Music 538b-Bob Moore Octet Alexander Koops 11

Stravinsky Octet

Stravinsky’s Octet is considered neoclassical while continuing to include many traits developed in Symphonies of Wind Instruments. The piece is written in three movements, though the second movement Tema con Variazioni leads directly into the third movement Finale without a break. While one of Stravinsky’s genius ideas in the Symphonies of Wind Instruments was his use of a “moment form”, the Octet balances traditional forms and moment form, partially by following pan-tonal schemes which keep listeners guessing and wondering where the music is going, yet bringing back familiar motivic material in an ever developing and changing pattern. This is one of the salient aspects of Stravinsky’s composition style. As stated in class, Stravinsky’s sense of timing is impeccably right for how often to repeat a musical idea and how much to change it when it is repeated. The balance of chaos and order seems perfect.

In addition, Stravinsky’s music often contrasts linear and non-linear (or static) musical moments. Stravinsky loves “activated stasis”(as we discussed in class) where the foreground has continuous movement, but doesn’t feel like it is going anywhere. In the middle-ground and background there may or may not be linear movement. Stravinsky often does include a final cadence in each section of music that references traditional tonality giving listeners something to hold on to if they felt a little lost in the flowing sea during the course of the music. The chorale at the end of the Finale definitely leads to C major.

Stravinsky uses a mixture of traditional tonal and atonal harmonic language that includes a lot of modes and the octatonic scale. The opening movement suggests an E-flat dorian mode at rehearsal 1, while the Tema con Varazione suggests an octatonic scale and the finale ends in a definite C major. The instrumentation choice is also noticeably all winds, similarly to the Symphonies of Wind Instruments and the Symphony of Psalms (plus cello, bass and voice).

The Sinfonia seems to be neoclassic both by its title and construction. Stravinsky gives a slow introduction followed by the movement proper which is in quasi “ABCBA” form, as can be seen below.

Chart 1 Sinfonia Form

m. 1-4 / Intro. / Intro. Part A / Palindrome
Or
Intro+
ABCBA’ / B flat (V/E flat)
Reh.#1 / Flow theme; scaler materials / Intro. Part B / E flat dorian
2
3 / E, G#,(Ab),B
4 / C#,G; Db; d0, Eb7; B
5 / Intro. Theme returns / Intro. Part A / (A flat) B flat 7
6 / Theme A / Exposition / P1 / Eb (c,Bb…)
7 / A / Ab
8 / A / Bb; D flat, A, E…
9 / A / D; d
10 / B (with scaler cell material; Jumpy / Development / P2 / d; or g?
11 / Interlude (including triplet idea) / f
12 / B- fl, cl., trbn, (arpeggio X; ostinato) / Ab
13 / Interlude (scaler, jumpy, arpeggio X) / C; G
14 / C / New theme / P3 / D; d
15 / C / e; f
16 / (D) (scaler+jump); B accompaniment; fragments of A / More development / P2 / d; G; chromatic; D phrygian; E-B descents-e minor feel too
17 / Interlude (including motivic idea from 13 and clarinet triplet idea from 11) / b7;E7;A; a; d; Eb
18 / B, C alternate
19 / A, jump fragments; canon / False recap / P1 / C major
20 / A Jump in Flute; C Rhythm in trpt.
Descending chromatic in cl.
21 / A canonic / Recap (like 7) / E flat
22 / X / Stretto
23 / A canonic / Coda like / E flat

The Sinfonia introduction begins on B-flat and while not in B-flat major, it does end on a B-flat major chord which suggests a dominant feel when it is followed by the E-flat at rehearsal 1.

Interestingly he begins and ends the introduction with this chorale-like section that has a definite linear quality leading to the B-flat and he also ends the Finale with a chorale section that has a linear descent to C major.

Stravinsky introduces a flowing theme that appears to go no-where, just alternating between E-flat and F, but eventually traces out an E-flat Dorian scale.

The surface texture continues to be very flowing (kinetic) throughout this introduction, but the harmonic movement is actually quite static. Stravinsky uses a lot of scaler ideas and arpeggios, leaping motivic fragments, ostinatos and and pedal points, all of which prepare the listener for the rest of the Octet.

The main theme begins at rehearsal 6, with a definite feeling of the B-flat seventh chord acting as dominant to the E-flat downbeat.

