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Robert Xavier Rodríguez

Tango (1985)

for Tenor and Chamber Ensemble Texts from News Clippings and Sermons (1913–14)

G. Schirmer, Inc. New York, NY


Program Notes Tango was commissioned by the National Endowment for the Arts for a consortium of New Music groups: Voices of Change (Dallas), The Chicago Ensemble and the Twentieth-Century Consort (Washington D.C.). Tango has been recorded twice: in English, with Paul Sperry and members of the San Diego Symphony (Albany, TROY 740) and in Spanish, with Rafael Alvarez and Voices of Change (CRI, CD 824), both conducted by the composer. Following its Dallas premiere, featuring Paul Sperry, Wayne Lee Gay (Fort Worth StarTelegram) wrote “Tango presents, with both musical and verbal humor, the triumph of sensuality and frivolity over clerical pomposity. It is a light-hearted piece by a very serious composer and, as such, may well prove to be one of the treasures of our time.” Tango (1985) is a one-act comic opera for tenor and chamber ensemble. The text was compiled by the composer from actual news clippings, letters and sermons from the height of the tango craze (1913–14). There are three short scenes played without pause. In scene one the tenor enters as an elegant tango dancer, then quickly changes character and becomes a radio newscaster, reporting worldwide reactions to the tango, both favorable (tango teas, parties, baths and massages) and unfavorable (declared a crime in Boston and a sin in Rome). In scene two the tenor again changes character and becomes Cardinal Basilio Pompili, Vicar of Rome, as he declaims a thunderous sermon officially denouncing the tango in the name of Pope Pius X, but occasionally getting caught up in the tango spirit in spite of himself. In the final scene the tenor resumes his newscaster character and reports on the attempts to reform the tango into a more respectable dance called “The Paragon,” with numerous rules for avoiding physical contact between the partners. He impersonates a dance instructor and demonstrates the paragon, but is gradually drawn back to the tango as he exits in his original character as a tango dancer. The score of Tango evokes the sounds of a typical cabaret ensemble of violin, piano and accordion with prominent solo passages for those instruments. Further tango atmosphere is achieved by the use of several quotations of familiar classics (Beethoven’s Piano Concerto No. 1, Bach’s “My Heart Ever Faithful,” Schubert’s Piano Trio in E Major and Brahms’ Symphony No. 4) arranged in tango style. Also quoted are the medieval Mass of Tournai, which is used to represent the Vatican, and the “Minuet” from Mozart’s Don Giovanni, which is, in its original setting, used to accompany Don Giovanni’s romantic exploits in the ballroom scene, but is here employed to represent the “properly danced” paragon. As in Mozart’s opera, the minuet is accompanied by three contrasting dances: in this case three tangos, in different instrumental colors and in different meters, which gradually envelop the minuet.


Program Listing: Tango (1985), comic opera in one act for tenor and chamber ensemble

Robert Xavier Rodríguez (b. 1946)

I. News clippings, 1913–14 II. Letter from Basilio Cardinal Pompili to the Osservatore Romano (Rome) with interpolation from letters and sermons of other clerics in Italy and the U.S., 1913–14 III. News clippings, 1914

Instrumentation Flute (also plays Manual Typewriter) Clarinet in A Percussion (1 player): Tenor Drum, Tambourine, Suspended Cymbal, Bass Drum, Tamtam, Timpanum (one 32-inch drum), Tubular Bells (D, A and D only), Brass Wind Chimes, Ratchet, Triangle, Vibraphone (motor off), Slide Whistle Piano Accordion Tenor Solo Violin Violoncello

duration: 25 minutes


TANGO I. News Clippings, 1913–1914   



Andante deciso q = 100

Flute (Typewriter)

Clarinet in A

  

Percussion

Accordion

Tenor

 

Tenor Drum

          

mf

f

Both hands master

   

f m

   

  

f

Fl.

Cl. in A

Perc.

     f

   

  

 

8

  



 

 

          

     

 

Vc.

                          



3

3

3

3

3

3

3

sfz

         sfz

           

            f    sfz      

          



    





    

sfz

sfz





     

            

3

  

sfz

             

  

   

  

   

    

  

3

 

 

 

 

 

  

  

             



 

 



 

  

 

              

3



m



          

3

           3 3       3 3 3

a tempo

Vn.

f

legato

 



   

 

  

f



f

m



Accord.

a tempo



Pno.



 

             sfz

Andante deciso q = 100



sfz

sfz



                



f

sfz

               

  solo Violin   Violoncello

sfz





Tambourine (table)

 Piano

         

 

f

  



Robert Xavier Rodríguez               

 

 

           sfz

  

    3                3                 3 3                 3 3 3 3   3 3 3 3              sfz

Copyright © 1993 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.


2

   11

Perc.

   

(T.D.)

     

Pno.

Accord.

 

   

 f

 

 

   

 

    

    m

a tempo

 

 

 

 

    

 

m

 p

      

sfz

pp

   

 

a tempo

 Vn.   Vc.

    

(Tamb.)

       

    

   

   

                                                                         mf

  16

Fl.

Cl. in A

Perc.



 

 

 

 

 

 

 

Pno.

 f

 f

  

 

pp

 

 

f

 

 

 

Suspended Cymbal

  (cluster)

ff

  

(cluster)

  Accord.

Vn.

Vc.

p

ff damp

       

                          Master

 

                            con bravura

    

 

ff

  

             

5

 

        

   (cluster)

    

The stage door opens suddenly and

5

 

   

 

    

fp

ff


3

Fl.

Cl. in A

Perc.

Allegro giusto q = 144 (Tempo II)

           20

f



p

mp

 

                

                   

mf

 

mf

fp

f







    

Clarinet

  

Tambourine

     

  

mf







  

   

  

       

mf

                                         

f

Accord.

    

f

 

Pno.

   

 

mp m

ff



 





        sfz

   

sfz







        



sfz















     

 

        sfz

   

sfz





 



   



      

   

       

        

7

      

 

sfz

Allegro giusto q = 144 (Tempo II)

Vn.

Vc.

  

The Tenor, in the character of an elegant tango dancer, enters and tangos with an imaginary partner across the stage and back.

pizz., vib.

pizz., vib.

 

mf



mf

f

 



 



 

 

 



 pizz., ord.       ff

          

     

25

Fl.

mp

Cl. in A

Perc.

 

p

 

              mp Tenor Drum

 

       

          

  

 

  

     

Tempo I

 

accel. molto al prestissimo

                                           

m 7             sfz

Accord.





m

 sfz

mp

7

 









 sfz

d

m

   

Vn.

Vc.

   

 

    

 

 

   

 

mp

 

      

f

     

ff

  

 

 

              m

M





 



  Bellows open

mf

close

ff

             (cluster)

sfz





 



 

mf

ff

    

play 9x’s

Tempo I





He then assumes the character of a radio newscaster.

 

             

arco, molto vib.

ff



                 

accel. molto al prestissimo

    



sfz

mp

rit. arco

              

  

(clusters)

                                       



f

sub. p

mp

play 9x’s

Tamtam (soft timpani sticks)

           

                                     Pno.

 

rit.

sfz



               sfz


4

Manual Typewriter (Type quickly and change carriage frequently)

      31

Type.

Cl. in A

mf

      

(Tamt.) damp

Perc.

ff

 

 

 

  

Accord.

    

 T.  

Vc.

 

mf

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The tango dancing craze promises to be the most conspicuous feature of London's winter season. Tango teas and classes have now developed into tango clubs, which have multiplied to an extraordinary degree.

slower

 

Several of the tea shops in Picadilly also offer dancing, ...

…for digestive or other purposes.

Algunas salones de té en Picadilly también ofrecen bailes, ...

... con propósitos digestivos u otros.

La locura del tango es la característica más conspicua de la temporada invernal en Londres. Tes bailables y clases de tango se han convertido en clubes de tango, los cuales se han multiplicado a un grado extraordinario.

 

 

 

London, October 7, 1913. Londres, octubre 5, 1913.

pp

 

 

 

tap with triangle beater damp

 

speaking quickly and urgently

   

 

tap with edge of stick damp

 

 Pno.

 

   

 

 

 

 

A tempo I (q = 100)

35

Type.

  

Triangle (with wood of hard sticks)

Perc.

 

mp

Pno.

     

Clarinet

f Tenor Drum

mf

sfz

f

 

 

 

  

 

sfz

   

sfz

 



 

(cluster)

 T.  

f

   

         Tambourine

 

(cluster)

 

Accord.

