Download - Threni, Stravinsky, Analy
Stravinsky as Serialist: The Sketches for "Threni"
David H. Smyth
Music Theory Spectrum, Vol. 22, No. 2. (Autumn, 2000), pp. 205-224.
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http://www.jstor.orgTue Nov 6 10:34:21 2007
Stra
vinsk
y as
Ser
ialis
t: The
Ske
tche
s for
Thr
eni
Dav
id H
. Sm
yth
Thre
ni, S
travi
nsky
's se
tting
of v
erse
s fro
m th
e La
men
tatio
ns o
f Je
rem
iah,
rem
ains
am
ong
his
leas
t kn
own
wor
ks-s
eldo
m
per-
form
ed, r
ecor
ded
but o
nce
(to th
e be
st of
my
know
ledg
e), a
nd li
t- tle
dis
cuss
ed e
ven
by t
he s
taun
ches
t dev
otee
s of
the
com
pose
r's
late
wor
ks.'
Ove
rsha
dow
ed b
y th
e en
erge
tic A
gon,
the
mer
curia
l M
ovem
ents
for
Pian
o an
d O
rche
stra,
the
mul
ti-co
lore
d "H
uxle
y"
This
ess
ay is
an
expa
nded
ver
sion
of a
pap
er p
rese
nted
at C
UM
AC
'97,
a
mus
ic a
naly
sis c
onfe
renc
e at
Cam
brid
ge U
nive
rsity
in A
ugus
t 199
7. T
he a
utho
r gr
atef
ully
ack
now
ledg
es h
elpf
ul s
ugge
stio
ns fo
r its
rev
ision
by
Jose
ph S
traus
an
d by
the
anon
ymou
s rev
iew
ers f
or th
is jo
urna
l. 'V
alua
ble
early
stu
dies
of
the
wor
k in
clud
e H
ansj
org
Paul
i, "O
n St
raw
in-
sky'
s Th
reni
," T
empo
49
(195
8):
16-3
3; a
nd R
oman
Vla
d, "
Igor
Stra
vins
ky's
Thre
ni,"
Mel
os 1
6 (1
959)
: 36-
39.
Thre
ni h
as s
ince
bee
n th
e su
bjec
t of
seve
ral
thes
es a
nd d
isse
rtatio
ns:
Gra
eme
M.
Cow
en,
"Igo
r St
ravi
nsky
's Th
reni
: A
Co
nduc
tor's
Stu
dy fo
r Per
form
ance
" (D
.M.A
. dis
s., In
dian
a U
nive
rsity
, 19
81);
Clar
e H
ogan
, "A
n Ex
amin
atio
n of
Stra
vins
ky's
Cont
ribut
ion
to S
eria
lism
in
Ligh
t of t
he T
heor
ies,
Mus
ic, a
nd P
erso
nalit
y of
Ern
st K
rene
k, w
ith P
artic
ular
Re
fere
nce
to th
e Co
nnec
tion
Betw
een
Lam
enra
tio J
erem
iae
Prop
heta
e an
d Th
reni
" (M
.A. T
hesi
s, U
nive
rsity
of
Kee
le,
1982
); W
illia
m J
. W
ater
s, "A
n A
naly
sis
of I
gor
Stra
vins
ky's
Thre
ni B
ased
on
Edw
ard
T. C
one's
Prin
cipl
es o
f St
ratif
icat
ion,
Int
erlo
ck, a
nd S
ynth
esis"
(M
.M. T
hesi
s, Fl
orid
a St
ate
Uni
vers
ity,
1984
); an
d A
ndre
as D
ouw
, "Th
e Co
nstru
ctio
n of
Ord
er a
nd D
irect
ion
in I
gor
Stra
win
sky'
s In
Mem
oria
m D
ylan
Tho
mas
, C
antic
um S
acru
m, a
nd T
hren
i" (d
octo
ral d
iss.
, Uni
vers
ity o
f Utre
cht,
1995
). Su
sann
ah T
ucke
r, "S
travi
nsky
and
H
is S
ketc
hes:
The
Com
posi
ng o
f Ago
n an
d O
ther
Ser
ial W
orks
of
the
1950
s"
(doc
tora
l dis
s., O
xfor
d U
nive
rsity
, 199
2) di
scus
ses s
elec
ted
sket
ches
for T
hren
i. It
is no
neth
eles
s fai
r to
say
the
wor
k aw
aits
com
preh
ensi
ve a
naly
sis,
mos
t esp
e-
cial
ly w
ith re
gard
to it
s tex
ture
s and
rhyt
hms
Var
iatio
ns,
and
the
subl
ime
Requ
iem
Can
ticle
s, Th
reni
hol
ds
man
y lis
tene
rs a
t ar
m's
leng
th. Y
et th
is w
ork
was
Stra
vins
ky's
first
entir
ely
dode
caph
onic
sco
re, a
nd th
e lo
nges
t he
was
eve
r to
com
pose
. Dur
ing
its g
enes
is (
from
sum
mer
195
7 to
spr
ing
1958
) th
e co
mpo
ser c
onso
lidat
ed h
is c
omm
and
of s
eria
l tec
hniq
ues.
At
the
age
of s
even
ty-f
ive,
Stra
vins
ky p
roce
eded
with
gre
at s
elf-
as
sura
nce,
sim
ulta
neou
sly
inve
ntin
g w
ays
to m
odify
tra
ditio
nal
seria
l ope
ratio
ns a
nd re
inve
ntin
g el
emen
ts o
f his
hig
hly
deve
lope
d pe
rson
al c
ompo
sitio
nal s
tyle
. Th
e co
mpo
ser's
ske
tche
s fo
r Th
reni
are
ext
ensi
ve, r
angi
ng
from
tiny
scr
aps
of p
aper
to
larg
e le
aves
con
tain
ing
fair
copy
dr
afts
with
ful
l ins
tr~m
enta
tion
.~
As
wor
k on
Thr
eni p
rogr
esse
d,
Stra
vins
ky d
rew
mus
ical
idea
s fro
m th
e te
xt h
e ha
d ch
osen
, but
he
also
revi
sed
his
text
and
form
al p
lan
in a
ccor
d w
ith p
rope
rties
of
the
twel
ve-to
ne ro
ws h
e em
ploy
ed. T
he sk
etch
es il
lust
rate
asp
ects
of
thi
s gi
ve-a
nd-ta
ke p
roce
ss a
nd r
evea
l w
orki
ng m
etho
ds t
hat
neith
er t
he c
ompo
ser
nor
any
subs
eque
nt a
naly
st h
as e
ver
de-
scrib
ed in
det
ail.
In t
he p
rese
nt e
ssay
I e
xam
ine
sele
cted
text
dr
afts
and
mus
ical
ske
tche
s w
hich
illu
min
ate
thes
e w
orki
ng
21n t
he S
amm
lung
Igor
Str
awin
sb at
the
Paul
Sac
her S
tiflu
ng, B
asel
, mat
e-
rials
rela
ting
to T
hren
i occ
upy
two
larg
e fo
lder
s. O
f pr
imar
y in
tere
st ar
e dr
afts
of
the
text
and
mus
ical
ske
tche
s rec
orde
d on
Mic
rofil
m 1
14, f
ram
es 7
64 to
866
. Th
e au
thor
ack
now
ledg
es th
e ge
nero
us a
ssis
tanc
e of
the
Sach
er F
ound
atio
n in
th
e fo
rm o
f a re
sear
ch st
ipen
d (M
arch
-Jun
e 19
96),
whi
ch e
nabl
ed h
im to
stu
dy
thes
e an
d ot
her
mat
eria
ls i
n th
e ar
chiv
e du
ring
a sa
bbat
ical
lea
ve f
rom
Lo
uisi
ana
Stat
e U
nive
rsity
.
206
Mus
ic Th
eory
Spe
ctru
m
met
hods
. In
parti
cula
r, I
am c
once
rned
with
ske
tche
s re
latin
g to
th
e in
vent
ion
of t
he r
ow u
pon
whi
ch T
hren
i is
bas
ed,
with
St
ravi
nsky
's di
scov
ery
of c
erta
in c
hara
cter
istic
s and
pro
perti
es o
f th
is r
ow,
and
with
how
he
sele
cted
and
dep
loye
d sp
ecifi
c ro
w
form
s thr
ough
out t
he p
iece
. It
is ea
sy t
o un
ders
tand
why
a c
ompo
ser
who
firs
t ex
peri-
m
ente
d w
ith d
odec
apho
nic
tech
niqu
e in
a b
alle
t fo
r tw
elve
da
ncer
s w
as a
ttrac
ted
to th
e La
men
tatio
ns o
f Je
rem
iah.
Thi
s te
xt
cont
ains
som
e of
the
Bibl
e's m
ost h
ighl
y or
gani
zed
num
eric
al c
i- ph
ers
and
acro
stic
des
igns
. Th
e tw
enty
-two
vers
es o
f th
e fir
st ch
apte
r be
gin
with
suc
cess
ive
lette
rs o
f th
e H
ebre
w a
lpha
bet;
in
the
third
cha
pter
, six
ty-s
ix v
erse
s re
pres
ent a
thre
e-fo
ld m
ultip
li-
catio
n of
the
sam
e de
sign
. The
fift
h an
d fin
al c
hapt
er d
oes
not
feat
ure
an a
cros
tic,
but
like
the
first
has
twen
ty-tw
o ve
rses
. In
se
lect
ing
vers
es f
rom
thes
e th
ree
chap
ters
for
Thr
eni,
Stra
vins
ky
indu
lged
a l
ifelo
ng p
ench
ant
for
num
eric
al p
atte
rnin
g an
d a
pred
ilect
ion
for
sym
met
rical
and
pal
indr
omic
con
stru
ctio
ns. Y
et,
just
as
trans
latio
n of
the
Lam
enta
tions
int
o La
tin (
or E
nglis
h)
erad
icat
es e
lem
ents
of t
heir
orig
inal
alph
abet
ical
and
rhyt
hmic
de-
si
gn, S
travi
nsky
's ab
ridge
d se
lect
ion
of v
erse
s alte
rs b
oth
the f
orm
an
d th
e m
eani
ng o
f th
e so
urce
text
. One
mig
ht s
ay th
at S
travi
n-
sky'
s ta
sk i
n co
mpo
sing
Thr
eni
was
to
reco
ver
and
to r
ecre
ate
orde
r ou
t of
the
sha
ttere
d ac
rost
ics
of t
he b
iblic
al o
rigin
al. H
is
mus
ical
set
ting
over
lays
new
ord
erin
gs th
at s
uppo
rt an
d ae
sthe
ti-
cally
val
idat
e hi
s "m
isrea
ding
" of
the t
ext.'
The
sket
ch le
af p
rese
nted
in
Exam
ple
1 am
ply
dem
onst
rate
s ho
w t
he t
ext
Stra
vins
ky c
hose
sha
ped
the
mus
ical
con
tent
of
Thre
ni f
rom
the
very
out
set.
Exam
ple
la di
vide
s th
e le
af in
to re
- gi
ons
and
labe
ls th
e co
nten
t of
each
; Exa
mpl
e Ib
is a
dip
lom
atic
'Obv
ious
ly, m
y re
fere
nce
is to
Har
old
Bloo
m's
theo
ry o
f the
"an
xiet
y of
in-
fluen
ce."
For a
pplic
atio
ns o
f Blo
om's
theo
ry to
mus
ical
ana
lysi
s, se
e Jo
seph
N.
