FOR CH/.MBER OHCHE3TRA BY IGOR STR1\ VINSKY Presented by James Daniel Dowdakin, Jr. To fulfill the thesis requirement for the degree of Master of Music Department of Theory Eastman School of Music of the University of Rochester June, 1953 f.liL 5963R5 '' TABLE OF CONTENTS Page INTRODUCTION 1 CHAPI'ER I. STRUCTtJRf:.L ANALYSIS
CHAPTER II. CADENCES AND CONTINUITY
CHAPTER III. HARMONY AND SCALES
3 58 73 CHAPI'ER IV. MELODY, r.tiETER, AND REYTl-D\1 95 CHAPTER V. SUYJlv!ARY AND CONCLUSIONS
109 BIBLIOGRAPh"Y 112 INTRODUCTION On the back cover of the long playing recording 1 of the Dumbarton Oaks Concerto, Ingolf Dahl has given the following information about its composition: This work in three movements (Ttmpo giusto; Q2n was written in the winter of 1937 and spring of 1938 in the French mountains and in Paris. Its full title reads: "Dumbarton Oaks; 8-V-38; Concerto in E flat for Chamber Orchestra." The instrumentation consists of 3 violins, 3 violas, 2 cellos, 2 double basses, flute, clarinet, bassoon, 2 French horns. "Dumbarton Oaks" is the name of the Washing- ton estate of the Hon. Robert Woods Bliss, former United States Ambassador to the Argentine and Chair- man of the Visiting Committee of the Music Department of Harvard University. This estate was subsequently to become famous for rather less musical reasons, but in naming his work Stravinsky was obliquely dedicat- ing it to Mr. and Mrs. Bliss on the occasion of their thirtieth wedding anniversary. On this date (May a, 1938) it received its first performance under the di- rection of Nadia Boulanger at Dumbarton Oaks, and, almost simultaneously, its first Paris performance, under the direction of Stravinsky.
The Dumbarton Oaks Concerto followed chrono- logically the composer's sparkling and lighthearted ballet "Card Game" and preceded his monumental "Sym- phony in C". Both of these works are to some extent reflected in this Concerto. The ballet, in particu- lar, was the parent of the delicate ganse of the Concerto's second movement. The symphony, on the other handl is anticipated, thematically as well as structural y, in the Concerto's more richly textured outer movements. 1 stravinsky, Igor, conducts the Dumbarton Oaks Festival Or.chestra in his Dumbarton Oaks Concerto. .Mercury Classics Recording, MG 10014. 1 terms used in the body of the thesis must be explained here, e:md these are as follows: zero ... axial se- ries, and poLlri ty of a series. The zero-axial series is the term applied to a limited series of notes with no sin- gle note of the series stressed as its tonic center. The second term is best described in relation to the formDtion of scales in the medieval modes. In this system all modes employ the series of tones wihh different tones de- signated as final or tonic notes. These final notes <'re supplied with standard mod,Jl cadence formulas which er;;pha- size these particular tones. When mentioning the polarity of a series in this work, it is implied that one pDrticu- lar tone does receive more emphasis than any of the rest, and it is felt as the final of the scale bein used. 2 CHAPTER I. STRUCTURIL First Movemen!t The first movement is titled Tempo Giusto. The me- tronome setting is J -:=. 152; this tempo is held throughout the entire movement. The plan of the movement is as follows: 1. Beginning to Figure 7: Introductory mate- rial and presentation of the main motive of the first movement derived from this material. The tonality is basically E-flat major. 2. Figure 7 to Figure ll: Contrasting section. The tonality is basically D major. 3. Figure 11 to Figure 20: Material from 1. above comprises the transition to the fugal subject, which is derived from the main motive. The fugue is in C minor. 4. Figure 20 to Figure 25: Return of material from the first section, altered and extended. The to- nality is E-flat major. 5. Figure 25 to Figure 28: Coda. The tonali- ty of the previous section is retained, but there is a complete cessation of harmonic motion. From Figure 28 to Figure 29 there is an eight measure section consisting of linkin5 material between .3 the first and second movements. The best description of this type of composition was given by Ingolf Dahl in his program notes describing the Symphony in Three Movementsl. He calls this work "another example of that additive construction, for the in- vention of which Stravinsky is justly famous and which has proved so influential on the younger composer. It is a formal principle which conceives of music as the succes- sion of clearly outlined blocks, or planes, which are uni- fied and related through the continuity of a steadily and logically evolving organic force." The "logically evolving organic force" in the first movement of the Dumbarton Oaks Concerto is the treatment of the three note motive, (57-8 of the E- flat major scale). This motive, or themes generated from this motive, is found in every section of the movement. The motive is found first in the flute line at the begiru1ing, and later, at Figure 4, it is used independent- ly. It undergoes a gradual decrease in range from Figure 5 to Figure 6 until its span has been reduced from a per- fect fourth to a minor second. It appears at that point concurrently with its original form. The smaller form of the motive then proceeds to spread out again from Figure 6 to Figure ?. lingolf Dghl, Program notes of the New York Philharmonic Society (January 20, 1946), Igor Stravinsky, Conductor. 4 The contrasting section from Figure 7 to Figure 11 uses two forms of the main motive in a sequence as its theme. 'I'he original motive is hidden in the texture of this section, having four entrances in recognizable form in the sub-section preceding Figure 11. The motive is employed in the first fugal entrance found two beats before Figure 13. The first tone, g, is found in the cello and bass lines and marks the cadence point of the transitional section. The violas enter with Q-natural and 1 and then continue with the first complete statement of the fugal subject. In the section after Fig. 20, which follows the fugue, the motive appears as it was used in its first solo statement after Fig. 4. The instrumentation has been C:<l- tered, and new elements have been included in addition to the contrapuntal associate which was used in the first statement. _F'inally, the motive is found as p<1rt of a seven- tone ostinato (g, Q-flat, g_, &-flat, Q-flat, !l, &-flat) in the Coda from Fig. 25 to Fig. 28. As a general rule, the tonic note of the s ~ l e of a section is the final tone of the primary motive as it is used in that section. The flute line gives evidence of this in the first two measures of the movement in its use of the motive. The motive is also found in the flute line in the fourth and fifth bars after the beginning. The sec- tion from the beginning to Fig. 2 employs the seven tones 5 of the E-flat major scale. An altered form of the motive is found in this sec- tion also; it is in the line in the second and third b:.-irs after the beginning and in the second and third b&rs after Fig. 1. This motive use is a fourth below the primary form. See Ex. 1 Example 1. (I - Beginning) I" I .. a..+...... MITIV'&. J. .. .. J 6 -61o 1\/..T E R.. I __ MoTI .. Ifiaterial from the begi.!hning section is used and ex- tended in the section from Fig. 2 to Fig. 3. 'Ihis section is actually a modulation to the key of the first bar after Fig. 3, C harmonic minor. The original key of E-Flat nL.jor returns in the second measure after Fie:;. 3. In the fourth measure triads of major and combine to intro- duce the first solo statement of the motive at Fig. 4 in t.l::e key of E-flat major. The motive is given three times in succession in the first ~ n d second measures after Fig. 4. Its accomra- nyinc voice is actually a contrapuntal associate, since the two lines are found in the return after Fig. 20. Example 2. (I - Fig. 4) 1ll't M oTv e. L:&l , . t hfter the statement above in E-flst major, the mo- tive is given twice in the key of I" h. rrnonic minor <st .,- naturctll, ,tl). In the three measure section before Fig. s, there are entrances of the primary motive in B-flat rrk'ljor, D-flc<t major, ,snd G minor. These are outlined in ::xample 3. measL:re Dfter Fig. 6, the primary :notive under[oes a g r ~ duol decre2se in its span, beine reduced from a perfect 7 fourth to a minor second. ExAmples of these are extracted from the score in Ex. 4. From the third measure after Fig. 6 to Fig. 7 the motive interval is ;,fter the flute gives two statements of the motive in the minor second form in the first two me,,;3ures after Fig. 6, it expands this fit_:ure to a major second in the third measure. The clarinet adopts the major second form (on and at the beginning of the fifth mensure and sprec,ds the interval to a major third on the next beat (g-flut to 12-flat) After Fig. 6 the horns D.nd bassoon make use of the original motive and give a forecast of the openinc of the fugue subject, w.,ich r.:lclkes its first entry at Fig. 13. The bassoon end second horn are doubled in v.-.. o presenta- tions of the mot-ive in the first o.nd second me'Jaures of Ex. 5 below. The first horn enters on the upbeat of the second me .. sure with a statement on the same tones in stret- to fashion. iihile the first horn holds his tone, the bassoon line continues in the forecast of the furue subject. 'i.he first horn und bassoon follow this wi tl.L one more ment of the motive doubled at the unison. 8 5. (I - Fig. 6) In the me:)sure preceding Fig. 7, the bassoon line repeats once .::"gain its forecast of the fugue subject, but this time the first horn follows with the principal motive employed in the key of the next section. The first horn continues with o statement of the subject of the contrus- ting section. ;l close studJ of the new subject reveals that it is the original motive plus the inverted retro- grade form of the same motive. See Ex. 6. Example 6. (I - Fig. 7) GJ D--J L - F :::::=!= '- ij1 ffJ I J 1 n r ...- , 7 The section from Fig. 7 to Fig. 11 is in ternary form ( 1\ - B - i.l), the pc.:rts indicated by eho.nges of sc<::<le. The scale of the section from Fig. 7 through the fir st. :nea- sure aftt:r Fi,s. 8 is basicall.,- D mejor. /1 modulation occurs in the second measure after Fi.t:. 8, which introduce:.:> the scule of G major in the third measur-e. (This is an excmple of an "enclosed-third 11 modulation; the tonic notes of the three scales used in the section after Fig. 7, in the nwdu- lation, &nd in the section followin[ this modulation in the third measure after Fig. 8 give the following series: D - B - G.) ;. repetition of material occurs in the first me;tsure of the G scale. Tbis me.,sure is a f::;irly accurate cop,/ of the finDl of the D scale found after Fig. 8. l>'.l.Qst of the lines have been dropped one step for the repeti tiort in the nevJ scale on G. !1 modul<:,tion in the me.:lsure before Fig. 9 brinr:s abollt the return at Fig. 9 of the m2teri<l found ofter Fig. 7. i,fter two and one-h<::lf rkw mc:.teriel is introduced. In the fourth me Jsure after ?ig. 9 a short passage of fourths is added to the running six- teenths of the b:c;ssoon line. t.t this same point a broken 10 statement of the main motive in the violin3. See Ex. 7. In the fifth ;nesure of Fig. 9 a simpler sc.:le is announced by the int:rod'-.:.ction of g-natur :11. Fie. 10 the b:,ssoon line becomes 8 series of fourth;_, in <-J six-tone ostinato which continuE:,:; for four me: surea after Fig. 10. The ton.:lity of this section from Fig. 10 to Fig. 11 L;
The main :notive makes an in the :;econd <:md third ;neusures after Fig. 10. 'l'he first tone is 2_1, found as the final note of a fi[;ure in the c lurinet. '..:'he violins follow with the re.::;t of the motive an octave hi,t:her. At the end of the fourth me .. sure of Pig. 10 the first t1NO notes of t}& motive appear as a chord !-sharp?) ployed sforzando in the violins and violes. The final tone is he.;rd in the next measure. 'I'he same process is at the end of the fifth measure of this section. See Ex. 8. 8. (I - Fig. 10) MoTIII!. j 11 a :native chord of the key of E-flat is he;rd, &Jnd cre:Jtes a of scule to E-fl8t major. This chord is repeated at the end of the first, second, and third of l"ig. 11. 11 ;:::xemple ....___ /, general analysis of the section in D from Fit:. 7 to .F'ig. 11 is th:.;t it is in leading-tone relation tc tbe section in E-flat mcJjor which follows ot Fig. 11. The first three meusures .:,lfter Fig. 11 contnin con- trapunt:, 1 lines derived from the m . found uft.er Fig. 2. In the fourth measure after Fig. 11 a close of the section after Fig. 2 is begun. This continue0 to a half cadence on a domin.:-_;,nt seventh chord on Q in the sure before Figure 12. This cadence chord is extended in the next section from ,?ig. 1? to Fig. 13. ,-,t Fig. the fugue in C minor completes the suspended cadence. In the parRllel ex:<mplf:) after Fig. 3, the Q dominant chord occurred :i.n the mea sure before Fig. 3, and '.'<ns re- solved in fashion to C minor in the followinc ne;_,- sure. Vii th the reduction of the penultimate Cctde.c,ce cl1ord to an octave . in the cellos und basses in the me:.;::.mre rre- ceding Fig. 13, the first stc.ternent of the fugue subject, which is quoted in Ex. 10, is begun. This octave 1 is also the first tone of the subject, which is given in the violH line in the key of C melodic minor. Ex. 10 includes refer- ences to the derivation of the melodic fragments of the fugue subject. (I - Fig. 13) 6 f"JT'"' r The next entrance of the subject starts on 1, the next note after the final note of the viola statement. This statement is in F minor, and continues in normal fash- ion until the end of the subject, where an eighth rest is substituted for the final note. The last five notes of a normal statement follow after this rest. The next two statements are exact re-statements of the subject as given in the viola line in Ex. 10. These occur in C minor (sixth measure after Fig. 14) and F minor (third measure after Fig. 15). In the three measure section after Fig. 16, scales on C and F are used concurrentlJ The primary motive is found in two forms in this section; it occurs in the violin line in the scale on F as a filled-in interval of a fourth, which is extended in the second and third measures; and also in the cello line in the first measure after Fig. 16. In this second use, it is an application of that portion of the 13 fugal subject found in the viola line in the second complete measure of EX. 10 11. (I - Fig. 16) F1 ' ~ ~ ~ A , e1 cJ ~ ~ e ~ The two scales on F and C shown in Ex. 11 modulate in the fourth measure after Fig. 16 to a scale on i\-flat; this scale is found on the enclosed third between the two original scales found in Ex. 11. The filled-in fourth form of the motive, as found in the first measure of Ex. 11, occurs in the viola line in the first measure of the new "- flat scale ( . .::.ee Ex. 12). im incomplete statement of the fugal subject moving from one instrument to another also starts at this same point. (The three-measure section which starts after Fig. 16 represents the first three notes of the fugal subject in its use of the filled-in form of the primary motive. The section quoted in Ex. 12 is a par- tial statement of the fugue line found after the primary motive. The relation of the actual subject to this section J..4 is shown in 12.) Example 12. (I - e measures before Fig. 17) oFS"e.a&.c.