 

  

   

   

 

 

 

urgently again

BERLIN, October 18. Berlin, octubre 18.

   

mp

  

   

 

  One of Berlin’s great department stores, recognizing the all-devouring craze for the tango, has just introduced tango teas as a special drawing card for shoppers. Una de las grandes tiendas de Berlín, reconociendo la devoradora locura por el tango, ha introducido tes de tango como incentivo especial para los clientes.

  

A tempo I (q = 100)

Vn.



mp

 

 


5

 Type.  

39 in 4

Perc.

  

pp

  

             sfz p

Bass Drum        p

    

ff

                        p

 

  

 Vn.  

 

      

f

sfz

touch strings lightly with l.h. col legno

      

sfz

f

Sus. Cym.     

 

 

 

ff

 

   

 

ff

 

 

  

   

 

   

  

sfz f

 

 

    

 

Damp

   

           

sfz

    

 

     

Judging by the throngs which attended the opening tea this week, the innovation will prove a bigger attraction than bargain sales;

... although, after dancing, it remains to be seen how much interest or strength the women will have left for purchase making.

A juzgar por los tropeles de personas que asistieron al té de apertura esta semana, esto va a ser una atracción más grande que las ventas de liquidación;

... aunque, después de bailar, falta ver cuánto interés o energía tendrán las señoras para ir de compras.

touch strings lightly with l.h.

  

Master

sfz

in 4 col legno

Vc.

f

                

Clarinet

T.

    

 

Accord.

  

f

  typing gets slower and slower

 

  Pno.

Triangle

in 4

 

 



in 4 tap on front of instrument with l.h.

      

 

ff

 

 

tap on front of instrument with l.h.

      

 

ff

 

a tempo

43

Perc.

Pno.

T.

in 4

 

  

p

   

Tenor Drum

pp

 

Perc.

Pno.

T.

Vc.

   

 

                                                                                        

Paris, noviembre 1.

 



mp

 

sub. pp

   

Monsieur Martin, el nuevo jefe de protocolo del Palacio Elysée, anunció hoy que se permitirá el tango...

Tambourine (table) pp

Monsieur Martin, the new Chief of Protocol at the Elysée Palace, announced today that the tango...

Paris, November 1.

(T.D.)   

   

50

   

 

                                                                            

    

M. Martin will, however, issue severe edicts regarding the gowns which ladies may wear. Pero M. Martin pronunciará edictos severos en cuanto a los vestidos que las damas podrán llevar.

WILL be permitted at the state balls at the palace. en las fiestas oficiales de palacio.

(col legno)

                                                   

mp

sfz

mp

sfz

mp

sfz

mp

sfz


6

 Cl. in A   56

T.





   





 





           

 



  

Triangle

 

pp

  

  

  

p

                                                          loco 

   

  

Clarinet

  

p dolce

sim.

       

 

Paris, December 5. París, diciembre 5.

          mp

sfz

(col legno)

Vc.

    



col legno, as before

Vn.

  



   

Accord.



Pno.

p

(Tamb.)   

Tempo I



Perc.

poco riten.

          mp

sfz

poco riten.

            

            

 

           

           



sfz

mp

sfz

mp

sfz

sfz

Tempo I



arco, ord.

 

p dolce e sost.



arco, ord.

p dolce e sost.

 

 

    

    

    

    

   

   

   

   

   

  

 

  

 

62

Fl.

Cl. in A

Perc.

Pno.

  (Trg.)   

 

Vibraphone (soft sticks)

 

Vc.

pp

   

           

   

   

   

   

   

    

   

   

   

   

   

   

   

 

        

 

 

 very slowly and soothingly      T.   Tango baths have been introduced by a Parisian hostess. So exhausting is the new

Vn.

p

                

Accord.

sim.



 

still more slowly and soothingly

 

dance that the hostess began engaging a masseur for the evenings of her parties.

Tired tango dancers can now spend half an hour in the middle of a tiring evening in the refreshing relaxation of a bath and massage.

Baños de tango han sido introducidos por una dama parisiense. Tan extenuante es el nuevo baile que la dama ha contratado los servicios de un masajista para sus fiestas.

Los fatigados bailadores podrán ahora descansar de una agotadora tarde de tango con una refrescante media hora de baño y masaje.

  













sim.

 sim.

 

 

 

 

 

 

 

 

 


7

         Poco movente

72

Fl.

Cl. in A



    

   Vib.     Pno.

 

Accord.

    

    

   



   

       

   

   

   





 T.  

 

 

 

 

pp

                                             

 

mp

(clusters)

p

    

pp

Wind Chimes

   

pp

     

    

 

sfz

   sfz

     sim.

businesslike

urgently

Cairo, December 5. El Cairo, diciembre 5.

 

        

 

  

As was perhaps to be expected, the tango fever has spread to Cairo; Como se esperaba, la fiebre del tango se ha extendido hasta El Cairo;

 Vn.   Vc.

 

 

Cl. in A

  

 T.  



mp

 

pizz., vib.

 

  

 

mp

 

   

   

 

 

<>

<>

                 

pompously

... y solamente la manera más correcta será aprobada en los hoteles durante la temporada.



                                                                             Bassoon                              sub. pp mf

sin embargo, los encargados de festejos han anunciado su censura inequívoca del tango ejecutado por los miembros menos refinados de la sociedad, ...



<>

... and none but the most proper forms will be countenanced at the hotels during the season.

<> pp

                

however, those responsible for entertaining have announced their distinct disapproval of the tango as danced by the less refined members of society, ...

  Vn.  

 





     

Vc.

               

Accord.



 

 

Pno.

 

 Vib. 



rit.

80

Fl.



Poco movente



                    <> <> <> <>

(pizz.)



rit.

espressivo


8

 Cl. in A   89

Tempo III Adagio religioso q = 76, in 4

p

 (soft sticks)     



   



poco rit.



   



Timpani

Timp.

Pno.

Accord.

p

 

sim.

 

   

���

   

   

arco

Fl.

  

Cl. in A

   

pp

  

   

 

   

  

   

 

  

 

   

 

pp (cluster)

 

 

 

pp

pp

   

p

  

    

urgently

   



  

    

poco rit.

    

 

 



 

 

Tambourine

pp

    

 

Ratchet

mp

              mp

   



 



 

 



 

        mp

 



 

 



Following the example of Rome, there has been issued throughout the country a circular giving instructions to the clergy.

      

     

      

 

 

  

   

 

and will immediately initiate a propaganda to popularize the tango.

The anti-clericals received the pronouncement by the Vatican with derision...

e iniciarán inmediatamente una intensa propaganda para popularizar el tango.

Los anti-clericales recibieron burlonamente el pronunciamiento del Vaticano

a tempo

Vc.

mf

             

Siguiendo el ejemplo de Roma, se ha promulgado a través del país una circular con instrucciones para el clero.

Vn.

   

 

  

The strenuous efforts at the Vatican to suppress the tango in Italy have proved almost a failure. Los enérgicos esfuerzos del Vaticano por suprimir el tango en Italia han resultado prácticamente un fracaso.

Accord.

Vibraphone (clusters, soft sticks)

Clarinet (bellows out)

T.



 

Pno.

poco rit.

a tempo

pp

Timp.

mp

 95

   

Rome, December 26. Roma, diciembre 26.

p



solemnly

Tempo III Adagio religioso q = 76, in 4

  

 

       





p Bass

 

 T.  

Vc.

     

 

 

poco rit.

     

legato

legato

 

  

mp

 



 




9

Tempo II Allegro giusto q = 144

 

 

Tambourine

102

Perc.

   

Pno.

 mp

 

   

   Accord.

mp

 

   

   

Vc.

Bassoon

 

   

     

  

       sfz

        

    

     

Florence, December 27.

The tango is making a complete conquest of Florence.

Florencia, diciembre 27.

El tango está conquistando absolutamente Florencia.

Tempo II Allegro giusto q = 144

    

mp

      

  

     

         

        

    

      

          

                    

       

     

mp sfz

T.

    



  

  

arco

          

   



   107

Cl. in A

Perc.

 

Accord.

T.

Vn.

Vc.

mp

(Tamb.)



Pno.

