Area of Study 2 • Music in the 20th century Arnold Schoenberg 'Peripetie' from Five Orchestra' Pieces o CD1 • track 4 This score is 'at concert pitch'; all instruments sound as shown, except the piccolo, which sounds an octave higher, and the contrabassoon and double bass, which sound an octave lower. Piccolo Flutes 1-3 Oboes 1-3 Cor anglais in F ClarinetinD Clarinets in B flat 1-3 Bass clarinet in B flat Bassoons 1-3 Contrabassoon Horns in F 1-6 Trumpets in B flat 1-3 Trombones 1-4 Tuba Xylophone Cymbals Tlin tam and B:l.ssdrum Violin I Violin II Viola Violoncello Double bass 48 Sehr rasch (very quick) ~ . ~ <J ffL---- 6-------' ~ '3~g I I <J ff -------' ~ L---:3~e <J ff~ ~ R~' oJ ff~ 6-------' ~ Pi --A==u. oJ ff '* # -------' L..----, ~ ~3 ..---r- ~ 03~ oJ f~ V ff '* # -------' L----6 / e~ ~ : f~ ~ ~J~ : . f~----- : ~ a6 tor muted J 3 , oJ ff -- -- - '* \~ # '*\~ # '*q:;!• ~q~[ =~ ~ mutt:d -------=--l.lo I. ~. ,. ;T;,..: J ,b# # <J ff==== -=== jJJ' '~~;d hqi",~, II- ~II- # h. ~~ 03 ",r,,r-,l : ff gliss -=== ff'I.-FH- : ,~ ~ ... " jJJ' •• :l : I 4 p;"if ~ Sehr rasch (very quick) divisi "'"~~~~ oJ I I jJJ' I jJJ' , I divisi p;nqG# "'o~~~! oJ j jJJ' I jJJ' I divisi area ee pIZZ. ~jJJ' jJJ' divisi > : : • ttf' I divisi >.- : : : ~ jJJ' ____ -----~-----Ih-r-m--~-~--
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Area of Study 2 • Music in the 20th century of Study 2 • Music in the 20th century Arnold Schoenberg ... Fanfare like FORTISSIMO Horn motif which is marked 'principal voice' (Haupstimme)
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Area of Study 2 • Music in the 20th century
Arnold Schoenberg'Peripetie' from Five Orchestra' Pieceso CD1 • track 4
This score is 'at concert pitch'; all instruments sound as shown, except the piccolo, which sounds an octavehigher, and the contrabassoon and double bass, which sound an octave lower.
Piccolo
Flutes 1-3
Oboes 1-3
Cor anglais in F
ClarinetinD
Clarinets in B flat 1-3
Bass clarinet in B flat
Bassoons 1-3
Contrabassoon
Horns in F 1-6
Trumpets in B flat 1-3
Trombones 1-4
Tuba
Xylophone
Cymbals
Tlin tam andB:l.ssdrum
Violin I
Violin II
Viola
Violoncello
Double bass
48
Sehr rasch (very quick)~. ~
<J ffL----6-------'
~ '3~g I I
<J ff -------'~ L---:3~e
<J ff~
~ R~'oJ ff~ 6-------'
~ Pi --A==u.oJ ff '* # -------'L..----,~ ~3
..---r- ~ 03~
oJ
f~ V ff '* # -------'L----6
/ e~ ~:
f~~~J~
:. f~-----
:
~ a 6 tor muted J 3 ,oJ ff -- -- - '* \~ # '*\~ # '*q:;!• ~q~[ = ~~ mutt:d -------=--l.lo I . ~.,. ;T;,..: J
Clarinets and flutes state two hexachords (bars 1 & 2)
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Fanfare like FORTISSIMO Horn motif which is marked 'principal voice' (Haupstimme)
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Bassoons also play the clarinet hexachord from bar 1, which is the same as the horn hexachord from bar 8 but transposed up 4 semitones.
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Section A (Bars 1-18)
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Opening contains mostly short triplet and sextuplet (group of six) bursts.
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Played in triplet quavers
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Brass dominate texture until Bar 8
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Piece begins loudly, becoming louder with sudden bursts from the instrumental groups.
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Trumpets and Trombones perform muted which is usually used to play quieter - Schoenberg uses the mute for the extremes of dynamics, which it was not originally designed for.
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There is no sense of key - an atonal piece throughout that is mostly built on hexachords.
Clarinet melody (Bar 10 ) is expressive and almost gentle but very angular including dissonant leaps of a minor ninth and major seventh/ diminished octave used to accentuate the dissonance and create tension.
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Woodwind take charge with the low bassoon, bass clarinet ostinato and silky clarinet line.
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Dynamics die away to pianissimo (very quiet).
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Hexachord (Bar 8) in horns
Area of study 2 Music in the 20th century
Tempo!,
" 2,3
3 lEtt l~OJ
Iq'~ -~ ~-
I ~-I i Ip I= ~ i, ~--,I rJ-=l
.J I ,!
,3, ppI, r-3_
OJ pp ,, ,2
, 2 r-J~ ci' tf,-6---,-
oJ pp~:f ~:;j~ ~~ ~<if~pp
~,2, tf~6_,
oJf~
r-r; ~~l r-~l ~ri~,1r-•• r-3~
~.. --~:
mf------
:
pp :::::::: ==-- -====-., a2iJ-----]
oJ ff *JqcJ *~., ,2
,3--]
oJ ff* <i'qcJ*~.unmuted
:
p~ tf, unmuted~,
oJ f q7J' ~. -, ,2 muted J 3oJ ff*q<i'qcJ * ~
2
:
:;--t--J-==muted
r-J~ 3:
fH ~~
, r-J~ r:-3i
oJ p, stacc. r-:-~~ r-3r- tf ,,-3 1
oJ P - * ......,f --===
tf".~ ~ ----- > --- , tf,- J--'~. ~ ~,:
p -==:: f~ ~ •••-==:: ~ f ••••••.