-r 1--ffft-- - '=n!-c 2. I r I I f t I I I ' I ' I ' I I I ' : I lW . The motive appears in normal form after the exGmple shown above. It is found in the cello line as shown in the first and second measures of Ex. 13; however, this particu- lar statement has two extensions. If the tied note (g) of the cellos is resolved to the of the violin line i.n the next measure, and is continued in that line to the naturclll, the beginning of the fugal subject is with the violin portion in inversion. The other applic_;tion of the motive is as the introductory portion of a complete statement of the theme of the contrasting section as found in Ex. 6. In the second measure of i.!:x. 13 the line moves up from the .sa-flat in the cello to the viola .1 From this .1 the line continues in the manner found in Ex. 6. Compare Ex. 6 and Ex. 13. 15 16 17) II II In the fourth measure after F'ig. 17 a one-measure extension of the previous material serves 1S a modulation introduction to the new scale of E-flat minor. The modulution is effected b.Y nn expanding figure in the upper strines, as shown in Ex. 14. Example 14. (I - 3 measures after Fig. 17) The material found in the thi"'d and fourth measures of "x. 14 is repe:.:,ted essentially in the first two measureo r:fter Fig. 18. In the section from Fig. 18 to Fig. 20, the furue material makes its final e1ppeurances. The fu&ue subject in E-flat minor, ini tie ted by the horns in the third and fou.rth measures of Ex. 14, is continued further in the second, third, and fourth measures after I<,ig. 18. On the final note iu in:- itation of the subject, founa in the fourth measure, marks the entrance of another statement of the subject in the key of R-flat minor. j,ll elements adopt the scale of -,-flat minor in the measure before Fig. 19. In the second measure after Fig. 19 the new scale of B-flat minor begins to the texture. The material in B-flat minor makes use of the fu- gal subject in this shift of scales, gradually extendinr its use from the primary motive, ..\S found in the first horn in the first and second measures of i!:x. 15, to the larre portion of the subject, as found in the winds in the third o.nd fourth measures of this same example. With this entry of the winds all elements are using the of B-fl:.'.t mi- nor. The 'Ninds continue the subject until the third beat of the fifth measure on g-flatl. This g-flatl in the VJinds is the 1::: st tonefround in strict imitation of the fugue :.:>ub- ject; however, the fugue subject is continued in another manner in the violins and violas. /\t this point these in- struments are heard in 8 portion of a scale line sp;:mning a perfect fifth. This is to be considered an inversion, both in direction and interval spanned, of the line of the fugal subject which moves downward :" perfect fourth in the third and fourth measures at'ter Fig. 13. Compare bX. 10 and Ex. 15. t .. xample 15. (I - 2 measures Fig. s,e .1 17 Two beats before Fig. 20 the first horn is heard on wiiict js th8 fir3t note of the primary r:1otive in E- flat major which appears in the section :.:fter Fig. 20. 'l'he key of r::-flnt r:ttljor i:.> neld vlithout accidental:.; from .:'ir. ?0 to the end of the Cod:J at Fig. 28. This section fro!n Fig. 20 ;JS as Fig. 25 make.s use of mo.!terial found in the first section of the composition from the to Fig. 7f it qualifies, therefore, as a recapitulation. 'I'he mElterial found in the five rne:..tsure s after .;:'ig. 20 is a re-statement of the muterial found in Ex. 2. '...'r;.e chnnges are in the orchestrationl and in addi- tion ,,fter Fig. 20 of u stt;cc,::to cello .. :md bass line in eighth notes. there is no modulation out of mnj or in this entire closiq; section, the movement. to / minor expected in the third measure of this .Jection does Example 16. (I - Fig. 20 lThe horn end have the sociQte after the violins these lines after Fig. 4. 18 From the third meJsure after 20 to Fig. 21 the original terial of Ex. 2 is extended .::nd developed. 'Ihe running accompaniment(bassoon line) continues in a low range, but, finally, moves upward scalewise in the measure before Fig. 21. The staccato celJ..o.s and b-.iS6es continue in eighth notes from Fig. 20 to 21. 19 In the four-measure section after Fig. 21, all lines stress portion.:; of the E-flat sc .. or chords from the scc:le. The bassoon line dictates tne h<,rmony of the section. lt repeats n pattern on the domim;nt seventh c!;or-.:t in - each of ti1e four me"''.sure.s. In its u:..icL. leGds in to the section after Fig. 22, it gives a brief st;;>,tement of tr1e primary motive (BB-flut, D, E-flat). - - In the next section found after Fig. 22, u of t-he beginninL of the compo;.;i tion is developed. The rna- terial found in the fourth me:.,sure ufter Fig. 1, -.:tnd ccu- tinuin.c throue.:;h to Fit:. 2, is extended o.fter Fig. f'ro:c: three rneDsures to 1 .. ive meusure.s in One be:. t be fort :B'ig. 23 the second horn begins "' sto.tement of the pri:n ,ry motive in the key of E-flat r:Le.l or. Tilis .>ection from Fig. 23 to Fig. 25 is G. re-stc.:te.:11ent, w:i.th < new extension, of the m.::..terL.l found from J:'ig. 20 to Fig. 21. The extension is ended an ascend.int flat mc;.jor scale;, which is hulted on the leiidinc tone by C).n eighth rect. The resolution of this le<::..ding tone to ,g_- fl2tl in the first ufter Fig. 25 m3rks the be[in- nine of the See Ex. 52. sudden end to tLe nervot s h_,rr:tordc novement of the previ.ous sectioD. . , downward-movinc scele line in the upper '"trings is contr"; sted with a sevena.tone ostim: to in tr.e lower strirJ.fS moves, within its This osti- n;:CJtO is ectu<1ll.;' two of the tLree-note pri:n<:r J moti (Q.-fl. t, _gl, st-flntl) plus one other member of tL.e E-fl<:01t tri;u (g), whicr1 indic::1tes the beginnin.t of each group. The windc> and Lorn:J move dowm; rd on choros of the key of E-flat mr::lj or, wldch move from one chord membe1 to the next(with chanre._, ir:. i o- sj tion of <Jll the other parts. One member of the cLur,_, is usu-,llj ,ltered to creete C\ new chord, althouLL this cilteration does not occur every time. See Ex. 40. The section from 7ig. 27 to Fig. 28 is an exact copy of the 8ection from Fig. 25 to .?ig. with tlle second "'ection at .:.: volume than the first. The Codd frou Pig. ?5 to Fi[. 28, therefore, has its own form C .-B-, ) In the linking section Fig. 28 to .?ig. a :noduL,tion occurs frorr; the E-flat or scc:1le of tLe first movement to the key of F ffi3j or. '.::'his chord appe rG in t.l1e sixth rne;_:sure after I<,ii.> 28. In the seventh e it_ l:t," :ne:-;sures, the sinrle tone, E, is hecrd, doubled in oct: ve s. '1'his is ti1c dor:dnant scale step of the B-flat sce.le u:::;ed in 20 the second movement, and is also the first tone heard in that movement. The indication attacca is found at the end of this linking section. second M9vement The second movement is titled l\llegrettg; the metro- nome setting is J':: 108, this tempo holding throughout the movement. The movement is in ternary form, its f:eneral outline presented graphically as follows: Graph I. This movement is a model of simrlicity. Extensive use is made of two and three-part writing; although ;:1ore line enter occasionally, these consist of tones re- lated to the busic harmony of the accompanir:1ent or to one of the melodic lines. There are no ce:ses of the use of two scales with different tonic notes at the same time, c.1s in the first movement; in the second movement, however, the moving or melody line can be found employing tones from one portion of the scJle or selected tones from the while the accompaniment makes use of the remaininr tones, or ano- ther selection of tones, or even :_;ll of tl1e tones of t..ds sa me s c. i le 21 22 evidenced by Graph I, the material found at the outset of the movement of Grnph I) returns in all sections except the contrasting middle section (.P. /1 study of the manner in which this mDterial is used in the following sec- tions will give a clear idea of the form of the movement. The theme of the movement is begun without intr-o- duction in the violas. :3ee t;x. 17. Its first tone (.fl) is the upper boundary of the melody for four measures. TLe first and second measures are repeated in the third ana fourth me"'tsures with the only change found in the accompa- niment. 'l'he bassoon tone (.-flat) is found in a different part of the meosuret The leaps of a sixth in the fifth measure of 17 are related to the third (gl-fl) of the sixth measure in a scalewise manner. If the sixths are given in inversion, the following series of interlinked thirds develops: ,!2-flat - Q, - Q - l In the sixth measure of Ex. 17 the line is extended into a lower range (to ,5!), but it immediately swings bc\Ck in a leap of a minor tenth (to .2) to balance this. The lower tone (A) is repeated in the next me.c:lsure by the accom- paniment which resolves to Qflat to form the cadence of the phrase. lThe simple accompaniment of the bassoon nnd cellos is gra- dually expanded in the first section from Fig. 29 to Fi 32. The b.::tssoon in:t:roduces sixteenth notes to the line, and finally becomes the only accompanying vioce in the se- cond measure after .F'ig. 31.
17 (II - Fig. 29) -r--rr f - -- - - ,...__ -- -. ". . .. - - In the section from Fig. 30 to Fig. 31 the mater-ial from the latter part of the first p.hrase group (final three measures of Ex. 17) is extended and developed. The section from Fig. 31 to the fifth me:::.sure after Fig. 31 makes use of the melodic material found in the first four measures of Ex. 17, again extended and developed. In the fifth measure after Fig. 31, the line of the melody and accompaniment come together on a unison (gl). 'I'he violins continue from this ,gl with members of the D m1- jor chord, the chord members (root, third, and fifth) orna- mented by upper neighboring tones. This D major chord does not anticipate the true to- nality of the next section stnrting after Fig. 32. / s in Ex. 18, the tonality is changed to D minor in the first measure after Fig. 32. The section from Fig. 3? to Fig. 33 is a dialoeue between the clarinet and the violins. In the first measure of Ex. 18 the tones of a . minor triad, plus ]1-fl<.::t <-<nd !- natural, are heard in the melody line of the clarinet; the violins re-state the clc...rinet phrase in the second measure 23 24 with one tone altered. During this section the notes of the accompc.niment played by the cellos are members of the .,.b;!. minor triad. In the sixth me(;sure of Ex. 18, the violins .::mswer the clarinet statement of the fifth me:-,sure with a three- note fragment which, combined with the accomp<:miment note, suggests a dominant function in an F scale. The new F scale enters in the first measure after Fig. 33. Example 18. (II - Fig. 32) [!) VL..NS. L:UJ
:J!=,-i f 10 F > - The section in D minor found in Ex. 18 has thus served in another "enclosed-third., modulation. The keys employed in the sections after Figs. 31, 32, and 33 give the following series of tonic notes; L The section from Fig. 33 to Fig. 34 employs a com- plex SC21le, its pola.ri ty establishing .E as the tonic note. In its use of the two thirds of the sc:..;le flut and fl- natural), the toncdity created is neither major nor minor, but a combination of both. The melodic found in Ex. 17 is re-stated in this section using this F scale. In the first measure after Fie. 34 new material en- ters (section. in Graph I). See Ex. 19. The flute has mEny repetitions of and strengthens the feeling for F minor ns the tonality. The melody line in the clerinet in the four measures ofter Fig. 34 employs the .::-flat r'lso. J\ re-stntement of material from the :first st: tement of the theme in the F [JS found after :fig. 33, i;:; found in the bu.ssoon line in the first four measures after Fig. 35, In the fifth after Fig. :35 the clari:1et re-st_,tes in F major the melody found in the first me' :oure plus one beat in the second measure of Ex. 17. This ere- ates .::m emphasis in the two examples on the two thirds (6- flat :,;_nd ;i-natural) of the F scale of this section, .. dnce the lowe.st tone used in the first portion of the motive (the first four measures after Fig. 35) is and the lowest tone found in the second series (in the fifth meu- sure) is .,6-natural. In the first me:;sure after .B'ig. 36 the bassoon gives the theme in the major-minor form (descending to JJ.- flat) found after Fig. 33. This is the fourth return of Sl material of the graph in the first lHrge of movement. The section is brought to a cadence in the first 25 meDsure o.fter :F'ig. 37 by an E minor chord. The third of this chord is supplied by the flute, and violins Pizzacato, and the next section continues from this roint. The flute once again stresses ,8-flat in this return of section s of the graph. In the section after Fig. 37 the clarinet line is altered slightly in order to empha;;.:;ize the off-beats. It follows the same outline of the earlier line as found in Ex. 19. In the fourth bar after Fig. the bassoon makes another entrance using section !! as it did after Fig. 35 in the first statement of section This line continues with an extension through the first measure after Fig. 38; the violins continue on alone in the second me<lsure to close the large setion fl on :Q-fl;,t 2
The next three measures the bridge to the middle section (.12). With the exception of the firGt pedal tone in the cellos and basses, this section is a re-statement of the first three mensures after E'ig. 28 in the link between the first and second movements. The diyisi strings are employed in both instances. :-he entrance of material g in Graph I is found in the first me -'.sure after Fig. 39. The ostinato Of the cel- los and basses expresses the tonality of the section (G minor); the upper strings are found in another ostinato implying an a minor chord, which produces a polychordal effect. The detailed description of this ostinato will be found in the section at the close of this chapter. 26 The ;, . ..;:lody is i:i ven to the clarinet, which lw s a straight chromHtic series in sharp stuccc:lto fro:n g up to g-flat in the second and third measures of Ex. 20. Ex. 20.
