Delayna LaBelle
Dr. Wieland
MUS 111
26 April 2013
Barat’s “Andante et Allegro” Focusing on Melodic Ideas of Solo Line
“Andante et Allegro” by Joseph Edouard Barat was written in 1935 for use as the Paris
Conservatory of Music’s contest piece for 1935 and 1940. The Paris Conservatory at that time
sought to train orchestral musicians. Consequently, the contest pieces reflect the characteristics a
performer would need to successfully play in an orchestra. “Andante et Allegro”, as with many
of the pieces composed for the annual contest at the Conservatory, became an instant standard in
the repertoire. Few trombonists in the United States, when learning this piece, realize the vast
difference in the type of trombone that is popular in the United States now in contrast to the type
of trombone that was popular in France at the time this was written. The French favor a narrow
bore trombone whereas the United States favors wide bore trombones. Many of the trombones in
France at this time were what modern trombonists in the United States refer to as “peashooters”.
The narrower bore of the French trombone produces a sound that is bright and somewhat cutting.
Trombone teachers in the United States favor a sound that is dark and rich. It is interesting that
this piece is used so often in the United States when the intended sound is so different from what
teachers in the United States are teaching.
The first half of this piece, marked Lent, is in rounded binary form. M. 2 opens with a D-flat
followed by an ornamentation of triplets before completing the phrase. M. 4 repeats the D-flat
with a variation on the ornamentation of triplets then finishing the phrase in the same manner as
m. 3. M.6 starts a step up and does the ornamentation in the same manner as the first phrase but
then alters the ending of the phrase. M. 8 repeats the same opening as m. 6 but does a variation
on the triplet figure and concludes the phrase like m. 2 and 4 but ending on a C unlike the
opening two phrases of the introduction.
Example 1: Mm. 1-9
Almost every measure of the first Poco piu Vivo section at m. 10 begins with a dotted quarter
note. This section is in a different key than the introduction.
Example 2: Mm. 10-16
The opening phrase of the introduction is restated exactly at m. 17 then a similar phrase is
presented. This phrase continues the pattern of eighth rest followed by a sustained note with
triplet ornamentation then continuing to the rest of the phrase. The main difference is that the
phrase in m. 19 starts on a B-natural instead of a D-flat leading to an internal key change through
the piu vivo section.
Example 3: Mm. 15-20
The Piu Vivo at m.21 continues to use the triplets although they are used in a different way. M.
21 outlines an E major chord using triplets in a fanfare style. M. 22 uses the same fanfare style
on an A major chord. During m. 23, there is a transition back into B-flat minor in the
accompaniment.
Example 4:
Mm. 21-23
Piu Vivo (m.24) is characterized by dotted half notes leading almost stepwise to another dotted
half, this processes repeats from m. 25 to 48. In m. 28, a scale is used to arrive at an F in m. 29.
M. 29 uses the same idea as m. 25 just with slightly different movement on the fourth beat. M.
30 does the same thing in relation to m .26. M. 31 is like m. 27 for the most part, the main
difference is there is a dotted quarter in the beginning of the measure instead of a dotted half.
This leaves room for a variation of notes to start before beat four. M. 32 is similar to m. 28. M.
33 changes. Instead of the arrival point on beat one being an F, it is an A. The pattern of dotted
half note followed by passing tones on beat four continues until m. 40. Mm. 37-39 correspond to
mm.33-35; m.38 corresponds to m.34, m.39 corresponds to m.35 in the same way that m.31
corresponds to m.27. M.40 stops this pattern so a half note is held and there is no movement on
beats three or four. Mm.41- 49 are a transition back into the “A” section of the piece. Throughout
all of this section (m.24-49) the left hand of the piano is using constant triplets.
Example 5: Mm. 24-49
In Tempo One at mm.50-59, m.50 states the opening theme of the piece, this time with a slightly
different end to the phrase. M.52 states the opening theme again, further altering the ending of
the phrase. M.54 takes the theme up to an E instead of the D-flat but continues the same pattern
of mm. 50-51. M.56 also starts on the E instead of a D-flat but instead of progressing upwards
toward the end of the phrase as was previously done, this phrase progresses downward.
Throughout this section, the left hand is using a different accompanying style than it did in the
introduction. Here, it is alternating between the block chords of the introduction and the
arppegiated triplet chords of the piu vivo section from m.24 through 49. This section ends on an
F-major chord leading to the Allegro section in B-flat major.
Example 6: Mm. 48-59