Assignment 5: Reflections

Get your Waltz on!

My first thought when presented with this assignment was to write a waltz, as it would be easy to create a chord sequence with one chord per bar. I then decided to create a walking bass motif from the notes on the first beat of each bar; this motif follows a 16 bar sequence. I then added chords on top of this bass line, though this proved harder than I first imagined and there is a heavy reliance on inversions of chords IV, V and VI. The first section, Presto, uses this 16 bar sequence 4 times; each note in the bass sequence is accented. The melodic line is then constructed to try and disguise the sequence that follows underneath; the melodic phrases are of different lengths and I try to avoid ending a line at the end of a 4 bar group. Each melody passage works up to a fortissimo, accented crochet, dotted crochet, quaver motif but with no cadence underneath. The first section eventually winds up and leads to an anticipated perfect cadence, but instead the middle section is immediately introduced on a VIb chord.

The middle section uses the melodic ideas of the first section, but in 6/8 time with a broken chord motif underneath using the same 16 bar harmonic pattern. I got this idea listening to the Schumann Piano Concerto, where in the first movement he echoes melodic ideas he introduces in a simple time passage later in a compound time passage. I like this effect, as it creates a sleepy, lilting feel to the opening music; the legato style nicely contrasts the upbeat, detached first section. The left hand is written in an attempt to create a three in a bar feel below the definite two in a bar melodic line; an attempt to echo the waltz feel of the first section. Again, like at the end of the first section, the music winds up to the anticipated perfect cadence, but instead the opening music returns on a VIb chord.

The short reprise of the opening section sees the melodic line embellished while extra notes are added to the bass chords to add more colour. Unlike the 1^st passage, the 16 bar chord sequence is only heard once, with the last bar creating the perfect cadence which, after the previous interrupted cadences, comes as a bit of a surprise.

Prom 8: Britten, Lutosławski & Thomas Adès

In a previous issue of BBC music magazine they had an interview with Thomas Ades about the commissioning and premier of his work 'Totentanz', so I wanted to hear this particular Prom. The concert also featured two 20th Century pieces, Britten's 'Sinfonia da Requiem' and Lutoslawski's Cello concerto. Again, I wasn't able to listen to it live, but it was repeated on BBC Four this evening.

Lutoslawski's Cello concerto begins with the cello playing a series of open string D's very nonchalantly, followed by a long solo opening passage where the cello seems to rattle off a series of bespoke musical ideas, almost like a series of individual thoughts. A loud trumpet fanfare interjects, followed by a muted fanfare before more and more of the orchestra enter. Overall it was too dissonant for my liking; it felt more like a collection of notes rather than any really assembled harmonies. The musical ideas were also too sporadic for my liking; I never got the sense of any development of musical ideas, it was just one idea and sound after another. That being said, the range of sounds that Lutoslawski creating from the orchestra was very impressive; lots of instrumental techniques were required. At one point I thought a child was screaming outside only to realise it was the strings! Paul Watkins, the cello soloist, really expressed himself through his playing and his face, though the latter was somewhat off putting!

'Totentanz', meaning 'dance of death', depicts the idea that, regardless of rank, all humans are united by death. The music opens with very dissonant chords before the baritone, representing death, invites all humans to join in the dance of death. He is accompanied by three piccolos, whip, piano and strings in a high, dissonant, ghastly sounding figure, no doubt to strike fear into the listener. The mezzo-soprano represents all humans, and sings in response to each of death's statements. The music that accompanies the mezzo is less dissonant, sounding more familiar and easier on the ear, which makes it more relate-able. I get the impression Ades tries to create an unearthly sound to death's music while humanities pleading is more humane. Although not as sporadic as the Lutoslawski, I still found it very difficult to listen too. Like Lutoslawski is able to create a vast range of sounds from the orchestra, and even the vocal lines; the mezzo part in particular covered an enormous range. Although called 'dance of death' at no point did it feel like a dance, unlike Saint-Saens's piece by the same name.

Prom 13: National Youth Orchestra of the United States of America

I recorded the BBC Four showing of this prom where, unfortunately, they omitted Sean Shepherd's 'Magiya' and Joshua Bell's encore. I was, however, able to see the two big works of the prom, Tchaikovsky's Violin Concerto and Shostakovich's 10th Symphony. Whilst I know these works well, it was interesting to see Valery Gergiev's interpretation of them.

