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; N ~ N A L Y S L : :OF

THE DUMBARTON OAKS CONCERTO

FOR CH/.MBER OHCHE3TRA

Y IGOR STR \ VINSKY

Presented by

James Daniel Dowdakin J r

To f u l f i l l the thes i s requirement for the degree of

Master of Music

Department of Theory

Eastman School of Music

of the

Universi ty of Rochester

June 1953



f liL

596 R5



TABLE OF CONTENTS

PageINTRODUCTION • • • • • • • • • • • • • • • • • • • • • 1

CHAPI'ER I STRUCTtJRf:.L ANALYSIS • • • • • • •

CHAPTER I I CADENCES AND CONTINUITY • • • •

CHAPTER I I I HARMONY AND SCALES • • • • • • • •

3

58

73

CHAPI'ER IV MELODY, r.tiETER AND REYTl-D\1 • • • • • • • • 9

CHAPTER V SUYJlv ARY AND CONCLUSIONS • • • • • • • 109

BIBLIOGRAPh"Y • • • • • • • • • • • • • • • • • • • • • 11 2



INTRODUCTION

On the back cover of the long playing recording 1of the Dumbarton Oaks Concerto, Ingolf Dahl has given the

following information about i t s composition:

This work in three movements (Ttmpo gius to;A l l e g r e t ~ QQ2n ~ was wri t ten in the winter of1937 and spring of 1938 in the French mountains andin Par i s . I t s f u l l t i t l e reads: Dumbarton Oaks;8-V-38; Concerto in E f l a t for Chamber Orchestra.The instrumentat ion consis ts of 3 viol ins , 3 violas ,2 ce l los , 2 double basses , f l u t e , c l a r ine t , bassoon,2 French horns.

Dumbarton Oaks i s the name of the Washing-ton es ta te of the Hon. Robert Woods Bl iss , formerUnited States Ambassador to the Argentine and Chairman of the Visit ing Committee of the Music Departmentof Harvard Universi ty. This es ta te was subsequentlyto become famous fo r ra ther l ess musical reasons, butin naming his work Stravinsky was obliquely dedicating i t to Mr. and Mrs. Bliss on the occasion of t h e i rt h i r t i e t h wedding anniversary. On t h i s date (May a,1938) i t received i t s f i r s t performance under the d irec t ion of Nadia Boulanger a t Dumbarton Oaks, and,almost simultaneously, i t s f i r s t Paris performance,under the direct ion of Stravinsky.• • • • • • • • • • • • • • • • • • • • • • • • • •

The Dumbarton Oaks Concerto followed chrono-logical ly the composer's sparkling and l ighthear tedba l l e t Card Game and preceded his monumental Sym-phony in C . Both of these works are to some extentref lected in t h i s Concerto. The ba l l e t , in par t icul a r was the parent of the del icate ~ ganse ofthe Concerto's second movement. The symphony, on theother handl i s ant ic ipated, thematical ly as well ass t ruc tura l y , in the Concerto 's more r ichly texturedouter movements.

1s t ravinsky, Igor, conducts the Dumbarton Oaks Fes t iva lOr.chestra in his Dumbarton Oaks Concerto. .Mercury Class icsRecording, M 10014.



~ v terms used in the body of the thes i s must be

explained here e md these are as follows: zero ax ia l se

r i e s and poLlri ty of a ser ies . The zero-axia l se r ies i s

the term applied to a l imi ted ser ies of notes with no s in

gle note of the ser ies s t ressed as i t s tonic center. The

second term i s bes t described in re la t ion to the formDtion

of scales in the medieval modes. In t h i s system a l l modes

employ the s ~ 1 m ese r ies of tones wihh di ffe ren t tones de

signated s f ina l or tonic notes . These f ina l notes < re

supplied with standard mod,Jl cadence formulas which er;;pha-

s ize these par t i cu la r tones . When mentioning the polar i ty

of a se r ies in t h i s work, i t i s implied t ha t one pDrticu

l a r tone does receive more emphasis than any of the r·est

and i t i s f e l t as the f i na l of the scale bein£ used.

2



CHAPTER I STRUCTURI•L N t ~ L Y S I S

Fi r s t Movemen t

The f i r s t movement i s t i t l e d Tempo Giusto. The me-

tronome se t t ing i s :=. 152; t h i s tempo i s held throughout

the ent i re movement

The plan of the movement i s as fol lows:

1. Beginning to Figure 7: Introductory mate

r i a l and presentation of the main motive of the f i r s t

movement derived from th i s mater ia l . The tona l i ty i s

basical ly E-f la t major.

2. Figure 7 to Figure l l : Contrast ing sect ion.

The tona l i ty i s basical ly D major.

3 . Figure 11 to Figure 20: Material from 1.

above comprises the t rans i t ion to the fugal subject

which i s derived from the main motive. The fugue i s in

C minor.

4 . Figure 20 to Figure 25: Return of material

from the f i r s t sect ion al tered and extended. The to

na l i ty i s E- f l a t major.

5 . Figure 25 to Figure 28: Coda The tona l i

ty of the previous section i s re ta ined but there i s a

complete cessat ion of harmonic motion.

From Figure 28 to Figure 29 there i s an eight

measure sect ion consis t ing of l inkin5 mater ia l between

3



the f i r s t and second movements.

The best descr ipt ion of t h i s type of composition

was given by Ingolf Dahl in his program notes describing

the Symphony in Three Movementsl. e ca l l s t h i s work

another example of tha t addi t ive const ruct ion, for the in

vention of which Stravinsky i s j u s t l y famous and which has

proved so in f luent ia l on the younger composer. I t i s a

formal principle which conceives of music as the succes

s ion of c lea r ly outl ined blocks, or planes, which are uni

f i ed and re la ted through the continuity of a s tead i ly and

logical ly evolving organic force .

The logical ly evolving organic force in the f i r s t

movement of the Dumbarton Oaks Concerto i s the t reatment of

the three note motive, ~ - f l a t ,~ ~ - f l a t(5·7-8 of the E-

f l a t major sca le ) . This motive, or themes generated from

t h i s motive, i s found in every section of the movement.

The motive i s found f i r s t in the f lu te l ine a t the

begiru1ing, and l a t e r a t Figure 4 , i t i s used independent

ly. I t undergoes a gradual decrease in range from Figure

5 to Figure 6 u n t i l i t s span has been reduced from a per

fec t fourth to a minor second. I t appears a t t ha t point

concurrently with i t s or ig ina l form. The smaller form of

the motive then proceeds to spread out again from Figure 6

to Figure ? .

l ingol f Dghl Program notes of the New York PhilharmonicSociety (January 20, 1946), Igor Stravinsky, Conductor.

4



The contras t ing sect ion from Figure 7 to Figure 11

uses two forms of the main motive in a sequence as i t s

theme. I he or ig ina l motive i s hidden in the texture of

t h i s section, having four entrances in recognizable form

in the sub-section preceding Figure 11 .

The motive i s employed in the i r s t fugal entrance

found two beats before Figure 13 . The i r s t tone, g i s

found in the cel lo and bass l ines and marks the cadence

point of the t r ans i t i ona l sect ion. The violas enter with

Q-natural and £1 and then continue with the i r s t complete

statement of the fugal subject .

In the sect ion af te r Fig. 20, which follows the

fugue, the motive appears as i t was used in i t s i r s t solo

statement a f t e r Fig. 4 . The instrumentat ion has been C:<l-

tered, and new elements have been included in addi t ion to

the contrapuntal associa te which was used in the i r s t

statement. _F'inally, the motivei s

found as p<1rt of a seventone ostinato (g, Q-f la t , g_ -f la t , Q-f la t , l, -f lat) in

the Coda from Fig. 25 to Fig. 28.

As a general ru le , the tonic note of the s ~ l e of a

sect ion i s the f i na l tone of the primary motive as i t i s

used in t ha t sect ion. The f lu te l ine gives evidence of

t h i s in the i r s t two measures of the movement in i t s use

of the motive. The motive i s also found in the f lu te l ine

in the four th and i t h bars af te r the beginning. The sec

t ion from the beginning to Fig. 2 employs the seven tones

5



of the E- f l a t major scale .

n a l t e red form of the motive i s found i n t h i s sec-

t i o n a l so ; i t i s in the l ~ r i n e tl ine in the second and th i rd

b:. irs f t e r the beginning and in the second and th i rd b&rs

f t e r Fig. 1 . This motive use i s a four th below the primary

form. See Ex. 1

Example 1 . ( I - Beginning)~ I P I \ I ~ A i t Y~ r . . . . ; . ; . ; .

a.. ...... MITIV' .

~ ~ r = = . :· = - = = ~ = - = = ~ ~ ~ - = = = · - = =J

• J

6

61o1\/ T R..£~ b t \ ~MoT ~£

Ifiaterial from the begi. hning sect ion i s used and ex

tended in the sect ion from Fig. 2 to Fig . 3 . Ihis sect ion

i s ac tua l ly a modulation to the key of the f i r s t bar f t e r

Fig . 3 , C harmonic minor. The o r i g i n a l key of E - F l a t nL.jor

retur·ns in the second measure a f t e r Fie:;. 3 . In the four th

measure t r i ad s of ~ f l a tmajor and ~ m i n o rcombine to i n t ro

duce the f i r s t solo statement of the motive a t Fig. 4 in t l::e

key of E- f l a t major.



The motive i s given three t imes in succession in

the f i r s t ~ n d second measures a f t e r Fig. 4 . I t s accomra

nyinc voice i s ac tua l ly a contrapuntal assoc ia te , since the

two l ines are found in the re tu rn af te r Fig. 20.

Example 2 . I - Fig. 41ll t o •v eL: l

.t

hf te r the statement above in E- f l s t major, the mo-

t ive i s given twice in the key of I h. rrnonic minor st .§,

naturct l l , , t l ) .

In the th ree measure sect ion before Fig. s, there

are entrances of the primary motive in B- f la t rrk ljor, D-flc<t

major, ,snd G minor. These are outl ined in ::xample 3 .

measL:re Dfter Fig. 6, the primary :notive under[oes a g r ~ -

duol decre2se in i t s span, beine reduced from a perfect

7



four th to a minor second. ExAmples of these r e d u t i o n ~are

extracted from the score in Ex. 4 .

From the th i rd measure a f t e r Fig . 6 to Fig . 7 the

motive in te rva l i s e x p ~ : : . n d e d .; , f ter the f l u t e gives two

statements of the motive in the minor second form in the

f i r s t two me,,;3ures a f t e r Fig. 6 , t expands t h i s fit_:ure to

a major second ~ - f l a t l ,~ - f l a t l in the t h i r d measure.

The c l a r i ne t adopts the major second form on ~ - f l a tand

~ - f l a t a t the beginning of the f i f t h mensure and sprec,ds

the in te rva l to a major t h i r d on the next beat g- f lu t to

12-flat) •

After Fig. 6 the horns D.nd bassoon make use of the

or ig ina l motive and give a fo recas t of the openinc of the

fugue subjec t , w.,ich r.:lclkes i t s f i r s t ent ry a t Fig. 1 3 .

The bassoon end second horn are doubled in v o presenta-

t ions of the mot-ive in the f i r s t o.nd second me Jaures of

Ex. 5 below. The f i r s t horn en te r s on the upbeat of the

second me sure with a statement on the same tones in s t r e t

to fashion. i ihile the f i r s t horn holds his f i n . ~ ltone , the

bassoon l ine continues in the fo recas t of the furue sub jec t .

i.he f i r s t horn und bassoon follow t h i s wi l L one more , - J t < ~ t e -

ment of the motive doubled a t the unison.

8



5 . I - Fig. 6)

In the me:)sure preceding Fig. 7 , the bassoon l ine

repeats once .:: gain i t s fo recas t of the fugue sub jec t , but

t h i s time the i r s t horn follows with the pr inc ipa l motive

employed in the key of the next sec t ion . The i r s t horn

continues with o statement of the subject of the contrus-

t ing sect ion. l close studJ of the new sub jec t reveals

t ha t i t i s the or ig ina l motive plus the inverted r e t ro

grade form of the same motive. See Ex. 6.

Example 6 . I - Fig. 7)

GJD J - F :::::= =- - ~

ij1 ffJ I J n J _ ) ~ _ o g b £r . . .~ _ _

7

The sect ion from Fig. 7 to Fig . 11 i s in te rnary

form \ - B - i . l ) , the pc.:rts indicated by eho.nges of sc<::<le.

The scale of the sec t ion from Fig. 7 through the i r st. :nea-



sure af t t : r Fi,s. 8 i s basical l . , - D mejor. /1 modulat ion occurs

i n the second measure a f t e r Fi.t:. 8 , ·which introduce:.:> the

scu le of G major i n the t h i r d measur-e. (This i s an excmple

of an enc losed - th i rd 11 modulat ion; the ton ic notes of the

t h ree sca l e s used in the sec t ion a f t e r Fig . 7 , i n the nwdu-

l a t i o n nd in the sec t ion fo l lowin[ t h i s modulat ion in the

t h i r d measure a f t e r Fig . 8 give the fo l lowing s e r i e s :

D B G .

;. r e p e t i t i o n of mate r i a l occurs i n the f i r s t me;tsure

o f the G s c a l e . Tbis me.,sure i s a f: : ; ir ly accura te cop / of

the f inDl m e . ~ . s u r eof the D sca l e found a f t e r Fig . 8 . l> .l.Qst

o f the l i n e s have been dropped one s t ep f o r the r e p e t i t io r t

in the nevJ sca l e on G. 1 modul<: tion i n the me.:lsure before

Fig . 9 brinr :s abollt the r e t u r n a t Fig . 9 of the m2ter i< l

found o f t e r Fig . 7 . i , f ter two and one-h<::lf m e . : ~ . ; . ; u r e srkw

mc:.teriel i s in t roduced . In the fou r th me Jsure a f t e r ? i g . 9

a shor t passage of fou r th s i s added t o the running s i x -

t e en ths of the b:c;ssoon l i n e . t . t t h i s same po in t a broken

10

s ta tement o f the main motive a p p e ~ ~ r sin the v io l in3 . See Ex. 7 .



In the f i f t h ;ne··sure o f Fig . a s imple r sc . : le i s

announced by the int:rod'-.:.ction of g - n a t u r :11. ~ < tF i e . 10

the b:,ssoon l i n e becomes 8 s e r i e s o f fourth;_, i n < J s ix - tone

os t ina to which continuE:,:; fo r four me surea a f t e r Fig . 1 0 .

The ton· . : l i ty of t h i s sec t ion from Fig . 10 t o F ig . 11 L ;

i n d e f i n i t ~ : : .

The main :notive makes an a p p e a r ; · ~ n c ei n t he :;econd

<:md t h i r d ;neusures a f t e r Fig . 1 0 . l he f i r s t tone i s 2_1,

found as the f i n a l note of a f i [ ;ure i n the c l u r i n e t . '..:'he

v i o l i n s fol low with the re.::;t o f the motive an octave hi, t :her.

At the end o f the fou r th me sure o f Pig . 10 the f i r s t t NO

notes of t}& motive appear as a chord ~ 2 , - s h a r p ? ) ployed

s forzando i n the v i o l i n s and v i o l e s . The f i n a l tone £ ~ )

i s he.;rd i n the next measure . I he same process i s r e p e C ~ t e d

a t the end of t he f i f t h measure o f t h i s s e c t i o n . See Ex. 8.

8. ( I - Fig . 10)MoTIII .

11 a :nat ive

chord of the key o f E - f l a t i s he ; rd , Jnd cre:J tes a c l ~ a n L e

of scu le to E - f l 8 t major. This chord i s repea ted a t the

end of the f i r s t , second, and t h i r d m e ~ - \ s u r e so f l ig. 11 .



;:::xemple ~ : ;

___

/, genera l ana lys i s o f the sec t ion i n D from Fit: . 7

to .F ig. i s th:.;t t i s i n l e ad ing - tone r e l a t i o n t c tbe

sec t ion i n E f l a t mcJjor which fol lows o t Fig . 11 .

The f i r s t th ree meusures .:,lfter Fig . 11 contn in con

trapunt : 1 l i n e s der ived from the m . ~ t e r i n lfound uft .er Fig .

2. In the fou r th measure a f t e r Fig . 11 a c lo se i ~ i t t i o n

of the s e c t i o n a f t e r Fig . 2 i s begun. This cont inue0 to a

h a l f cadence on a domin.:-_;,nt seventh chord on i n the m e [ ~ -

sure before Figure 12 . This cadence chord i s extended i n

the nex t sec t ion from ?ig. 1? to Fig . 1 3 . ,-,t Fig . l ~ J the

fugue i n C minor completes the suspended cadence . In thep a r R l l e l ex:<mplf:) a f t e r Fig . 3 the dominant ~ i e v c n t l

chord occurred :i.n the mea sure before Fig . 3 and . <ns r e -

solved i n n o r m c : ~ lfash ion to minor i n the fo l lowinc ne;_,-

su re .