     



 

 



   

          

   

  

     

 

     

 

     

 

            

 

     

 

  

    

   

 

mp

 

 

  



  

        sfz



            

 



 

Crowds of society people and tourists are seeing the dance at tea in the winter garden of the Grand Hotel. Miles de personas de sociedád y turistas están bailando el tango a la hora del té en el Gran Hotel.

                 p



  

   

             

(arco)

     





 (ord.)    pizz.

pizz.

sfz


10 111          Fl.   mp  Cl.   in A       pp

Perc.

Pno.

Accord.

T.

Vn.

 

(Tamb.)

pp

 

mp

  



   

    

Clarinet

  



 



     

mp

pp

  

  

   

  

    

p

 

  

  

    

 

pp

  



 

   

mp

  

     

 

 

pp

  

   

There will be a tango supper on New Year's Eve. Habrá una cena de tango la víspera de Año Nuevo.

                 

(pizz.)

Vc.

      

      



    

pizz. (ord.)

sfz

   

  

        

  

pizz. (ord.)

sfz



p

    

 (ord.)   pizz.

pizz. (ord.)

       

sfz



sfz

          115

Fl.

Cl. in A

Perc.

  

 





 

pp

(Tamb.)

      Triangle

pp

 

Accord.

p



  T.  

   



 

 

     

 

damp

pp

 

damp

 

      

 

 

 

 

 



  



     

      

       

pp



     

      

 

mf sfz

 

slower

Tango teas have been given in many private homes, ...

... but bridge is still a formidable competitor.

Numerosas residencias particulares han celebrado tes de tango ...

... pero el “bridge” es todavía un competidor formidable.

pp

Vc.

  

               Vn.     

      

 (ord.)     pizz.

sfz

               

 (ord.)     pizz.

sfz

   

               

 (ord.)     pizz.

sfz








  

Tempo I Andante deciso (q = 100)

11

  

  

        p pp                                                                         

120 Bass Drum (soft beater)

Perc.

Pno.

Accord.

T.

p

mp

                                                                   

Bassoon

  

  

Suspended Cymbal



mp

         

         

sternly

Paris, January 7, 1914.

                          

     

      (cluster)

Pno.

p

      T.  

m

Accord.

Vn.

  

    136  Fl.  

   

    

Cl. in A

Perc.

Pno.

Accord.

   



p

 

    



    

sfz

                 

sfz

 

 

    

   

                  

 p

 

       

Tenor Drum p

      

   

p

 pizz.       mp pizz.      mp

 

               

                

    

                       

    

p

sfz

sfz



sfz

sfz



Triangle

    

   

    

                         sfz  sfz        

 

sim.

 

  

 

 

 

sim.

 

 

       

    

   

 

excited

 

 

 

 

 

       

    

                            

 

  

          

        

ord.

    

mf

   

The State of Massachusetts today took its first official recognition of the much-maligned tango when Representative Lewis R. Sullivan introduced into the Legislature a bill which not only forbids the tango but makes it a criminal offense punishable by fine or imprisonment.

  

   

  

   

El estado de Massachussetts ya reconoció oficialmente el muy censurado tango al ser introducida en la Legislatura por el Representante Lewis R. Sullivan una ley que no sólo prohibe el tango, sino que lo hace ofensa criminal, sujeta a multa o encarcelamiento.



 

 

rit.

                                       Bass pp          

sim.

flz.



p

Boston, enero 17.

Vc.

   

quien pide al clero que “desaliente la malsana atracción del tango y que exhorte a los fieles a seguir los dictados del honor y del buen gusto.”

  T.   Boston, January 17.

Vn.

   

mf

                 

He asks the clergy to “discountenance the unwholesome attractions of the tango and to exhort their flocks to remain faithful to the dictates of honor and good taste.”

Vc.

mp

    

sfz



      

mf

 

                          

 

pp

           

La última adición a la lista de obispos franceses que han declarado su condena del tango es el Obispo de Poitiers,

Tempo I Andante deciso (q = 100) arco





The latest addition to the list of French Bishops who have expressed their condemnation of the tango is the Bishop of Poitiers.

Paris, enero 7, 1914.

      Vc.          mp Bass Drum 128     Perc.  



             

rit.

                             ���         sfz sfz sfz sfz sfz sfz

arco

       


12

   145

Fl.

Cl. in A

a tempo

  

Pno.

    

 

 

  

p

     

    

  Typewriter

 

 

    

     

     

     

     

  

pp                                                          

pp mp

  

Clarinet

mf

 T.  

  

 

           

p

mf

   

p

 Chimes (wooden mallets)        mf

Accord.

mf

   

mf

Ch.

mp

 

solemnly

(cluster)

Rome, January 15. Roma, enero 15.

urgently

 

 

 

  

 

 

pp

The condemnation of the tango by many prelates individually has now been followed by its church-wide denunciation in a letter by the CardinalVicar of Rome. The letter was approved by Pope Pius X and printed in the Osservatore Romano, the organ of the Vatican. La condena del tango por parte de numerosos prelados individualmente ha sido seguida de una denuncia total de la iglesia en una carta del CardenalVicario de Roma. La carta fue aprobada por el Papa Pío X, e impresa en el Osservatore Romano, portavoz del Vaticano.

 Vn.  Vc.

a tempo

 

arco

mf

mf

  p

p





p

p

Type.

Perc.

Pno.





 





 

154   Drum  Bass   

 

 T.  

 

ff

ff

  

 

 

 

 

(cluster)

excited

 

The Cardinal’s letter is the most energetic of all those so far published with reference to the tango. It is understood that the Pope edited the letter, which was originally drafted in even more vehement language. All the Bishops of Italy have now forbidden the dancing of the tango. They are establishing severe penances for Catholics not complying with the order. La carta del Cardenal es la más enérgica de todas las publicadas hasta ahora con referencia al tango. Está entendido que el Papa revisó la carta, escrita originalmente en lenguaje aun más vehemente. Todos los obispos de Italia han prohibido que se baile el tango y están infligiendo severas penitencias a las personas católicas que no acaten la orden.

attacca


13

II. Letter from Basilio Cardinal Pompili to the Osservatore Romano (Rome) with Interpolations from Letters and Sermons of other Clerics in Italy and the U.S., 1913–1914.

Tempo III Largo religioso q = 76

Perc.

mf

 

Pno.

Accord.

T.

Vn.

ff

 



  

The tenor assumes the character of the Cardinal, taking pen and paper in hand and beginning to write.

 

Perc.

T.

sfzp

  

Bassoon

         

  

 

pp

 

 

                    

proclaiming the letter, as a sermon

 

 

 

 f          

3

We are

3

3

        

now deep - ly grieved to learn that an at - tempt is

 

sfzp

       

 

sim.

sim.

      

  

  

 

  

be - ing made

3

que se_in - ten - ta_in - tro - du - cir

 

 

 

 

 

  

ff

 

 mf    

163 Bass Drum

 

         

cier - to

bai

3

 

 

 

    

    3

3

-

 

3

3

de_a tra - vés

   3             3

3

 3           

do

3

por i - lus - tres o - bis - pos

 

3

    

3

out - rag - es

    

del mar que_a - ta - ca la de - cen

mod

-

 

  

 

             3

-

3

est - y

  -

cia,

3

and which has al-read - y been con-

que_ha

si

3

-

   

3

do

con - de

 

-

Bass Drum

   

poco meno mosso

 

mf

 

 

 

         

  

 

      3

3

        

ver the seas which grave - ly

  

le,

demned by man - y il - lus - tri - ous Bish - ops

   na 3-

-

Tenor Drum

  

3

to in - tro - duce a cer - tain dance from o

  

    

 

 

 

 

  

            

 

 

 

   

Pno.

T.

   

 f   

 

166

Accord.

 

     

 

 

sfzp sfzp

    Perc.

ff

 

 

       sfzp

Pno.

Accord.

  

3

   

       

Sen - ti - mos mu - cho sa - ber

Tempo III Largo religioso q = 76

sfzp ff

Vc.

 

(press silently)

                            

Master (Organ)

  

ff

 

  

Tenor Drum (same sticks)

 

 

 

 

 

 

  

Tamtam (soft sticks)

156

3

 

a tempo

 



 

 condescending 3                  3

and has been pro - hib - it - ed, e

              y_ha si - do pro - hi - bi - do,

-

has

3

 

   

ven in Prot - es - tant coun -tries.

           -

3

ta por los pro - tes - tan - tes.

mf

ff              (cluster)

            

This

a tempo

sfz

sfz

    3

in - fa - mous

    

Es - te bai - le_in -


14

 

 

170

Perc.

