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Program You are to imagine an American, visiting Paris, swinging down the Champs Elysees on a mild, sunny morning in May or June. Being what he is, he starts without preliminaries, and is off at full speed at once, to the tune of The First Walking Theme, a straight-forward, diatonic air designed to convey an impression of Gallic freedom and gaiety. Measure Section Program

1

12

1st Walking Theme

Violins and oboes present 1sc Walking Theme. The Allegretto grazioso, the 2/4 meter, and the use of acciaccaturas substantiate the nonchalant 'marching' character of the passage.

_, iiaJ liiaJ i""Jfiif]J liiaJ o 1 ., . . . v 'P ·

The chords used in this section could be interpreted as follows (piano reduction):

J)t>mlnllnlmnlh t' -{1 )...(o•Hh-1) I ·A-4.\.H

-J - -

The last motif of the phrase (m. 9) is echoed by French horns.

Violin ___ -:-_-=;-__ ......... =----=-=-:.d -The section concludes with off-beat brass and woodwinds interjections and chromatic sextuplets (flute, piccolo and oboe II) to return to the 1st Walking Theme The 1sr Walking Theme reappears. However, in this occasion it is not played completely. The ending motif from its first appearance is, however, not presented this time.

> . ' -:r t= - --- - ·-- -- -· \1nlon t r. _ __ 1 • jJ J J -----Instead the previous motif (m. 7, now m. 18) is imitated in

trumpets and trombones.

24

Program

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This section is based on the ending motif of previous section (four sixteen notes and one eight note). While the meter is still indicated as 2/4 the accents and placement of the motif result on 'divisive rhythms':

unly rh) thm

> > > > > IJJJJJJJJH

Here is a 're-arranged' version of the previous passage (irregular meter of figures of 2/8 and 3/8):

Our American's ears being open, as well as his eyes, he notes with pleasure the sounds of the city. French taxicabs seem to amuse him particularly, a fact that the orchestra points out in a brief episode introducing four Parisian taxi hams. These have a special theme allotted to then (the driver, possibly?), which is announced by the strings whenever they appear in the score. Measure Section Program

28 Taxi Cab Theme

The structure of this section is divided in two main ideas. The first idea, Taxi Cab Theme, is performed by oboes, clarinets, violins, and taxi-horns (mm. 28-31).

tFl-+ > > >

Its characteristic augmented 4th interval (Db-G) leaves little doubt to the programmatic aspect of the passage "Parisian taxi homs ... announced by the strings ... "

36

44

60

73 Bridge

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The second passage (mm. 32-35) consists of 'divisive rhythms' (rhythms of 3/8 on a meter of 2/4). Similar to m. 28 but Taxi Cab Theme (violins and woodwinds) is now a whole step higher (m. 38).

The second section has also been transformed. The 'divisive rhythm' section (originally in mm. 32-35) has been substituted by the alternation of the two 'taxi horn' motifs: the one ending on a 'G' and the one ending on an 'A' (mm. 40-43). Section 44-59 is similar to previous section (36-43). However, with the probable goal of increasing the depiction of chaotic traffic, Gershwin transposed the section half a step higher. Several elements seem to indicate the increase in 'traffic' activity:

• Increase in tempo (from giocoso to vivo) with accelerando (animando).

• Chromatic movement: o Two-measure motive of brass (Taxi Cab

Theme) : mm. 60-61 which is chromatically transposed in 62-63).

o Movement in clarinets (60-63) and oboes/bassoons/horns (64-67).

o Mostly chromatic line in higher strings, flutes and clarinet I (64-67).

• Dotted rhythms However, everything comes back to a calm moment starting in m. 68:

• Descending melodic contour (m. 68). • Ritenuto (m. 71) • Fermata (m. 72) • At m. 70 the section ends with bass clarinet that

plays a variation of one of the motifs from 1st Walking Theme (originally played atm. 7).

