Music 538b-Bob Moore
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Stravinsky Octet
Stravinsky’s Octet is considered neoclassical while continuing to include many traits
developed in Symphonies of Wind Instruments. The piece is written in three movements, though
the second movement Tema con Variazioni leads directly into the third movement Finale
without a break. While one of Stravinsky’s genius ideas in the Symphonies of Wind Instruments
was his use of a “moment form”, the Octet balances traditional forms and moment form, partially
by following pan-tonal schemes which keep listeners guessing and wondering where the music is
going, yet bringing back familiar motivic material in an ever developing and changing pattern.
This is one of the salient aspects of Stravinsky’s composition style. As stated in class,
Stravinsky’s sense of timing is impeccably right for how often to repeat a musical idea and how
much to change it when it is repeated. The balance of chaos and order seems perfect.
In addition, Stravinsky’s music often contrasts linear and non-linear (or static) musical
moments. Stravinsky loves “activated stasis”(as we discussed in class) where the foreground has
continuous movement, but doesn’t feel like it is going anywhere. In the middle-ground and
background there may or may not be linear movement. Stravinsky often does include a final
cadence in each section of music that references traditional tonality giving listeners something to
hold on to if they felt a little lost in the flowing sea during the course of the music. The chorale
at the end of the Finale definitely leads to C major.
Stravinsky uses a mixture of traditional tonal and atonal harmonic language that includes
a lot of modes and the octatonic scale. The opening movement suggests an E-flat dorian mode at
rehearsal 1, while the Tema con Varazione suggests an octatonic scale and the finale ends in a
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definite C major. The instrumentation choice is also noticeably all winds, similarly to the
Symphonies of Wind Instruments and the Symphony of Psalms (plus cello, bass and voice).
The Sinfonia seems to be neoclassic both by its title and construction. Stravinsky gives a
slow introduction followed by the movement proper which is in quasi “ABCBA” form, as can be
seen below.
Chart 1 Sinfonia Form
m. 1-4
Reh.#1
2
3
4
5
Intro.
Flow theme; scaler materials
Intro. Theme returns
Intro. Part A
6
7
8
9
10
11
12
13
14
15
16
Theme A
A
A
A
B (with scaler cell material; Jumpy
Interlude (including triplet idea)
B- fl, cl., trbn, (arpeggio X; ostinato)
Interlude (scaler, jumpy, arpeggio X)
C
C
(D) (scaler+jump); B accompaniment;
fragments of A
Interlude (including motivic idea from 13
and clarinet triplet idea from 11)
B, C alternate
A, jump fragments; canon
A Jump in Flute; C Rhythm in trpt.
Descending chromatic in cl.
A canonic
X
A canonic
17
18
19
20
21
22
23
Intro. Part A
Intro. Part B
Palindrome
Or
Intro+
ABCBA’
B flat (V/E flat)
E flat dorian
Exposition
P1
Development
P2
New theme
P3
More
development
P2
Eb (c,Bb…)
Ab
Bb; D flat, A, E…
D; d
d; or g?
f
Ab
C; G
D; d
e; f
d; G; chromatic; D phrygian;
E-B descents-e minor feel too
b7;E7;A; a; d; Eb
False recap
P1
Recap (like 7)
Stretto
Coda like
E, G#,(Ab),B
C#,G; Db; d0, Eb7; B
(A flat) B flat 7
C major
E flat
E flat
The Sinfonia introduction begins on B-flat and while not in B-flat major, it does end on a B-flat
major chord which suggests a dominant feel when it is followed by the E-flat at rehearsal 1.
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Interestingly he begins and ends the introduction with this chorale-like section that has a definite
linear quality leading to the B-flat and he also ends the Finale with a chorale section that has a
linear descent to C major.
Stravinsky introduces a flowing theme that appears to go no-where, just alternating
between E-flat and F, but eventually traces out an E-flat Dorian scale.
The surface texture continues to be very flowing (kinetic) throughout this introduction, but the
harmonic movement is actually quite static. Stravinsky uses a lot of scaler ideas and arpeggios,
leaping motivic fragments, ostinatos and and pedal points, all of which prepare the listener for
the rest of the Octet.
The main theme begins at rehearsal 6, with a definite feeling of the B-flat seventh chord
acting as dominant to the E-flat downbeat.
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There is also a 3:2 tempo relationship which Stravinsky loves to do: e=76 to q =104. Theme A
is
repeated at rehearsal 9 in canonic fashion, then at rehearsal 8 it is fragmented as it modulates
through D-flat major and E major and lands in D major at rehearsal 9. Stravinsky lightens the
texture and dynamics at rehearsal 8, so when the full ensemble comes in again at rehearsal 9 it is
an exciting moment. Additionally Stravinsky adds an offbeat echo to the main theme creating an
exciting new twist to theme A that keeps the listener intrigued.
