Famous Symphonic Poems in Score_abridged

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Symphonic Poems. Edited and devised by Albert E. Wier. The Miniature Score Series.

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Content ■ w. OfABlN » SW» wW DtlKASp LIADOW ■WCHABRÏE« DEBUOm With an entirely originai of arrow PÌgn0»ivhìch 4race;’t^ orchestration scor^veadity^pimple follow ordinary instrument^or vocalpi^c Mg» "g 4T~T SB5ZT SIBEHU£ ^| sioäfcÄ ÿrimv^sKY® ÌsShaikowsi® Ummskykof Sakqw ■;<Wii THE MINIATURE SCORE SERIES FAMOUS SYMPHONIC POEMS IN SCORE Edited and devised by ALBERT E. WIER The system of arrow signals, employed in this work to enable those unacquainted with the art of score reading to follow the instrumental outline, is the subject of a pending application for Letters Patent of the United States owned by Albert E. Wier. HARCOURT BRACE AND COMPANY NEW YORK BIOÌ^Ìs^^u^»' â >' ' æs ■ « Ur &B-:M oKftgslSM COPYRIGHT, 1938, BY HARCOURT, BRACE AND COMPANY, INC. All rights reserved. No part of this book may be reproduced in any form, by mimeograph or any other means, without permission in writing from the publisher. PRINTED IN THE UNITED STATES OF AMERICA FAMOUS SYMPHONIC POEMS IN SCORE/ INDEX Preface....................................... .................................. 4 Explanation of Arrow Signal System............... ; Chabrier—Espana Critical Note ............. 15 Score..........................................................................................;.......... 16 Debussy—Prelude à l’après-midi d’un faune Critical Note ................................................................ 6 Score............................................. 7 Dukas—L’Apprenti Sorcier Critical Note ...................... 32 Score.......................... 33 Liadow—The Enchanted Lake Critical Note ................... .................. 345 Score...........................................................................................................)46 Liszt—Les Préludes Critical Note ................................................................................................... 52 Score........................ 33 Moussorgsky—A Night on the Bare Mountain Critical Note . 75 Score.................................. h h ; h 76 Rimsky-Korsakow—Capriccio Espagnol Critical Note ............................... no c .......................................................-..........................112 Score........................................................................................ 113 Saint-Saëns—Danse Macabre Critical Note ...................................................... ................... 93 Score.......................... . . . . .................... 29 Scriabin—Le Poème de l’extase Critical Note . . . ................. 137 Sc“«••••■•...-:^/^'hh/h’hh/.hl38 Sibelius—-The Swan of Tuonela Critical Note . ............................ 341 • Score.......................... .gf.................................................. h 1" h " : ; 342 Strauss—Death and Transfiguration Critical Note . ................... 250 Score........... ...................................................................................... 251 " ——Don Juan Critical Note ........................................................................... Score ••••••.............................. • • ................................................... h ■ï h' ;: ; ;.: i90 “Till Eulenspiegel’s Merry Pranks Critical Note ............. ........................................... 9 91 o •••••••••••................... . . JL . Score................. .................................................................................... . .222 Stravinsky—Fireworks Critical Note ................. ^2 Score........................ 33 y Tschaikowsky—Capriccio Italien Critical Note ..................................... o............................................................................................................................. Z oZ ScOfe..................................... ..................... .................................................................................................................................. .... —Romeo and Juliet Critical Note ........................................................................................................... 311’ Score................................................................................. j 22 $ PREFACE For the comprehension of orchestral scores, even with the assistance of the system of arrow signals employed in this volume, ability to read instrumental music in both treble and bass clefs is necessary. It must also be borne in mind that certain wind instruments, such as the clarinet (except the clarinet in C), the French horn (except the horn in C) and the trumpets (except the trumpet m C) are transposing instruments; also that the parts for several string and wind instruments are written in the Alto and Tenor clefs, therefore some knowledge of transposition and of these clefs will be useful. Four separate pages of miniature scores are printed on each large page of this volume. The large page is bisected by horizontal and vertical Unes, the miniature pages located numerically as follows. i 3 2 4 (135) The large pages of this volume are designated by numbers in parentheses at the bottom of the pages; the miniature score pages of each individual composition are numbered separately in the upper right and left hand corners. Turning to Page 312, containing the first four pages in miniature of the score of the "Romeo and Juliet” Fantasy Overture by Tschaikowsky, it will be noted that Page 1 (on the miniature page) contains nine bars of music with a separate line provided for each instrument, the name being noted before the line. On Page 2 of the miniature score it will be noted that two sections of scoring are given, each comprising several measures. This is known as score condensation, that is, all instruments that have no notes to play during the eleven measures of the first section on the page are omitted, and all instruments that have no notes to play in the seven measures of the second section are omitted. The presence of two or more sections of scoring on one page is always indicated by the mark // between each section, and this mark must be carefully observed when reading score. The system of arrow signals used in this volume will be easily comprehended if its purpose is fully understood before attempting to make use of them. The purpose, starting with the first measure of each composition, is to indicate by an arrow the main melodic line as it progresses from instrument to instrument in the wood-wind, brass, string, and percussion sections of the orchestra, and at the same time point out by one or more additional arrows any important counter melodies or figures. A practical example of this method of score reading is given on the opposite page. EXPLANATION OF ARROW SIGNAL SYSTEM The pages used here for explanatory purposes are the first two pages of the "Romeo and Juliet” Fantasy Overture by Tschaikowsky. (Complete score on Pages 312-331 ). The circled numbers near the arrows are used only on these pages to aid in clarifying the