Dun <"lnrmc l l d''" J J J n I J p (j' f "

The last statement of the bass clarinet (m. 70) is . by several instruments such as oboes, flute I, bassoons, violin II, and cello. The section begins over a major-minor ih chord on D (m. 73) and a gth chord (also over D) on m. 75.

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The additive rhythm (m. 78, 2/8) 'creates' a measure of 3/4 with the previous measure. All this precedes the return to 1st Walking Theme.

Program Having safely eluded the taxies, our American apparently passes the open door of a cafe where, if one is to believe the trombones, La Sorella is still popular. Measure

79

89

97

Section

1st Waking Theme

La sorella1

Program 1sr Waking Theme is presented with similar melodic structure and, to a certain extent, orchestration than at the beginning. Oboes and violin present the first four measures of the theme. However, the second part of the theme (m. 83) presents some variations:

• flff dynamics • different instrumentation (flutes and French horns

with the theme and harmonic support of lower brass)

• transposition % step higher in m. 87 (G# and F# instead of G and F natural at m. 8)

A new motif appears (muted trumpets). >

1 -t 1 r i 't---j t 1· t::5 -J f

This motif could be traced to a motive from the 1st Walking Theme (violins and oboe, m. 7).

Violtn ===J==·==:::..._ II

Two of the similarities are the use of sixteen notes ending in a group of two eight notes. In this case the interval of the ascending note is a perfect sth, which is the inversion of the original perfect 4th .

Starting in an upbeat, the trombones present the French popular song La sorella (F# major).

There is some imitation on flutes, English horn, and trumpet {m. 98).

1 You can hear the orginial La sorel/a in here: http:ljwww.loc.gov/jukebox/recordings/detail/id/998/

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French horns and violas present the first part of 1sr

1st Waking Walking Theme in ritenuto. 106 The passage is built with a series of seventh chord over A Theme and 0 played alternatively (0 on the first beat and A on

the second beat mm. 103-106) with F as a pedal.

Program Exhilarated by this reminder of the gay nineteen-hundreds, he resumes his stroll through the medium of the Second Walking Theme, which is announced by the clarinet in French with strong American accent. Measure Section Program

110

119

2"d Waking Theme

A four-measure 'vamp' prepares the entrance of the 2"0

Walking Theme (shown later). The 'vamp' has two motifs:

a) mm. 110-111: !.-'"'''"" _, n

"'f > ====- >

Violoncello • 1,) ___L_ =" ---41 ;. ...r'-"'

and b) mm. 112-114.

bki= Jr -- _ _ __ =::_] "'f

The second motif presents elements from the 1st Walking Theme. If we compare m. 1

Violin t":- J ... tom. 112

1 -J --D j--===tr --- _ __ ! •f

both begin with a large descending interval followed by and ascending interval/line.

Theme (eight measures long: mm. 119-126) presented by clarinets (with chromatic interjections in contrary motion by French horns and violas).

Program

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This theme can be linked to the motif of m. 7 (1st Walking Theme) Violin - t __ -:._, D

and to the motif of m. 89 >

_ _.r_r __ -r Ei-7 f

as follows: • Several short notes with the same pitch ... • Followed by a medium-size ascending interval... • Followed by a descending interval

The last motif of the theme (mm. 125-126) is imitated by different instruments:

• Violins and French horns (127-128) • Augmentation on violin II and French horns (mm.

130-131) • Sequences with chromatic elements on violins and

woodwinds (mm. 132-135)

The last four measures of this section (132-135) bring back the taxi horns.

Both themes are now discussed at some length by the instruments, Measure Section Program

Walking Theme is presented again by brass, bass clarinets, violas, (m.136).

136 Develop menta At mm. 142-147 tuba and bassoons take the last motif of I section the Walking Theme (mm. 125 126) and expand it sequentially.

148 Four measures with chromatic lines act as a bridge

152

158

162

166

174

186

195

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towards: Walking Theme in oboes, clarinets and violins over

triplet accompaniment -somehow reminiscent of the triplets of mm. 93-96 (strings). Trumpet I and violins play the same motif of m. 89.