Stra
us, R
emak
ing
the
Past:
Tra
ditio
n and
Influ
ence
in T
went
ieth
-Cen
tul?
; Mus
ic
(Cam
brid
ge, M
ass.:
Har
vard
Uni
vers
ity P
ress
, 19
90);
Kev
in K
orsy
n, "T
owar
ds
a N
ew P
oetic
s of
Mus
ical
Inf
luen
ce,"
Mus
ic A
naly
sis
1011
(19
91):
3-72
; an
d A
lan
Stre
et, "
Carn
ival
," M
usic
Ana
ljsis
131
2-3
(199
4): 2
55-9
8.
trans
crip
tion
of th
e pa
ge.%
t th
e up
per l
eft,
we
see
wha
t are
pro
b-
ably
the
first
mus
ical
jotti
ngs
rela
ting
to T
hren
i.' Th
ese
sket
ches
re
cord
Stra
vins
ky's
inve
ntio
n of
the
row
upo
n w
hich
the
wor
k is
base
d. T
he w
ords
"Inc
ipit
Lam
enta
tio Je
rem
iae
Prop
heta
e" a
re n
ot
of b
iblic
al o
rigin
; Tho
mas
Tal
lis u
sed
them
to o
pen
his
setti
ng o
f th
e La
men
tatio
ns-w
hich
St
ravi
nsky
adm
itted
he
knew
.6 S
hort
mus
ical
mot
ives
ass
ocia
ted
with
thes
e w
ords
(or p
ortio
ns th
ereo
f)
beca
me
the
build
ing
bloc
ks fr
om w
hich
he p
rodu
ced
Thre
ni's
row
. A
t the
beg
inni
ng o
f sta
ff 2
in E
xam
ple
1b, t
he w
ord
"Inc
ipit"
is
set t
o an
und
ulat
ing
line
mad
e up
of
the
note
s F#
, F, a
nd G
#;a
sligh
tly m
odifi
ed v
ersi
on a
ppea
rs o
n sta
ff 5
at th
e be
ginn
ing
of th
e du
et s
ettin
g. T
he (0
13) t
richo
rd a
ssoc
iate
d w
ith "
Inci
pit"
in th
ese
sket
ches
sur
vive
s (tr
ansp
osed
and
reor
dere
d as
G, G
#, A
#) in
the
finish
ed s
core
in m
m. 8
-9
(sho
wn
in E
xam
ple
2e b
elow
). Si
mi-
larly
, in
the
sket
ch o
n sta
ff 3,
Stra
vins
ky s
et th
e w
ord
"Lam
en-
tatio
n to
the n
otes
F#,
G#,
F#, B
, and
G-a
llow
ing
him
self
the
lux-
ur
y of
recy
clin
g tw
o to
nes h
e ha
d al
read
y us
ed, a
s wel
l as a
noth
er
inte
rnal
repe
titio
n. T
he s
ettin
g of
this
wor
d on
sta
ff 5
reta
ins
the
sam
e pi
tch
cont
ent,
alth
ough
the
note
s ar
e re
orde
red.
The
(01
4)
trich
ord
proj
ecte
d by
the
last
thre
e sy
llabl
es o
f th
is s
ettin
g is
re-
'Thi
s le
af c
orre
spon
ds to
Mic
rofil
m 1
14, F
ram
e 85
9. In
my
trans
crip
tion,
all
edito
rial
addi
tions
(sta
ff nu
mbe
rs a
nd m
issin
g cl
efs,
for
exam
ple)
app
ear
in
squa
re br
acke
ts.
5The
se sk
etch
es c
lear
ly p
reda
te t
he o
ne C
raft
and
othe
rs h
ave
assu
med
to
mar
k th
e be
ginn
ing
of S
travi
nsky
's w
ork
on T
hren
i: a
sket
ch f
or th
e be
ginn
ing
of t
he i
nstru
men
tal
prel
ude
(mm
. 1-
4 of
the
com
plet
ed s
core
) w
hich
is
date
d "V
enez
ia 2
9 A
ug 5
7" (
corr
espo
ndin
g to
Mic
rofil
m 1
14, F
ram
e 86
2). R
ober
t Cr
aft s
tate
s th
at "
Stra
vins
ky h
ad b
egun
Thr
eni a
t the
pia
no o
f the
nig
htcl
ub o
f hi
s V
enic
e ho
tel,
on A
ugus
t 29
, 19
57, c
ompo
sing
the
open
ing
mea
sure
s";
see
Ver
a St
ravi
nsky
and
Rob
ert C
raft.
Str
avin
sky
in P
ictu
res
and
Doc
umen
ts (
New
Y
ork:
Sim
on an
d Sc
huste
r, 19
78),
443.
Cle
arly
, Stra
vins
ky c
ould
not
hav
e co
m-
pose
d th
e op
enin
g in
strum
enta
l mea
sure
s be
fore
he
inve
nted
Thr
eni's
row
. hI
gor S
travi
nsky
and
Rob
ert
Craf
t, Co
nver
satio
ns w
ith I
gor
Stra
vins
ky
(Ber
kele
y: U
nive
rsity
of
Calif
orni
a Pr
ess,
1980
), 22
. Pre
sum
ably
the
se w
ords
pr
ovid
e a
coun
terw
eigh
t for
the
into
natio
n "O
ratio
Jer
emia
e Pr
ophe
tae"
whi
ch
open
s the
fina
l mov
emen
t of
Thre
ni, a
nd w
hich
doe
s ap
pear
in th
e V
ulga
te te
xt
Stra
vins
ky c
onsu
lted.
tain
ed w
ith th
e sa
me
cont
our
in m
m.
10-1
1 of
the
finish
ed s
core
(tr
ansp
osed
up
a w
hole
ste
p; se
e Ex.
2e)
. Th
e ha
ndlin
g of
the
seve
n sy
llabl
es o
f "Je
rem
iae
Prop
heta
e" is
m
ore
com
plic
ated
. The
firs
t set
ting
of "
Jere
mia
e" o
n sta
ff 1
em-
ploy
s th
e no
tes
B, G
, C#,
and
D, f
orm
ing
the
all-i
nter
val t
etra
- ch
ord
(013
7). I
n th
e co
ntin
uatio
n of
this
ske
tch,
the
succ
essi
on C
, Eb
, Bb
, (E
b),
E fo
rms
the
othe
r al
l-int
erva
l te
trach
ord
(014
6).
Stra
vins
ky s
how
ed c
onsi
dera
ble
inte
rest
in
the
latte
r te
trach
ord:
he
use
d ex
actly
thes
e no
tes
agai
n in
the
revi
sion
on
staff
2, w
rote
th
em a
gain
in th
e m
iddl
e of
sta
ff 3
(om
ittin
g th
e re
petit
ion
of E
b),
used
them
in lo
ng n
ote
valu
es in
the
duet
on
staff
5, an
d re
orde
red
them
yet
aga
in a
s an
exp
erim
enta
l ac
com
pani
men
t on
sta
ff 7
. U
ltim
atel
y, o
nly
the
set c
lass
of t
he la
st th
ree
note
s su
rviv
es in
the
finis
hed
scor
e-th
e (0
16)
"Pro
phet
ae"
trich
ord,
exp
ress
ed a
s a
falli
ng p
erfe
ct f
ifth
follo
wed
by
a ris
ing
sem
itone
in m
m.
14-1
8 (s
ee E
x. 2
e). T
he w
ord
"Jer
emia
e" i
s se
t a s
econ
d tim
e on
staf
f 1
(Ex.
lb)
usi
ng G
, D, A
, C, a
nd is
can
ied
dow
n un
chan
ged
to st
aff
5. I
t is
furth
er m
odifi
ed i
n a
third
set
ting
on s
taff
1, w
here
the
no
tes r
eafi
A, D
, B, E
. Bot
h th
e co
ntou
r and
set c
lass
of t
he se
cond
se
tting
are
pre
serv
ed e
ven
thou
gh t
he p
itch
cont
ent
chan
ges.
Of
cour
se,
(025
7) w
as a
mon
g St
ravi
nsky
's fa
vorit
e di
aton
ic te
tra-
chor
ds; i
t is
ubiq
uito
us in
his
mus
ic f
rom
the
Russ
ian
perio
d on
- w
ard,
and
(as
we
shal
l se
e) i
t is
im
porta
nt t
hrou
ghou
t Th
reni
.' H
ere
the
(025
7) is
join
ed t
o (0
16),
fixin
g th
e de
finiti
ve o
rder
ing
and
pitc
h le
vel o
f the
last
seve
n no
tes o
f Thr
eni's
Prim
e se
ries.
Stra
vins
ky's
wor
d-by
-wor
d ap
proa
ch t
o th
e te
xt y
ield
ed n
ot
only
ord
ered
pitc
h-cl
ass
strin
gs b
ut a
lso
cont
oure
d m
elod
ic s
eg-
men
ts, t
he r
hyth
ms
of w
hich
rem
aine
d su
bjec
t to
furth
er a
djus
t- m
ent.
Thro
ugho
ut h
is l
ater
yea
rs,
Stra
vins
ky o
ften
clai
med
tha
t hi
s se
rial i
deas
cam
e to
him
as
mel
odie
s or
sni
ppet
s of
cou
nter
- po
int.8
Whi
le t
his
coul
d be
int
erpr
eted
to
mea
n th
at S
travi
nsky
'See
Pie
ter
C. v
an d
en T
oorn
, The
Mus
ic o
f Igo
r St
ravi
nsky
(N
ew H
aven
: Y
ale
Uni
vers
ity P
ress
, 19
83),
Chap
ter
3, fo
r a d
iscus
sion
of t
he d
iato
nic
pitc
h co
llect
ion
in th
e m
usic
of S
travi
nsky
's "R
ussia
n" p
erio
d.
SStra
vins
ky's
prog
ram
not
e fo
r th
e V
aria
tions
beg
ins
"The
suc
cess
ion
of
pitc
hes
and
inte
rval
s on
whi
ch m
y V
aria
tions
wer
e co
mpo
sed
first
occu
rred
to
Stra
vins
ky a
s Se
rialis
t: The
Ske
tche
s for
Thr
eni
207
imag
ined
or
in
vent
ed
com
plet
e tw
elve
-not
e th
emes
, th
ese
sket
ches
dem
onst
rate
a s
omew
hat d
iffer
ent m
etho
d. R
athe
r th
an
cons
truct
ing
a co
mpl
ete
serie
s an
d th
en f
ittin
g hi
s te
xt to
it, h
ere
Stra
vins
ky b
egan
with
dis
tinct
mel
odic
mot
ives
that
he
asso
ciat
ed
with
spe
cific
wor
ds.
How
ever
, a s
mal
l pro
blem
rem
ains
. The
firs
t tw
elve
not
es o
n sta
ff 1
do n
ot e
xhau
st th
e ag
greg
ate:
ther
e is
no A
h, an
d Eb
is re
- pe
ated
. The
top
voic
e of
the
duet
as s
ketc
hed
on st
aff 5
is li
kew
ise
impe
rfec
t, fo
r it
lack
s C
#. E
xam
ple
2 ill
ustra
tes
a se
ries
of s
teps
St
ravi
nsky
may
hav
e ta
ken
to c
ompl
ete
the
defin
itive
Prim
e of
Th
reni
. Exa
mpl
e 2a
extra
cts t
he p
c co
nten
t of t
he to
p vo
ice
of th
e "I
ncip
it" d
uet,
as s
ketc
hed
on s
taff
5 of
Exa
mpl
e lb
. Stra
vins
ky
may
hav
e de
cide
d th
at th
e dy
ad F
-F#
was
mor
e de
sira
ble
as a
n en
ding
than
as
a be
ginn
ing,
and
acc
ordi
ngly
, he
trans
pose
d ea
ch
of h
is w
ord-
rela
ted
pitc
h ce
lls u
p a
who
le st
ep: E
xam
ple
2b re
pro-
du
ces
Stra
vins
ky's
trans
pose
d an
d m
odifi
ed s
ettin
g of
the
fin
al
seve
n sy
llabl
es a
s fou
nd o
n sta
ff 1.
