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カヴァティーナ組曲について~最終回・Danza Pomposa&補遺~ [曲目]

A.タンスマンのカヴァティーナ組曲について,Segovia版とZigante版を比較検討などをしてきました。前回のBarcaroleでこの曲は終了なのですが,セゴビアの無茶振りで生まれたのがこのDanza Pomposaです。

Zigante版では,一応この曲を5番目のムーブメントとして載録しています。その副題にタンスマンが書いたらしい記述で「アドリブ(ad libitum)」とあります。「この曲を弾く弾かないはご自由に」という事の様です。

佳曲とは思います。ポンセの擬バロック作品の様な風情です。ただ,カヴァティーナ組曲の4ムーブメントに関連を持たせてはいますが,別の曲と思います。
ZiDanzaP.jpg
譜例1Zigante版Danza Pomposa冒頭
セゴビアに,カヴァティーナ組曲の後に並べて弾く曲として依頼され,作曲技法を駆使して作りあげられた曲です。たこやきおやじさんが感じ取られた様に,「伝パーセル」というのもアリかも知れません。これが作曲された頃には,ポンセの擬バロック作品はバレていたのでしょうか。そうでなくてもプロ作曲家でセゴビアの性格も良く分かっていた彼ならばお見通しだったのではないでしょうか。

タンスマンにしたら,この曲はそれこそアドリブ的に作った作品だったかもしれません。プロの作曲家からしたら,様々な作曲家のスタイルで作曲してみる事は,課題練習のようなものです。誰風の作品であるかは別としても,まぎれもなくバロックスタイルの曲です。擬バロック曲が,セゴビアからも聴衆からも受けが良いということを,セゴビアとポンセとの共謀の件も知った上で,タンスマン一流の優雅なエスプリを感じさせる曲だと思います。

従って,この曲をカヴァティーナ組曲に含めるかどうか?というのは余り意味のない議論だと思います。作曲のいきさつ自体が真実を物語っています。カヴァティーナ組曲(1951)は前回も指摘した通り,PreludioからBarcaroleまでの4曲で成り立っています。タンスマンは4曲からなるこの曲をAccademia Musicale Chigiana di Siena 20周年記念の作曲コンテストに応募して,満場一致の一位を得ています(審査員には審査委員長のG.エネスコはじめカサドやセゴビアもいた)。かなり気合の入った曲であったことが想像できます。タンスマンはバルカローレの消え入る終わり方で作品を作ったのであり,ゴテゴテした曲を後に付ける意思はありませんでした。セゴビアの依頼により,受けの良さそうなバロック風の曲を書いたが,続けて弾くかどうかは「お好きにどうぞ」。というものです。じっさい,この曲のある版(Ms54-Sacem)には曲名に"ad libitum"と書いてあるので,Zigante版でもそれを採用しています。また,"Final de la Cavatine ou morceau séparé(カヴァティーネ集の終曲もしくは別曲)"とも書いてある版(Ms52-Linares)もあるとのことで,タンスマンの真意が良く分かります。(セゴビアとの関係上)あからさまに別の曲とも言えないので,一応お好きに最後に弾いても良いですよ,という事です。当然,タンスマンは「別曲」としたかったとは思いますが,セゴビアとの関係を悪くしたくないので,玉虫色解決を図る外交戦略です。

その根拠として,その様なタンスマンの文字的な記述以外に,曲そのものにもかなり明確なメッセージが含まれています。Cavatine 4曲とDanza pomposaには様々な相違点が見られます。むろん続けて弾かれる事を考慮して関連性を持たせる事もしていますが,注意深く差別化も図っています。表1に相違点をまとめてみます。

表1CavatineとDanza pomposaの比較
  Cavatine
(PreludioからBarcarole)
Danza pomposa
曲名伝統的名称(楽式名)創作名称
曲の性格古典的形式に新規な音使い擬似バロック(フゲッタ含む)
調性など旋法使用で全て臨時記号調号明示のホ長調