Vii t h the r educ t ion of the penul t imate Cctde.c,ce cl1ord

t o an octave § i n the c e l l o s und bas se s i n the me:.;::.mr·e r r e -

ced ing Fig . 13 t he f i r s t stc.ternent o f the fugue s u b j e c t

which i s quoted i n Ex. 1 0 i s begun. This oc tave 1 i s a l so

the f i r s t tone of the sub jec t which i s given i n the violH



l ine i n the key of C melodic minor. Ex. 10 includes r e f e r

ences to the der ivat ion of the melodic fragments of the

fugue subject .

I Fig. 13) C , D b , E ~~ ,F , c . . , A - . , ~ , ~ b ,

f J•T' ' w u l t f ~

r · · ·he next entrance of the subject s t a r t s on £1, the

next note a f t e r the f i na l note of the viola statement.

This statement i s in F minor, and continues in normal fash

ion u n t i l the end of the subject , where an eighth r e s t i s

subst i tu ted for the f i na l note . he l a s t f ive notes of

normal statement follow a f t e r th i s r e s t . he next two

statements are exact re-statements of the subject as given

in the viola l ine in Ex. 10. These occur in C minor s ix th

measure a f t e r Fig. 14) and F minor th i rd measure a f t e r

Fig. 15) .

In the three measure section a f t e r Fig. 16, scales

on C and F are used concurrentlJ• he primary motive i s

found in two forms in t h i s section; i t occurs in the v io l i n

l ine in the scale on F as a f i l l ed - in in te rva l of a four th ,

which i s extended in the second and th i rd measures; and also

in the ce l lo l ine in the f i r s t measure a f t e r Fig. 16. In

t h i s second use, i t i s an appl icat ion of t ha t portion of the

13



fugal subjec t found in the viola l ine in the second complete

measure of EX 10

11. ( I - Fig. 16)F ' ~ ~ ~ A ,c ~ ~ ~

The two scales on F and C shown in Ex. 11 modulate

in the fourth measure a f t e r Fig . 16 to a sca le on i \ - f l a t ;

t h i s sca le i s found on the enclosed th i rd between the two

or ig ina l scales found in Ex. 11. The f i l l e d i n four th form

of the motive, as found in the f i r s t measure of Ex. 11,

occurs in the viola l ine in the f i r s t measure of the new -

f l a t sca le .:: ee Ex. 12) . m incomplete statement of the

fugal subjec t moving from one instrument to another also

s t a r t s a t th i s same poin t . The three-measure sec t ion

which s t a r t s a f t e r Fig. 16 represents the f i r s t three notes

of the fugal subject ini t s

use of thef i l l e d i n

form ofthe primary motive. The sec t ion quoted in Ex. 12 i s a par

t i a l statement of the fugue l ine found a f t e r the primary

motive. The re la t ion of the actual subjec t to t h i s sec t ion

J 4



i s shown in 1 2 .

Example 12. I e measures before Fig . 17)F ~ r l t E M ' ' UoFS e.a&.c.-r

1--fff t-¥- * - ~· · ~ '=n -c·2¥ ~ : r J @ f ~• I r •I • I f tI I I I

I

I I : • I

l .

The motive appears in normal form a f t e r the exGmple

shown above. I t i s found in the ce l lo l ine as shown i n the

f i r s t and second measures of Ex. 13; however, t h i s p a r t i c u

l a r statement has two extens ions . I f the t i ed note g) of

the ce l los i s resolved to the s - f l C ~ t lof the v i o l i n l ine i.n

the next measure, and i s continued i n t ha t l i n e t o the -

naturc l l l , the beginning of the fugal subjec t i s h e : : : ~ r dwith

the vio l in por t ion in invers ion . The other applic_;tion of

the motive i s as the in t roductory por t ion of a complete

statement of the theme of the contras t ing sec t ion a s found

i n Ex. 6 . In the second measure of i. :x. 13 the l ine moves

up from the .sa-flat in the c e l l o t o the viola £.1• From t h i s

£.1 the l i ne continues in the manner found in Ex. 6 . Compare

Ex. 6 and Ex. 13.

15



16

17)

In the four th measure af te r F'ig. 17 a one-measur·e

extension of the previous mater ia l serves £ S a modulation

< ~ 1 n din t roduct ion to the new sca le of E- f l a t minor. The

modulution i s effec ted b Y nn expanding f igure in the upper

s t r i n e s , as shown in Ex. 14.

Example 14. I - 3 measures a f t e r Fig . 17)

The mate r i a l found in the thi 'd and four th measures of x.

14 i s repe:.:,ted essen t ia l ly in the f i r s t two measureo r :f ter

Fig. 18.

In the sect ion from Fig. 18 to Fig . 20, the furue

mater ia l makes i t s f i n a l e1ppeurances. The fu ue subjec t in

E- f l a t minor, i n i t i e ted by the horns in the t h i r d and fou.rth

measures of Ex. 14, i s continued fu r the r in the second, t h i r d ,

and four th measures a f t e r I< ig. 1 8 . On the f i n a l note iu in:

i t a t i o n of the subject , founa in the four th measure, ~ f l a t l

marks the entrance of another statement of the subjec t in

the key of R-f la t minor.



j l l elements adopt the scale of - , - f la t minor in the

measure before Fig. 19. In the second measure a f t e r Fig .

19 the new scale of B-f la t minor begins to i n f i l t r a ~ ethe

t ex tu re . The mater ia l in B- f la t minor makes use of the fu -

ga l subjec t in t h i s s h i f t of scales , gradual ly extendinri t s use from the primary motive, £ \S found in the f i r s t horn

in the f i r s t and second measures of i :x. 15, to the l a r r e

port ion of the subject , as found in the winds in the t h i rd

o.nd four th measures of t h i s same example. With t h i s entry

of the winds a l l elements are using the s c ~ t l eof B-fl:. .t mi

nor. The Ninds continue the subjec t u n t i l the t h i r d beat

of the f i f t h measure on g f l a t l . This g f l a t l in the VJinds

i s the 1::: s t tonefround in s t r i c t imi ta t ion of the fugue :.:>ub-

j e c t ; however, the fugue subjec t i s continued in another

manner in the vio l ins and violas . /\t t h i s point these in -

struments are heard in 8 por t ion of a scale l ine sp;:mning

a per fec t f i f t h . This i s to be considered an invers ion,

both in di rec t ion and i n t e r va l spanned, of the c l l r o m ~ ~ \ t : : c

l ine of the fugal subject which moves downward : perfect

four th in the th i rd and four th measures at ter Fig. 13.

Compare bX. 10 and Ex. 15.

t xample 15. (I - 2 measures < : ~ f t e rFig.s e 1 ~ c r

17



Two b e a t s before Fig . 20 the f i r s t horn i s heard on

. Q f l < ~ twii ic t j s ·th8 f i r 3 t note o f the primary r:1otive i n E

f l a t major which appears i n t h e s e c t i o n :.:fter· F ig . 20. l he

key o f r : : - f ln t r:ttljor i: > ne ld vl i thout accidental : . ; from . : ' i r.

?0 to the end o f the Cod:J a t Fig . 28. This s e c t i o n fro n

F i g . 20 ; JS f : ~ r as Fig . 5 make.s use o f mo. terial found i n

t h e f i r s t s e c t i o n of the compos i t ion from t h e b e r i r m i n t _ ~t o

Fig . f t q u a l i f i e s , t h e r e f o r e , as a r e c a p i t u l a t i o n .

I he mElter ia l found i n t h e f i v e rne:..tsure s a f t e r .;: ig.

20 i s a r e - s t a t emen t o f the mute r i a l found i n Ex. 2 . ... r;.e

chnnges are i n t h e d i f f e r i n ; ~o r c h e s t r a t i o n l and i n t ~ n ad d i -

t i o n , , f t e r Fig . 20 o f u stt;cc,::to c e l l o :md bass l i n e i n

e igh th no te s . . ~ i n c et he re i s no modula t ion out o f ~ f l u t

mnj or i n t h i s e n t i r e c l o s i q ; s e c t i o n , t h e movement. to

minor expected in the t h i r d measure of t h i s . Jec t ion does

Example 16 . I - Fig . 20

lThe horn end b c : . . ~ o o nhave thesoc iQte a f t e r i ~ t he v i o l i n st h e s e l i n e s a f t e r Fig . 4 .

18



n in e o f the C o d ~ . See Ex. 52.

sudden end to tLe nervot s h·_,rr:tordc novement of t he previ.ous

s e c t i oD . . , downwar·d-movinc s c e l e l i n e i n the upper ' t r ings

i s contr ; s t e d with a sevena.tone os t im: to i n tr.e lower·

strirJ.fS \ ~ l . i c b .moves, wi th in i t s r ; : t n ~ : eu p w ; : ~ r d .This o s t i

n; CJtO i s ectu<1ll.;' two s t c ~ t e : : ; e n t . : .of the tL ree -no t e pri:n<:r

moti ~ c (Q.-fl. t _gl, s t - f l n t l ) p lus one o the r member· o f tL.e

E-fl<:01t m ~ : . ~ j o rtr i£;u g ) , whicr1 indic: :1tes t he beginnin. t o f

each o s t i n ~ . 1 t ogr·oup. The windc> and Lorn:J move dowm; rd on

choros o f t h e key of E - f l a t mr ljo r , wldch move from one

chord membe1· to the next(with c o r r e s p o n d ~ ,chanre._, ir:. o

s j t i o n of <Jll the o the r p a r t s . One member o f t he cLur· _ i s

usu·- , l l j f o u ~ ~ 1 d, l t e r e d t o c r e e t e \ new chord , al thouLL t h i s

c i l t e r a t i on does no t occur every t ime . See Ex. 40.

The s e c t i o n from 7 i g . 27 t o F i g . 8 i s an exac t

copy of the 8ec t i on from F i g . 25 t o .?ig. ~ ~ 6 wi th tl·le second

' ec t ion a t : : s o f t e : ~volume t h a n t h e f i r s t . The Codd f r o u

Pig . ? to F i [ 28, t h e r e f o r e , has i t s own form C .-B-, ) •

In t h e l i nk ing s e c t i o n f r - o n ~F i g . 8 to .?ig. ~ - ~ ·

a :noduL,tion occurs frorr; the E - f l a t n t : : t ~or scc:1le o f tLe f i r s t

movement t o the key o f F ff i j o r . '.::'his chord appe rG i n t.l1e

s i x t h rne;_:sure a f t e r I< ii.> 28 . In t he seven th t ~ n o e it_ l:t,

:ne:-;sur·es, the s i n r l e t one , E i s hec rd , doubled i n oc t : ve s .

'1'his i s ti1c dor:dnant sca l e s t ep o f t he B - f l a t sce.le u:::;ed i n

20



the second movement, and i s also the f i r s t tone heard in

t ha t movement. The ind ica t ion a t t acca i s found a t the end

of t h i s l inking sect ion.

second M9vement

The second movement i s t i t l e d l \ l legret tg ; the metro

nome se t t i ng i s J :: 108 t h i s tempo holding throughout the

movement.

The movement i s in te rnary form i t s f:eneral out l ine

presented graphica l ly as fol lows:

Graph I

This movement i s a model of s imr l ic i ty. Extensive

use i s made of two and th ree -par t wri t ing; al though ;: ore

l ine en te r occasionally these u s u ~ ycons i s t of tones re -

la ted to the busic har·mony of the accompanir:1ent or to one

of the melodic l i ne s . There are no ce:ses of the use of two

scales with di ffe ren t tonic notes a t the same t ime c 1s in

the f i r s t movement; in the second movement, however the

moving or melody l ine can be found employing tones from one

por t ion of the scJ le or se lec ted tones from the s c ~ l e while

the accompaniment makes use of the remaininr tones or ano

the r se lec t ion of tones or even _;ll of tl1e tones of t..ds

sa me s c le •

21



22

~ s evidenced by Graph I the mater ia l found a t the

outse t of the movement ~ of Grnph I ) re turns in a l l sect ions

except the contras t ing middle sect ion .£P. 1 study of the

manner in which t h i s mDterial i s used in the following sec

t ions wi l l give a clear idea of the form of the movement.

The theme of the movement i s begun without intr-o

duction in the vio las . : ee t;x. 17. I t s f i r s t tone (.fl) i s

the upper boundary of the melody for four measures. TLe

f i r s t and second measures are repeated in the t h i rd ana

four th me 'tsures with the only change found in the accompa

niment. 'l'he bassoon tone (.§-flat) i s found in a d i f f e r en t

par t of the meosuret

The leaps of a s ix th in the f i f t h measure of ~ : ; x 17

are re la ted to the th i rd (g l - f l ) of the s ix th measure in a

scalewise manner. I f the s ixths are given in invers ion,

the fol lowing se r ies of in ter l inked t h i r d s develops:

, 2-flat - Q, £ -~ - f l a t ,

- •

In the s ix th measure of Ex. 17 the l ine i s extended

in to a lower range ( to ,5 ), but i t immediately swings bc\Ck

in a leap of a minor t en th ( to £.2) to balance t h i s . The

lower tone (A) i s repeated in the next me.c:lsure by the accom

paniment which resolves to Q•f l a t to form the cadence of

the phrase.

lThe simple accompaniment of the bassoon nnd ce l los i s gradually expanded in the f i r s t sect ion from Fig. 29 to Fi£•32. The b.::tssoon in:t:roduces s ix teenth notes to the l i ne ,and f ina l ly becomes the only accompanying vioce in the se-

cond measure a f t e r .F'ig. 31.



•

17 I I - Fig . 29)

r rr·· ±f· - -- - ~ -

·. . . ··-· -

In the sec t ion from Fig . 30 to Fig. 31 the mater-ial

from the l a t t e r par t of the f i r s t p.hrase group f i n a l three

measures of Ex. 17) i s extended and developed. The sec t ion

from Fig. 31 to the f i f t h me:::.sure a f t e r Fig . 31 makes use

of the melodic mater ia l found in the f i r s t four measures of

Ex. 17, again extended and developed.

In the f i f t h measure a f t e r Fig. 31, the l ine of the

melody and accompaniment come together on a unison gl ) .

I he vio l ins continue from t h i s ,gl with members of the D m£1-

j o r chord, the chord members root , t h i rd , and f i f t h ) orna

mented by upper neighboring tones .

This D major chord does not an t i c ipa te the t rue to -

na l i t y of the next sect ion s tn r t ing a f t e r Fig. 32. s ~ h o w n

in Ex. 18, the tona l i ty i s changed to D minor in the f i r s t

measure a f t e r Fig . 32.

The sect ion from Fig. ? to Fig. 33 i s a dialoeue

between the c l a r i ne t and the vio l ins . In the f i r s t measure

of Ex. 18 the tones of a .£ minor t r i a d , plus ]1-fl<.::t < <nd £

na tu ra l , are heard in the melody l ine of the c l a r i ne t ; the

viol ins r e - s t a t e the clc...rinet phrase in the second measure

23



4

with one tone a l te red . During t h i s sect ion the notes of the

accompc.niment played by the ce l los are members of the .,.b; .minor

t r i a d . In the s ix th me ;sure of Ex. 1 8 , the vio l ins .::mswer

the c l a r ine t statement of the f i f t h me:-,sure with a th ree -

note fragment which, combined with the accomp<:miment note ,

suggests a dominant funct ion in an F scale . The new F scale

enters in the f i r s t measure a f t e r Fig. 33.

Example 1 8 . I I - Fig. 32)

[ ) VL NS L UJ

~ ~ ~ ~ ~ ~ ~ ~ ~

~ ~ ~ E ? - E i E U ~ * ~:J =,-i f1 -he sect ion in D minor found in Ex. 18 has thus

served in another enclosed-third. , modulation. The keys

employed in the sect ions a f t e r Figs . 31 , 3 2 , and 33 give

the following se r ies of tonic notes ; ~ - f l a t ,~ •

The sect ion from Fig. 33 to Fig. 34 employs a com

plex SC21le, i t s pola.ri ty es tab l i sh ing E as the tonic note .

In i t s use of the two th i rds of the sc:..;le ~ ; ; f l u t and fl-

na tura l ) , the toncdity created i s nei ther major nor minor,

but a combination of both. The melodic ~ ~ t e r i a lfound in

Ex. 17 i s re - s ta ted in t h i s sect ion using t h i s F sca le .

In the f i r s t measure a f t e r Fie . 34 new mater ia l en

t e r s (sect ion£. in Graph I ) . See Ex. 19 . The f l u t e has



mEny r e p e t i t i o n s of ~ f l a tand s t r eng thens the f e e l i n g fo r

F minor ns t he t o n a l i t y. The melody l i n e i n the c l e r i n e t

i n the fou r measures o f t e r F i g . 34 employs t he .£::-flat r l so .