Exa
mpl
e 2c
com
plet
es th
e se
t- tin
g by
add
ing
the
(013
) "In
cipi
t" tri
chor
d fo
llow
ed b
y th
e (0
14)
"-ta
tion
trich
ord,
bot
h tra
nspo
sed
up a
who
le s
tep
from
pre
viou
s ap
pear
ance
s. Co
mpa
rison
with
the
sop
rano
line
in m
m. 8
-15
of
the
scor
e (E
x. 2
e) s
how
s ho
w c
lose
Stra
vins
ky h
ad c
ome
to th
e fin
al v
ersi
on. T
he ro
w s
till l
acke
d on
e pitc
h cl
ass,
how
ever
. To
com
plet
e th
e de
finiti
ve P
rime,
Stra
vins
ky h
ad o
nly
to e
x-
chan
ge th
e pi
tch
clas
ses
G a
nd G
#, an
d to
add
D# a
t the
beg
inni
ng
(see
Ex.
2d)
; the
latte
r not
e-St
ravi
nsky
's ow
n in
itial
(Eb
= Es
)-w
ill ta
ke o
n a
pivo
tal
role
thro
ugho
ut T
hren
i, as
we
shal
l see
. In
the
publ
ishe
d sc
ore,
the
wor
d "I
ncip
it,"
whi
ch d
oes
not
invi
te
mel
ism
atic
set
ting,
is r
epea
ted
in th
e so
pran
o pa
rt to
acc
omm
o-
date
the
addi
tiona
l no
te.
Stra
vins
ky th
us a
band
oned
his
orig
inal
me
as a
mel
ody"
; se
e Ig
or S
travi
nsky
and
Rob
ert
Craf
t, Th
emes
and
Con
- cl
usio
ns (
Berk
eley
: U
nive
rsity
of
Calif
orni
a Pr
ess,
1982
), 62
. Els
ewhe
re h
e st
ates
that
he
bega
n Ep
itaph
ium
with
a d
uet f
or tw
o flu
tes;
see
Igor
Stra
vins
ky
and
Robe
rt C
raft,
Mem
orie
s an
d Co
mm
enta
ries
(Be
rkel
ey:
Uni
vers
ity o
f Ca
lifor
nia
Pres
s, 19
81),
105.
In th
e co
mpl
eted
sco
re, t
he d
uet a
ppea
rs a
s ba
r 2
-now
sc
ored
for f
lute
and
cla
rinet
.
-
-
--
-
-
208
Mus
ic Th
eory
Spe
ctru
m
Exam
ple
la.
Tabl
e of c
onte
nts f
or a
n ea
rly sk
etch
leaf
for T
hren
i
A
Top
Left,
stav
es 1
-7: s
ketc
hes f
or "I
ncip
it La
men
tatio
Jer
emia
e Pr
ophe
tae"
B
Top
Righ
t, st
aves
1-7:
abb
revi
ated
row
tabl
e (I,
,, I,,
Po. I,
, R,
,, RI
,, RI
,); p
artia
l R13
on
staff
6.
C Ce
nter
, sta
ves 8
-10:
ske
tch
for "
Ale
ph"
(mm
. 19-
22)
usin
g RI
, D
Low
er L
eft,
stav
es 8
-15:
ske
tche
s for
"B
eth
(mm
. 62-
65)
usin
g Ro
and
RIl
o E
Low
er R
ight
, sta
ves
12-1
5: s
ketc
hes f
or "
Quo
mod
o se
det .
. ." (
mm
. 42-
48)
usin
g RI
, F
Righ
t Cen
ter,
stav
es 7-
10:
appr
oxim
ate
timin
gs fo
r var
ious
sect
ions
Not
e: A
ll ro
ws a
re id
entif
ied
as in
the
seria
l mat
rix s
how
n in
Exa
mpl
e 3
belo
w
Stra
vinsk
y as
Seria
list: T
he S
ketc
hes f
or T
hren
i 20
9
Exam
ple
lb.
Dip
lom
atic
tran
scrip
tion
of T
hren
i ske
tch
leaf (
Mic
rofil
m 1
14, F
ram
e 85
9), b
y pe
rmiss
ion
of th
e Pa
ul S
ache
r Fou
ndat
ion
Je
re
nu
ae \
ie
Pro-
fe-
tae
Je
re
mi
ae
pro
fe
tae
Je
re
nu
ae
pro
fe
tae
I
In-
ci-
pit
A --
--
-.
---i
hiI
A 0
~
3)h--
-----B
+-i
La
men
ta
tl
o
5)
In-
cl-
p~
t La
men
ta
ti-o
Je
re
I~
Iae
Pro-
fe-
tae
, .--
..-
-..-
-.-
6)
. -
-=
. -
-s
#S
RI
.~~-.
ICI
~
...
~
--
---
--
-- -
T
Quo
m
o do
se d
et
se d
et s
ola
cl
,I-ta
s pl
e na
pop
ulo
- -
210
Mus
ic Th
eory
Spe
ctru
m
Exam
ple
2. C
onstr
uctio
n of
Thr
eni's
Prim
e se
ries A
-
----*
r<
~-
a,
early
zkc
tch
t Ex
5 I
--+
---A-
I h. ~
~f
f
* In
-ci
-pi
t \L
a-m
en-]
ta
-ti-
o Je
-re
-m
i-ae
Pr
o-ph
e-ta
e
~(
02
57
)-
~(
01
6)
~ b)
in
term
edia
te s
ketc
h (E
x. Ib
, sta
ff 1)
3
--
I
show
ing
trans
posit
ion
up a
step
and
&
- -m
odifi
catio
n of
the
(025
7) te
trach
ord
Je-
re-
mi-
ae
Pro-
phe-
tae
C)
hypo
thet
ical
com
plet
ion
usin
g tra
nspo
sed
,? ~
(0
13
)-
LL ~(
01
4)
~ --
--
4'8
- 0
lP
-I
-
--LL
trich
ords
from
a)
\ 7
1n-\(
c
i pi
t La
-m
en-
ta-
ti-o
Je-
re-
mi-
ae
Pro-
phe-
tae
d)
Thre
ni's
defin
itive
prim
e
e)
com
plet
ed s
core
, mm
. 5-1
8 So
pr.
(voc
al d
uet o
nly)
.
..
SOL1
11
In-
-ci
--
pit,
~n
-ci-
p~
t-la
-m
en-ta
-ti-
o
Alto
In-
-ci
--
pit,
la-
men
-ta
-ti-
o Je
-
11 J
e
re
mi-
ae
Pro-
phe-
-ta
e,
-re-
mi-
ae
Pro-
phe-
tae,
Stra
vinsk
y as
Seria
list: T
he S
ketc
hes f
or T
hren
i 21
1
plan
for
a s
impl
e ho
mor
hyth
mic
"m
irror
" du
et (
as s
ketc
hed
on
stav
es 5
and
6 o
f Ex.
lb)
, and
use
d th
e un
equa
l num
ber o
f sy
lla-
bles
in th
e tw
o so
lo li
nes
to p
rom
ote
rhyt
hmic
inde
pend
ence
be-
tw
een
the
voic
es i
n th
e fin
ishe
d sc
ore.
Onl
y af
ter
fash
ioni
ng
text
ed, r
hyth
mic
ized
, and
con
tour
ed m
otiv
es fo
r ind
ivid
ual w
ords
di
d St
ravi
nsky
com
plet
e th
e de
finiti
ve P
rime-
appa
rent
ly
by
wor
king
bac
kwar
d fr
om th
e en
d. H
e fo
llow
ed a
sim
ilar p
roce
ss in
in
vent
ing
the
serie
s up
on w
hich
"Su
rge,
aqu
ilo,"
his
first
entir
ely
twel
ve-to
ne m
ovem
ent,
was
bas
ed.9
In
this
reg
ard,
it
is w
orth
- w
hile
to re
call
Stra
vins
ky's
wor
ds o
f 27
May
193
0:
Whe
n I st
art a
wor
k, an
idea
from
insid
e has
take
n m
e, an
d, w
hen
starti
ng,
I may
see t
he en
d or t
he m
iddl
e, bu
t not
the b
egin
ning
. Tha
t alw
ays h
as to
be
foun
d, ha
s to
be d
evelo
ped i
n th
e spi
rit of
the c
ompo
sitio
n, th
at di
scov
- er
y of
the c
orre
ct en
tranc
e to
a piec
e.I0
Hav
ing
inve
nted
the
def
initi
ve P
rime,
Stra
vins
ky c
onst
ruct
ed
an a
bbre
viat
ed ro
w c
hart
on th
is s
ame l
eaf,
at th
e up
per r
ight
. (Fo
r th
e re
ader
's co
nven
ienc
e, a
ful
l se
rial m
atrix
for
Thr
eni
is p
ro-
vide
d in
Exa
mpl
e 3.
) The
four
cano
nica
l ser
ial t
rans
form
atio
ns a
p-
pear
on
stav
es 3
, 4, 5
, and
6 o
f Exa
mpl
e lb
. Stra
vins
ky la
bels
the
Prim
e on
staf
f 3 "0
(for
"orig
inal
"),
and
writ
es it
s Inv
ersi
on ("
I")
imm
edia
tely
bel
ow (
staff
4). O
n st
aves
5 a
nd 6
, the
Ret
rogr
ade
and
its In
vers
ion
(bot
h be
ginn
ing
on F
#) ar
e pa
ired.
" St
ravi
nsky
's in
clus
ion
of th
e In
vers
ion
of th
e Re
trogr
ade
(IR,
as o
ppos
ed to
RI,
the
Retro
grad
e of
the
Inve
rsio
n) is
not
ewor
thy,
for
it c
orre
spon
ds
to w
hat w
as to
bec
ome
his
stan
dard
pra
ctic
e in
late
r ser
ial w
orks
.
9See
Tuck
er, "S
travin
sky
and
His
Ske
tches
," Ch
apter
5, f
or a
sketc
h-ba
sed
acco
unt o
f the
gene
sis of
the r
ow u
sed in
"Sur
ge, a
quilo
." A
som
ewha
t diff
erent
acco
unt b
ased
on
the sa
me
sket
ches
is p
ropo
sed
in D
avid
Smyt
h, "S
travin
sky's
Se
cond
Cris
is: R
eadin
g the
Earl
y Se
rial S
ketch
es," P
ersp
ectiv
es o
f New
Mus
ic,
forth
com
ing.
10Qu
otedi
n St
ravi
nsky
in P
ictu
res
and
Doc
umen
ts,
197.
"T
ucke
r exp
lains
how
Craft
coac
hed
Stra
vins
ky aw
ay fr
om re
fem
ng to
the
Retro
grad
e as
"ca
ncriz
ans"
and
the
Inve
rsion
as
"rive
rso"
(amon
g oth
er na
mes
), an
d ad
vised
him
to e
mplo
y m
ore
mode
rn de
signa
tions
(Tuc
ker,
"Stra
vinsk
y and
His
Sketc
hes,"
121
-22)
.
