, MM. 1–72 (1987)

197

MICHAEL TORKE

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 ADJUSTABLE WRENCH, MM. 1–72 (1987)

199

MICHAEL TORKE

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 ADJUSTABLE WRENCH, MM. 1–72 (1987)

201

MICHAEL TORKE

   202

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 ADJUSTABLE WRENCH, MM. 1–72 (1987)

203

MICHAEL TORKE

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39

SPRING SONG, MM. 1–41 (1995) Augusta Read Thomas (b. 1964)

205

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AUGUSTA READ THOMAS

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40

ASYLA, II, MM. 1–43 (1997) Thomas Adès (b. 1971)

207

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THOMAS ADÈS

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 ASYLA, II, MM. 1–43 (1997)

209

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THOMAS ADÈS

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 ASYLA, II, MM. 1–43 (1997)

211

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THOMAS ADÈS

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41

ARIEL’S HAIL (2000) Kaija Saariaho (b. 1952)

213

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KAIJA SAARIAHO

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 ARIEL’S HAIL (2000)

215

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KAIJA SAARIAHO

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 ARIEL’S HAIL (2000)

217

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KAIJA SAARIAHO

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ACKNOWLEDGMENT OF SOURCES CREDITS

Béla Bartók, “Song of The Harvest,” From Twenty-four Violin Duets © 1933 in the USA by Boosey & Hawkes Music Publishers Ltd. Copyright Renewed. Reprinted by permission of Boosey & Hawkes. Béla Bartók, “Whole-tone Scale,” From Mikrokosmos, Vol. 5 © 1940 in the USA by Boosey & Hawkes Music Publishers Ltd. Copyright Renewed. Reprinted by permission of Boosey & Hawkes. Béla Bartók, “Diminished Fifth,” no. 101 from Mikrokosmos, vol. 4 © 1940 by Hawkes & Son (London) Ltd. Copyright Renewed. Definitive corrected edition © Copyright 1987 by Hawkes & Son (London) Ltd. Reprinted by permission of Boosey & Hawkes, Inc. Béla Bartók, “From the Island of Bali,” no 109 from Mikrokosmos, vol 4 © 1940 by Hawkes & Son (London) Ltd. Copyright Renewed. Definitive corrected edition © Copyright 1987 by Hawkes & Son (London) Ltd. Reprinted by permission of Boosey & Hawkes, Inc. Igor Stravinsky, Agnus Dei, From Mass © 1948 by Hawkes & Son (London) Ltd. Copyright Renewed. Reprinted by permission of Boosey & Hawkes, Inc. Paul Hindemith LUDUS TONALIS “Interlude in G” Copyright © 1943 Schott Music GmbH & Co. KG, Mainz, Germany Copyright © renewed All Rights Reserved Used by permission of European American Music Distributors Company, sole U.S. and Canadian agent for Schott Music GmbH & Co., KG, Mainz, Germany Charles Ives, “The Cage,” from 114 Songs © 1955 by Peer International Corporation. International copyright secured. Printed in U.S.A. All rights reserved including the right of public performance for profit. Copyright renewed 1984. Ruth Crawford-Seeger, Diaphonic Suite No. 4, III (pages 9-12) © 1972 by Continuo Music Press, Inc. Sole Agent: Masters Music, a division of Kalmus, Inc. Reprinted with permission. Luigi Dallapiccola “Contrapunctus secundus” from Quaderno musicale di Annalibera for piano © 1953 Sugarmusic S.p.A. – Edizioni Suvini Zerboni, Milan (Italy) Anton Webern DREI LIEDER, OP. 25 NO. 1 “Wie bin ich froh” Copyright © 1956 Universal Edition A.G., Vienna Copyright © renewed All Rights Reserved Used by permission of European American Music Distributors Company, U.S. and Canadian agent for Universal Edition A.G., Vienna Anton Webern PIANO Variations, OP. 27 II Copyright © 1955 Universal Edition A.G., Vienna Copyright © renewed All Rights Reserved Used by permission of European American Music Distributors Company, U.S. and Canadian agent for Universal Edition A.G., Vienna Arnold Schoenberg, Klavierstück, Op. 33a © 1929 by Universal Edition. © Renewed 1956 by Gertrude Schoenberg. Used by Permission of Belmont Music Publishers