A d-minor scaler passage leads to theme B “cantabile tranquilo” at rehearsal 10 in the
first trumpet. The bassoons have an accompaniment with obvious G major arpeggios, while
trumpet two plays a motive that predicts the C theme.
Rehearsal 11 acts as a brief interlude before restating the B theme in the trombone, clarinet and
flute at 12. At 13 emphasizes the X arpeggio cell on C major all the while retaining scaler
material that is derived from the original theme A.
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At 14 Stravinsky states Theme C boldly in the clarinet, emphasizing the X-rhythm, beginning in
a D tonal center, evolving into B-flat major arpeggios, passing through g-minor and arriving in
an E minor mode at 15. The key changes make sense in that they are following third
relationships, but they don’t follow tradition harmonic pulls. The chromatically twisting theme,
repeated at 15, is similar to the kind of chromatic themes that Bartok composes.
Rehearsal 16 does not contain theme B but it does have similar traits to rehearsal 10 and 12
including the X-arpeggio cells and ostinatos. One of the salient composition tricks Stravinsky
uses here is to take the initial descent {E,D,C,B} built from the original A theme and use it to
structure a beautiful descent over the next four measures in the bassoon and clarinet. Stravinsky
brings out the {D, C, B} descent with accents in the bassoon part. At rehearsal 17 we hear yet
again at the exact pitches, but two octaves higher. Stravinsky frequently uses this technique
which helps give great structural integrity.
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Rehearsal 17 acts as another interlude including a similar figure taken from 13 shown
below as well as the triplet clarinet figure from rehearsal 11.
Theme B returns at 18, alternating with theme C in a perfectly timed dialogue, segueing right
into fragments of theme A at 19, treated in canon, preparing us for the full return of theme A in
the original key at 21. Rehearsal 22 offers a quasi-stretto section following a similar patten to
what was originally set up in rehearsals 7-8. The final statement of theme A at 23 in E-flat is
perfectly timed with a canonic treatment that syncs up on a final beat after 9 glorious measures,
ending solidly on E-flat major. The alterations of meter throughout the movement offer the
sense of timeless flow that is magical and contribute to the beautiful dichotomy of kinetic and
static movement.
In the Tema con Variazione Stravinsky uses an incomplete octatonic scale, and begins
with the [0134] tetra-chord, both of which he also used extensively in Symphony of Psalms. The
form is obvious because of the theme and variations format, though each individual variation has
its own unique form.
Chart 2: Tema con Variazioni form
Reh. #
Section label
24-26
Theme
26-28
Variation A
28-31
Variation B
Description-rehearsal #’s- Key/tonality/centricity
Octatonic/d minor; D major
Scales following Octatonic theme; d, C,D,b,B,b lydian, …D,d,f dorian
E; 29=G; 30=D, A, (A acts V/ D for return of variation A)
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31-33
33-38
38-49
49-51
51-56
Variation A
Variation C (Waltz)
Variation D
Variation A
Fugato
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d
a/g; D…
A …42 D….43 F,eo, Eb,c,… 44- Gb…a mixolydian; 45-A; a; 47-A…
d
A; E/C#...
The octatonic feel is strong because of the initial tetrachord, but it is interesting to note that these
notes are also contained in the D melodic minor scale. The accompaniment begins in d minor
contrasting the feel of A major in the melody (A-C#). The “Tema” itself can be divided into
four motivic ideas as seen above: TA,TB,TC, and TD, and an arch form “ABA” where the theme
is first heard in the flute and clarinet (high range voices) in D minor/A octatonic, then contrasted
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with a B section in C major, trumpet 2 (middle range voice), and ending in a return to the
original key with the theme in the trombone (low range voice).
Variation A simply takes the theme and add scales above each of the given notes of the
theme. The theme is transposed so it begins on D, and the first scale played above the D root is
a D melodic minor scale. The second note is a B-flat in the theme, so Stravinsky gives us a B-flat
Lydian scale. Variation A theme begins in the trombone and follows the original theme in its
pitch organization, though the exact rhythms are changed. At rehearsal 27 the trumpets, flute,
and clarinet take over the melody. The ending coming in two measures before 28 is altered to
make a smooth transition to variation B.
Variation B offers a needed contrast in its light bouncy character. The form is basically
structured around the original “Tema” form. The opening two measures of accompaniment try to
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hide the rhythmic pulse, so when the trumpet enters with the melody it is a nice surprise. The
theme begins clearly with the original major third head motive TA, but it is developed with new
variations, modulations and rhythmic twists. It still contains each of the core elements of the
“tema” including TA, TB, TC, and TD, though TD is altered.
Stravinsky shows off instruments in pairs: flute and clarinet, bassoons, trumpets, and trombones.