Exam
ple 3
. Se
rial M
atrix
for T
hren
i (C
=O, A
#=t, B
=e)
Her
e, th
ere
is e
vide
nce
that
Stra
vins
ky d
eriv
ed I
R in
a ra
ther
pe-
cu
liar
way
. O
n st
aves
l a
nd 2
at
uppe
r rig
ht,
he a
ligne
d th
e In
vers
ion
with
its
trito
ne tr
ansp
ositi
on. T
he I
nver
sion
on
staff
1 re
tain
s the
"al
l sha
rps"
spe
lling
use
d fo
r tha
t on
staff
4, a
nd in
the
Prim
e an
d Re
trogr
ade
as w
ell.
The
trans
pose
d In
vers
ion
on st
aff 2
ha
s a
new
con
tour
and
is s
pelle
d us
ing
a m
ixtu
re o
f sh
arps
and
fla
ts. E
xact
ly th
e sa
me
acci
dent
als
are
used
in
the
row
on
staff
6,
sugg
estin
g th
at S
travi
nsky
may
hav
e ob
tain
ed IR
by
retro
grad
ing
the
row
on
staff
2, o
r tha
t he
got t
he ro
w o
n sta
ff 2
by r
ever
sing
th
e on
e on
staf
f 6. B
y th
e sa
me
reas
onin
g, th
e "a
ll fla
ts" s
pelli
ng
of th
e tra
nspo
sed
IR o
n sta
ff 7
mig
ht in
dica
te th
at it
was
a la
ter a
d-
ditio
n to
the
basi
c lis
t of
four
row
form
s. I
will
spe
cula
te fu
rther
ab
out f
eatu
res o
f thi
s par
ticul
ar ro
w in
due
cour
se.
In a
ny c
ase,
the
untra
nspo
sed
IR w
as p
ut to
imm
edia
te u
se in
an
early
sket
ch fo
r the
Heb
rew
initi
al "
Ale
ph (E
x. l
b, st
aves
8, 9
, an
d 10
, cen
ter)
. In
this
pol
ypho
nic
sket
ch, n
ote
the
verti
cal f
ifths
C-
G,
Db-A
b, Eb
-Bb,
and
final
ly E
-B
(Cb)
. The
last
is ac
hiev
ed
thro
ugh
fines
se:
the
inte
rven
ing
serie
s m
embe
rs D
and
F a
re
212
Mus
ic Th
eory
Spe
ctru
m
Exam
ple 4
. D
e Ele
gia
Prim
a: "
Ale
ph (m
m. 1
9-22
)
A-
LEPH
A
-LEP
H
A-L
EPH
A
-LEP
H
1 -A-
LEPH
A
-LEP
H
I A
-LEP
H
A-LE
PH
VI.
I1
vc.
Ch.
show
n as
uns
tem
med
not
e he
ads
in th
e sk
etch
. The
sam
e su
cces
- si
on o
f fif
ths
is au
dibl
e in
mm
. 19
-22
of t
he f
inish
ed s
core
, as
show
n in
Exa
mpl
e 4.
The
ske
tch
indi
cate
s Stra
vins
ky's
inte
rest
in
proj
ectin
g su
ch s
ucce
ssio
ns, i
n ef
fect
enl
argi
ng u
pon
the
(025
7)
"Jer
emia
e" t
etra
chor
d of
the
orig
inal
row
. Alo
ne a
nd in
suc
ces-
si
on, p
erfe
ct f
ourth
s an
d fif
ths
imbu
e m
uch
of T
hren
i's h
arm
onic
pa
lette
. A
rel
ated
har
mon
ic e
xper
imen
t ap
pear
s at
the
low
er l
eft
of
Exam
ple
lb. T
he s
ketc
hing
s on
sta
ves
12 a
nd 1
3 al
ign
RIl
o and
Ro
. On
stav
es 8
and
9, S
travi
nsky
adj
usts
the
rhyt
hms
of th
e sa
me
pairi
ng.
Ulti
mat
ely,
the
se n
otes
will
be
dist
ribut
ed a
mon
g fo
ur
chor
al v
oice
s in
the
Heb
rew
initi
al "
Beth
," m
m. 6
2-65
, as
sho
wn
in E
xam
ple
5. A
brie
f sk
etch
for t
he o
rche
stra
l acc
ompa
nim
ent o
f th
is pa
ssag
e ap
pear
s on
staff
15 o
f the
sket
ch le
af (
Ex. 1
b), a
nd il
- lu
stra
tes
anot
her
Stra
vins
kian
tec
hniq
ue f
or m
anip
ulat
ing
seria
l ha
rmon
ies.
Whi
le u
sing
the
final
not
es o
f tw
o ro
w fo
rms,
he s
us-
tain
s Db
, the
eig
hth
note
of
the
Retro
grad
e, u
ntil
it is
doub
led
by
the
last
note
of R
Ilo.
The
final
ver
sion
show
n in
Exa
mpl
e 5
is co
n-
sider
ably
diff
eren
t fr
om th
e sk
etch
, but
one
can
see
how
Stra
vin-
sk
y re
peat
s an
d su
stai
ns to
nes
in b
oth
the
chor
al a
nd a
ccom
pani
- m
enta
l lin
es to
reac
h th
e (0
257)
tetra
chor
d Db
, Eb,
Ab, G
b in
m. 6
5;
it is
not
an o
rder
ed s
egm
ent i
n ei
ther
row
. Pre
cise
ly t
hese
not
es
occu
r in
long
er rh
ythm
ic v
alue
s ne
ar th
e en
d of
sta
ves
12 a
nd 1
3 of
the
sket
ch.
The
four
row
s (P
, R, I
, and
IR) t
he c
ompo
ser
wro
te in
his
ab-
brev
iate
d ro
w c
hart
cam
e to
con
stitu
te a
"to
nic
com
plex
" in
Th
reni
, as s
uch
grou
ping
s of r
ow fo
rms d
o in
mos
t of S
travi
nsky
's la
ter
seria
l m
usic
.'? In
a r
ecen
t ar
ticle
Jos
eph
N.
Stra
us d
emon
- st
rate
s ho
w th
e in
itial
and
term
inal
not
es o
f th
ese
row
s af
fect
the
cons
truct
ion
of v
ario
us t
ypes
of
seria
l arr
ays
in S
travi
nsky
's la
te
':The
sa
me
four
row
for
ms
appe
ar i
n an
othe
r ab
brev
iate
d ro
w t
able
for
Th
reni
on
a se
para
te s
ketc
h le
af (
corr
espo
ndin
g to
Mic
rofil
m 1
14, F
ram
e 76
4):
P, R
, I, a
nd IR
are
writ
ten
in th
e sa
me
clef
s and
with
exa
ctly
the
sam
e ac
cide
n-
tal~a
s in
Exam
ple
lb. T
he u
north
odox
mus
ical
orth
ogra
phy
of S
travi
nsky
's la
te
wor
ks a
nd s
ketc
hes c
ries o
ut fo
r det
aile
d stu
dy.
Stra
vinsk
y as
Ser
ialis
t: Th
e Sk
etch
es fo
r Th
reni
21
3
Exam
ple
5. D
e El
egia
Prim
a: "
Beth
" (m
m. 6
2-65
)
A.
CORO
11
BETH
BETH
BE
TH- BE
TH
BETH
BETH
BETH
BETH
11 BE
TH-
BETH
I BE
TH
BETH
VI. 1
VI. 1
1
Vle
.
vc.
-I 1 -
F,
,
! I
I
I ,
-a
-
, 1
,
I I
214
Mus
ic Th
eory
Spe
ctru
m
mus
ic.I3
Bec
ause
the
initi
al a
nd t
erm
inal
not
es o
f Th
reni
's ro
w
form
a d
yad
of i
nter
val
clas
s 3,
the
boun
dary
not
es o
f th
e fo
ur
row
s of T
hren
i's to
nic
com
plex
spe
ll ou
t the
"di
min
ished
sev
enth
" te
trach
ord
D#,
F#,
A, C
. Lis
tene
rs c
an r
easo
nabl
y ex
pect
D#,
the
initi
al t
one
of t
he u
ntra
nspo
sed
Prim
e an
d In
vers
ion,
to a
chie
ve
som
e de
gree
of p
riorit
y, w
ith F
# tak
ing
seco
nd p
lace
, and
C a
nd A
pl
ayin
g so
mew
hat
less
pro
min
ent
role
s. H
owev
er, i
n 19
57 S
tra-
vins
ky d
id n
ot e
sche
w tr
ansp
ositi
ons o
f the
row
s of t
he to
nic
com
- pl
ex,
as h
e w
ould
com
e to
do
in la
ter
wor
ks. O
n th
is sk
etch
leaf
al
one,
ther
e ar
e no
few
er th
an f
ive
diff
eren
t tra
nspo
sitio
ns o
f th
e Re
trogr
ade
Inve
rsio
n (c
ompl
ete
or p
artia
l): t
hese
are
iden
tifie
d in
Ex
ampl
e la
, and
all f
ive
are
used
in th
e op
enin
g se
ctio
n of
Thr
eni.
The
pres
ence
of
parti
cula
r ro
w f
orm
s an
d tra
nspo
sitio
ns in
thes
e ea
rly s
ketc
hes
prov
ides
hin
ts a
s to
how
Stra
vins
ky s
elec
ted
the
row
s an
d tra
nspo
sitio
ns h
e em
ploy
ed th
roug
hout
the
wor
k.
The
form
of t
he F
irst E
legy-
and
to a
deg
ree,
that
of t
he e
ntire
pi
ece-
sugg
ests
that
Stra
vins
ky d
istin
guis
hed
betw
een
thre
e di
s-
tinct
"fa
mili
es"
of ro
ws.
The
initi
al a
nd te
rmin
al n
otes
of t
he fo
ur
row
s of t
he to
nic
com
plex
(D
#,F#
,A, a
nd C
) def
ine
a la
rger
fam
- ily
of
sixte
en r
ow fo
rms
that
hav
e th
ese
note
s as
bou
ndar
y to
nes,
whi
ch I
will
ref
er to
as
the
I036
91 fa
mily
. Cor
resp
ondi
ngly
, the
re
mai
ning
row
for
ms
belo
ng to
the
{147
t) o
r the
{25
8e) f
amily
, ac
cord
ing
to t
heir
initi
al (
and
term
inal
) no
tes.
Exam
ple
6 ill
us-
trate
s ho
w S
travi
nsky
use
d m
embe
rs o
f th
e I0
3691
fam
ily to
an-
ch
or t
he. "
toni
c"
sect
ions
of
the
rond
o-lik
e fo
rm o
f th
e Fi
rst
Ele
gy.l
The
dig
ress
ive
epis
odes
("B
eth
and
"Cap
h) i
nclu
de
excu
rsio
ns t
o th
e {1
47t}
and
{258
e] fa
mili
es, r
espe
ctiv
ely.
Thi
s pl
an f
oret
ells
the
desi
gn o
f the
ent
ire w
ork,
whi
ch li
kew
ise
trace
s
"Jos
eph
N.
Stra
us, "
Stra
vins
ky's
'Con
stru
ctio
n of
Tw
elve
Ver
tical
s': A
n A
spec
t of H
arm
ony
in th
e Se
rial M
usic
," M
usic
The
ory
Spec
trum
211
1 (1
999)
: 43
-73.