What always strikes me about Tchaikovsky's Violin Concerto is the length of the melodic line; sometimes you free that one idea has been developed into a 5 minute long phrase, but it seems easy and natural. The sound Joshua Bell was able to produce was amazing and the clarity he gave to the virtuoso passages was stunning.

Shostakovich's 10th Symphony is probably my favourite symphony, partly because of its historical significance, but mostly because of what he is able to do with texture. You go from exposed solo wind passages in the 1st movement to a massive, whirling, full orchestral sound in the second movement. A seemingly empty texture returns in the 3rd movement; there are some haunting solos where you really feel you are reaching deep into the composer's soul and seeing his pain and anguish first hand. Given the numerous references to the DSCH motif it is clearly a very personal movement. The 4th movement begins similarly, but then erupts like the second movement into a dizzying climax, with one of my favourite timpani solos echoing the DSCH motif.

Prom 4: Les Siècles

I was on holiday the week before last so I missed the opening night of the proms, but the first I was able to see was the Prom by Les Siecles.

They played 'The Rite of Spring', which although not new to me, was different because, like all the other works they played in the concert, it was played on period instruments. Although playing on early 20th Century instruments doesn't create a wildly different sound to modern instruments, there was a rawer, more earthy quality to the sound; it didn't sound as pure as a modern orchestra sound which is somewhat fitting for Rite.

Their repertoire also included works from the 17th and 19th Centuries. I was impressed how the performers were able to switch instruments so easily as many must have required different techniques. Each piece they played had a very different sound to it as a result. By starting with the oldest piece, the sound became more familiar are the concert went on.

They played Lully's 'Le Bourgeois Gentilhomme' where the conductor kept time by banging a large staff on the ground as apparently was the tradition at the time. I found this somewhat off-putting at first, but I suppose this is no different to the role the percussion section play in modern orchestral works.

Research Point: Das Rheingold - Prelude

The prelude brings with a drone from the low strings and a horn call based on three notes of the triad. The lower strings and horn then exchange motifs before the lower strings begin to play arpeggio motifs to create a sense of movement; here Wagner is depicting the flowing of the Rhine. The upper strings then enter with a similar arpeggio motif with becomes faster and more elaborate.

Whilst it is the same for so many bars, Wagner uses dynamics, rhythm and orchestration to create a feeling of suspense and wonder. The music builds in dynamic and range, starting low and gradually increasing upwards. He adds more instruments and the motifs become more elaborate and faster. Towards the end you are just left waiting to see where the harmony is finally going to go; the entry of the soprano eventually breaks the mood and the music shifts to A flat.

When Bjork Met Attenborough

This was a documentary on Channel 4 this evening which followed Bjork developing her latest musical project, 'Biophilla', which aimed to harness the sounds of the natural world. She met with David Attenborough to see how sounds have shaped the natural world; from the evolution to birds to the sounds of the ocean. I found it interesting that Attenborough made an observation that the human larynx is far bigger than what is simply required for speech; he went on to suggest that singing, shouting or other vocalisations came long before speaking.

They also discussed the link music and the natural world has with mathematics. Whilst looking at some quartz, Bjork explained how she had used the structure of crystals as the inspiration for her song 'Crystalline'; their structure gave rise to the time signatures she used; 17/8 for the verses and 4/4 for chorus to create a contrast between the irregular 17/8 time and the more structured 4/4 time.

Bjork wanted to find a way to bring the universe's natural forces onto music. In 'Solstice', she uses a rotary, pendulum harp to symbolise the rotation of the earth, while the swing of the pendulum uses gravity to create the bass line; the instrument is a based on the Foucault pendulum.

She explained how she thinks of chords being like the earth's tectonic plates and how a slight change in pressure can move the plates together, apart or they slide against each other. She also thinks of lightning as being like arpeggios. In the song 'Thunderbolt', Bjork used a Tesla coil to play the arpeggio bass line to create the link between the visual lightning and the audible thunder.

Bjork wanted to find a way to use technology to make playing music more accessible. Instead of releasing an album on CD, she went on to create an interactive app where you could not only listen to the songs but interact with them; the app uses the touch-screen to change the shape of the music. The programme went on to show how these apps are used in music education in schools, making music education less formal and more accessible.

