Adagio lamentoso
Though the final movement of Tchaikovsky's 6th Symphony, this movement is slow with a dark, brooding tone that begins with almost a cry of despair, builds to a climax of intense agitation, then fades off into a quiet, sustained ending. It is filled with gorgeous lush chords and a powerful range of expression through style, dynamics and careful orchestration. The symphony is scored for 3 flutes (3rd doubling piccolo), 2 oboes, 2 clarinets in A, 2 bassoons, 4 horns in F, 2 trumpets in B-flat and A, 3 trombones (2 tenors and 1 bass), tuba, 3 timpani, bass drum, cymbals, tam-tam and strings.
Orchestration of the Main Themes:
First Theme
Tchaikovsky opens this movement with a beautiful, almost despairing melody (main theme- theme one) in the first and second violins- though in an unusual way. Neither the first nor the second violin play the whole melody alone but instead pass each successive note like a baton, alternating back and forth from note to note. The effect is a smooth, almost seamless sound in the violins with rich, rich harmonies in the same rhythm provided by the lower strings. Perhaps Tchaikovsky chose this method to create an extreme legato because the two parts can work to pass the notes so carefully so that they almost overlap (which would be impossible if all played on one instrument)?
The question is, does he treat this first theme in the same way each time it reappears? No. In fact, it is different every time.
The first appearance of the first theme (m. 1) has the violins with this unique passing of the melody, harmonic support in the remaining strings, and a sustained response from the flutes in the background.
The second time the first theme appears (m. 24) the string part remains the same, but the bassoons take over the previous role of the flutes and produces a more dark, menacing response an octave lower.
In the recapitulation, the first theme returns (m. 90) in the strings - undivided. The first violins play the melody in its entirety, supported by the harmonic progression in the second violins, violas, cellos and the bass. Whereas the earlier features of this theme were very legato and smooth, Tchaikovsky chose to make this presentation more intense and articulated with a down bow mark on the first beat and the melody all in the first violin.The sustained response is this time played by the horns, contrasting the previous entries with a warm, mellow tone.
The final appearance of the first theme (m. 126) is the strongest and most straightforward. The first violins share the melody in unison with all three flute parts, and later the clarinets. The lower string harmonies are also shared with the lower woodwinds.
Second Theme
Near the middle of the final movement, (m. 38) Tchaikovsky introduces a more stately theme through sequences of ascending and descending quarter notes. The second theme melody is originally held by the violins and doubled by the violas an octave lower. A seeming favorite of the woodwind section for this Pathetique , the bassoon part is featured with a counter melody, supported by the clarinets an octave higher. At measure 48, the trombones are highlighted with a bold echo of the string melody, and then another echo (of the echo of the originally melody) appears in the horns. The upper winds join to thicken the texture with a new countermelody (m. 55), and the trumpets and trombones combine in an octave unison to bring more power to the melodic echo (m. 63), and gain even more strength and texture when all four horns join in measure 67.
This section grows in the thickness of texture and dynamic power by adding instrumentation and thematic material until it explodes in a wailing cry of strings, brass fanfare. At measure 71, the strings become the main feature with powerful high range playing and octave doubling at a triple forte. The winds move to the background and provide percussive accompaniment, and become more like a punctuation of sound to add a powerful punch to the climax.
(Random side: In m. 77, the strings start this succession of rapid moving descending scales for about 3 measures. The bassoons join only for the last 8 notes. Maybe this is just to add depth and power to the lower range? It seems like an awkward and difficult place for the bassoons to just "jump in")
Underlying Pulse
Tchaikovsky also weaves a syncopated triplet rhythm through a major portion of this final movement as a unifying pulse. This pattern is carried throughout the middle portion of the Adagio and passed around to almost every instrument in the orchestra. This pattern is introduced in m. 36 by the horns, then moves to the clarinets and bassoons in m. 47, and returns to the horns again in m. 54. These instruments carry it well since they are mellow enough to remain in the background, but have enough presence in tone to provide the foundational pulse. In m. 62, the pattern is given to all the woodwinds and eventually the brass, though surprisingly does not grow much in overall weight or presence.
