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Stravinsky - Le Sacre du Printemps: Manuscript Score
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- Опубликовано: 28 июл 2019
- Holograph manuscript of Le Sacre du Printemps (The Rite of Spring / Vesna svyashchennaya) (1913).
Live performance by Les Siècles, conducted by François Xavier-Roth (Actes Sud Musicales, 2014).
The fair copy seen here was completed in Clarens in Jan/Feb of 1913. It was marked up by Pierre Monteux (in blue pencil), and has numerous other alterations and modifications to the orchestration in Stravinsky's, Monteux's and probably a third hand. The manuscript itself was not used for the first performance, Monteux instead conducting from a copyist's edition, a performing set he used again in 1914 and subsequently for the rest of his life. (This set was unfortunately lost, though from Monteux's many recordings its contents can be inferred.)
This performance by François Xavier-Roth was prepared alongside the publication of the facsimile score by the Paul Sacher Stiftung. However, rather than following the manuscript to the letter, Xavier-Roth instead opts to try to reconstruct what would have been Monteux's performing edition, whilst retaining aspects of the original manuscript. There are rational reasons to do this: the manuscript is full of mistakes (notably several wrong notes in the bassoon solo, rehearsal 12+3), and itself has many changes to orchestration subsequent to the original notation in black ink. By doing as much, Xavier-Roth corrects most obvious copying mistakes while preserving the uniqueness of this early version. There are numerous differences throughout, of barring, orchestration, dynamics and playing techniques. These are particularly noticeable in the final Danse Sacrale, which begins pianissimo, and retains pizzicati and other aspects revised in subsequent versions.
One notable preservation in the manuscript is an entire alternative orchestration for the passage at rehearsal 28. This is shown at the end of the video (34:05), with a snippet of David Zinman's recording. (Zinman, unlike Xavier-Roth, does not use period instruments, and performs the manuscript largely as written - mistakes and all - rather than attempting to reconstruct the 1913 premiere.) The revision of the orchestration introduces the antique cymbals (used in only this passage), the original orchestration being much more impressionistic. Indeed, overall the original orchestration of the work was much more impressionistic than its subsequent revised versions, which were chiselled and made more direct and brutal. In the manuscript the Danses des Adolescents, for example, does not use all downbows, and is at times even somewhat quiet.
Another mystery of the manuscript is the opening of Part II. It appears Stravinsky originally wanted the second part to begin at rehearsal 86, raising the curtain on Cercles Mysterieux des Adolescentes shortly after this. But without enough time to change the scenery, he inserted what is now the passage from rehearsal 79, signing the bottom of page 44E "Clarens, 16-29 III 1913". These bars were thus the last to be composed. (In fact, parts existed for a standalone performance of just these opening bars of Part II, performed once by Ansermet in 1913 in Zurich.)
By no means does the Xavier-Roth recording represent what this piece would have sounded like in 1913 or 1914. The playing is secure, vigorous, unbridled - markers of intense familiarity by all the players. The original performances were far from this, the music difficult and deeply unfamiliar. For a sense of what the piece might have sounded like in the 1910s, the two recordings made by Stravinsky • Le Sacre du Printemps ... and Monteux • Le Sacre du Printemps ... with French orchestras in the late 1920s are revealing. (To this one might add Stravinsky's 1940 recording with the New York Philharmonic, perhaps the best recording of the piece • Stravinsky Le Sacre du... .) All of these performances preserve the pizzicati in the Danse Sacrale, and Monteaux's preserves other aspects too, such as the piatti cymbals on the final note.
The first concert performance in 1914 was a wild affair: Stravinsky was reportedly carried out of the hall by the crowd above their heads. But despite its triumph as a concert work, Stravinsky never recovered from the failure and indignity of the premiere in 1913. In 1968, with his son Theodore's help, he appended a note after the final bar of the manuscript (translated from Russian): "May whoever listens to this music forever be preserved from the mockery of which I was the witness in Paris in the spring of 1913 at the premiere of the ballet production of “Le Sacre du printemps” in the Théâtre des Champs-Élysées. Igor Stravinsky. Zurich, 11th October 1968.”
The autograph score facsimile is published by the Paul Sacher Stiftung and Boosey & Hawkes, though is sold out. www.boosey.com/shop/ucat/rite...