Although the film finished somewhat abruptly, I found Bjork's thought process and approach to composition fascinating.

Project 14: Improvisation on a dominant

I started by writing the bass line, which is based around a few simple rhythmic patterns. I then wrote the melody with varying length of phrase so that the resolution to the tonic chord never felt natural until the 16 bar.

Project 13: Elaborate cadences

A Major Cadence

I started with a cadence in A Major, with a bass line based on a waltz pattern.

Bb Major Cadence

The second cadence is in Bb Major but slower and more legato with a rocking bass line.

A minor Cadence

This cadence is in A minor with a bass pedal and chords.

B minor Cadence

In contrast to the A minor cadence, this B minor cadence is fast and detached with an Alberti bass motif.

Research Point: Cadenzas

When I think of cadenzas, I think of a short virtuoso passage for a solo instrument at the end of a piece or movement. I remember when doing my flute exams the accepted practice was that any cadenzas for a baroque or classical concerto should be playable in 1 breath. Not everyone agrees with this today, but when writing my own cadenza for the Mozart flute concertos it was a useful constraint on duration.

We studied Mozart's 23rd piano concerto (K488) for A-level music. Unlike his wind concertos, Mozart actually wrote the cadenza for this concerto, although he most likely played the premier of the piece. It is believe he notated the cadenza because other performers wanted to emulate his virtuosity. In the first movement, the orchestra end on a Ic chord, leading into the piano cadenza, which eventually finishes with a V-I perfect cadence.

I was listening to the 1st Movement of Rachmaninov's 3rd piano concerto and the cadenza is almost a movement within itself. The advantage of the piano being it can add harmony and multiple melodic lines so you can prolong a cadenza; other instruments can only play 1 line so are limited in what they can achieve.

Mendelssohn – Die Hebriden Op.26

Also played at the same concert was Mendelssohn’s 'Hebridian Overture' (Die Hebriden). I had heard this piece a couple of time before, but the more I listen to it the more I release it’s a stunning development of 2 very simple themes to create a piece lasting around 10 minutes.

The first theme introduced at the beginning by the lower strings is meant to depict Fingal’s Cave on the island of Staffa; after seeing the cave on a visit to Scotland, Mendelssohn wrote this opening motif down on a postcard and sent it to his sister Fanny. The first time the motif is introduced it is played legato in a descending phrase. Throughout the piece Mendelssohn then develops it; the violins introduce an inverted version of it in response to the opening phrase. He uses it to build sequences as it is passed round the orchestra; each instrument adding a different colouring to it. He changes the articulation and tempo to change the feel and mood of the piece too.

The second theme is a scalic semiquaver motif which is meant to depict the rolling ocean. Mendelsohn changes the dynamics and range of the motif to go from flat, calm water to a more violent, choppy scene. He also adds accents to the motif, perhaps to symbolise breaking or crashing waves.

I think it’s a very effective piece, with many dramatic elements. As stated above, I think it’s also a brilliant example of how to develop a couple of short motifs into an entire, rounded piece. 

Malcolm Arnold – Scottish Dances

I was at a concert at the weekend where they played Malcolm Arnold’s 'Scottish Dances'. Arnold wrote dance suites for the different nations of the U.K. as well as for Cornwall. I have fond memories of playing the 'Scottish Dances' and his second 'English Dance' suite; there’s something about his writing which makes it very entertaining to play.

i. Pesante

The first movement is based around a detached melody with scotch-snap rhythms. It starts with the strings accompanied by the woodwind and percussion, followed by a response by the trumpets and oboes. The lower brass provide a drone effect, probably to mimic bagpipes, though there are loud high horn interruptions. Arnold makes good use of the percussion throughout the piece, but particularly in this movement to fill the gaps in the melody; the drums and timpani become more prominent as the movement goes on, perhaps to create a sense of urgency.

ii. Vivace

The second movement, in contrast to the first, is more flowing and at a lively tempo; it has the feeling of a jig. The melody starts in with the clarinets before being joined by the flutes and piccolo; the strings providing pizzicato chords for emphasis before taking the melody over. Arnold shares the melody and harmonies around the different sections of the orchestra, each giving it a different colour. The clarinets return the bagpipe drone theme from the first movement before the mood of the music changes with a sluggish, drunken sounding melody from the bassoon; there are more slurs and dotted rhythms than in the opening. The addition of the bass drum makes everything sound very laboured. The opening music briefly returns in a short coda section.