After disappearing for a time while the first theme returns, this triplet pattern comes again in a different form in the double bass (m. 115) - double time and with no syncopation. This adds to the intensity building in the other instruments. At m. 147, the pattern returns in its original form in the double bass and carries the pulse through the end as the texture thins and the sound gradually dies away in a quiet, serene finale.
Friday, February 27, 2009
Thursday, February 26, 2009
The Planets, Op. 32 - II. Venus, the Bringer of Peace - Gustav Holst
Gustav Holst wrote a series of seven orchestral tone poems for each of the planets. Venus, the Bringer of Peace, second in the series is scored for four flutes, three oboes, english horn, three clarinets in Bb, bass clarinet in Bb, three bassoons, contrabassoon, six horns, glockenspiel, celesta, two harps, and strings.
This discussion will focus on the string parts. The first entrance of the strings is in m. 10 with the cellos and basses. The lead up to a pedal tone Bb that sustains until m. 15 where they change pitches downward, B double flat, Ab, G, and then F on the downbeat of m. 18. The low range used during this section provides a foundation for the section.
In m. 26 the second violins enter on a Bb (above the staff). The cellos carry the melody in m. 26 with arpeggiated figures. In m. 32 the melody is scored in solo 1st violin. Holst adds both the remaining 1st violins and 2nd violins in m. 37 to support the melody.
Holst in m. 42 scores the violins in octaves with the 1st violins starting on A6. This is the melodic figure of the section, despite the slow rhythmic movement. Solo violin returns at rehearsal III and contiues to the Largo. Cellos take the melodic figure in mm. 72-73, leading into rehearsal IV. In m. 76 Holst scores the violas with the melody with the starting note as A5. The background scoring is very minimal with only the clarinets and flute 3 playing. This allows the melody of the violas to cut through.
Finally, in m. 80 Holst brings in the full string section with the upper four voices on the melody. Three bars later the orchestration thins drastically leaving the solo cello with the melody in m. 83. The opening entrance of the cellos and basses is repeated in m. 84 and is truncated slightly.
Beginning at bar 94 Holst calls for each of the violin parts to play four notes each. The instructions in this section are "4 desks" and "con sord." The harmonies are rich and treble dominate. It is not until m. 97 that the solo cello comes in with melody (arpeggios).
The piece ends with the violins divided into four separate parts building a chord (Eb (whole notes), Eb (quarter notes), G, and C-Bb alternating. The violas are scored on Eb5 and G5 divisi. This high range sound diminishes to the final bar of the piece.
The orchestration that Holst uses through this piece is very interesting. The string parts seem to carry several melodic figures throughout and orchestration is thinned out in several places so that the melodies can be heard clearly.
This discussion will focus on the string parts. The first entrance of the strings is in m. 10 with the cellos and basses. The lead up to a pedal tone Bb that sustains until m. 15 where they change pitches downward, B double flat, Ab, G, and then F on the downbeat of m. 18. The low range used during this section provides a foundation for the section.
In m. 26 the second violins enter on a Bb (above the staff). The cellos carry the melody in m. 26 with arpeggiated figures. In m. 32 the melody is scored in solo 1st violin. Holst adds both the remaining 1st violins and 2nd violins in m. 37 to support the melody.
Holst in m. 42 scores the violins in octaves with the 1st violins starting on A6. This is the melodic figure of the section, despite the slow rhythmic movement. Solo violin returns at rehearsal III and contiues to the Largo. Cellos take the melodic figure in mm. 72-73, leading into rehearsal IV. In m. 76 Holst scores the violas with the melody with the starting note as A5. The background scoring is very minimal with only the clarinets and flute 3 playing. This allows the melody of the violas to cut through.
