13
Symphonic Dances from WEST SIDE STORY 6 8 6 8 Notes on the Symphonic Dances. West Side Story opened on Broadway in September, 1957 to glorious critical and public acclaim. It became a major artistic landmark and proof of a new kind of operatic synthesis that fused complex vocal and instrumental ensembles, ballet, classical and jazz styles, with powerful and ancient tragic themes (love versus hate) played out by streetgangs in urban New York. The Symphonic Dances are a concert suite of nine connected movements that recall the dramatic events and their inspired music. The order of the material is based more on "feel" than on the plot sequence of the show, and the whole thing manages to be both "serious" and "popular." As arranger Sid Ramin wrote (1992), "This suite brings the music of Broadway into the concert hall, orchestrating with symphonic character the music every theater-goer loves." This is a standalone musical work in its own right. 1. Prolog (Allegro moderato): The growing rivalry between two teenage gangs, the Jets and the Sharks. 2. Somewhere (Adagio): In a dream ballet, the two gangs are united in friendship. 3. Scherzo (Vivace e leggiero): In the same dream, the gangs break away from the city walls, suddenly finding themselves in a playful world of space, air and sun. 4. Mambo (Meno presto): In the real world again, the competitive dance at the gym between the two gangs. 5. Cha-cha (Andantino con grazia): The star-crossed lovers, Tony and Maria, see each other for the first time. They dance together. 6. Meeting Scene (Meno mosso): Music accompanies their first words spoken to one another. 7. Cool Fugue (Allegretto): An elaborate dance sequence; Riff leads the Jets in harnessing their impulsive hostility, figuratively "cooling their jets." 8. Rumble (Molto allegro): Climactic gang battle; the two gang leaders, Riff and Bernardo, are killed. 9. Finale (Adagio): Maria’s I have a Love develops into a procession that recalls the vision of Somewhere. Notes on the piano transcription. The songs from West Side Story are among the most re-interpreted art music of the twentieth century, and a quick internet search turns up dozens of recordings in print (Josh Bell (violin); Richie Cole (sax); Oscar Peterson, Dave Brubeck, AndrØ Previn (jazz piano); the Falla guitar trio; Buddy Rich and Stan Kenton (big bands); and many more out of print). A few classical pianists have made West Side Story albums (John Bayless’ arrangements; the Labeque duo). John Musto made a two-piano arrangement of the Symphonic Dances for the Murray Dranoff two-piano competition (Florida, 1998; Boosey & Hawkes, M-051-26166-6, 2001). The only solo transcription appears to be by the eclectic Swiss pianist, Dag Achatz, at the personal behest of Leonard Bernstein. It is not published in score, but is available on CD (BIS #352, 1994). Unlike Liszt’s opera transcriptions (which tend to be virtuosic vehicles) or the "free" fantasy-transformations of Godowsky or Rachmaninoff or Earl Wild, both the Musto and Achatz follow the symphonic score, and are more like sparse pen-and-ink architectural drawings than sprawling impressionist canvases. After all, the Symphonic Dances are already a free metamorphosis of the Broadway show, and are carefully wrought. I recommend that students and lovers of this music consult those scores and recordings. This arrangement follows them pretty closely, as well as the orchestral score and particularly Bernstein’s own recording of it. Mary Farbood helped immensely in drafting big sections. It was made for the 2002 Van Cliburn competition for outstanding amateur pianists in Fort Worth, Texas. The up-to-date version may be found at: http://www.mike-hawley.com/scores/bernstein/wss.pdf I have indicated fingerings and pedallings ("u.c."= una corda, "m.p."=middle pedal) in a few key places, and have labelled some of the instrumental voicings to keep their character in mind. Most tempo and expression marks come from the orchestral score. I have laid out the score in a compact format, to contain phrases and sections within line and page breaks. Pianistically, this arrangement is not a "finger breaker," but the minimalist lines lend themselves to very graceful expression and help to render a handsome and emotionally rich concert suite. Knowing the lyrics by heart, and knowing what it takes to to get a symphony orchestra to dance, will help bring this music to life. It is my sincere hope that lovers of piano literature will find here an enjoyable, fresh perspective on Bernstein’s wonderful West Side Story. Michael Hawley [email protected] Cambridge, Massachusetts June 1, 2002

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Page 1: Symphonic Dances from WEST SIDE STORY - …reinsweb.ddns.net/scores/B/Bernstein, Leonard/Bernstein-Hawley... · Symphonic Dances from WEST SIDE STORY 6 8 6 8 Notes on the Symphonic

Symphonic Dances from

WEST SIDE STORY

Notes on the Symphonic Dances.