0 - Fig. 39) cL. L.!NC. c, F, cr,A II This ascending chromatic line found in the clarinet seems to have a rel2tion to the main theme of the second movement. In the first statement of the main theme, the descendin,e:: chrome:J.tic line from ,t: 1 to gl occurred. :Jee Ex. 17. The ascending line in the second and third measures of Ex. 20 starts on g; it then proceeds upward a total of two minor thirds, or twice the span of the theme as found in the first four measures of Ex. 17. The clarinet series is in the fourth and fifth me:sure after Fig. 39, :.md extends here fro:n 9. to g. This .series is repe:;ted in i ._e sixth and seventh measures by the clarinet and b<- ::>soon. The quiet ostinato of the strines continues <";lone for the first two measures after Fig. 40. In the tlh.ird mea- sure the flute enters with em ornate subject wldch contuins the primary motive of the first movement. The line exidts in two rDnges, one having the tones and !2,, c,nd the hi.rher 27 one U3inL !i-fl,[jt and The motivE.! is found in two more series t.h;:,t occur in the flute line in the third c::nd fourth measure of Ex. 22; therefore, this appearance seems more than coincidental. The flute line in the first instance is shown in Ex. 21. Example 21. (II - l measures sfter Fig. 40) .... In the fourth chro:nD, t..ic series from g up is found in the clarinet 5lone. :n the fifth and sixth measures, this series is supplieo. '.lith its first tone (gl) by the upper strings; it is continued in the cl.f'l.rinet and bc:,saoon. In the first measure of Ex. 22 the flute begins a line descending on chord tones. It leads into the remain- ing two figures which include the reference to the mot5_ ve from the first movement. Example 22. (II - Fig. 41) In the next section the ostinato continues alone nnd the scale is changed from G minor to G major. i'ter Fig. 43 the strines again return to G minor. In the first me .. sure ?8 the bassoon has an ascending ctu-omatic series from ,!i-nc:;tu- ral to .s,-natural, and back to .s-flat. In the second it h<:;s a shorter series from f. to g-natur1:1l and again Q- flat. This _s-flat is adopted by the string ostin<.lto in the third mee:>sure <::fter Fig. 43 and, in combin::1tion with ]2.-flat, g-flatl, and fl, creates a scc<le shift to B-flr:Jt minor. This modification of the scale center indicates the entrance of section of the 11 portion of the movement. Example 23. (II - Fig. 43) ti11 The theme of section g is found in the clarinet. in the third and fourth measures after F'ig. 43. tile first measure of Ex. 24. In the second me. sure of the ex<':l;::;le this statement is imitated a minor third lower; tllis form is used in a stretto in the fourth and fifth me:.,sures of the example. the conclusion of the first statement of tj1e theme of section g in the third measure of the example, the flute ha3 an uscending line; this line is composed of :nem- bers of the !!-flat major triad plus , and is found lc .. ter introducing a new section. 29 30 Example 24. (II - 3 measures after The flute sustains the final note (t_3) of the third of its ascending line through the fourth :ne .Jure after li'ig. 44. .i'tt the end of this measure the b<.tssoon leaps a fourth :from ,g,l to ,tl, and the flute and bassoon materie.l from the melodic line as found in Ex.l7. The CJ.C- companiment is a passage. See Zx. ?5. The fntrance of the solo cello on g-flo.tl in the third measure after Fig. 45 changes the scale from B-fl<.t major to B-flat minor. See upbeat to the first measure of Ex. 26. The cello line continues in the first measur-e of the example with the motive of section , found in the clarinet in the first und second measures of 2x. :4. 'l'his cello line is developed in the following measures, and is found in stretto in the fifth measure of Ex. :::'6. The last three me<-::sures of the example make use of derived forms of the line, and overlap in the final mec,sure v.i"Lh the beginnin of large section In the first mec:: sure o.fter Fig. 47 the violo.:c; <:re heard in u recapitulation of the main theme (,6 1 ). m .dl.l:\ theme, found from Fig. 29 to one me.cisure before Fig. is repeated note for note until the lust note before end of the entire section at Fig. 50, where an .fl is s,.lb- stituted for a g_l. The important addition to the is the flute line in thirty-second notes. It is usually bdsed on 596385 31 chords of B-flat major, but occasionully a scale line is found, or a group of repeBted tones. In the second measure of this florid line, the pri- mary motive of the first movement makes another appear:mce. The link to the bridging materiDl after Fig. 50 is the final note of the flute pL.lssc;ge (g3). The tone lit/ of the first three measures of the bridge is D major, and the stringed instruments are used exclusivelJ only in these first three mensures. In the fourth measure the strin,ed instrurnent,s shift to an .-flat chord which lws noi conrnon tone in the previous chordJ the second horn enters at tilis point on the lowest tone of the cLord, ;:na . ustc:.ins this tone into the next measure without the strin;:s. In the measure before Fig. 51 and the first measure after Fig. 51, .c1ll the rest of the winds make entr:mces. The sustained chords continue in E-fL1t ma.J or until the third meDsure Fig. 51 where the key becomer) ... flot mBj or. At this point a pl: ;gal cadence in B-fl;:;t ma,_! or begins which reaches its resolution chord in the next :::e,,- sure. The lower strinrs enter alone on a major chord in the last me:::sure, ana are joined by the upper ntrin,;,:s and the clarinet in the same chord repeated as the fin<:il chord of the movement. Tb;trd Movement The third movement is titled Con Moto with a metro- nome setting at J = 160. For the contrasting part (section in Graph II below), a IeWQQ is indicated; the metronome setting is .J : 100 for this section. /,t it.s com- pletion +,e.:npQ I is found, and the original tempo is kept from that point on to the end. The movement is a five port Rondo; the outline of the movement in graph form is ns follows: Graph II. A Cl' a "L I Fvr,u .... s.i t I a I Ia A c A I a"' I CooA I The winds are predominant in the bulk of this move- ment. The strings are found as accompnniment in all of the sections except one, i. e., in Graph II. At the outset the movement employs a seven-tone se- 33 ries bnsed on the E-flat major scale. The movement besins in the brisk manner of a :3panish march. The main them is found as n continuous line in the horns and bassoon from the beginning through the seventh measure of 28. . t this point an u-sharp breaks the ostinato of the basse.::;, and a new scale resembling G minor is introduced. v Ntf. ................ ,,A!r, P
From Fig. 54 to Fig. 56 the previous section (:;X. 28) is repeated vvi th some al (section "i'he first part in major is essentially the same; hov:ever, the G minor portion is altered considerably. This effects a modulBtion to the key of the third state::tent of the motive in the section after Fig. 56 (section 34 In the passage from Fig. 56 to Fig. 57, the section found in Ex, 28 from the first to the eighth measure i;; given in a series based on the G-flat major scale. In the measure before Ii'ig, 57, the modulatory leading-tone (here an iu\-natural) occurs in the basses to indicate a modula- tion up a major third. See the seventh measure of Ex. The modulution to a Bflat minor series occurs in the ;aea- sure after l''ig. 57, but the original melodic material, used in the previous section from Fig. 56 to Fig. 57, is found here once again on the same pitches. The dynamic indica- tion for the section found after Fig. 57 is Forte to. At the conclusion of' this Forte passage, the first statement of the fugue subject evolved from the main tl1eme makes its appearance. The first half is begun in the tldrd measure after Fig. 57 in the horns alone; all parts re- enter in the fifth measure to mark the cadence of t:i1is 1 )or- tion. The horns continue in the sixth measure wi til the se- cond part of the fugue subject, which again is brought to a close by the rest of the ensemble. 'l'he f'ugue subject is quite closely rel<..<ted to tile main theme. It can be discovered in any of the statements of the main theme as the voice below the top voice in tile texture. 'l'he first note is an extra tone which ru-:u:ne:::; the scale of the subject; the part evolved from the main theme begins on the second tone, which is a fifth Clbove the first. 'l'he bassoon line from the third to the fifth me sures after Fig. 56 is a perfect fifth distant from the 35 first statement of the subject found from t.l1e third through the fifth after Fie. 57. Example 29, (III- 3 measures after Fig. 56 [bassoon]; 3 measures after Fig. 57 [horns)) 'l'he second portion of the fugue subject also hus relntion to this same melodic fragment of the bassoon z>ound in the section after Fig. 56. The line, as found in til.e second horn part in the sixth meesure after Fig. 57, begins with a leap of a major seventh; this is actuallJ the rdnor second Rflat) of the bassoon line in inversion. The three notes at the beginning of the second horn portion correspond to the second, third, and fourth tones in the bassoon line above, In the first measure c.:fter Fig. 58, the clarinet repeats the first six tones found in the second horn line in the two measures before Fig. 58 (second horn passage in Example 29). On the fourth tone (g-flatl), the flute and bassoon enter with the second statement of the fugue sub- ject in the key of F minor. The clarinet continues its line in counterpoint to this second stzJternent. The cl::::lri- net part in the second and third measures after Fig. 58 is found in the bassoon part in the second and third mea- sures after Fig. 59; it is used there as the contrapunt.;,l 36 Dosociate for the second st,tement of the fugo.l sub(.ject in F minor. In the fifth me<:;sure after Fig. 58, the bassoon be- gins n stotement of the fugue subject in B-flat minor; this statement of the complete subject and the contrapuntc:.l <w- sociate is the longest single stfltement, employing only re- cognizable fugal material, found in the fugue section. The second horn enters in the first me<sure after Fig. 58 with the subject in F minor. On the last beat of the third mea- sure after Fig. 59, this portion of the fugue is ended by the same materia.l which introduced it; the three mea:Jure section which follows at this point is an ment of the first appearance of this material in the sec- tion following Fig. 57. The section after Fig. 60 serves to introduce the next section of the fugue found after Fig. 61. The line in the first violins after Fig. 60 is the retrograde form of the flute and first horn line in the fourth and fifth .:ne - sures after Fig. 59. See Ex. 30 below. 30. (III - 3 measures before Fig. 60 [horn]; S'ig. 60 violilj) VIOI-INJ - ......,, 37 The line LJ continued in the violins n.nd extends The scale simpler in the fourth L1ea:.mre after /:L:.J 60, Emd the \Jay is prepared for the final fugal section which begins in the first me&sure after Fig. 61. The fugue subject is be[:un in augmented for::1 in the first horn, cellos, and bassoon in the key of D-fl<Jt ;lLJ or (lst mec:1sure of 31). The first horn line takes trli3 state:nent through the second portion of the fugue ancJ . .:. complete stD.tement of the contrapuntul associate. 'l'L.e :>e- cond entrance of the fugue subject is found in the seco.1d horn line stBrting in the second measure of Ex. 31. '1:.ii .. s subject is in inversion, and extends through both .sections of the subject to the first beat of the fourth me surE:. The tonality of the second sti::itement in inversion is :--flat minor. The violins and viol:::.s begin the third of the subject on the final note of the second subject in the fourth mec:..sure of Ex. 31. This new stutement is in I.-Zlc:.:t major, extends to the end of the fifth me sure. .. fourth and final statement is found in the fifth r.1ec,;:;ure of Ex. 31 in the cellos and basses. It is a complete .st t.e- ment of the in F minor, and extends throu.::)l t0 the end of the sixth measure. 38 Example 31. In the section after Fig. 63, two scales Gre at the same time. They are major and L-flat majorl. 'I'he melodic line of the section bears a strong rese.:nbl.J..:.-1ce to the main theme of the movement. See Ex. 32. lThe relation of these two scales will be studied in t1 ,e chapter on and 3cales. 39 (III - Fig. 63) I -------------- In the section after Fig. 64 the melodic becomes prectically ststic. Example 33 includes t.be entire section from Fig. 64 to Fig. 65. The mec-,sure of this section was not included in the pocket edition of the .Jcore. It is performed in the recording, hmnever. Example 33. (III - Fig. 64) 17:'71 Ab .ScA'-f, ut"PeR.srAF,:: l!e.:!J - - ....... ' I"' 'l'he entire section fro.::n Fig. 65 to Fig. 08 will be considered in detail in the next section on Ostinoto. The large section from Fig. 63 to Fig. 68 is the Retr3nsition to section Q in Grnph II. 40 The section from Fig. 68 to tvvo bt:.rs before Fi,.:. 70 is c. of the material found in Ex. 28; tL.e ::1<1- teriul in thi.s section is a minor third higher, <:lnd uses the scale of the earlier section transposed up to G-fle.t. 'rhe two measures before Fig. 70 are an extension Lmd aug- ment.:::tion of the previous figure found in the fourth :ne sure after Fig. 69 (tenth me::sure of Ex. 28). This aug- mented portion serves to slow the pace for the which follows. ':he first and second violins are found in a duet .:1t the beginning of the Poco Meno section after Fig. 70. .he key of the section from Fig. 70 to Fig. 72 is C minor, '.nd the simple accompaniment chords of the other instrur:1en ... s are composed of members of the C minor triad. Exam_ple 3<i shows the beginning of this section. Example 34. (III - Fig. 70) 11dJ ?oGo Mb_" '- - -l.