Valentine's Day, Sunday, February 14, 2010 at 10:20 am

_______________________________________________talkingherrmann mailing list***********************************10-20-09:Talking Herrmann: Box 79 'Scene d'amour' SketchNew topic by: Bill Wrobel ()______________________________________________________________________Immediately below is the first page (of seven) of the sketches Herrmann wrote for "Scened'amour" from Vertigo.{Image http://img44.imageshack.us/img44/6960/r11jt.jpgNext is the full score version of the first thirteen bars:{Image http://img16.imageshack.us/img16/9461/r14v.jpgThe notes and patterns are essentially the same in the sketches as they finallymaterialize in the full score, though condensed as two staves--initially the top staffrepresenting violins I, and the bottom staff corresponding to violins II. The sordsdesignation (muted) is not given in the sketch page but this is no surprise in Herrmann'scase since he overwhelmingly wrote for muted strings.In Bar 14 in the sketch (start of next two-staff row or :42 & 2/3 timing), there are afew changes noted. Herrmann has Line 2 "Violas" (I looks to me) written for the bottomstaff in the treble clef but he never employs the violas yet at this point of the full score.Instead he has the bottom staff of violins I play those notes. He has the 8va line overthese bars for the violins I top staff and all of the violins II notes below (in the same topstaff). It appears that Herrmann originally had the G dotted half note below the Bb/Dbdotted whole notes but crossed that G off with a red pencil.In the third row of two-staves in the sketch at the 1:11 &2/3 point (Bar 24), he first hasit designated as "W.W." (woodwinds) in one top staff line for three bars (combined flutesand clarinets) but then decided on the sketch on the bottom row to separate the flutes (topstaff) and the clarinets (bottom staff).I find it interesting how he notates on the "C" or concert sketch (no transpositionrequired yet). Well, note on that 4th (bottom row) that the clarinets play Line 1 E#/G#half notes to (Bar 25) E/G# half notes to D/F# half notes. In the full score whenHerrmann transposes these B-flat type clarinets (hence the need to transpose), writesF/Ab (written G/Bb) half notes. If he had kept it as given in the sketches, it would beE/G# (or written F#/A#) half notes. I suppose in the sketch he was thinking in terms ofthe same sharp mode as given in the flutes playing B/D#/G# half notes in Bar 24. Also135