·\ r e - s tn t emen t o f m a t e r i a l from the : f i r s t s t : tement

of the theme i n the F s c < ~ l e [ JS found a f t e r : f ig . 3 3 , i;:;

found i n the bu.ssoon l i ne i n the f i r s t four measures a f t e r

Fig . 3 5 , In the f i f t h m e < ~ s u r ea f t e r Fig . : 5 the c lar i :1e t

r e - s t_ , t e s in F major the melody found i n t he f i r s t me :oure

plus one bea t i n the second measure of Ex. 17. This e re -

a te s .::m emphasis i n the two examples on the two t h i r d s (6-

f l a t : ;_nd ; i -na tu ra l ) of the F sca le o f t h i s sec t ion , dnce

the lowe.st tone used i n t he f i r s t por t ion o f the motive

( the f i r s t fou r measures a f t e r Fig . 35) i s . 6 . - f l t ~ tand the

lowest tone found i n the second s e r i e s ( in the f i f t h meu-

su re ) i s . ,6-natural .

In the f i r s t me:;sure a f t e r .B ig. 36 t he bassoon

gives the theme i n t he major-minor form (descending t o -

f l a t found a f t e r F i g . 33. This i s the fou r th r e t u r n of

Sl m a t e r i a l of the graph i n t he f i r s t lHrge P < o ~ r tof t : r ~ i s

movement. The sec t ion i s brought to a cadence i n the f i r s t

25



meDsure o.fter :F ig. 37 by an E minor chord. The t h i rd of

t h i s chord ~ - f l n t l )i s supplied by the f l u t e , and viol ins

Pizzacato, and the next sect ion continues from t h i s ro in t .

The f lu te once again s t resses ,8- f la t in t h i s re tu rn of

sect ion s of the graph. In the sect ion a f t e r Fig. 37 the

c l a r ine t l ine i s a l t e red s l igh t ly in order to empha;;.:;ize

the off -bea t s . t follows the same out l ine of the e a r l i e r

l ine as found in Ex. 19. In the four th bar a f t e r Fig. ~ j ?

the bassoon makes another entrance using sect ion as i t

did a f t e r Fig. 35 in the f i r s t statement of sect ion £•

This l ine continues with an extension through the f i r s t

measure a f t e r Fig. 38; the viol ins continue on alone in

the second me<lsure to close the large se t ion l on :Q-fl;,t 2 •

The next three measures o n s t i t u ~ ethe bridge to

the middle sect ion (.12). With the exception of the f i rGt

~ f l a tpedal tone in the ce l los and basses , t h i s sect ion

i s

a re-s ta tement of thef i r s t

threemensures a f t e r

E ig.28 in the l ink between the f i r s t and second movements.

The d iy i s i s t r ings are employed in both ins tances .

·: he entrance of mater ia l g in Graph I i s found in

the f i r s t me - .sure a f t e r Fig. 39. The os t ina to Of the ce l

los and basses expresses the tona l i ty of the sect ion G

minor); the upper s t r ings are found in another os t ina to

implying an a minor chord, which produces a polychordal

e ff ec t . The deta i led descr ip t ion of t h i s ost inato wi l l be

found in the sect ion a t the close of t h i s chapter.

26



one U3inL i-fl,[jt and ~ f l E : t . The motivE. i s found in two

more ser ies t.h;:,t occur in the f lu te l ine in the th i rd c::nd

fourth measure of Ex. 22; therefore , t h i s appearance

seems more than coincidenta l . The f lu te l ine in the f i r s t

instance i s shown in Ex. 21.

Example 21. I I - measures s f t e r Fig. 40)

In the four th chro:nD, t..ic

se r ies from g up t ~ i s found in the c l a r ine t 5lone. :n

the f i f t h and s ix th measures, t h i s ser ies i s supplieo. ' .lith

i t s f i r s t tone (gl) by the upper s t r ings ; i t i s continued

in the cl.f l.rinet and bc:,saoon.

In the f i r s t measure of Ex. 22 the f l u t e begins a

l ine descending on chord tones . I t leads in to the remain

ing two f igures which include the reference to the mot5_ ve

from the f i r s t movement.

Example 22. I I - Fig. 41)

In the next sect ion the os t ina to continues alone nnd the

scale i s changed from G minor to G major. i '£ter Fig. 4

the s t r ines again re turn to G minor. In the f i r s t me sure

?



t he bassoon has an ascending ctu-omatic s e r i e s from , i-nc:;tu

r a l to . s , -natural , and back to . s - f l a t . In the second ~ n e < e s u r e

t h<:;s a s h o r t e r s e r i e s from f to g-natur1:1l and aga in

f l a t . This _s-f lat i s adopted by the s t r i n g ostin<.lto i n the

t h i r d mee:>sure <::fter Fig . 43 and, in combin::1tion with ]2.-flat ,

g - f l a t l , and f l , c r e a t e s a scc<le s h i f t t o B-flr:Jt minor.

This modif ica t ion of the sca l e cen te r i n d i c a t e s the ent rance

of sec t ion of the por t ion of the movement.

Example 23. ( I I - Fig . 43)

ti

The theme of sec t ion g i s found in the c la r ine t . i n

the t h i r d and fou r th measures a f t e r F ig . 43. ~ : e e t i le f i r s t

measure of Ex. 24. In the second me. sure of the ex< :l;::;·le

t h i s s ta tement i s im i t a t ed a minor t h i r d lower; t l l i s form

i s used i n a s t r e t t o i n the fou r th and f i f t h me:.,sures of the

example. i ~ t the conclus ion of the f i r s t s ta tement of t j 1 e

theme of sec t ion g in the t h i r d measure of the example, the

f l u t e ha3 an uscending l i n e ; t h i s l i n e i s composed of :nem

be r s of the - f l a t major t r i a d p lus £, and i s found lc t e r

i n t roduc ing a new sec t ion .

29



3

Example 24. I I - 3 measures a f t e r

The f l u t e sus t a ins the f i n a l note t_3) o f the t h i r d

a p p e ~ j r a n c eof i t s ascending l i n e through the f o u r t h :ne ··.Jure

a f t e r li ig. 44. .i tt the end of t h i s measure t he b<.tssoon l e aps

a fou r th :from ,g,l t o , t l , and the f l u t e and bassoon r e s t < ~ t e

mater ie . l from the melodic l i n e as found i n Ex. l7 . The CJ.C-

companiment i s a p o ~ c h o r d a lpassage . See Zx ?5.



The fn t rance of the so lo c e l l o on g - f l o . t l i n the

t h i r d measure af te r · F i g . 45 changes the sca l e from B-fl<·.t

major t o B - f l a t minor. See upbeat t o the f i r s t measure of

Ex. 26. The c e l l o l i n e cont inues i n the f i r s t measur-e of

the example with the motive o f s e c t i o n , found i n t he

c l a r i n e t l i n ~ i n the f i r s t und second measures o f 2x. :·4.l his c e l l o l i n e i s developed i n the fol lowing measures ,

and i s found i n s t r e t t o i n the f i f t h measure of Ex. ::: 6.

The l a s t t h ree me<-::sures of the example make use o f der ived

forms of the l i n e , and over lap i n the f i n a l mec,sure v.i Lh

t he beginnin£ o f l a rge sec t ion ~ 1 .

In the f i r s t mec sure o . f ter Fig . 47 the violo.:c; <:re

heard i n r e c a p i t u l a t i o n of the main theme ,61 . m · •. d l . l : \

theme, found from Fig . 29 t o one me.cisure be fo re Fig . 3 : ~

i s repea ted note f o r note u n t i l the l u s t note be fo re ~

end of the e n t i r e sec t ion a t Fig . 50 , where an . f l i s s lb-

s t i t u t e d fo r a g_l.

The impor tan t add i t ion to the r e c a r ; i t u l G ~ . t i o ni s the

f l u t e l i n e i n t h i r ty - second no te s . I t i s usua l ly bdsed on

5 9 6 8 5

31



chords of B - f l a t major bu t occas ionul ly a sca le l i n e i s

found or a group of repeBted t ones .

In the second measure of t h i s f l o r i d l i n e t he p r i

mary motive o f the f i r s t movement makes another appear:mce.

The l i n k t o the br idging mater iDl a f t e r F i g . 50 i s

the f i n a l note of the f l u t e pL.lssc;ge g 3 ) . The tone l i t of

the f i r s t t h r ee measures of the br idge i s D major and the

s t r inged ins t ruments a re used e x c l u s i v e l J only i n these

f i r s t t h ree mensures. In t he fou r th measure t he s t r i n e d

instrurnent s s h i f t t o an . § - f l a t chord which lws no i conrnon

tone i n the prev ious chordJ the second horn e n t e r s a t t i l i s

po in t on the lowes t tone § . - f l < : ~ t )of the cLord ;:na . ustc:.ins

t h i s tone i n t o the next measure ·without the s t r in ; : · s . In the

measure before Fig . 51 and the f i r s t measure a f t e r Fig . 51

.c1ll the r e s t of t he winds make ent r :mces .

The sus ta ined chords cont inue i n E-fL1t ma J or u n t i l

the t h i rd meDsure ~ f t r F i g 51 where the key becomer I ~

f l o t m j o r. At t h i s po in t a pl ;gal cadence i n B-fl; : ; t ma,_ or

begins which reaches i t s r e s o l u t i o n chor·d i n t he nex t :::e -

su re . The lower s t r i n r s e n t e r alone on a ~ f l . : ; tmajor chord

i n t he l a s t me:::sure ana are jo ined by t he upper ntrin ; :s



and the c l a r i ne t in the same chord repeated as the fin<:il

chord of the movement

Tb;trd Movement

The th i rd movement i s t i t l e d Con Moto with a metro

nome set t ing a t J = 160. For the contras t ing par t sect ion

~ in Graph I I below), a eWQQ i s indicated; the

metronome se t t ing i s J : 100 for t h i s sect ion. /,t i t .s com-

plet ion ,e.:npQ I i s found, and the original tempo i s kept

from t ha t point on to the end.

The movement i s a f ive port Rondo; the out l ine ofthe movement in graph form i s ns follows:

Graph I I .

ACl' a L Fvr u£ R e t ~ s i o ~ a

a

A c Aa ' C o o

The winds are predominant in the bulk of t h i s move-

ment. The str ings are found as accompnniment in a l l of the

sections except one, i . e . s e t i o n ~in Graph I I .

At the outset the movement employs a seven-tone se-

33



In the passage from Fig . 56 to Fig . 57, the sec t ion

found in Ex, 28 from the f i r s t to the eighth measure i ; ;

given i n a s e r i e s based on t he G-f la t major s c a l e . In the

measure before Ii ig, 57, t he modulatory l eading- tone (here

an iu \ -na tura l ) occurs in the basses to indica te a modula

t i o n up a major t h i r d See the seventh measure of Ex. : ~ : ~

The modulut ion to a B · f l a t minor s e r i e s occurs in the ;aea

sure a f t e r l ig. 57, but the o r i g i n a l melodic mater ia l , used

in t he previous sec t ion from Fig . 56 to Fig . 57, i s found

here once again on t he same pi tches . The dynamic i nd ica

t i o n for the sec t ion found a f t e r Fig . 57 i s For te ~ U b it o

At the conclusion of t h i s For te passage, the f i r s t

s ta tement of the fugue sub jec t evolved from the main tl1eme

makes i t s appearance. The f i r s t h a l f i s begun i n t he t l d r d

measure a f t e r Fig . 57 i n the horns a lone; a l l p a r t s r e -

enter in t he f i f t h measure to mark the cadence of t:i1is 1)o r

t i o n The horns cont inue i n the s i x t h measure wi t i l the se

cond par t of the fugue sub jec t , ·which again i s brought to a

c lose by the r e s t of the ensemble.

l he f ugue sub jec t i s qu i t e c lose ly rel<..<ted to tile

main theme. I t can be discovered i n any of the s ta tements

of the main theme as t he voice below the top voice i n tile

t e x t u r e . l he f i r s t note i s an ex t ra tone which ru :u:ne:::; the

sca le of the sub jec t ; t he p a r t evolved from the main themebegins on the second tone , which i s a f i f t h lbove the f i r s t

l he bassoon l i n e from the th i rd to the f i f t h me ~ i -

sures a f t e r Fig . 56 i s a per fec t f i f t h d i s t a n t from the

35



f i r s t statement of the subject found from t l1e th i rd through

the f i f t h m e ~ · s u r ea f t e r F i e 57.

Example 29, I I I - 3 measures a f t e r Fig. 56 [bassoon]; 3measures a f t e r Fig. 57 [horns) )

l he second por t ion of the fugue subject also hus

re ln t ion to th i s same melodic fragment of the bassoon z ound

in the section a f t e r Fig. 56. The l i ne , as found in til.e

second horn par t in the s ix th meesure a f t e r Fig. 57, begins

with a leap of a major seventh; t h i s i s ac tua l l J the rdnor

second ~ - f l n t l ,R•f la t ) of the bassoon l ine in invers ion.

The three notes a t the beginning of the second horn port ion

correspond to the second, t h i rd , and fourth tones in the

bassoon l ine above,

In the f i r s t measure c.:fter Fig. 58, the c l a r ine t

repeats the f i r s t s ix tones found in the second horn l ine

in the two measures before Fig. 58 second horn passage in

Example 29). On the four th tone g - f l a t l ) , the f lu te and

bassoon enter with the second statement of the fugue sub-

j e c t in the key of F minor. The c la r ine t continues i t s

l ine in counterpoint to t h i s second stzJternent. The cl::::lri-

net par t in the second and th i rd measures a f t e r Fig. 58

i s found in the bassoon par t in the second and th i rd mea-

sures af te r Fig. 59; i t i s used there as the contrapunt.;,l

36



The l i n e LJ cont inued in the v io l ins n.nd extends u p w : : t r - ~ .

The sca le b e c o ~ n e ssimpler i n the fou r th L1ea:.mre a f t e r /:L: J•

60 Emd the \ ay i s prepared fo r the f i n a l fuga l s ec t ion

which begins in the f i r s t me sure a f t e r Fig . 61.

The fugue sub jec t i s be[:un i n augmented for::1 in t he

f i r s t horn c e l l o s , and bassoon i n the key of D-fl<Jt l L J or

l s t mec:1sure o f t ~ 3 1 ) . The f i r s t horn l i n e t akes t r l i3

state:nent through t he second por t ion of the fugue ancJ :

complete stD.tement of t he cont rapuntu l assoc ia te . l L.e :>e-

cond ent rance of the fugue subjec t i s found i n the seco.1d

horn l i n e s tBr t ing i n the second measure of Ex. 3 1 . 1:·.ii s

sub jec t i s i n i nve r s ion and extends through both .sections

of the subjec t to the f i r s t b e a t of the fou r th me sur·E:.

The t o n a l i t y of t he second sti::itement in invers ion i s : - - f l a t

minor. The v i o l i n s and viol:::.s begin the t h i r d e n t r ~ m c eof

the subjec t on the f i n a l note of the second sub jec t in the

fou r th mec:..sure of Ex. 31. This new stutement i s in I.-Zlc:.:t

major ~ 1 n dextends to the end of the f i f t h me su re . i ~ e

four th and f i n a l s ta tement i s found i n the f i f t h r.1ec,;:;ure of

Ex. 31 i n t he c e l l o s and basses . I t i s a complete .st t .e

ment of the s u ~ e c tin F minor and extends throu.::)l t 0 t he

end of the s i x t h measure.

38



Example 31.

n the s e c t i o n af ter · Fig . 63 two sca l e s Gre p r ~ s e n t

a t t he same t ime . They are r ~ f l a tmajor and L f l a t majo r l .

I he melodic l i n e o f the sec t ion bears a s t rong rese.:nbl.J..:.-1ce

to t he main theme o f the movement. See Ex. 32.

lThe r e l a t i o n o f t he se two sca l e s w i l l be s tudied i n t echap te r on ~ r m o n yand 3ca le s .

39



I I I - Fig. 63I

In the sect ion a f t e r Fig. 64 the melodic m ; _ ~ t e r i n l

becomes prec t ica l ly s t s t i c . Example 33 includes t.be en t i r e

sect ion from Fig. 64 to Fig. 6 5 . The f i n ~ : ~ lmec- sure o f t h i s

sect ion was not included in the pocket edi t ion of the .Jcore.

I t i s performed in the recording, hmnever.

Example 33. I I I - Fig. 6417: 71 b .ScA -f, ut PeR.srAF,:: A ~ B ~ c J > E b f< : - ~ G .

l e.: J - - I '

l he en t i re sect ion fro.::n Fig. 65 to Fig. 08 wi l l be

considered in de ta i l in the next sect ion on Ostinoto.The

large section from Fig. 63 to Fig. 68 i s the Retr3nsi t ion

to sect ion in Grnph I I .