-:_---_-----._ ;-- 41 42 The next section after Fig. 72 begins as a re-state- ment, in the new key of Bflat minor, of the material found in Ex. 34; in the third measure after Fig. 74 (lst measure of Ex. 35), strettos are found using this melodic material. Example 35. (III - 3 measures after Fig. 72) [ZIJ The material of the stretto is extended in the first two measures after Fig. 73; this leads to a section of sus- tained chords, which recalls the linkint_; material found in the closing portions of the first and second movements. This extends from the third measure after Fig. 73 to Fig. 74 and :f'emQO 1 again ... In the section found after Fig. 74, a third deriva- tion (a3 in Graph II) is found. The six-measure section from Fig. 74 to i g ~ 75 represents the entire first state- ment of the theme as found in Ex. 28. In the next section from Fig. 75 to Fig. 77, the second portion of the m;:Jin theme, as found from the eighth tr.LI'ough the eleventh mea- sures of Ex. 28, is developed. (This section from 75 to Fig. 77 is repeated in the recording of the Concerto.) The bridge to section of Graph II starts in the first measure after 77. Two scales of 11 minor and major exist in the section from Fig. 77 to Fig. 79; in each of the scales the theme of section g is developing. When the theme makes its appearance in the first after E,\1" Fig. 79, the A scalest\dropped, and n new scc:\le on D is u.dop- ted. In the section from Fig. 79 to Fig. 81 the new theme is given one complete exposition. This is its only ance in the entire movement. 'I'he horn begins the theme :J.nd carries it into the fourth me:.:sure after Fig. 79. .t this point the flute continues with a Coda to the theme, and completes the statement in the bar before .J:i'ig. 81. ..lee Ex. 36 for the horn portion of this Example 36. (III - Fig. 79) D, F; A, '-, ob f L. 43 In the first measure after Fig. 81 the fourth ver- sion of the main theme Cs4 of Graph II) appeats; it is found with a more LiCti ve accompaniment figure, an ostinato of two beats duration in eighth notes. See Ex. 37. 37. (III - Fig. 81) uuu , This section resembles the first statement of the mu.in theme, as found in Ex. 28, in a sense; however, the second section does not modulate to G minor, but in the E-flat scale of the firot portion of this altered theme. In the section after Fig. 83, the t:neme is c,ltered further. It is extended upward throughout tHis section by consecutive scule steps. This section from ?ig. 83 to the end is the Coda of the movement; it consists en- tirelJ of alterntions of the main theme. See Ex. 45. From F'ig. 85 to the end of the movement the SC';le employed is an E-flc:t ma,jor scale with two leading tones 44 (.Q-flat and 12-naturo.l). In the section from Fig. 90 to the end, the S!-flat major chord is used repeatedly with the '-ld- ded tone, 12 This .seemd to be one final usa[;e of the pri- mary motive of the first movement (]2-flat, Q, Since the motive was detected in second movement also, it would indicate that the entire composition is cyclical to this extent. Ostinat,o In the composition of the Durnbarton Oaks Concerto, Stravinsky has made frequent use of the ostinato. .3ince the device has been a basic part of his compositional technique from the beginning, this usage is to be expected. He has devised some new applications for the ostinato, which .:-:re outlined in the next section. His literal ostim.1ti (several exact repetitions of a figure) are used in this composition as a block of the form. They usually tend to hold the melodic elements to o. specific range, or to a limited group of chord tones. The rhythmic ostinato (several exact repetitions of a rhythmic pattern while using various intervals) is also used. 45 The other group of ostinati, if this term is .::.:pplaed in the freest sense, is made up of the pedal ostinati. The pedo.l ostinato can be found as a sustained tone (pedal tone), ::1 sustained chord (pedal chord), or the rhythmically free linear movement of a part which outlines the tones of a sin- gle chord against the melodic line. The first two of these pedul will be discussed in the chapter on Harmony and Scales; the last one .;ill be considered in the follow- ing section. The ostinato is used extensively in the first c:tnd third movements. It is found mainly in section of the second movement. The use in this section is continuous, since no measure from :B'ig. 39 to Fig. 47 is found without some form of an ostinato, and usually two are present at the same time. There is one other usage in the movement, found in the accompaniment of the section material. Since there are numerous instances of ostinato usage in the Concert9, the following discussion will consider each movement separately in order that conclusion about os- tinato usage for each may be drawn. In order to facilitate this, mention will also be made of the ostinato passages discussed in the previous portion of this chspter. In the fifth me<:Jsure after Fig. s, a literal osti- nato is found in the first violo. line; this ostinato wus included in Ex. 4 as a part of the diminishing motive se- ries. There are five repetitions of this form of the mo- tive, and these repetitions are literal in the sequence of tones chosen for the ostinnto; ho-wever, the rhythm is slightly altered in the first two series, as shown in Ex. 38 below. 46 Example 38. (I - - 5 measures c;_fter- Fig. 5) In the first measure after Fig. 6 there is a two-note (E, .Q) literal ostinato in sixteenths in the lower strings; this is indicated in 5. The next example is another literal ostin,,to found in the first four measures after Fig. 10. The discussion of this basscfn ostinEtto in fourths is found in the fir3t section of this chapter; the application of the ostinato is shown in Ex. 8. The ostinati found in the lower strint_ ,_ in the sec- tions after Fig&. 12 and 13 are literal. They bear strong resemblance to one another in the manner in which they initiated. In the measure before F'ig. 12 the two notE: se- ries .fl) occurs in the cellos and basses; this se- ries is extended in the first measure after Fig. 12 (;-fL,t, ,g, ,E), and is repented in the next measure. In the fourth me0.sure the ostinato is found with one tone (Q) missing; the leap (-flo.t, E) remains, however, to identify the fi- gure as a member of the ostinato. 47 The next series after Fig. 13 is begun with the Q of the lower strings in the measure before Fig. 13. As in the previous series found after Fig. 12, the ostin_,.to has only two members present at first (.Q, followed by .6-flat in the first measure after Fig. 13). In the second and third measures the ostinato is given for the first time in its complete form (Q, See Ex. This note series is repe<?.ted with minor rhythmic variations un- til the end of the third bar after Fig. 14 (five repetitions occur). In the fourth and fifth measures after Fig. 10, the ostinato is broken by a descending series (., .6-flat) which leads to the next statement of the fugue subject in the key of C minor (Q, , and continuing in a normal statement of the fugue). The next example found is classified as a pedal ostinato. In the two before Fig. 18, the lovJer ' \;:\ strillbs present three members of a chord g,, and ,a-flat). In the two measures that follow Fig. 18 these particular tones are used in a rlv- th.mically free manner to outline the chord. The portion of the fugue subject used in this section is restricted to the first six tones because of this ostinato. . ,ee .2x. 14. In the sections found from .F'ig. 21 to 22 and from Fig. 23 to 24, examples of rhythmic ostinoto, which he1ve characteristics of pedal are found. The ostinoto 48 in Ex. 39 is from the first section after Fig. 21. The second, after Fig. 23, is li.Uite similar in tree1tment, with minor chcnges occurrin,in the double bass line. Example 39. (I - Fig. 20) 49 In the four measure section after Fig. ?1, the bns- soon line consists of a pedal ostinato which is nenrly liter- al. 'l'his ostinato is componed of the four members of the !a-flat major-minor seventh chord. An extra !-fl,t is c:dded to the ostineto in the third measure, which labels it .:1s a pedal ostinato instead of a literal one. The ostinati found in the Codc.'t of the movement ex- tend through its entire length form Fig. 25 to Fig. :?8. There are two ostinati present nere. One is composed of seven tones, and ia literal. The second one is composed of three chords and is rhythmic. The note values of e ~ h chord member of this second ostinato are double the note values employed in the seven-tone figure. 'l'his is an exam- ple of polyrhythm in the combination of the two ostin::ti. See Ex. 40 which follows. I GY From this consideration of the ostinato us;.1ge in the first movement, it will be noted that the use of liter- al ostinati is more extensive than any other kind. iome of these literal examr;les are found altered slirhtly, but they remain more literal than anything else. In the second movement the first use of an ostinGto is found in the bassoon line in the last measure of 17; the members of the major chord are outlined here. A rhyth.1nicully-free linear usaee continues until the fourth meosure after Fig. 30, at which point a ,-naturul L3 int.ro- duced which breaks the ostinato. The same ped::1l ostinato enters <;gain in the first measure after fi'ig. 31, and conti- nues until ... the fifth measure. In the return of this pc.:ss<:.<ge from Fig. 47 to li'ig. 50, this ostinato is repeated exactly with the exception of the last note (gl) for which a puuse in all lines is substituted. The important use of the ostinato is found in ec- . tion ,g of the movement. There are thirteen examples of os- 50 tinato used in this section; since the entire section is based on the ostinato, a full accounting of the method in which it is employed in the section is nt:cessary. _;orne of the ostinati have alreco1dy been mfmtioned in the section describing the second movement. 51 Example 20 contains all elements of the two ostinu- ti used without break from Fig. 39 to the meosure before Fi> 42. At this point the three-note ostinato of the lower strings has a substituted for the in the chordal outline on Q in use since the first measure ,;.fter Fig. 39; the upper strings continue in the usual un- til the second measure after Fig. 42. this point they break the original ostinato t and extend their r, nge upwurd in the implied key of D major from to The upper strings return to a two chord ostin:to in the first measure after Fig. 43. See :Sx. 23. The lower strings again adopt the G minor chordal series.- In the third measure after Fig. 43, the upper strings be;in new two-chord ostinato. See Ex. 23. It has already been in- dicuted that this change in ostinato marks the beginning of section in the second movement. This new ostinato in B- flat minor in the upper strings continues until the fifth measure ;.;.fter Fig. 44. It is accompanied throughout this section by a pedal ostinoto in the lower strinrs. ,:;ee i!:x. 24. The strict two-chord ostinato of the upper strings, :ss found in Ex. 24, is chenged to the rhythm.ic ostimi.tO on the .[ moj or cho.:d as found in Ex. 25. This is an le of polyrhyth:nic ostin.:;to us<:tge corn.11on in the third movement. The pedal ostinato becomes a sustained ped:.:l tone (2.-:f'lat) in the first measure of Ex. 25. Immediately followinr, this in the fourth measure after Fig. 45, the ostinato of the lower strings becomes a strict ostinato, of Em-flat and !}-flat alternating on every second beat. The upper strings return to a two-chord ostinato at this sa:-.1e point; the chordDl use1ge in this line becomes quite free following this in the second mec:.sure of ::.:x. The final ostinato used in this section is a rhy- thmic one; it is indic8ted in Ex. 41. Example 41. (II - 4 measures after Fig. 46) "F -.;F , (r= -.WJ (A')
In the second movement twelve different used. Of this total, five were strict, one WQS a strict rhythmic ostinato (Ex. 41), and the other six were vari- ous types of pedal ostinati. The third movement opens with an ostinato in the lower strings. This is in groups of four chords, ::::i::iilsr to the ostinato of the previous movement shown in Ex. <:5. The plan of this ostinato is shown in Ex. 28; thi.s 52 tJpe of ostinbto is found in the sections efter Figs. 56, 57, und 68; it is an example of a strict rhythmic ostinQto. The next section to make use of the ostinato is 53 from Fig. 65 to three Fig. 68. In this brief section ten ostinati are found; the section is made ur entirely of ostinato material. See Ex. 42. Example 42. (III Fig. 65) 3 ... 1---1 ., T!1e violin duet after Fig. 70 is accompanied by two forms of ostinato. See Ex .:.34. 1'he continuous eighth note pc:ttern would be n strict two-beat ostinato, except for the that two sixteenths enter occasionally in the place of one of the eighth notes; therefore, it must be clnssed as a ped:Jl ostinato. 'I'he chords in the bass are definitely classified as pedal ostinato; they occur ,:Jt ir- regulnr intervals, and consist of members of the Q minor triad. This Sc::me procedure is repeo.ted exactly in the sec- tion following Fig. 72 in B-flat minor. At the end of the B- flat minor section after Jig. 72, chords in the key of B-flat II13.jor create a two-beat os- tinato in the it is a strict ostinato, and accom- panies the bassoon which outlines tones of the mnjor triad. :;ee 1st and 2nd measures of Ex. 43. t.;xample 43. (III - 3 measures after Fig. 73) In the third and flute ndopts n ostinato which implies the g major chord; the bas- soon outlines the major chord in another ped .. ,l ostinc.<.to. The melOdJ line of this portion is in the key of G or. 54 The next ostinato is found in the section from l',ig. 75 to Fig. 77; it is a rhythmic ostinato vdth two forms as shown in Bx. 44. The section from Fig. 76 to Fig. 77 is a repetition of the form of the mensures of this exam- ple, on a new scale a fourth than the first. Example 44. (III - 1fg 75) 17]) G- t. ' ...
:1 . Uif J:i .... ., -.. ..... ae.. I I r _'li' ... Ill
. .. ' .... t-' , ft .. ..,. 4f ' < _,_ , ,. I ' ' 'J ---- -- r
'
j
s .( ij - L1 1 .,
.. -+ Ji: -t ' . .I. . :; ; -::
1
:;t l-. 1 -l l., _;;l. -
- ILl - ---- r--- ... t. -- ---- ..
r-. ....... ;.,; ,., . ... u- ...
... I 7, ., ..