   

Pno.

T.

Vc.

   

Perc.

  3

3

which now threat - ens to

fa - me

que_a - me - na - za_a - bru - mar

T.

Vc.

 

  

Pno.

      

3

a

los

fie - les

e

3

  

es





 



                       3 3 ob - scen - i - ty

and

3

ci - via,

3

obs - ce - ni - dad

e

  

   p

   

3

3

3

y

to lewd - ness

3

and las -

   3

su - ges - ti - vo

de las -

 

 

   p

          

  

 

     



a tempo arco

 p



mf

sfz

   

mp 3

  



   



hay



3

  

3

 

que

ser

    

  

Pu

   

pu - ri - ta

 

 

sfz

  

ri - tan

-



          

3

-

 

3

  

 



   



   

 

No



     

Andante misterioso q = 92

   

          



We need be nei - ther prude nor

 col legno     

 

 

sfz

sfz

n

im - mor - al - i - ty.

p

3

ex - er - cise tend - ing

jer - ci - cio im - pú - di - co

 

sfz

in - mo - ra - li - dad.

 

Andante misterioso Tambourine 179 q = 92 

 

-

 

   

3               

 

mf

3

 

         sfz

3

civ - i - ous - ness

un

p

 

 

3

    

            

 

a tempo

Bass Drum

 

 

3

 

 

    

3

 

         

is an im - mod - est and sug - ges - tive

    

f

173

   T.

Vc.

  

mp

  

3

 

 

 Perc.

 

             



Bass Drum

 

 

o - ver - whelm the faith - ful,

3

   

Accord.

   

dance,

       3 3

Pno.



 

 

  

 

 

 

    

Accord.

 

   

       3

3

to see

that this dance,

3 3          3

nos





sfz

pa - ra ver que_es - te bai - le

   





 


15

184

Pno.

T.

Vn.

Vc.

sfz

    

          

   

  

  

     

is



3

3



   

     

symp

-

sfz

3

   

  

3

of a wide

-

de

u

na



   





of

   -

o

  -

-

sen - sual -

   





 

  

la de sen - sua -



     

spirit  suddenly inthe tango     

spread wave

   

sfz

          

pp

    

tom

 sfz

          

 

no es más que_un sín - to - ma

es - te bai - le

   

          

but one

   

3

 

sfz

   

this dance,

 

   



 



 



189

Fl.

Cl. in A

  

mp

Accord.

T.

Vc.

 

mf

Pno.

    

 

sfz

         



          

sfz

         

         



 sweep

-

 

      

que_i - nun

   





       ing

-

   

da



sfz

  

       lis - mo



sfz

i - sm

 

pp

      

 

p

mf

p

Tambourine

Perc.

o’er

hoy



the

a

Bassoon

p

 la

   

Tenor Drum





sfz

                 

p



   

f

      again Pontifical

3

3

on its crest it has

  

3

na - ción.



sfz

to - day.

   



mf



mp

 

     land

mf

3

 

en su cres - ta

   

    mf

       


16

  

 

195 Movente

Fl.

sub. p

Cl. in A



sub. p

  

(T.D.)

Perc.

 

  

 p

T.

Vc.

 

    m    

Perc.

 

 

    

   

y_el mun



 



Pno.

3

  

-

do

sim.

  

 



  

T.

Vn.

Vc.

   

3

passed

   sa    

arco



   but

e

3

-

 

 mf

p



3

-

   

do

  

  

 

 

       

  

 



     7

mf

    

 

 

   

 

  

  

 

  

mp

mp

      

3

-

3

 



  

 

 

 

sfz

 





 

-

cent

de

 pizz.



walk

 

-

 p





 

de

-

cen

-

  

 arco



mp

  

 

    

    m    

  

 





 

is

mucht



to

rare.

es

te

 



 

pizz.

f

 

 

 

 

  

   7    

bien

ra

 

arco



  

 

 

3

   3

de - cen - te_ha pa -

   



 





  

ing seems to have

pizz.

p

 



3

bai - le

 





 

ing

el

arco

   



3

3

f

-

        

 

3

not on - ly clean danc

 



3

3

no so - lo

 

 

  pizz.



 

- ro.

 

mf

 

 

       

    

pizz.

 

back to the tango

    

sea - bun-do del bur - del



      

  

  

 

 

  

si - no que_an - dar

 

 

p

 

   ven

3

 

Accord.

 

 

  



mf

   

nau



  

 

3

arco

 

nau- se - at - ing rev els of the broth - el

   

  

  



f

(T.D.)

pizz.

 



  

 

 

mp

3

3



 

fash - ions and

 

f

 

            

3





 

sim.

it the sug - gest - ive

pizz.

sub. p

  



la mo - da suges - ti - va

198

Cl. in A

mf

 

3

3

 Fl.

sub. p



p

  

   

lle - va

mf

with

   

p

      

car - ried

 

   

Movente

Vn.

mp

mp

     3  

 

mp

 

Clarinet

Accord.

 

    

Pno.



  


17 Pochissimo più mosso 201 q = 96

Fl.

Cl. in A

  

 

 

 

 

 

  

(T.D.)

Perc.

Pno.

             

  

  

  

 

     

   

  

T.

   

     



3

         3

Po - co

Vc.

   

 Fl.

Cl. in A

Perc.

 

204

a



3

po - co

las re - glas ce

Pno.

pizz.



    

Vn.

Vc.

     

arco



-



  

 

  

  

 

 

-



arco

3

den

rom - pien

-

 

 

 

    

  

 

   

 

 

 

 

 

   

  

 

-

es,

-

xos,

  

pizz.

  

 pizz.

  

   arco



pizz.

 

  

  



  

  

   

  

do

la



  

 

 

 



 

 

 

 

 



 

 pizz.



 

    

 

d 

  

like a tango

3

e - rect - ed

3

  

be - tween

3

   

      

u - na

arco

 

en - tre

los

o

-

   arco

 

 

  

  

  

  

 

ly,

 

 

sfz

 

  

  

   

 f

 

 

 

f

3

of

vi - cio,

pizz.

  

de



pizz.

la

arco

  



 

the



 

   

arco

 

      

re - ser va_y las ba - rre - ras





f

m

sfz

3

3

      

  

in - tro - du - cien - do

arco

 

3 3                 and let - ting in a ver - y flood of fol 3 3              

   



   d

 

   m    

 

pizz.



p

         

3

 

 

   

3



   

 

        

p

ered, break - ing down the re - serve and the bar - ri - ers,

 



 

mf

 



     sex T.     se

  Accord.

 

3

3



(T.D.)   



arco



Lit - tle by lit - tle the bars have low

 

back to the sermon

Pochissimo più mosso q = 96

Vn.

         3

  

3

mf

mf

Accord.

 

in -

 

3

de_in - sa -

 pizz.



arco


18

     207

Fl.

Cl. in A

Tempo I q = 100 (più mosso)

     

   

     

 

m

-

3

ti - ate

3

-



 3



 

greed

ble

sed

for

3

Vn.

 arco  

f

Vc.

 Fl.

Cl. in A

Perc.

 

    209

  

  

Pno.

Accord.

 



de

fies

a - muse

fast slide

3

-

 

 

Vc.

re

3

y

vol

 

  p

 

m

 

  

 

 

mf

    

 



f

turn

-

vien

 

   

  

3

-

3

-

 

   

 

   

ing,

 

 

3

vol - vien

  -

-



 

 gies,

 

f

   

  

  



   

     

   

3

-

 

-

ing,

3

to

las



 

or



gies,

or



-

or - gí - as,

   

-

or

-

 

 

       

 

   

 gies,

  

 

p

     

         7

  

 

or



gies!

 

-

  

or - gi - as!

 

 

 

  

  

dim.

gí - as,

   

mf

the

de - ca -

 

 

     

   

p

 

7

3

do_a

   

 

 

    

Suspended Cymbal

 

   

   



  

  

 

 

dim.

gí - as,

   



 

 

 

 

       

mf

  

re - turn

 

 

3

do,

   

7



 

  

 

   

dim.

  

 

 

      

 

-



 

 

   



 

 

  

and

ta



 

sim.



 

 

 

   

 

    

3



  

 

ff               3  dec -3a - dent, de gen - er - ate or T.                   5 3  dan 3- tes y de - ge - ne - ra das ¡Or

Vn.