40



The sec t ion from Fig . 68 to tvvo bt:.rs before Fi,.:. 70

i s c. r e s t ~ t e m e n tof the mate r i a l found i n Ex. 28; tL.e ::1<1-

t e r i u l in thi.s sec t ion i s a minor t h i r d higher, <:lnd uses

t he sca le of the e a r l i e r s e c t i o n t ransposed up to G-fle . t .

rhe two measures before Fig . 70 are an ex tens ion Lmd aug-

ment.:::tion of the previous f igure found in the fou r th :ne

sure a f t e r Fig . 69 ( t en th me::sure of Ex. 28). This aug

mented por t ion serves to slow the pace fo r t he

which fo l lows .

:he f i r s t and second v i o l i n s are found i n a duet .:1t

t he beginning of the Poco Meno sec t ion a f t e r Fig . 70. .·he

key of the sec t ion from Fig . 70 to Fig . 7 i s C minor, .nd

t he simple accompaniment chords of the o ther instrur:1en s

are composed of members of the C minor t r i a d . Exam_ple 3<i

shows the beginning of t h i s sec t ion .

Example 34. I I I - Fig . 70)

dJ oGo M•b_- - ~ ~· = ~ · :l. :_ _· ._ ; - -

41



42

The next section a f t e r Fig. 72 begins as a re - s t a t e

ment, in the new key of B· f l a t minor, of the mater ia l found

in Ex. 34; in the th i rd measure a f t e r Fig. 74 l s t measure

of Ex. 35) , s t r e t t o s are found using t h i s melodic mater ia l .

Example 35. I I I 3 measures a f t e r Fig. 72)

[Z J

The material of the s t r e t to i s extended in the f i r s t

two measures a f t e r Fig. 73; t h i s leads to a sect ion of sus

tained chords, which r eca l l s the linkint_; mater ia l found in

the clos ing portions of the f i r s t and second movements. This

extends from the th i rd measure a f t e r Fig. 73 to Fig . 74 and

:f emQO again

In the sect ion found af t e r Fig. 74, a th i rd deriva

t i on a3 in Graph I I ) i s found. The six-measure sect ion

from Fig. 74 to i g ~ 75 represents the ent i re f i r s t s t a t e

ment of the theme as found in Ex. 28. In the next sect ion

from Fig. 75 to Fig. 77, the second por t ion of the m;:Jin

theme, as found from the eighth tr.LI ough the eleventh mea



sures of Ex. 28, i s developed. This sect ion from J . . ~ i g .75

to Fig. 77 i s repeated in the recording of the Concerto.)

The bridge to sect ion £ of Graph s t a r t s in the

f i r s t measure a f t e r ~ . i g .77. Two scales of minor and ~

major exis t in the sect ion from Fig. 77 to Fig. 79; in each

of the scales the theme of section g i s developing. When

the theme makes i t s appearance in the f i r s t m ~ s u ra f t e rE,\1

Fig. 79, the A scalest\dropped, and n new scc:\le on D i s u.dop-

t ed . In the sect ion from Fig. 79 to Fig. 81 the new theme

i s given one complete exposi t ion. This i s i t s only c : t p : ~ · e a r -

ance in the en t i re movement. I he horn begins the theme :J.nd

car r ies i t in to the four th me:.:sure a f t e r Fig. 79. .·t t h i s

point the f lu te 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 por t ion of t h i s p c : ~ s s a g e

Example 36. I I I - Fig. 79

D c ~ F A ~ b J-, of L.

4



In the f i r s t measure a f t e r Fig. 81 the four th ver

s ion of the main theme Cs of Graph I I ) appeats ; i t i s found

with a more LiCti ve accompaniment f igure , an os t ina to of two

beats dura t ion in eighth notes . See Ex. 37.

~ m p l 37. I I I - Fig. 81)~ ~

This sec t ion resembles the f i r s t statement of the mu in

theme, as found in Ex. 28, in a f o r m ~ lsense; however, the

second sect ion does not modulate to G minor, but r e m ~ n s

in the E- f l a t scale of the f i r o t por t ion of t h i s al tered

theme.

In the sect ion a f t e r Fig . 83, the m ~ nt:neme · i s

c,ltered fu r ther. I t i s extended upward throughout tHis

sec t ion by consecutive scule s teps . This sect ion from ? ig .

83 to the end i s the Coda of the movement; i t consis ts en

t i r e l J of a l te rn t ions of the main theme. See Ex. 45.

From F ig. 85 to the end of the movement the SC ;le

employed i s an E-flc: t ma,jor scale with two leading tones

44



(.Q-flat and 12-naturo.l). In the sect ion from Fig. 90 to the

end, the S -f lat major chord i s used repeatedly with the ' -ld

ded tone, 12• This .seemd to be one f ina l usa[;e of the pr i

mary motive of the f i r s t movement (]2-flat , Q ~ - f l a t .

Since the motive was detected in ~ h e second movement also ,i t would indicate t ha t the ent i re composition i s cyc l ica l

to t h i s extent .

Ostinat,o

In the composition of the Durnbarton Oaks Concerto,

Stravinsky has made frequent use of the os t ina to . 3ince the

device has been a basic par t of his compositional technique

from the beginning, t h i s usage i s to be expected. He has

devised some new appl icat ions for the ost inato , which .:-:re

outl ined in the next sect ion.

His l i t e r l ostim.1ti (several exact repe t i t ions of

a f igure) are used in t h i s composition as a block of the

form. They usually tend to hold the melodic elements to o

specif ic range, or to a l imi ted group of chord tones . The

rhythmic ost inato (severa l exact repe t i t ions of a rhythmic

pa t te rn while using various in tervals) i s also used.

45

The other group of os t ina t i , i f t h i s term i s :: :pplaed

in the f r ee s t sense, i s made up of the pedal os t ina t i . The

pedo l ost inato can be found as a sustained tone (pedal tone),

:: sustained chord (pedal chord), or the rhythmically free

l inear movement of a pa r t which out l ines the tones of a s in-



gle chord agains t the melodic l i ne . The f i r s t two of these

pedul o s t n ~ twi l l be discussed in the chapter on Harmony

and Scales; the l a s t one . ; i l l be considered in the follow

ing sect ion.

The ost inato i s used extensively in the f i r s t c tndth i rd movements. I t i s found mainly in sect ion ~ of the

second movement. The use in t h i s sect ion i s continuous

since no measure from :B ig. 9 to Fig. 47 i s found without

some form of an os t ina to and usually two are present a t

the same t ime. There i s one other usage in the movement,

found in the accompaniment of the sect ion ~ mater ia l .

Since there are numerous instances of ost inato usage

in the Concert9 the following discuss ion wi l l consider each

movement separa te ly in order t ha t s o ~ conclusion about os

t i na to usage for each m o v m n ~may be drawn. In order to

f a c i l i t a t e t h i s mention wi l l a l so be made of the os t ina to

passages discussed in the previous por t ion of t h i s chspter.

In the f i f t h me< Jsure a f t e r Fig. s a l i t e r a l os t i

nato i s found in the f i r s t violo. l ine ; t h i s ost inato wus

included in Ex. 4 as a par t of the diminishing motive se-

r i e s . There are f ive repe t i t ions of t h i s form of the mo-

t i v e and these repe t i t ions are l i t e r a l in the sequence of

tones chosen for the os t innto; ho-wever, the rhythm i s

s l igh t ly al tered in the f i r · s t two se r i e s as shown in Ex.

38 below.

46



Example 3 8 . (I 5 measures c;_fter- Fig . 5 )

In the f i r s t measure a f t e r Fig . 6 t he re i s a two-note E,.Q) l i t e r a l os t ina to in s ix t een ths in the lower s t r i n g s ;

t h i s i s i nd ica t ed in r ~ . 5 .

The next example i s another l i t e r a l os t in , , to found

i n the f i r s t four measures a f t e r Fig . 10. The d i scuss ion

o f t h i s basscfn ostinEtto in fou r ths i s found in t he f i r 3 t

sec t ion o f t h i s chap te r ; the a p p l i c a t i o n of t he o s t i n a t o

i s shown i n Ex. 8 .

The o s t i n a t i found i n the lower strint_ _ i n the sec

t i o n s a f t e r Fig . 12 and 3 are l i t e r a l They bear s t rong

resemblance to one another i n the manner i n which they ~ r e

i n i t i a t e d In the measure be fo re F'ig. 12 the two notE: se

r i e s ~ - f L t t ,.fl occurs i n the c e l l o s and basses ; t h i s se

r i e s i s extended in the f i r s t measure a f t e r Fig . 12 (£ ; - fL , t ,

,g, ,E), and i s repented i n the next measure . In the fou r th

me0.sure the os t ina to i s found wi th one tone (Q) miss ing ;

t he l e ap (£ - f lo . t , E remains , however, t o i d e n t i f y the f i -

gure as a member of the o s t i n a t o

47



The next se r ies af te r Fig. 13 i s begun with the Q

of the lower s t r ings in the measure before Fig. 13. As in

the previous se r ies found af te r Fig. 12, the ostin_,.to has

only two members present a t f i r s t .Q, followed by .6- f la t in

the f i r s t measure a f t e r Fig. 13) . n the second and th i rd

measures the os t ina to i s given for the f i r s t time in i t s

complete form Q, ~ - f l D t ,~ - f l a t . See Ex. 1 ~ This t l ~ e e -

note se r ies i s repe<?.ted with minor rhythmic var ia t ions un-

t l the end of the th i rd bar f t e r Fig. 14 f ive repe t i t ions

occur) . In the four th and f i f t h measures a f t e r Fig. 10,

the ost inato i s broken by a descending t ~ e e - n o t ese r ies

(.£, ~ - f l a t ,.6-flat) which leads to the next statement of

the fugue subjec t in the key of C minor Q, ~ n a t u r a l ,£ ,

and continuing in a normal statement of the fugue).

The next example found i s c l a s s i f i ed as a pedal

os t ina to . In the two m e c : ~ s u r e sbefore Fig. 18, the lovJer\ ; : \

s t r i l lbs present three members of a ~ f l a t m a j o r / ~ e v e n t

chord ~ f l a t ,g,, and ,a - f la t ) . In the two measures t ha t

follow Fig. 18 these par t i cu la r tones are used in a r l v

th.mically f ree manner to out l ine the chord. The por t ion

of the fugue subject used in th i s sec t ion i s r e s t r i c t ed to

the f i r s t s ix tones because of t h i s p e d : ~ los t ina to . . ,ee

.2x. 14.

In the sect ions found from .F ig. 21 to 22 and from

Fig. 23 to 24, examples of rhythmic ost inoto , which he1ve

charac te r i s t i cs of pedal o s t i n £ ~ t i ,are found. The ost inoto

48



in Ex. 39 i s from the f i r s t sect ion a f t e r Fig. 21. The

second, a f t e r Fig . 23, i s li.Uite s imi la r in tree1tment, with

minor chcnges occur r in , in the double bass l i ne .

Example 39. I - Fig. 20

49

In the four measure sect ion a f t e r Fig. ?1, the bns

soon l ine cons i s t s of a pedal os t ina to which i s nenrly l i t e r -

a l . 'l 'his os t ina to i s componed of the four members of the

a- f l a t major-minor seventh chord. n ex t ra £ -fl · , t i s c:dded

to the ost ine to in the th i rd measure, which l abe l s i t .:1s a

pedal ost inato ins tead of a l i t e r a l one.

The o s t i n a t i found in the Codc. t of the movement ex

tend through i t s en t i re length form Fig. 25 to Fig. :?8

There are two os t i na t i present nere . One i s composed of

seven tones, and ia l i t e r a l . The second one i s composed

of three chords and i s rhythmic. The note values of e ~ h

chord member of t h i s second ost inato are double the note

values employed in the seven-tone f igure . 'l 'his i s an exam

ple of polyrhythm in the combination of the two os t in : : t i .

See Ex. 40 which fol lows.



Y

From t h i s considera t ion of the os t ina to us; 1ge in

the f i r s t movement, t w i l l be noted t h a t the use of l i t e r -

a l o s t i n a t i i s more extensive than any other kind. iome

of these l i t e r a l examr;les are found al tered s l i r h t l y but

they remain more l i t e r a l than anything e l s e .

In the second movement the f i r s t use of an ost inGto

i s found in the bassoon l ine in the l a s t measure of ~ x 17;

the members of the ~ f l a tmajor chord are outl ined here. A

rhyth.1nicully-free l inea r usaee continues u n t i l the four th

meosure a f t e r Fig. 30, a t which point a ,£-naturul L3 int . ro

duced which breaks the os t ina to . The same ped::1l ost inato

en te r s <;gain in the f i r s t measure after· fi ig. 31 , and con t i

nues u n t i l the f i f t h measure. In the re tu rn of t h i s pc :ss<: <ge

from Fig. 47 to li ig. 50, t h i s os t ina to i s repea ted exact ly

with the exception of the l a s t note (g l ) fo r which a puuse

in a l l l i n e s i s subst i tu ted.

The important use of the os t ina to i s found in £ec- .

t i o n g of the movement. There are t h i r t e e n examples of os-

50



t ina to used in t h i s sect ion; since the en t i re sect ion i s

based on the os t ina to a f u l l accounting of the method in

which i t i s employed in the sect ion i s nt:cessary. _ orne

of the os t i na t i have alreco1dy been mfmtioned in the sect ion

describing the second movement

51

Example 20 contains a l l elements of the two ost inu

t i used without break from Fig. 39 to the meosure before Fi£>

42. At t h i s point the three-note os t ina to of the lower

s t r ings has a ~ n a t u r a lsubst i tu ted for the ~ f l a tin the

chordal out l ine on Q in use since the f i r s t measure ;.fter

Fig . 39; the upper s t r ings continue in the usual m a n n ~ runt l the second measure a f t e r Fig. 42. ~ ; t t h i s point they

break the or ig ina l ost inato and extend their· r nge upwurd

in the implied key of D major from ~ 1 to ~ 2

The upper s t r ings re turn to a two chord os t in : to in

the f i r s t measure a f t e r Fig. 43. See :Sx 23. The lower

s t r ings again adopt the G minor chordal series.- In the

th i rd measure a f t e r Fig. 43 the upper s t r ings be£;in ~ new

two-chord os t ina to . See Ex 23. I t has already been in

dicuted t ha t t h i s change in ost inato marks the beginning of

sect ion ~ in the second movement This new os t ina to in B-

f l a t minor in the upper s t r ings continues un t i l the f i f t h

measure ; ; fter Fig. 44. I t i s accompanied throughout t h i s

sect ion by a pedal ost inoto in the lower s t r i n r s :;ee i :x.

24.

The s t r i c t two-chord ost inato of the upper s t r ings



:ss found in Ex. 24, i s chenged to the rhythm.ic ostimi.tO on

the .[ moj or cho.:·d as found in Ex. 25. This i s an e x . ~ ; ; n ple

of polyrhyth:nic ostin.:;to us<:tge corn.11on in the t h i rd movement.

The pedal ost ina to becomes a sus ta ined ped:.:l tone (£2.-:f lat)

i n the f i r s t measure of Ex. 25. Immediately followinr, t h i sin the four th measure a f t e r Fig . 45, the p e d ~ i los t ina to of

the lower s t r ings becomes a s t r i c t os t ina to , o n s i s t i ~ uof

Em-flat and }-f la t a l t e rna t ing on every second bea t . The

upper s t r ings re tu rn to a two-chord os t ina to a t t h i s sa: .1e

point ; the chordDl use1ge in t h i s l ine becomes qui te f ree

following t h i s in the second mec:.sure of ::.:x. ~ ~ 6 .

The f i na l os t ina to used in t h i s sect ion i s a rhy

thmic one; i t i s indic8ted in Ex. 41.

Example 41. I I - 4 measures a f t e r Fig . 46)

F .;F , r= .WJ (A )~ t n i f J : i f f V J ~ ~ = t t Lc ~ :

In the second movement twelve d i f f e r en t o s t i n t i o ~ t

used. Of t h i s t o t a l , f ive were s t r i c t , one WQS a s t r i c t

rhythmic ost inato (Ex. 41) , and the other s ix were var i

ous types of pedal os t i na t i .

The th i rd movement opens with an os t ina to in the

lower s t r i ngs . This i s in groups of four chords, ::::i::iilsr

to the ost inato of the previous movement shown in Ex. <:5.

The plan of t h i s os t ina to i s shown in Ex. 28; thi.s s < . ~ m e

52



t Jpe of os t inbto i s found in the sect ions e f t e r Figs . 56,

57, und 68; t i s an example of a s t r i c t rhythmic ost inQto .

The next sect ion to make use of the os t ina to i s

53

from Fig . 65 to three m e s u r ~ b e f o r eFig . 68 . In t h i s b r i e f

sec t ion t e n o s t i n a t i are found; the sect ion i s made u n ~ n o s t

en t i r e l y of os t ina to mater ia l . See Ex. 42.

xample 42. I I I • Fig . 65

3 1 1.