The bassoon ostinato at 29 and trumpets dialogue at 30 are examples of this and the creative and
masterful writing Stravinsky continually produces.
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Variation A (31-33) is brought back and transitions directly into Variation C. The flute
begins a solo which is clearly related to TA, but then it flourishes around in a way that covers the
pitches used in TB, TC, and TD, but it is difficult to point out exact connections. The flute solo
acts as introduction that is followed at 34 with the trumpet 2 and clarinet stating the “tema”. The
rest of the variation follows the basic form set in the “tema”. At rehearsal 35 the clarinet and
bassoon 1 become static while bassoon 2 has an interesting chromatic ascent and descent which
serves as a bridge section leading to the continuation of the “tema”. At 37, to conclude the
variation and transition to the next variation, bassoon two has a bass descent line leading to A
major and bassoon 2 also sets some motivic and rhythmic patterns that foreshadow the upcoming
music.
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Stravinsky decides wisely to skip placing variation A before Variation D, upsetting the
pattern previously established, but keeping the listener from getting tired of variation A.
Variation D can be viewed as a passacaglia and begins with an ostinato “ground-bass” pattern in
the clarinet and bassoons that can be seen below.
1.1
40
1.2
41
2.1
3
bars
b4-42
42
2.2
5bars
b4-43
43
Soli
Gr-bass
3.1
44
3.2
45
Soli
Gr-bass
4.1
2.3
cont’d
Development
46
Theme 2
39
Expo.
Th.1
Intro;
groundbass
Sonata
:
Intro
38
Introduction: D0, D1, D2, D3, D4, D0, D1, D0
Chromatic descent(Bssn.I)Bb-A-G#-G-F#-F-E
(Bb-E=TT)
A major -Ostinato ground-bass
established
TA in Trpt. (Ostinato exact repeat)
A major/Octatonic –Tema
@original pitch level
A major/Octatonic–Tema @original
pitch level
(F major-Cl. –D-D chromatic linear
descent)
A major- Ostinato Gr.-Bass
D7
TB Trpt +Fl (D0,D1,D2,D3, D0,D1,D2,D3)
“Brilliante”; (D4, D2, D3)
Brilliant 2 -fl. D0-(D maj. 7) (Augmented Syncopated
Rhythm, and extended in Cl.)
Brilliant Ending (2 measures) fl. hands off to bssn. 1. Bssn.
2 reverses rhythm from cl.@ 41
Reminiscent of TC, But chromatically altered
D0 D1 D2 D3 D4 (bssns. only)
D7;
2 after 42=cadence to F leads to
next section
F major
D0D1 D0
D0, D1, D2, D3, D4 Brilliant 3
F---------e0 Eb
Triplet plus brilliant variation
Trbns have Maj. 3rd ostinato –(just like TA)
Triplet plus brilliant variation continued
D0 D2 D0---D0 D1 D2 D3 D4 ----D0D1 D2
A major----------------a minor
Cantabile Variation-solo flute, similar to 42,plus brilliant
triplets—(Reminiscent of Tema; also reminiscent of 1st mvt.
Reh. #2,3,4)
D3 D4 D3 D4-__-D0 D0 D1 D3
F, e dim, Eb maj.
Gb, d, a mixolydian
A, a
A major and A minor
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48
Soli
Gr-bass
codetta
1.3
(or 5)
Recap
47
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TA (obvious quote in trpt. 1, similar to 39)
D0 D1 D2 D3 D4(cl/bssn) --D0 D1 D2 D3-trpts/trb. 1
(only time gr-bass theme not played by bssn)
D0 D1 D2 D3-(trpts/trb. 1)
D0 D1 D2 D3 D4-(end is bssns again)
Overlap of Passacalia ground bass theme; offset by
starting in the middle of the bar
A/ Octatonic –Tema @original pitch
A (sounds like dominant to D,
which is the next down beatVariation A, 49!)
The form could be labeled in several ways including a mini-sonata style form, but it makes the
most sense to label it as a passacaglia variations form. Stravinsky liked revisiting forms and
characteristics from earlier music such as the passacaglia form, and that is partly why his music
is called “neo-classical”. Grove’s music defines and explains a passacaglia as follows:
In 19th- and 20th-century music, a set of ground-bass or ostinato variations, usually of a
serious character; in the earliest sources, a short, improvised ritornello between the
strophes of a song.
When 19th- and 20th-century composers returned to writing passacaglias, they found
their models in a handful of ‘rediscovered’ pieces by the German masters, especially
Bach’s Passacaglia for organ and perhaps also the Passacaglia from Handel’s Suite no.7
in G minor, works deserving of their canonic status, but atypical of the former
mainstream genre traditions (Handel’s passacaglia was in fact in duple metre). From
Bach’s passacaglia they took what now became the defining feature: the ostinato bass.