Stra
us c
onsi
dera
bly
adva
nces
our
und
ersta
ndin
g of
the
rot
atio
nal
and
othe
r ser
ial a
rrays
Stra
vins
ky e
mpl
oyed
in h
is w
orks
from
Mov
emen
ts on
war
d.
He
also
exp
lore
s pr
eced
ents
for
thes
e ha
rmon
ic c
onst
ruct
ions
in A
gon,
Can
- tic
um S
acru
m, a
nd T
hren
i (se
e hi
s Exa
mpl
e 21
). I4
Ther
e is
a sin
gle
exce
ptio
n: t
he p
rime
used
at t
he b
egin
ning
of
"He"
be-
lo
ngs
to th
e ( 1
47tJ
fam
ily. I
ts p
lace
in th
e ov
eral
l pla
n is
addr
esse
d be
low
.
Exam
ple
6. D
e El
egia
Prim
a: F
orm
and
row
usa
ge
mm
. 19-
22
Ale
ph (c
horu
s)
{6,7
.. .4
,9)
rnm
. 23-
4 1
trans
ition
and
{3
, t . .
. l,O
} Ch
orus
, par
land
o {9
,4..
.7,6
] m
m. 4
2-6
1 Ri
torn
ello
{O
, 1 ..
. t,3
) (te
nor/f
luge
lhor
n)
{6,5
.. .8
,3]
mm
. 62-
65
Beth
(cho
rus)
{6
,5..
.8,3
} {t
,e..
.8, I
) m
m. 6
647
Dip
hona
I {6
,5..
. 8,3
} (s
olo t
enor
s)
{3, t
. . . 1
,O)
(6, 7
. . . 4
, 9)
{3,8
.. .5
,6]
mm
. 68-
72
He
(cho
rus)
{t
,3..
. 0,l
) {3
, t. .
. 1,
O)
mm
. 73-
87
trans
ition
and
{3
,t..
. l,O
] Ch
orus
, par
land
o {9
,4..
.7,6
] (a
s in
mm
. 234
1)
mm
. 88-
107
Rito
rnel
lo
{O,l
... t
,3)
(as i
n m
m. 4
2-6
1)
{6,5
... 8
,3)
mm
. 108
-1 1
1 Ca
ph (c
horu
s)
{2,7
.. .4
,5]
{2,9
.. .O
, e]
{O, 1
. . . t
, 31
mrn
. 112
-1 1
3 D
ipho
na I1
(5
4. .
.7, 2
) (s
olo
teno
rs)
{3,8
.. .5
,6}
(3,t
... I
,O]
{5,6
.. .3
,8}
mm
. 114
-119
Re
sh (c
horu
s)
(6, e
. . .
8,9]
{6
,5..
. 8,3
] {6
, I . .
.4,3
] {6
,7.. .
4,9}
m
m. 1
2C14
1 tra
nsiti
on a
nd
{3, t
. . . 1
, O}
Chor
us, p
arla
ndo
{9,4
.. .7
,6]
(as i
n m
m. 2
341)
m
m. 1
42-1
65
Rito
rnel
lo
{O, 1
. . . t
, 31
(as i
n m
m. 4
2-61
) {6
,5 . .
.8,3
)
an o
vera
ll pa
th f
rom
mem
bers
of
the
(036
9) fa
mily
to m
embe
rs
of t
he o
ther
fam
ilies
and
bac
k-ap
prop
riate
ly
enou
gh,
sinc
e th
e La
men
tatio
ns a
re v
ery
muc
h ab
out y
earn
ing
for t
he re
stor
atio
n of
G
od's
favo
r. Li
nkag
e be
twee
n an
d am
ong
row
for
ms
is st
rong
est i
n ca
ses
whe
re R
etro
grad
e-re
late
d pa
irs o
ccur
. At t
he b
egin
ning
and
end
- in
g of
the
Firs
t El
egy,
for
exa
mpl
e, In
vers
ions
beg
inni
ng o
n D
# an
d A
and
thei
r res
pect
ive
Retro
grad
es p
rovi
de a
ll of
the
mat
eria
l ex
cept
tha
t of
the
teno
r/flu
gelh
orn
duet
(w
hich
is
a ca
non
usin
g th
e un
trans
pose
d Re
trogr
ade)
. Dip
hona
I em
ploy
s muc
h th
e sa
me
clus
ter
of r
ows
from
the
(03
69)
fam
ily,
with
the
unt
rans
pose
d Pr
ime
subs
titut
ed fo
r its
Ret
rogr
ade.
A su
btle
r typ
e of
link
age
oc-
curs
bet
wee
n ro
ws
in w
hich
bou
ndar
y dy
ads
are
inva
riant
: th
e Pr
ime
and
the
Inve
rsio
n us
ed i
n "H
e" b
egin
and
end
with
the
dy
ads
Bb-E
b an
d C-
C#,
but i
n re
vers
e or
der.
The
sam
e is
true
of
the
boun
dary
dya
ds o
f R15
use
d in
Dip
hona
I1 (F
-F#
and
D#-
G#)
an
d th
e un
trans
pose
d Re
trogr
ade
used
in
"Res
h"
(F#-
F an
d G
#-D
#).
Link
s of
thi
s ki
nd e
nabl
ed S
travi
nsky
to
"mod
ulat
e"
smoo
thly
fro
m m
embe
rs o
f on
e ro
w f
amily
to
anot
her:
RIl
o in
"B
eth
shar
es b
ound
ary
tone
s (A
# an
d C
#) w
ith t
he P
7 us
ed i
n "H
e," w
hich
in tu
rn s
hare
s ord
er-r
ever
sed
boun
dary
dya
ds (A
#-D
# an
d C-
C#)
with
I, i
n th
e im
med
iate
ly f
ollo
win
g m
usic
. Stra
vin-
sk
y's
incl
usio
n of
the
"re
dund
ant"
R1
5 in
his
abb
revi
ated
row
ch
art (
Ex.lb
, sta
ff 7)
may
doc
umen
t his
dis
cove
ry o
f th
is sp
ecia
l pr
oper
ty o
f th
e ro
w: R
15 h
as th
e sa
me
boun
dary
dya
ds a
s th
e un
- tra
nspo
sed
Prim
e (a
nd R
etro
grad
e).
Early
dra
fts o
f "Ca
ph"
wer
e pi
tche
d a
half
step
hig
her-t
hat
is,
they
wer
e in
itial
ly b
ased
upo
n Po
, I,,
and
RI,,
row
s fr
om t
he
I036
91 f
amily
.I5 T
he s
core
exc
erpt
in
Exam
ple
7 ill
ustra
tes
Stra
vins
ky's
plan
for
the
chor
us to
sel
ectiv
ely
pluc
k ou
t mem
bers
of
the
row
s pr
esen
ted
by th
e or
ches
tra, o
nce
agai
n pr
ojec
ting
sev-
er
al s
erie
s of
per
fect
fift
hs:
C-G-
D,
C#-F
#-B,
an
d F-
Bb-E
b in
'SSee
Mic
rofil
m 1
14, F
ram
es 8
34 a
nd 8
35; t
he p
assa
ge a
ppea
rs a
t its
final
tra
nspo
sitio
nal
leve
l for
the
first
time
in F
ram
e 83
3 (th
e re
vers
e si
de o
f the
leaf
fil
med
in F
ram
e 83
4). S
ome o
f the
se sk
etch
es ar
e di
scus
sed
in T
ucke
r, "S
travi
n-
sky
and
His
Sket
ches
," 25
3-54
.
Stra
vinsk
y as
Ser
ialis
t: The
Ske
tche
s for
Thr
eni
215
"Cap
h,"
and
cont
inui
ng w
ith F
#-C#
-Ab-
Eb
in "
Resh
."I6
The
trans
posi
tion
of "
Cap
h en
sure
d th
at b
oth
Heb
rew
ini
tials
wou
ld
artic
ulat
e Eb
at t
heir
endi
ngs,
conn
ectin
g in
bot
h ca
ses
to s
trong
D
#s (i
n m
m.
112
and
120)
. Too
, the
cho
ral
tetra
chor
d su
ng i
n "R
esh
is en
harm
onic
ally
equ
ival
ent t
o th
e (0
257)
cho
rd su
stai
ned
at t
he e
nd o
f "B
eth"
(m
. 65
, sh
own
in E
xam
ple
5).
Her
e, i
t em
erge
s fr
om a
four
-par
t arr
ay o
f row
s pre
sent
ed b
y th
e or
ches
tra
(P3,
Roy
13, a
nd R
16, a
ll of
whi
ch b
egin
on
F#);
the
note
s F#
, C#,
G
#, an
d D
# do
not
occ
ur a
s an
ord
ered
seg
men
t in
any
of t
hese
ro
ws. Sk
etch
es a
t th
e lo
wer
rig
ht i
n Ex
ampl
e lb
illu
stra
te a
noth
er
type
of
rela
tions
hip
betw
een
wor
ds a
nd m
usic
, and
indi
cate
an-
ot
her
way
in
whi
ch E
b w
as b
roug
ht t
o pr
omin
ence
in
the
Firs
t El
egy.
The
se s
ketc
hes
rela
te t
o an
acc
ompa
nim
enta
l lin
e in
the
rit
orne
llo p
assa
ge (
first
hear
d in
mm
. 42-
48).
On
staff
12, S
tra-
vins
ky w
rote
out
RI,
in a
rhyt
hmic
ized
stri
ng, e
ndin
g w
ith re
iter-
ated
Ebs
. The
bea
min
g an
d br
acke
ts in
dica
te e
xper
imen
tal f
ittin
gs
of te
xt s
ylla
bles
to g
roup
s of
tone
s in
the
row
. In
the
late
r ske
tch
on s
taff
15, f
iftee
n sy
llabl
es a
re d
eplo
yed
over
eig
htee
n ei
ghth
- no
te v
alue
s (in
clud
ing
a re
st a
nd t
he r
epet
ition
of
the
wor
d "s
edet
").
In th
e sc
ore
show
n in
Exa
mpl
e 8,
add
ition
al re
petit
ions
of
wor
ds (w
ith th
eir a
ttend
ant r
ow s
egm
ents
) ext
end
the
setti
ng to
th
irty-
two
eigh
th n
otes
, and
cre
ate
an e
ffect
fre
quen
tly e
ncou
n-
tere
d in
Stra
vins
ky's
seria
l m
usic
: a
"dou
blin
g ba
ck to
rep
eat
som
e po
rtion
(s) o
f a
row
bef
ore
cont
inui
ng.I7
Stra
vins
ky's
sket
ch
on s
taff
12 a
lread
y in
dica
tes
the
poin
ts a
t w
hich
the
dou
blin
gs
back
will
occ
ur: t
he n
ote
head
s on
C, D
, and
F a
re e
nlar
ged,
and
th
eir o
rder
num
bers
(1,
4, a
nd 8
) are
writ
ten
bene
ath.
The
se n
otes
(a
nd th
ese
alon
e) w
ill u
ltim
atel
y ap
pear
as
the
strin
g ac
com
pani
- m
ent
in t
he r
itorn
ello
(m
m. 4
2-61
); th
ey c
orre
spon
d to
the
first
I6M
ultip
le sk
etch
es c
onfir
m th
at th
e ch
oral
bas
s no
te in
m.
118
shou
ld re
ad
Ab a
s sho
wn
here
, not
Cb
as in
the
publ
ishe
d sc
ore.
"v
an d
en T
oorn
(Th
e M
usic
of
%or
Srr
avin
sb)
and
Tuck
er (
"Stra
vins
ky
and
His
Ske
tche
s")
also
not
e St
ravi
nsky
's te
nden
cy t
o "d
oubl
e ba
ck"
durin
g pr
esen
tatio
ns o
f se
rial u
nits.