T 1e v i o l i n duet a f t e r Fig . 70 i s accompanied by

two forms of o s t i n a t o . See Ex • .:.34. 1 he cont inuous e ighth

note pc: t tern would be n s t r i c t two-beat os t ina to , except

f o r the f ~ J c tt h a t two s ix t een ths en te r occas iona l ly in the

place of one of t he e igh th no tes ; t h e r e f o r e , t must be

c lnssed as a ped:Jl os t ina to . I he chords in the bass are

d e f i n i t e l y c l a s s i f i e d as pedal o s t i n a t o ; they occur ,:Jt i r

r egu ln r i n t e r v a l s , and cons i s t of members of the minor

t r i a d . This Sc::me procedure i s repeo.ted exac t ly i n the sec

t i o n fol lowing Fig . 72 i n B - f l a t minor.

At the end of t he B- f l a t minor sec t ion a f t e r J i g .

72, chords i n the key of B - f l a t II13.jor c rea te a two-beat o s

t i n a t o i n the s t r i r ~ s ; t i s a s t r i c t o s t i n a t o , and accom

panies t he bassoon which o u t l i n e s tones of the ~ f l a tmnjor

t r i a d . :;ee 1 s t and 2nd measures of Ex. 43.

t.;xample 43. I I I - 3 measures a f t e r Fig . 73

In the t h i r d and f l u t e ndopts

n p e d . ~ lo s t i n a t o which impl ies the major chord; the bas

soon o u t l i n e s the £ major chord in another ped ., l ostinc.<.to.

The melOdJ l i n e of t h i s por t ion i s i n the key of G r n r ~ jor.

5



The next ost ina to u s < ~ g ei s found in the sect ion from

l ' ,ig. 75 to Fig. 77; i t i s a rhythmic ost inato vdth two forms

as shown in Bx. 44. The sec t ion from Fig. 76 to Fig. 77 i s

a r e pe t i t i on of the form of the f i ~ e mensures of t h i s exam

ple , on a new scale a four th h i c h e ~than the f i r s t .

Example 44. I I I - 1fg• 75)17] ' A i . ~ t i ' i ~ '' ( ~ ~ ~ I SG ~ fG- t. '

... ~:1; ~ . if

:i• .... ., -.. ..... - ~ ae.. I · ~ I r • _ li...ll • • . . '.... t- ,

ft ....,. 4f <_ , .

'• ' J- - - · · - --

r ~ ' ~ r ~ ~ j ~ ~s .j -1 1 .

•..

- Ji t. .I. .• ··:; ; ::~

1 q ~ :;t l . 1 -l· l. _;;l.- • -I L l - ---- r ·

... t. -- ----

.. - ~ r . .......;.,; ,.,... ... •• ... I 7 .,..

~ - ... ; ~ ~ T U f f- ~ I - ~ ~ : ·".,- ~ , i ~ 7-

~ s it t I

Jjfl l - r =t' .l. Ia .. - -\- - r· -.- ~ ~ • r

• . LJII .. .

·1 i~

1 t p t *L '

• .L . - ..

~ - ~T o A ~ D- - lhe next ost inDto i : : ~ a s t r i c t rhythrnic one; i t i s

found in the bassoon t r i l l s and cel lo pizzacalco not.cs in

the sec t ion following Fig. 79. See Ex. 36. These t r i J l s

continue to the second me_,sure before the next sec t ion ,

which begins a f t e r Fig . 81, fo r a t o t a l of nine r e r e t ~ t i o n s .

In the sect ion fro:n Fig. 81 to Fig . 83, a . s t r ic t

os t ina to i s found in the accompaniment to t l ~ i a l a s t r r e -

senta t ionof tbe principal theme (.s4 of Graph I I ) ; tl L; i s

shown i n Ex. 37. The sec t ion following t l i s a f t e r Fig. 83

55



employs a rhythmic o s t i n a t o , :; tg.:,in of t a o - b e a t s d u r a t i o n i n

e igh th no tes . This ou t l ines mony d i f f e r e n t chords u.sea n

the melodic s t r u c t u r e ; t h i s cont inues u n t i l the f i f t h mea-

sure n f t e r Fig . 87. In combinat ion with i t s predecesao r,

t he s t r i c t o s t i n a t o found a f t e r I< ig. 81, t comprizes t he

l a r g e s t block in the s t r u c t u r e employing cont inuous 0 ~ 3 t i -

nato 3 4 ~measures . See Ex. ~

Example 45 , I I I - F i g . 83

lf J

; very s h o r t s t r i c t os t ine t o i s found i n the sec t ion

i n the f i r s t two me .tsures a f t e r Fig . 90 ; t h i s employ;3 F n nn

t i c i r. ; a t ion o f the f i n a l cadence chord c;u t he beginning of

each ostinc:1to group . :3ee. Ex. 4&·

56



Example 46. . . ._. .

~ ~ ~ ~ W E

1 he f i n a l movement of the Concerto made the m o ~ t

extens ive use of o s t i n a t o . In a l l t he re were twenty-one

d i f f e r e n t o s t i n a t i ; nine of these were l i t e r a l eig:;l t t·,ere

o f the pedal group and four were s t r i ~ trhytrunic t ypes .

57



CHAPTER I I CiJ)ENCES c ~ N DCONTINUITY

In the formation of a musicnl composition, the pro-

blem of ending one idea and beginning another cont inual ly

presents i t s e l f to the composer. The methods used to ac-

complish t h i s are personal with every important composer;

in his solut ion of t h i s composit ional problem, Str<:lvinsky

makes use of c e r t a i n bas ic formulas wLich w i l l be consi -

dered in the following discussion.

The only three poss ib le ways of handling the endof one idea and the beginning of another are defined and

diagramed below:

1 . Bring the f i r s t idea to a complete close be-

fore beginning the second idea .

2. Bring the f i r s t idea to a close and t the same

t ime begin the second idea momentary e l i s i on .

58



3 Before bringing the f i r s t ide:. to a c lose , en te r

the second idea (overlap or e l i s i on ) .

The second and t h i r d types e.bove produce the most

cont inui ty, ond are favored strongly by 3travinsky. The

f i r s t type, i f used of ten , would create a section8liz<Jtion

of ideas .

The next problem to be considered in a Cddence i s

the harmonic one; the r e l a t i on of the penultimDte and finr:.Il

sonor i t i e s i s tne prime fac to r in t h i s problem. The compo-

se r must be aware of a l l the p o s s i b i l i t i e s inherent in the

immediate vic in i ty of his cadence so t h a t his use of t.Lis

mater ia l wi l l create a convincing cadence.

l he discuss ion of cadences of the Concerto w i l l be

approached from the standpoints of cont inui ty and J:larmonic

and l i n e ~ rmotion. Typical examples have been extr: cted

from the score , and :..re discussed in the order of t h e i r ~ -

peurance. The examples w i l l conta in the h•:r:nonic scheme of

the codence, and w i l l be diagramed to s ow the par t i cu la r

method employed in the ending of one idea and the beginning

of the next . Following the example, other fea tures of the

cadence w i l l be discussed .

59



Example 47. ( I - 2 measures before Fig. 4)

This cadence occurs a t the end of the in t roductory

.rn<.::.terial. The two cta ds used concurrently are the §-f l · . , t

major t r i ad and the minor t r i a d . The E - f l < : ~ tmajor l ineresolves in to the accompaniment l i n e ; , ; ~ n dthe g minor l ine

60

i s resolved in the f i r s t solo statement of the primc ry motive.

I t w i l l be noted t h a t a l l three members of the main motive

cun be found in t h i s combination of chords which occurs be-

fo r Fig . 4 .

Example 48. ( I - 1 measure before Fig . 7)

J t j t : ~ R = = : t = ~ ~ ~ t = 1 = = i : ; : + . = : : l ~ : : j : : : : ; =~ r c.0 E, F:ll G Grtl ~ ~ ~ ~ IC:.ff



The .@-fl<.lt in the lower s t r i n r s i s car r i ed over in to

the next sect ion as an E-sharp. he 2-f la t und _g-fl2t found

in the c l a r i ne t l ine are resolved a f t e r Fig. 4 to the enclo-

sed tone, _s-naturc:d, y the second horn and bassoon. 1 iLis

i s nn example of the s h i f t of orchestro.tion pr inc ip le ,

which i s a favor i t e device of StrC1vinsky. In t h i s s h i f t

an important pr inc ip le of the orchestr. :1tor ' s technique i s

disregarded, namely, the ideD tha t old and new orches t r. l

colors must overlap y a t l e a s t a quar ter of n b e ~ t

Example 49. ( I - 2 measures 11)

In t h i s example the b;::..ssoon l ine plays an important

pnr t in the s h i f t of s c ~ l e s In the fow .ne;:sures 1.:;.::1.e-

div.tely following Fig. 1 0 , the bassoon li.ne i ~ a s ix- tone

os t in to in a D SC<lle. See Ex. 8 . The tones employed in

61



The chromatic passing tone, ~ f l t in the basses,

Gerves as the connecting l ink in t h i s cadence. The Ili.'te

r a i l to t h i s point has employed members of a scGle which

basical ly resembles F minor. The g - f l a t resolves in twodirect ions chromatically to introduce members of the two

scales used in the three-measure passage a f t e r Fig. 16.

I t resoves to g-naturc-:.1 in i t s own l ine , the dominant of

the scale of C major. I t i s resolved downward in the vio

la l ine to . t :-natural, the tonic of the SC<.1le of F major.

I t i s therefore , the reverse of the procedure found in

Ex. 48.

Example 51. I - 2 measures before Fig. 20)

~ q. . ~ ~ ~ ·- • -~ •~ - - - - - . ·· - - I v -2.

- r1- l ...

· ·------ · ·

c . u .:hJ · · ~ ~ ·.......- J .,z. - 1?~ -

I

l · I · · - ; . = ~ ··J,) · · ~ ·

2p · - ~ ...

>-

r1 S•tt.......• - ....

' ' - u • .. .. • .. .~ h • l l • - -· ,.- ; - ·

63



In t h i s example, preceding the recap i tu la t ion found

a f t e r Fig. 20, the lower striDES repea t the procedure of Ex

48 ; they are found here enclosing the th i rd (Q) of the new

E- f l a t major sca le . 1;11 of the other l ine have resolved to

- f l a t , the f i f t h of the sce11e pr io r to t h i s .

Example 52. ( I - 1 measure Fig. 25)

..Sc:H,Mf)

b. b ~ ~

- - 4 - , ~ _ _ I I L - : J . - 1 1 . - ~ - , 1 - ~ + - - - - - - - I ' " f - - - - - - - 1 1 - - i 'G-----

I

In t h i s example, the E - f l a t major scale i s used in

contrary motion. The f ina l reso lu t ion of the sco: ile l ines

i s suspended during the r e s t fo r dramatic e ff ec t . l l l ines

then resolve to chord tones of the E- f l a t major tonic chord,

with the exception of Q-f la t 1 which resolves to £2, an ndded

chord tone .

64



65

Example 53. I 5 measures before Fig. 29)

The cadence of the l inking mater ia l i s bosicC\ll.f

plaga l . In the f i r s t two measure of the example three chro

matic l ines are employed which lead to important chord tones

in the th i rd measure. These are as follows: ~ - f l t lin the

f i r s t chord of the example to ~ n a t u r a lin the second chord

with i t s reso lu t ion , E already present in the lower s t r ines ;

g-na tu ra l l in the f i r s t chord to g - f l a t l in the second chord,

resolving in the th i rd measure to the added tone, £ , -natural l ;

and, f ina l ly, the bass l ine i t s e l f , ~ f l a tto ;E The t h i r d ,

a-nc:ttural, of the tonic E major chord in the th i rd rne:.:<.sure i s

found enclosed in the previous beat y g and Q-f lc t . This

chord i s reduced to an which i s used as the f i r s t tone of

the second movement.



Example 54. I I - 2 measures before Fig. 32)

m ~ ~ ~ ~ ~ ~ w- - - - ~ · nJz

The f ina l tone of the ascending ~ f l a t~ ~ j o rchord

l ine , g l , i s emphasized by the viol in f igure , and becomes

the tonic note of the new D scale found af t e r Fig. 32. This

scale i s not D major, however for the - n a t u r a l l of the

c l a r ine t in the th i rd measure changes i t to D minor.

Example 55. ( I I - Fig. 3 8) f - . ~ . ~

[su• u ) ~ ~ f ~ :,

- - - -

f / L ofll£ S'A .f.,The material

th i rd measure of the example i s the broken chromatic l ine

g- f l a t3 , £3, £•f la t3 , ~ - f l a t 2 ;t h i s f i na l Q-f la t 2 i s adop

ted as the f i f t h of the scale of the l inking sect ion. The

B-f la t in the bass i s the actual governing harmonic note of

the three measures of bridge mater ia l . The next section

66



i s announced by the dissonant .§-n:.:.tura1 1 which leads toward

the t h i rd , - f l a t , of the next scale (bas icdl ly G minor).

This s.-naturol 1 def in i te ly establ ishes the pola r i ty of the

12-flat as the tonic note of the se r i e s .

Example 56. I I - 3 measures before ~ i g .51)

[ Sc ej

. t % · · ~

~ E ~ : : : : : E ~ ~ ~ ~o _ ~lro: 1.

qt ( T ~

n th i s example the re la t ion of the f i r s t me ;;; mre

to the second i s t ha t of l e ~ i n gtone to i t s ton ic . l t re

sembles to t h i s extent the contras t ing section in the f i r s t

movement based on a D major SC3.le which resolved in tLe

next sect ion to E- f l a t major. I t i s in te res t ing to note

t ha t there are no common tones found in the two chords;

th re fore , the stepwise motion of the bass pt:trt must be con

sidered c s the most important single fac to r in th i s C<i.

dence. The f i na l por t ion of t h i s l inking section wil l be

considered in the chapter on Harmony and 3cales.

67



Example 57.

This c : ~ d e n c eoccurs i n the f i r s t sec t ion of tLe

t h i r d movement and conta ins a high concen t r a t ion of d i s

sonant i n t e r v a l s . The sca l e employed in the f i r s t me,, sure

o f the example i s a complex sca le i n which the p o l a r i t y o f

has a l ready been ea tab l i shed . The emphasis given £:-sharp

by a s s o c i a t i o n with £: -na tura l and Q c r e a t e s the irnpres;:don

t h a t t h i s tone i s o f more than ord inary import: mce. ::. he .Q-

f l a t found in the fo l lowing ser l ies i s the e n h : ~ r m o n i cequ i

va len t of t h i s t one and i t s p o l a r i t y ~ s the new t on ic cen

t e r i s quick ly es tab l i shed .

68



Example 58. I I I - 2 mensures befor·e .::• ig. 63

J)..P f ~ f ~ F ,1 . ~4 A ~ r i \ ~ ~ C a pI E ' ~F Q

D• F; ,j-, A• 8 ~ c

Two elements hold the key to t h i s c,:.-:dence, anc1 these

Lre found in the f i r s t two meesures of the example. doth

nre SC<.1le l i ne s , the f i r s t from :Q-flat 2 down to , t : - f l ~ J t ~ 'in

the upper s t r i ngs , and the second one from Q-f la t up to s.,found in the lower s t r i ngs . The f i r s t one leaa...; to g,-f lut2

in the c l a r i ne t l ine which s t a r t s in the t h i r d measure.

1 he second one le,_;.ds from £ to the g- : f la t o:f the bassoon

l i ne .

69



Example 59. I I I - 3 meosurES be fo re It,ie. 68

[ . 5 c : K f H q ~ ~ · · · ®r- b~ ~f t

.· . . . ~

1 l ;J: J ~ ~ I

· ~- t t

_L I r

• 2 . . . : : : 1 ~ -. . .

- - - - - -.....1f ~ ~ - - - - - - - - - - I

This cetdence has one ac t ive e lement , _tnd t h a t 1.s

the descending sca le l i n e . rrhe sus tcdned chord i3 l leld o -

ver f roo t he harmonies of the previous sec t ion ; the s c ~ l e

i s the melodic form of C minor, and descends from tl1e i . igh

po in t found in the ~ s t t h ree me:sures of Ex. 42. ' l 'h is

high po in t wa.s a t t a ined by an ascending scu le of C m : . . ~ jor.

The end o f the sca le l i n e in t h i s exemple emphasize;.; i n

assoc ia t ion with i t s lower neighbor, , i • f la t . This f i s in

leadin,g- tone r e l a t i o n t W f l a t , found i n the next s £ ~ c

t i o n . The po la r i ty o f t h i s tone as the cen t e r o f the s e r i e s

i s es tob l i shed in t he l 8 s t measure o f the example.

70



In t h i s cadence l l elements of the la.st cr.orc i n

t.he f i r s t measure except £ and £1 a re i n hRlf-ct er rel.::;

t i o n to some element i n t he f i r s t chord i n the second : 8 : ~ -

su re . The g i s held over as a common tone ; the £1 i s

cropped from the t e x t u r e .