This is one of the most important cultural documents in the history of mankind. With each stroke of the pen he is defining what it meant to be modern in 1913. Every composer since then has had this score in the back of their mind when they sat down to write an orchestral piece. There is musical genius on every page and in every gesture. Orchestras like to play it and we like to hear it.
What that man said!
Got to love the last notes Stravinsky wrote down on the final page, down to the right, contrabass. Chord: D-E-A-D. The story doesn't get much more clear than that: dead.
What a cheeky man
the procession of the sage sounds absolutely wild on this recording, and i LOVE it
The voices are so clear! And the handwriting! 😍
100+ years later this piece is still relevant... I never get tired of listening to it. Now I'll never get tired of looking at the score. Thanks for posting.
Can you even imagine being the first conductor to see and attempt to learn that score (Monteux)? And being the very first orchestral players to see their parts? Wow!
in my old composition professor's own words: "when the fagotto player sees that first note, he s*its himself".
@@lupashI think everyone shits themselves when they learn that they'll be playing this
Pierre Monteux conducted the premiere as well as some fifty performances thereafter. He is supposed to have said that he never liked the composition.
Absolutely excellent. Thanks for putting this video together.
This recording is phenomenal it's so clear and different from recordings of this you would hear today!!
The volume of the live recording was unbalanced, causing some parts (alto flute, bassoon, trumpet, etc.) to be inaudible. Strings and oboe are too close to mic. But I agree the sound is very interesting.
@@sunpei-li7913 🤓
35:04 Gorgeous!
Rite of Spring:
This Autograph Score (AS) shown is in Stravinsky's hand. It is the 1920 facsimile of the Manuscript score used for the Ballet Revival: 15 December 1920; Théâtre des Champ-Élysées, Paris; Ernest Ansermet, conductor; and 16, 18, 22, 25, 27 December 1920, alternating performances with Vladimir Golschmann, conductor. The AS was used as the conducting score, so a number of substantial corrections given by Stravinsky that never found their way into later printed editions, probably arose from the rehearsals for this second ballet production. The blue conducting marks in the AS were Not made by Monteux.
The 2021 CPE also used 9 published scores as sources for the new edition.
The 1913 manuscript (MS) of the score Pierre Monteux used to conduct the premiere, (designated “O.Th.,” the copyist’s initials), has been lost [stolen?] from Boosey since the early 1990s.
The manuscript score and parts for the 1913 premiere were never published, and therefore the ©1921 edition (published in early 1922) has been the source score and parts for all future publications with Stravinsky's later changes. The published facsimile of the 1913 AS is not a facsimile of the score Monteux used to conduct the 1913 premiere, but of a different 1913 score in Stravinsky’s hand which is considered more authentic than the "lost" premiere score.
UTTERLY monumental testament and tribute to the zenith of the mind of humankind. ♥♥♥♥
Thank you for posting. I have the facsimile and have conducted form the score. But your post and description and links have been very helpful and will of great inspiration when I conduct it again in Kyoto. Thank you for your research and rediscovery.
Fantastic, John!
33:35
*D*
*E*
*A*
*D*
La Belle Époque full of masterpieces to the last one
Fascinating! You mentioned that in the passage at 29, the antique cymbals were introduced. Did you mean 28? I heard in the Sketches that he didn't originally write for them at all because he was unaware of them till he saw Debussy's Faun ballet. Thank you!
Just planning out and writing out a score like this is a mammoth undertaking in itself never mind writing the music.
Stravinsky’s Rite: A pagan celebration of nature culminating with a girl dancing herself to death.
Disney’s Rite: Dinosaurs.
Extraordinary calligraphy
what an incredible recording!
Great! Look at the composer's manuscript reveals many things that we never see in a printed score. Is this score at IMSLP?? Thank you
God, how kind of you to make this video. The facsimile wasn't to cheap to begin with, and now that it's out of print anyway... I guess you own a copy of the facsimile?
Does anyone know where I can find this actual score? The facsimile seems impossible to buy....
keşke nota okumayı ve hangi sazın nerede başladığını, o karışık seslerin hangi enstrümanlardan çıktığını bilseydim.
33:47
8:14
19:51
14:09
geat
geat
geat
geat
geat
Why is this oddly catchy?
Cause it's stravinsky