K103 Variationen
K103 Variations
Aldous Huxley in memoriam – Variationen. Aldous Huxley in memoriam [Aldous Huxley zum Gedenken] – Variations. Aldous Huxley in memoriam – Variazioni per orchestra. Aldous Huxley in memoriam
Scored for: a) First edition: 2 Flauti grandi, Flauto alto, 2 Oboi, Corno inglese, 2 Clarinetti, Clarinetto basso, 2 Fagotti, 4 Corni, 3 Trombe, 3 Tromboni, Arpa, Piano, Archi (12 Vl., 10 Vle., 8 Vc., 6 Cb.) [ 2 Flutes, Alto Flute, 2 Oboes, English horn, 2 Clarinets, Bass clarinet, 2 Bassoons, 4 Horns, 3 Trumpets, 3 Trombones, Harp, Piano, Strings (12 Vl., 10 Vla., 8 Vc., 6 Db.)] b) Performance requirements: 2 Flutes, Alto Flute, 2 Oboes, English horn, 2 Clarinets, Bass clarinet, 2 Bassoons, 4 Horns, 3 Trumpets, 3 Trombones, Harp, Piano, 2 Solo Double basses, Strings (12 Violins*, 10 Violas**, 8 Violoncellos***, 6 Double basses****).
* Divided in twelve = Solo Violins.
** Divided in ten = Solo Violas.
*** Divided in two.
**** Including 2 Solo Double basses.
Score: The Variations are constructed as a reformed score in modern score layout consisting of separate blocks with systems reduced to incorporate only the necessary parts; all the instruments are written in C and sound as written.
Construction: The Variations are a one-part, serially constructed orchestral concert piece with a chamber and solo music structure notated in C, the formal system can be seen as to be between three and eleven parts, all of which have no separate titles; it is displayed in a sober score arrangement of separate blocks with systems reduced to the parts that are being used. –
Strawinsky divides the Variations only with metronome markings and identification markings such as stesso. Depending on the construction of the form, we can assume 11 episodes of variation, which does not accurately account for the central weightiness of the three main variation blocks, or else 3 main variations with prelude, postlude and 2 interludes, which again would assign an inappropriate role to the second interlude with its 5 self-standing variations, including a Fugato. The Strawinsky literature has adopted these different points of view, but always emphasises the weight of the three main variations. The variation work cannot be described in orthodox formal terms, which differentiate between variations of figure and character. Strawinsky’s principle of variation is formed from incessantly changing intervals and their mirror images, which change just as much. There is no theme which reworks its figuration or which changes its contents, rather only 7 six-part chords, played by muted trumpets and trombones in the first 5 bars at the beginning, and which are produced in the form of character variations and intervallic variations: these are what Strawinsky calls variations. He is similar in this way to Schoenberg and Webern. The variations are strictly twelve-tone, constructed from the prime row, retrograde, inversion and retrograde inversion; the model fits into a metrical twelve-part scheme, 4+3+5, which passes by twelve times like a verse and is separated after 4 entries by events in between, i.e. interludes. This therefore results in 3 larger sections which are characterised individually, even in terms of technical instrumentation, because tone colours play a specific role in the variations. These are actual variations which are called main variations. They are separated by an interlude, introduced by a prelude and concluded with a postlude. The interludes are also separated. Formally, there is a large-scale plan of A-B-C-B2-C2-B3-D(A1), made up of Prelude, 1st Variation, 1st Interlude, 2nd Variation, 2nd Interlude, 3rd Variation, Postlude. The Variations are by this account in three or seven sections ([1st Prelude = 1st section] bars 1-22; [II. 1st Main Variation = 2nd section] bars 23-33; [III. 1t tInterlude = 3rd section] bars 34-46; [IV. 2nd Main variation = 4th section] bars 47-58; [V. 2nd Interlude as a variation = {Episode a} = 5th section] bars 59-72; [V. 2nd Interlude = {Episode b} = 6th section] bars 73-85; V. 2nd Interlude = {Episode c} = 7th section) bars 86-94; V. 2nd Interlude = {Episode d} = 8th section] bars 95-100); [V. 2nd Interlude = {Episode e Fugato} = 9th section] bars 101-117; [VI. 3rd Main Variation = 10th section] bars 118-129; [VII. Postlude = 11th section] bars 130-141). In terms of process, Strawinsky works as usual with intervallic repetitions of sections of rows without automatism. All eleven sections are assigned an individual rhythmic scheme. –