 

 

ment,

-

  

  

3

 

f

        

mf

  



 

Tambourine (table)

 

  

Tempo I q = 100 (più mosso)

   

 

 

  



  

     

  

mf

more frenzied

 

  

f      sa T.     cia



 

Master

  Accord.



p

f

Pno.



(T.D.)

Perc.





    


19

 

212

Fl.

Cl. in A

Perc.

  

Poco meno mosso Adagio religioso q = 76

   

 

gradual damp

f

ff

 (cluster)   Bellows shake         (cluster)

     T.     

Vn.

Vc.

 

 

 

f

of

 

 

p

del



pa

-

gan



pa

-

ga

-



-

i



nis

      

-

-

mo.

mf



 



 

 

 

 



   

  

 

dolce, legato

    



mf



f

 

215

Perc.

Poco più mosso Adagietto expressivo q = 84

   Pno.

  

 

p

 

 

  

  

 

  

     T.    

  

  

 

       

 

    

mp

 

 

p

Clarinet

mp m





   

                                       

   

La mú

   

 

Mu

Poco più mosso Adagietto expressivo q = 84

Vc.

 

Tamtam

                  

   Accord.



 

sm.

  

 

 

mp

Poco meno mosso Adagio religioso q = 76

  

  

 



Triangle

 



p

 

 

  



Accord.

(Sus. Cym.)

 Pno.

 

 

       

-

-

-

-

-

-

 -

-

-

-

sic.

 

si - ca,


20

 

Perc.

Pno.



 

  

  

 

 

 

    

      

 

            

Mu - sic,

we

know

mú - si - ca_a - do

  

-

ra -

 

 

3        3

it,

sternly

     

3

has noth - ing to do

                la

     

as



m

with a hint of the tango

m

Accord.

Vc.

                             

  

T.

 

Tamtam

222

3    

da

no per - mi

with

   

    

   

3

bod - i - ly move - ment,

3               

3

-

te

el mo - vi - mein - to del cuer - po,

     

     

 

227

Perc.

Pno.

Accord.

T.

Vc.

 

 

(Tamt.)

pp

  

                     

        

     

  

           

   

   

   



                      

         

      3

              

bod - i - ly move - ment

again like a tango

        

mu - sic

de - mands

la mú - si - ca

es

  

life,

                  del cuer - po

but life

                 m       

     is more

than

move

3               3

vi - da

pe - ro la vi - da

  



3

es más que mo - vi mien

 



 

sweetly

   

-

    

ment,

 -

to,








21

234

Pno.

     

Accord.

                                           

                              

                      

 

   



a little suggestively

     3

bod - i - ly move - ment,

   

del cuer

 Vc.     241  Perc.  

 -

         

    



 

Accord.

T.

Vc.

te - ner

   

 

 



m

m

7

7

  

to self con - trol.

te - ner con - trol.

mf

   

      

     

mp sempre legato

m

m

m

7

7

7

               



mp

            

mp

               

                           

                            



         

          





te - ner con - trol.

   

     

poco accel.

               

                  

         

 

      

   

  3

The high - er

   

   





           

     

 -

      





3

-

vi

   

-



Triangle

          



  

 

   

the less

la



is

it

       

da,

     

sic,

3

- le

mu

  e

       

the

es

  

   

sim.

 

Si

      

n



to self con - trol.

  

   

m

con - trol

     



Allegretto agitato q = 112

 

 

de - be

poco accel.

    Vn. 

vi - da

   7

self con - trol,

Suspended Cymbal

             mf              

 

 

3                  

la

 

sure - ly tends to

   

life





          

poco f

Pno.

po.

  Vn.                             sim.   Vc.             Allegretto agitato q = 112  248 (Sus. Cym.)     Perc.    

                

Accord.

m

    

T.



 

      T.      Vn.

3

mu - si - ca no_es vi -





   

 


22

 

252

Perc.

 

                     

Pno.

 

Accord.

T.

       

    vis   

sual

 Vn.  Vc.

-



     

       

      

 

i - bly

ex - pres - sive

ex

-

-

3

men - te_ex - pre - si - va



 

 

        

3

 to



ex - pre - si - va

Some - ter

un

 

         

       

3

a

spir

-

i - tual

       ar - te_es

 

 

-

  

  

      





sub - mit

3

    

                      

   

pres - sive

         

    



(Trg.)

    

    

art,

pi - ri - tual,





 

 

a

spir

un

ar

-

-

i - tual

 

te_es - piri-

         



   256

Perc.

  Pno.

 

Accord.

T.

        Tenor Drum

mp

      

      

     

       

                

    art

 

     

               

mp



3

la

3

 

 

              

  

    

a

    bod - i

ly

   

ti - ra - ní - a

 

-

   

del



 



 

cuer

-



tyr - an - ny

     

Triangle

 

         

    a



  

     

to

    Vn. 

  tual

Vc.



tyr

po

  



   

-

    ti - ra - ní

an - ny.

-

         

 

a.

  


23

  

   

Tambourine

260

Perc.

mf

                  

  Pno.

Accord.

T.

 

      

   

  

     

   

    

               

     an e - rot - ic

     De un bai

 III Vn.   Vc.







  

prowl

  -

le_e

-

IV

 

              

   

  

   

   

    

      

     

      

 

de

 

rap

-

 

   

 

     

 

so - dias,



3

rít - mi - cas de pro - pul - sión

3

 

  



3

    



 

 

264

Tenor Drum

mp

 

mf

Pno.

Accord.

Vn.

Vc.

     

  

  

   

    

 

 

 

 

   

 

           

3

is thus

    





 

3

to de - ny

     

3





3

3

3

3

3



   

3

and to

3

   

de - fy

3

                    

 

3

our no - bler tra

-

3



  

 

  

   

las tra - di-cio - nes más

    

re - tar

  

  

3

y

 

            

fa - cul - ta- des más al - tas

  

      

our high - er fac - ul - ties

3

 m               

         

es ne - gar nues - tras

 

      

         

    

   

      

       

T.



3

Perc.



bar - bá - ri - ca,

 

 





   

3

 

rhap - so - dies of bar - bar - ic pro - pul - sion,

  



to rhyth - mic

    

ti - co

   

mf

set

  



 

-

   

more and more like a tango

  

   

   

di - tions.

   

no -

 

bles.

     


24

 

268 (T.D.)

Perc.

  Pno.

T.

   

 

     

       7        

Accord.

    

   

 

 

  

   



3

3

be

      

  

No hom - bre

cuer - do po

3

3

3



 

      

 

  

   

 

-

3

lit tle the joys

3

3

  

   

      3

of life

drí - a

 

 

   

                  

 

de



la

 

 

 

  

   

life’s sweet and whole - some

3

 





3

  



3

 

dul - ces y sa - nos pla - ce - res



 

    

los



3

 

 

       

3

re - ba jar



    

or could thebright - ness of

3

  

    

  

     

-

 

 

   

 

No sane man would





      3

    Vn.  Vc.

   

Tambourine (table)

pleas - ures.

   

vi

  

-

da.

     

 

272 (Tamb.)

Perc.

 

  

 Master      f 7                      

  mf

  

      

 

 

 

3

  

    



   

3

      

3

Pe - ro es - te bai le bes - tial,

   

   

   

But this an - i - mal dance,

  

Tamb.

      

 

   

   

  

 

     m

  



 

Suspended Cymbal

   

Tenor Drum

  

  

Tenor Drum

   

      3

    

      

this an - i mal dance

       

3

es - te bai le be - stial,

  



  de

 

3



3



of ir- re - press - i - ble lan - guor and high breath - ing

 

   sfz

3

3

   3

  

                 

sfz

   

mf

Vc.

 

     

Accord.

Vn.

f

Pno.

T.

  

Suspended Cymbal

    

 

3

lan - gui - dez i - rre - pri - mi - ble_y

  

 pa

-

  

 

pas

 

 -

sion.

sión.

  


25

 

276 (T.D.)

Perc.

  Pno.

   

          

                

         

   Vn.  Vc.

     

Accord.

T.

     

Tambourine (table)



   

   

    

   

  



Is

not

no pro - du

  

-



a - le - grí - a



��� 



   

 

 

 

 

 

 

(T.D.)

                   

  

3

  

3

the guise

 

3

   

  

   

   

of mod - ern danc -

3 3 3 3            

u - san - do el nom - bre de bai - le mo - der

ing,

-

no.