explanation; they are not used elsewhere in the volume. Arrows Nos. 1 & 2 indicate the beginning of the melody in the 1st clarinet, sustained by the 2nd clarinet and two bassoons. Arrows Nos. 3 & 4 indicate the continuance of the melody in the same instruments. Arrows Nos. 5, 6, 7, 8 & 9 indicate the progress of the melodic line as it moves to the violoncello and double bass, the viola, the 1st and 2nd horns, the 2nd violins and the 1st violins. Arrow No. 10 indicates the return of the melodic line to the violoncello and double bass* ' The mark indicates the separation of Page 2 into two sections of scoring. Arrow No. 11 Arrow No. 12 indicates the transference of the melodic line to the flutes. indicates an accompanying figure in the violoncellos. Fl PRÉLUDE À L’APRÉS-MIDI D’UN FAUNE CLAUDE DEBUSSY Prélude à Paprès-midi d’un faune is scored for the following instruments: 3 Flûtes (Flutes) 2 Hautbois (Oboes) 1 Cor Anglais (English Horn) 2 Clarinettes (Clarinets) 4 Cors à Pistons (Horns) 2 Harpes (Harps) Fl. Hautb. Cor. Angl. Cl. Cors. Harp Cymbales Antiques (Antique Cymbals) Cym. Ant. Violons (Violins) Altos (Violas) Violoncelles (Violohcellos) Contrebasses (Double Basses) Viol. Alt. Ve. C. B. Each instrument is listed above under its name as printed on the first page of the score, its English equivalent, and the abbreviation used on succeeding pages. Prélude à Paprès-midi d’un faune was completed by Debussy in 1892, and played for the first time on December 23, 1894, at a concert of the National Society of Music, Paris. The conductor was Gustave Doret; it was reported that insufficient rehearsal and the poor acoustics of the Salle d’Harcourt resulted in an exceedingly poor performance. The work was suggested by a poem, somewhat obscure in its meaning and considered extremely sadistic at the time, by Stephen Mallarme. Itrelates the story of a faun which awakens in a forest, still drowsy under the influence of the warm sun. He tries to determine whether the white figures of nymphs flitting through the shadows of the woods are real, but finally abandons his mental efforts, curls himself up and returns to his interrupted slumbers. Critical opinions of the work were as usual both favorable and unfavorable. Charles Koechlin said : "the charm of this music is so simple, so melodic, but every new melody should be heard several times. For certain writers about music, Debussy was a dangerous artist with a diabolical fascination; diabolical or not, the work has lasted.” Prélude à l’après-midi d’ùn faune has been recorded by the Philadelphia Orchestra with Leopold Stokowski, and the Lamoureux Orchestra under Albert Wolff. (6) PRÉLUDE a l'apres-midi d*un faune 1 Claude Debussy 8 17 T T f TTf F f.rn % SS ■pp Subito^ ' = k(ùhb- - . pp *iil‘ih> COR *NGl J'p subito gk *V & =r------ ^sr ü- . '==— • =»-i ff f =»— =^“:sb— ^=— >• 5 * - 3 3 • j y ï 1 'i *} I * 1 : .I:V ^r III 'H m I* '<m< pl>JriM'i‘ ■M',U—£~------r-------r--------------— --------— b- '■ Z»—' . " ^r; .^=T* ł w V I Fp A V w $ ' • w ■ X?”' Ł*-' u—X> CORS '5=- ÿi£^- L^t a. L_.. ’'^ .Ł' Jwc l Ì ö F ' M ; ^ 1 a l ' - ;'c==* r^-w ^=»- '^T'-^ 5^\:=“^ •-^’cre.^5*. »* w 2s**- . ■ ■rd’*'/':•";T--— --?; j 2'.‘ HARPE M fl^k Unitt *r'* *0^t'‘H'f ■ Sy , pp nfibilo. * __ c»» - / -___ wzz^z^ï—— J pp^Mf '' — ' r gfe , v’ - ' i ■■ ..„ ppH^iliï C.B, ,____________■ _______________ ; rii^M.r.. .—■— .....’■■' " ..... Wp. ~,<*''^^,f j; - ,, -, ------ —------------- —-------- ■ *0 23 , «er . Aie» et ferverti J ' F ' IT~ J „„l. .........------------------------------- ... '/_______ ______ k r o= 'J CORS Ä —~=^== (Wÿ /ß -—_---- ...L-Ł--.^ ■. ł J ., \ 1 i 2* HARPE accordez sur Si#-un;, KÉ#-Nb, FA#-siOLb, LAt-Si? _^IDL. AL^^* poS. nat. ___ .-'--------- --- 1 1 ' / 1 k ç î : ---------- . .._ - *-- _-— I>iv, ........ ^-. —.... ... (n) 25 27 CG RS 28 30 VL. C,Ł —-r -r^f (14) ESPAŃA EMMANUEL CHABRIER Espana is scored for the following instruments: 2 Grandes Flûtes (Flutes) Fl. Timbales (Timpani) Timb. 1 Petite Flûte (Piccolo) Fl. Picc. Triangle (Triangle) Tri. 2 Hautbois (Oboes) Ob. Tambour de Basque (Basque tambourine) Tamb. 2 Clarinettes (Clarinets) Clar. Grosse Caisse (Bass Drum) Gr. Caisse 4 Bassons (Bassoons) Bas. Cymbales (Cymbals) Cymb. 4 Cors (Horns) Cor. 2 Harps (Harps) Harp 2 Trompettes (Trumpets) Tr. Violons (Violins) Viol. 2 Pistons (Cornets) Pisi. Altos (Violas) Alt. 3 Trombones (Trombones) Tromb. Violoncelles (Violoncellos) Vc. 1 Tuba (Tuba) Tuba Contrebasses (Double Basses) C. B. Each instrument is listed above under its name as printed on the first page of the score, its English equivalent, and the abbreviation used on succeeding pages. While travelling through Spain in the spring of 1883, Chabrier was completely fascinated by the native folksongs and dances which came to his ears by day and by night. He wrote down many of these themes in his note-book, and immediately upon his return, set about the composition of a rhapsody making use of these melodies, introducing only one original theme, the energetic one given to the trombones in the orchestration made after the work was first completed in two piano, four-hand form. The work was first played under the baton of Charles Lamoureux at the Chateau d’Eau, Paris, on November 4, 1883. Its success was equally great with the audience and the critics, the latter probably not regarding it, on account of the Spanish origin of all but one theme, as an original work, but rather as a piece of brilliant orchestration. Espana has been recorded by the Lamoureux Orchestra under the baton of Albert Wolff, and by the Detroit Orchestra with Ossip Gabrilowitsch; there are also many other recordings available. ESPANA K BRANDES FLÛTES 1 PETITE FLÛTE S HAUTBOIS V CLARINETTES re SI h Rhapsody Emmanuel Chabrier Aircon fuoco (M ë£ëe=Ê== -.... - & *là==^ / ------ —-g»- ■V —=s?~ - y»________ £ ^---— / fN 4 BASSONS S CONS eu FA (dmimaliqiw*) S CORS eu UT (ordinaire«) V TROMPETTES . u FA (<'hr>.niaiugh*») S PISTONS re SIb V? Sî TROUBORES BT TROMBONE rl TUBA TIMBALES TRIAMLE TAMBOUR K BASOUE -----U------------ — /F ? "/ " j / / —&— / —&— /* * "{f* •r —~7------ ——------------ . — a 3 ■ g . - ----- 1 j a S L* NARRE S* NARRE «—f • ! f __ "v’hrv“ j All? con fuoco A ^*ZX* VIOLONS B^w*»____ «n L w/MX r___ ALTOS * VIOLONCELLES CONTREBASSES ’ r . À ■*---- r—i "f t t . 5/ ■ * a-T—i—s TŁ vfe a~|æ / x M—r— Mf / »{f »X H’ JS, ,.., ----- ——f ;=^//F arco «77 3 .nrn. , . 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Tremi. C YiaUj . ^,yii., ■— — Æ " " J<-------- : 1 t Irmi» . — 4—4=H .™- ■ "Tamb __ < Jâ-C. ■ ■ r^P r ’tłarp.lT' jin ><;t 8--------- »emjiriSmwJwb ^57?