曲のネーミングに関しては,Cavatine 4曲は曲集を示す"Cavatine"もそうだが,構成曲Preludio,Sarabande,Scherzino, Barcaroleは何れも伝統的な楽曲名であり,それに対して"Danza pomposa"とは伝統的な楽曲名ではなく,創作した楽曲名であること, 曲の性格に関しては,Cavatineは古典的楽式だが,作曲技法が新しいことが挙げられます。それに対してDanza pomposaは疑似バロック曲であり,フゲッタまで付いていること, 更にはっきりとした違いは,Cavatineは全て臨時記号で書いており,これは各種旋法を用い通常の調性曲ではないという強い表明です。特にScherzinoはロ長調(Bイオニアン)で書けば#5個で表されるものを,敢えて臨時記号で書いています。それに対して,Danza pomposaはしっかり#4個で調性を明示したホ長調で書いています。他にも,重複を恐れず挙げれば,前者が詩的であるのに対して後者は構築的であることなど,色々挙げられるかと思います。個人的見解としては,この曲をCavatine4曲をBarcaroleで静かに夢の世界に行っちゃったのに,突然目の前に壮麗なバロック建築が現れる様な違和感もあります。

最後に,記事を書くのに参考にしたZiganteの序文(英文)を載せておきます。


Preface
The Work
The Cavatine by Alexandre Tansman (Łódź, Poland 12 June 1897 - Paris, France 15 November 1986), first published by Schott in 1952, was written in the spring of 1951 and completed at the beginning of June that year. Tansman entered the work in the International Competition for Music for Guitar held by the Accademia Musicale Chigiana di Siena to celebrate its twentieth anniversary. There were three sections, respectively for a piece for guitar solo, a piece for guitar and string quartet, and a concerto for guitar and small orchestra. Twenty-five compositions in all were entered, and the jury met from 20 to 23 August 1951, made up ofthe composer and violinist George Enescu (president), the violinist Riccardo Brengola, the pianist Guido Agosti, the cellist Gaspar Cassadó and the guitarist Andrés Segovia. The Cavatine, identified by the indication « 12/VI » alluding to Tansman's date of birth, was awarded first prize by unanimous decision1. According to competition rules the first performance of the winning piece was to take place during the summer season of the Accademia Musicale Chigiana, but after much insistence Segovia obtained permission to perform the piece outside Europe before then. In fact the work received its world première on 16 June 1952 at the Teatro Broadway in Buenos Aires.
The first European performance of the Cavatine was given by Segovia on 12 September 1952 at the Accademia Chigiana di Siena as part of a striking programme entirely made up of original works for guitar. There were pieces by Fernando Sor, Joaquín Turina, Heitor Villa-Lobos and the first performance of the Quintetto per chitarra e archi op.143 by Mario Castelnuovo-Tedesco, with members of the Quintetto Chigiano2.

The Cavatine was Tansman's third composition for guitar, coming after Mazurca3 in 1925 and Concertino pour guitare et orchestre in 19454. In the form of a suite, the Cavatine is a tribute to Italy and in particular to Venice where, as the composer himself said, "it wrote itself". The movements are simply constructed, all in ABA forn) apart from the Scherzino. The Cavatine was recorded by Segovia in 1954, and over the years has established itself as Tansman's most successful work for guitar. The title, invariably given in the French form Cavatine in the author's own manuscripts5, probably refers to the lyrical quality of all four movements6.