... ".,-! - (
- s i 't t 'I I Jjfl l - r =t -- '" .l. Ia .. - -\- -+ -- +r -. '-
.r . LJII .. . --f- 1 i .. 1 t p-t * L ' .L . - ..
To - - 'lhe next ostinDto a strict rhythrnic one; it is found in the bassoon trills and cello pizzacalco not.cs in the section following Fig. 79. See Ex. 36. These triJls continue to the second me_,sure before the next section, which begins after Fig. 81, for a total of nine In the section fro:n Fig. 81 to Fig. 83, a .strict ostinato is found in the accompaniment to last rre- sentationof tbe principal theme (.s4 of Graph II); tl!L; is shown in Ex. 37. The section following t!lis after Fig. 83 55 employs a rhythmic ostinato, :;"tg.:,in of tao-beats duration in eighth notes. This outlines mony different chords u.sea in the melodic structure; this continues until the fifth mea- sure nfter Fig. 87. In combination with its predecesaor, the strict ostinato found after I<,ig. 81, it comprizes the largest block in the structure employing continuous nato measures). See Ex. Example 45, (III - Fig. 83) lf1J ;, very short strict ostine .. to is found in the section in the first two me,.tsures after Fig. 90; this employ;3 F)n nn- ticir.;ation of the final cadence chord c;u the beginning of each ostinc:1to group. :3ee. Ex. 4& 56 , Example 46. ,,.,.._.,.
1'he final movement of the Concerto made the extensive use of ostinato. In all there were twenty-one different ostinati; nine of these were literal, eig:;l .. t t,ere of the pedal group, and four were rhytrunic types. 57 CHAPTER II. CiJ)ENCES c ~ N D CONTINUITY In the formation of a musicnl composition, the pro- blem of ending one idea and beginning another continually presents itself to the composer. The methods used to ac- complish this are personal with every important composer; in his solution of this compositional problem, Str<:lvinsky makes use of certain basic formulas wLich will be consi- dered in the following discussion. The only three possible ways of handling the end of one idea and the beginning of another are defined and diagramed below: 1. Bring the first idea to a complete close be- fore beginning the second idea. I 2. Bring the first idea to a close and at the same time begin the second idea (momentary elision). I 58 3. Before bringing the first ide:. to a close, enter the second idea (overlap or elision). The second and third types e.bove produce the most continuity, ond are favored strongly by 3travinsky. The first type, if used often, would create a section8liz<Jtion of ideas. The next problem to be considered in a Cddence is the harmonic one; the relation of the penultimDte and finr:.Il sonorities is tne prime factor in this problem. The compo- ser must be aware of all the possibilities inherent in the immediate vicinity of his cadence so that his use of t.Lis material will create a convincing cadence. 'l'he discussion of cadences of the Concerto will be approached from the standpoints of continuity and J:larmonic and motion. Typical examples have been extr:"cted from the score, and :..re discussed in the order of their peurance. The examples will contain the h:r:nonic scheme of the codence, and will be diagramed to show the particular method employed in the ending of one idea and the beginning of the next. Following the example, other features of the cadence will be discussed. 59 Example 47. (I - 2 measures before Fig. 4) This cadence occurs at the end of the introductory .rn<.::.terial. The two cta'ds used concurrently are the -fl.,t major triad and the Q minor triad. The major line resolves into the accompaniment line, the g minor line 60 is resolved in the first solo statement of the primc,ry motive. It will be noted that all three members of the main motive cun be found in this combination of chords which occurs be- for Fig. 4. Example 48. (I - 1 measure before Fig. 7) .. . 0, E," F:ll, G,Grtl, C:.ff The .@-fl<.lt in the lower strinrs is carried over into the next section as an E-sharp. The !2-flat und _g-fl2t found in the clarinet line are resolved after Fig. 4 to the enclo- sed tone, _s-naturc:d, by the second horn and bassoon. 1'iLis is nn example of the shift of orchestro.tion principle, which is a favorite device of StrC1vinsky. In this shift, an important principle of the orchestr.:1tor' s technique is disregarded, namely, the ideD that old and new orchestr.l colors must overlap by at least a quarter of n Example 49. (I - 2 measures 11) In this example the b;::..ssoon line plays an important pnrt in the shift of In the fow . .ne;:sures 1.:;.::1.e- div.tely following Fig. 10, the bassoon li.ne a six-tone ostin .. to in a D SC<lle. See Ex. 8. The tones employed in 61 this ostinato are .;, g, g, and g_l. If this series of fourths is continued upward, r.>n E., B-flFtt, and E-flat I - 7 occur as the next three tones. There ure no E-naturals found in the texture until the descending series of the bossoon in the second measure of E.x. 49; therfore this i-natural is to be considered the actual link between the two sec.-des on D and E-flat. '1'he chord found immedic:,tely after Fig. 11 includes the same members found in the chord after Fig. 2; in both places these chords function <:ts long suspended dominants. Of the two this one founo after .?ig. 11 is the longer, for with its extensions it does not reach a tonic resolution until Fig. 13, the beginning of the fugue in C minor. Example 50. (I - 1 me.:-.sure CZQ 62 The chromatic passing tone, in the basses, Gerves as the connecting link in this cadence. The !Ili.'te- rail to this point has employed members of a scGle which basically resembles F minor. The g-flat resolves in two directions chromatically to introduce members of the two scales used in the three-measure passage after Fig. 16. It resoves to g-naturc-:.1 in its own line, the dominant of the scale of C major. It is resolved downward in the vio- la line to .t:-natural, the tonic of the SC<.1le of F major. It is, therefore, the reverse of the procedure found in Ex. 48. Example 51. (I - 2 measures before Fig. 20) .. - - I -
- "" - .. ,. - ; - - 63 In this example, preceding the recapitulation found after Fig. 20, the lower striDES repeat the procedure of Ex. 48; they are found here enclosing the third (Q) of the new E-flat major scale. 1;11 of the other line have resolved to !!-flat, the fifth of the sce11e, prior to this. Example 52. (I - 1 measure Fig. 25) ----""-------- -------- . (..Sc:H,Mf) b .. G----- I In this example, the E-flat major scale is used in contrary motion. The final resolution of the sco:.ile lines is suspended during the rest for dramatic effect. All lines then resolve to chord tones of the E-flat major tonic chord, with the exception of Q-flat 1 which resolves to 2, an ndded chord tone. 64 65 Example 53. (I - 5 measures before Fig. 29) The cadence of the linking material is bosicC\ll.f plagal. In the first two measure$of the example three chro- matic lines are employed which lead to important chord tones in the third measure. These are as follows: in the first chord of the example to in the second chord with its resolution, E, already present in the lower strines; g-naturall in the first chord to g-flatl in the second chord, resolving in the third measure to the added tone, ,-naturall; and, finally, the bass line itself, to ;E. The third, a-nc:ttural, of the tonic E major chord in the third rne:.:<.sure is found enclosed in the previous beat by g and Q-flct. This chord is reduced to an ! which is used as the first tone of the second movement. Example 54. (II - 2 measures before Fig. 32)
nJz The final tone of the ascending chord line, gl, is emphasized by the violin figure, and becomes the tonic note of the new D scale found after Fig. 32. This scale is not D major, however, for the !-naturall of the clarinet in the third measure changes it to D minor. Example 55. (II - Fig. 3. 8) [su .. u) ) .... , ---- f /'L Tofll S'A&.f. _, The material third measure of the example is the broken chromatic line g-flat3, 3, flat3, this final Q-flat 2 is adop- ted as the fifth of the scale of the linking section. The B-flat in the bass is the actual governing harmonic note of the three measures of bridge material. The next section 66 is announced by the dissonant .-n:.:.tura1 1 which leads toward the third, !!-flat, of the next scale (basicdlly G minor). This s.-naturol 1 definitely establishes the polarity of the ,12-flat as the tonic note of the series. Example 56. (II - 3 measures before 51) [.Sc H ""ej
I lro:-1. cqt "" In this example the relation of the first me:;;;:mre to the second is that of tone to its tonic. lt re- sembles to this extent the contrasting section in the first movement based on a D major SC3.le, which resolved in tLe next section to E-flat major. It is interesting to note that there are no common tones found in the two chords; threfore, the stepwise motion of the bass pt:trt must be con- sidered c:s the most important single factor in this C<i.- dence. The final portion of this linking section will be considered in the chapter on Harmony and 3cales. 67 Example 57. This occurs in the first section of tLe third movement, and contains a high concentration of' dis- sonant intervals. The scale employed in the first me,, sure of the example is a complex scale in which the polarity of Q has already been eatablished. The emphasis given :-sharp by association with :-natural and .Q creates the irnpres;:don that this tone is of more than ordinary import: .. mce. '::.'he .Q- flat found in the following serlies is the equi- valent of this tone, and its polarity the new tonic cen- ter is quickly established. 68 Example 58. (III - 2 mensures before .::'ig. 63) l J) .. P, I F, Q. D, F; ",j-, A, c.. Two elements hold the key to this c,:.-:dence, anc1 these Lre found in the first two meesures of the example. doth nre SC<.1le lines, the first from :Q-flat 2 down to in the upper strings, and the second one from Q-flat up to s., found in the lower strings. The first one leaa...; to g,-flut2 in the clarinet line which starts in the third measure. 1'he second one le,_;.ds from . to the g-:flat o:f the bassoon line. 69 Example 59. (III - 3 meosurES before It,ie. 68) ___ r-,b f t. ,. . 1 I l ;J:. + 1- J- ' ., I -- - tLtL - _. _L I r '2 - ... ..... 1f I This cetdence has one active element, ,_tnd that 1.s the descending scale line. rrhe sustcdned chord i3 lleld o- ver froo the harmonies of the previous section; the is the melodic form of C minor, and descends from tl1e i.igh point found in the three me:sures of Ex. 42. 'l'his high point wa.s attained by an ascending scule of C or. The end of the scale line in this exemple emphasize;.;, i in association with its lower neighbor, ,!iflat. This f is in leadin,g-tone relation to ,W- flat, found in the next tion. The polarity of this tone as the center of the series is estoblished in the l8st measure of the example. 70 In this cadence all elements of the la.st cr.orc in t.he first measure, except . and 1, are in hRlf-ct,er rel.::;- tion to some element in the first chord in the second : 8 : ~ sure. The g is held over as a common tone; the 1 is cropped from the texture. 71 LXumple 61. 3 measures o.fter Fig. 90) 1 The final cadence of the third movement is a repetition of the !Qflat major chord with the adGed tune, g,l. It has already been indicated that this g 1 is a of the motive series 12-flat - 12 - E-flat. There is one o- ther application, however; this could be an example of e compressed cadence, the ];!-f'l1.:1t and g 1 serving as a partial V chord to the I chord of E-flat major. 72 III E\HlJIO?N J.ND SCALE:3 Throughout the Dumbarton Oaks Concerto, harmons is of second.:::ry importance and the line becomes ell 'l'his is shown in the soloistic style of writing which is so characteristic of this composition. The harmonies he:.rd are nl .. 'IJc::ys found as the result of the interweaving of lines of equal interest. The purpose of this chapter is to uis- cover wh:;t meterials are employed in the construction uf these lines. The most lo,sical approach to an understandir.g of the contrapunt21l style of writine is in study of the scale or series of tones employed in each import:::mt section. This will include a study of .3travinsky 's method for '..:re- ating a more complex scale series, and, conversely, n..: .. _, method of' simplification of the comrlex scales. In L. .. "is study 1 the relation of tJ.1e growtL of co;nplexity in p;..;t- tern of scales to the development of tension tow,.rd c ud- j or cadence will be noted when it occurs. 'I'his is one of the composer's favored methods for moving from one plane, or compositional block, to the next. The important developments in the scale serie3 ';Jill be considered here, in addition to certain of the tonic center or tone in one series to the tonic center 73 of one or more other scales found in the vicinity. The se- cond movement sho'.'IS a surprising <:lmount of relation in this L::st respect. 'I'he examples included in this section ,dll contcdn a list of scale tones used in a section; the first tone indic;:,ted is to be considered the tonic, unless it is st<.ted otherwise in the discussion. The bosic tonality of the first movement is found in a seven-tone series composed of the tones of the E-flat major scale; the polarity of is established :.::t the very beginning of the movement. The first import:nt change in the scale is found in the section after Fig. 2; thiL section is a bridge between the Eflat series and the C minor tonality found after Fig. 3. In the first measure of Ex. 62 the and s.-naturall found in the fir:;t beat are the first two tones which are not a part of tJ:Le E-flat major series. On the second be <:it of this meL. sure, the Qnaturc:ll is found with .s,-f'lat2; this method of em- phasizine the new tones added to a series by its relative tone a half-step distant is used throughout the entire Concerto. The tones found in this series in the: first measure of the example ure nine in number, and L,re based on the root of this dominant chord structure. In the second men_sure of the example the SC3le is simplified and only seven tones are used, still based on Q; however, this series employs the tones of the ascending melodic rni- nor on c, which is the tonality of the third measure of the 74 75 exa:nple. In the third measure, is estr.blished us the new tonic center, and the sce:;le becomes C harmonic minor. In the following mee1sure the Qnatural 1 becomes 12-f'latl, ;::;nd the scale once ng .. ,in becomes an E-f'lat major series. This atonol passage is best explained in :.3trvinsky's own words in his discussion of this term: The negating prefix indicates a state of in- difference in regard to the term negating without en- tirell renouncing it. Understoo! in this way, the word 9tQna ity hardly corresponds to what those who use it have in mind. If it were said that my music is atonal, that would be tantomount to saying that I had become deaf' to tonality. Now it may well be that I remain for a considerable time within the bounds of the strict order of tonality, even though I may quite consciously break up this order for the purposes of' a new one. In that case I am not I am not trying to argue pointlessly over words; ir is essential to know what we deny and what we affirm. 62. (I- 3 measurmafter Fig. 2) _________ __.L-fill,___ ___ ..__.--::-- --- -- . E, F.