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Articulation Stravinsky
Articulation Stravinsky
ISSN 12339679
241
Alicja Jarzebska
connected with the effect of short sound, are suggested for performers
by the superposition of traditional signs of articulation, different
rhythmic values with (or without) rest, and sometimes by additional
verbal information that this note ought to be really short and
separated from the following one (e. g. trs court, accentue et assez
court, trs serr). Stravinsky was convinced that graphic signs in
his scores are not the symbols of imagined sonorities and they do
not give full information on the new sonority proposed by him. So
he regarded his recordings as indispensable supplements to the
printed music.
[...] stylistic questions in my music are not conclusively indicated by the
notation; my style requires interpretation. This is true and it is also why
I regard my recordings as indispensable supplements to the printed music.
But that isnt the kind of interpretation by critics mean. What they would
like to know is whether the bass clarinet repeated notes at the end of
the first movement of my Symphony in Three Movements might be
interpreted as laughter; what difference could this make to the performer?
Notes are still intangible. They are not symbols but signs2.
242
There are two types: (1) legato-staccato on the same pitch and (2)
legato-staccato on different pitches usually played at various registers.
The refined effect of timbre as simultaneous legato-staccato on
the same pitch was invented by Stravinsky in the twenties and
used by him almost to the end of his compositional career. Gardner
Read linked this effect with the new scoring for wind in Stravinskys
neoclassical works. He wrote, that:
In his wind scoring Stravinsky abrogated the standard color devices
of the Impressionists and Expressionists flutter tonguing, glissandos,
raised bells, and the like in favor of a technique of distinctive articulation
new in the history of instrumentation. Briefly stated, this is the doubling
of similar instruments using opposing types of articulation. For example,
two flutes will be joined in unison on a melodic passage; the first flute
will play even, legato notes, while the second flute will produce the same
pitches staccato, or doubled-tongued, or withcross-accenting, or interspersed
with rests3.
Gardner READ, Style and Orchestration, New York-Schirmer Books, 1979, p. 181.
243
Alicja Jarzebska
244
245
Alicja Jarzebska
246
q = 72
5
&8
#.
#
J
sempre sim.
sfp
.
# .
5
J
J
&8
poco
Oboes
2
.
J
.
J
b.
b
b .
J
b .
J
b
J
.
J
B 85
Trombone
non
# .
#
J
sim.
b.
b
J
85
fg. 2
cfg.
vc.
cb.
fg.2
cfg.
vc.
cb.
? r
b .
p
? b
b . . b .
r
b .
b b b
# . . b .
# b
.
# . . # . .
# # #
b .
R
F
b
R
F
Example 2. Witold Lutosawski, Concerto for piano and orchestra, nos. 8586
1
Fg. 2
2
Timp.
Cb
j
#
j
.
j
.
j
j
.
j
.
~~~~
Vc.
j
.
S sempre
&
j
# .S sempre
? b b b j j
b b .
S sempre
? bb b j
bb
.
S sempre
?
b
.
? b b b
bb
sempre poco sf
pizz.
? bb b
bb
sempre poco sf
&
~~~~~
1
Cl. in La
j
.
j
# .
j
j
.
j
.
j
#
j
.
j
.
j
j
.
j
.
o -
j
.
j
# .
j
j
.
j
#
j
.
j
.
j
.
j
j
.
j
.
~~~~
re
~~~~
~~~~
bb
~~~~
& b b b ~~~~~~~~~~~
~~~~
Cook
247
Alicja Jarzebska
Vlno. I
Vlno. II
Vla.
# # 12 PARASHA
& # 43
J
#
#
& # 43
## 3
& # 4
B # # # 43
j
n j n
(pizz.)
non arpeg.
de 2 doigts
(pizz.)
J
(pizz.)
non arpeg.
de 2 doigts
non arpeg.
de 2 doigts
1
Cor. in Fa
2
1
Tr. in La
2
# # a #
& # 43 a #
J
### 3
& 4
? # # # 43
poco
sf e meno f subito
n j
.
.
arco
Vc., Cb.
staccatiss.
.
J
. b .
R
R
j
.
J J
.
J
. .
R
R
.
n .
J
J
j arco
F
arco
j
F
arco
J
F
J J
J J
J
.
# J
(4 times)
a1
2 trumpets staccato
and violins and violas du talon, spiccato with accent, sf
b1
only violins and violas du talon (but non spiccato and without
accent);
in b and b1 all instruments play in sum the chord bd1f
(8 times)
and later a c 1e1 (24 times)
a a1 b b1
248
Pi mosso {q = 120}
#
& # 42 J
HUSAR
1
Cl in La
2
1
Fag.
2
Vlno. I
Vlno. II
Vla.
1
Tr. in Do
2
Tr. in La 1
Vc.
Cb.
J
-
2
4
? # # 42
J
J
^
^
sempre sf
# # 2 du talon
& 4
S
# 2 du talon
& # 4
S
du talon
B # # 42
S
2
j
& 4 #
.
2
j
& 4
.
pizz. j
j
? # # 42
r
r
? ## 2
4
^
^
&
excessivement court
.
.
simile
J
-
e-
simile
S
S
S
j
.
j
.
sempre simile
sempre simile
sempre simile
j
#
.
j
.
j
# .
j
.
j
.
j
# .
j
.
r
A
sempre simile
Alicja Jarzebska
brass
strings
a b
b a1
PARASHA
&
Cb.
&c
?c
?c
. .
. .
b
.
.
b
n # # # # # #
.
.
. .
. b .
- -
NEIGHBOUR
a - o
1
Trbn. tenr.
2
76
# #
&c
Tr. in La 1
o-
..
o e - o co - o - o.
b
b b
sempre stacc. e pp
b b b b
sempre p e staccato
arco
Alicja Jarzebska
Table 2.
(no. 37)
(no. 38)
(no. 40)
X (24 )
A
Y (32 )
x + y
x1 + y1 x + y + x1
3/8
B1
B1
y + x
y1 + x1
y + x
y1 + x1 + y
4/8
3/8
B = a
.
A1 = a
4/8
A = a
3:4
x1
y1
b
B1 = a
x1
y1
252
The first pitch (B ) is played by Tb and Vc and doubled in octave by Cr and Cb.
253
Alicja Jarzebska
The scheme of section Z
3
4
3
4
b
b
a
b
a
3
8
b
b
a
b
a
3
4
b
3
4
b
a
b
a
b
a
3
8
b
a
bars
b
a
b
a
timbre-pulses
ostinato figure C
3
4
a a
b
a
5
8
b
b b
a a
3
4
b
a
b
a a
5
8
b
b
a
3
4
b b
a
a a
5
8
b
b
a
3
4
b b
a a
b
a
5
8
b
a a
b
a
b b
a
254
11
255