It may well have been Segovia who prompted Alexandre Tansman to enter the Cavatine for the International Competition held by the Accademia Chigiana di Siena, where in 1950 Segovia had taken up his frst official teaching appointment. The work that carried off the prize was in four movements, Preludio, Sarabande, Scherzino and Barcarolle. However, after the first few performances Segovia asked Tansman to add a movement in a more brilliant style to follow the evanescent Barcarolle, and in 1952 he composed the Danza pomposa. Thus the Cavatine in its 1951 version also proved not to be immune to Segovia's inveterate habit of "improving on" the works that were written for him. A finale that simply fades away into thin air was typical of Tansman and can be found in many of his works of all genres. A number of his compositions for guitar have recently been found in the archive of the Fundación Andrés Segovia, and they include two "suites" (Inventions pour guitare and Pièces brèves pour guitare) and a diptych (Prilude et Interlude) which end like this, just as the first version of Suite in modo polonico ended with a gentle Berceuse (Kolysanka). In fact only three of the compositions for guitar by Tansman with several movements conclude with a lively finale: the Sonatine, written in 1952, the Suite, written in 1956, and the Hommage à Chopin, 1966.
Tansman was always scrupulous in responding to the demands of Segovia concerning his compositions. Conversely he did not trouble himself over such "technical" matters as the tuning of the instrument or whether what he wrote was actually playable on the guitar7. In this respect one can say that, with the sole exception of Pièce en forme de Passacaille written in 1953, Tansman never seems to have bothered to produce a work for guitar in which all the instrumental details had been properly worked out. Presumably he always counted on Segovia's collaboration to produce a definitive performing version.
This was also the case for the Cavatine, which Tansman originally wrote a tone lower than the version we know. It was first published in 1952 following the Chigiana competition, while the Danza pomposa was published, also by Schott in 1961, without any reference to the fact that it could stand as the conclusion to the Cavatine.

This edition
In preparing this edition we have consulted the following sources:

1) Ms51-a-Sacem: author's autograph manuscript on two staves written in pencil and inked over, with Sacem registration no. 662,624 dated 5 October 1951 deposited with the Society. This is the first, outline version ofthe piece, in the home key of D, in four movements and dedicated to Andrés Segovia. Many of Tansman's compositions for guitar were first notated on two staves using the treble and bass clefs. 6pp.
2) Ms51-b-Linares: author's autograph manuscript in ink, fair copy. The home key is D, it is in four movements and dedicated to Andrés Segovia. The manuscript is conserved at the Fundacién Andrés Segovia in Linares (Spain) and notated on a single stave. This is a carefully prepared manuscript with plenty of dynamic and expression markings. 6 pp.
3) Ms51-c- Siena: author's manuscript without the name Alexandre Tansman, replaced by the indication "I2NI". This is the manuscript with which Tansman participated in the International Competition for Music for Guitar held by the Accademia Musicale Chigiana di Siena in 1950. It is a fair copy in ink. The home key is E, it is in four movements and dedicated to Andrés Segovia. The manuscript is consewed at the Fundación Andrés Segovia in Linares (Spain) and notated on a single stave. This is a carefully prepared manuscript with plenty of dynamic and expression markings. Next to the title has been written in brackets "Forme: Sonatine en 4 mouvements". 5pp.
4) Ms51-d-Paris: author's manuscript without the name Alexandre Tansman, replaced by the indication "12/Vl". The home key is D; this manuscript was probably intended for the Siena competition but was abandoned during its preparation. It features only the Preludio and part of the Sarabande. It is in the Tansman family archive. 2pp.
5) MsSeg-a-Schott: autograph manuscript of Andrés Segovia which he consigned to the Schott publishing house, where it is conseNed. This manuscript was used for the first edition . The manuscript contains various annotations in the hand of Tansman, the home key is E, it is in four movements and dedicated to Andrés Segovia. The manuscript contains no fingerings.
6) MsSeg-b-Linares: autograph manuscript of Andrés Segovia of the Preludio and Sarabande conserved at the Fundación Andrés Segovia in Linares (Spain). The home key is E and the manuscript contains no fingerings.
7) Ms52-Paris: author's autograph manuscript in ink, fair copy, 3 pp. The home key is E, it is in four movements and bears no dedication. The Preludio is notated on two staves, the other movements on a single stave. This is a carefully prepared manuscript with plenty of dynamic and expression markings. It is in the Tansman family archive.
8) Ms52-Linares: author's autograph manuscript of the Danza Pomposa. The manuscript is conserved at the Fundación Andrés Segovia in Linares (Spain) and notated on a single stave. It bears the dedication to Andrés Segovia and, hand-written in brackets beneath the title, "Final de la Cavatine ou morceau séparé". At the end of the piece there is Tansman's autograph signature followed by the date 8 September 1952. 2pp. An additional slip of paper contains two alternative versions of the first 8 bars of the fugato from bar 29 to bar 36.
9) Ms54-Sacem: author's autograph manuscript of the Danza pomposa, in ink and fair copy, with Sacem registration no. 688,269 dated 21 May 1954 on the last page, deposited with the Society. In this source the Danza Pomposa bears the indication <> beneath the title. 2 pp.
10) Ms61-Schott: non-autograph manuscript by an unidentified copyist of the Danza pomposa. Conserved in the archive of the Schott publishing house. It is fingered throughout and was used in the preparation of the Schott edition of 1961. It bears the dedication to Andrés Segovia and numerous annotations by thd author, including the indication "Doigté et révisé par Andrés Segovia", subsequently crossed out. Apart from a note written by Tansman referring to the Decca recording of the piece made in 1954, in which it features as the final movement of the suite, the manuscript contains no mention of its inclusion in the Cavatine. 2pp.
11) Ed52-Schott-a: first edition edited by Schott under the author's supervision. This edition is without fingering. Catalogue number 38272 and number GA 165 in the Gitaren-Archiv series.
12) Ed52-Schott-b: second edition edited by Schott under the author's supervision with the addition of fingering not attributed to Andrés Segovia. Indeed this fingering differs in a number of details from that used by the guitarist and passed on to his pupils. Catalogue number 38272 and number GA 165 in the Gitaren-Archiv series.
13) Ed61-Schott: Schott edition of the Danza Pomposa published with the author's supervision in 1961. This edition makes no mention of the possibility of including the piece in the Cavatine. Catalogue number 40454 and number GA 206 in the Gitaren-Archiv series.