# F Hjf4oN c (S, MEL.MINtl) lst.ravinsky, Poetic .2.f. 11yaic 1 (Cambridge, J\!ass.: Harvard Press, 1947), P The E-fl:1t major serie!3 continues until the :7Jodula- tion to em F minor series indicoted in Ex. 2. In the beat preceding the first measure of Ex. 63, the new tones, f- sharp and 2-natural, which are derived chromatically from their own lines, introduce the twelve-tone chromatic series which follows; the -flat major triad outlined in the first bent determines the tonic harmony of this section. Example 63. (I - 6 measures after (IZ o ~ Sc:A&.E) The same cr.LI'omatic series is continued in the section which follows after Fig. s, but here two notes are missing, i.e., and -sharp. ;\fter two measures of this scale a still shorter series (eight tones) is found: Eb ,F ,F#,G,f,b ,Bb ,c ,D. In the fifth measure after Fig. 5 a seven-tone B-flat major scale series is found; however, the tonic element of this 76 series is determined by the major chord given in the bass line. See Ex. 38. This B-flat major series hes four additions in the three me<:lsures after Fig. 6; the scale lacks only one tone, 12,, to be a complete chromatic series (This tone is not used until the contrasting sec- tion after Fig. 7). In the final three measures of tllis section before 7, the only scale members employed in the texture constitute a chromatic line; continues as the tonic of the series. See Ex. 48. The two important series employed in the contras- ting section of the first movement are quite similar to one another. The.relation of these scales is shown in the fol- lowing insert: D, Bb, B, C# G, G#, A, A#, B, C, C#, D, 1' t E, F# variable fourths The variable fourths of the two scales is an ele- ment of similarity. 1$ch sc.9.le is equally import<::nt in the f'orm of the contrasting section. These two scales are identical if the of the D scale and the Q-sharp of the G scale are eliminated from the two series. These tones occur only in the last me .. sure of each of the two sections which employ these scales (The D scale is found from Fig. 7 through the first measure after Fig. 8; the G scale begins in the third measure after .i?ig. 8 and continues to Fig. 9). In these final measures of the 77 two sections the new tones Dre introduced with their rela- tive half-steps pre;:Jent (the li-flet with ;:md the .Qsharp with g-natural); these new tones serve in the mo- clulntions to the following sections. 78 In an earlier section, mention was of the that the modulation from one scale to the other at tLi;:. point was through the enclosed third of the two scales. ':I'LL- is another exnmple of use. The ncventh chord is employed in the second me<J.sure after F'it;. 8 to break up the :U major harmony, and to pass the tonic center from a D scale to a G scale. In the eleven-tone series found in the five mec:.sures before Fig. 1:3, the single tone, !1-flat, is avoided; +i-
section is part of the extended dominant v-1hich lend.J to the fugue of the first movement. The Ja-flat is used in tLc sec- tion v1hich follows after F'ig. 13 in the fugue subject .. ad the ostinato accompaniment. ..::ee. Ex. 10. The next important development is found in the ca- dence shown in Ex. 50. In this example a ten-tone series on the F major scale moves to two separate scc:le.s; i.e., a new ten-tone F major series, and an eleven-tone series based on C major. The C major series is the s::t;ne one found in Ex. 10 plus one new tone, 12 In the fourth measure after Fig. 16 a modulation to an A-flat major se- ries occurs; this is the enclowed third between the two previous scale. The scale consists of all but one of the tones (an .) found in the previous F scale. . i 1'his ,'-flr,t sco.le is used t.hrough the fourth mec.sure after I;'ig. 17; in the fifth me.:tsure .-:::fter Fig. 17 two new scales are ini ti&ted. The fugal material employs a sj_x-tone gap scale with as its center; the ecole of tLe <:'.C- comp:_:niment is a ten-tone series based on /:.-flat. The six- tone scale continues until the end of the first mec:::n.1re J.n Ex. 64. :I'be scale continues through the first beot in the tltdrd me.:.sure of this example. The new :.s found in the horns which employ a different A-flat .':.ica:.e for their re-statement of the fu;ue subject. :i:I:FtCh of t.Le two l1flat scales employs a totc:'l of ten tones, with two tones differing in each sce.le. In comparing the Nitr1 the first, the second adds r-tle.t and (both tones necessary to a st;tement of the fugue subject in J,-fl t), and drops .. and Q All lines adopt this new A-flc.it t;c.,le in the last measure of the example 79 :xample 64. (I- 4 mec:sures 3ft.er Fig. A". c, D, e'IJ, F, G- L Nrw 4 b- "'"" C OIJ- F, G-v, Go .C:nl 1 1 1 I The polnrity of ,6-flat in this section shown in '-'X 64 is broken in the second meDsure after Fig. 19 by the en- try of fugue materinl in a series in which !a-flat is the center. ;.Jee Ex. 15. These two scales are quite sir1.ilar as the insert below indicGtes: original A-f'lc.t: l}b, .b, .Qb, c, ]2b, ];lb, Eb, ,E, Qb, g New Bflat: It is apparent that the B-flat scale is extracted from the previous l\-flat scale, since only one new tone is added; i.e., the leading tone, !t necessary to a of the fugue subject based on _&.flat. 80 The scale on used in the final section of the fugue (shown in Ex. 15) is the last scc\le found before the entrance after Fig. 20 of the seven-tone E-flat major series which is used until the end of the Coda at Fig. 28. The scales are in obvious V - I relation, but the two scales are not similar (the Bflat scale is minor). It 81 does contain two elements, found in a statement of the fugue subject in B-flat minor, that have relation to an element in the Eflnt major scDle; these are the tones 1-flat and Q-flat which enclose the third, of the E-flat seal-. See Ex. 51. The first movement is based on the scale of E-flat major; this is shown in the amount of material which occurs in this sC<J.le, Qnci in the relation of the other scales to this bDsic tonality. The pc:.ttern of the scales used in the major portions of the movement is given in the insert be- low. Every member of the Eflat major scale ho.s at len.st one appearance in this series. I .. v - VII(III) - I VI&II - IV - v I .Eb ' llb ' (;Q, ., 12) , b ' .Q, Q,
b :, The movement of tonalities in the last portion (I, II or IV, v, I) has the appe.s.r.:;mce of a standard phrase har.,. monization. The linking section :.:::.fter Fig. can not be iden- tified with any one scale; it is a bridging acent between the old scc . le of Eflat major and the one on B- flat in the second movement. In relation to the old seven- tone scale of E-flat major, the new tones introduced in this eight-measure passage are lh J2':'flat, and Q-flat. The violins and violas seem to be preparing to the more natural scale of F major with the introduction of the .naturall (third measure after Fig. 28) and .-naturz_,l (in the fifth measure). The lower strings lead towara the flat- ter key of B-flat minor with the introduction of Q-fL1t in the fourth measure after Fig. 28. Immediately after this g.- flat the upper strings turn back toward the flat keys with a new tone, g-flatl. See second measure of Ex. 53. Both lines then converge on ft at first with its third and then alone; it is the dominant scale step of the key of B-flat, and is the first tone used in the next movement. The basic scale of the second movement is expressed in the theme and accompaniment from Fig. 29 to one me .. .:mre before Fig. 32; it is a nine-tone Bflat series which is clearly .!Illijor in character. The series as found in this section is as follows; The one measure in D major before Fig. 32 is not intended to express the mode of the next section. The D major measure simply calls attention to the fact that the polarity of is to be established; the section after Fig. 32 is in D minor. See Ex. 54. 82 The scale of the D minor section Fig, 32 (see Ex. 18) is a gap scale consisting of the following tones; Its relative major scale on E i2 used in the next section after Fig. 33; this is a doubtful major, however, since both the major and minor thirds are present; The section in D was the link be- tween the Bflat major scale of the first section and the F scale of this section; i.e., a link by the enclosed third of the two scales (Bb- D- F). - - - The section after Fig. 34 employs a complete twelve tone chromatic series based on l See Ex. 19. The t of this scnle is dressed to such an extent thct the scale becomes definitely minor in character. In the next two sec- tions after Fig.36 and 37 the two F scales found after Fig. 33 and 34 are repeated in the same order with similar m:Jte- rial, which leads to the linking materiel between setion h and section of the movement. The scale of the linking material found in the third measure <=1fter Fig. 38 (see Ex. 55) is a series with 1-flo.t as its center. It consists of the B-flat major sctlle tones with an added seventh, This ,6-flat is hear6. first at the beginning of the third measure of Ex. 55, and it is still heard when the A-natural is introduced to the series in the fifth me<)sure; it is, then, another example of the introduction of a new tone to a series in association with 83 its relative half-step. 'rhe A-n::.tural is also the link to - the scale of the section which follows in the sixth mea- sure; it is found in the new scale as the second step of a series in which the note g is established as the tonic. In this movement there are no instances of two dif- ferent scales, or series of tones, being employed ct the same time; however, an approximation of this idee:;, when on- ly one scale is avo.ilable, is found in the section follow- ing Fig. 39. In this case the melody line uses one portion of the scale, and accompanying elements use another portion. Examf'le 20 shows that the ostinato accompaniment employs the tones the first statement of the clarinet in the second and third measures of this example cont::ins all of the tones found in the basic melodic element fron1 this point to Fig. 41. These tones constitute 'the upper portion of the G minor scale plus one tone which is found only in the first statement; the other four state- ments which follow span the perfect fourth from to g. After a short section in G major after Fig. 4?, the scale returns (after Fig. 43) to a series quite similar to that found in the first measure of Ex. The scule used in this section (see Ex. 23) lacks only the fourth step,, of the scale found after Fig. 39. The scale of the following section (theme in Graph I) is shown in Ex. 24. This scale centers on the third step of the previous scale, and lacks its 84 fourth step, :.is does its predecessor in Ex. 23; the ne\: scale is clearly a B-flat minor series. A good example of (simultaneous use of two or more tonalities) is found in Ex. 25. The outer parts (bass and melody) imply the scale of Bflat ffi.i:l ior .., found at the beginning of the movement; the inner move in the key of F major, emphasizing the tonic chord of that key. 'rhe next scale alteration eccurs in the fourth mensure after Fig. 45; the compositional technique here is quite similnr to the procedure found after Fig. 39. :>ee Ex. 20. This particular usage is shown in Ex. 26. The melody employs tones in the perfect fifth from to [; the accompaniment, a series with as its tonic center, uses all twelve tones of the chromatic scale. This combination of scale patters is used until the return of material in the measure following Fig. 47. The major climax of the movement, which occurs in this section from Fig. 46 to 47, makes use of the most com- plex scale possibile, a complete chromatic series. SLe in- traduction of the two tones which complete the series oc- curs in the fifth mensure of Ex. 26. These two tones occur with their relative half'-steps present at the same time. (Q with ,!2-flat, with This is the focal point of the climax which has been developing from the begifnning of section .12 85 86 In the section from Fig. 47 to 50 the scale used by the melody and its accompaniment is the same as the found at the beginning of the movement. In this section flat is substituted for -sharp in every case, but it does not alter the sound of any of the lines. The new ele::-.ent, the flute counterpoint, employs c-::11 twelve tones of the chro- matic scale based on the tonic (.!}-flat) of the primarJ scale. See Ex. 27. The scales found in the linking section are clearly related. The series based on the D major scale, found Fig. 50 for three measures, is a repetition and development of the ll major triad found at the end of the first phrase group of section !J. See Ex. 54. This D major aerie;:; .noves to a similar scale one-half step higher with a tonic center on The insert below shows a comparison of the two scales, both of which contain eight tones. See Ex. b6. Eb, F, G.Ab, Bb, c,Db.zD :r ,- /"_,_ - !' .. /'- D, E, Fti,G)', C# ---- ...... -- Except two tones <a-sharp and foreign to the * * basic major pattern, each step of the D scale moves to its parallel member in the E-flat scale by half step. The first measure in the new E-flat sco.le occurs two measures before Fig. 51; the winds continue in the mea- sure before Fig. 51 in a re-statement of the material found in the linking section at the end of the first movement. The rhythm is altered only slightly in the measure before Fig. 51; this re-statement occurs on tones a perfect fifth below the first example, in order to place it in V-I rela- tion to the last movement in E-flat. In this re-statement the final chord is supplied with its third; in the earlier case only the tonic member was present. See Ex. 53. Again in the second movement the pattern of the principal notes of the important sections provides an inter- esting conmination of tones. See insert below: A B A' ,_c(_e,_l ... ... l m ]b-P-F--Ab- G-- 6b--O EJ,-P-EJ, - J- J_ I I I I I I The pattern of principal notes from the beginning to section 12 gives a complete }a-flat major-minor seventh chord; the combination of notes found from section I} through tbe first portion of the linking material to the third movement gives a g minor triad; and, finally, the tonic notes founo at the end of the linking material and the beginning of the third movement give an empty fifth, -flat - ]a-flat. This is ano- ther example of modulation through the enclosed t.hird; the first tones of these chord series are !a-flat, .Q, and -flnt. The beginning of the third movement employs the same seven-tone E-flat major series which was found at the begin- ning of the first movement; this series, however, does 87 not stress the tonic chord, but the polarity of as the center is established in the b:_iss line. i\s shown in Ex. 28, a new sc.::::.le on the third (.Q) of the E-flat sc<.:ile enters in the seventh measure; this sc[de employs tvJO thirds, two fourths, and two sevenths. In the repetition of this portion which follows after Fig. 55, this scnle on makes use of two seconds, two thirds, two sixths, :no two seventh steps of the scale. The doubled fourth of the eCJ.r- lier section is dropped, and the doubled second and seventh steps of the scale are added. In the next scale shift the tonic note of tni3 g scale is dropped a half-step for the new scale; this new scale, found in the section after Fig. 56, is the scule found at the beginning of the movement (E-flat major se- ries) transposed up a minor third to a G-flat major series. The melodic and textural content of the G-flat section is a re-statement of the content of the first seven measures of Ex. 28, which shows the Eflat section. The scale on B-flat which follows in the section after Fig. 57 resembles the scale used in the second portion of Ex. 28.; it con- tains only two of the variable, or doubled, steps (second and seventh steps of the B-flat scale after Fig. 57). The fugal material which follows, as shown in 29 employs a normal Bflat minor scale with two leading tones !); this scale continues until the fourth measure after Fig. 58 where a twelve tone chromatic series 88 is employed for two This chromatic series is en- ded b.Y the next entrance of' the subject at the end of the fifth measure after Fig. 58; here the B-:f'lat minor scnle returns, now employing doubled sixth and seventh steps of the scale. In the third measure before Fig. 60 a statement of the primary motive of the movement occurs which adds .Q-flat to the B-flat{minor series which has been in use since the sixth measure after Fig. 58. This new series continues through the third bar after .r'ig. 60 In the fourth b<:r af- ter Fig. 60 an eight-tone D-flat major series with doubled fourths enters after a rest in all parts at the beginning of the measure; this series was extracted from the ten-tone B-flat minor series which began three bars before Fig. 60. It serves as introductory material to the double-scsle usage found in the section after Fig. 61. See Ex. 31. 