[I.] The Prelude is constructed as a monody in tone colour in its chordal preparation in concise harmonic fluctuations, and the first 7 chords in the trumpets and trombones form the material for variation. –
[II.] The first variation is dominated by the ethereal, otherworldly tone colour of the 12 solo violins playing at the bridge. Each part has its own form of the row which changes in the course of the exposition of the row and plays it through four times. –
[III.] The first Interlude, linked to the variation by one note held in the 1st flute, sets the sound of the solo strings against a woodwind sound, in which all three flutes, the 1st oboe and both bassoons take part. –
[IV] In the second main variation, the tone colour changes again and darkens, as it is manipulated like a tapestry of sound. There are 12 string instruments playing, as in the first variation, this time 10 solo violas and 2 solo double basses, with everyone playing at the bridge. –
[V.] The fifth section is a five-part interlude which is in reality constructed as a miniature variation suite with concluding fugato variation. In one variation, a further variation is inserted. Most episodes, including the main variations, end with a general pause. The first episode begins in two parts with both flutes, becoming three-part with the addition of the alto flute before returning to one part with a held note in the bass clarinet for a bar (65); 2 bassoons then join, after which the texture returns to the three flutes and it then proceeds into four parts with the held bass-clarinet note, after which the trumpets and strings combine to make five parts and it ends in six parts. The second episode is itself five-part in the toccata-like alternation of chords and passagework and has the plan A-B-A1-B1-A2 with a dynamic running in the opposite shape of an arch form. The third episode forms a thick contrapuntal web out of rows intervallically displaced, among other things; one must leap over the systems if one is to comprehend it. In the fourth episode, in the three-part staccato progression of the trombones the bassoons interfere (bars 95-96). The trombones and 3 horns conclude the episode. The fifth episode ends this variation piece within a variation piece with a string fugato. This episode also finishes with a general pause with a fermata. –
[VI] The third and final variation reunites the 12 instruments, this time all 11 woodwind instruments and an additional first horn. Again the register is moved lower from that of the second main variation so that, seen over all three variations, a movement of sound occurs from the soprano register to the middle register. –
[VII.] The last 11 bars make up the Coda, which is a shortened and reworked version of the Prelude and, after a six-part string chord of only 11 notes of the row and an emphatic, preparatory general pause like a point, one hears a relaxation of the tension or perhaps even the use of humour in that the last note of the row, G sharp, is the solo note of the bass clarinet.
Structure
[I Prelude] // [1st section]
Crotchet = 80 (bar 1 up to bar 22)
[II 1st (main-)variation ] // [2nd section]
Crotchet = quaver = 80 (bar 23 up to bar 33)
[III 1st Interlude] // [3rd section]
Quaver = quaver (bar 34 up to bar 46)
[IV 2nd (main-)variation] // [4th section]
Tempo Quaver = 80 (come supra) (bar 47 up to bar 58)
[V 2nd Interlude as variations] // [5th section]
[Episode a] // [5th section]
Tempo Crotchet = 80 (bar 59 up to bar 72)
[Episode b] // [6th section ]
Stesso Quaver (bar 73 up to bar 85)
[Episode c] // [7th section]
Stesso Semiquaver (bar 86 up to bar 94)
[Episode d] // [8th section ]
Stesso Quaver (bar 95 up to bar 100)
[Episode e (Fugato)] // [9th section]
Stesso Quaver (bar 101 up to bar 117)
[VI 3rd (main-)variation] // [10th section]
Crotchet = Quaver = 80 (bar 118 up to bar 129)
[VII Postlude] // [11th section ]
Quaver = Crotchet = 80 (bar 130 up to bar 141)
Rows: d2-e2-g2-f2-c2-f#2-g#2-d#2-c#2-a1-a#1-b1*; d2-c2-a1-b1-e2-a#1 / g#1-c#2-d#2-g2-f#2-f2**; f-e-d#-g-a-d-c-f#-b-c#-a#-g#***.
* According to White.