Finally, in m. 80 Holst brings in the full string section with the upper four voices on the melody. Three bars later the orchestration thins drastically leaving the solo cello with the melody in m. 83. The opening entrance of the cellos and basses is repeated in m. 84 and is truncated slightly.
Beginning at bar 94 Holst calls for each of the violin parts to play four notes each. The instructions in this section are "4 desks" and "con sord." The harmonies are rich and treble dominate. It is not until m. 97 that the solo cello comes in with melody (arpeggios).
The piece ends with the violins divided into four separate parts building a chord (Eb (whole notes), Eb (quarter notes), G, and C-Bb alternating. The violas are scored on Eb5 and G5 divisi. This high range sound diminishes to the final bar of the piece.
The orchestration that Holst uses through this piece is very interesting. The string parts seem to carry several melodic figures throughout and orchestration is thinned out in several places so that the melodies can be heard clearly.
Monday, February 16, 2009
Stravinsky's The Rite of Spring
Rival Tribes
Stravinsky has interestingly scored his Rite of Spring for a large brass section, with 8 horns, 4 trumpets, 3 trombones, and two bass tubas. The “Rival Tribes” begins with trombones and tubas, with the third trombone playing in the low registers (C naturals and C# below the staff). The horns then take over three bars after R. 57 with a soli figure. The first trumpet follows with a muted passage with accompaniment figures in the trombones and tubas. Interestingly Stravinsky doubles the low F-sharp on beat 3 between the bass trombone and tuba. The rhythm is slightly different with the trombone playing an eighth note and the tubas a half note. This orchestration provides the note with a brighter punch and sustaining sound that is darker in color. The horns soli passage comes back again at R. 58. Four bars before R. 59 a new element is used with a triplet figure in the horns and tuba. Tuba 1 then has a solo in the next bar, in a higher register of the instrument. At R. 61 there is duet with muted trumpets. 2 the trumpet in D is used playing the upper harmony to the other trumpet parts. After rehearsal 6Two bars before rehearsal 63 the horns play four parts with eighth horns to provide a very large brassy sound. This continues for 9 bars. A few bars later then upper four horn parts trill and the three upper trumpets tremolo to lead into a rhythmically unison part leading into rehearsal 64. At rehearsal 64 horns 7 and 8 have switched to Bb tenor tubas and are playing with the tubas in unison. Leading into 65 horn 5 has a cantabile melody, with the upper horns playing a sustained written A.
Procession of the Sage
The horns hold long sustaining high G’s and A’s while all of the other brass are involved in more rhythmic and leaping passages. The trumpet in D is playing written C’s which are in the high register and cut-through the texture. Through this passage the tenor tubas are in unison with the bass tubas.
Dance of the Earth
The “Dance of the Earth” involves horn rips, found after rehearsal 72. The brass play punctuated chords on syncopated beats. Three before rehearsal 73 the brass have a quintuplet and triplet that are very brassy due to the high register of the instruments. At rehearsal 74 horns 6 and 8 have a triplet figure that is instructed to be play cuiverz or brassy, it is a very rapid figure and can be heard because of the brassy tone. At rehearsal 75 the triplet figure is expanded and is traded between the horns up through the end of the section. Meanwhile the trumpets have a 16th note passage, found after rehearsal 76 that is later expanded. This demonstrates the use of double tonguing by the trumpets. The remaining lower brass enter at rehearsal 78 with a six note scale found in the tubas and syncopated chords in the trumpets and trombones.