West Side Story opened on Broadway in September, 1957 to glorious critical and public acclaim. It became a major artisticlandmark and proof of a new kind of operatic synthesis that fused complex vocal and instrumental ensembles, ballet,classical and jazz styles, with powerful and ancient tragic themes (love versus hate) played out by streetgangs in urban New York. The Symphonic Dances are a concert suite of nine connected movements that recall the dramatic events and their inspired music.The order of the material is based more on "feel" than on the plot sequence of the show, and the whole thing manages to be both"serious" and "popular." As arranger Sid Ramin wrote (1992), "This suite brings the music of Broadway into the concert hall,orchestrating with symphonic character the music every theater-goer loves." This is a standalone musical work in its own right.

1. Prolog (Allegro moderato): The growing rivalry between two teenage gangs, the Jets and the Sharks.

2. Somewhere (Adagio): In a dream ballet, the two gangs are united in friendship.

3. Scherzo (Vivace e leggiero): In the same dream, the gangs break away from the city walls, suddenly finding themselves in a playful world of space, air and sun.

4. Mambo (Meno presto): In the real world again, the competitive dance at the gym between the two gangs.

5. Cha-cha (Andantino con grazia): The star-crossed lovers, Tony and Maria, see each other for the first time. They dance together.

6. Meeting Scene (Meno mosso): Music accompanies their first words spoken to one another.

7. Cool Fugue (Allegretto): An elaborate dance sequence; Riff leads the Jets in harnessing their impulsive hostility, figuratively "cooling their jets."

8. Rumble (Molto allegro): Climactic gang battle; the two gang leaders, Riff and Bernardo, are killed.

9. Finale (Adagio): Maria’s I have a Love develops into a procession that recalls the vision of Somewhere.

Notes on the piano transcription.

The songs from West Side Story are among the most re-interpreted art music of the twentieth century, and a quick internetsearch turns up dozens of recordings in print (Josh Bell (violin); Richie Cole (sax); Oscar Peterson, Dave Brubeck, AndrØ Previn(jazz piano); the Falla guitar trio; Buddy Rich and Stan Kenton (big bands); and many more out of print). A few classical pianistshave made West Side Story albums (John Bayless’ arrangements; the Labeque duo). John Musto made a two-piano arrangementof the Symphonic Dances for the Murray Dranoff two-piano competition (Florida, 1998; Boosey & Hawkes, M-051-26166-6, 2001).The only solo transcription appears to be by the eclectic Swiss pianist, Dag Achatz, at the personal behest of Leonard Bernstein. It is not published in score, but is available on CD (BIS #352, 1994). Unlike Liszt’s opera transcriptions (which tend to be virtuosicvehicles) or the "free" fantasy-transformations of Godowsky or Rachmaninoff or Earl Wild, both the Musto and Achatz follow the symphonic score, and are more like sparse pen-and-ink architectural drawings than sprawling impressionist canvases. After all, the Symphonic Dances are already a free metamorphosis of the Broadway show, and are carefully wrought. I recommend that students and lovers of this music consult those scores and recordings. This arrangement follows them pretty closely, as well as the orchestral score and particularly Bernstein’s own recording of it. Mary Farbood helped immensely in drafting big sections. It was made for the 2002 Van Cliburn competition for outstanding amateur pianists in Fort Worth, Texas.

The up-to-date version may be found at: http://www.mike-hawley.com/scores/bernstein/wss.pdf I have indicated fingerings and pedallings ("u.c."= una corda, "m.p."=middle pedal) in a few key places, and have labelled some of the instrumental voicings to keep their character in mind. Most tempo and expression marks come from the orchestral score. I have laid out the score in a compact format, to contain phrases and sections within line and page breaks. Pianistically, this arrangement is not a "finger breaker," but the minimalist lines lend themselves to very graceful expression and help to render a handsome and emotionally rich concert suite. Knowing the lyrics by heart, and knowing what it takes to to get a symphony orchestra to dance, will help bring this music to life. It is my sincere hope that lovers of piano literature will find here an enjoyable, fresh perspective on Bernstein’s wonderful West Side Story.