1'hese scales are two different series with the comnon tonic note of R-flat. The one which presents the fugue subject in aug- mentation is a IJ-flat major scale with variable fifths; the accompaniment to this employs a D-flat major scale with variable second and fourth steps of the scale. These two scales continue until the second before Fig. 63. See Ex. 58. 1\t this point the scales combine, and the two tones which were missing from both scales and are added to cre: .. te a complete twelve tone series. In this case the concentration of scale tones has been built up to 89 its highest point; after this the scale series can only be- come simpler, <:tnd this occurs in the third measure of the example. A D-flat major series with variable fourths is established in the lower voices; in the higher voices a pa- rallel series is found based on A-flat major. These two scales are so employed in the section after Fig. 63 that a definite feeling of polytonality results. This movement from a complete chromatic scale to two scales in a new block of the form is another example of the connection of scales with the form of the composition. This change serves here to break off any further development of the fugue; com- pletely new material has entered. In the section which follows this after Fig. 64 the Dflat scale moves to a new scale based on E, and the A-flat scale moves to a new combination of tones based on the same tonic note, [1-flat. See Ex. 33. A comparison of these two scales is given in the insert below: 8 tones 9 tones The combined scales lack only to be a complete twelve tone series; this is supplied in the section after Fig. 65. From Fig. 65 to the fourth measure after Fig. 66 the only elements employed in the texture are two chords: one is a major triad, and supplies the missing tone in the previous series; the other is a major triad. Jee Ex. 42. This is the best example of polychord treatment found 90 in the composition. The monopoly of .Ufte the triads i.s bro- ken in the eighth measure of the example by the risin," line employing the C :naj or scale. , t the end of thd s line the 91 12 m2j or triad is dropped, and a new chord series based on the following tones: .Qb, !!b, Jab, basicallJ E- flat minor; the major triad continues through this section. In Ex. 58 the close of this section is shown; n de- scending scale line leads to the final statement of theme in the first setion of the movement. The scales used in this appearance are the scales of the first section (Ex. 23) trans- posed up a minor third. the end of this section (one mea- sure before Fig. 70) a D-natural is introduced to the 'texture with its half-step associate, !1-flat, also present; this leads to the scale of C minor used in section 12 The members of the C minor series after Fig. 70 are shown in Ex. 34. The scale of the next section found after Fig. hBs the same scale Ds the first transposed dovm to B-flat. The second section contains the same melodic ele- ments found in the first, here developed and extended. /,t the end of this second section the B-flat minor series be- comes B-flat major. See Ex. 43; the series shown here em- ploys only five tones: Q, Q, E In the last t'NO measures of the example there is a shift to two scele pat- terns in a polytonal relation; one is based on the G m.=-,.ior scale, <.:.nci the other is based on the & major chord. In combinat,ion, these two tonalities produce a complete seven- tone scale of C major. The third, , of the C major chord line moves to in the next section after Fig. 74; this is the tonic note of the section which con- tinues to Fig. 75. 'I'he section after Fig. 75 employs a complete twelve-tone series based on i-f'lat. See Ex. 44. The five measures in the section which continues after this example employ a twelve-tone series based on !2-fldt, a fourth higher; the A-flat scale continues in this sec- tion in a less complex form, as follows: .[,Qb. The close of this section is shown in Ex. 60; the modulation over the cadence is to a remote scale;i.e., from to Both scales in the section after Fig. 77 are based on ! There is no apparent relation to anything in previous portions of the movement, either in a melodic or scalevdse sense. These scales based on introduce the basic scale of the section after Fig. 79 which is aD minor series.(see Ex. 60 for .!::. scales.) Here is another case of the melody making use of one scalt, and ahe accompaniment another scale with the same tonic in the section after Fig. 79. If the t;Jo scales are combined the one tone lacking in the eleven-tone accompaniment &cale (a is supplied from the scale used by the melody. This section ends with an [shar-p in the melody line leading to in the next section after Fig. 92 81. This g is the third of the scale of nwj or which js used in the next section. The scale of the section after Fig. 81 employs dou- bled third scale step in a basic E-flat major series. This is necessary because of the melodic elements emploJed; the entire melodic element of Ex. 28, which occurs at the be- ginning of the movement, is found here. The accompc:;ni:;.ent is altered in this example, and the scale remains the :Jame in both of the phrases presented, instead of modulating up a major third, as in the seventh measure of Ex. 28. In the measure before Fig. 83 the introduction of E-flat in association with i-flat a half-step indi- cates the next scale shift. In the form of the composition a new development and extension of the previous theme occurs in this section. See Ex. 45. The introduction of the new tones (1}-flat and is accomplished by the usual associa- tion with a relative half-step. The combi- nation preceding Fig. 83 was actually the first appee:rance of in its enharmonic equivalent. This scale continues in this development of the theme until Fig. 85; from t.his point on to the end of' the movement the scale is E-flat major with two seventh steps of the scale, Q-flat and ll The final development anct extension of the primary theme is found in the section from Jl-.ig. 85 to Fig. 90. /.;fter a brief plagal cadence in ti1e measure after Fig. 90 (see Ex. 46), this final cadence 93 chord is emphasized by repetition <md the composition is completed. 'I'he V - I relationship of the chord members in these last two measures hns ::dreo.dy been explained in t.he cllapted devoted to Cadences. The ht:::rmonic and scale rel;',tion in the third :nove- i t ~ n t is not of vi tal importance; the element which 'IJvelJs the movement into a whole is the rhythmic drive founct ir,. the develol)ment of material from section fl ':'his is .:ds- cus,ed in the section concerned. with meter and rhyth.m. 94 Clil\PTER IV MEI.DDY, METER, /\ND RHYTHM lilelody The melodies found in the Concerto will be considered from three general classifications: 1. the method of line construction; 2. type of intervallic motion, that is, either conjunct or disjunct; and 3. the general tendency of the line to remein neutral, or to move upward or downward. Cnder the first of these, method of line construction, five types of melodies will be considered, as follows: 1. melodies built on the repetition of a figure 2. melodies built on the repetition of un interv:..tl 3. melodies built on a chord.:.,l outline 4. r.hythmic melodies (monotonal, chant-like) 5. melodies that are not built on any specific in- tervals, figures, etc., but may be developed from figures, or motives. The closing portion of this section on ::lelody will consist of a discussion of Stravinsky's method of achieving a musical climax. ,Melodies built .sm .2t, 1a ;(ig\are The melody in the violins shown in Ex. 2 is composed of three repetitions of the primDry motive t in a combincltion 95 of conjunct and disjunct motion. The line direction is neutral. The melody in the violas in Ex. 17 is bused on a repetition of the first two measures, and also the repeti- tion within these two measures of the minor second figure,
The first four measures are disjunct in motion
and the line direction is neutral. In the last three mea- sures the line is disjunct: the line tends to rise in the fifth meusure, but returns to its original center; in the sixth measure the line tends downward, but reverses itself in the seventh measure in a leap of a tenth upwdrd, and once again returns to its original center. In Ex. 28 the melody of the first phrase (lst meG- sure through the 7th measure) is based on the repetition of a figure which revolves around !!-flat. The pattern of the upper neighboring tone, followed by the lower neighboring tone (after the return to is repeated twice in this phrase. The motion of the line is conjunct, and the line direction is neutral. The fugue subject shown in Ex. 29 is derived from two repetitions of the first part of the main theme. It is conjunct in its motion, and the line direction is basically neutral in the first portion; in the second portion the leap of a seventh is to be considered a conjunct inversion o:f the scalewise minor second (Therefore, the second rortion is also conjunct in its motion, with the line having a 96 downward tendency at its close). In Ex, 32 the melody is built on the repetition of E,n altered form of the main subject of the movement. The 1notion is disjunct; in one statement the motion is upward a second, then down a major third, down a minor se- cond, and returning upward a minor third. The tendency is to return to the In the first and second measures of Ex. 44, the me- lody is built on the repetition of a stepwise movement down- ward on scale tones. In the fourth and fifth measures the same thing occurs in an upward direction. If the repeated notes are disregarded, the line is conjunct in itL; motion in both of its sections. Melodies built 2n repetition 2i interval The flute line in Ex, 6 is a repetition of the in- terval of the minor second from sl to At the end of the first measure the line makes its only leap, up a perfect fifth. It drops back a minor sixth to repeat the figure from the beginning. The minor second is spre<-1d to a second at the end of the second measure, and continues in a similar manner. The line tendency is neutral. The clarinet line in Ex. 20 is based on the repe- tition of the interval of a minor second, specifically in a rising chromatic line. The motion is conjunct. 97 iLelodies bQil!t .Q.!l _s cbord Ex. 1 includes numerous melodic elements b8sed on chords. The flute line of second measure outlines the major chord, in a combination of conJunct and dis- junct motion with neutral direction until the close, which moves downward from to t2 The viola line in the first measure emphasizes the major chord by the use of each chord tone in combination with its lower neighbor. The motion is conjunct and disjunct, and the liae direction is downward. In Ex. 40 the chordal ostinato descends on tones of the major chord. The line is a combination of con- junct and disjunct motion. In Ex. 18 the melody is built on a 12 minor chord with the added tones and The motion is disjunct, and the line direction is generc:,lly downwctrd. 98 In Ex. 21 the flute outlines two chords in two ranges at the same time; one is .b in a series ana the other is a Q, !!, Q, Q series. The motion is disjunct, und the line direction is upward at first, and then down. ;\ll of the ostinato melodies shown in Ex. 42 are built on chords. f.1otion in the & major triads is con,_iunct and disjunct;ynotion in the major triad is conjunct .:.md disjunct, also. The major triad material tends to rise, and major triad remains in the same range. Rhythmic melogiee In Ex. 33 both outer parts (on and 2) are static melodies. The motion of the line exists only in the dif- fering lengths given to the melody tones. r.lelqgies geriveg ~ figure. .Qr. m o t v ~ s The melody of Ex. 6 is actually two forms of the primary motive used in succession. The motion is disjunct, and the line moves upward. The fugue subject from the first movement, shown in Ex. 10, is derived from two forms of the primary motive. Ihe motion is disjunct, and the tendency of the line is neutral in the first two measures; the line moves downward in the last two measures. The subject of section ~ in the third movement is derived from the minor scale line. See Ex. 34. The line is conjunct in the first two measures, and disjunct in the third and fourth. The tendency of the line is upward in the first portion, and downward in the second part. 'I'he melody found in Ex. 36, from the theme of sec- tion Q in the third movement, is derived from thematic ele- ments found in the section immediately preceding it. The motion is disjunct, and the line direction is neutral. The melody found in Ex. 45 is the final development of the basic thematic material of the third movement. The motion is conjunct for eight measures, and the tendency of the line is to move upward. 99 ---- t!:ethods .2! achieving .sa <climax In achieving a musical climnx, Stravinsky seldom makes use of his melodic line; the climaxes are achieved by use of the following special effects: 1. Repetition of the final measures of a melody; repetition of a motive or chord. (End of the third move- ment. Ex. 61) 2. Use of an ascending scale line independent of the melodic line. (Ex. 58, 2 before Fig. 63, bottom line scale; also Ex. 42, ostina.to section) 3. By sequential use of an idea. (Ex. 42) 4. By deliberate dynamic contrast. (Two examples continuous, to piano subito: Exs. ll and 12) Meter swg RhVtbm In the Concerto numerous changes of the metric in- dication occur. These changes are usually in relation to the large sections in the first and third movements. In the second movement, the only metric changes are found in the linking sections before section and at the close of the movement. In all three movements the time vulue 2llot- ted to a note remains constant as long as the particular metronome indication for thDt section is in effect. In the first section of the first movement (Begin- ning to Fig. 7) the meter indication is changed twenty- eight times, and involves seven different signatures, as 100 follows: 4/4, 3/4, 2/4, 3/8, 2/8 1 7/16 4 5/16. The section consists of forty measures. 