Schweik Motive: A Thematic Study

First appearance: Movement I, 5 after rehearsal [6]; Trombone only

Correct line in concert pitch: Trombone

Original Score: Trombone

Corrections to score needed: Trombone

Remove slur from E natural to Eb
o Correction by Andrew Janes
(Accent on Eb already present, though partially obscured below
Eb)
o Odd positioning of the accent is attributable to the change
in stem direction between the E natural and Eb. The
absence of the accent in the part (seen below) is possibly
due to this displacement in the score.
Original Part: Trombone

Corrections to part needed:

5 after [6]: Remove accent on E natural on beat 3 (tied note)
o Correction by Andrew Janes
6 after [6]: Remove slur from E natural to Eb; add accent to Eb
o Correction by Andrew Janes

Second Appearance: Movement I, 2 after rehearsal [7]; Flute, Trumpets

I & II
Correct line in Concert pitch: Flute, Trumpet

Original Score: Flute (Correct as is)

Original Part: Flute

Corrections to part needed: Flute

2 after [7]: Add accent to & of beat 2
o Correction by Andrew Janes
3 after [7]: Add accemt to & of beat 1
o Correction by Dr. Jeffrey Traster; Observed by Mr. Tim
Topolewski
Original Score: Trumpets

Corrections to score needed: Trumpets

2 after [7]: Add accent to & of beat 2
o Correction by Andrew Janes

3 after [7]: Remove slur from F# to F natural; add accent to F

natural
o Correction by Andrew Janes

Original Parts: Trumpets I & II (Both parts printed the same; correct as
is)

Dr. Traster suggests adding the slur to 3 after [7] between the F#
and F natural, with the removal of the accent over the F natural. While
this would indeed make the trumpet part match its line in the score, it
contradicts the flute line that occurs simultaneously an octave above,
which Dr. Traster left unadjusted*. Furthermore, the flute line matches
the preceding trombone part in the score (after the incorrect slur is
removed in 6 after [6]), necessitating the adjustment of the trumpet
line in the score.
As can be seen by the original parts and score, there is
significant and varied discrepancy regarding the articulation of this
theme so far in the movement. In this case, it became necessary to
take the most consistent deployment this themes articulation and
apply that to all parts. All occurrences of the theme thus far have been
adjusted be consistent with one another, justified further by their
appearances just four measures apart. As the flute part and flute line
in the score, as well as both trumpet parts and the trombone line in the
score, all bear the articulation of the Correct in concert pitch line
seen above, (5 out of a total of 7 lines from score and parts), it became
clear that the appropriate adjustment was to make the remaining
incorrect lines match the Correct in concert pitch line.
*His adjustment at this point was to add an accent to the & of beat 1 in
3 after [7] to the part; he made no adjustment to the part or scores
articulation otherwise.
Third appearance: Movement I, at rehearsal [11]; Clarinet only
Original Score: Clarinet
(Both are correct as printed; different context than previous
deployments)

Original Part: Clarinet

Fourth Appearance: Movement IV, 5 after rehearsal [2]; Trumpets I & II

Correct line, in Bb: Key is 3 sharps for trumpet (Concert key is E minor,
1 sharp)

Original Score: Trumpets I & II (Correct as is)

Original Parts: Trumpets I & II (Both parts printed the same; correct as
is)

In this movement IV deployment of the Schweik theme, the

articulation is slightly different than the themes aggressive
appearances in movement one. Here, Kurka does utilize a slur from the
F# to the F natural 6 measures after rehearsal [2], in an effort to
further exaggerate the effect of the accents that begin the kick off the
next phrase beginning 3 measures before rehearsal [3], creating a

powerful tension through the contrast in articulations between the

woodwinds (tenutos) and the brass and percussion (accents).