           

 

    

sfz

 

             

 

  

if, in

si,



  

3    

glad - ness

3

ce





     

or

joy

  

 

  

sfz

   

    

(Tamb.)

               

        

   

(T.D.)



  



fp

    

 

280

Fl.

mf

Cl. in A

    

 

mf

Perc.

 

 

 

 

 

 

 

  

  

  

Tambourine (T.D.)

f

     Pno.

   

 

Accord.

T.

Vn.

    

 

    7

ff

             f

¡Se

 



 

   

 

      

 

be ha

3

(had) on - ly

3

at

         

prac - ti

3

-

3

ca_a cos - ta de_un

3

of mor

-

 

 

        

 

Suspended Cymbal

 -

al



  

 

         

ral

sui

-



  

        

 

3

3

  -



  

 

                                                 

     

su

      



 



       

 

   

mo

f

      

   

the cost

            

f

         

 



    

 

 

ritard. molto

   

     

3

3



 

          

3

it can

   



  3       

f

Vc.

ci

i

-

cide

  -

 

-

dio,

ritard. molto                      

 su

 



sui - ci

 

-

 

   

i - cide!

    -

dio!





  



  


26

   

284 Energico h = 92

Fl.

Cl. in A

  

 

  

   

 

 

  

   

 

f

f

                f sfz              

Pno.

  

(Master)

m  M                             sfz

Accord.

ff

7

sfz

T.

    

Energico h = 92

   Vn.     ff

Vc.

   

pizz., vib.

   

   

 

 

 

                   sfz sim.                         

    

 

   

    

 

  

       



d

    

   

 

   

mf

    

la

la,

la,

   

  

sfz

La, la,

la

la,

 

  

    

la,

 

  

la

 

  

           

             

 

mf

   

M

    la,

 

                     sfz sfz                          

    

  

  

   

  

            

     la,

la,

  

la

  

   

ff

                                292

Fl.

f

sim.

         Cl.                     in A    f

Pno.

Accord.

T.

 

Vc.

        

 

                 

M

M

     la

    

 

legato

 

             sfz

la,

la.

la,

         

M

la,

    

                                  sim.

                             sfz sfz                             

    la,

 

mf

         

m                                     sfz M

 arco  Vn. 

                        mf

sim.

                                 sfz sim. sfz                                     

poco rit.                          

 

 

                                

d

M d                            sfz

M



La,

la

 





poco rit.

    

   

                

   



 


27

Fl.

Tempo I q = 100

      



      



300

mf

Cl. in A

mf

   

Tenor Drum

Perc.

      

Accord.

T.



   

3

 

Fl.

Cl. in A

Perc.

         

Accord.

3

3

Vc.

 

  

  

  

       

 

3

 

 

3

-

 

 







 

   

 

 

spo - ken out

 

(T.D.)

3

  

    

  

   

  





 

   

  

  



 

3

 

   

  

  

m

 

 



  

which

by its na

        3

y que por na - tu - ra - le

 

 

  

  

 

     

3

 

3

 

-

-

ture

  

 

3

3

    

the dance im - ort-ed from a -



    

(T.D.)

      

           

         

in - cit - ant

to

5

3

  

3

  

 y_en

  

cor - rup - tion,

in - ci - ta_a la co - rrup - ci - ón,



 

          

 



       

za

im - por -



is

3

bai - le



   



     



d

     

 

arco

  

    

3

  

 

      



    

y que con - den-an el

  

   

   

go,

  

go

        

Suspended Cymbal

    

     

    

  

 



and con - demn

 

pizz.

      

  

   

 

 

 

sim.

con los o - bis pos que_han ha - bla - do

arco

  

3

have al - read y

       

mos

  

3



 

 

  

 

3

            3 3 3  broad 3 un - der the name of the tan T.             3 3  ta - 3do que tie - 3ne el nom - bre de tan Vn.

  

Bish - ops who

     



  

   

       

3

legato

  

  

  

d

No - so - tros en - ton - ces con cu - rri

 

    

 

  

    

  

pizz.

  

Pno.

     3

   

 

  

We, there - fore con - cur with the

mp

303



sim.

    

    

 

back to the sermon with a vengeance

   

 

 

  

mp

Vc.

   

   

Tempo I q = 100

Vn.

 

 

   m 

mf



 

         

mf

Pno.

 


28

   

  

306

Fl.

Cl. in A

  

Accord.





  

  

   

   

 

 

 

 

 

 

 





 

 



(Sus. Cym.)

  

   

Pno.



(T.D.)

Perc.

 

  

  

 

 







  

   

d



 

Vn.

Vc.

Fl.

 

  

 

309

 

  Cl. in A  

 

  

(Sus. Cym.)

Perc.

Pno.

   

Accord.

  

  

Vc.

  

 

 

 



    





 

  

 

  

 

      

 

(T.D.)



   

  

p

 



 

 

  

 

   

 



  



   

 

    









 

      

  

  3

   -

go

3

   

com - mits

    3

es

pe

  

pizz.

 3

3

-

 



a

sin,

 

    

 

  

   

  

 

3

 

arco

   

 

 

  

   

 

    m 

      3

  

  

3

es



  



a

sin.

ca -

dor!

pe

3

-



3

per - sists

 

 

in

 

3



 

 



 

    

    

 

       

el

 



 

   

  

   



    3



 

 

p

 

 

Who -

   3

   

 

3

d

 

3

    

¡El que per - sis te_en bai - lar

 

   

ca - dor,

  

3

      

    

   

Who - ev - er

 

 

 

  

 



m

d





     

  

 

 

Tambourine

      3  danc - ing the tan T.     tan go Vn.

 

 



                          3 3 5 3 3 3 3  and in which all who rec- og - nize the au - thor - i - ty of the Pope may no long - er take part. T.                              5 3 3 3  el 3 que quie - nes re - co - no-cen la_au to - ri - dad del Pa - pa no pue den par - ti - ci - par.    

    

  

   

   



   

   

  

 

   

 

 

El




 

312

Fl.

Cl. in A

Perc.

  

 f

 f (T.D.)

 

Pno.

ff

      f m

 

Cl. in A

Perc.

Pno.

Vc.

 

 

3

 

316

  







   



            

                           

   

       

   

3

in danc - ing the tan

  

tan

   3

3

-

 

sim.

  

 

 

 

 

 

             

3

go

  -

 

   

  

  

  

 

a

     3

go

 

3

com - mits

es

 

 

 

 

           

 

3

 

 

 

 

 

  

 

 

 

  

 

 

 

  

 

 

 

  

 

 

 

  

      

 

 

 

 

                                                      

 

 

  

 

 

 

 

 

  

 

 

 

f

   

com - mits

es

 

   

    3



   

         

3

 

Sus. Cym.

Bass Drum

   

3

pe - ca -

  

  

es

 

                                       

a

 

 

3

com - mits

 

 

               

3

   

 

pe - ca - dor,

 

 





 

3

sin,

 



    





   

  

 

   

                        

              

   

        

    

el

 

   

3



(Tamb. T.D.)

3



      

3

ff

    sin, T.    dor, Vn.

 

que per - sis - te_en bai - lar

   

 Accord.

 

      

ff

Fl.

 

  

 

          

       ev - 3er per- sists

 

Bellows shake

    Vn.  Vc.

 

  

T.

 

mf

Accord.

(Tamb.)



29

3

 

3

 

     

  p

 

   

 

 

 

 

 

m

a

pe - ca

Tamtam

f

                

sin.

-

  p

 

 

 

 

 

f

         

  

 

 

     

 

 

  

 

 

 

   

 

 

   

dor.

 


30

Fl.

Cl. in A

Perc.

 320      

 

(B.D.)

 

 

 

 

  p

 

 

  p

f

 

 

(Sus. Cym.) (Gng.)

        

  

Accord.

        

 

 

 

 

    

               

    T.   

Vc.



ritard.

 

  p

f

 

  f

 

  p

        

 

 

 

 

    

               

        

 

 

 

 

 

    

               

     p

  f

                                                     

Pno.

Vn.

allarg.

 

 

 

                    

 

 

     

 

 

     

 

 

     

 

 

      

 

 

 

   

 

 

   

 

 

     

 

 

   

allarg.

ritard.

            

 

 

 

 

 

 

 

   

 

f

(clusters)

        

 

  

Andante grandioso q = 92

 Timpani    325

Timp.

