Tosca, Act I, Rehearsal 40
this is the music that immediately follows the love duet in Act I.
Tempo throughout: Allegro just like the beginning quarter note = 168.
descending chromatic tritone "chase" motive in all strings (minus CB), Fg. 1, and Cl 1 2. ff for 2 measures. Legato. In 3rd measure add C.B. all strings are now p, and Cl. and Fg. disappear. Motive is now moore oom-chuck for 2 measures. Then Fg. 1, and C. 1 2 enter for one measure to orchestrate the accentuation. The figure seems to stumble over itself and tries a momentary ascent. Fg. and Cl. Disappear for a measure.
In the 7th m. (2nd beat) the strings beging playing a harsh series of Chords (alternating Eb Major with A7). This is orchestrated for one measure by Cr. 1-4. Under this there is a semi-chromatic line that ascends first in Fg. 1, it is then passed to Cl. 1 2 who play it for 2 measures and Fl. 1 2 double with the Cl. in the final measure (m. 9).
As the winds reach the top of the line, the strings stop playing their heavy chords (which have ascended in the meantime to the highest registers), and start their own semi-chromatic line (detached bowings) in the lowest register. The CB. only lasts 5 notes, but the beginning and end point of the 5 notes (A to D) is emphasized in all 4 Cr. and Fg. 1 2.
As the strings reach the top of their line (m. 11) they accent the first of the last 3 notes and play suddenly legato for 2 notes (16th notes). The winds (Fl. 1 2, Ob. 1 2, C. Ing., Cl. 1 2, and Tromba 1 [con sordina]) then play the syncopated diatonic Angelotti motive for 2 measures.
When they conclude the motive the strings enter (Cb. = pizz bass note, Vc. = quarter tied to 8th extension of that note, Vla, Vln II play tremolo half notes, Vln I play melody from love duet), the melody is doubled by Ob. 2 (Ob. 1 plays harmony note) and C Ing. Cr. 1-3 provide harmonic support. Fg. 1 doubles Vc.
At the conclusion of the melody (2 bars long) Cavaradossi begins: "è buona la mia Tosca ma credente al confessor nulla tiene celato. Ond'io mi [taqui].
On "Tosca" Enter Cl. 1 (dolce, legato) doubling the vocal melody and Vc. joining Vln II and Vle with tremolos.
On "-te al confessor..." enter Cl. 2 further harmonizing the melody.
On "-sor nulla tiene" string tremolos stop. Vln. II stops. Vc. Plays 2 measures of a tied C, Vla plays a counterpoint to the vocal (and Cl.) melodies for 2 measures.
On "-lato." enter all strings, playing 8th note oom-chick figures for 2 measures. Then pizzicato oom-chick figures now in quarter beats (i.e. the rhythm slows down) for 2 measures.
Tempo throughout: Allegro just like the beginning quarter note = 168.
descending chromatic tritone "chase" motive in all strings (minus CB), Fg. 1, and Cl 1 2. ff for 2 measures. Legato. In 3rd measure add C.B. all strings are now p, and Cl. and Fg. disappear. Motive is now moore oom-chuck for 2 measures. Then Fg. 1, and C. 1 2 enter for one measure to orchestrate the accentuation. The figure seems to stumble over itself and tries a momentary ascent. Fg. and Cl. Disappear for a measure.
In the 7th m. (2nd beat) the strings beging playing a harsh series of Chords (alternating Eb Major with A7). This is orchestrated for one measure by Cr. 1-4. Under this there is a semi-chromatic line that ascends first in Fg. 1, it is then passed to Cl. 1 2 who play it for 2 measures and Fl. 1 2 double with the Cl. in the final measure (m. 9).
As the winds reach the top of the line, the strings stop playing their heavy chords (which have ascended in the meantime to the highest registers), and start their own semi-chromatic line (detached bowings) in the lowest register. The CB. only lasts 5 notes, but the beginning and end point of the 5 notes (A to D) is emphasized in all 4 Cr. and Fg. 1 2.
As the strings reach the top of their line (m. 11) they accent the first of the last 3 notes and play suddenly legato for 2 notes (16th notes). The winds (Fl. 1 2, Ob. 1 2, C. Ing., Cl. 1 2, and Tromba 1 [con sordina]) then play the syncopated diatonic Angelotti motive for 2 measures.
When they conclude the motive the strings enter (Cb. = pizz bass note, Vc. = quarter tied to 8th extension of that note, Vla, Vln II play tremolo half notes, Vln I play melody from love duet), the melody is doubled by Ob. 2 (Ob. 1 plays harmony note) and C Ing. Cr. 1-3 provide harmonic support. Fg. 1 doubles Vc.
At the conclusion of the melody (2 bars long) Cavaradossi begins: "è buona la mia Tosca ma credente al confessor nulla tiene celato. Ond'io mi [taqui].
On "Tosca" Enter Cl. 1 (dolce, legato) doubling the vocal melody and Vc. joining Vln II and Vle with tremolos.
On "-te al confessor..." enter Cl. 2 further harmonizing the melody.
On "-sor nulla tiene" string tremolos stop. Vln. II stops. Vc. Plays 2 measures of a tied C, Vla plays a counterpoint to the vocal (and Cl.) melodies for 2 measures.
On "-lato." enter all strings, playing 8th note oom-chick figures for 2 measures. Then pizzicato oom-chick figures now in quarter beats (i.e. the rhythm slows down) for 2 measures.