Sunday, February 15, 2009
Stravinsky: The Rite of Spring
Rival Tribes ~
The movement starts with trombone and tuba. The Timp. is accomp. the brass instruments. They are playing on the off beats. The meter changes every few measures, which gives the piece the feeling of constant movement. Two measures after square 57, the bassoon, horn, cello, and bass answer the trombone and tuba. Even though there are four different instruments playing here, the horn is predominant. The other instruments seem to be thickening up texture. The brass and the woodwinds have a call and response until the a tempo ritentuo pesante. There is another call and response between the horns and the timpani and tuba. All 8 horns are playing at this time. At 60 the woodwinds have a "round" going on. Three before 61 the full orchestra is playing. There are only four horns playing, probably to help with balance. After these three huge measures, Stravinsky has only a few instruments playing. The trumpet and flute are playing octaves. The flute is playing up an octave to probably match the brightness of the c trumpet and to help balance. The brass is heard again in 62, but it blends in with the the strings so it is difficult to hear them. At 63, all 8 horns are playing with the strings. Three measures before 65, the timpani has a hemiola figure. They are playing in 3/4 while the rest of the orchestra is playing in 4/4.
Procession of the Oldest and Wisest One ~
The horns have a a motif that continues throughout this whole movement. The brass in this movement seem more like percussion instruments with all of their rhythms and interjections. The woodwinds are constantly playing, unlike the last movement which switched between brass and woodwinds. There are constant 8th notes through out this movement, giving the movement forward motion. The percussion have hemiola type rhythms again at 70. The Grand pause at the end of the movement is very abrupt but helps lead into The Kiss of the Earth.
The Kiss of the Earth ~
Very slow compared to all that has been played so far. All of the bass instruments except for tuba is used in these four measures.
The Dancing out of the Earth ~
This movement has many 7 or 6 ascending note runs. They are normally in the woodwinds. Sometime the horns have these runs along with the woodwinds. There is a lot of syncopation in this movement also. At 73 almost all of the instruments have the same rhythm, except for the Bassoon 1 and 2. The timpani has constant 16th notes until 78, when they have a triplet figure against 8th notes in the bass drum. While the timpani has 16th notes the horns have triplets throughout. They move from one horn part to another.
The movement starts with trombone and tuba. The Timp. is accomp. the brass instruments. They are playing on the off beats. The meter changes every few measures, which gives the piece the feeling of constant movement. Two measures after square 57, the bassoon, horn, cello, and bass answer the trombone and tuba. Even though there are four different instruments playing here, the horn is predominant. The other instruments seem to be thickening up texture. The brass and the woodwinds have a call and response until the a tempo ritentuo pesante. There is another call and response between the horns and the timpani and tuba. All 8 horns are playing at this time. At 60 the woodwinds have a "round" going on. Three before 61 the full orchestra is playing. There are only four horns playing, probably to help with balance. After these three huge measures, Stravinsky has only a few instruments playing. The trumpet and flute are playing octaves. The flute is playing up an octave to probably match the brightness of the c trumpet and to help balance. The brass is heard again in 62, but it blends in with the the strings so it is difficult to hear them. At 63, all 8 horns are playing with the strings. Three measures before 65, the timpani has a hemiola figure. They are playing in 3/4 while the rest of the orchestra is playing in 4/4.
Procession of the Oldest and Wisest One ~
The horns have a a motif that continues throughout this whole movement. The brass in this movement seem more like percussion instruments with all of their rhythms and interjections. The woodwinds are constantly playing, unlike the last movement which switched between brass and woodwinds. There are constant 8th notes through out this movement, giving the movement forward motion. The percussion have hemiola type rhythms again at 70. The Grand pause at the end of the movement is very abrupt but helps lead into The Kiss of the Earth.
The Kiss of the Earth ~
Very slow compared to all that has been played so far. All of the bass instruments except for tuba is used in these four measures.
The Dancing out of the Earth ~
This movement has many 7 or 6 ascending note runs. They are normally in the woodwinds. Sometime the horns have these runs along with the woodwinds. There is a lot of syncopation in this movement also. At 73 almost all of the instruments have the same rhythm, except for the Bassoon 1 and 2. The timpani has constant 16th notes until 78, when they have a triplet figure against 8th notes in the bass drum. While the timpani has 16th notes the horns have triplets throughout. They move from one horn part to another.