>

Bl"lrumpcl .. ,.i #f U -t -t j- t 1-t t- t -r -t-3 J f

2na part of Taxi Theme (French horns and strings with taxi horns). The energy appears to fade away with:

• p dynamics • Molto meno mosso • light instrumentation • return to 1st Walking Theme (flute)

Atm. 174 we have the return of 'triplet passage' from m. 152 (clarinets, violas and cellos). While the 'head' of the

Walking Theme reappears in stretto (m. 178-185). Divers transformations of 1sr Walking Theme:

• Augmentation (oboes, violins, m. 186). X•·a----------------,

.ff

II - __ u

• Fragmentation (m. 188, lower instruments)

Motifs from Walking Theme appear in stretto from m. 191 (trumpets. Violins, xylophone, flutes) . The triplet-accompaniment is always present. Con fuoco (with fire) indication announces the closing of this section. Several elements are present to offer a climactic moment:

• Elements of the Walking Theme (flutes, piccolo, violin 1).

• 1st Walking Theme (bassoons, tuba, cello and bass)

• 'Triplet accompaniment (in a 'duplet' version keeping similar pitch structure (oboes, bass clarinet, French horns, trombone I, violin II).

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The section ends with one last statement of the first motif from Walking Theme (French horns (m. 201).

Program .. . until our tourist happens to pass something. The composer thought it might be a church while the commentator held out for the Grand Palais-where the Salon holc;ls forth. At all events, our hero does not go in. Instead, as reveled by the English hom, he respectfully slackens his place until he is safely past. Measure Section Program

A sustained note in the English horn (solo) creates a very 204 horizontal contour only altered by the main motif of the 1st

Walking Theme (m. 208 and 21 0).

212 1st and Similar to the previous but transposed a fifth higher

Waking (oboe). Figure in m. 221 (piccolo and oboe) could be associated 221 Theme to motif from 1st Walking Theme (mm. 7-8). Figure in bassoons and bass has rhythmic elements from

226 Walking Theme (m. 226 vs. m. 19) and also 1st Walking Theme (m. 228 vs. mm. 8-9). Once more the variation of the motif from 1sc Walking

234 1st Waking Theme (seen in mm. 89) is played three times (French Theme horns and higher strings). The third time using metric

displacement.

Program At this point, the American's itinerary becomes somewhat obscured. It may be that he continues on down the Champs Elysees; it may be that he has fumed off.-the composer retains an open mind on the subject. However, since what immediately ensues is technically known as a bridge-passage, one is reasonably justified in assuming that the Gershwin pen, guided by an unseen hand, has perpetrated a musical pun ... Measure Section Program

239 Bridge Descending figure with chromatic elements (flutes) modifies the atmosphere.

Program .. . and that when the Third Walking Theme makes its eventual appearance, our American has crossed the Seine, and is somewhere on the Left Bank. Certainly it is distinctly less Gallic than its predecessors, speaking American with French intentions, as befits that region of the city where so many Americans foregather.

Measure

249

256

260

269

283

292 301

Section

;jU Walking Theme

Bridge

;fd Walking Theme

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Program Several elements confirm the 'walking' character of this section:

• Subito con brio • Fdynamics • secco and accented articulation with emphasis on

'off-beats' All this prepares the arrival of the ;fd Walking Theme. (trumpets, trombone I, violin I and cello atm. 251).

Probably the accented beginning of the theme is what creates its speaking American style. At any rate, contour and articulation remind the Taxi Theme (mm. 28-32).

The ;fd Walking Theme has a countermelody (oboes beginning at m. 251)

that is similar to the countermelody that accompanied the 1st Walking Theme (flute, bassoon, m. 1). Response of oboes and clarinets with a figure extracted from 1st Walking Theme (mm. 7-8) . Similar to 251-259. Ascending/descending line in trumpets and violins (imitated in diminution by flutes, oboes and xylophone (mm. 273-274). Return of Walking Theme (oboes, English horn, trumpets) accompanied by motifs from Z'd Walking Theme (French horns). As in the first time this theme was presented, it reappears accompanied by a variation of the countermelody to 1st Walking Theme (flutes and clarinets). In addition, ;jU Walking Theme is presented with variation (adding passing notes, m. 285, oboes, English horn, and trumpets) Passage similar to 283-291. In this section the ascending/descending figure that

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appeared for the first time in m. 269 (violins) reappears again in the violins but takes more importance. Imitated by flutes and oboes (m. 303), this figure will become a motto perpetuo with the addition of more instruments such as piccolo and clarinets (m. 316).