Michael [email protected]

Cambridge, MassachusettsJune 1, 2002

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1

Leonard Bernsteinarranged by: Michael Hawley

www.mike-hawley.com/scores/bernstein/wss.pdf1 Allegro Moderato ( q . = 128)

Symphonic Dances from WEST SIDE STORY

Prolog. (the growing rivalry between the Sharks and the Jets)

[pizz. and muted brass]

2

p

mp

p

2

16 [solo sax]

with a jazz feel

1+1

2

2

finger snaps

p

mp 2

29 smoothly

[strings]

2 2 2 2

2 2 2

LH

40 joyously

roughly

[solo trombones]

sfz

[bassoon + trumpet]

2

2

p

switch to LH 2

( )

53let fade

smoothly

loco

2 2 2 2

2 2

LH

65

[tutti]

f

2 2

[oboe]

ff

76

p

[sax]

[cello + horns] ten.

2

[piano+xylo+flute]

2

88

ten.

G.P.

2 2 2 2 2 2 2

pp subito

1

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97

[strings+winds]

2 2 2 2 2 2 2

[piano+xylo]

f [piano+harp]

106

2 2 2 2 22

2

pp

f

sfz

116

q . = q

[tutti]

molto

G.P. G.P. 2 2 2 2

2

ff

sfz

fff

(l’istesso tempo)Scherzando e misterioso

129 [pno+xylo+picc]

LH

[harp+cello+flute] [winds]

f

143[flute]

[piano]

7

154

[winds]

f

164f

[strings]

mf

ff

174[trombones]

5 4

ff

3

3

3

[+horns]

[+winds+strings]

(two bars)

etc.

2

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185

3

3

[piano+xylo]

p

f

p

196

[cello+bass]

f f

206

dim. molto

G.P.

ff

[bass+low winds]

f

p

216

[tutti]

3

3

5

226

Furioso

ff

132

235

135

2

fff

loco

243

[police whistle!]

[tutti]

[piano+strings]

mf marcato

253

Adagio (e=72)

[harp+vibr]

2

(harmonic)

p

2

(release)

ppp

3

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2 Adagio (e=72)

264

( ) ( )

[violin+harp]

Somewhere. (in a dream ballet, the two gangs are united in friendship)

ten.

pp

[horn+oboe]

3

3

p

[solo strings]

[piano]

277 [tutti]

[strings]

f

3

p

4 3 3

3 3 3 3 3

mp

mf

1

2 1 3(-3)

286

a tempo

ppp

LH

2

2

LH

LH 2

1

3

pp

1-2-1

LH

35

pp espr.

[piano+harp]

[clar+strings]

[tutti]

293

rall.

33

3

5

5

f

ff

a tempo

302ppp

[flute]

[eng.horn]

(m.p. )

[piano+harp+pizz]

etc.

309

Andante con moto(twice as fast: e = q )

ppp

pp

mp

[NO una corda]

fff subito

mf

4

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3poco accel.

319

poco piu mosso (q = 96) Agitato (q = 120)

accel. di piu

Scherzo. (in the same dream, the gangs break away from the city walls suddenly finding themselves in a playful world of space, air and sun)

[celeste+strings]

p espr. mf pp

u.c.

[oboe+trumpets]

p mf [strings]

mp mf

f p

accel. ( q = 132)

329

accel al....

Vivace e leggiero (q = 172)

31

31

4

2

31

53

mf

grazioso

mp

p

pp[flute+oboe]

[strings]

2

5

338

[pizz]

p

2

5 3

mf

4

pp

mf

348

f sub.

pp

finger snaps

f sub.

pp

pp

360

pp

ppp

mf f

371

finger snaps

[pizz]

pp

55

3

molto

5 4

377

p

G.P.

ff

sfz

mf

f

5

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4Meno presto (q = 132)

385[tutti]

Mambo. (in the real world again, the competitive dance at the gym between the two gangs)

ff

sfz

393

etc.

ff

f

403

ff

f

f

413

421

Mam-bo![SHOUT]

[strings]

ff

[+piano]

428

mf

f

437

Mam-bo![SHOUT]

ff

fff

444

2 3

mf

f

ff

5

sfz

6

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453[piano+winds+strings]

f

[pizz.]

ff

sfz

461

f

[brass+xylo] [pizz.]

[pizz.]

RH

3 1

3 2

4 3

[piano]

532

21

3

465

sfz

fff

f

[piano+ winds+strings]

3

ff

sfz

2 4

5sfz

531

21

4

479

[trombones]

sfz

489

498

sfz

505

fff

tutta forza!