^... ■— Di^rr«. ili». ^Vc. a=L= sNE^M &Ł4=U2 (29) i jr L’APPRENTI SORCIER PAUL DUKAS L’Apprenti Sorcier is scored for the following instruments: 1 Petite Flûte (Piccolo) Pte. Fl. 3 Timbales (Timpani) Timb. 2 Grandes Flûtes (Flutes) Gdes. Fl. Harpe (Harp) Harp (2 Hautbois (Oboes) Hb. /Glockenspiel (Glockenspiel) Glock. ■ 2 Clarinettes (Clarinets) Cl. I Grosse Caisse (Bass Drum) G.C. 11 Clarinette Basse (Bass Clarinet) Cl. Be. )Cymbales (Cymbals) Cymb. 13 Bassons (Bassoons) Bas. /Triangle (Triangle) Trg. 1 Contrebasson (Double Bassoon) C. Bm. (Violons (Violins) Viol. 4 Cors (Horns) Cors Altos (Violas) Alt. 2 Trompettes (Trumpets) Tromp. /Violoncelles (Violoncellos) Vc. 12 Cornets à Pistons (Cornets) Cornets (Contrebasses (Double Basses) C. B. ' 3 Trombones (Trombones) Tromb. Each instrument is listed above under its name as printed on the first page of the score, its English equivalent, and the abbreviation used on succeeding pages. This work was first played in Paris at a concert of the National Society of Music in 1897, and derives its inspiration from Goethe’s ballad "Der Zauberlehrling”, which was inspired by a fairy tale more than a thousand years old. The Goethe ballad relates the adventures of a sorcerer’s apprentice who has many times watched his master with a single word change the broomstick into a servant, who performed all domestic functions promptly and ably, and duly became a broomstick again when the magician uttered another magic word. During his master’s absence, the apprentice changes broomstick into servant, ordering him to bring water for the bath tub, but, when the task has been done, forgets the magic word necessary to transform him back to the form of a broom. The return of the sorcerer occurs just in time to save the apprentice from drowning in the water, which has become a veritable river in the room. UApprenti Sorcier is recorded by the New York Philharmonic Orchestra under Arturo Toscanini, and by the Lamoureux Orchestra with Albert Wolff. (32) L'APPRENTI SORCIER Paul Dukas Scherzo 7 9 IO C.B. ce (35) 15 piu animando 14 fł SI ,, tjk é •»• /. A A A It g pucu HU illllHIMłU J_______ 1 te__ 5/ te z ' H1 LrUr^- —Ä_ i * f »Z H ........'V fry-rtf 4s-r- /t-1 jL^., iyy *P- ,. IL,'..I —J= */• ko=•/ 4vt= £Z= i iB Utx5__JL_: h/' / / r £ f II“*. ■ ftv#= */‘ ’ - / ÿ / fe=X-> .y rt:;. yzzz -l"“ •/ H—nr—h—■ —_______ 1 2/ -'" ' 7^r"y,‘ ~~ Cwx ' ' It / Tri ■^ś / 4~ - a w.......- rvenc,' •fy * ^3 3 -S--- Tromp. — u lpg«r Jtjłry ...- . Sol? ft lêa. v -AH- lisi-—— —, 1 Harpr X ^■LL fT- ' V - il— f-H — (•HlcŁ a Trß w A' ' poco ai■limando 17 7 / Viol -Ł *z Alt Uggì »/ À.f,i’ g- : JA I“"- • / ' »z^1—1 ‘f * crw. / Lc=dtg= p f C.5. kp_ï r : •J £======== •ì (36) «alido «O«Tl 18 mouT 23 Poco stringendo _ P»-R.1 (/•Yf. »2 à-2 z^TÇ# _^^f. Hauti». 1 «2 /<73ft Cl 1 CI B. I fe^^==== g1/ .. --g rfigf — B*""‘ ----------- Ä---------------- -Äfc=== ----------- cine. Ä_^_ ---- - / Jl ■ ■ = À-T ±.7 SE --J^-r ...■ G,4< n =^= cirse• ......J>. > -I, , Cor» F" ? ■ T*"^ r r Fg T^t=j , y-= .. r -X ■■-■X.; r aigs-ras ... ; 7—X- — ? T = Fg 1 3= .,jrgu-j^...x.... Tromp. Cornet* ri4 lift te .1* te lift Ÿ |y Poco stri)udendo . _ Viol. mUE v...X 't ^r- +-=*■ ■ - 4=---F....... t! 4= =^=M <TPÄ C.B. 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B 0 “ ' f.ors (40) Ł " L 35 an 39 40 (42) »ec ' a" Cl.Ił. (43) 47 45 P ’ " H. « k*ri. H1' Cl. et.». B9»* y l 1 LU Up —äSZ: z Slit~ ~- C.BnB P .-------- _ " t '.Ä ‘ . ^=0= Com , *.... — — >» Tromp. Tromb. Ilwrpi* < UlQck. G.C. F_____ Cvmb. 4..... - Viol ’ Alt. ** ■ ł' r i' U r r 4 ' rsJ r " 7 — Vc. ex. P ’^FI. ■1 1 ?= 12 l;^ lì** Fl. •«*» Cl. CJ. M. H0H» C.B«« fcTrnc. p Cf^c11 p 4iüu JT ------- S Cor» ’£■* 7=4 > rrRiyi " ^»m Tromp. ^p cì^àt* L> * y» » Corort« Tromb. Hurprii J filoek. •- — p'crr^c. / ^t: R. C. 1 -■■ ■"■ ^enttc. f r pip cr^tc. Cymb. Viol. Alt Vc o| •■ J ' ' ' r 4-me. JHlMI r r , i . r 1 r r 1 1 j0 Lifi 7r Xf G.Ć. ttCvmb. ff- (45) 55 (46) 59 58 P,H Fl. G*- Fl. ÆU -jW-rW- # J/- ïOi. h 'Tir* 4m-~— Ä --W Hh // ¥> fr Cl. -A— 3.. ,. B""* :^=tì== y," “Xx**R*** .Cors //Bouc U^l hé*(enivrez lessons) Trump. /----— J/Bouc bestenivre;i les suns) P— 3 ■F-1.1 /•*«. /«.r 4vT Cornets ---------r /«er - J’**'Ç Cyiub. H £ P \ . ^-_ ♦' ^’ute Affi J Äl t i i .î» ♦ ♦ Dis- P I^T's i»n. Mł. V ■ . , " >r*T f-fY-f^ iffÿ, ff • X—< •Z—_ z—_ . -------------e JT J Uh ---- (47) ï l 1 » I 65 Ć3. 5 / En serrant ^7 68 Plus animé IF*'WU| / >• r"i- %^= rWł Kg. ■ ■4___L2^ =çy'y"4 7 >» id» hR tate yg= 1 ■ -■ P^ét tesr X2____ / J, . * , w?? II, 4jTl4U „Mi te1 te2 7 y 1 te 4 te ' t Cl „X; ', -/T, —-BEHteRF^Jæ^= >- y ■ 1 BI 1 iM' ," il -te- ■*T...:-T —i1 ; M tetete- >* ' i^jrtrflJ l|5 iJ+y -J-ite tetete / à 2 SSw -------—; . ..- — »-— ? = Z--------- --- te >• >>—— ài g ""■ / Z r ------ 'te- . P += / r f r ■ * r r f £ dim. r f • ; Éfegæ r M r r f * Plus aslimé ITt-~ ■AW- »- ■ Pte ■■' » ■-ME kJ E «a qo= J te1'" 711 -~- tet=s=æ ■i— ta-TT---- te--^ «feg» J # faff -teil f___ te------- te-'-ff1 Z— ■—- waM f ■•' tel 9 teJ w ter w (49) 71 ff 70 En animant toujours » & • i u/-< r>> >•. b?5-—s. P’ FI. À. . Jf L*. . i g^- : >. -, ' >* ' >- ■OL* L^»'*~ •* C4*' Fl. f^- 7 . . rk L>“' u z* ' fi >- »-. ■LS^ '" ' - Hh . 1 g •Ł^' biZ* ■ ' ? >- .3^— - ' Ch ÇI.B. /r £>•„ > ^5^ . . ;r>- T^'. .göo* jf If"' 'ffzY 7a . >• 4=^ yz =Hé= t>- ,^■=1 •ft . C.B"* à Cow Jf .à, -----. ff r^ l.t l> f^TT= Tro^p. CorMh J fi V ff TrpmK. Jor Ell HIlilT eê unit ton] ft ^1*^ pótim >* • >- lS* VioU U* u |j, , AW Vc 1 77 •ft 1 =F=m= ÿr kr w=4=rM ff' r =Mi= . --WMKL- .>• C»| ■Llee LES PRÉLUDES FRANZ LISZT y bV. Les Préludes is scored for the following instruments: 2 Flauti (Flutes) Fl. Cymbals (Cymbals) Ptti. 2 Oboi (Oboes) Ob. Gross Tambour (Bass Drum) Gr. Tbr. 2 Clarinetti (Clarinets) Cl. Arpa (Harp) Arp.< 2 Fagotti (Bassoons) Fg- Violino I (1st Violin) VI. I 4 Corni (Horns) Cor. Violino II (2nd Violin) VI. II 2 Trombe (Trumpets) Tr. Viola (Viola) Via. 3 Tromboni (Trombones) Tromb. Violoncello (Violoncello) Vic. 3 Timpani (Timpani) Timp. Contrabasso (Double Bass) Cb. Tambour (Side Drum) Tbr. Each instrument islisted above under its name as printed on the first page of the score, its English equivalent, and the abbreviation used on succeeding pages. This work is said to be a revision and enlargement of a cantata started in 1844; ten years later, chancing upon the unfinished composition after he had read Lamartine’s fifteenth Meditation "Les Preludes” in a series of poems entitled "New poetic meditations”, Liszt decided to reconstruct it to illustrate the sentiments of the poem. The composition was first performed on February 23, 1854, at a benefit concert for the widows and children of deceased members of the Court Orchestra in the Grand Ducal Theatre at Weimar, Liszt conducting from the manuscript. The score is prefaced by a quotation from Lamartine, part of which is freely translated by Rosa Newmarch as follows: "What is our life but a series of preludes to that unknown song of which death strikes the first solemn note? Love is the magic dawn of every existence, but where is the life in which the first enjoyment of bliss is not dispelled- by some tempest? . . . Yet no man is content to resign himself for long to the mild beneficent charms of Nature; when the trumpet gives the alarm, he hastens to the post of danger so that he may find in action full consciousness of himself, and the possession of all his powers.” Les Préludes has been recorded by the Amsterdam Concertgebouw Orchestra under Willem Mengelberg, and the London Symphony Orchestra with Albert Coates; several other recordings are available. (52) USZT Flauti Oboi Fagotti LES PRELUDES Symphonic Poem Andante 5 Clarinetti in |po Franz Liszt 3 'm. fbr. \rp. 71.1 l.U Vk Vie. Cb. a p > English ars later, tion "Les ruct it to 23, 1854, :hestra in Corni in Trombe in Basso Tuba Arpa Violino I Violino