Stravinsky
Throughout this work, Stravinsky orchestrates all of his instruments in unique and almost grotesque ways to create this overall primal, raw sound. He uses the brass, for the most part, to create big blocks of sound - full and brassy and brilliant- that punch through the orchestra and fill it out to become this great mass of sound.
Rival Tribes
R. 57: The first appearance of octave doubling and even tripling within an instrument part is found in the trombone and the bass trombone. This idea (octave doubling) is continued throughout, and especially used in the horns later on to create an open sound with fullness and depth. It is interesting to note the wide leaps that Stravinsky orchestrates for the tuba 1 that are very affective.
R. 59: Stravinsky goes all out with 8 horns (!!) for a huge sound, sometimes in unison but often spread apart in dissonant intervals - in this case, even close to an octave for an open sound with "bite". Stravinsky also uses the tuba with the horns as a unit on several occasions as he does here, adding a low rumbling foundation to support the brilliance of the horns. This unit is used as a tone color block that alternates in phrases with the woodwinds, highlighting the contrast in texture, articulation, and overall dynamic effect.
R. 61:Here the trumpets are muted and moving in parallel thirds (a very cool effect with completely different tone color from the brilliant/brassy sound - more of a softened, dull/fuzzy tone) and are joined by the flutes (in unison with the trumpets). The flutes contrast the muted trumpet sound and also fill out/smooth out the sound.
R. 63:In the measures leading up rehearsal 63, the trumpets and horns play along with the strings, then the horns stay with the strings in a staccato/punctuating style in a lower range while the piccolo trumpet and C trumpets play along with the high woodwinds on a strong sustained chord that cuts into the rhythmic phrases and contrasts the lower sounds with high, penetrating chords.
Dance of the Earth
In this movement, the brass is orchestrated to move as a unit in big, forceful fanfare-like chords that act as a sort of punctuation or accent in the overall sound, or else in fast repeated patterns (sixteenths or triplets) with the woodwinds to add to the texture while the bassoons/contra bassoon keep the foundational pattern going.
The horn's ability to produce an effective glissando is featured in this movement especially, often performing the glissandos along withe some of the woodwinds and strings.
R. 75:At this point, the ecstasy of sound begins by adding on layers of contrasting rhythmic patterns. The trumpet shows off its agility in tonguing by playing the rapid sixteenth note patterns along with the timpani, while the horns pass an eight note triplet pattern throughout all the parts. The tubas join the bassoon and contra basson on the continuous bass line, and the trumpets and trombones join in punctuating brilliant chords. The music builds in complexity and grows to an incredibly thick texture and massive wall of sound that barrels ahead to the climactic and sudden end.
Rival Tribes
R. 57: The first appearance of octave doubling and even tripling within an instrument part is found in the trombone and the bass trombone. This idea (octave doubling) is continued throughout, and especially used in the horns later on to create an open sound with fullness and depth. It is interesting to note the wide leaps that Stravinsky orchestrates for the tuba 1 that are very affective.
R. 59: Stravinsky goes all out with 8 horns (!!) for a huge sound, sometimes in unison but often spread apart in dissonant intervals - in this case, even close to an octave for an open sound with "bite". Stravinsky also uses the tuba with the horns as a unit on several occasions as he does here, adding a low rumbling foundation to support the brilliance of the horns. This unit is used as a tone color block that alternates in phrases with the woodwinds, highlighting the contrast in texture, articulation, and overall dynamic effect.
R. 61:Here the trumpets are muted and moving in parallel thirds (a very cool effect with completely different tone color from the brilliant/brassy sound - more of a softened, dull/fuzzy tone) and are joined by the flutes (in unison with the trumpets). The flutes contrast the muted trumpet sound and also fill out/smooth out the sound.