Fifth appearance: Movement IV, at rehearsal [4]; Trumpet II only

Correct line, in Bb: Trumpet

Original Score: Trumpet II

Corrections to score needed: Trumpet II

2 after [4]: change slur to cover only F# to F natural; add accent
to F#.
o Correction by Dr. Jeffrey Traster
Original Part: Trumpet II

Corrections to part needed: Trumpet II

2 after [4]: Remove larger slur from A to F natural.
o Correction by Andrew Janes

Sixth Appearance: Movement IV, Partial statement 4 after [4]; Clarinet

only
Correct line in Bb: Key is 3 sharps for clarinet (Concert key is E minor, 1
sharp)

Original Score: Clarinet

Corrections to score needed: Clarinet

4 after [4]: slur only last three notes of bar together, not across
bar line.
o Correction by Dr. Jeffrey Traster
5 after [4]: add accent to D#
o Correction by Dr. Jeffrey Traster

Original Part: Clarinet (Correct as is)

Seventh Appearance: Movement VI, measure 3; Trumpets I & II

Correct line in Bb: Key is two sharps for trumpet (Concert key is C
major)

Original Score: Trumpets I & II

Corrections to score needed: Trumpets I & II

Measure 4: change slur to cover only F# to F natural; add accent
to F#.
o Correction by Dr. Jeffrey Traster
Original Part: Trumpet I

Corrections to part needed: Trumpet I

Measure 4: add accent to & of beat 2 F#.
o Correction by Andrew Janes
Original Part: Trumpet II

Corrections to part needed: Trumpet II

Measure 4: Remove slur over first three notes; add accent to F#.
o Correction by Dr. Jeffrey Traster
Eighth Appearance: Movement VI, 3 before rehearsal [1]; Trumpets I &
II
Correct line in Bb: Trumpets I & II

Original Score: Trumpets I & II

Corrections to score needed: Trumpets I & II

Measure 7: change slur to cover only F# to F natural; add accent
to F#.
o Correction by Dr. Jeffrey Traster
Original Part: Trumpet I

Corrections to part needed: Trumpet I

Measure 7: add accent to & of beat 2 F#.
o Correction by Andrew Janes
Original Part: Trumpet II

Corrections to part needed: Trumpet II

Measure 7: Remove slur over first three notes.
o Correction by Andrew Janes
Ninth Appearance: Movement VI, at rehearsal [9]; Trumpets I & II
Correct line in Bb: Key is two sharps for trumpet (Concert key is C
major)

Original Score: Trumpets I & II

Corrections to score needed: Trumpets I & II

2 after [9]: Change slur to cover only F# to F natural; add accent
to F#.
o Correction by Dr. Jeffrey Traster

Original Part: Trumpet I

Corrections to part needed: Trumpet I

2 after [9]: add accent to & of beat 2 F#.
o Correction by Andrew Janes
Original Part: Trumpet II

Corrections to part needed: Trumpet II

2 after [9]: Remove slur over first three notes; add accent to F#.
o Correction by Dr. Jeffrey Traster
Tenth Appearance: Movement VI, 4 after rehearsal [9]; Trumpets I & II
Correct line in Bb: Key is two sharps for trumpet (Concert key is C
major)

Original Score: Trumpets I & II

Corrections to score needed: Trumpets I & II

5 after [9]: change slur to cover only F# to F natural; add accent

to F#.
o Correction by Dr. Jeffrey Traster

Original Part: Trumpet I

Corrections to part needed: Trumpet I

5 after [9]: add accent to & of beat 2 F#.
o Correction by Andrew Janes
Original Part: Trumpet II

Corrections to part needed: Trumpet II

5 after [9]: Remove slur over first three notes; add accent to F#.
o Correction by Dr. Jeffrey Traster
Need for the thematic study:

What is the Schweik theme? Talk about its evolution throughout

the different appearances.
occurs in three different movements, takes many forms
it is clear that these forms were unintnetially blurred by the
printer of the score and parts: at the same moement, the score
and parts can both be incorrect, but in slightly different way.
It is the goal of this study to clarify and understand the
composers intent through isolation and comparison of these
thematic excertps, and make the new edition more correctly
reflect this intent.