I S((/~ 3--, i'l~ Jtt~rJ,
- r-J~ ,.k~:
•.....•
Via
Vln II
V,
DB
CA
Tpt 1
FI J-
Bsn 3
Ob 1,2
Hn 1,2
HnS,6
Hn3,4
Bsn 1,2
Tpt2,3
Tbn 1,2
Tbn 3, 4
Cl inBflat3
Clin Bflat 1,2
pp
50
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Section B (Bars 18-34)
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Cello in the Section B takes over the role of the 'prinicipal' voice from the clarinet, ahnding over the baton to the trumpet after two bars. Intense cello line, played high in its register.
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Tempo returns to the original marking, with the short durations creating the illusion that them tempo has increased much more than is actually the case.
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Section B begins quite quietly but there is an immediate crescendo. The dynamics are varied from instrument to instrument with the principal and secondary voice parts allways f-fff.
Bars 24-28: Hauptstimme or 'principal' voice bounces from one brass instrument to another, demonstrating the idea of KLANGFARBENMELODIE
._-~~. l.fp
Area of Study 2
BSI1 1,2
Bsn}
Ctf;1 bsn
Hn 1,2
Hn 3,4
fin 5, 6
Tpt 1
fpt 2, 5
Tlm!,2
T'bn J.-t
Vln r
\!11 11
IHi
52
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j
.fp
.fp
-----
.fpa2> > >
.fp
> > >
.fp
fp
.fp
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Climatic point (Bars 30-34) but during the busyness and volume going on in the wind and percussion, Schoenberg has written a soft line for the first violins and cellos.
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Secondary Voice (Nebenstimme) springs up in the section for its only appearance in the piece (Bars 28 in Trumpet 1 and Bar 29 in Flutes, Piccolo, Clarinet)
Schoenberg has written a soft line for the first violins and cellos. There parts are all but inaudible, but they do add to the effect and texture, and display Schoenberg's attention to detail. Texture is POLYPHONIC throughout this section.
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Section A1 (Bars 35-43)
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I~p
II
-1-
36
Bass cJ
Bsn 1,2
etCl bsn
Hn1,2
Hn3,4
Hn5,6
Tp'1-3
Tba
VlnI
VlnI!
Via
Vo
DB
- ---'-- ,------.-- I~-~··I
0) •.... ~,,' ~~. _.~. q~ ~4' i ~ ."t. !j~ -"f -==.fPp I PI~I I!- ,
'(:----e ~ef'~e e e-Ie: Ie I solt) #.\ - tulli. divisist1J!:N~~
fp ---- pp :.==-- pp~ ,
Ii
tJ~
iJP _~=c,_~ I I
I i
kJ= (uttl ~ -- I
oJ ,'.:- ___ 0
ruhiger (calmer)
~, ~~ ..--- ===-------.. [ ~, .-~', - , ------, .--n~dS=- bJ q~ '------...I' ~ b£r g£r I I __ 10, l , Ig. Br7S77frj i ~----~ --- 'I P i[ I.· I
Via
Vln II
VillI
OhJ
Vc
DB
FI [-3
Bass c!
Ob 1,2
Hn 5, 6
Hn 1,2
Hn 3, 4
Bsn 1,2
Tbn 3, 4
Tlml,2
Cl tn B flat 3
CI tilB fbt 1,2
56
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Section A2: Bars 59-66
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Crescendos quite quickly from pp at the beginning of bar 59 to fff in bar 64.
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The beginning of the final section is marked by speeding up to the original tempo and a triplet figure in the clarinets and second violins.
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Starting with the clarinets and strings only, the instruments are introduced one by one in quick succession (layering the repeated rhythmic motifs) until the orchestra comes together for the final climatic chord in bar 64.
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ab3
ab 1,2
F11-314I
I,i
I'
Area of Study 2 . Music in the 20th century
j
ibtttiEbI p c~esc, -I-+ #], \t7J,
~ ... ~.
CA
ClinD
ClinB flat 1, 2
p cres,', _
Cl inB fJat 3
Vln I
Vlnl!
l"laCe.
pp
ViaslaC(
57
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Some of the rhythmic motifs from the opening bars return in the last section. Trumpets (Bars 61-63) and Clarinets (Bars 59-61)
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,2
+pp
+pp
pp
sehr r(Jvh {I)el}' '//lick),---, ------,
ppp~.
fff~E .~J!
fff
fff
ffffL ~~
fff
fff
fff
fff .••.
.ff
.ff,---J---,,2
>
~>
Music in the 20th century
~.
.ff
cresco _
Iunmuted
um1nuted 1,2
f
Tba
DB
Vc
Via
Cym
VlnI
Viol!
58
ClinD
Basscl
CA
Obl-)
FII-J
Ho 1,2
Area of Study 2
Pice
Hn3,4
Hn5,6
Bsn 1-3
Tptl-J
Tbo 1-4
Ctrabsn
TT&BD
ClinBflat3
Cl in B flat 1,2
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(Bar 64) Climatic chord is a hexachord (C,D,Eb, Fsharp, G, Gsharp) in most of the orchestra except double bass and cor anglais.
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Double basses playing a tremolo chord (very high in the register), which sustains after the rest of the orchestra subside to conclude the piece