II Viola Violoncello e Contrabasso C Do pc LDo n. . . Pg - C - E hqwn m [Stìl.Do.Mi § Tenore Do Andante ■ pizz. _____ pizz. arco__ - ^gd|Xarco. ————~ yJ pizz. 1 Jarco^^ —Z 1 by Rosa of which lere is the io man is ï trumpet ousness of Hem Men* .rdmg5 are (53) 7 CM) dritta] 11 ff t 18 (lang gehalten) $$ (lunga) o 26 (59) 12. (Molto agitato ed accelerando) 80 (60) Due to copyright, only a portion of this score is available to read and download. Please email the Repository (polmusic@usc.edu) to make an appointment to use these materials in person. Please request permission from the Repository to view or download the entire score. If permission is granted, you will be given access via a login by the Repository enabling you to read and download the full score NIGHT ON THE BARE MOUNTAIN MODESTE MOUSSORGSKY Night on the Bare Mountain is scored for the following instruments: 1 Flauto Piccolo (Piccolo) Bice. Campana (Bell) Camp. 2 Flauti (Flutes) Fl. Piatti (Cymbals) Piatti 2 Oboi (Oboes) Ob. Cassa (Bass Drum) Cassa 2 Clarinetti (Clarinets) Cl. Tam-tam (Tam-Tam) Tam. 2 Fagotti (Bassoons) Fag. Arpa (Harp) Arpa 4 Corni (Horns.) Cent. Violini I ( 1st Violins) V.I 2 Trombe (Trumpets) Tr. Violini II (2nd Violins) V. II 3 Tromboni (Trombones) Trmb. Viola (Viola) Vie. 1 Tuba (Tuba) Tub. Violoncelli (Violoncellos) Veli. 3 Timpani (Timpani) Timp. Contrabassi (Double Basses) Cb. Each instrument is listed above under its name as printed on the first page of the score, its English equivalent, and the abbreviation used on succeeding pages. This work was composed by Moussorgsky in 1867; he revised it several times before his death, and Nicholas Rimsky-Korsakow, acting as the composer’s musical executor, revised it again. The first performance was at a concert of the Russian Symphony Society at St. Petersburg on October 27, 1886, with Rimsky-Korsakow at the conductor’s desk. It was unusually well received, so much so that it was again performed during the same season. The composer’s program in his own words is given herewith: "Subterranean sounds of supernatural voices.-—Appearance of the spirits of darkness, followed by that of Satan himself.—Glorification of Satan and celebration of the Black Mass.—The Sabbath revels.—At the height of the orgies the bell of the village church, sounding in the distance, disperses the spirits of darkness.—Daybreak.” Night on the Bare Mountain is recorded by the London Symphony Orchestra under the baton of Albert Coates, and by the Lamoureux Orchestra under Albert Wolff; there is also a recording by the Colonne Orchestra led by Paul Paray. DANSE MACABRE CAMILLE SAINT-SAËNS Danse Macabre is scored for the following instruments: 1 Petite Flûte (Piccolo) Pte.Fl. 3 Timbales (Timpani) Timb. 2 Grandes Flûtes (Flûtes) Gdes. Fl. Triangle (Triangle) Trg. 2 Hautbois (Oboes) Hb. Gymbales (Cymbals) Cymb. 2 Clarinettes (Clarinets) Cl. Grosse Caisse (Bass Drum) Gr.C. 2 Bassons (Bassoons) Bas. Harpe (Harp) Harp 4 Cors (Horns) Cors Violon Solo (Solo Violin) Vn. Solo 2 Trompettes (Trumpets) Tr. Violons (Violins) Viol. 3 Trombones (Trombones) Tromb. Altos (Violas) Altos 1 Tuba (Tuba) Tuba Violoncelles (Violoncellos) Vclles. 1 Xilophone (Xylophone) Xilopb. Contrebasses (Double Basses) C. B. Each instrument is listed above under its name as printed on the first page of the score, its English equivalent, and the abbreviation used on succeeding pages. This work was first performed in 1784; Saint-Saëns was inspired by a poem from the pen of Dr. Henry Cazalis (Jean Labor). Rosa Newmarch has made the following free translation: Zig and Zig and Zig—hark! Death beats a measure, Drums on a tomb with heels hard and thin. Death plays at night a dance for his pleasureZig and Zig and Zig—on his old violin. What are those moans from the lindens betiding? Dark is the night, and the wind bloweth keen. Skeletons pallid come out of their hiding, To dance in their shrouds over tombstone and green. Zig and Zig and Zig—how they jostle each other! List to the rattling of bones as they dance! But hush! in a twinkling the dancing is over, Each strives to be foremost—the cock he hath crowed. Two unusual effects in orchestral color have been secured by the use of the Xylophone to picture the rattling of bones, and by tuning the E string of the solo violin a semitone lower to Eb. Danse Macabre is recorded by the Philadelphia Orchestra with Leopold Stokowski, and the Berlin State Opera Orchestra under Erich Kleiber. (98) CAPRICCIO ESPAGNOL N. RIMSKY-KORSAKOW Capriccio Espagnol is scored for the following instruments: 1 Flauto piccolo (Piccolo) Fl. Pic. Triangolo (Triangle) Tri. 2 Flauti (Flutes) Fl. Tamburino (Tambourine) Tam. 2 Oboi (Oboes) Ob. Piatti (Cymbals) Pia. 2 Clarinetti (Clarinets) Cl. Cassa (Bass Drum) Cas. 1 Cor Anglais (English Horn) Cor. Angl. Castanetti (Castanets) Cas. 2 Fagotti (Bassoons) Fag. Violino I ( 1st Violins) Viol. 4 Corni (Horns) Cor. Violinoli (2nd Violins) Viol. 1 ÄÄ 2 Trombe (Trumpets) Tr. Viole (Violas) Via. 3 Tromboni (Trombones) Tromb. Violoncelli (Violoncellos) Vc. 1 Tuba (Tuba) Tuba Contrabassi (Double Basses) C. B. 2 Timpani (Timpani) Tim. Each instrument is listed above under its name as printed on the first page of the score, its English equivalent, and the abbreviation used on succeeding pages. Rimsky-Korsakow first intended to write a violin fantasy of virtuoso calibre, but finally abandoned I the idea in favor of an orchestral caprice. The work was so applauded at rehearsal by the players of the Imperial Russian Opera House Orchestra at St. Petersburg that the composer dedicated it to them, and their sixty-seven names are all on the title page of the published score. It was played first at a concert of the Russian Symphony Society on October 31, 18871 Tschaikowsky was a great admirer of this work; he wrote the composer about it as follows: "Your Spanish Caprice is a colossal masterpiece of instrumentation, and you may regard yourself as the greatest master of the present day.” Capriccio Espagnol has been recorded by the London Symphony Orchestra under Albert Coates, and by the Lamoureux Orchestra with Albert Wolff; another recent recording has been made by the Boston "Pop” Orchestra under the baton of Arthur Fiedler. (112) LE POÈME DE L’EXTASE ALEXANDER SCRIABIN Le Poème de l’Extase is scored for the following instruments: 1 Flauto Piccolo (Piccolo) Fl. Picc. Cassa (Bass Drum) Cassa. 3 Flauti (Flutes) Fl. Piatti (Cymbals) Piatti 3 Oboi (Oboes) Ob. Tamtam (Tamtam) Tarnt. 