iii. Allegretto

The third movement is like an air or aria with solos from different wind instruments. It opens with a harp motif and high string sustained chords before the solo flute melody begins. A solo oboe and piccolo then take over the melodic line, accompanied by harp glissandi. There is a call and response section between the strings and woodwind before solo piccolo and low strings continue the melody. The piccolo is set low in its register to give it a very fragile sound, I assume Arnold didn't want the quality of sound a flute would produce in the same register. The intensity of the accompaniment increases towards the end of each of the sections to build up to the change of instrument in the following section. A solo oboe passage leads into a section for horns and trumpets before the opening flute music returns with a gradually rising, diminuendoing phrase to end the movement. The movement provides a very effective contrast to the previous and following movements.

iv. Con Brio

The lively con brio movement always sounds as though it’s on the edge of control; loud, brash brass chords, again reminiscent of bagpipes, played over a rapid melody for the woodwind. The strings have an equally rapid melody beneath wind chords before the opening music returns with added percussion; first in the woodwind then in the strings. A brief passage for piccolos and percussion gives a bit of relief to the drama before the ramp up towards the end; the woodwind return with the opening motif but in a gradually rising sequence accompanied by further brass interjections and added percussion, all building in dynamic and texture to the final chords. 

Assignment 4: Reflections

Brainstorm

I decided to write for clarinet, tenor drum and marimba after writing a short piece for clarinet, snare drum and marimba in project 11 and thinking the combination of instruments worked well.

The piece is in four main sections; there are three contrasting sections and a coda section. The main melodies of the piece are based around two main themes. When sitting at the piano I realised that you could use the triad of D, F and Ab to form different chords depending which note you added; I decided to use Bb, B natural and C natural which gives you a dominant 7^th chord, a diminished 7^th chord and minor added 6^th chord respectively. The second theme is simply a descending chromatic motif on these three notes (C, B and Bb).

The 1^st section starts with the marimba, followed by the clarinet imitating it. The opening theme is developed by the marimba with the clarinet imitating and inverting the motifs. The chromatic motif is heard on the marimba for the first time in bar 7 and this is exchanged between the two instruments along with an exchange where the last note changes between the notes of the chromatic motif. The chromatic theme is developed further by the clarinet from bar 21; the gradually softening exchanges between the instruments sets up the beginning of the second section.

 The 2^nd section begins with the clarinet in bar 28, allowing time for the marimba to change sticks. The section, marked scherzo, is more playful and moves away for the diminished chords whilst still having a chromatic element to sound a little more vibrant than the first section. The clarinet and marimba exchange the melody in inverted forms and diminution in bar 43. The clarinet introduces a new theme in bar 45 which is developed in a sequence by the marimba; the clarinet providing echoes of the chromatic motif in the opening section. The music diminuendos away again to set up the beginning of the third section.

The 3^rd section, beginning in bar 62, is effectively a clarinet solo with a more chromatic feel than the previous section; the marimba and tenor drum accompany with a piano, augmented version of the first motif. It is marked cantabile and has a flowing melody compared to the detached themes of the first and second sections. The clarinet repeats this augmented motif, gradually fading away along with the tenor drum; the marimba dropping out to allow time to change back to hard sticks.

The 4^th section, beginning at bar 77 is a short coda returning to the themes of the first section, but with subtle variations. A diminished version of the marimba melody in section 2 is introduced against an augmented version of an opening motif (bars 83-85).

The inspiration behind the title for the piece came from stories in the press which said that using the term brainstorming was no longer politically correct as it is also a medical term for what occurs in the brain during an epileptic seizure. In this sense, I think it fits the mood of the piece well. 

Monteverdi - Vespro della Beata Vergine (1610)

Last night I performed the Monteverdi Vespers, or 'Vespro della Beata Vergine' to use the full title. I briefly covered the Vespers earlier when researching polyphonic choral music, but there were some interesting aspects of it that I didn't cover.

We performed it with a period orchestra, which I found absolutely fascinating; there were strings, 3 cornetts, 3 suckbuts, a theorbo and an organ. On top of this, the orchestra was tuned a semitone higher than usual, so everything sounded a lot sharper than usual.