The
voc
al l
~ne of
"Su
rge,
aqui
lo,"
with
its
inte
rpo-
la
ted
hexa
chor
ds, p
rovi
des
an e
xpan
sive
exam
ple
of th
e te
chni
que.
216
Mus
ic Th
eory
Spe
ctru
m
Exam
ple
7. D
e El
egia
Prima:
"Cap
h,"
Dip
hona
11, a
nd "R
esh"
(m
m. 1
08-1
22)
CAPH
CA
PH
CAPH
II, nEf
O
R cA
PH
CAPH
T. i-I.
11 W
CAPH
CA
PH
CAPH
CA
PH
l lo
Ill
Vle
.
vc.
pizz
. ar
c0
-L -
4X
-
, xn
' A,
v' I
Dip
hona
11
/+1M
esto
J =
46
SOL1
D
o--
mi-
ne,
et
con-
si-
de-
ra, -
Teno
re I1
Vi-
de,
vi-
de,
Do-
mi-
ne,
et
con-
si-
de-
ra,
Stra
vinsk
y as
Ser
ialis
t: The
Ske
tche
s for
Thr
eni
217
Exam
ple 7
[co
ntin
ued]
Ten.
I
ITe
n. I1
quo-
6
J = 5
8-60
1 F'--
poco
sf
ni- Cu
am,
nl-
am -
quo-
fac- - ni-
ta
I am G
#
sum
, -
I fa
c-
fac- D#
I
-7
-ta
su
m
I ta
sum
= (0
257)
vi- vi-
r..
lis. lis
. -
CORO
11
POCO
s.
f- RES(
H)-
poco
sf
I "
Cb.
uP
L--
218
Mus
ic Th
eory
Spe
ctru
m
Exam
ple 7
[co
ntin
ued]
J = 6
0 C
OR
O
C1. b
asso
Bugl
e
C-al
to
Tuba
Vle
.
vc.
Cb.
(and
stre
ssed
) sy
llabl
es o
f th
e w
ords
"Q
uom
odo,
" "s
edet
," an
d "c
ivita
s," a
nd "
plen
a,"
and
they
rei
nfor
ce th
e rh
ythm
ic a
nd p
itch
grou
ps in
dica
ted
in E
xam
ple
8. T
he fi
nal s
ettin
g se
cure
s a re
peti-
I
-4
tion
of t
he (
0257
) ro
w s
egm
ent D
, G, E
, A, w
hich
was
alre
ady
hint
ed a
t in
the
sket
ch o
n sta
ff 15
. Com
men
tato
rs h
ave
rem
arke
d on
the
odd
nat
ure
of t
his
diat
onic
acc
ompa
nim
ent t
o th
e fu
lly
dode
caph
onic
ten
or a
nd f
luge
lhor
n du
et i
n th
is p
assa
ge.lx
The
sk
etch
es re
veal
how
thes
e no
tes
wer
e ex
tract
ed fr
om a
ful
l ser
ies
stat
emen
t in
the
serv
ice
of t
he r
hyth
ms
and
acce
ntua
tion
of t
he
wor
ds. W
hen
the
ritor
nello
rec
urs
with
diff
eren
t te
xts
(in m
m.
88-1
07 a
nd 1
42-1
85),
term
inal
repe
titio
ns o
f Eb
(and
, in
the
lat-
ter,
its u
pper
fifth
Bb)
gro
w e
ven
mor
e in
sist
ent,
help
ing
to c
emen
t th
e ce
ntric
role
of t
his p
itch
clas
s in
the
Firs
t Ele
gy.
Thus
far
we
have
foc
used
on
sket
ches
rel
atin
g to
the
Firs
t El
egy.
The
rem
aind
er o
f thi
s ess
ay d
eals
with
revi
sions
in S
travi
n-
sky'
s se
tting
s of
the
Thi
rd a
nd F
ifth
Eleg
ies.
A ty
pesc
ript o
f th
e ve
rses
he
initi
ally
sel
ecte
d fo
r inc
lusio
n in
Thr
eni i
s pr
eser
ved
in
the A
rchi
ve.I9
Thi
s do
cum
ent,
heav
ily a
nnot
ated
with
han
dwrit
ten
Engl
ish
trans
latio
ns, m
usic
al s
ketc
hes,
and
revi
sions
of
the
text
, re
cord
s ch
ange
s th
at p
rofo
undl
y af
fect
ed t
he f
orm
of
the
latte
r po
rtion
s of t
he fi
nish
ed w
ork.
A
s se
vera
l co
mm
enta
tors
ha
ve
note
d,
Thre
ni r
esem
bles
C
antic
um S
acru
m in
that
bot
h m
ay b
e vi
ewed
as r
ough
ly s
ymm
et-
rical
fiv
e-pa
rt de
sign
s in
whi
ch r
elat
ivel
y br
ief
oute
r m
ovem
ents
fr
ame
a lo
nger
, trip
ly s
ubdi
vide
d ce
ntra
l one
. Eric
Wal
ter
Whi
te
IxSe
e Eric
Wal
ter W
hite
, Str
avin
sky:
The
Com
pose
r and
His
Wor
ks, 2
nd e
d.
(Ber
kele
y: U
nive
rsity
of C
alifo
rnia
Pre
ss,
1979
), 49
9; va
n de
n To
orn
cite
s th
is
pass
age
as a
n in
stan
ce o
f oc
tato
nic
writ
ing
(The
Mus
ic o
f Igo
r St
ruvi
nsk\
; 46)
, al
thou
gh h
e do
es n
ot a
naly
ze it
in d
etai
l. Pr
esum
ably
, Col
lect
ion
I1 (C
, D, D
#,
F, F#
,G#,
A, B
) is
impl
ied:
the
boun
dary
dya
ds (
F#-F
and
G#-
D#)
of th
e un
- tra
nspo
sed
Retro
grad
e us
ed r
epea
tedl
y by
the
ten
or a
nd f
luge
lhor
n ar
e es
pe-
cial
ly p
rom
inen
t, an
d of
cou
rse,
the
C, D
, and
F o
f th
e str
ing
acco
mpa
nim
ent
also
bel
ong
to th
is co
llect
ion.
ly
Mic
rofil
m 11
4, fr
ames
770
-775
. Stra
vins
ky's
note
at t
he b
egin
ning
read
s: "T
ext o
f my
Thre
ni fr
om th
e V
ulga
ta w
ith s
ome
dele
ted
parts
I di
dn't
use.
Thi
s te
xt m
ust b
e pr
inte
d w
ith th
e En
glis
h pa
ralle
l to
it on
the
fly le
aves
of
both
full
and
voca
l sco
res.
Kin
g Ja
mes
ver
sion
is to
be
used
. Apr
il 24
, 195
8."
Stra
vins
ky a
s Se
rialis
t: The
Ske
tche
s for
Thr
eni
219
Exam
ple 8
. De
Eleg
ia P
rima:
Rito
rnel
lo (rnrn.4
2-49
)
[-ben
ani
cula
to
Quo
--
-m
o-do
se
--
I det
VI. I
, I1
unis.
IQ
uo-
mo-
do
se-
det,
quo-
mo-
do
se-
det
so-
la,
se-
det
so-
la
ci-
vi-
tas
Vle
.
Bugl
e C
-alto
I ci
-vi
--
tas
ple-
na -
Po-
PU-
lo! p
Fa
c-
VI. I
, I1
unis.
I pl
e-na
, pl
e-na
po
-pu
-lo
! Fa
c-ta
es
t qu
a-si
vi-
du-
a do
-- mi-
w- na
- ren-
ti-um
Vle
.
-7b-, ,,,,,
rr
ru
r
Quo
-mo-
do
se-
det
(5 sy
llabl
es)
I,
,
, , ,,
-qu
o- m
o- d
o se
-de
t so
-la
, (7
syl
labl
es)
lu ,,,,-,
li
rr
rl
+
se-
det
so-
la
ci-
vi-
tas
(7 s
ylla
bles
)
,-
.,
,-
,,
,.
,I
r pl
e-na
, pl
e-na
po
-(7
syl
labl
es)
r pu-
r lo
11'
1
220
Mus
ic Th
eory
Spe
ctru
m
sugg
ests
that
the
arch
itect
ure
of S
aint
Mar
k's
cath
edra
l in
Ven
ice
Exam
ple
9. D
e El
egia
Ter
tia: R
evisi
on o
f the
text
m
ay h
ave
prom
pted
the
form
al la
yout
of
Can
ticum
O
f co
urse
, boo
kend
effe
cts
wer
e al
way
s hi
ghly
fav
ored
by
Stra
vin-
sk
y: a
mon
g ot
her
near
ly c
onte
mpo
rary
wor
ks,
one
thin
ks o
f O
rphe
us, A
gon,
and
In M
emor
iam
Dyl
an T
hom
as, w
hich
all
fea-
tu
re s
imila
r fr
amin
g pa
ssag
es.
Thre
ni's
spec
ial
rela
tions
hip
to
Can
ticum
Sac
rum
invo
lves
the
tripa
rtite
sub
divi
sion
of t
he c
entra
l m
ovem
ent.
Stra
vins
ky's
unor
thod
ox o
rder
ing
of th
e th
ree
virtu
es
in C
antic
um S
acru
m (n
ot F
aith
, Hop
e, C
harit
y bu
t Cha
rity,
Hop
e,
Faith
) is
refle
cted
in
Thre
ni's
Que
rimon
ia,
Sens
us S
pei,
and
Sola
cium
(th
at i
s, Co
mpl
aint
, Pe
rcei
ving
Hop
e, a
nd C
ompe
nsa-
tio
n), i
n w
hich
Hop
e is
agai
n th
e ce
nter
piec
e of
a tr
ipty
ch w
ith a
re
assu
ring
endi
ng. I
t is
impo
rtant
to
reco
gniz
e th
at th
is su
bdiv
i- sio
n w
as e
ntire
ly t
he c
ompo
ser's
inve
ntio
n, a
nd h
as n
o co
unte
r-
part
in th
e bi
blic
al L
amen
tatio
ns.
Exam
ple
9 su
mm
ariz
es th
e pr
oces
s by
whi
ch S
travi
nsky
mod
i- fie
d th
e fo
rmal
pla
n fo
r th
e Th
ird E
legy
. Orig
inal
ly,
twen
ty-o
ne
vers
es w
ere
depl
oyed
in
thre
e gr
oups
; ea
ch g
roup
con
tain
ed a
th
reef
old
repe
titio
n of
sev
en H
ebre
w l
ette
rs a
nd th
eir
asso
ciat
ed
vers
es. (
Obv
ious
ly,
one
lette
r of
the
Heb
rew
alp
habe
t had
to
be
omitt
ed s
o th
at t
he t
otal
wou
ld b
e di
visi
ble
by t
hree
.) Pe
rhap
s un
com
forta
bly
rem
inde
d of
the
"th
rice
seve
n" m
elod
ram
as i
n Sc
hoen
berg
's Pi
erro
t, St
ravi
nsky
revi
sed
this
plan
. In
the
Sens
us
Spei
, he
deci
ded
to d
istri
bute
a f
ull
stat
emen
t of
R13
ove
r th
e tw
elve
syl
labl
es o
f eig
ht H
ebre
w le
tters
: Het
h, T
eth,
Lam
ed, N
un,
Sam
ech,
Ain
, Tsa
de, a
nd C
oph.