Pno.

Accord.

T.

f

mf

 

 

        

Vc.

 

stop bellows shake organ

   ff   

     

f

  

  

 

3

     

3

 

   

 

 

3

3

must

      3

now

                3

3

rise up

3

llos cu- ya mi - sión es el cui - da-do de al - mas

 

sfzp

fp sfz

sfzp

 

3

  

3

sfzp

 

sfzp

 

     

    

   

3

and warn the faith - ful

3

3

of this grave of - fense, that

we

           3

3

3

de - ben a - ho - ra al - zar su voz

 

 

  

 

 

3

-

  

 

3

3

 

All those who have in their du- ty the care of souls

   

 

fp sfz

 

           

To - dos a - que

   

reading proudly from his letter

Andante grandioso q = 92

Vn.

an - te

3

3

3

los fie - les por es - ta gra - ve_o

 

sfzp

 

sfzp

 

sfzp

 

sf


31

   329

Timp.

Pno.

Accord.

 

 

 

-

sa

 

fp

Perc.

Pno.

T.

3

T.

  



  

and

3

3

nues - tra pu - re - za_es - pi - ri tual y

 

 

fp

sfzp

li-brar

  

3

sfzp

f

  

 

 

   

3

 

 

fp

  

fp

fp

3

de

nues -

poco rit.

 

fp

sfp

 

 

3

 

(clusters)

  

de la ver - güen - za

 

from the shame of our days.

       

nos

    

 

       

 

  

ff

 

3

 

fp

 

de - liv - er our - selves

          

 

3

3

fp

   

 

 

tros dias.

 

 

fp

Meno mosso adagietto q = 84

 

333 (T.D.) 

   

ff

  

      



Bassoon

pp

3

3

Se - rá



the

du

     

3

3

         

 

3

be

en - ton - ces el

3

-

3

ty

3

de - ber de

los con

3

-



3

form - ing

 the

          5 ciar en el

3

sa - cra - men

3

-

to take

 

3

to - mar

res

 





ment

of

pen

f

     

3

to

-

3

de

la

pe

tice

no - ta









 







 



3

3

     

 



 

3

 

    









 







    

 

ni - ten

-

cia.

o - fen - sa_al o - fi -

 

ance.

 

3

when per -

 



   

fense

Master



3

of this grave of -

de esta gran

Bass Drum

ff

 -

3

      

Suspended Cymbal

 3

3

         

no -

     

ff m

     sac - ra -

3

sors

  

3

fe - so -

 

    

  

     

 

3

of con - fes -

 

  

 

  

  

It will, there - fore,

   



  

 

 

 

    

 

    Accord.

 

3

 

336

Pno.

 

 

ten - der - est sanc - ti - ties

fp

      Perc.

 

      

pa - ra pre - ser - var

    

Accord.



 

   

  

 

 Vn. 

 

fen

        3 3  T. may pre - serve our          5 3 

Vc.

Tenor Drum (same sticks)

poco rit.


32

 Cl. in A  

Meno mosso (Tempo III) Adagio religioso q = 76

340

poco rit.



p

Perc.

Pno.

(B.D.)   

   p   

Accord.

p



sub. p

  

  T.  

 

 3 3            

mf

Con ques - ta

3

 

fi - ducia im - plo - ria - mo

Meno mosso (Tempo III) Adagio religioso q = 76

Vc.

  

p

 Cl. in A  

 3

3         

- ce

    

 Vib.  

   

  

   

Vibes (soft sticks, one hand)

Pno.

 



p

Vc.

           

ti,

re - li - gio - si

 



 

poco rit.



   

    



   

 3

 



op - e - ra

poco rit.

 

pp

3

  

 

 

 



 

mp

     

 

  Tenor Drum (hard timpani sticks)

 

 

 

Poco più mosso Tempo III q = 76

be - ne - di -



 

     

le più co - pio - se

  





Bass Drum (soft beater)

che

3            

nel - la san - ta

Poco più mosso Tempo III q = 76

   

la - i - ci,

                

e

 

poco rit.



3

 

pp

-

3

   

sa - cer - do

3

Più ritenuto q = 60

pp

tut - ti

3 3 3                  T.     zio - ne del sig - no - re. Il v - ca - rio di Ro - ma.

Vn.

su

con gli scrit - ti_e con l’es - sem - plo vi ai - u - ter - ran - no

346 Più ritenuto q = 60 pp

Cl. in A

e

3

Meno mosso q = 66

Fl.

voi

 

 

  

di

3





 

 



3  T.       con la vo

Vc.

so - pra

3

  



              



Accord.

3

343 Meno mosso q = 66



 

 

     

     

       pp

  

f

  f

    

(clusters)

 

ff

  

 f

ff

attacca


33

III. News Clippings 1914  

 ���

354 Typewriter

Type.

Perc.

 

Pno.

 T.  

Vc.

f

 

 

 

f

       slowly and gravely

T.

     

 

p

       

Fl.

Cl. in A



362            f

  

p



Perc.

   

 

        

Adagietto misterioso q = 84 col legno

  

  

 

  



  

   

   

 

mp

damp

   

Tambourine (table)

ff

mf

 

   

  ¡La señorita Thompson demostró a la corte la manera en que estaban bailando, y Spencer fue absuelto!

 

pizz. ord.

 



       

 

She showed the court how they danced and Spencer was acquitted.

mp

     

 

 

 

f

  

 

Ratchet

pero la señorita Ollie Thompson testificó que Brown estaba bailando el tango con ella cuando se golpeó la cabeza contra una puerta, rompiendo uno de los paneles.

mp

Suspended Cymbal

             

mf

Tempo II q = 144 Allegro giusto



pp

however, Miss Ollie Thompson testified that Brown was “tangoing” with her when he struck his head against a door, knocking a panel out.

 

Se ha acusado de asesinato a Daniel Spencer por causar la muerte de William H. Brown,

 

Bass Drum

      A charge of manslaughter was brought

 

      

 

against Daniel Spencer for having caused the death of William H. Brown;

Vc.

p

Hoy se reporto la primera muerte atribuida al tango.

 

mp

(T.D.)

   

Tenor Drum

The first death attributed to dancing the tango was reported today.

 

358

 

      

 

   

pp

Boston, January 13, 1914. Boston, enero 13, 1914.

Pno.

 

 

 

 Perc.

Bass Drum

Adagietto misterioso q = 84

 

 

 

   



 

    f

(Sus. Cym.)

   

Tenor ff Drum

   

(clusters)

                                             f                                                   sim.

Pno.

                   Clarinet

Accord.

Vn.

Vc.

  

f

p

Tempo II q = 144 Allegro giusto

 

sfz

ff

   

sfz

(pizz.)

mf

       

m

 



pizz.



mf

f

           

 

     



 

      

   

   

       





ff

  

   

(clusters)

         

  

     

 

   

ff

 


34

 Typewriter  Type.    367

 

 T.  

mp

  

 

excited

 

 

f

 

Pno.

Slide Whistle



damp



Perc.

 

 

by the negative publicity now surrounding the tango and has called an international congress of dancing teachers for Easter Sunday and Monday to modify the tango and to consider the best means of removing the stigma wherewith the dance is currently marked.

Paris, Enero 17. La Academia Francesa de Maestros de Baile está alborotada...

Perc.



     

     

mp

 

    

     



  

Pno.

 

 

It is not yet certain what will be the effect of the tango ban on Parisian entertaining, Todavía no se sabe de cierto cuál será el efecto de la prohibición del tango en las fiestas parisienses,

    

  

Triangle

     

mp

    m m p Accord.                                                 T.   but it is noticed that in invitations the word “tango” is now

     p

    

    

Tambourine (table)

                  

                                       p

por la publicidad negativa alrededor del tango, y ha convocado un congreso internacional de maestros de baile, que se reunirá el domingo de Pascua y el lunes para considerar modificaciones del tango y la mejor forma de borrar el estigma que marca este baile.

Meno mosso q = 112

Cl. in A

 

  

  

 

T.D.

 

Paris, January 17. The French Academy of Dancing Masters has been aroused...

371  Allegretto giocoso

 

Sus. Cym. damp

 

 

 

 

                   

 Cleveland, June 12.

carefully avoided, the formula “thé dansant” being used instead.

Cleveland, junio 12.

pero se nota que en las invitaciones se omite la palabra “tango,” usándose en vez la fórmula “thé dansant.”

