Stravinsky – Le Sacre du Printemps: Manuscript Score скачать в хорошем качестве

Stravinsky – Le Sacre du Printemps: Manuscript Score

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 – historical recordi...   and Monteux    • Le Sacre du Printemps – historical recordi...   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 Printemps  .) 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. https://www.boosey.com/shop/ucat/rite...