71



LXumple 61. 3 measures o.fter Fig. 90)

The f ina l cadence of the th i rd movement i s s i : ~ 1 p l ya

r epe t i t i o n of the Q•flat major chord with the adGed tune,

g,l. t has already been indicated t ha t t h i s g i s a ~ · : r t

of the motive se r ies 12-flat 2 E- f l a t . There i s one o

the r app l i ca t ion , however; t h i s could be an example of

compressed cadence, the ]; -f'l1.:1t and g1 serving as a p a r t i a l

V chord to the I chord of E- f l a t major.

72



C I L ~ P r E RI I I • E\HlJIO?N J.ND SCALE:3

Throughout the Dumbarton Oaks Concerto , harmons· i s

o f second.:::ry importance and the l i n e becomes e l l i m p o r t ~ m t

' l 'his i s shown i n the s o l o i s t i c s t y l e of wri t ing which i s so

c h a r a c t e r i s t i c o f t h i s composi t ion. The harmonies he:.rd

a re nl· IJc::ys found as the r e s u l t of the in te rweaving of l i n e s

of equa l i n t e r e s t . The purpose of t h i s chap te r i s to u i s -

cover wh:;t m e t e r i a l s are employed i n the cons t ruc t ion uf

these l i n e s .

The most l o , s i ca l approach to an unders tandir.g of

the contrapunt21l s t y l e o f w r i t i n e i s i n : ~ s tudy of t he s ca l e

or s e r i e s of tones employed in each import:::mt s e c t i o n .

This w i l l include a study of .3 t ravinsky s method fo r ..:re

a t ing a more complex sca l e s e r i e s , and, converse ly, n : ..

method of s i m p l i f i c a t i o n of the comrlex s c a l e s . I n L i s

s tudy the r e l a t i o n of tJ.1e growtL of co;nplexity in : ~ p;..;t-

t e r n of sca l e s to the development of t ens ion tow,.rd c u d

j or cadence w i l l be noted when t occurs . 'I 'his i s one of

the composer 's favored methods f o r moving from one p lane ,

or compos i t iona l block , to the nex t .

The important developments i n the sca l e s e r i e3 ' ; J i l l

be cons idered he re , in add i t ion to c e r t a i n r e l a t i o n s h : ~ ; sof

the t on i c cen te r or tone i n one s e r i e s to t he t on ic cen te r

73



of one or more other scales found in the v ic in i t y. The se

cond movement sho . IS a surpr is ing <:lmount of r e l a t i on in t h i s

L::st respec t . I he examples included in t h i s sect ion · ,d l l

contcdn l i s t of scale tones used in a sect ion; the f i r s t

tone indic;:,ted i s to be considered the ton ic , unless i t i s

st<.ted otherwise in the discuss ion.

The bosic tona l i ty of the f i r s t movement i s found

in a seven-tone se r ies composed of the tones of the E- f l a t

major scale ; the pola r i ty of ~ f l a ti s es tabl ished :.::t the

very beginning of the movement. The f i r s t import:·nt change

in the scale i s found in the sect ion a f t e r Fig. 2; thiL

sec t ion i s a bridge between the · f l a t se r ies and the C

minor tona l i ty found a f t e r Fig. 3 . In the f i r s t measure

of Ex. 62 the ~ s h a r pand s . -natura l l found in the f i r : ; t

beat are the f i r s t two tones which are not a par t of tJ Le

E- f l a t major se r i e s . On the second be <:it of t h i s meL sure ,

the Q•naturc:•ll i s found with .s,-f lat2; t h i s method of em-

phasizine the new tones added to a s e r i e s by i n c l u d i n ~i t s

r e l a t i ve tone a ha l f - s tep d i s tan t i s used throughout the

en t i re Concerto. The tones found in t h i s ser ies in the:

f i r s t measure of the example ure nine in number, and L re

based on the roo t of t h i s dominant chord s t ruc ture . In

the second men_sure of the example the SC3le i s s impl i f ied

and only seven tones are used, s t i l l based on Q however,

t h i s se r ies employs the tones of the ascending melodic rni-

nor on c, which i s the tona l i ty of the th i rd measure of the

74



75

exa:nple. In the th i rd measure, £ i s estr.blished us the new

tonic center, and the sce:;le becomes C harmonic minor. In the

following mee sure the Q•natural 1 becomes 12-f ' latl , ;::;nd the

scale once n , in becomes an E-f'lat major ser ies . This atonol

passage i s bes t explained in :.3trvinsky's own words in his

discuss ion of t h i s term:

The negating pref ix ~ indicates a s t a t e of indifference in regard to the term negating without ent i r e l l renouncing i t Understoo in t h i s way, the word9tQna i t y hardly corresponds to what those who use i thave in mind. I f i t were said tha t my music i s atonal ,t ha t would be tantomount to saying tha t I had becomedeaf' to tona l i ty. Now i t may well be t ha t I remain fo ra considerable time within the bounds of the s t r i c torder of tona l i ty, even though I may qui te consciouslybreak up t h i s order for the purposes of' e s t a b l i s h i n ~ ;anew one. In t ha t case I am not ~ t o n a l~ t ~ t o n a lI am not t ry ing to argue point less ly over words; i r i sessen t ia l to know what we deny and what we aff i rm.

~ : a m p l e62. I 3 measurmafter Fig. 2)

. . . _ ~ ~ . _ _ _.L-fill ___ .__. : : · .

G A ~ A B ~B , C , - E ~ ,E, F. ; , ~ , ~ C , P , f 4F Hjf oN•S, ~ S C . .MEL.MINtl ~ H D I Z -

lst.ravinsky, I g o ~ Poetic§ .2.f. 11yaic 1 (Cambridge, J\ ass.:Harvard ~ n i v e r s i t yPress , 1947), P• ~ 8



The E-fl:1t major serie 3 continues un t i l the :7Jodula

t ion to em F minor se r ies indicoted in Ex. 2. In the beat

preceding the f i r s t measure of Ex. 63, the new tones ,

sharp and 2-natural , which are derived chromatically fromt he i r own l ines , introduce the twelve-tone chromatic ser ies

which follows; the § - f l a t major t r i ad out l ined in the f i r s t

bent determines the tonic harmony of t h i s sect ion.

Example 63. I - 6 measures a f t e r

IZ o ~ £Sc:A .E)

The same cr.LI'omatic ser ies i s continued in the section which

follows a f t e r Fig. s, but here two notes are missing, i . e . ,

£ and £-sharp . ; \ f ter two measures of t h i s scale a s t i l l

shorter ser ies eight tones) i s found: Eb ,F ,F#,G,f ,b ,Bb ,c D.

In the f i f t h measure a f t e r Fig. 5 a seven-tone B-f l a t major

scale se r ies is found; however, the tonic element of t h i s

76



ser ies i s determined by the ~ f l a tmajor chord given in

the bass l ine . See Ex. 38. This B-f la t major ser ies hes

four addi t ions in the three me<:lsures af te r Fig. 6; the

scale lacks only one tone, 12 to be a complete chromaticser ies (This tone i s not used u n t i l the contrasting sec

t ion af te r Fig. 7). In the f ina l three measures of t l l is

section before I ~ i g 7, the only scale members employed in

the texture const i tute a chromatic l ine ; E ~ . Q j b . £ \ a h ·

~ f l a tcontinues as the tonic of the se r i e s . See Ex. 48.

The two important ser ies employed in the contr·as

t ing sect ion of the f i r s t movement are quite similar to one

another. The.relation of these scales i s shown in the fo l -

lowing inser t :

D, Bb, B, C

G, G , A, A , B, C, C , D,1

E, F

variable fourths

The variable fourths of the two scales i s an i m p o r t : . ~ n tele

ment of s imi lar i ty. 1$ch sc.9.le i s equally import<::nt in the

f'orm of the contrasting section.

These two scales are ident ica l i f the ~ f l a tof the

D scale and the Q-sharp of the G scale are eliminated from

the two se r i e s . These tones occur only in the l s t me sure

of each of the two sections which employ these scales (The

D scale i s found from Fig. 7 through the f i r s t measure a f t e r

Fig. 8; the G scale begins in the th i rd measure after· .i?ig.

8 and continues to Fig. 9) . In these f ina l measures of the

77



two sections the new tones Dre introduced with t he i r r e l a

t ive half-s teps pre;:Jent (the l i - f l e t with ~ - n a t u r a l;:md the

.Q•sharp with g-na tura l ) ; these new tones serve in the mo-

clulntions to the following sect ions .

78

In an ea r l i e r sect ion, mention was ~ ~ d eof the f ~ c t

t ha t the modulation from one scale to the other a t tLi ; : point

was through the enclosed th i rd of the two scales . :I LL- i s

another exnmple of a n t ~ t o n § luse. The ~ m a j o r m i n o rncventh

chord i s 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 se r ies found in the f ive mec:.sures

before Fig. 1:3, the s ingle tone, 1-f la t , i s avoided; i- •v ~ l l S

sect ion i s par t of the extended dominant v 1hich lend.J to the

fugue of the f i r s t movement. The Ja-flat i s used in tLc sec-

t i on v1hich follows a f t e r F ig. 13 in the fugue subject ad

the ost inato accompaniment. ..::ee. Ex. 10.

The next important development i s found in the ca

dence shown in Ex. 50. In t h i s example a ten-tone ser ies

b . : ~ s e don the F major scale moves to two separate scc:le.s;

i . e . , a new ten-tone F major ser ies , and an eleven-tone

ser ies based on C major. The C major ser ies i s the s::t;ne

one found in Ex. 10 plus one new tone, 2· In the fourth

measure a f t e r Fig. 16 a modulation to an A-fla t major se

r i e s occurs; t h i s i s the enclowed th i rd between the two

previous scale . The scale consis ts of a l l but one of the

tones (an .£ found in the previous F scale .



:xample 64. I 4 mec:sures 3ft .er Fig .

A ·. A ~A t 3 ~c . ~c D e IJ,F G- L

Nrw ~ ' b· " ' " " O J ~ F ~F, G-v GoC : • n l I

The po ln r i ty of , 6 - f l a t i n t h i s sec t ion shown i n · - X•

64 i s broken i n t he second meDsure a f t e r Fig . 19 by the en

t r y o f fugue mate r in l i n a s e r i e s i n which a - f l a t i s the

c e n t e r . ; Jee Ex. 15 . These two sca le s are qu i t e sir1.i lar as

the i n s e r t below ind icGtes :

o r i g i n a l A-f'lc.t: l}b, .§b .Qb c ]2b ];lb Eb E Qb,

New B • f l a t :

I t i s apparen t t h a t t he B - f l a t sca l e i s e x t r a c t e d

from the prev ious l \ - f l a t s c a l e , s ince only one new tone i s

added; i . e . , the l ead ing t o n e , t necessary t o a s t ; ~ t · a : 1 1 e n t

o f the fugue s u b j e c t based on _ . f la t .

80



The scale on ~ - f l c : tused in the f i na l sect ion of

the fugue (shown in Ex. 15) i s the l a s t scc\le found before

the entrance a f t e r Fig. 20 of the seven-tone E-f la t major

ser ies which i s used u n t i l the end of the Coda a t Fig. 28.

The scales are in obvious V - I re la t ion , but the two

scales are not s imilar the B•f la t scale i s minor) . t

81

does conta in two elements, found in a statement of the fugue

subject in B-f la t minor, tha t have re la t ion to an element in

the E•f ln t major scDle; these are the tones £1-flat and Q-f la t

which enclose the th i rd , ~ ~ of the E- f l a t seal·-. See Ex. 51.

The f i r s t movement i s based on the scale of E- f l a tmajor; t h i s i s shown in the amount of mater ia l which occurs

i n t h i s sC<J.le Qnci in the re la t ion of the other scales to

t h i s bDsic tona l i ty. The pc:.ttern of the scales used in the

major por t ions of the movement i s given in the i n se r t be

low. Every member of the E · f l a t major scale ho.s a t len.st

one appearance in th i s se r ies .

I .. v - VII I I I ) - I • VI II - IV - v I

Eb ' llb (;Q, .£ 12 , §b ' .Q Q~ b ~ b §

£:

The movement of t ona l i t i e s in the l a s t portion I , V I ~

or IV, v I) has the appe.s.r.:;mce of a standard phrase har.,.

monization.

The l inking section :.:::.fter Fig. ~ ? can not be iden

t i f i e d with any one scale ; i t i s s i m p l ~a bridging acent



between the old scc • le of E· f l a t major and the n e · : ~one on

f l a t in the second movement. In re la t ion to the old seven

tone scale of E-f la t major, the new tones introduced in t h i s

eight-measure passage are l J2 : flat, ~ , and Q-f l a t .

The vio l ins and violas seem to be preparing to the

more na tura l scale of F major with the introduction of the

§.•naturall ( th i rd measure a f t e r Fig. 28) and §.-naturz_,l ( in

the f i f t h measure). The lower s t r ings lead towara the f l a t -

t e r key of B-f la t minor with the introduction of Q-fL1t in

the four th measure a f t e r Fig. 28. Immediately a f t e r t h i s -

f l a t the upper s t r ings tu rn back toward the f l a t keys witha new tone , g f l a t l . See second measure of Ex. 53. Both

l ines then converge on f t a t f i r s t with i t s th i rd and then

alone; i t i s the dominant scale step of the key of B-f l a t ,

and i s the f i r s t tone used in the next movement.

The basic scale of the second movement i s expressed

in the theme and accompaniment from Fig. 29 to one me .:mre

before Fig. 32; i t i s a nine-tone B•f l a t se r ies which i s

c lear ly . Illijor in character. The se r ies as found in t h i s

section i s as follows; ~ b , ~ , ~ , ~ , ~ , § , E , ~ , ~ .

The one measure in D major before Fig. 32 i s not

intended to express the mode of the next sect ion. The D

major measure simply ca l l s a t ten t ion to the fac t t ha t the

pola r i ty of i s to be established; the section a f t e rFig. 32 i s in D minor. See Ex. 54.

82



The scale of the D minor sect ion ~ f t e rFig, 32 see

Ex. 18 i s a gap scale consist ing of the following tones;

~ , - , l , ~ ' ~ ' ~ b ' ~ ' ~ .I t s re la t ive major scale on E i2 used

in the next sect ion a f t e r Fig. 33; t h i s i s a doubtful major,

however, since both the major and minor th i rds are present ;

E £ l . d b . L l J a b . § . Q ~ ; Q ~ .The sect ion in D was the l ink be

tween the B•f la t major scale of the f i r s t sect ion and the

F scale of t h i s section; i . e . a l i nk by the enclosed th i rd

of the two scales B b - D - F).- The sect ion a f t e r Fig. 34 employs a complete twelve•

tone chromatic ser ies based on • See Ex. 19. The ~ f l a tt

of t h i s scnle i s dressed to such an extent t hc t the scale

becomes def in i te ly minor in character. n the next two sec

t ions a f t e r Fig.36 and 37 the two F scales found a f t e r Fig.

33 and 34 are repeated in the same order with s imilar m:Jte

r i a l which leads to the l inking materiel between set ion

and section ~ of the movement.

The scale of the l inking mater ia l found in the th i rd

measure <= fter Fig. 38 see Ex. 55) i s a ser ies with £1-flo.t

as i t s center. I t consis ts of the B-f la t major sctlle tones

with an added seventh, ~ f l a t . This ,6-flat i s hear6. f i r s t

a t the beginning of the th i rd measure of Ex. 55, and i t i s

s t i l l heard when the A-natural i s introduced to the ser ies

in the f i f t h me< sure; i t i s then, another example of the

introduction of a new tone to a se r ies in associa t ion with

83



i t s re la t ive ha l f - s tep . rhe A-n::.tural i s also the l ink to

the scale of the sect ion which follows in the s ix th mea-

sure; i t i s found in the new scale as the second s tep of a

se r ies in which the note g i s es tabl ished as the ton ic .

In t h i s movement there are no instances of two d i f -

ferent scales , or ser ies of tones, being employed c t the

same time; however, an approximation of t h i s idee:;, when on

ly one scale i s avo.ilable, i s found in the sect ion follow

ing Fig. 39. In t h i s case the melody l ine uses one por t ion

of the scale , and accompanying elements use another port ion.

Examf le 2 shows t ha t the ost inato accompaniment employs thetones a , a , ~ b , ~ , a n d . ~ Jthe f i r s t statement of the c la r ine t

in the second and th i rd measures of t h i s example cont::ins

l l of the tones found in the basic melodic element fron1

t h i s point to Fig. 41. These tones const i tu te the upper

por t ion of the G minor scale plus one tone ~ - f l a t )which

i s found only in the f i r s t statement; the other four s t a t e

ments which follow span the perfect four th from £ to g

After a shor t sect ion in G major a f t e r Fig. 4?, the

scale returns ( a f t e r Fig. 43) to a ser ies qui te s imi lar to

t ha t found in the f i r s t measure of Ex. ~ > , ) . The scule used

in t h i s sect ion (see Ex. 23) lacks only the four th s tep,£ ,

of the scale found a f t e r Fig. 39.