1 Corno Inglese (English Horn) Cor. Ing. Triangel (Triangle) Trgl. 3 Clarinetti (Clarinets) Clar. Campanelli (Bells) Camp. 1 Clarinetto Basso (Bass Clarinet) Bs. Clar. Celesta (Celesta) Cel. 3 Fagotti (Bassoons) Fag. Arpi (Harps) Arpa 1 Contra-Fagott (Double Bassoon) C. Fag. Violin Soli (Solo Violin) Viol. Solo 8 Corni (Horns) Cor. Violini I ( 1st Violins) Viol. 5 Trombe (Trumpets) Tr. Violinili (2ndViolins) Viol. 3 Tromboni (Trombones) Trbni. Viole (Violas) Vie. 1 Tuba (Tuba) Tuba Violoncelli (Violoncellos) Vcl. 3 Timpani (Timpani) Timp. Contrabassi (Double Bass) Cb. Each instrument is listed above under its name as printed on the first page of the score, its English equivalent, and the abbreviation used on succeeding pages. Scriabin first wrote a poem of great length, as inspiration for himself, before undertaking to create this work. He began the composition at Lausanne, Switzerland, in 1907 and finished it in 1908. Modest Altschuler, founder and conductor of the Russian Symphony Orchestra in New York, who had visited Scriabin at Lausanne while he was writing the work, was so impressed that he gave it a world première in New York on December 10, 1908. Three individual thoughts are expressed in the poem; the first relates to the soul in an orgy of love, the second to the realization of a fantastic dream, and the third to the glory of music as an art. Dr. A. Eaglefield Hull, biographer of Scriabin, and also one of his most ardent disciples, declared that the basic idea was the joy of creative activity. Le Poème de l’Extase is recorded by the PhiladelphiaOrchestra under the direction of Leopold Stokowski. (137) DON JUAN RICHARD STRAUSS Don Juan is scored for the following instruments: 3 Grosse Flöten (Flutes) Gr. Fl, 3 Trompeten (Trumpets) Trp. 1 Piccolo Flöte (Piccolo) Kl. Fl. 2 Posaune (Trombone) Pos. 2 Oboen (Oboes) Ob. 1 Tuba (Tuba) Tb. 1 Englisch Horn (English Horn) Englh. 3 Pauken (Timpani) Pk. 2 Klarinetten (Clarinets) Kl. Violine (Violins) Vl. 2 Fagotte (Bassoons) Fag. Bratsche (Violas) Br. 1 Kontrafagott (Double Bassoon) K. Fag. Violoncello (Violoncello) Vic. 4 Hörner (Horns) H. Basso (Double Bass) Kb. Each instrument is listed above under its name as printed on the first page of the score, its English equivalent, and the abbreviation used on succeeding pages. Don Juan is incorrectly known as the first tone poem by Richard Strauss when it is actually the second, the first, "Macbeth”, having been composed at Munich in 1886-87, while Don Juan was written in 1887-88. Its first performance took place at a concert of Grand Ducal Court Orchestra in Weimar during the fall of 1899; it was first played in the United States by the Boston Symphony Orchestra under Artur Nikisch on October 31, 1891. Strauss based his musical conception of Don Juan on a poem written by Nicholaus Lenau in 1844, a poet who eventually went mad. His conception of his hero was not as a hot-blooded libertine pursuing all women, but rather as a man seeking the ideal woman, and, not finding her, dropping his sword and permitting himself to be killed, after providing in his will for all the women he had wronged. Don Juan has been recorded by the Berlin State Opera Orchestra under the baton of Richard Strauss, and by the same organization with Otto Klemperer. TILL EULENSPIEGEL’S MERRY PRANKS RICHARD STRAUSS Till Eulenspiegel’s Merry Pranks is scored for the following instruments: 1 Kleine Flöte (Piccolo) Kl.Fl. 1 Tuba (Tuba) Tb. 3 Grosse Flöten (Flutes) Gr.Fl. 3 Pauken (Timpani) Pk. 3 Hoboen (Oboes) Ob. Triangel (Triangle) Trgl. 1 Englisch Horn (English Horn) Englh. Becken (Cymbals) Bek. 3 Klarinetten (Clarinets) Kl. Grosse Trommel (Bass Drum) Gr.Tr. 1 Bassklarinette (Bass Clarinet) B. Kl. Kleine Trommel (Side Drum) Kl.Tr. 3 Fagotten (Bassoons) Fag. Grosse Ratsche (Big Rattle) Gr. Rtsch. I Kontrafagott (Double Bassoon) K. Fag. Violinen (Violins) VI. 4 Hörner (Horns) H. Bratschen (Violas) Br. 3 Trompeten (Trumpets) Trp. Violoncelli (Violoncellos) Vic. 3 Posaunen (Trombones) Pos. Kontrabasse (Double Bass) Kb. Each instrument is listed above under its name as printed on the first page of the score, its English equivalent, and the abbreviation used on succeeding pages. This work was composed in 1894-95 at Munich, and it was first played at a Gürznich concert in Cologne on November 5, 1895, the conductor being Dr. Franz Wüllner. Till Eulenspiegel (literally translated "Owlglass”), was a character to be found in a book of old folk tales published between 1475 and 1530, a legendary hero of the common people who played jokes on and stole from the rich, but passed the money back to the poor. Richard Strauss refused to give an explanatory program for the tone poem, but did point out the two Eulenspiegel motives. Till Eulenspiegel’s Merry Pranks has been recorded by the British Broadcasting Orchestra under Fritz Busch, and by the Berlin State Opera Orchestra with Richard Strauss; there are many other recordings available. DEATH AND TRANSFIGURATION RICHARD STRAUSS Death and Transfiguration (Tod und Verklärung) is scored for the following instruments: 3 Grosse Flöten (Flutes) Fl. 3 Posaunen (Trombones) Pos. 2 Hoboen (Oboes) Ob. 1 Basstuba (Tuba) B.Tb. 1 Englisch Horn (English Horn) Englh. 3 Pauken (Timpani) Pk. 2 Klarinetten (Clarinets) KI. 1 Tamtam (Tam-tam) Tamtam 1 Bassklarinette (Bass Clarinet) B.Kl. 2 Harfe (Harps) Hfe. 2 Fagotten (Bassoons) Fag. Violinen (Violins) VI. 1 Kontrafagott (Double Bassoon) K.Fag. Bratschen (Violas) Br. 4 Hörner (Horns) H. Violoncelle (Violoncellos) Vic. 3 Trompeten {Trumpets) Trp. Kontrabässen (Double Basses) Kb. Each instrument is listed above under its name as printed on the first page of the score, its English equivalent, and the abbreviation used on succeeding pages. This work was composed at Munich during 1888-89, and the first performance was from the manuscript and under the direction of Strauss himself at Eisenach on June 21, 1890. It was greatly praised by Hans von Bülow. The printed score bears a poem in German; the popular impression that it inspired Strauss is erroneous because it was written by Alexander Ritter after he had heard the composition played, but it is regarded as an authoritative outline of the emotional meaning of the music. The poem portrays a sick man, fighting for life with Death, and in delirium recalling his childhood, youth and manhood. Finally, when Death at last strikes, deliverance—Transfiguration—is granted him in Heaven. Death and Transfiguration is recorded by the Philadelphia Symphony Orchestra under the baton of Leopold Stokowski. (250) CAPRICCIO ITALIEN PETER TSCHAIKOWSKY Capriccio Italien is scored for the following instruments: 1 Flauto Piccolo (Piccolo) Fl. I Glockenspiel (Orchestra Bells) Glock. 2 Flauti (Flutes) Fl. Triangolo (Triangle) Tri. 2 Oboi (Oboes) Ob. Tamburino (Tambourine) Triang. 2 Clarinetti (Clarinets) Clar. Gran Cassa (Bass drum) Gr. C. 2 Corno Inglesi (English Horn) Cor. Ing. Piatti (Cymbals) Piatti 2 Fagotti (Bassoons) Fag. Arpa (Harp) Arpa 4 Corni (Horns) Cor. Campanella (Bell) Camp. 2 Pistons (Cornets) Pist. Violini (Violins) Viol. 2 Trombe (Trumpets) Tr-be. Viole (Violas) Via. 2 Tromboni (Trombones) Tr-bni. Violoncelli (Violoncellos) Vol. 1 Tuba (Tuba) Tuba Contrabassi (Double Basses) C.B. 3 Timpani (Timpani) Timp. Each instrument is listed above under its name as printed on the first page of the score, its English equivalent, and the abbreviation used on succeeding pages. Tschaikowsky composed this work during 1880, while he was in the midst of a most enjoyable visit to Italy., Its first performance took place at Moscow on December 18, 1880; the première in the United States was given by the Symphony Society of New York on November 6, 1886. The work employs Italian melodies and dance rhythms; the trumpet call with which it opens was heard by Tschaikowsky at some military garrison in Italy. The principal theme is taken from an Italian popular song, and the Tarantella makes at