There is also a 3:2 tempo relationship which Stravinsky loves to do: e=76 to q =104. Theme A is

repeated at rehearsal 9 in canonic fashion, then at rehearsal 8 it is fragmented as it modulates through D-flat major and E major and lands in D major at rehearsal 9. Stravinsky lightens the texture and dynamics at rehearsal 8, so when the full ensemble comes in again at rehearsal 9 it is an exciting moment. Additionally Stravinsky adds an offbeat echo to the main theme creating an exciting new twist to theme A that keeps the listener intrigued.

A d-minor scaler passage leads to theme B “cantabile tranquilo” at rehearsal 10 in the first trumpet. The bassoons have an accompaniment with obvious G major arpeggios, while trumpet two plays a motive that predicts the C theme.

Rehearsal 11 acts as a brief interlude before restating the B theme in the trombone, clarinet and flute at 12. At 13 emphasizes the X arpeggio cell on C major all the while retaining scaler material that is derived from the original theme A.

At 14 Stravinsky states Theme C boldly in the clarinet, emphasizing the X-rhythm, beginning in a D tonal center, evolving into B-flat major arpeggios, passing through g-minor and arriving in an E minor mode at 15. The key changes make sense in that they are following third relationships, but they don’t follow tradition harmonic pulls. The chromatically twisting theme, repeated at 15, is similar to the kind of chromatic themes that Bartok composes.

Rehearsal 16 does not contain theme B but it does have similar traits to rehearsal 10 and 12 including the X-arpeggio cells and ostinatos. One of the salient composition tricks Stravinsky uses here is to take the initial descent {E,D,C,B} built from the original A theme and use it to structure a beautiful descent over the next four measures in the bassoon and clarinet. Stravinsky brings out the {D, C, B} descent with accents in the bassoon part. At rehearsal 17 we hear yet again at the exact pitches, but two octaves higher. Stravinsky frequently uses this technique which helps give great structural integrity.

Rehearsal 17 acts as another interlude including a similar figure taken from 13 shown below as well as the triplet clarinet figure from rehearsal 11.

Theme B returns at 18, alternating with theme C in a perfectly timed dialogue, segueing right into fragments of theme A at 19, treated in canon, preparing us for the full return of theme A in the original key at 21. Rehearsal 22 offers a quasi-stretto section following a similar patten to what was originally set up in rehearsals 7-8. The final statement of theme A at 23 in E-flat is perfectly timed with a canonic treatment that syncs up on a final beat after 9 glorious measures, ending solidly on E-flat major. The alterations of meter throughout the movement offer the sense of timeless flow that is magical and contribute to the beautiful dichotomy of kinetic and static movement.

In the Tema con Variazione Stravinsky uses an incomplete octatonic scale, and begins with the [0134] tetra-chord, both of which he also used extensively in Symphony of Psalms. The form is obvious because of the theme and variations format, though each individual variation has its own unique form.

Chart 2: Tema con Variazioni form

Reh. # / Section label / Description-rehearsal #’s- Key/tonality/centricity
24-26 / Theme / Octatonic/d minor; D major
26-28 / Variation A / Scales following Octatonic theme; d, C,D,b,B,b lydian, …D,d,f dorian
28-31 / Variation B / E; 29=G; 30=D, A, (A acts V/ D for return of variation A)
31-33 / Variation A / d
33-38 / Variation C (Waltz) / a/g; D…
38-49 / Variation D / A …42 D….43 F,eo, Eb,c,… 44- Gb…a mixolydian; 45-A; a; 47-A…
49-51 / Variation A / d
51-56 / Fugato / A; E/C#...

The octatonic feel is strong because of the initial tetrachord, but it is interesting to note that these notes are also contained in the D melodic minor scale. The accompaniment begins in d minor contrasting the feel of A major in the melody (A-C#). The “Tema” itself can be divided into four motivic ideas as seen above: TA,TB,TC, and TD, and an arch form “ABA” where the theme is first heard in the flute and clarinet (high range voices) in D minor/A octatonic, then contrasted with a B section in C major, trumpet 2 (middle range voice), and ending in a return to the original key with the theme in the trombone (low range voice).

Variation A simply takes the theme and add scales above each of the given notes of the theme. The theme is transposed so it begins on D, and the first scale played above the D root is a D melodic minor scale. The second note is a B-flat in the theme, so Stravinsky gives us a B-flat Lydian scale. Variation A theme begins in the trombone and follows the original theme in its pitch organization, though the exact rhythms are changed. At rehearsal 27 the trumpets, flute, and clarinet take over the melody. The ending coming in two measures before 28 is altered to make a smooth transition to variation B.