101 From Fig. 7 to Fig. 11, the contrasting section of the first movement, only two signatures are used and these are 3/4 and 2/4. In the twenty-five measures which comprise this section, the signature is changed four times. From Fig. 11 to Fig. 20, the section containing the fugue of the first movement, the meter indication is cho.nged forty times in this passage consisting of sixty-two measures. Jix different time signatures are used, and these are 4/4, 3/4, 2/4, 5/8, 4/8, and 3/8. The return of material from the first section, found from Fig. 20 to Fig. 25, also employs seven different time signatures, as follows: 3/4, 2/4, 3/8, 2/8, 11/16 1 9/16, 7/16. This is no1the same series of signatures found in the first section, however; the 4/4 and 5/16 signatures ure dropped, and 11/16 and 9/16 are added. In the twenty-three measures comprising this section, the metric indication is clwnged sixteen times. In the Coda from. Fig. 25 to Fig. 28, two time signa- tures are used, 4/8 and 3/8. /:.ctually, the two 4/8 bars are found to consist of a 3/8 bur plus an eighth rest, the only two rests found in the section. In the 19 measures of this section, there are threetime changes involving these two signatures. The linking material at the end of the first !aove- rnent is in 6/8 time throughout its eight measures from Fig. 28 to Fig. 29. 'I'he relation of this passage to the previ- ous one will be discussed later in the section devoted to note values. 102 The second movement uses onl.J one signature in the main portions of the movement, and this signature is 3/8. The only changes of signature occur in the linki!l sections. See Ex, 55 and Ex. 56. In these examples, the sign .tures 6/8 and 9/8 are employed, and contain, the same factors found in the linking section at the end of the first Elove- ment wlich will be discussed later. In the third movement once ag.;;in\there is a compli- cated series of signatures used, no more thc:m seven different indications are found in any one section. The first section from Fig. 52 to Fig. 70 contains the 011- ly series of seven signatures four:;.d; these are 3/2, 7/4, 5/4,4/4,3/4, and 2/4. In the 102 which m:;ke up the first section in Graph II, sixty-four changes of time signatures accur. In the slower tempo of (Fig. 70-74), there are only two different time signatures used (5/4 and 4/4). The basic signature of this section of twenty-four measures is 4/4. In the second measure from the last in the section the only appearance of the 5/4 signature occurs; the last measure is ag:.5n in 4/4 time. The next return of (Fig. 74-77) employs three different signatures; 5/4, 4/4, and 3/4. 'Ihe section consists of twenty-six measures if the repeated section is included twice. 'Ihere are fifteen changes of signature, if this repeat is counted. 103 In section of Graph II (Fig. 77-81) two different time signatures are used (5/4 and 4/4). The only occurrence of 5/4 is in the first measure, which is actually a 4/4 bar plus the one beat rest which separates it from the previous section !;;; material, This section is eighteen measures in length. The final return of section ! in the movement is from J?ig. 81 to Fig. 83; in this section only two signatures are found (4/4 and 2/4); however, the ten measures of the section contain six changes of time signature. The Coda of Graph II is actually an extension nnd development of section material; its time signatures con- sist in a new series, five in number: 3/2,5/4,4/4,3/4,2/4. The one measure the first signature, 3/2, is con- ducted in six, giving a signature of 6/4; therefore, every type of conductor's beat from two to six per measure is em- ployed in this section. The fifty-eight measures of the Coda, with the repeated section counted twice, include thirty-seven changes of time signatures. In this work there is no indication in the score for any use of free rhythml; however, Stravinsky makes G lJ\ccording to Willi Apel, two types of free rhythm exist. "Free rhythm, i.e., the use of temporary values which have no metrical unit (beat) Free rhythm is also 3Ctu- ally present whenever a striking deviation from strict rhythm is demanded, e.g., by rallentando 1 accelerando, rube: to." Cf. article "Rhythm," II, c, Harvard Dictionarv 1. Music, ed Willi ilpel, (C8mbridge 1 Mass.: Harvard University 1945). definite tempo change in the third movement in his recor- ding of the work. This tempo change occurs in the six-mea- sure section after Fig. 60 which leads to the final section of the fugue after Fig. 61. The beat employed in this sec- tion is slower than that of both the section preceding and 104 the section which follows; this is done, apparently, to give added emphasis to the last section of the f t ~ u e which follows immediately in the original tempo (after Fig. 61). The division of the basic unit ( J) in the first movement is by multiples of two, the smallest note vulue being a sixteenth note. There is but one exception, the thirty-second-note triplet figure which is confined to the closing portion of the first section of the movement. See Ex. 5. The general rhythmic effect of the first movement is one of flexibility; many sections employ combinations of tied notes which emphasize the off-beats of the measure. The linking section at the end of the first move- ment (Fig. 28) is also typical of the linking material found in the second movement; the 6/8 tempo indication used has the effect of slowing the tempo of the previous section by exactly one-half. In the section preceding Fig. 28, the beat is subdivided, but the basic unit is felt to be u J ; in the section following Fig. 28, three subdivisions of the previous beat, the unit (J), become the main beat. In the third measure of this linking section, a figure which is described as a dyplet occurs. (The duplet is a group of two notes to be played in the time of three). By use of this figure in a 6/8 section, Stravinsky avoids the trip- let subdivision of the main beat, and also achieves o slow- ing of the tempo in an exact relation to the preceding sec- tion. See Ex. 56, first measure, for an example of the use of this duplet figure in tl!e linking material of the second Hovement. 105 In the second movement the basic unit (.r) is again divided by multiples of two, the smallest division being thirty-second notes; there are two exceptions to this, how- ever. Ex. 54 shows a thirty-second-note triplet figure in the time allotted to one sixteenth; this is similar to the rapid triplet of the first movement shown in Ex. 5. 'I'he o- ther use is found in the applicntion of the quintolet in the ascending line shown in Ex. 24; this is the use of a five- note figure in a beat which normally includes only tvvo six- teenths. 'This five-note figure first Bppears as the repe- tition of a single tone in theme s of section ~ . This is found in the sections after Figs. 34 and 37. See Ex. 19. It is found again in the flute line (Examples 21 end ~ ~ 2 in theme g of section ~ This movement has very little emphasis on the off- beats; the main beat is usually stressed by an upbeDt figure. An example of this is found in the first measure of the move- ment. See Ex. 17. The off-beat is stressed by accents in two places; i.e., the clarinet line in the sections follow- ing Figs. 34 and 37. See Ex. 19. The general effect of the :ovement is one of flexibility with the use of a minimum of rhythmic figures; the sixteenth followed by tv-Jo thirty- seconds, 'nd the reverse of this; the dotted sixteenth nnd a thirty-second note; two sixteenths; and four thirty- se- cond notes are the patterns used throughout the movement. The basic unit (J) of the third movement is found subdivided by multiples of two. The section from Fig. 52 to Fig. 66 employs, as its smallest subdivision, eighth notes. 3ee ostinato Ex. 42. In the fourth measure of the example, sixteenth notes in an even pattern are introduced for the first time; the sixteenths are discontinued in the texture aftGr the descending scale shown in Ex. 59. 106 'I'he slower section (,!2J makes use of sixteent)ls in both the melody and accompaniment. The patterns are not obtrusivef they occur either as a group of four, or an eighth followed by tv1o sixteenths. See Ex. 34. The onl.'/ apr.-earance of the quintolet in this movement occurs in this section in the two meCtsures before Fig. 72; this figure taken part in the modulcttion from C minor to B-flat minor, the scdle used in the section after Fig. 72. The return of section h. after Fig. 74 doe.s not u1, .ke any use of sixteenths; the eigl:lth note once ag<::in is the snudlest subdivision of the 'I'he final use of sixteenths in the third mov::cment is in the rising scole line which is found at the end of section (one mec:1sure before Fig. 81). 107 The general effect of this movement is one of motion toward the fin<:>.l it is slowed somewrwt by the Pogo (section 12,), but it returns quickly to its oricinal style. 'I'he section which is be., sed on a ent scale, tends to stem the forward motion for sbort while, but the return of section A materi<.::.l etfter I-'ig. 81 marks the beginning of a direct rhythmic treatment le.otding to the final ::>travinsky uses many rhythmic devices to phrc::.se construction (two or four me,,surej. One of is the use of' extension, as shown in the first movement in the long dominant from Fig. 11 to 13. In another case he will shift accent from a strong to a weak be<:'it, as found in the clarinet line after :i;'igs. 34 and 37. See Ex. 19. This is also found in the two measure.Sbefore l',ig. 11. Ex. 49. These metLods tend to throw the rhytr..m off center for "-' short _;)eriod of time. In certain places in the Concerto, .Jtravinsk.., 1mkes use of polyrhyth.mt In speaking of this term, "'pel inuic;.:.tes that n. a distinction can be .;..1cde between two types of polyrhyth.m; contrasting rhythms within the same scheme of 1 Polyrhytrun may be defined as "the simultaneous use of stri- kingly contrasting rhytr.uns in different parts of the musicc:tl fabric, e1lso known as cross-rhythm." C11. Harvard .;Qi9tionary, P 593. 3Ccents (meter); contrasting r r ~ t m s involving a conflict of meter or accents. The latter type is sometimes tE:;rmed t pOlymetriC I ul Stravinsky's use of polyrhythm is mainly of the polymetric type. Two examples of polyrhyth:n of this tJpe deserve to be mentioned here. :::>ee Examples 40 and 4". 1------ Ila;ryard Dictionarv, P 593. 108 CHAPI'ER V AND CONCLUSIONS The outstnnding element of the Dumbarton Oaks Con- certo is the economy of materials used in the develor::-aent of the work. The first movement was based on one pri;:;ar J motive which was found in all sections of the movement in one form or another. This motive was also discovered as an additional element in the last. two movements and cerves to tie all three more closely together. The second ment, of strikingly different character, also had one the- matic element of importance; this wus found in the tv,o out- er sections (i;!). Its middle section (Ja) contained tLe only references in this movement to the primary motive of the first movement. In the third movement section f:: returns after each of the two digressions; the movement depends on the rhythlnic impetus found in the 11 sections to cc1rr J the feeling of continual movement towara a cadence through its sections (Ja and The progression. from one idea to the next is accom- plished in the cadential movement by the discovery of 3ome tonul rel&tionship between the two ideas. ;m enharr::1onic equi v&lent or the extension of a scale line into the next 109 110 idea, for example, provide smooth links and good continuity of material. The cadences between the movements are con- structed to connect one with the other in an harmonic relc:- tion. 'l'he fine1l cadence is the only one which is conclusive; however, this cadence includes the only reference in the third movement to the motive of the first movement. l.'his could be an indication that the piece was constructed in a full circle with the final chord as the introduction to the first part in a re-hearing of the work. The rhythmic and literal ostinati are found in the first and third movements; the second movement makes conti- nuous use of literal and pedsl ostinati, with only one use of rhythmic ostinato, in only the section of the movement. The tempo changes in this work are few, but the me- tric change is an integral part of the composition in the first and third movements. The only use of' a tempo wLich is not in relation to anything else is heard in the rer0on- al recording by Stravinsky. There is no indication for this in the score. Rhythmically, the work is quite clear for this rerl- son; the infrequent use of polyrhythm stands out all tl1e more plainly in relation to the other sections. The derivation of the melodies in this work is from simple motives or fragments; however, the melodies found often betr::1y a richness wb.ich is surprising in viev: of the economy of materials used. Since the harmony of the composition is secondary to the linear development of material, the series or scale becomes the most important harmonic element. All lines seem to have some melodic importance; even obvious ~ c c o m p a niments have their own direction and melodic interest. The analysis of the style of this work in relation to the music of the present day is given by Ingolf Dahl in these words: The affinity of contemporary music to the es- thetics and techniques of the baroque period in music has often been noted. The baroque orchestra (Concer- to Grosso) in particular, with its flexibility of in- strumentation, its chamber music texture! its cleun divisions into passages for "tutti" {f'ul ensemble) and "solo" (individual instrumental groups), its ob- jectivity of expression and unified dynamic levels are reflected by our jazz bands and our radio orche- stras as well as by a large number of' contemporary concert works. "Dumbarton Oaks," differing in sever- al ways from the 18th century prototype, could best be called a oor\raii ~ ~ Concerto Qrosso, painted by a modern artist. lNotes on the recording of the Concerto. 111 BIBLIOGRJ\PHY Books Stravinskx [:itravinsky 1 Igor. Chronicles. ,g! Ltd., 1936 London: Victor 3travinsk.y, Igor, Musig. Trans, by .Arthur Xhodel, Ingolf' a 1. Cambridge, Iifass.: Harvard University Press, 1947. Books about Strayinsty Tansman, Alexandre l3:ttrayink,y : Ill!i. Msn and !.1& Trans. Therese and Charles B1eefield. G. P. Putnam's Sons, 1949. White, Eric Walter. Strayinak;y: !i.a JiW-9. Work. New York: Philosophical Library, 1948. Gengra;L Sources J.pel, Willi. Harvard Dict!gnary .Q! Music. Cambridge, IV'.tass.: Harvard University Press, 1948. Hull, 11., Eaglefield. Mpde;:n ijarmonv London: Augener, Ltd,, 1915. McHose, Allen Irvine. Contrapuntal Harmonic Teghnique 2! lbi la1h New York: F. s. Crofts and Co., 1947 Prout, Ebenezer. Fugal Ana;J,ysia. London: Augener Ltd., 1892 Slonimsky, Nicolas. Music Siooe le.QQ.. New York: Norton, 1937. 112