R. 63:In the measures leading up rehearsal 63, the trumpets and horns play along with the strings, then the horns stay with the strings in a staccato/punctuating style in a lower range while the piccolo trumpet and C trumpets play along with the high woodwinds on a strong sustained chord that cuts into the rhythmic phrases and contrasts the lower sounds with high, penetrating chords.
Dance of the Earth
In this movement, the brass is orchestrated to move as a unit in big, forceful fanfare-like chords that act as a sort of punctuation or accent in the overall sound, or else in fast repeated patterns (sixteenths or triplets) with the woodwinds to add to the texture while the bassoons/contra bassoon keep the foundational pattern going.
The horn's ability to produce an effective glissando is featured in this movement especially, often performing the glissandos along withe some of the woodwinds and strings.
R. 75:At this point, the ecstasy of sound begins by adding on layers of contrasting rhythmic patterns. The trumpet shows off its agility in tonguing by playing the rapid sixteenth note patterns along with the timpani, while the horns pass an eight note triplet pattern throughout all the parts. The tubas join the bassoon and contra basson on the continuous bass line, and the trumpets and trombones join in punctuating brilliant chords. The music builds in complexity and grows to an incredibly thick texture and massive wall of sound that barrels ahead to the climactic and sudden end.
Thursday, February 12, 2009
Symphony No. 4 in E minor, Op. 98 – Brahms
Symphony No. 4 in E minor, Op. 98 – Brahms
Individual Color
1) Flute
a. usually in the high range with bright, brilliant tone in loud sections with lots of instruments
b. not used for a solo instrument
c. a couple places (m8, m40) it is found playing the low register, but can barely be heard – is more to smooth out/fill out the tone color of the strings
2) Oboe
a. usually in tutti with all the woodwinds, mid to upper range, lots of sustained sections
b. not used for solo except m. 108-109 (very nice upper range melodic figure that follows a soli line of the clarinet – good contrast to clarinet tone)
c. the nasal/reedy sound does carry through the large tutti parts so that the oboe color leads the woodwind sound, with the clarinet and flute filling out the tone
3) Clarinet
a. very mellow, smooth sweet sound in low register, but bright and cutting in mid to high
b. featured as both a solo instrument and duet (with 2nd clarinet)
c. also plays in loud tutti sections with the other woodwinds, sometimes higher or lower than the oboes
d. the mellow, pure tone often comes through just as strongly (if not even more so at times) as the oboe
4) Bassoon
a. very warm, sweet tone – at times matches with the horns in tone and plays along with the horns frequently
b. mostly used in mid range, but also extends to low range (esp, m. 25-30) and some runs go up in the high range
c. used as the lower tones in full tutti section with the woodwinds, and as a “lead supporting role” in supporting the sound of the clarinet
d. featured in m. 41-49, and given a duet of the theme at m. 113 at the end
Color Combination
1) Clarinet/Bassoon (clarinet melody/harmony, bassoon harmony –often along with the violas) (F- play a duet together, I’s II’s in unison octaves) (m. 114 I’s, II’s in unison octaves)
a. Gives depth to the clarinet sound, and creates a unique color when put in unison at then octave – less smooth and a little more bite.