Vn.

Vc.

 

  

Cl. in A

Meno mosso q = 112 Allegretto giocoso

 

377

  

T.

p

       

 

mp

                mp       

  

Vc.

    

              

    

   

 

Triangle

               

p

                              

The American Association of Dancing Masters today decided, after considerable discussion, to approve ten sublimated and expurgated tango steps as demonstrated by Mr. J.E.Miles, of the Castle Dancing School of New York. La Asociación Americana de Maestros de Baile decidió aprobar hoy, después de mucha discusión, diez pasos de tango, sublimados, expurgados, y demostrados por el señor J.E. Miles, de la Castle Dancing School de Nueva York.

Vn.

    

                                            

arco

sfz

    

    

  

Pno.

       

(Tamb.)

Perc.

             

     

              sfz

 

      

      

           sfz



pizz.


35

         383

Fl.

mp

Cl. in A

Perc.

   

    

T.

pp

  

  

          

Accord.

  

 

         

                        

p

  

  

ritard.

p

Tambourine

     

           

   

Pno.

     

  

      

  

         

   

   

 

 (cluster)

p

 

  

 

 

  



 

Wind Chimes

p

The dancing masters previously had agreed that the tango must be abandoned altogether, but the steps demonstrated were considered sufficiently tamed to suit the majority.

New York, no date. Nueva York, sin fecha.

Los maestros de baile habían acordado antes que el tango debía ser abolido completamente, pero los pasos que se demostraron fueron considerados bastante inofensivos por la mayoría.

Vn.

Vc.

     

 Fl.

Cl. in A

 

Tempo III q = 76 388 Adagio religioso

 



   



     

 

   













 

   



     

 

   

 

  

   

pp



 

p

   

                       

       

  

p

 

      



      

             

Hoy, en la Escuela Púiblica Cuarenta y Una, la Secretaría de Educación de Nueva York presenció una demostración de baile anunciada “la mensajera del evangelio del refinamiento en el baile.”

 



  

poco rit.

Today at Public School Number Forty-one the New York Board of Education witnessed a demonstration of dancing billed as “carrying the gospel of refinement in the dance.”

Tempo III q = 76 Adagio religioso

 

p

 

Vc.

    

Pno.

Vn.

 

T.

pp

Accord.

       

 

Vibes

Perc.

      

ritard.

pp

The exhibition consisted of the tango in a newly revised version described as “properly danced” ... La exhibición consistió en una nueva revisada versión del tango, “bailado con propiedad”...

   

     

     

poco rit.


36

 

 

 

 

 

 

a tempo

396

Fl.

Cl. in A

Perc.

Pno.

  

   Triangle p

 

  

T.

  

p

p

mp

 

 

 

and re-christened y rebautizado



 



 

                     

 

p

  

 

(Vibes)

 

   

Accord.

 

 



 

 



 



 



 

 

 

 

“the paragon.” “el paragón.”

mp

          

p m

            

 

 

  

At the close of the exhibition Dr. Edward Stite of the Board of Education said he was sure that the Board could approve the dance in its revised form. Al cierre de la exhibición el doctor Edward Stite dijo que estaba seguro de que la Junta aprobaría el baile en la forma revisada.

                a tempo

Vn.

Vc.

 Fl.

mp

 

   403

 

   

 



    

T.

  

  

  

 



 

   

   

(Trg.)

   

  

Other members of the Board expressed their pleasure in witnessing the paragon, the rules of which are as follows:

 

 

  

 

 

  

p

 

 

 

 

mp

 

       

  

    

  

 

  

Do not

Otros miembros expresaron su placer con la demostración del paragón, cuyas reglas son las siguientes:

       



 

 

     

Celesta

  



 

mp

  Vn.  Vc.

p

 

Accord.

 

mp

(Vibes)

Perc.

mp

        

p

Cl. in A

   

No

 

 



      

 

 

sal -

  

 

 


37

     

  

 

 

 

  

 

 

 

 



 

407 A tempo III (q = 76)

Fl.

pp

Cl. in A

      pp

        mp            

Pno.

       hop.

                          

He dances with exaggerated primness.

T.

       tar.

  

  

mp dolce

       

            

     

mp dolce

sim.

              

  

  

 

          

Do not shake

   

the hips. Do not flounce the

          

 

Y no mue - va, mue - va, mue - va los hom - bros.

Las ca - de - ras quie - tas. Tam - bién

 

       

              

   

sim.

     

    

            

            

   

Do not wig - gle, wig - gle, wig - gle the shoul - ders.

No apre - tar

A tempo III (q = 76)

Vc.

Do not lunge.

            Vn.      

                 

 

   

  

 

Cl. in A

       

Accord.

  

 



 

  

 



 

 



 

                  

Pno.



     

               

 

Vn.

Vc.

 

      

    

  

     

      

 

          

 

  

Do not pu - (hu) - (hu) - (hu) -hump the arms.

co - dos.

     

     

  

Y no mue - e - e - e - va

A - void low

los bra - zos.



 

         



   

    

 

E - vi - tar

fan - tas - tic

ca - í - das

 

Bass

ff

ac - ro - bat

-

ic

          a - cro - bá

  

-

 

        

                      

           

                



        

  

                   

el - bows.

T.

los

415

Fl.

   

dips. Do not twist the

   

ti - cas. No me - ne - ar_el

 

  

 


38

   

Fl.



   

423



mp

Cl. in A

   













  





  

                                                             p

Pno.

T.

       

     bod  

 

cuer

   

 -

    

Bai - lar

  



pp

                     

   

 

     

 

  

 

 

   

      

 

   

  

u

de

bien

le

 

 



-

a - way

-

jos

 

     

       e - nough

     

po.

 

   

Stand far

   Vn. 

Vc.

      

 

y.

 -

           

from each oth - er

-

no

       

    

   

to

o - tro

al - low free

   

pa - ra mo - ver









 

pp

   429

Fl.

Cl. in A

   

Pno.

Vc.





         

            





li - bre - men



     the bod - y.

-

If

    

  

 

  

    



 

3

 

los

  El

  

  The

   

   

cuer - pos.



the part - ners’ bod - ies must touch.

te_el cuer - po. Si_hay que jun - tar



  

   



   

  Vn.  

       move- ment of  



     

T.

   

    

 

     

 

 

 

 

 

gen - tle - man

hom - bre de

should

  -

be

pizz.

  

     






         434

Fl.

Cl. in A

Perc.

T.

 

Perc.

 

  -

 

lo - car

la



  

arco

 

p

p

 



ly

ma

-

 

    

    445

Perc.

  

 Pno.

  (Tamb.)

   

  

 







 

 

  

en

la es pal - da

 

     

     

 



     



 

Do not lunge.

 



de

la

touch - ing on - ly with the fin ger - tips. Re - mem - ber.

da - ma con

   

      

  

  

     

   

-

   

 

ras

      

  

 

  

 

                    

          

      

Tambourine (table)

          

mp

mue - va, mue - va, mue - va los hom -







Y no

Do not wig - gle, wig - gle, wig - gle the shoul - ders.

   

bros.

              

       

sim.

sim.

        

 hips.

    

 

 

Do not flounce the

quie

 

 

-

tas, tam - bién

  

 

los

  

el

-

bows.

co

-

dos.

   

Triangle

            

 

No sal -

                      

the

   

  

     

     

dos. Re - cuer - de.

-

 

Do not

 

los de

 

 



la pun - ta de

 



                    

          

   

      Vn.          Vc.  



                  

    



No_a pre - tar.

        Do not shake T.        Las ca - de

 

la - dy’s back,





  

arco

        mf





 

a - gainst the

       Vc.    

Cl. in A

Pochissimo più mosso q = 80

Fl.

no

 

 

-

pizz.

 

light

Pochissimo più mosso q = 80

439

 

his hand

   co



mp

 

        hop. T.         tar. Vn.



Triangle

   

 Pno.

      rest

Cl. in A



                                    

  Vn.     Vc.  

Fl.



39





 



  Stand

 

 



  

  

far

 



 

 

Bai - lar

 

  

   

 

 

e -

bien pizz.

 

 

  

  


40 Fl.

Cl. in A

Perc.

450       

 

 

Pno.

Vc.

Fl.

Cl. in A

   

 

 

Perc.

Pno.





     

     

 

 

 

 

 

u

-

no

de

o - tro

a - way

 -



-

  

arco

jos