once a characteristic and brilliant conclusion. Capriccio italien is recorded by the Philadelphia Orchestra under the direction of Leopold Stokowski, and by the Berlin Philharmonic Orchestra under the baton of Erich Kleiber. (282) ROMEO AND JULIET—-Fantasy Overture PETER TSCHAIKOWSKY Romeo and Juliet Fantasy Overture is scored for the following instruments: 1 Flauto piccolo (Piccolo) Fl. Pic. 3 Timpani (Timpani) Timp. 2 Flauti (Flutes) Fl. Piatti (Cymbals) Pia. 2 Oboi (Oboes) Ob. Gran Cassa (Bass Drum) Gr. C. 2 Clarinetti (Clarinets) Cl. Arpa (Harp) Arp. 1 Corno inglese (English Horn) Cor. ingl. Violino I (1st Violin) Viol. 2 Fagotti (Bassoons) Pg- Violino II (2nd Violin) Viol. 4 Corni (Horns) Cor. Viola (Viola) Via. 2 Trombe (Trumpets) Tr. Violoncello (Violoncello) Vc. 3 Tromboni (Trombones) Trom. Contrabasso (Double Bass) Cb. Each instrument is listed above under its name as printed on the first page of the score, its English equivalent, and the abbreviation used on succeeding pages. Tschaikowsky composed this work in 1869, the inspiration for its creation coming from a reading of Shakespeare’s play. It was first played at a concert of the Musical Society, Moscow, on March 16, 1870, with Nicholas Rubinstein conducting. The composer revised it twice before the final version was published in 1881. The first performance in the United States was directed by George Matzka with the New York Philharmonic Orchestra on April 22, 1876. Philip Hale’s comment on this work is well worth quoting: "The Romeo and Juliet overture would be worth a journey if only to hear Tschaikowsky’s love music. Here is the incomparable expression in tones of the Southern passion of Juliet.” Romeo and Juliet is recorded by the Philadelphia Orchestra under the baton of Leopold Stokowski, and by the Amsterdam Concertgebouw Orchestra with Willem Mengelberg. (311) FIREWORKS IVOR STRAVINSKY Fireworks {Feu d’artifice in French) is scored for the following instruments: 1 Flauto Piccolo (Piccolo) Fl. Picc: Triangolo (Triangle) Tria. 2 Flauti grandi (Flutes) Fl. Piatti (Cymbals) Cym. 2 Oboi (Oboes) Ob. Gran Cassa (Bass Drum) Gr. Cassa 2 Clarinetti (Clarinets) Cl. Celesta (Celesta) Cel. 1 Clarinetto basso (Bass Clarinet) Cl. bs. Campanelli (Bells) Camp. 2 Fagotti (Bassoons) Fg- Arpi (Harps) Arp. 6 Corni (Horns) Cor. Violini I (1st Violins) Viol. 3 Trombe (Trumpets) Tr. Violinili (2nd Violins) Viol. 3 Tromboni (Trombones) Tromb. Viole (Violas) Viole 1 Tuba (Tuba) Tuba Violoncelli (Violoncellos) Ve. 3 Timpani (Timpani) Timp. Contrabassi (Double Basses) Cb. Each instrument is listed above under its name as printed on the first page of the score, its English equivalent, and the abbreviation used on succeeding pages. In 1908, Stravinsky put aside the composition of his opera "Le Rossignol” to write Fireworks, and sent it to Rimsky-Korsakow in commemoration of his daughter Sonia’s marriage, but it was returned to him undelivered because of the great master’s death. The work is considered the first concrete indication of its composer’s tendency toward radicalism, and is intended to suggest the colors and explosive brilliancies of fireworks at night. Fireworks has been recorded by the Berlin Philharmonic Orchestra under Erich Kleiber, and the Colonne Orchestra with Gabriel Pierné conducting. (332) FIREWORKS Fantasy Igor Stravinsky, Op.4 Fl. piccolo. Flauti grandi H. 2 Oboi I. H(poiC.IngL) Con fuoco M. M. J=U8. 3 Trombe inA. Piatti. Gran Cassa. Celesta. Campanelli. Arpa I. Arpa II. 16 Violini 1. 14 Violini H. 12 Viole. 10 Violoncelli. 8 Contrabbassi. (poi Cl.basso.) 2 Fagotti. Timpani. Triangolo. 3 Trombonitenori Tuba. i.n.m. 6 Corni in F IV.V.VI. 2 4 (333) / ^«ih t 10 19 1« (336) 16 u 20 (337) , rm- ^S^kfeès 77 iTrFi irflQ r-n TFrn'^ T- à • [ k fff^^ p ’ £ À fff^....... P P fff^ rrf__ J . 1*^ /* r , F f Ft ■K r / ^F^=4=ê ^--^r ^~f I i fffCr^r-r* ff^p B?„ Ä aS. _ w fff^J^ Äi fff p ? d < V ^ < t $ » ^ ’ 1 V ■ y»*- A 1 1 M_________„ A_____________ Z .^rf^^T 1F==^“^ * nomo»« V \*mr • >•**** u §E , : r p , .r .... . :;.<| =.« << / i1Ç!* V V V'$ h^çtr^- = «WV ” i ff^-p ff^p j^=*J Piatti, y Ji i i Y ì À . JSi A «r e», ff ; ; X tc Î ! ffP ’ ' J rP X rP T piss. ^r 1 Mf” - żr^ ^ok»B unis. piss. 'm»>^7' ! __________ STOP _ jfcllp f arso jfc fHf »■ _____________ fff piss. p^ts.___________ arco ,<**? F'f* "if =— y-AFr-n fff piss. JÖT 93 H. U. # 2! 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FJ.- ■on dir. R R R < R (33») I 28 (339) 31 (340) THE SWAN OF TUONELA JEAN SIBELIUS The Swan of Tuonela is scored for the following instruments: 1 Corno Inglese, Solo (Solo English Horn) Cor. Inglh. Gran Cassa (Bass Drum) Gr. C. 1 Oboe (Oboe) Ob. Arpa (Harp) Arpa 1 Clarinetto basso (Bass Clarinet) Cl. B. Violini I (1st Violins) V.l 2 Fagotti (Bassoons) Fg. Violini II (2nd Violins) V.II 4 Corni (Horns) Cor. Viole (Violas) Via. 3 Tromboni (Trombones) Tromb. Violoncelli (Violoncellos) Vc. 3 Timpani (Timpani) Timp. Bassi (Double Basses) Cb. Each instrument is listed above under its name as printed on the first page of the score, its English equivalent, and the abbreviation used on succeeding pages. This work is the third part of Lemminkainen, a symphonic legend in four movements. The word Tuonela is the Finnish equivalent of our word "Hades”, and designates an island surrounded by a river of deep black water in which a swan, The Swan of Tuonela, glides about as it sings. The Swan of Tuonela is recorded by the Philadelphia Orchestra under the direction of Leopold Stokowski. (34-2) 3 _______ ^F==^===^==== fL------------------------ ...... =*■ -<2 2====^' rfm. ____ ! Tromb. T»»wp • su... ■ «■=============: --- - p * ow Sì = ^"ÏX t....:-- Sì / cme. ïZli— t fr / io» Wb«. trete. f . J ‘ * ■ .1 1 SE 'ÿ r ttu yr-^^ £03= Mb. Wm. crete. erecc. tiT^ V ---------”~ 7 7” / Mm. Mm. r crete. crete. vdur^________ jawi ■____________ —-~^= 4 Ai ^a.Basto ^Coy, Traini». __________ Timy,____________ ------------- ------------- Cr. CatM.._____________ ------ —....... = ba5 r =ss= S&CÏZÏZ22 (Tutti). J- ^z: jrSto Wle.v' _*___ S" ~ 1 . Jll-^ h^~>r * t Vi^ł^> < Vello. ŒH H 1 Ï ¥ 1 1 > umumumumum®umw umiimim^jmimmrjmr^ mmrm um 1 umhih i to umumumumumnmumnmm» « <im « «mir «m m « m w » « 1» o ™ 5 7 J» wär fM"4 " gF^. eoaSard.«* ! * r 1 pwnb . Gr.CaSU , nA>P* ■______ MB BoiSìP^rSS*^" ^_-==E j T 1 , I , I _ 1 _ I I j r?^v >• by~y~y — y —_. a . Mm. molto ^ryr =*r>. trem. trem. 4 — "/ I" Mm. molto "4 —<4 fr-.. r i'r « F~r 4-H f k-- ■ t v —4-- y*A jl 1 0 U L ........J, Mm. molto feÈ Mm. molto ». li M "7 “ 1 = 9 --= i / - J» r Mm. mòtto ■ .. 7 I y — "" 7' ' Mm. molto J» Viole . Vede. Basti_______ — — - — 6 8 Car.In^l. aA><wrôïe^ fòct» ÛT99C. ź 41-^ ------------------------------- #- » = Vf ' = V~..... = { Tro-mL. Timp. Cr. Cassa . — |F-- r — W.I. / - * .AZE >»dHf -------------- tL4----- 4n — poto ■ poco crete. 1 y= y y* » ■ - T 9- ■- poco <■ »' ■ e poco crete. 