Criteria used for this edition
The fact that there is such a wealth of sources available should not lead to the assumption that there are many different versions of the Cavatine. The various sources concord about practically the whole of the musical text, differing only when it comes to dynamic and expression markings. There are however some critical passages in the Preludio, Scherzino and Danza pomposa, where more intricate part writing makes for technical difficulties, which exist in different versions proposed by Tansman in attempts to find solutions that lie better on the instrument. In some cases these solutions were adopted by Segovia, while in others they led to still more alternatives. Segovia was clearly always interested not so much in resolving difficulties of execution or mitigating technical problems but in fostering the natural flow, allowing his legendary lyrical playing to show to best advantage. It must be said that all these modifications were wholly endorsed and approved by Alexandre Tansman, who was even able to intervene on the proofs of the historic Schott edition. Faced with this state of affairs, and bearing in mind that Tansman, who was not a guitarist, never gave any importance to the actual instrumental form of his music for guitar, it is surely unthinkable to go back to the first versions of the work and do away with the fruits of the indispensable collaboration between the author and his prime performer. Nonetheless there are a number of details and omissions in the historic Schott edition which are not easy to account for. Thus we have made a scrupulous comparison of the various sources, gathering all the possible indications provided in particular by Tansman's last decisions, in order to make this new edition as complete and reliable as possible. All the variants occurring in the sources are given in the critical apparatus, enabling readers to make different choices if they wish so. All the left hand slurs and fingering, which never feature in Tansman's manuscripts, have been supplied by the editor.

There remains the question of the Danza Pomposa, added as the suite's final movement at the request of Segovia a year after Tansman completed the Cavatine. The Schott edition of 1961 makes no mention of the possibility of including it in the Cavatine, while the author's two autograph manuscripts, one given to Segovia and the other to Sacem to register the work's copyright, testify with characteristic discretion to Tansman's own attitude. The annotations "ad libitum" and "Final de la Cavatine ou morceau séparé" on the two manuscripts show that Tansman certainly accepted the performance praxis urged by Segovia with a good grace. At the same time, however, he managed to remind us the fact that the suite had been conceived with an evanescent finale8.
Frédéric Zigante