515

molto rall.

pp

7

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5 Andantino con grazia (q = 100)

526Cha-Cha. (The star-crossed lovers, Tony and Maria, see each other for the first time. They dance.)

[pizz.]

[+vibr]

[pizz+flute+piano]light and dry.

[bass Clar.]

[pizz.]

p

LH

[+Vibr]

LH

2

5

4 23

534

5 4 23

p

2 1 3

542

dolce

[winds+high strings]

[oboe solo]

mf

[vibr+harp+celeste]3 1 3 2 ...

3 1 ...

subito

[low strings]

mf espr.

f

p

p dim. molto.

[four violins]

6 Meno mosso (q = 72)

551

sempre rubato poco rall. a tempo rit. a tempo

Meeting Scene. (Music accompanies their first words spoken to one another.)

[celeste+vln solo]

mfz

pp

f

[vibr+vln solo]

pp

dolce

4 mp

4

pp

ppp

mp

pp

7 Allegretto (q = 160) (Swing)

accel. molto561

Stringendo un poco

Cool Fugue. (An elaborate dance sequence in which Riff leads the Jets in harnessing their impulsive hostility, figuratively "cooling their jets.")

sfz

mf

[pizz]

mf [piano+bass clar.]

p

568

sfz

sfz

p

[harp+flute]

[pizz]

pp

mfmp

575 3

3

3

p

mf

mp

pp

[note: an extra strain from the song is inserted; you may prefer to cut to m.596]

8

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583

3

p

mfmp

591

... 3

mf

3

p

mf

mp

pp

p

3 pp

601

FUGUE

[+bongo]

sfz

sfz

pp

[trumpet]

pp

pp

f

615 cresc.

3

sfz

3

mf

p

sfz

cresc.

622

3

3

ff

f

mf

sfz

p

mf

pp

630

3

3

3

3

sfz

pp

sfz

637

3

p

sfz

p

645

p

3

3

3

sfz

sfz

f

652

3

3

9

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657

3

3

3

3

3

3

3

3

662

[tutti]

ff

673

[pizz.]

ff

fff

fz

679

ff

684

3

3

3 3

691

[harp+flute]p

[tutti]

molto

pp

pp

mf

mp

699 ff

mf

ff

3

3

[flute+vibr]

pp

mf

707

3

[piano]

p

pp

715

[vibr. + piano] finger snaps

10

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8 Molto Allegro e = e (q . = 144)

722

Rumble. (Climactic gang battle; the two gang leaders, Riff and Bernardo, are killed.)

[tutti] 2

2 45

1 2

[xylo]

[piano + strings]

marcato

ff

ff

[xylo]

732

[piano + strings]

[horns]

ff

mp

743

[muted trmp] mf

f

f[brass]

(m.p.)

[winds]

mp

f [trombones]

mf [brass]

753

f

mf

f

mf

optional cut to m.800 ...

f

[piano]

ff

f

762

[solo+pizz]

ff

ffz

ffz

ffz

ffz

ffz

ffz

ffz

pp sempre stacc.

775

[reeds]

cresc.

cresc. poco a poco

cresc.

mf

784

[winds]

[piano+winds]

f[strings] sfz

793

2

... from m.769

800

fppmolto

sffz

[tutti] lunga

[piano solo]

ff cresc. molto.

fff

11

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Cadenza (same tempo)Cadenza (same tempo)807

meno rall. Lento

[flute]

p

[flute]

mp p mf mf mp pp

8 Adagio (e = 80)

8192

Finale. (Maria's "I Have A Love" develops into a procession, which recalls the vision of "Somewhere.")

3

u.c.

mp

pp dolcissimo

u.c.

3

[strings]

p4 35

1

etc.

5

3 24

1

(hold)

54 321

1/2 pp

[strings]

delicate, clear pedal & half pedal

ten.

gently rolled

ppp

[viola]

mp

3

831[winds]

mf

ten.

mp

3

[1/3 bass pizz.]

[strings]

[oboe solo]

mp

f

[pedal as before]

f espressivo

3

3

Meno (e = 72)

843pp

[muted brass]

[piano+timp+strings]

pp

850

poco rit. Ancora meno mosso (e = 60)

[oboe]

[flute]

3

31 ----- 2

hold

35

1 lunga

p

ppp

ppp

[pizz]

12