4» f ■ ......... *F==r— Lr g ?..........1 ............... f— - • er99Co 9 poco CTW. / $-■ ~ » === 1 :/ _ ■ = H/ ^poeo c^poc^ crete. k A "tf ’ peto « poco crete. ej^ poco è poco crete. poco « poco crete. Viole. Voll« . Bassi-_______________ — • r —r;.1 04-3) 9 11 12 04-0 15 14 THE ENCHANTED LAKE ANATOL LIADOW The Enchanted Lake is scored for the following instruments: 2 Flauti grandi (Flutes) 2 Oboi (Oboes) 3 Clarinetti (Clarinets) 4 Corni (Horns) 2 Timpani (Timpani) 1 Cassa (Bass Drum) 1 Celesta (Celesta) Fl. Arpa (Harp) Arpa Ob. Violini I (1st Violins) VI. I Cl. Violinili (2nd Violins) VI. II Cor. Viole (Violas) Vie. Timp. Violoncelli (Violoncellos) Vc. Cassa Contrabassi (Double Basses) Cb. Cel. In this work, Liadow portrays a lake reflecting in its mirrored surface the trees of a great forest, and giving shelter beneath its deep waters to the lovely water nymphs which play an important part in Russian fairy tales. The Enchanted Lake is recorded by the Boston Symphony Orchestra under the direction of Serge Koussevitzky. (345) THE ENCHANTED LAKE Symphonic Poem 3 pizz* 2 4 vi.n. div. Vie. div. areo (346) 5 T 6 13 15 (349) 20 (350) 21 23 25 27 26 28 (352) M b > > bw U» tu r inn- HARCOURT, BRACE MUSIC COLLECTIONS THE PIANIST’S MUSI? SHELF An anthology of original compositions and arrangements for the piano, extending from the harpsichord period to thè present day. Each volume has an individual title, indicating the musical period it coversi There will be sixteen volumes in the completed work, of which the eight listed below have been published. THE DAYS OF THE HARPSICHORD Volume 1 of "The Pianist’s Music Shelf”. 80 works by fifty famous composers of the 16th and 17th centuries. Paper covers $2.rj THE DAYS OF HAYDN, MOZART AND BEETHOVEN Volume 2 of "The Pianist’s Music Shelf”. 50 works by eighteen famous composers from 1725 to 1780. Paper covers $2.50 THE DAYS OF SCHUBERT, WEBER AND MENDELSSOHN Volume 3 of "The Pianist’s Music Shelf”. 52 works by twenty7?even famous composers from 1Z81 to 1809. 1 Paper covers $2.50 THE DAYS OF CHOPIN, SCHUMANN AND LISZT Volume 4 of "The Pianist’s Music Shelf”. 50 works by thirty famous composers from 1810 to 1829.’ Paper covers $2.50 THE DAYS OF BRAHMS AND SAINT SAËNS Volume 5 of "The Pianist’s Music Shelf”. 45 works by twenty-seven famous composers from 1830 to 18 39. Paper covers $2.50 THE DAYS OF GRIEG AND TSCHAIKOWSKY Volume 6 of "The Pianist’s Music Shelf”. 52 works by twentyMix famous composers from 1840 to 1849. Paper covers $2.50 THE DAYS OF SCHARWENKA AND MOSZKOWSKI Volume 7 of "The Pianist’s Music Shelf”. 44 works by twenty-seven famous composers from 18 50 to 18 54, Paper covers $2.50 THE DAYS OF SINDING AND ALBENIZ Volurrje 8 of "The Pianist’s Music Shelf”. 45 works by twenty-seven famous composers from 1 8 5 5 to 1861. Paper covers $2.50 THE MASTER MUSIC SERIES The volumes in this series are designed to benot only the finest publications ever issued respect to paper, binding and printing. The music page is unusually large minimize turning. PIECES FOR TWO PIANOS —FOUR HANDS This volume contains 48. classic, romantic and modern compositions for recital and stùdy purposes^ There are separate volumes for Piano I and Piano II. Paper covers; price for both volumes $7.50 PIECES FOR VIOLONCELLO This volume contains 91 works by eighty classic, romantic and moderncomposers, including seventeen great composer-’cellists. Separate parts for ’cello and for piano. ; Paper covers $5.00 PIECES FOR ALTO SAXOPHONE This volume contains- 69 works 1 / more than fifty classic and modern composers from Bach to Richard Strauss. Special arrangements of nearly all numbers; pi? ;o accompaniment. Paper covers. $5.00 from the musical standpoint, but also in (10% by 13 %"), the music systems being extra long to SYMPHONIC PIECES FOR ORGAN This volume contains 50 movements from symphonies, symphonic poems and suites by forty-eight classic and modern composers from Bach to* Prokofieff, arranged chronologically with critical comments. Paper covers $5.00 Cloth covers $7.50 MODERN SONATAS FOR VIOLIN This volume contains the finest sonatas written by Schumann, FrancK, Bargiel, Rubinstein, Brahms, Rheinberger, Grieg, Fauré, Strauss and Paque. Critical notes precede each sonata. Piano part separate. Paper covers $5.00 THE VIOLINIST’S MUSIC SHELF An anthology of original compositions and arrangements for the violin, extending from its earliest period to the present day. Each volume has an individual title indicating the musical period it covers. There will be fifteen volumes in the completed work, of which the eight listed below have been published. THË DAYS OF CORELLI AND BACH Volume 1 of "Thè Violinist’s Music Shelf”. 70 works by fi* y famous composers from 1620 to 1730. P? per covers $2.50 THE DAYS OF VIOTTI AND SPOHR Volume 2 of "The Violinist’s Music Shelf”. 54 works by thirty-four famous composers from 1731.to 1780. Paper covers $2.50 THE DAYS OF DEBERIOT AND DAVID Volume 3 of "The Violinist’s Music Shelf’5 43 works by twenty-two famous corpposers from 1781 to 1810. Paper covers $2.50 THE DAYS OF A^ARD, DANCIJ AND VIEUXTEMPS Volume 4 of "The Violinist’s Music Shell”. 40 works by. t\yenty*-one famous composers from 1811 to 1820. Paper ćóver£ $2.50 THE MINIATURE SCORE SERIES THE NINE SYMPHONIES OF BEETHOVEN IN SCORE The Nine Symphonies of Beethoven with four miniature pages within; one large page, and an arrow system enabling any müsician to read score. 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Paper covers $5.00 Cloth covers $7.50 FAMOUS INDIVIDUAL SYMPHONIES IN SCORE Ten famous symphonies by individual composers such; as Dvorak, Franck, etc. “ Paper covers $5.00 Cloth covers $7.50 FAMOUS SYMPHONIC POEMS IN SCORE Fifteen symphonic poems by famous composers such/^as Strauss, Liszt, Franck, etc. Paper covers $5.00 Cloth covers $7.50 THE DAYS OF JOACHIM AND HELLMESBERGER Volume 5 of "The Violinist’s. Music Shelf”. 40 works by twenty-eight famous composers from 1821 to 1834 Paper covers $2.50 THË DAYS OF WIENIAWSKI AND MONASTERIO Volume 6 of "The Violinist’s Music Shelf”. 3 5 works by eighteen famous composers from 183 5 to 1839. Paper covers $2.50 THE DAYS OF SARASATE AND WILHELMJ Volume 7 of "The Violinist’s Music Shelf”. 37 works by nineteen famous composers from 1840 to 1845. Paper covers $2.50 THE DAYS OF MARSICK AND SITT Volume 8 of "Thé; Violinist’s, Music Shelf”. 36 works, by twenty famous composers from 1846 to 1 850. Paper covers $2.50 THE SINGER’S MUSIC SHELF LYRIC SONGS FROM GRAND OPERAS' This volume contains 50 lyric songs, in rpedium keys, from famous grand operas by both classic and modern composers. Each song is preceded by a critical note and the composer’s portrait. ; Price $2.00 SONGS TO SING TO CHILDREN This collection furnishes to professional and amateur singers 70 songs which appeal to children both through the words and the music. American composers are represented by Cadman, Chasins, Mana Zucca, Randall Thompson and others. prj€e $2.00 THE LEISURE HOUR SERIES WALTZES FROM VIENNA This volume contains 50 waltzes, beginning with Franz Schubert, continuing with Strauss and culminating with Franz Lehar. Biographical notes and portraits of the composers. Price $2.00 SONGS OF STEPHEN FOSTER This volume contains all of Stephen Foster’s famous songs, presented in their original form with no attempt to modernize the accompaniments with unsuitable harmonies. Critical notes and pictures. Price $2-00 A Descriptive Catalog of these volumes sent upon request. HARCOURT, BRACE AND COMPANY 383 Madison Ave. New York City