2) Oboe/Basson (A) – darkens the oboe nasal sound and blends well because they are both reedy in quality
3) Flute/Oboe/Basson – sometimes in unison octave (like right away at the beginning) – gives a light quality, accenting the brighter quality of the tone of the oboe, but the flute tone is not easily distinguishable apart from the oboe sound. The bassoon tone adds depth, but is also supportive of and blends into the oboe sound
4) Flute/Clarinet – (A – doubled in unison at the octave) (m. 54 with bassoon – all in unison at three octaves)
a. Gives a more brilliant color overall, but still smooth
b. Octave doubling/tripling gives a very full sound and strong tone
5) Flute/Oboe/Clarinet/Bassoon in unison octaves or parts on the main theme (m. 2, m. 74, E) – mostly dominated by oboe and clarinet color, but filled out by the combination. Very distinct and penetrating color
6) Range “color blocks” – at D: the accompaniment arpeggio figures are passed from the flutes to clarinets, to bassoons, using the three instruments combined to create a huge range and smoothly play the line. Each section is in a strong color due to range in that instrument is orchestrated for in its block, and the contrast of tone is pleasant and flows well from instrument to instrument
Chord Building
- LOTS of octave unison doubling
- Usually very spread, with good distance from the bass note in the bassoon
1) Juxtaposed – m. 75 b. 2,
2) Interlocked – m. 19 b. 6, m. 117 (cross bt. Interlocked/juxta/enclosed)
3) Enclosed – “ “
4) Overlapped – m. 37; m. 75 b 4. 3 E, m. 100, etc. (most common)
Individual Color
1) Flute
a. usually in the high range with bright, brilliant tone in loud sections with lots of instruments
b. not used for a solo instrument
c. a couple places (m8, m40) it is found playing the low register, but can barely be heard – is more to smooth out/fill out the tone color of the strings
2) Oboe
a. usually in tutti with all the woodwinds, mid to upper range, lots of sustained sections
b. not used for solo except m. 108-109 (very nice upper range melodic figure that follows a soli line of the clarinet – good contrast to clarinet tone)
c. the nasal/reedy sound does carry through the large tutti parts so that the oboe color leads the woodwind sound, with the clarinet and flute filling out the tone
3) Clarinet
a. very mellow, smooth sweet sound in low register, but bright and cutting in mid to high
b. featured as both a solo instrument and duet (with 2nd clarinet)
c. also plays in loud tutti sections with the other woodwinds, sometimes higher or lower than the oboes
d. the mellow, pure tone often comes through just as strongly (if not even more so at times) as the oboe
4) Bassoon
a. very warm, sweet tone – at times matches with the horns in tone and plays along with the horns frequently
b. mostly used in mid range, but also extends to low range (esp, m. 25-30) and some runs go up in the high range
c. used as the lower tones in full tutti section with the woodwinds, and as a “lead supporting role” in supporting the sound of the clarinet
d. featured in m. 41-49, and given a duet of the theme at m. 113 at the end
Color Combination
1) Clarinet/Bassoon (clarinet melody/harmony, bassoon harmony –often along with the violas) (F- play a duet together, I’s II’s in unison octaves) (m. 114 I’s, II’s in unison octaves)
a. Gives depth to the clarinet sound, and creates a unique color when put in unison at then octave – less smooth and a little more bite.
2) Oboe/Basson (A) – darkens the oboe nasal sound and blends well because they are both reedy in quality
3) Flute/Oboe/Basson – sometimes in unison octave (like right away at the beginning) – gives a light quality, accenting the brighter quality of the tone of the oboe, but the flute tone is not easily distinguishable apart from the oboe sound. The bassoon tone adds depth, but is also supportive of and blends into the oboe sound
4) Flute/Clarinet – (A – doubled in unison at the octave) (m. 54 with bassoon – all in unison at three octaves)
a. Gives a more brilliant color overall, but still smooth
b. Octave doubling/tripling gives a very full sound and strong tone
5) Flute/Oboe/Clarinet/Bassoon in unison octaves or parts on the main theme (m. 2, m. 74, E) – mostly dominated by oboe and clarinet color, but filled out by the combination. Very distinct and penetrating color
6) Range “color blocks” – at D: the accompaniment arpeggio figures are passed from the flutes to clarinets, to bassoons, using the three instruments combined to create a huge range and smoothly play the line. Each section is in a strong color due to range in that instrument is orchestrated for in its block, and the contrast of tone is pleasant and flows well from instrument to instrument