The scale of the following sect ion (theme in

Graph I ) i s shown n Ex. 24. This scale centers on the

th i rd step ~ - f l a t )of the previous scale , and lacks i t s

8



four th s tep, : is does i t s predecessor in Ex. 23; the ne\

scale i s c lea r ly a B-f la t minor se r i e s .

A good example of p o l y t o n a i ~ ~(simultaneous use

of two or more tona l i t i es ) i s found in Ex. 25. The outer

par t s (bass and melody) imply the scale of B· f l a t ffi i:l io r.

found a t the beginning of the movement; the inner p ~ r t s

move in the key of F major, emphasizing the tonic chord

of · that key.

rhe next scale a l te ra t ion eccurs in the four th

mensure a f t e r Fig. 45; the compositional technique here i s

quite similnr to the procedure found a f t e r Fig. 39. >ee

Ex. 20. This par t icu la r usage i s shown in Ex. 26. The

melody employs tones in the perfect f i f t h from ~ f l a tto

[ the accompaniment, a ser ies with ~ f l a tas i t s tonic

cen te r, uses a l l twelve tones of the chromatic sca le .

This combination of scale pat ters i s used un t i l the re turn

of s e c t i o n ~mater ia l in the measure following Fig. 47.

The major climax of the movement, which occurs in

t h i s section from Fig. 46 to 47, makes use of the most com-

plex scale possibile, a complete chromatic se r i e s . SLe in -

t raduction of the two tones which complete the se r ies oc

curs in the f i f t h mensure of Ex. 26. These two tones occur

with the i r re la t ive half ' -steps present a t the same time.

(Q with , 2-flat, ~ with ~ - f l . : . : t This i s the focal point of

the climax which has been developing from the begifnning of

sect ion 12•

85



86

In the sec t ion from Fig. 47 to 50 the scale used by

the melody and i t s accompaniment i s the same as the s c ~ l l e

found a t the beginning of the movement. In t h i s section ~

f l t i s subst i tu ted for £-sharp in every case, but i t does

not a l t e r the sound of any of the l ines . The new ele::-.ent,

the f lu te counterpoint , employs c-::11 twelve tones of the chro

matic scale based on the tonic (. }-flat) of the primarJ sca le .

See Ex. 27.

The scales found in the l inking sect ion are c lear ly

re la ted . The ser ies based on the D major scale, found _ ~ f t e r

Fig. 50 fo r three measures, i s a repe t i t ion and development

of the l l major t r i d found t the end of the f i r s t phrase

group of section J.• See Ex. 54. This D major aerie;:; .noves

to a similar scale one-half s tep higher with a tonic center

on ~ f l a t The i n se r t 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) , / ; ~ : f EC

Except f ~ t h etwo tones <a-sharp and ~ - f l a t foreign to the

basic major pa t te rn , each step of the D scale moves to i t s

para l le l member in the E- f l a t scale by hal f s tep .

The f i r s t measure in the new E-f la t sco.le occurs

two measures before Fig. 51; the winds continue in the mea-

sure before Fig. 51 in a re-s ta tement of the mater ia l found

in the l inking sect ion t the end of the f i r s t movement.



The rhythm i s a l te red only s l i gh t l y in the measure before

Fig. 51; t h i s re-s ta tement occurs on tones a per fec t f i f t h

below the f i r s t example, in order to place i t in V-I r e l a

t i on to the l a s t movement in E- f l a t . In t h i s re-s ta tement

the f i na l chord i s supplied with i t s th i rd ; in the e a r l i e r

case only the tonic member was present . See Ex. 53.

Again in the second movement the pa t te rn of the

principal notes of the important sections provides an i n t e r

es t ing conmination of tones . See inse r t below:

A

l a , a ~ l a c a c1 1 . - i ~ e l,_c _e,_l..~ ) O - a _ » _ t w _ i c l - 9 e.. m] b P F b · 6 b O · EJ -P-EJ

J J_

I I I I I I

he pa t te rn of principal notes from the beginning to sect ion

2 gives a complete }a-flat major-minor seventh chord; the

combination of notes found from sect ion } through tbe f i r s t

port ion of the l inking mater ia l to the t h i rd movement gives

a g minor t r i ad ; and, f i na l l y, the tonic notes founo a t the

end of the l inking mater ia l and the beginning of the th i rd

movement give an empty f i f t h § - f l a t ]a-f la t . This i s ano

the r example of modulation through the enclosed t .hird; the

f i r s t tones of these chord ser ies are a- f la t , .Q and § - f l n t .

The beginning of the th i rd movement employs the same

seven-tone E-f la t major se r ies which was found a t the begin

ning of the f i r s t movement; th i s ser ies , however, does

87



not s t ress the tonic chord, but the polar i ty of ~ f l u tas

the center i s established in the b:_iss l i ne . i \s shown in

Ex 28, a new sc.::::.le on the th i rd .Q) of the E- f l a t sc<.:ile

enters in the seventh measure; t h i s sc[de employs tvJO

th i rds , two four ths , and two sevenths. In the repe t i t ion

of th i s portion which follows a f t e r Fig. 55, t h i s scnle on

~ makes use of two seconds, two th i rds , two s ix ths , :no two

seventh s teps of the scale . The doubled four th of the eCJ.r-

l i e r section i s dropped, and the doubled second and seventh

steps of the scale are added.

In the next scale sh i f t the tonic note of tn i3 g

scale i s dropped a half-s tep for the new scale; t h i s new

scale , found in the sect ion af te r Fig. 56, i s the scule

found t the beginning of the movement (E- f la t major se

r i e s ) transposed up a minor thi rd to a G-f la t major se r i e s .

The melodic and t ex tura l content of the G-fla t sect ion i s

a re-s ta tement of the content of the f i r s t seven measures

of Ex. 28, which shows the E· f l a t sect ion. The scale on

B-f la t which follows in the sect ion a f t e r Fig. 57 resembles

the scale used in the second portion of Ex 28.; i t con

t a ins only two of the var iable , or doubled, s teps (second

and seventh steps of the B-f la t scale a f t e r Fig. 57).

The fugal mater ia l which follows, as shown in ~ x .

29 employs a normal B·f la t minor scale with two leading

tones ~ - f l a t , ) ; t h i s scale continues u n t i l the fourth

measure a f t e r Fig. 58 where a twelve tone chromatic ser ies

88



i s employed fo r two m e s u r e s ~This chromatic se r ies i s en-

ded b Y the next entrance of the subject a t the end of the

f i f t h measure a f t e r Fig. 58; here the B-:f lat minor scnle

re turns now employing doubled s ix th and seventh steps of

the scale .

In the th i rd measure before Fig. 60 a statement of

the primary motive of the movement occurs which adds .Q-flat

to the B-flat{minor se r ies which has been in use since the

s ixth measure a f t e r Fig. 58. This new ser ies continues

through the th i rd bar a f t e r .r ig. 60 In the four th b< r a f

t e r Fig. 60 an eight- tone D-fla t major se r ies with doubled

fourths enters a f t e r a res t in a l l par t s a t the beginning

of the measure; t h i s ser ies was extracted from the ten- tone

B-f la t minor ser ies which began three bars before Fig. 60.

t serves as introductory mater ia l to the double-scsle usage

found in the sect ion a f t e r Fig. 61 . See Ex. 31 . 1 hese

scales are two di ffe ren t se r ies with the comnon tonic note

of R-f l a t . The one which presents the fugue subject in aug

mentation i s a IJ-flat major scale with variable f i f th s ;

the accompaniment to t h i s employs a D-fla t major scale with

variable second and four th steps of the sca le . These two

scales continue u n t i l the second n . ~ ~ ~ s u r ebefore Fig. 63.

See Ex. 58. 1\t t h i s point the scales combine, and the two

tones which were missing from both scales ~ and ~ ) are

added to cre: t e a complete twelve tone ser ies . In th i s

case the concentrat ion of scale tones has been b u i l t up to

89



i t s highest point; a f t e r t h i s the scale ser ies can only be

come simpler < tnd t h i s occurs in the th i rd measure of the

example. A D-f la t major ser ies with variable fourths i s

es tabl ished in the lower voices; in the higher voices a pa

r l l e l ser ies i s found based on A-flat major. These two

scales are so employed in the section a f t e r Fig. 63 t ha t a

def in i te feeling of polytonali ty r e su l t s . This movement

from a complete chromatic scale to two scales in a new block

of the form i s another example of the connection of scales

with the form of the composition. This change serves here

to break off any fur ther development of the fugue; com-ple te ly new mater ia l has entered.

n the section which follows t h i s af te r Fig. 64

the D·f la t scale moves to a new scale based on E and the

A-fla t scale moves to a new combination of tones based on

the same tonic note [1-flat . See Ex 33. comparison of

these two scales i s given in the inser t below:

8 tones

9 tones

The combined scales lack only to be a complete twelve tone

ser ies ; t h i s i s supplied in the sect ion a f t e r Fig. 65.

From Fig. 65 to the four th measure a f t e r Fig. 66

the only elements employed in the texture are two chords:

one i s a major t r i ad and supplies the missing tone in

the previous ser ies ; the other i s a major t r i a d . Jee Ex.

42. This i s the bes t example of polychord t reatment found

90



in the composition. The monopoly of .Ufte the t r i ads i.s bro

ken in the eighth measure of the example by the r is in," l ine

employing the C :naj or sca le . , t the end of thd s l ine the

91

2 m2j or t r i ad i s dropped, and a new chord se r ies < ~ p p e : : : t r s

based on the following tones : ~ b .Qb b, Jab, bas i ca l l J

f l a t minor; the £ major t r i ad continues through t h i s sect ion.

In Ex. 58 the close of t h i s sect ion i s shown; n de

scending scale l ine leads to the f i na l statement of t h ~ : ;theme

in the f i r s t se t ion of the movement. The scales used in t h i s

appearance are the scales of the f i r s t sect ion (Ex. 23) t r ans

posed up a minor t h i rd . ' ~ t the end of t h i s sect ion (one mea-sure before Fig. 70) a D-natural i s introduced to the ' texture

with i t s ha l f - s t ep associa te , 1-f la t , also present ; t h i s B · ~

leads to the scale of C minor used in sect ion 2·

The members of the C minor se r ies a f t e r Fig. 70 are

shown in Ex. 34. The scale of the next sect ion found a f t e r

Fig. 7 ~ ? hBs the same scale Ds the f i r s t transposed dovm to

B-f la t . The second sect ion contains the same melodic e le

ments found in the f i r s t here developed and extended. /,t

the end of t h i s second sect ion the B-f la t minor se r ies be

comes B-f l a t major. See Ex. 43; the se r ies shown here em-

ploys only f ive tones : ~ b Q, Q ~ b • In the l a s t t N O

measures of the example there i s a s h i f t to two scele pat

terns in a polytonal re la t ion ; one i s based on the G m.=- .ior

scale , < : nci the other i s based on the major chord. In

combinat,ion, these two t ona l i t i e s produce a complete seven-



tone scale of C major. The th i rd , §, of the C major chord

l ine moves to ~ - f l a tin the next sect ion a f t e r Fig. 74;

t h i s ~ - f l a ti s the tonic note of the sect ion which con

t inues to Fig. 75.'I'he section a f t e r Fig. 75 employs a complete

twelve-tone se r ies based on £i-f ' lat. See Ex. 44. he f ive

measures r e r r ~ i n i n gin the section which continues af te r

t h i s example employ a twelve-tone se r ies based on 2-fldt ,

a four th higher; the A-fla t scale continues in t h i s sec

t ion in a less complex form, as fol lows: ~ b ~ 9 ~ b ~ ~ b ~

.[,Qb. The close of t h i s section i s shown in Ex. 60; the

modulation over the cadence i s to a remote s c a l e ; i . e .

from ~ - f l a tto ~ - n a t u r a l .

Both scales in the sect ion a f t e r Fig. 77 are based

on • There i s no apparent r e l a t i on to anything in previous

portions of the movement, e i the r in a melodic or scalevdse

sense. These scales based on ~ introduce the basic scale of

the sect ion a f t e r Fig. 79 which i s a D minor ser ies . ( see Ex.

60 for . ::. scales.) Here i s another case of the melody making

use of one sca l t , and ahe accompaniment another scale with

the same tonic in the section a f t e r Fig. 79. I f the t Jo

scales are combined the one tone lacking in the eleven-tone

accompaniment cale (a ~ f l a t i s supplied from the scale

used by the melody. This sect ion ends with an [•shar-p in

the melody l ine leading to ~ in the next section af te r Fig.

92



81 . This i s the th i rd of the scale of ~ - f l a tnwj or which

js used in the next sect ion.

The scale of the sect ion a f t e r Fig. 81 employs dou

bled th i rd scale s tep in a basic E- f l a t major se r i e s . This

s necessary because of the melodic elements emploJed; the

en t i re melodic element of Ex. 28, which occurs a t the be

ginning of the movement, i s found here. The accompc:;ni:;.ent

i s al tered in t h i s example, and the scale remains the :Jame

in both of the phrases presented, instead of modulating up

a major t h i rd , as in the seventh measure of Ex. 28.

In the measure before Fig. 83 the in t roduct ion of

E- f l a t in associa t ion with i f l a t a ha l f - s tep b ~ l o wind i

cates the next scale s h i f t . In the form of the composition

a new development and extension of the previous theme occurs

in t h i s sect ion. See Ex. 45. The in t roduct ion of the new

tones 1}-flat and ~ i s accomplished by the usual associa

t i o n with a re la t ive ha l f - s tep . The E • f l a t ~ f l a tcombi

nat ion preceding Fig. 83 was actual ly the f i r s t appee:•rance

of ~ in i t s enharmonic equivalent .

This scale continues in t h i s development of the

theme un t i l Fig. 85; from t.his point on to the end of the

movement the scale i s E- f l a t major with two seventh s teps

of the scale , Q-f la t and ll• The f i na l development anct

extension of the primary theme i s found in the sect ion from

Jl .ig. 85 to Fig. 90. /.;fter a b r i e f plagal cadence in ti1e

measure af te r Fig. 90 see Ex. 46) , t h i s f i na l cadence

9



chord i s emphasized by r e p e t i t i o n <md the composi t ion i s

completed. I he V - I r e l a t i o n s h i p o f t he chord members in

these l s t two measures hns ::dreo.dy been explained i n t.he

cllapted devoted to Cadences.

The ht:::rmonic and sca l e rel ; , t ion i n t he t h i r d :nove

i t ~ n ti s not of v i t l importance; the element which IJvelJs

the movement i n to a whole i s the rhythmic dr ive founct ir,.

t he develol)ment of ma te r i a l from sec t ion l· : his i s .:ds-

cus , ed in the s e c t i o n concerned. with meter and rhyth.m.

94



Clil\PTER IV

MEI.DDY METER /\ND R YT M

lilelody

The melodies found in the Concerto wil l be considered

from three general c lass i f ica t ions : 1 . the method of l ine

const ruct ion; 2. type of in te rva l l ic motion, tha t i s e i ther

conjunct or dis junct ; and 3 . the general tendency of the l ine

to remein neut ra l , or to move upward or downward. Cnder the

f i r s t of these, method of l ine construction, f ive types of

melodies wi l l be considered, as fol lows:

1 . melodies b u i l t on the repe t i t ion of a f igure

2. melodies b u i l t on the repe t i t ion of un interv:..tl

3 . melodies b u i l t on a chord.:.,l outl ine

4. r.hythmic melodies (monotonal, chant- l ike)

5. melodies t ha t are not bu i l t on any specif ic in

t e rva ls , f igures , e tc . , but may be developed from f igures ,

or motives.

The closing portion of t h i s section on ::lelody wil l

consis t of a discussion of Stravinsky s method of achieving

a musical climax.

,Melodies b u i l t sm J i t e r ~ J . r . e . Q e ~ i t i o n.2t a ; ig\are

The melody in the vio l ins shown in Ex. 2 i s composed

of three repe t i t ions of the primDry motive t in a combincltion

9



of conjunct and dis junct motion. The l ine d i rec t ion i s

neut ra l .

The melody in the violas in Ex. 17 i s bused on a

repe t i t ion of the f i r s t two measures, and also the r epe t i

t ion within these two measures of the minor second f igure ,

l ~ l t1 The f i r s t four measures are dis junc t in motion

and the l ine di rect ion i s neut ra l . In the l a s t three mea-

sures the l ine i s dis junct : the l ine tends to r i s e in the

f i f t h meusure, but re turns to i t s original center ; in the

s ixth measure the l ine tends downward but reverses i t s e l f

in the seventh measure in a leap of a tenth upwdrd and onceagain re turns to i t s or ig ina l center.

In Ex. 28 the melody of the f i r s t phrase l s t meG-

sure through the 7th measure) i s based on the r epe t i t i on of

a f igure which revolves around - f la t . The pat tern of the

upper neighboring tone, followed by the lower neighboring

tone (a f te r the re turn to ~ - f l a t i s repeated twice in t h i s

phrase. The motion of the l ine i s conjunct , and the l ine

d i rec t ion i s neut ra l .