1 The details of the Competition come from the Bollettino of the Accademia Chigiana di Siena. The prize for the concerto for guitar and orchestra was awarded to the Swiss composer Hans Haug for his Concertino, which received it5 premiere in 1972 in Lausanne by Alexandre Lagoya and was published in 1987 by Edizioni Berben, Ancona (E.2721B.), while the prize for a quintet for guitar and string quartet was not assigned. The jury also awarded a special prize to a work by the Austrian composer Jenő Takács, but nothing is known of this composition.
2 The Quintetto Chigiano was made up of the pianist Sergio Lorenzi, the violinists Riccardo Brengola and Mario Benvenuti, the violist Giovanni Leone and the cellist Lino Filippini. In 1956 Segovia recorded the Quintetto op. 143 by Mario Castelnuovo-Tedesco with members of the Quintetto Chigiano.
3 The Mazurka is published by Schott.
4 The Concertino pour Guitare et Orchestre of 1945 was never performed by Andrés Segovia. It received its first performance in Gdansk. Poland, by Fréderic Zigante and the Orchestre Philarmonique Baltique conducted by Zigmunt Rychert. The Concertino is published by Éditions Max Eschig (Paris 1991).
5 In 1952 the suite was published by Schoft under the Italianised title Cavatina, but in all the sources overseen by Tansman himself the title is always given in the French version Cavatine.
6 In fact the reference is surely to the Cavatinas in Italian and French opera, short arias designed to present a character, or to instrumental Cavatina such as the famous movement in the String Quartet opus 130 by Ludwig van Beethoven.
7 This characteristic quite often gave Segovia a reason to reprimand his friend Tansman. Here are a few examples from the correspondence between the two musician, conserved at the Fundación Andrés Segovia in Linares (Spain).
«.. Permets moi de te rappeler d'écrire ton oeuvre en LA et de ne pas mettre dans le registre grave aucune note en dessous du MI, car il faudrait donc accorder les basses autrement. ...» (York, 3 Février 1965) "Hope you don't mind if I remind you that you have to write your piece in A, and that you should not put in the low range any note below E, as it would be necessary to tune the basses in a different way..." (York, February 3rd, 1965) «..a differentes reprises ... tu composes en songeant à l'accord Ml, LA, RE, SOL, SI, Ml et tout d'un coup, tu emploies le RE grave pour obtenir lequel il faudrait s'arreter et descendre la Vléme corde du Ml au RE, ce qui est impossible !...A cause de cette obstination de ta part, il m'a étè difficile d'adapter plusieurs de tes oeuvres que tu as écrites pour moi, comme la Passacaille, trois ou quatre numeros de la Première Suite - celle qui contient la Berceuse d'Orient - plusieurs autres pièces de l'Hommage à Chopin. Heureusement j'ai pû résoudre ces petits- grands problèmes dans la Suite in Modo polonico....» (Madrid 27 Juillet 1971) "At different times (...) you compose using the tuning E, A, D, G, B, E, and then, all of a sudden, you use low D, In order to obtain this, you should stop and put the 6th string down from E to D, which is impossible to do! ( ... ) Because you're so stubborn, it has been difficult for me to adapt most of the work you have composed, such as the Passacaille, three or four numbers of the First Suite - that one that contains the Berceuse d'Orient - and several other pieces of the Hommage à Chopin. Luckily enough, I have been able to solve these small-big issues in the Suite in modo polonico ..." (Madrid, July 27th, 1971)
8 I wish to thank for their collaboration Marianne and Mireille Tansman, Gérald Hugon, Dimitri lllarionov, Doris Geib, Guido Burchi, Emilita Corral de Segovia, Angelo Gilardino and Raffaele Pisano, Antonio Rugalo, Mario Tozta e Mark Weir.

nice!(12)  コメント(2) 
共通テーマ:音楽

nice! 12

コメント 2

たこやきおやじ

Enriqueさん

Enriqueさん個人としては「Danza Pomposa」はカヴァティーナ組曲とは別の曲として弾かれますか。それとも組曲の終曲として弾かれますか。(^^;

by たこやきおやじ (2020-03-20 10:36) 

Enrique

たこやきおやじさん,
書いている通り別の曲ですね。
作曲者はセゴビアに気を使っただけですから。
by Enrique (2020-03-21 07:04) 

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