Chord Building
- LOTS of octave unison doubling
- Usually very spread, with good distance from the bass note in the bassoon
1) Juxtaposed – m. 75 b. 2,
2) Interlocked – m. 19 b. 6, m. 117 (cross bt. Interlocked/juxta/enclosed)
3) Enclosed – “ “
4) Overlapped – m. 37; m. 75 b 4. 3 E, m. 100, etc. (most common)
Sunday, February 8, 2009
Brahms 4, Movement 2
0:00 (m.2) The bassoons are added to the horns. While the bassoon timbre can hardly be heard, the sound is obviously strengthened. This same strengthening-though-unheard effect frequently occurs with the bassoon, especially when doubling cellos at a louder dynamic. 0:18 (mm.4-5ff) These clarinets almost sound like horns. I wonder if it has to do with this clarinet/bassoon combination--the pure (clarinet) combining with the more nasaly double-reed sound. Interesting that Brahms switches the voicing of the same second inversion E major chord on consecutive downbeats in mm.5 & 6. First the bassoons take the low B and the second clarinet takes the E. Next time they switch. 0:37 (m.9) Flutes are below the solo clarinet. Without oboes, the sound is very mellow here. Clarinets and bassoons seem to be linked in this movement. 1:07 (mm.15-16) All winds are "a2" now. Brahms seems to use "a2" when dynamic is loud, solo writing when dynamic is softer. 3:07 (m.41) At Rehearsal C, what do the bassoons add here? Why did Brahms add only them to the strings? They double the violas, which have a counter-line to the main melody (cellos), and when violas go into their lower register, the bassoons become more noticeable. 3:47 (m.50) Interesting 4-note melodic fragment in the clarinet, answered by the bassoons a measure later. 4:09 (m.55) Here we get flute, clarinet, bassoon doubling in three octaves, the scoring Adler says is a Mozart favorite. And it sounds Mozartean! 4:50 (m.64) At Rehearsal D the flutes descend, then clarinets follow. The clarinets are much less prominent than the flutes. Perhaps the players hold back because their descending line runs into the register of the main melody (violas)?? 6:39 (m.88) We get the same theme as m.41, but this time with no bassoon doubling. Here it is at a forte dynamic rather than the piano dynamic of m.41. Why does Brahms leave out the bassoons here?? 7:52 (m.103) Back to clarinets, bassoons & horns--a combination that opened the movement. Here we see how orchestration can serve to articulate large scale form. This combination marks a return to, and a connection with, the opening.
Brahms – Symphony No. 4 – Mvt. II
In this second movement Brahms uses specific colors of the wind instruments in establishing the tone color of certain sections. The beginning of the movement opens with the horn then the bassoon and oboes enter, adding two different timbres to the horn. Then the flute joins the rest in a higher octave. In measure 4 the clarinets take the melody and are accompanied by the bassoon. This melody Brahms has given a dark color with the use of the clarinets. An interesting addition of the tone color of the flutes is added in measure 8 and the parts are scored at the bottom of the flute range. The part barely be heard but adds ever so slightly to the bassoons and clarinets. At rehearsal A the duet between the clarinets and the bassoons starts in unison octaves. The tone remains of a darker nature but is quickly changed by the entrance of the flutes and oboes in the second measure of A. The register of the flute has changed dramatically and therefore can be easily heard. At measure 36 the winds are used together. The section is scored at forte and the use of all the winds gives it a brighter tone. AT measure 55 the flute, clarinet, and bassoon are in unison octaves a combination of tone colors. Three measures later Brahms scores the flutes with changing of register and the accompaniment follows dynamically so that the various register can be heard, from the brighter high range to the dark low range of the instrument. At rehearsal E the winds call between the strings providing contrasts in timbre. The clarinet 1, oboe 1 and flute 1 have the melody line in unison. The dominating sound is in the clarinet because of the range. Throughout the movement Brahms uses a combination of the horns and bassoons. With the bassoons playing accompaniment or harmonic support throughout. Finally at measure 108 Brahms uses the solo sound of the oboe followed soon after by the solo clarinet, a contrast in colors again from brighter to darker. The movement ends with the winds playing a pianissimo chord.
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