The theme-and-variation idea, often incidental to earlier passacaglias (if present at all)
became central to the revived genres. As with Bach, the ostinato theme is usually stated
at the outset in bare form and in a low register.1
This variation does exemplify some of these features, especially obviously starting the theme at
the outset in bare form and in a low register.
As the form chart above shows, variation D
features an ostinato ground bass that is made up of 5 parts [D0, D1, D2, D3, D4] that Stravinsky
interchanges the exact order of so it doesn’t always sound exactly the same, but it does have the
same texture. There is a linear chromatic descent from B-flat down to E in the initial statement
that can be heard in the first bassoon if one listens carefully, but the middle ground is quite static,
Alexander Silbiger: ‘Passacaglia’, Grove Music Online ed. L. Macy (Accessed 17 March
2005), <http://www.grovemusic.com>
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sounding A major overall. From the original tema, Stravinsky quotes TA and TB directly at 39
and 40 and TA again at the end of the variation at 47, as can be seen in the example below.
The middle variation materials include exciting flourishes of sixteenth notes alternating with
triplet ideas. The chart also shows the harmonic motion from A major through various keys and
back to A major which finally ends as dominant to the following Variation A.
From 49 through 51 we hear Variation A for the final time, identical except for the last
measure, which is adjusted so as to prepare Variation E. This variation is a fugato based on a
subject that clearly derives from the original tema parts TA and TD, and vaguely from parts TB
and TC, as can be seen below.
Stravinsky is very creative not only in using octave displacement to create new sounds on the
same old theme, but he also is free with his use of repeating notes to get just the right amount of
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expectation and surprise from his listeners. He pieces together the subject in a very balanced and
symmetrical way, switching one note here and there to create an intriguing line as can be seen in
the example below.
The fugato is based on an octatonic theme, and Stravinsky, as a fine craftsman, tailors the end of
the initial subject to include the notes B flat, E, and G, which are included in the octatonic set
used in the real answer beginning in the clarinet. The two octatonic scales can be seen side by
side below.
Stravinsky gives us two statements of the subject and answer, each time thickening the texture by
adding more instruments and more counter point. Five measures after 53 an episode begins
which is more free and chromatic in nature, modulating and very intense in dissonance. This
builds to a climactic section at two measures before 54 and then finally leads to a statement of
the initial subject at three after 54. Some of the imitation found around rehearsal 54 is similar to
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the imitations found at rehearsal 4 in the first movement, though in this fugato the harmonic
tensions are very high. The form chart below shows the development of this little fugue
variation.
The Finale comes right out of the end of Variation E in a brilliant and smooth transition
in the bassoons (This octet must be considered one of the ultimate pieces for bassoonists!).
Stravinsky begins with an arpeggio theme accompanied by the C major scale. What is
interesting is that he treats the scale independently of the theme, in what must be building on
renaissance principals of iso-rhythmic motets in which the melodic and rhythmic elements are
treated separately. Here the scale begins and ends at different times then the melody, but it is not
the least concern because it is independent of harmonic pulls developed in the Baroque and
classical period. The scales simply run their course in the initially set pattern repeating until the
section of music is complete. The form follows a Rondo form or might be called a Pseudo
rondo, as the chart below shows. As was seen in Symphonies of Wind Instruments, the sections
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could come in another order—“moment form”—except for the final chorale is the perfect ending
and must come last!
Beginning
m. 459
(2 m. b4 58)
58 (m. 461)
59
60
61
Theme A; C scale underneath
Repeat A
62
m. 508
63
64
65
66
4 measure interlude; ostinato like Bssn. 2;
Return of Theme A
Clarinet joins as before
Continues as before, but with a change 2 before 65
Theme A in Trpt. 1
Theme C=C Phrygian scale in cl. Followed by leaps;
Ostinatos in cl. Bssn.
Theme C1.2 in trpts.; cl. = chromatic variation
Theme C1.2(reverse of 67) fl. + Cl.
Theme A’
Theme C1.2 in diminution (very chromatic)
Theme A’ Trpt. 2
Theme C1.2 bssn
Theme A fragments
Chorale idea introduced; all rising motion in various lines
Chorale -descent to D
-related to Theme A through C major descent and arpeggios,
augmented!
Chorale ending/conclusion-descent to C-related to Theme A through C major descent and arpeggios,
augmented!
67
68
69
70
71
72
73
74
Clarinet enters with scale work
A variation
A
Transition for two measures
Theme B
C major
C major
C major scale; d minor at 473
DFF#A
A
F scale, C scale,F, D7…d,e,d,F,
D mixolydian
C
C
C
D flat
C Phrygian
Bb…B nat.
B minor…
c minor
e minor
D; Eb;
Eb
F7 G7
Very static feel
F; C
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