** According to Vlad.
*** Intervallically displaced retrograde inversion.
Style: The Variations are among Strawinsky’s twelve-tone works the most dense one. In them, wandering tone colours join with rare colourful sounds, which change the instrumental preparation from bar to bar and thus the character. In this way, the composition becomes joyfully and diversely colourful and it is easy to hear through after some knowledge of it and effective, depending on the ability of the performers. The rows are used vertically and horizontally and the instruments are employed very sparingly and in accordance with the structure. Furthermore, each section has its own rhythmic structure.
Dedication: The dedication is part of the main title.
Duration: 4' 51" up to 5'.
Date of origin: Santa Fé July 1963 up to Los Angeles 28th October 1964; Corrections dated 28th December 1966.
First performances: 17th April 1965 in Chikago, Chicago Symphony Orchestra under the direction of Robert Craft (First European performance: 28th May 1965, Warschauer Philharmonie under the direction of Robert Craft; First Canadian performance: Vancouver Festival Orchestra, 12th July 1965 under the direction of Robert Craft).
Remarks: This work was originally intended to be called ‘Some Variations’. The reference of the variations to Aldous Huxley was coincidental. Huxley had always occupied himself with the concept of time and strongly present timeless eternity as an area of true existence away from greediness, egoism and business. His way of thinking met Strawinsky’s absolute approval. In terms of mutual appreciation of each other’s work however, there could never be a closer link between Huxley and Strawinsky because Huxley listened exclusively to Classical and Romantic music and had no appreciation of contemporary music, including Strawinsky’s. The months in which Strawinsky was working on his piece were months of suffering and death for Huxley, who was suffering from cancer of the larynx. Huxley’s wife Maria had already died of cancer in 1955. This was a source of great sadness and emotion to Stravinsky, as Craft testifies, because Aldous Huxley, whose entire life revolved around his wife, was at that time almost blind. Strawinsky felt it natural throughout to dedicate his music to him, although it was always clear to him that it was not to Huxley’s taste and that he would almost certainly have disliked it It was Huxley however who introduced him to Gesualdo’s music, and Huxley’s both religious and sharp-sighted view of the world caused sympathetic strings to resonate with Strawinsky. That Huxley, who lived and died in Strawinsky’s neighbourhood in Los Angeles, was connected professionally to the London publishers Faber & Faber, may have caused the publishers to take on Strawinsky’s publications. – The construction process has attracted much analytical attention, and Strawinsky complained in his typical mixture of fierceness and self-mockery that since the première, the Variations had been analyzed more than they had been played (>‘ … the music has been analyzed more than it has been performed’ <).
Significance: The Variations with their contrapuntal serial poetry were regarded as an acception in Strawinsky’s output.
Production: Balanchine choreographed the Variations for the first time on 31st March 1966 in New York and let it be danced three times in succession one after the other, each time with a different choreography in order to point out the almost inexhaustible plurality of interpretations of this work which is not bound to its content and which was consistent with Balanchine’s late ideas. His new choreography for the New York City Ballet in connection with the Strawinsky Festival in 1982 was his last choreographical work on the whole.
Versions: The publishing contract with Boosey & Hawkes was settled on 30th November 1964. The conducting and pocket scores of the Variations were published in 1965 by Boosey & Hawkes. No piano reduction was produced in Strawinsky’s lifetime. The parts were available to hire. Strawinsky received his copy of the pocket score in January 1966, according to his entries. It can probably be assumed that the pocket score originally had a stitching of a black or dark colour.
Historicals Records: Hollywood 26th August 1965, Columbia Symphony Orchestra under the direction of Igor Strawinsky; New York City 11th October 1966, Columbia Symphony Orchestra under the direction of Robert Craft; First recording 10th September 1965 Norddeutscher Rundfunk Hamburg).
CD edition: XII/6 (Recording New York 1966).
Autograph: Library of Congress, Washington; Sketches, including sketches in short score, are in the Paul Sacher Stiftung in Basel.
Copyright: 1965 by Boosey & Hawkes Music Publishers Ltd.
Editions
a) Overview
103-1 1965 FuSc; Boosey & Hawkes London; 25 pp.; B. & H. 19290.
103-1Straw ibd. [with annotation].