The section also presents sporadic motifs from previous material such as:

• brass playing the 'head' of :Jd Walking Theme (mm. 307-311 ), as support of the descending line in the woodwinds.

• French horns playing the 'head' of 1st Walking Theme (mm. 316, 317 and 321).

• At m 312 we find an interesting movement of parallel fifths in lower voices (bassoons and basses).

The head of z-'0 Walking Theme (m. 322, French horns and trombone) is interrupted by a series of fast scales in

322 violins and some woodwinds). The same is repeated atm. 327. At 332 the intensity of the accents and con fuoco indication create a climatic passage.

Program "Walk-theme is slightly sedentary in character, and becomes progressively more so. Indeed, the end of the section of the work is couched in terms so unmistakably, albeit pleasantly, blurred, as to suggest that the American is on the terraces of a cafe, exploring the mysteries of an Anise de Lozo. Measure Section Program

:fd Walking Theme in Piu moderato (English horn). In here, in addition to the passing notes variation seen in m.

338 285, the theme includes an appoggiatura (m. 339). This could be related to the characteristic acciaccaturas of the 1st Walking Theme.

Walking This passage has certain similarities with the climatic passage at m. 322 (head of passage :fd Walking Theme Themes by oboes, English horn, and French horn.

346 However, there are also elements from other passages: • Head of 1st Walking Theme in its original key

(trombone, tuba, cello and bass) • Triplets passage (flutes, trumpets, violins) first seen

atm. 174

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• 1st Walking Theme atm. 354 (flute and violin I).

Program And now the orchestra introduces an unhallowed episode. Suffice it to say that a solo violin approaches our hero (in soprano register) and addresses him in the most charming broken English .. . Measure Section Program

Several elements create a different atmosphere in this section: • Limited instrumentation • ppp dynamics • slower tempo

358 Walking • sustained notes in lower strings Themes • Polytonality: Ab in Clarinet and C in strings (mm 358-59).

atm. 362 the violin plays the solo described in the program, with an of the English horn (m. 365) that reminds of the 1s Walking Theme.

Program ... and, his response being inaudible-or at least unintelligible-repeats the remark. The one-sided conversation continues for some time. Of course, one hastens to add, it is possible that a grave injustice is being done to both author and protagonist, and that the whole episode is simply a musical transition. Measure Section Program

Here is another case of polytonality: violins in F# major v.s. violas and cellos inC major (m. 369); G# violins v.s. 0 violas/cellos (m. 3701); and Fin violins v.s. 8 in violas and cellos (m. 3702) .

369 The second remark comes atm. 373. Transposed a minor Walking third above the ori?inal, it is also complemented by Themes elements of the 1s Walking Theme (viola at m. 376). In

addition, the French horn presents the 'head' of the Walking Theme. A passage similar to m. 239 is presented with 2 solo

381 violins. This passage is complemented by trombone Ill playing elements from Walking Theme (m. 389}.