Variation B offers a needed contrast in its light bouncy character. The form is basically structured around the original “Tema” form. The opening two measures of accompaniment try to hide the rhythmic pulse, so when the trumpet enters with the melody it is a nice surprise. The theme begins clearly with the original major third head motive TA, but it is developed with new variations, modulations and rhythmic twists. It still contains each of the core elements of the “tema” including TA, TB, TC, and TD, though TD is altered.

Stravinsky shows off instruments in pairs: flute and clarinet, bassoons, trumpets, and trombones. The bassoon ostinato at 29 and trumpets dialogue at 30 are examples of this and the creative and masterful writing Stravinsky continually produces.

Variation A (31-33) is brought back and transitions directly into Variation C. The flute begins a solo which is clearly related to TA, but then it flourishes around in a way that covers the pitches used in TB, TC, and TD, but it is difficult to point out exact connections. The flute solo acts as introduction that is followed at 34 with the trumpet 2 and clarinet stating the “tema”. The rest of the variation follows the basic form set in the “tema”. At rehearsal 35 the clarinet and bassoon 1 become static while bassoon 2 has an interesting chromatic ascent and descent which serves as a bridge section leading to the continuation of the “tema”. At 37, to conclude the variation and transition to the next variation, bassoon two has a bass descent line leading to A major and bassoon 2 also sets some motivic and rhythmic patterns that foreshadow the upcoming music.

Stravinsky decides wisely to skip placing variation A before Variation D, upsetting the pattern previously established, but keeping the listener from getting tired of variation A. Variation D can be viewed as a passacaglia and begins with an ostinato “ground-bass” pattern in the clarinet and bassoons that can be seen below.

38 / Intro; ground- bass / Sonata:
Intro / Introduction: D0, D1, D2, D3, D4, D0, D1, D0
Chromatic descent(Bssn.I)Bb-A-G#-G-F#-F-E
(Bb-E=TT) / A major -Ostinato ground-bass established
39 / 1.1 / Expo.
Th.1 / TA in Trpt. (Ostinato exact repeat) / A major/Octatonic –Tema @original pitch level
40 / 1.2 / TB Trpt +Fl (D0,D1,D2,D3, D0,D1,D2,D3) / A major/Octatonic–Tema @original pitch level
41 / 2.1 / Theme 2 / “Brilliante”; (D4, D2, D3) / (F major-Cl. –D-D chromatic linear descent)
A major- Ostinato Gr.-Bass
3 bars b4-42 / 2.2 / Brilliant 2 -fl. D0-(D maj. 7) (Augmented Syncopated Rhythm, and extended in Cl.) / D 7
42 / 2.3 cont’d / Brilliant Ending (2 measures) fl. hands off to bssn. 1. Bssn. 2 reverses rhythm from cl.@ 41
Reminiscent of TC, But chromatically altered / D7;
2 after 42=cadence to F leads to next section
5bars b4-43 / Soli
Gr-bass / Development / D0 D1 D2 D3 D4 (bssns. only) / F major
43 / 3.1 / D0D1 D0 / D0, D1, D2, D3, D4 Brilliant 3
F------e0 Eb
Triplet plus brilliant variation
Trbns have Maj. 3rd ostinato –(just like TA) / F, e dim, Eb maj.
44 / 3.2 / Triplet plus brilliant variation continued
D0 D2 D0---- / Gb, d, a mixolydian
45 / Soli
Gr-bass / D0 D1 D2 D3 D4 ----D0D1 D2
A major------a minor / A, a
46 / 4.1 / Cantabile Variation-solo flute, similar to 42,plus brilliant triplets—(Reminiscent of Tema; also reminiscent of 1st mvt. Reh. #2,3,4)
D3 D4 D3 D4-__-D0 D0 D1 D3 / A major and A minor
47 / 1.3
(or 5) / Recap / TA (obvious quote in trpt. 1, similar to 39)
D0 D1 D2 D3 D4(cl/bssn) ---
D0 D1 D2 D3-trpts/trb. 1
(only time gr-bass theme not played by bssn) / A/ Octatonic –Tema @original pitch
48 / Soli
Gr-bass / codetta / D0 D1 D2 D3-(trpts/trb. 1)
D0 D1 D2 D3 D4-(end is bssns again)
Overlap of Passacalia ground bass theme; offset by starting in the middle of the bar / A (sounds like dominant to D, which is the next down beat-Variation A, 49!)

The form could be labeled in several ways including a mini-sonata style form, but it makes the most sense to label it as a passacaglia variations form. Stravinsky liked revisiting forms and characteristics from earlier music such as the passacaglia form, and that is partly why his music is called “neo-classical”. Grove’s music defines and explains a passacaglia as follows: