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I n May of 1948, Stravinsky began to work on the first scene of The Rake's Progress (he had already produced the prelude to the Graveyard scene the previous December). His first musical sketch is shown in its entirety in Example 1.1 The accompanimental figure is extremely simple (an A-major triad with C# in the bass) and rhythmically square. It is followed by the vocal motive C-C#. The C~ is harmonized with a rest; the C," is probably intended 165 to be harmonized by a continuation of the A-major accompanimental pattern. In the final version of the passage, the vocal entrance is preceded by different and contrasting introductory material. The accompanimental pattern from the sketch, when it finally gets going, is irregularly punctuated by silences, giving the passage a restless, rhythmically unbalanced feeling (see Example 2). The progress of this passage from sketch to final version follows what for Stravinsky is a reasonably common pattern in the composition of The Rake's Progress. The initial sketches tend to be rhythmically square and harmonically rudimentary. They often have the appearance of a simple, classical prototype. As musical ideas are brought to a more final state, the sketches often become increasingly free rhythmically and increasingly remote from classical tonal norms harmonically. A significant aspect of Stravinsky's compositional process in The Rake's Progress, as documented by the sketches, involves the explicit transformation of relatively traditional tonal prototypes. In this most Volume ix * Number 2 * Spring 1991 The Journal of Musicology ? 1991 by the Regents of the University of California

The Progress of a Motive in Stravinsky's the Rake's Progress