Program The latter inte retation ma well be true for otherwise it is difficult to believe what

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ensues; our hero becomes homesick. He has the blues; and if the behaviour of the orchestra be any criterion, he has them very thoroughly. He realizes suddenly, overwhelmingly, that he does not belong to this place, that he is the most wretched creature in the world, a foreigner. The cool, blue Paris sky, the distant upward sweep of the Eiffel Tower, the bookstalls on the quay, the pattern of horse chestnut leaves on the white, sun-flecked street-what avails all this alien beauty? He is not Baudelaire, longing to be "anywhere out of the World." The world is just what he longs for, the world that he knows best; a world less lovely-sentimental and a little vulgar perhaps-b!Jt for all that home. Measure Section Program

A four-measure vamp prepares the arrival of the trumpet solo with the 1st Blues Theme (m. 396).

bd:Erl /-- -=-±f.= B>Trumpc t __ -j o • I= mf

392 1st Blues

The use of "felt crown", use of pentatonic scale in the solo Theme (G, A, C, D, Eb), snare drum with "wires", and saxophones, give a blues flavour to the passage. The eight-measure trumpet solo consists of two repeated phrases of four measures that are complemented at the end of each one by flutes interjections. The consequent of this period comes at m. 404.

Blues Theme in the trombone in a 'lamenting'

Blues character.

409 Theme 11)9 . • b- - - - - - - - ......._ b• . ......._ b• . . _,..,. /C'-r..u.rr Sf[J tJ _r r r r Ct II r mf -=::::: =-

414 1sr Blues Theme reappears on oboes, clarinets, and higher strings, with a countermelody on the cellos. Violin I present an idea loosely based on the First Blues

427 1st Blues Theme. In here the theme is in minor and works as a Theme transition to:

1sr Blues Theme (English horn, trumpet, violins). 431 Countermelody is also present on clarinets, violas and

cellos. Elements such as the glissando on the violins (m. 439) contribute to the blues atmosphere. The syncopated motives (m. 443 English horn and clarinets)

443 Syncopated motives

Engl;sh lilt fin b.LJ t__Ij - l ·mf

446

449

452

455

461

466

468

1st Blues Theme

Syncopated motives

Syncopated motives

1st Blues Theme

Syncopated motives 1sr Blues

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will be imitated by saxes (m. 445) creating a harmonic unstable section (bridge). This 'syncopated motive' could be related to the figure of 399 (flutes). Sequential repetition (minor third higher) of the previous three measures. A new figure (m. 449 bass clarinet and alto sax)

,Q· --- ' I Elass Clonnc• I - 7 .i . 1

f

reminds, in its contour, to the violin solo at m. 362. This figure will be imitated in the next two measures by bassoons, and saxophone baritone. However, the closing figure of the cellos (m. 451) comes from the motif of m. 397 in the trumpet (1st Blues Theme) . Similar passage to 443 but now transposed a major sixth higher. Similar passage to 443 but now transposed an octave higher. Atm. 457 there is another case that could be taken as alternating polytonality. If taken the chords formed by the different instruments they alternate between Bb and C. The following example shows the collapsed clarinets (transposed to C) and the strings:

n ; 1 " u

After a fermata, this section combines two main motifs: • The rhythmic elements of the syncopate motif at m.

443 (in this case mainly bass clarinet, trumpets, trombones and saxophones).

• The line of the flutes, clarinets, and strings that comes from the motif of m. 397 in the trumpet. (1st Blues Theme).

This last idea (m. 461 strings) is played in a descending sequence (one step lower each time up tom. 463 and then by thirds). These are half diminished ih chords (with enharmonic spellings) over a pedal of F. Fromm. 463, the sequence also includes diminution. Supported by a runs and sequenced motives in the violins, brass play the syncopated figure from 446. A last presentation of the 1st Blues Theme (woodwinds

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Theme and higher strings) accompanied by the syncopated figure in the brass.

471 Syncopated Elaboration of the syncopated figure on the violin based motives on chromaticism. 1st Blues Last references to the motif of m. 397 in the trumpet (1st

477 Theme Blues Theme). In this case flutes (m. 477) and clarinets (m. 479).

Program However, nostalgia is not a fatal disease-nor, in this instance, of overlong duration. Just in the nick of time the compassionate orchestra rushes another them to the rescue, two trumpets performing the ceremony of introduction. It is apparent that our hero must have met a compatriot; for this last theme is a noisy, cheerful, self-confident Charleston, without a drop of Gallic blood in its veins. Measure Section Program

482

494

Program

1st Charleston Theme.