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ACKNOWLEDGMENT OF SOURCES

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Igor Stravinsky, “Lacrimosa,” From Requiem Canticles © 1967 by Boosey & Hawkes Music Publishers Ltd. Copyright Renewed. Reprinted by permission of Boosey & Hawkes, Inc. Pierre Boulez STRUCTURES Ia Copyright © 1952 Universal Edition A.G., Vienna Copyright © renewed All Rights Reserved Used by permission of European American Music Distributors Company, U.S. and Canadian agent for Universal Edition A.G., Vienna Olivier Messiaen, Introduction, from Turangalîla Symphony (rehearsal nos. 12–22, or pages 16–34) © 1953 by Durand & Cie. Karlheinz Stockhausen STIMMUNG Copyright © 1968 Universal Edition A.G., Vienna Copyright © renewed All Rights Reserved Used by permission of European American Music Distributors Company, U.S. and Canadian agent for Universal Edition A.G., Vienna Venetian Games (Jeux Venitiens) By Witold Lutosławski Copyright © 1960 by Mannheimer Musikverlag GmbH Copyright Renewed This arrangement Copyright © 2020 by Mannheimer Musikverlag GmbH All Rights in the United States and Canada Administered by Universal Music – MGB Songs International Copyright Secured All Rights Reserved Reprinted by permission of Hal Leonard LLC Krzysztof Penderecki ST. LUKE PASSION, No. 13, “Et Surgens omnis multitudo” Copyright © 2006 Schott Music GmbH & Co. KG, Mainz, Germany Copyright © renewed All Rights Reserved Used by permission of European American Music Distributors Company, sole U.S. and Canadian agent for Schott Music GmbH & Co. KG, Mainz, Germany STRING QUARTET NO. 2 By Sofia Gubaidulina Copyright © 2002 by Hans Sikorski Musikverlag, Hamburg. International Copyright Secured. All Rights Reserved. Reprinted by Permission of G. Schirmer, Inc. Reh. 1-20 Stockhausen TELEMUSIK, Sections 1-5 Copyright © 1969 Universal Edition A.G., Vienna Copyright © renewed All Rights Reserved Used by permission of European American Music Distributors Company, U.S. and Canadian agent for Universal Edition A.G., Vienna Barry Truax, Riverrun, 0:00-10:56. Electronic composition, there is no score for it; we use a sonogram reproduced from: Mara Helmuth, “Barry Truax’s Riverrun for 8-Channel Tape.” In Analytical Methods of Electroacoustic Music, ed. by Mary Simoni. (Routledge © 2006). Used with author’s permission. Luciano Berio SINFONIA, III, “In Ruhig Fliessender Bewegung” Copyright © 1969, 1972 Universal Edition A.G., Vienna Copyright © renewed All Rights Reserved Used by permission of European American Music Distributors Company, U.S. and Canadian agent for Universal Edition A.G., Vienna György Ligeti RAMIFICATIONS Copyright © 1970 Schott Music GmbH & Co. KG, Mainz, Germany Copyright © renewed All Rights Reserved Used by permission of European American Music Distributors Company, sole U.S. and Canadian agent for Schott Music GmbH & Co. KG, Mainz, Germany

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 ACKNOWLEDGMENT OF SOURCES Primeval Sounds from Makrokosmos, Volume 1 by George Crumb © Copyright 1972 by C.F. Peters Corporation. All rights reserved. Dream Images (LOVE-DEATH MUSIC) from Makrokosmos, Volume 1 by George Crumb © Copyright 1972 by C.F. Peters Corporation. All rights reserved. Steve Reich VIOLIN PHASE Copyright © 1969 Universal Edition A.G., Vienna Copyright © renewed All Rights Reserved Used in the world excluding the U.S. by permission of European American Music Distributors Company, agent for Universal Edition AG, Vienna John Adams, Nixon in China, Act I, “News” Aria, Mm. 374-542. Copyright © 1994, 1999 by Hendon Music, Inc, a Boosey & Hawkes company. Copyright for all countries. All rights reserved. Arvo Pärt CANTUS IN MEMORY OF BENJAMIN BRITTEN Copyright © 1981 Universal Edition A.G., Vienna All Rights Reserved Used by permission of European American Music Distributors Company, U.S. and Canadian agent for Universal Edition AG, Vienna Michael Torke, Adjustable Wrench, mm. 1-72 Copyright © 1987 by Hendon Music, Inc, a Boosey & Hawkes company. Copyright for all countries. All rights reserved SPRING SONG By Augusta Read Thomas Copyright © 1995 by G. Schirmer, Inc. International Copyright Secured. All Rights Reserved. Reprinted by Permission. Mm. 1-41 Ariel’s Hail From THE TEMPEST SONGBOOK Text by William Shakespeare Music by Kaija Saariaho Copyright © 2000 Chester Music Limited This arrangement Copyright © 2020 Chester Music Limited International Copyright Secured All Rights Reserved Reprinted by Permission of Hal Leonard LLC

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