The
not
es o
f thi
s row
are
pen
cille
d in
bes
ide
the
vers
es i
n th
e ty
pesc
ript o
n ha
nd-d
raw
n st
aves
(an
d ar
e sh
own
in p
aren
thes
es b
esid
e th
e ve
rses
in
Exam
ple
9). T
his
sche
me
nece
ssita
ted
dele
iion
of th
ree
vers
es, a
nd re
sulte
d in
a re
- lo
catio
n of
the
boun
dary
bet
wee
n Se
nsus
Spe
i and
Sol
aciu
m. T
he
revi
sed
Sens
us S
pei c
onta
ins
eigh
t ver
ses,
and
Stra
vins
ky a
rticu
- la
ted
thei
r m
idpo
int b
y pl
acin
g th
e dy
nam
ic c
limax
of
the
entir
e w
ork
at th
e en
d of
"N
un"
(mm
. 244
-245
). Pr
esum
ably
, thi
s re
vi-
Orig
inal
Ver
sion
Fina
l Ver
sion
Que
rimon
ia'A
leph
Q
uerim
onia
'~le
~h
Be
th
Beth
G
him
el
-
7 (
Dal
eth
4(
-H
e -
Vau
Vau
,Zain
,Z
ain
rsus
Spe
i Se
nsus
Spe
i H
eth
Het
h (D
#)
Teth
Te
th (E
) Io
d La
med
M
em
Nun
Sa
mec
h
Sola
cium
Ai
n
Phe
Ts
ade
Tsad
e (D
-C#)
Co
ph
Coph
(F#)
7(
So
laci
um
Resh
Re
sh
Sin
\ Th
au
so t
hat
it w
ould
mor
e ne
arly
ba
lanc
e th
e ne
wly
cu
rtaile
d sio
n su
gges
ted
a ne
ed to
del
ete
thre
e ve
rses
fro
m th
e Q
uerim
onia
So
laci
um. A
t the
ver
y ou
tset
, Stra
vins
ky's
choi
ce o
f te
xt g
uide
d th
e cr
eatio
n of
the
row
; her
e, th
e le
ngth
of t
he ro
w d
icta
ted
revi
- ?"
Whi
te, S
trav
insk
y, 4
82-8
3.
sion
s of t
he te
xt w
hich
aff
ecte
d th
e fo
rmal
des
ign.
Stra
vinsk
y as
Ser
ialis
t: The
Ske
tche
s for
Thr
eni
221
The
deci
sion
to
dist
ribut
e th
e no
tes
of R
13 o
ver
the
entir
e Se
nsus
Spe
i had
impo
rtant
har
mon
ic c
onse
quen
ces
as w
ell,
as il
- lu
stra
ted
in E
xam
ple
10. B
y su
stai
ning
and
rep
eatin
g th
e pi
tch
clas
ses
used
in
the
Heb
rew
ini
tials
, Stra
vins
ky c
reat
ed a
cle
arly
au
dibl
e ch
rom
atic
line
that
ris
es f
rom
the
D# o
f "H
eth,
" th
roug
h th
e E
of "
Teth
," to
the
F at
the
top
of th
e "L
amed
six
th. S
travi
n-
sky
cont
inue
s th
is ch
rom
atic
suc
cess
ion
in t
he u
pper
voi
ce w
ith
the
Gb o
f m. 2
31, o
ver t
he B
b ba
ss p
edal
of "
Nun
," w
hich
con
tin-
ues
the
unfo
ldin
g of
the
row
. Wal
sh a
nd o
ther
com
men
tato
rs h
ave
rem
arke
d on
the
loca
l im
plic
atio
n of
Eb
min
or a
t thi
s poi
nt.2
1 The
de
ep re
duct
ion
of t
he f
irst h
alf
of t
he m
ovem
ent
in E
xam
ple
10
sugg
ests
that
Stra
vins
ky c
oord
inat
ed h
is s
eria
l mat
eria
ls s
o as
to
ensu
re a
foca
l rol
e fo
r Eb
over
a c
onsi
dera
bly
long
er s
pan
lead
ing
to th
e dr
amat
ic "h
alf
cade
nce"
at t
he d
ynam
ic c
limax
of t
he e
ntire
w
ork.
Not
ably
, th
e be
ginn
ing
of R
13 a
ppea
rs ju
st t
o th
e le
ft of
St
ravi
nsky
's ab
brev
iate
d ro
w c
hart
on t
he s
ketc
h le
af d
escr
ibed
ab
ove
(Ex.
lb,
staf
f 6, c
ente
r).
Am
ong
the
sket
ches
for t
he la
ter p
ortio
ns o
f Thr
eni,
ther
e ar
e a
num
ber
of p
assa
ges
first
sket
ched
usi
ng th
e ro
w f
orm
s fr
om th
e to
nic
com
plex
, but
sub
sequ
ently
tran
spos
ed-in
ev
ery
case
by
a w
hole
tone
or a
sem
itone
. The
abs
ence
of c
ases
invo
lvin
g tra
nspo
- si
tion
by m
inor
thi
rd o
r tri
tone
is
high
ly s
ugge
stiv
e: a
ll of
St
ravi
nsky
's tra
nspo
sitio
ns e
ffec
ted
shift
s fr
om o
ne fa
mily
of r
ow
form
s to
ano
ther
. In
the
Que
rimon
ia, f
or e
xam
ple,
the
cano
nic
pass
ages
in m
m.
182
and
184
wer
e sk
etch
ed a
who
le s
tep
low
er
than
the
y ap
pear
in t
he s
core
.?? T
he im
itativ
e pa
ssag
e in
m.
191
was
orig
inal
ly s
ketc
hed
a w
hole
ste
p hi
gher
.23 I
n th
e se
tting
of
"Tha
u,"
at th
e en
d of
the T
hird
Ele
gy, S
travi
nsky
repl
aced
a ra
ther
bl
and
repe
titio
n of
pas
sage
s ba
sed
entir
ely
on ro
ws
from
the
toni
c co
mpl
ex w
ith a
dra
mat
ic c
hrom
atic
asc
ent.
In th
e sc
ore,
the
lead
- in
g vo
ices
of t
he c
anon
s en
ter o
n D
(m
. 360
), Eb
(m
. 369
), an
d fi-
na
lly E
(m
. 378
). Th
us S
travi
nsky
com
plet
es a
tour
of r
ows
from
?'Ste
phen
Wal
sh, T
he Music o
f Stravinsky (L
ondo
n: R
outle
dge,
198
8), 2
39.
?:The
se s
ketc
hes a
ppea
r on
M~c
rofi
lm 11
4, F
ram
es 8
02 a
nd 8
03.
?'Mic
rofil
m 1
14, F
ram
e 79
4. T
he s
ketc
h is
date
d 24
Dec
embe
r 19
57.
Exam
ple
10. D
e El
egia
Ter
tia: "
Tona
l" re
adin
g of
Sen
sus
Spei
(mm
. 19
4-24
5)
I
eb:
I ti 4
V 5 3
all t
hree
fam
ilies
bef
ore
retu
rnin
g to
row
s of
the
toni
c co
mpl
ex a
t th
e op
enin
g of
the
Fifth
Ele
gy, w
hich
follo
ws
atta
cca.
Thi
s tra
ns-
posi
tion
also
sec
ured
Bbs
as
the
final
voc
al p
itche
s in
fou
r of
the
six
voic
es a
t th
e en
d of
the
Sol
aciu
m, p
rovi
ding
stro
ng "
dom
i- na
nt"
prep
arat
ion
for t
he D
#s w
hich
ope
n th
e fin
al m
ovem
ent.2
4 A
n ea
rly sk
etch
for t
he b
egin
ning
of t
he F
ifth
Eleg
y sh
ows t
hat
here
aga
in,
a m
embe
r of
the
ton
ic c
ompl
ex (
the
untra
nspo
sed
Retro
grad
e) o
nce
supp
lied
the
pitc
h m
ater
ial
for
the
orch
estra
l pa
rts i
n m
m. 3
85-3
87.2
5 In
the
scor
e, s
how
n in
Exa
mpl
e 11
, the
pa
ssag
e lie
s a
half
step
hig
her:
note
tha
t R
, (G
, F#,
. . .
A,
E)
shar
es b
ound
ary
dyad
s w
ith I6
(A, E
, . . .
G, F
#),w
hich
im
med
i- at
ely
follo
ws i
n th
e vo
cal s
olos
(mm
. 387
-390
). Th
e tra
nspo
sitio
n en
able
d St
ravi
nsky
to c
reat
e a
link
like
the
ones
he
had
used
in
the
Firs
t El
egy.
An
audi
ble
succ
essi
on o
f pe
rfec
t fif
ths
in m
m.
385-
387
(F#-
C#
in th
e pi
ano
and
win
ds, C
-G i
n th
e ho
rns,
Eb-B
b in
the
har
p, a
lto c
larin
et, a
nd f
lute
, and
A-E
in
the
bass
cla
rinet
an
d al
to s
olo)
spe
lls o
ut a
full
octa
toni
c co
llect
ion,
dem
onst
ratin
g
Th
e sk
etch
es f
or "
Thau
" on
Mic
rofil
m 1
14, F
ram
es 7
89 a
nd 7
90 a
lso
show
that
Stra
vins
ky o
mitt
ed B
(the
eigh
th m
embe
r of t
he u
ntra
nspo
sed
Prim
e)
in m
. 361
of
the
sopr
ano
solo
. The
om
issio
n w
as n
ot c
orre
cted
whe
n th
e pa
s-
sage
was
tran
spos
ed d
own
a ha
lf st
ep; A
#is m
issin
g in
the
scor
e.
"Mic
rotil
m
114,
Fram
e 85
4.
222
Mus
ic Th
eory
Spe
ctru
m
Exam
ple
11. D
e El
egia
Qui
nta:
Ope
ning
mea
sure
s (m
m. 3
84-3
87)
Bass
o I
ra-
ti-o
Bass
o I1
pr
ofon
do
0-
ra-
ti-o
Je-
yet
anot
her
way
Stra
vins
ky c
ould
tea
se o
ut d
iato
nic,
oct
aton
ic,
and
dode
caph
onic
ele
men
ts in
a s
ingl
e pas
sage
. The
teno
r sol
oists
re
peat
the
Eb-B
b fif
th s
ever
al ti
mes
in m
m. 3
88-3
89,
once
aga
in
conf
irmin
g th
e ce
ntric
ity o
f Eb.2
6 O
ne o
f th
e m
ost
strik
ing
diff
eren
ces
betw
een
the
bibl
ical
La
men
tatio
ns a
nd S
travi
nsky
's Th
reni
is th
at o
f to
ne. T
he u
nre-
lie
ved
angu
ish
and
rele
ntle
ss y
earn
ing
of th
e bi
blic
al la
men
tatio
ns
-whi
ch
acco
unt
for
the
wor
d "j
erem
iad"
in
our
lang
uage
-are
no
t pre
cise
ly m
irror
ed in
Stra
vins
ky's
text
or i
n th
e m
usic
he
com
- po
sed
for i
t. By
sel
ectiv
ely
omitt
ing
porti
ons
of th
e bi
blic
al t
ext,
Stra
vins
ky fa
shio
ned
a m
uch
mor
e ho
pefu
l wor
k, in
whi
ch th
ere i
s a
cons
ider
able
rang
e of
em
otio
nal c
ontra
st. T
he e
ndin
g pr
ovid
es
the
clea
rest
illu
stra
tion,
and
dem
onst
rate
s th
at th
e pr
oces
s of
re-
vi
sing
the
text
ext
ende
d to
the
final
sta
ges o
f com
posi
ng th
e pi
ece.