As described in the program, trumpets I and II introduce the 1st Charleston Theme.

The theme includes the syncopation characteristic of the Charleston, which was a dance of the period. The whole section is organized on three four-measure phrases. The last of the phrases shared between trumpets, trombones (m. 490), and woodwinds and lower strings (m. 492). This section is similar to the previous one. The 1st Charleston Theme is now doubled by flute and violins. The section is interrupted atm. 504 Charleston Theme.

For the moment, Paris is no more; and a voluble, gusty, wise-cracking orchestra proceeds to demonstrate at some length that it's always fair weather when two Americans together, no matter where. Walking Theme number two enters soon thereafter enthusiastically abetted by number three. Paris isn't such a bad place! Nice weather, nothing to do till tomorrow. Measure Section Program

504 Charleston Charleston Theme on the clarinet characterized by Theme acciaccaturas and syncopation.

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... · J · · R>narinet 0: cr.u I W-trr .f II

f --= =--This theme is imitated by flute and oboe (m. 506). :fC1 Charleston Theme in the trumpet, flute and oboe.

rufJf(· 508 ;fd Charleston f p ·

Theme Similar to the 1st Charleston Theme in the sense that it is characterized by syncopation and large intervals. This is complemented atm. 512 by elements from the 1st Charleston Theme (bassoons, violas and cellos). 4m Charleston Theme in strings

H,·a

'"II " -- ....---.. .

4th Charleston Violins I 0 lf- ---l--{ 0 -- TT T I l ;-

516 ...__,

Theme p ==--This incorporates a technique borrowed from impressionistic 'planing'. This theme includes glissandi typical of Jazz.

524 Passage with figures on the xylophone and violins that can be related to 1st Charleston Theme.

531 1st Charleston Similar to 516 but half-step higher. 1sr Charleston Theme (violins, trumpets) with a 541 Theme. heterophony texture similar to that of Dixieland music.

550 This section is based on metrical displacement of the 'head' from the 1st Charleston Theme.

Program The blues return ... Measure Section Program

564 1st Blues 1st Blues theme in trumpets and strings. theme

Program ... but mitigated by the Second Walking Theme-a happy reminiscence rather than a homesick yearning--and the orchestra ... Measure Section Program

Z"d Walking z-'0 Walking Theme (trombones I and II m. 573) while the 572 Theme. second part of the Blues Theme is played by woodwinds

and higher strings.

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575 Solo violin (reminiscent of Blues theme) imitated by tuba.

583 Walking Elements from Walking theme. Theme.

590 Blues Reminiscences of Blues theme theme

Program .. . in a riotous finale, decides to make a night of it. It will be great to get home; but meanwhile this is Paris! Measure Section Program

592 1st Walking 1st Walking Theme (woodwinds) complemented by violins

Theme atm. 597. 604 Theme in flute (from violin solo atm. 376}.

• Theme in brass (from ;td Walking Theme atm. 251) . 612 • Theme in violins (from the 'trumpet muted theme' at

89). 629 Taxi Theme (trombones, tuba and taxi horns) from m. 40.

• Motives from Walking Theme (flutes and violins) . • Augmentation of Walking Theme in trombones (m .

635 Walking 639). Theme • From 641 a chromatic movement begins in the

sixteenths. Each measure is a ih chord moving up chromatically (over pedals in the sustained notes).

1st Walking • 1st Walking Theme (trumpet and violin II) . 645 • Rhythmic elements from Walking Theme (timpani Theme and cello}.

649 :JU Walking Sequential ascension of the "head" of :JU Walking Theme Theme (flutes, clarinet, trumpets, violin I and viola}.

655 Walking Rhythmical figures from Walking Theme (flutes, Theme xylophone, and higher strings).

• Elements of Walking Theme (English horn, bass

665 1st Blues clarinet, French horns, alto sax). theme • 1st Blues Theme (flutes, oboes, clarinets, trumpets,

higher strings). 1st Blues The piece concludes with a last statement of elements

677 theme from 1st Blues Theme (English horn, clarinets and alto sax).