103-2 1965 PoSc; Boosey & Hawkes London; 25 pp.; B. & H. 19290; 779.
b) Characteristic features
103-1 IGOR STRAVINSKY / VARIATIONS / ALDOUS HUXLEY IN MEMORIAM / Full Score / BOOSEY & HAWKES // IGOR STRAVINSKY / VARIATIONS / ALDOUS HUXLEY IN MEMORIAM / Full Score / BOOSEY & HAWKES / Music Publishers Limited / London · Paris · Bonn · Johannesburg · Sydney · Toronto · New York // (Full score sewn in black 27.6 x 37.7 (2° [gr. 4°]); 25 [25] pages + 4 cover pages thicker paper black on light green grey [front cover title, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<* production date above advertising block flush left >AT7496c< below advertising block >No. 40< [#] >7.65<] + 2 pages front matter [title page, page with the dates of the première and first performances dates partly in italics > First performance: Chicago Symphony, April 17th, 1965, / Robert Craft conducting. / First European performance: Warsaw Philharmonic, May / 28th, 1965, / Robert Craft conducting. / First Canadian performance: Vancouver Festival / Orchestra, / July, 12th, 1965, Robert Craft conducting. / First Recording: Norddeutsche** Rundfunk, September 10th, 1965.< + legend >Orchestra< Italian + note on performance > All instruments are written at actual pitch < English + duration data [5'] English] + 1 page back matter [empty page]; title head >VARIATIONS<; dedication below title head centre centred >Aldous Huxley / in memoriam<; author specified 1st page of the score paginated p. 1 below dedication flush right centred >IGOR STRAVINSKY / 1963-1964<; legal reservations 1st page of the score below type area flush left >© 1965 by Boosey & Hawkes Music Publishers Ltd.< flush right >All rights reserved<; production indication 1st page of the score below type area below legal reservation flush right >Printed in England<; plate number >B. & H. 19290<; end of score dated >Oct. 28/64 / Hollywood<; without end marks) // (1965)
* Compositions are advertised in two columns without edition numbers, without price informations and without specification of places of printing >Operas and Ballets° / Agon [#] Apollon musagète / Le baiser de la fée [#] Le rossignol / Mavra [#] Oedipus rex / Orpheus [#] Perséphone / Pétrouchka [#] Pulcinella / The flood [#] The rake’s progress / The rite of spring° / Symphonic Works° / Abraham and Isaac [#] Capriccio pour piano et orchestre / Concerto en ré (Bâle) [#] Concerto pour piano et orchestre / [#] d’harmonie / Divertimento [#] Greetings°° prelude / Le chant du rossignol [#] Monumentum / Movements for piano and orchestra [#] Quatre études pour orchestre / Suite from Pulcinella [#] Symphonies of wind instruments / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine [#] Variations in memoriam Aldous Huxley / Instrumental Music° / Double canon [#] Duo concertant / string quartet [#] violin and piano / Epitaphium [#] In memoriam Dylan Thomas / flute, clarinet and harp [#] tenor, string quartet and 4 trombones / Elegy for J.F.K. [#] Octet for wind instruments / mezzo-soprano or baritone [#] flute, clarinet, 2 bassoons, 2 trumpets and / and 3 clarinets [#] 2 trombones / Septet [#] Sérénade en la / clarinet, horn, bassoon, piano, violin, viola [#] piano / and violoncello [#] / Sonate pour piano [#] Three pieces for string quartet / piano [#] string quartet / Three songs from William Shakespeare° / mezzo-soprano, flute, clarinet and viola° / Songs and Song Cycles° / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine° / Choral Works° / Anthem [#] A sermon, a narrative, and a prayer / Ave Maria [#] Cantata / Canticum Sacrum [#] Credo / J. S. Bach: Choral-Variationen [#] Introitus in memoriam T. S. Eliot / Mass [#] Pater noster / Symphony of psalms [#] Threni / Tres sacrae cantiones°< [° centre centred; °° original mistake in the title].
** original spelling.
103-1Straw
All the pages of the musical text are missing in the copy in Strawinsky’s estate; only pages 1-25 of the musical text are still in existence, which were ripped out of one copy, evidently for conducting purposes. The handwritten cover page bears the title >IGOR STRAVISNKY° / VARIATIONS°° / FULL SCORE° / IStr<. Page 1 of the musical-text pages bears a dated statement >Recorded it with COLUMBIA / in Los Angeles (at the Le sessions of Honor) / August 27 th1965<. [° blue; °° black-green-yellow; °°° light red; °°°° strong red].