Th
e fin
al v
erse
s of
the
Lam
enta
tions
read
:
Turn
thou
us u
nto
thee
, 0 L
ord,
and w
e sh
all be
turn
ed;
rene
w ou
r day
s as o
f old
. Bu
t tho
u ha
st ut
terly
rejec
ted us
; Th
ou ar
t very
ang
ry w
ith u
s.
By o
mitt
ing
the
last
sen
tenc
e, S
travi
nsky
com
plet
ely
reve
rses
the
desp
airin
g to
ne, a
nd s
imul
tane
ousl
y ju
stifie
s a
mus
ical
ret
urn
(in
an e
labo
rate
voc
al p
alin
drom
e, fr
om th
e w
ords
"Co
nver
te n
os"
to
26Eb
and
Bb o
ccup
y ord
er po
sition
s 6 an
d 7
in bo
th R
, and
Is
Je-
re-m
i-ae
-Pr
o-ph
e-tae
.
re-m
i-ae
Pr
o-ph
e-tae
.
the
end)
to
the
row
for
ms
he u
sed
at th
e ou
tset.
The
type
scrip
t fr
om w
hich
Stra
vins
ky w
orke
d re
veal
s th
at t
he o
mis
sion
of
the
last
sent
ence
was
in fa
ct a
revi
sion:
thes
e lin
es a
re h
eavi
ly d
elet
ed
and
a ci
rcle
d pe
riod
is ad
ded
afte
r "r
enew
our
day
s as
of
Thro
ugho
ut T
hren
i, te
xt p
aint
ing
exte
nds
from
the
gran
dest
sca
le
to t
he s
mal
lest
det
ail.
At
the
end
of t
he p
iece
, ex
cerp
ted
in
Exam
ple
12, a
gra
dual
thin
ning
of
the
text
ure
ultim
atel
y le
aves
on
ly a
sin
gle
bass
sol
oist
sust
aini
ng h
is Gb
-an
indi
vidu
al v
oice
, on
e m
an, a
s it
was
in th
e be
ginn
ing
(sic
ut a
pri
ncip
io).
At e
very
st
ep in
the
crea
tion
of th
e pi
ece,
Stra
vins
ky c
oord
inat
ed re
visio
ns
of te
xt a
nd m
usic
to e
nsur
e th
e co
here
nce
of b
oth.
St
ravi
nsky
's sk
etch
es a
fford
uni
que
pers
pect
ives
on
his
care
- fu
lly g
uard
ed w
orki
ng m
etho
ds, a
nd c
an e
norm
ousl
y en
rich
our
appr
ecia
tion
for-a
nd
shar
pen
our
anal
ytic
al u
nder
stan
ding
of-
Thre
ni an
d ot
her w
orks
of h
is la
st cr
eativ
e per
iod.
App
reci
atio
n of
th
e in
timat
e re
latio
nshi
p be
twee
n te
xt a
nd s
eria
l pa
ttern
ing
in
Thre
ni, f
or e
xam
ple,
may
miti
gate
its
oft-r
emar
ked
auste
rity,
and
pr
omot
e m
ore
effe
ctiv
e re
cept
ion.
As
we
have
see
n, th
e sk
etch
es
chro
nicl
e St
ravi
nsky
's in
vent
ion
of t
he r
ow a
nd h
is d
isco
very
of
certa
in f
eatu
res
and
prop
ertie
s w
hich
dra
mat
ical
ly i
nflu
ence
d th
e sh
ape
the
wor
k w
as t
o ta
ke.
From
the
out
set,
Stra
vins
ky's
preo
ccup
atio
n w
ith p
artic
ular
pitc
hes,
inte
rval
s, an
d m
otiv
es i
s
27M
icrof
ilm11
4,Fr
ame 7
75
Stra
vinsk
y as
Ser
ialis
t: The
Ske
tche
s for
Thr
eni
223
Exam
ple
11 [
cont
inue
d]
.4
II , j p
ma
mar
c.
I IP
I I
-. 7
- I
U
Xi
.
--
I *,
r . I
I ' I
, >
--
sord
. q
?u
" P
poco
sf
p su
b.
poco
ss
p
n #
?
'+ po
co s
j'p
sub.
-
-I
I I
Pian
n 1 PO
CO
sfP
parla
ndo
CO
RO
tu
tti
Re-c
or-
da-
re, D
o- m
i-ne
, qu
id a
c-ci
-de
-rit
no
-bi
s;
1(A
lto so
lo =
I,)
= O
CTA
TON
IC C
OLL
ECTI
ON
111
224
Mus
ic Th
eory
Spe
ctru
m
Exam
ple
12. D
e El
egia
Qui
nta:
Fin
al m
easu
res
of v
ocal
par
ts (m
m.
415-
417)
Sopr
.
II .
..
si-cu
t a -
pr~n
-CI-PI
-o.
..
.si-
cut
pr~n
-CI-
a PI
-o.
Ten.
I I
Bass
o I1
..
. -
SI-c
ut a
-pn
n-CI
- PI-
o. -
..
.
II si
-cu
t a -
prln
-Cl-
pl-0
.-
..
.si-
cut
a pr
~n-C
I--
PI-o
. CO
RO
II T.
si-cu
t a
..
.si-
cut a
-pr
ln-C
I- PI-
o. -
abun
dant
ly e
vide
nt, a
nd t
he s
ketc
hes
show
how
he
pers
onal
ized
th
e "m
etho
d of
com
posi
ng w
ith t
wel
ve to
nes"
in
orde
r to
wea
ve
them
into
Thr
eni's
ser
ial f
abric
, cre
atin
g ef
fect
s an
alog
ous
to th
e ce
ntric
ities
and
hie
rarc
hies
of
tradi
tiona
l to
nalit
y. M
oreo
ver,
the
sket
ches
reve
al h
ow S
travi
nsky
sele
cted
the
prec
ise
note
com
bina
- tio
ns h
e em
ploy
ed-n
ot
only
the
row
for
ms
and
thei
r tra
nspo
si-
tions
, bu
t al
so t
he s
elec
tive
doub
lings
. reg
istra
l pl
acem
ents
, an
d ha
rmon
ic p
roje
ctio
ns o
f pa
rticu
lar
note
s, in
terv
als,
and
cho
rds-
al
way
s in
ser
vice
of t
he w
ords
, and
ofte
n in
spire
d by
thei
r syl
labi
- fic
atio
n. t
heir
rhyt
hms.
and
the
ir m
eani
ngs.
Stra
vins
ky's
clai
m
that
"in
Thr
eni s
impl
e tri
adic
refe
renc
es o
ccur
in e
very
bar
,"2x i
s a
prov
ocat
ive
over
stat
emen
t; hi
s sk
etch
es c
an h
elp
us t
o ga
uge
its
usef
ulne
ss. T
hey
undo
ubte
dly
have
far m
ore
to te
ll us
, bot
h ab
out
Thre
ni a
nd a
bout
his
rem
arka
ble
deve
lopm
ent
as a
ser
ial
com
- po
ser.2
9
ABST
RACT
Cl
ose r
eadi
ngs o
f sele
cted
sketc
hes f
or S
travi
nsky
's fir
st en
tirely
dod
eca-
ph
onic
com
posit
ion p
rovi
de ne
w pe
rspec
tives
on th
e co
mpo
ser's
wor
king
m
ethod
s. Th
is es
say
focu
ses o
n sk
etche
s rela
ting
to th
e in
vent
ion
of th
e ro
w up
on w
hich
Tlz
reni
is b
ased
, and
upo
n St
ravi
nsky
's di
scov
ery
of pa
r- tic
ular
featu
res a
nd p
rope
rties
of
this
row
which
gui
ded
his s
electi
on of
the
tra
nsfo
rmati
ons
and
trans
posit
ions
he
ultim
ately
em
ploy
ed. R
econ
- str
uctio
n of
the
pro
cess
by
which
Stra
vins
ky a
rrive
d at
the
defin
itive
Pr
ime
sugg
ests
reas
ons f
or th
e pi
votal
role
play
ed b
y th
e no
te Eb
, and
for
the
priv
ilege
d sta
tus
which
acc
rues
to m
embe
rs of
the
fam
ily o
f ro
w fo
rms
begi
nnin
g an
d/or
end
ing
with
the n
otes
Eb,
Gb,
A, a
nd C
. Ske
tch
evid
ence
and
scor
e an
alysis
illu
strate
way
s in
which
Stra
vins
ky m
anip
u-
lated
the
"meth
od o
f com
posin
g with
twelv
e ton
es"
to cr
eate
effe
cts an
al-
ogou
s to
tradi
tiona
l tona
l cen
tricit
ies an
d hi
erar
chies
.
'*M
emor
ies a
nd C
omm
enta
ries
, 10
7.
'9Jos
eph
Stra
us i
s en
gage
d in
a m
onum
ental
inve
stiga
tion
of St
ravins
ky's
late m
usic.
Som
e res
ults a
re re
porte
d in
the M
usic
The
ory S
pect
rum
arti
cle
cite
d in
note
13, a
bove
; othe
rs are
forth
com
ing in
Jou
rtzal
of M
usic
olog
?; I
rltPg
ral,
and
in a
mon
ogra
ph o
n the
sub
ject.
He h
as g
enero
usly
shar
ed m
uch
of t
his
work
-in-p
rogr
essw
ith m
e.
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Stravinsky as Serialist: The Sketches for "Threni"David H. SmythMusic Theory Spectrum, Vol. 22, No. 2. (Autumn, 2000), pp. 205-224.Stable URL:http://links.jstor.org/sici?sici=0195-6167%28200023%2922%3A2%3C205%3ASASTSF%3E2.0.CO%3B2-F
This article references the following linked citations. If you are trying to access articles from anoff-campus location, you may be required to first logon via your library web site to access JSTOR. Pleasevisit your library's website or contact a librarian to learn about options for remote access to JSTOR.
[Footnotes]
1On Strawinsky's 'Threni'Hansjörg PauliTempo, New Ser., No. 49. (Autumn, 1958), pp. 16-17+21-33.Stable URL:http://links.jstor.org/sici?sici=0040-2982%28195823%292%3A0%3A49%3C16%3AOS%27%3E2.0.CO%3B2-T
3 Towards a New Poetics of Musical InfluenceKevin KorsynMusic Analysis, Vol. 10, No. 1/2. (Mar. - Jul., 1991), pp. 3-72.Stable URL:http://links.jstor.org/sici?sici=0262-5245%28199103%2F07%2910%3A1%2F2%3C3%3ATANPOM%3E2.0.CO%3B2-X
3Review: CarnivalAlan StreetMusic Analysis, Vol. 13, No. 2/3, Twentieth-Century Music Double Issue. (Jul. - Oct., 1994), pp.255-298.Stable URL:http://links.jstor.org/sici?sici=0262-5245%28199407%2F10%2913%3A2%2F3%3C255%3AC%3E2.0.CO%3B2-0
13 Stravinsky's "Construction of Twelve Verticals": An Aspect of Harmony in the Serial MusicJoseph N. StrausMusic Theory Spectrum, Vol. 21, No. 1. (Spring, 1999), pp. 43-73.Stable URL:http://links.jstor.org/sici?sici=0195-6167%28199921%2921%3A1%3C43%3AS%22OTVA%3E2.0.CO%3B2-G
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