The fugue subject shown in Ex. 9 i s derived from

two repe t i t ions of the f i r s t par t of the main theme. I t i s

conjunct in i t s motion, and the l ine di rect ion i s bas ica l ly

neutra l in the f i r s t por t ion; in the second portion the

leap of a seventh i s to be considered a conjunct inversiono:f the scalewise minor second (Therefore, the second ro r t ion

i s also conjunct in i t s motion, with the l ine having a

96



downward tendency a t i t s close .

In Ex 32 the melody i s b u i l t on the r epe t i t i on of

E n al tered form of the main subject of the movement. The

1notion is dis junct ; in one statement the motion i s upward

a r ~ j o rsecond, then down a major t h i rd , down a minor se-

cond, and returning upward a minor t h i rd . The tendency i s

to re turn to the ~ f l a t .

In the f i r s t and second measures of Ex. 44, the me-

lody i s b u i l t on the repe t i t ion of a stepwise movement down-

ward on scale tones. In the fourth and f i f t h measures the

same thing occurs in an upward di rec t ion . I f the repeated

notes are disregarded, the l ine i s conjunct in itL; motion

in both of i t s sect ions .

Melodies b u i l t 2n ~ ~ t e r a lr epe t i t i on i i n t e rva l

The f lu te l ine in Ex, 6 i s a r epe t i t i on of the in -

t e rva l of the minor second from s l to ~ - f l a t l At the end

of the f i r s t measure the l ine makes i t s only leap, up a

perfect f i f t h I t drops back a minor s ixth to repeat the

f igure from the beginning. The minor second i s spre< 1d to a

r o ~ o rsecond a t the end of the second measure, and continues

in a s imi lar manner. The l ine tendency i s neut ra l .

The c la r ine t l ine in Ex. 20 is based on the repe-

t i t i o n of the in te rva l of a minor second, spec i f i ca l ly

in a r i s ing chromatic l i ne . The motion i s conjunct.

97



iLelodies bQil t .Q. l s cbord

Ex. 1 includes numerous melodic elements b8sed on

chords. The f lu te l ine of t h ~ second measure out l ines the

~ f l a tmajor chord in a combination of conJunct and d i s -

junct motion with neutra l direct ion un t i l the c lose which

moves downward from ~ f l a t 3to t • The viola l ine in the

f i r s t measure emphasizes the ~ f l a tmajor chord by the use

of each chord tone in combination with i t s lower· neighbor.

The motion i s conjunct and dis junc t and the l i a e direct ion

i s downward.

In Ex. 40 the chordal ostinato descends on tones of

the ~ f l a tmajor chord. The l ine i s a combination of con-

junct and dis junc t motion.

In Ex. 18 the melody i s bu i l t on a 2 minor chord

with the added tones ~ f l a tand ~ · · The motion i s dis junc t

and the l ine di rect ion i s generc:,lly downwctrd.

98

In Ex. 21 the f lu te out l ines two chords in two ranges

a t the same t ime; one i s ~ b ~ .§b in a se r ies ana the other

i s a Q , Q ser ies . The motion i s dis junc t und the l ine

di rec t ion i s upward a t f i r s t and then down.

; \ l l of the ost inato melodies shown in Ex. 42 are

b u i l t on chords. f.1otion in the major t r i ad s i s con,_iunct

and disjunct;ynotion in the ~ major t r i ad i s conjunct .:.md

dis junc t also . The £ major t r i ad mater ia l tends to r i s e

and t h e ~major t r i ad remains in the same range.



t :ethods .2 achieving sa <climax

In achieving a musical climnx, Stravinsky seldom

makes use of his melodic l ine ; the climaxes are achieved

by use of the following specia l effec ts :

1 . Repeti t ion of the f i na l measures of a melody;

repe t i t ion of a motive or chord. (End of the th i rd move-

ment. Ex. 61)

2 . Use of an ascending scale l ine independent of

the melodic l ine . Ex. 58, before Fig. 63, bottom l ine

scale ; also Ex. 42 , ostina.to section)

3 . By sequential use of an idea . (Ex. 42)

4. By del iberate dynamic cont ras t . Two examples

continuous, c r ~ s c e n oto piano subito: Exs. and 12)

Meter swg RhVtbm

In the Concerto numerous changes of the metric in -

dicat ion occur. These changes are usually in re la t ion to

the large sect ions in the f i r s t and th i rd movements. In

the second movement, the only metric changes are found in

the l inking sections before sect ion and t the close of

the movement. In l l three movements the time vulue 2 l lo t -

ted to a note remains constant as long as the par t icu la r

metronome indicat ion for thDt section i s in e ff ec t .

In the f i r s t section of the f i r s t movement Begin-

ning to Fig. 7) the meter indicat ion i s changed twenty-

eight t imes, and involves seven di ffe ren t s ignatures , as

100



fol lows: 4/4 3/4 2/4 3/8 2/8 1 7/16 4 5/16. The section

consis ts of fo r ty measures.

101

From Fig. 7 to Fig. 11 the contrasting section of

the f i r s t movement, only two signatures are used and these

are 3 /4 and 2/4. In the twenty-five measures which comprise

t h i s sect ion the signature i s changed four t imes.

From Fig. 11 to Fig. 20 the section containing the

fugue of the f i r s t movement, the meter indicat ion i s cho.nged

for ty times in t h i s passage consis t ing of sixty-two measures.

J ix di ffe ren t time signatures are used, and these are 4/4

3 /4 2/4 5/8 4/8 and 3/8 .

The re turn of mater ia l from the f i r s t section found

from Fig. 2 to Fig. 25 also employs seven di ffe ren t time

signatures as follows: 3 /4 2/4 3/8 2/8 11/16 1 9/16

7/16. This i s no1the same ser ies of s ignatures found in the

f i r s t sect ion however; the 4 / 4 and 5/16 s ignatures ure

dropped and 11/16 and 9/16 are added. In the twenty-three

measures comprising t h i s sect ion the metric indicat ion i s

clwnged sixteen t imes.

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 consis t of a 3/8 bur plus an eighth r e s t the

only two res t s found in the sect ion. In the 19 measures of

t h i s sect ion there are threetime changes involving these

two signatures.

The l inking material a t the end of the f i r s t aove-

rnent i s in 6 /8 time throughout i t s eight measures from Fig.



8 to Fig. 29. I he r e l a t i on of t h i s passage to the previ

ous one wi l l be discussed l a t e r in the section devoted to

note values.

102

The second movement uses onl.J one signature in the

main portions of the movement, and th i s signature i s 3/8 .

The only changes of signature occur in the linki l£ sect ions .

See Ex, 55 and Ex. 56 . In these examples, the s ign . tures

6/8 and 9/8 are employed, and contain, the same factors

found in the l inking section a t the end of the f i r s t Elove-

ment wlich wil l be discussed l a t e r .

In the th i rd movement once ag.;;in\there i s a compli

cated ser ies of s ignatures used, ~ ~ n da ~ : c . · i nno more thc:m

seven di ffe ren t indications are found in any one sect ion.

The f i r s t sect ion from Fig. 5 to Fig. 70 contains the 0 11 -

ly ser ies of seven signatures four:;.d; these are 3/2 , / ~ : ,

7/4 , 5 / 4 4 / 4 3 / 4 and 2/4. In the 102 m e ~ u r e swhich m:;ke

up the f i r s t section ~ in Graph I I s ixty-four changes of

time signatures accur.

In the slower tempo of s e t i o n ~(Fig. 70-74),

there are only two di ffe ren t time signatures used ( 5 / 4 and

4/4) . The basic signature of t h i s sect ion of twenty-four

measures i s 4 / 4 . In the second measure from the l a s t in

the sect ion the only appearance of the 5/4 signature occurs;

the l a s t measure i s ag:.5n in 4/4 t ime.

The next re turn of s e t i o n ~(Fig. 74-77) employs

three di ffe ren t s ignatures ; 5 / 4 4/4 , and 3/4 . Ihe section



consis ts of twenty-six measures i f the repeated sect ion i s

included twice. 'Ihere are f i f teen changes of signature, i f

t h i s repeat is counted.

103

In sect ion £ of Graph I I (Fig. 77-81) two di ffe ren t

time signatures are used (5/4 and 4 /4 ) . The only occurrence

of 5 /4 is in the f i r s t measure, which i s actual ly a 4/4 bar

plus the one beat r e s t which separa tes i t from the previous

sect ion ;;; mater ia l , This sect ion i s eighteen measures in

length.

The f i na l re tu rn of section in the movement is

from J?ig. 81 to Fig. 83; in t h i s sect ion only two signatur·es

are found (4/4 and 2/4) ; however, the t en measures of the

section contain s ix changes of time s ignature .

The Coda of Graph I I i s ac tua l ly an extension nnd

development of section ~ mater ia l ; i t s time s ignatures con

s i s t in a new ser ies , f ive in number: 3 /2 ,5 / 4 ,4 /4 ,3 /4 ,2 /4 .

The one measure m p ~ i n gthe f i r s t s ignature , 3 / 2 i s con

ducted in s ix , giving a signature of 6/4; therefore , every

type of conductor 's beat from two to s ix per measure i s em-

ployed in t h i s sect ion. The f i f t y -e igh t measures of the

Coda, with the repeated section counted twice, include

th i r ty-seven changes of time signatures.

In t h i s work there i s no indication in the score

fo r any use of f ree rhythml; however, Stravinsky makes G

lJ\ccording to Will i Apel, two types of f ree rhythm exis t .Free rhythm, i . e . the use of temporary values which have

no c o ~ i o nmetrical uni t (beat) Free rhythm i s also 3Ctua l ly present whenever a s t r ik ing devia t ion from s t r i c t rhythmi s demanded, e . g . by ra l lentando accelerando, rube • t o . Cf.a r t i c l e Rhythm, I I c , Harvard Dictionarv £1 Music, edWill i ilpel, (C8mbridge 1 Mass.: Harvard Universi ty ~ r e s s ,1945).



def in i te tempo change in the th i rd movement in his recor-

ding of the work. This tempo change occurs in the six-mea

sure sect ion f t e r Fig. 60 which leads to the f i na l section

of the fugue a f t e r Fig. 61. The beat employed in t h i s sec

t i on i s slower than t ha t of both the sect ion preceding and

104

the section which follows; t h i s i s done, apparent ly, to give

added emphasis to the l s t sect ion of the f t ~ u e which follows

immediately in the or ig ina l tempo af te r Fig. 61) .

The divis ion of the basic un i t J in the f i r s t

movement i s by mult ip les of two, the smal les t note vulue

being a sixteenth note . There is but one exception, the

thir ty-second-note t r i p l e t f igure which i s confined to the

clos ing por t ion of the f i r s t sect ion of the movement. See

Ex 5. The general rhythmic e ff ec t of the f i r s t movement

i s one of f l ex ib i l i t y ; many sect ions employ combinations of

t i ed notes which emphasize the off-beats of the measure.

The l inking sect ion t the end of the f i r s t move-

ment Fig. 28) i s also typ ica l of the l inking material found

in the second movement; the 6/8 tempo indicat ion used has

the e ff ec t of slowing the tempo of the previous section y

exactly one-half . n the section preceding Fig. 28, the

beat i s subdivided, ut the basic uni t i s f e l t to be u J ;in the sect ion following Fig. 28, three subdivisions of

the previous bea t , the uni t J·), become the main beat .

In the t h i rd measure of t h i s l inking section, a f igure which

i s described as a dyple t occurs. The duplet i s a group of

two notes to be played i n the time of th ree ) . By use of



:ovement i s one of f l ex ib i l i t y with the use of a minimum

of rhythmic f igures ; the s ix teenth followed by tv-Jo t h i r t y

seconds, · nd the reverse of th i s ; the dotted s ixteenth nnd

a th i r ty-second note; two s ix teenths ; and four t h i r t y - se

cond notes are the pa t te rns used throughout the movement.

The basic uni t J ) of the th i rd movement i s found

subdivided by multiples of two. The section from Fig. 52

to Fig. 66 employs, as i t s smal les t subdivision, o n l ~ eighth

notes . ee ostinato Ex. 42. In the four th measure of the

example, sixteenth notes in an even pa t te rn are introduced

for the f i r s t time; the s ix teenths are discontinued in the

texture aftGr the descending scale shown in Ex. 59.

106

I he slower sect ion (, 2J makes use of sixteent ls in

both the melody and accompaniment. The pat terns are not

obtrusivef they occur e i t he r as a group of four, or an eighth

followed by tv1o s ixteenths . See Ex. 34. The onl. / apr.-earance

of the quintole t in th i s movement occurs in t h i s sect ion in

the two meCtsures before Fig. 72; th i s f igure taken par t in

the modulcttion from C minor to B-f la t minor, the scdle used

in the sect ion a f t e r Fig. 72.

The re turn of sect ion h a f t e r Fig. 74 doe.s not u1 .ke

any use of sixteenths; the eigl:lth note once ag<::in i s the

snudles t subdivision of the b e ~ ; t

I he f ina l use of s ixteenths in the th i rd mov::cment

i s in the r i s i ng scole l ine which i s found a t the end of

section £ (one mec:1sure before Fig. 8 1 .



107

The gene ra l e f f e c t of t h i s movement i s one of motion

toward the fin<:>.l c c : ~ d e n c e ;t i s slowed somewrwt by the Pogo

( sec t ion 12, , bu t t r e t u r n s quick ly to i t s o r i c i n a l

s t y l e . I he s e c t i o n £ m a t e r i C ~ lwhich i s be., sed on a ~ i f f e r

en t sca le , tends t o stem the forward motion f o r ~ sbor t

whi le , bu t the r e tu rn of sec t ion A materi<.::.l etfter· I-'ig. 81

marks the beginning of a d i r e c t rhythmic t r ea tmen t le.otding

to the f i n a l c ~ d e n c e .

::>travinsky uses many rhythmic devices to o . v o i ~. ~ ~ u n r

phrc::.se cons t ruc t ion (two or four me,,surej . One of u ~ e s ei s

the use of extens ion , as shown in the f i r s t movement in the

long dominant from Fig . 11 to 13. In another case he w i l l

s h i f t I ~ i saccent from a s t rong to a weak be<: it, as found i n

the c l a r i n e t l i ne a f t e r :i; igs. 34 and 37. See Ex. 19. This

i s a l so found in the two measure.Sbefore l ' ,ig. 11. ~ · e e Ex. 49.

These metLods tend to throw the rhytr..m o ff cen te r f o r -' shor t

_;)eriod of t ime.

In c e r t a i n places in the Concerto, .Jtravinsk..,· 1mkes

use o f polyrhyth.mt I n speaking of t h i s term, 'pel inuic;.:.tes

t h a t n . • • • a d i s t i n c t i o n can be .;..1cde between two types of

polyrhyth.m; con t ra s t ing rhythms wi th in the same scheme of

Polyrhytrun may be def ined as the simultaneous use of s t r i -kingly con t r a s t ing rhytr.uns i n d i f f e r e n t p a r t s of the musicc:tlf a b r i c e1lso known as cross- rhythm. C11 Harvard .;Qi9tionary,P• 593.



3Ccents (meter) ; contrasting r r ~ t m sinvolving a conf l ic t

of meter or accents . The l a t t e r type i s sometimes tE ;rmed

t pOlymetriC u l

Stravinsky's use of polyrhythm i s mainly of the

polymetric type. Two examples of polyrhyth:n of t h i s t Jpe

deserve to be mentioned here. >ee Examples 40 and 4 .

1 · Ila ryard Dictionarv, P• 593.

108



Since the harmony of the composition i s secondary

to the l inear development of mater ia l , the ser ies or scale

becomes the most important harmonic element. All l ines

seem to have some melodic importance; even obvious ~ c c o m p

niments have t he i r own di rec t ion and melodic i n t e r e s t .

he analys is of the s tyle of t h i s work in r e l a t i on

to the music of the present day i s given by Ingolf Dahl in

these words:

he a ff in i ty of contemporary music to the es-the t ics and techniques of the baroque period in musichas of ten been noted. he baroque orchestra (Concer-to Grosso) in par t icu la r, with i t s f l ex ib i l i t y of in -strumentat ion, i t s chamber music t ex ture i t s cleundivis ions in to passages for " tu t t i " {f'ul ensemble)and "solo" ( individual instrumental groups), i t s ob-j e c t iv i ty of expression and unified dynamic levelsare ref lected by our jazz bands and our radio orche-s t ras as well as by a la rge number of' contemporaryconcert works. Dumbarton Oaks," di ffe r ing in sever-a l ways from the 18th century prototype, could bestbe cal led a oor \ r a i i Concerto Qrosso, paintedby a modern a r t i s t

lNotes on the recording of the Concerto.

111

dumbarton oaks-dowdakin thesis

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