Page:A Dictionary of Music and Musicians vol 3.djvu/544

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532

SKETCHES.

${ << \new Staff << \key e \major \time 4/4 \new Voice \relative g'' { \stemUp \override MultiMeasureRest.staff-position = #2 R1 | r2^\markup \small "Viol. 1mo" r8. gis16^.\pp gis8.^. a16^.| b8^. r b^. r gis^. r e^. r | %end line 1 \repeat unfold 2 { b2 ^~ b8.[ gis16^. gis8.^. a16^.] } %eol 2 b8^( cis b dis e b' gis e) | e2^>^( dis8) s_"etc." } \new Voice \relative g' { \stemDown <gis b>_.\pp^\markup \small "Viol. 2 e Viola" q_. q_. q_. \repeat unfold 3 { q2:8 } | q1:8 | %end line 1 gis1:8 gis: gis: <a b>: } >> \new Staff << \clef bass \key e \major \new Voice \relative e' { \stemUp e8^\markup \small "Cello" e e e e2:8 e: e: e1:8 %end line 1 e1:8 e: e: fis: } \new Voice \relative e { \stemDown \override Score.Rest #'style = #'classical e4_\markup \small "Basso" r r2 R1 R | %end line 1 r8. gis,16-.[_\markup \small "Basso" gis8.-. b16-.] e4-. r | r8. gis,16-.[ gis8.-. b16-.] e4-. r | %end line 2 R1 fis4 r r2 } >> >> }$

During the 69 bars which follow, the Movement is fully scored; but, from this point, either through failure of time, or, more probably, in rebellion against the mechanical restraint imposed upon thoughts which flowed faster than the pen could write them down, Schubert indicates the leading thread only of his idea, by means of a few notes, allotted sometimes to one Instrument, and sometimes to another, but always with a firmness of intention which conclusively proves that the entire Score was present to his mind, throughout. Thus, at the 85th bar of the Movement, a few notes for the First Violin introduce the Second Subject, of which the First Clarinet part only is written in full, with here and there a note or two for the Violin, not simply suggested, but resolutely inserted in the proper place.

${ \new Staff << \key e \major \time 4/4 \override Score.TimeSignature #'stencil = ##f \new Voice \relative b' { \stemUp s1 b2^(^\markup \small "Clar." a4 g | a2. g4 a b c b a2.)_"etc." } \new Voice \relative b' { \stemDown r2_\markup \small "Viol." r8. 16[\p q8. q16] q4 r } >> }$

In this manner the Movement is carried on through a farther period of 271 bars—in all 374—never with less clear indications than these, and generally with much fuller ones, to its conclusion in the original key. Then follows an Andante in A major, on the following Subject, of which the First Violin part only appears in the MS.

${ \relative c'' { \key a \major \time 6/8 \tempo "Andante." cis8(\p b a) e4(-> cis8) | e4(-> cis8) e( a cis16 b | gis4.) d'8( cis b) | fis'4( d8) fis8.( d16 cis b) | a4( \tuplet 3/2 { gis16 cis16. b32 } a4) r8 | s_"etc." } }$

Of this, nine bars only are fully scored, soon after the statement of the leading Subject, and six more a little farther on: but the indications are perfectly clear throughout.

The Scherzo, in C major, also begins with the First Violin part only, no part of it being completely scored:—

${ \relative c' { \time 3/4 \tempo "Allegro." \partial 4 \override Score.Rest #'style = #'classical c4 | e2 g4 | c2 e4 | g,2. ~ | g4 e a | f2. ~ | %end line 1 f4 d g | e c f | d b d a r r | s_"etc." } }$

The Trio opens with a passage for Oboes, Bassoons, and Viole divisi; and it is possible that some portions of it may have been intended to remain as they stand in the MS., with no additional Instrumentation:—

${ << \new Staff << \key a \major \time 3/4 \override Score.TimeSignature #'stencil = ##f \new Voice \relative e'' { \stemUp <e e,>2.\pp^\markup \small "2 Oboi" ~ q ~ q ~ q ~ e e } \new Voice \relative e' { \stemDown s2. s s_\markup \small "2 Viole" e4_( <d fis> ) | <cis e a>2_( <e b'>4) | <cis e a>2_( <e b'>4) | <cis a'>2_( <a' cis>4) | <gis b>-. q-. q-. | <a cis>2( <cis e>4) | -. q-. -. | <a cis,>2( <a cis>4) | s_"etc." } >> \new Staff << \clef bass \key a \major \new Voice \relative e { \stemUp R2.*3 e4^( fis gis) \bar ".|:" a2 b4 | %end line 1 a2 b4 | s2. s s s s | s4 } \new Voice \relative e { \stemDown s2. s s e4_(_\markup \small "2 Fag." d b) | cis2_> e4 cis2_> e4 } >> >> }$

The last Movement begins, in like manner, with a very meagre outline: but, a large proportion of the First Violin part is completely filled in; and, when a subsidiary Subject makes its appearance, the Wind Instruments never fail to indicate the special mode of treatment intended for it.

${ \new Staff << \key e \major \time 2/4 \tempo "Allo. giusto." \override Score.Rest #'style = #'classical \new Voice \relative b' { \stemUp \override MultiMeasureRest.staff-position = #2 R2 \bar ".|:" R R r4^\markup \small "Viol. 1mo" r8 b(\p | e4.-> b8 | gis4) r8 gis( | a)[ b-. cis-. ais-.] | b4 r8 b( e4.-> b8 | gis4) r8 b( | %end line 2 fis)[ gis-. a-. fisis-.] | gis4 s8_"etc." } \new Voice \relative b { \stemDown r8_\markup \small \right-align "Viol. 2ndo" 4_>\pp q8 | q[ q q q] | r8 gis'4 gis8 } >> }$

${ \relative g'' { \override Score.TimeSignature #'stencil = ##f \time 2/4 \override Score.Clef #'stencil = ##f \override Score.KeySignature #'stencil = ##f \key e \major \tempo "Second Subject" \partial 4 g8.(^\markup \small "Fl. 1mo" a16 | b2-> a8) r fis8.( g16 | a2-> g8) r b8.( c16 | d2-> | %end line 1 a8) r b8.( c16 | d2-> | b8) s^"etc." } }$

We have said enough to show that, though describable in general terms as 'a Sketch,' this remarkable MS. is not one in reality. It is