Asset Metadata

Creator Vars, Henry (composer), Wier, Albert E. (editor)

Core Title Famous Symphonic Poems in Score_abridged

Contributor Polish Music Center (recipient), Vars family (donor)

Publisher Harcourt, Brace and Company (New York, New York, USA) (original), University of Southern California. Libraries (digital)

Tag composer,flm music,Henry Vars,Henryk Wars,Henryk Warszawski,Los Angeles,poland,printed music,Songs

Format 27 x 36 centimeters (dimensions), 364 pages (extent), black ink (medium), scores (documents for music) (aat)

Language English

Unique identifier UC113842647

Identifier 4/2/56 (catalog number), pmc-wars-4-2-056_abridged.pdf (filename)

Format 27 x 36 centimeters (dimensions),364 pages (extent),black ink (medium),scores (documents for music) (aat)

Rights Harcourt, Brace and Company (New York, New York, USA)

Internet Media Type application/pdf

Type texts

Source 20231214-pmc-wars_1-14 (batch), Henryk Wars Printed Music (series), Polish Music Center Archives (collection), The Henryk Wars Collection (subcollection)

Access Conditions These materials are available for educational use only. Due to copyright, only a portion of this score is available to read and download. Please email the Repository to make an appointment to use these materials in person.
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This project was made possible in part by the Institute of Museum and Library Services through IMLS Grant RE-85-18-0110-18. All digital items are a part of The Dianne and Tad Taube Polish Music Center Digital Archives at the USC Thornton School of Music. A portion of the materials are made accessible online. To reference the full volume, please contact: The USC Polish Music Center.

Repository Name USC Polish Music Center

Repository Location USC Polish Music Center, 837 Downey Way, Stonier Hall Ste 120, Los Angeles, California, 90089, USA

Repository Email polmusic@usc.edu