103-2 HAWKES POCKET SCORES / ^IGOR STRAVINSKY / VARIATIONS / ALDOUS HUXLEY IN MEMORIAM^ / BOOSEY & HAWKES / No. 779 // HAWKES POCKET SCORES / IGOR STRAVINSKY / VARIATIONS / ALDOUS HUXLEY IN MEMORIAM / BOOSEY & HAWKES / MUSIC PUBLISHERS LIMITED / LONDON : PARIS : BONN : JOHANNESBURG : SYDNEY : TORONTO : NEW YORK / NETT* PRICE / MADE IN ENGLAND // (Pocket score stapled 13.9 x 18.7 (8° [8°]); 25 [25] pages + 4 cover pages olivgreen on green beige [front cover title with frame 9.9 x 3.7 green beige on olive-green, 2 empty pages, page with publisher’s advertisements >Igor Stravinsky<** production date above advertising block flush left >AT7496c< below advertising block >No. 40< [#] >7.65<] + 2 pages front matter [title page, legend >Orchestra< Italian [with a different statement of the string forces required] + note on performance >All instruments are written at actual pitch< + duration data [5'] English ] + 1 page back matter [empty page]; title head VARIATIONS<; dedication 1st page of the score below title head >Aldous Huxley / in memoriam<; author specified 1st page of the score paginated p. 1 below dedication flush right centred >IGOR STRAVINSKY / 1963-1964<; legal reservations 1st page of the score below type area flush left >© 1965 by Boosey & Hawkes Music Publishers Ltd.< flush right >All rights reserved<; production indication 1st page of the score below type area below legal reservation flush right >Printed in England<; plate number >B. & H. 19290<; end of score dated p. 25 >Oct. 28/64 / Hollywood<; without end mark) // (1965)
^ ^ = Text in frame.
* Original spelling.
** Compositions are advertised in two columns without edition numbers, without price informations and without specification of places of printing >Operas and Ballets° / Agon [#] Apollon musagète / Le baiser de la fée [#] Le rossignol / Mavra [#] Oedipus rex / Orpheus [#] Perséphone / Pétrouchka [#] Pulcinella / The flood [#] The rake’s progress / The rite of spring° / Symphonic Works° / Abraham and Isaac [#] Capriccio pour piano et orchestre / Concerto en ré (Bâle) [#] Concerto pour piano et orchestre / [#] d’harmonie / Divertimento [#] Greetings°° prelude / Le chant du rossignol [#] Monumentum / Movements for piano and orchestra [#] Quatre études pour orchestre / Suite from Pulcinella [#] Symphonies of wind instruments / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine [#] Variations in memoriam Aldous Huxley / Instrumental Music° / Double canon [#] Duo concertant / string quartet [#] violin and piano / Epitaphium [#] In memoriam Dylan Thomas / flute, clarinet and harp [#] tenor, string quartet and 4 trombones / Elegy for J.F.K. [#] Octet for wind instruments / mezzo-soprano or baritone [#] flute, clarinet, 2 bassoons, 2 trumpets and / and 3 clarinets [#] 2 trombones / Septet [#] Sérénade en la / clarinet, horn, bassoon, piano, violin, viola [#] piano / and violoncello [#] / Sonate pour piano [#] Three pieces for string quartet / piano [#] string quartet / Three songs from William Shakespeare° / mezzo-soprano, flute, clarinet and viola° / Songs and Song Cycles° / Trois petites chansons [#] Two poems and three Japanese lyrics / Two poems of Verlaine° / Choral Works° / Anthem [#] A sermon, a narrative, and a prayer / Ave Maria [#] Cantata / Canticum Sacrum [#] Credo / J. S. Bach: Choral-Variationen [#] Introitus in memoriam T. S. Eliot / Mass [#] Pater noster / Symphony of psalms [#] Threni / Tres sacrae cantiones°< [° centre centred; °° original mistake in the title].
K Catalog: Annotated Catalog of Works and Work Editions of Igor Strawinsky till 1971, revised version 2014 and ongoing, by Helmut Kirchmeyer.
© Helmut Kirchmeyer. All rights reserved.
http://www.kcatalog.org and http://www.kcatalog.net