The cornetts produced a wonderful sound like a reedy trumpet, which isn't surprising given it's basically like an oboe with a trumpet mouthpiece. This made me wonder how you become a cornett player; do you start off as a woodwind player or a brass player? The sackbuts were basically baby trombones but they came in three different sizes, alto, tenor and bass. The theorbo was an amazing instrument, like a very large lute, which we used with the organ to provide the continuo part.

It was said by one of the performers that the church that Monteverdi had in mind when he wrote the piece had no real acoustic, so he had to write the echo in the music himself. Whilst this may be folklore, you can understand why people might come to this conclusion. There are numerous moments when Montiverdi writes an echo in the music, with tenor and soprano soloists, the cornetts and even in the choral writing. This can be made more effective by, as was done last night, positioning the performers in different parts of the church to create a visual effect as well as aural; this works well in a venue with a good acoustic as the echo is different for the performers located in different places.

Project 12: Two-part inventions

Oboe and Bassoon

I thought the oboe and bassoon would work well together, particularly with a flowing, legato melody. It begins with the bassoon imitating the oboe; the second oboe phrase is an inversion of the first. Augmentation and diminution are then introduced later on. The opening theme returns in the 6th bar but with a different rhythm; this is then played with towards the end.

Flute and Clarinet

To make the second piece contrasting I wrote it at a faster tempo and using the chromatic scale to create an agitated feel. The flute begins by inverting the clarinet opening melody before imitating it in a descending sequence in bars 2-3. There is diminution in bar 4 where the flute plays a semi-quaver sequence based on the clarinet's 4 quavers in the first bar; the semi-quaver flute opening is augmented by the clarinet in bar 5.

Research Point: Bach's Fugues and Inventions

G minor fugue, BWV 861

I found this video for the G minor fugue, which is cheating because it is his own analysis of the work. I still found it useful, however, because he sees additional aspects of the fugue that I wouldn't have identified and it;s always useful to see a different opinion of something:
http://www.youtube.com/watch?v=OyvSrpQ2eWY

The video maker highlights passages of imitation well, where there are responses or episodes and stretti later on in the work. The counter subject itself begins with an inversion of the second phrase of the subject.
Within the subjects and episodes themselves there are sequences and imitation, particularly from bars 25-28.  I couldn't see any obvious uses of augmentation or diminution though.


Invention No. 14, BWV 785

http://www.youtube.com/watch?v=O4xfapPKEN4

The opening melody is made up of pairs of phrases; the first rises whilst the second is similar to it but inverted. The second bar is than a similar pair of phrases but a fifth lower. Bars 4 and 5 have the opening motif in the left hand, which is then inverted in the right hand in a descending sequence; in bar 5 both hands then play their motifs together. In bars 6-8 the opening themes return but in opposite hands. Bars 9-11 see the themes swapping between hands every bar but the accompanying quavers become more elaborate; a four quaver descending sequence. The theme is shortened and swapped between hands more regularly until both hands play the same rhythmic motif.

Project 11: Inventing free counterpoint

Oboe and Glockenspiel

I took the first melody in example 47 and gave it to the oboe; I then wrote a companion melody for the glockenspiel. I wanted to add movement in the glockenspiel melody in the middle where the oboe has long notes, but to complement the oboe melody where it has movement.

Flute and Bassoon

I took the second melody in example 47 and gave to the bassoon; I then wrote a companion melody for the flute. The idea was for the 2 melodies to meet where the bassoon has staccato notes, but the flute to have the opposite rhythmic pattern to the bassoon. The last bar of the flute melody is designed to lead into the last 2 notes of the bassoon melody.

Clarinet, Snare Drum and Marimba

I decided to write for this group of instruments as I had a sort of upbeat melody in mind, so the addition of the snare drum creates a military feel. I wrote the clarinet melody to have emphasis on the 2nd beat, which feels slightly un-natural in a 3/4 time signature. The marimba melody moves at the same time as clarinet melody, with tremolos on the 2nd beat of the bar for emphasis.

Flute, Timpani and Tubular Bells

I thought the flute and tubular bells would work well together, particularly at a slow tempo. The tubular bells mimic the flute melody, but with a different ending. I added the timpani to provide additional texture; quiet rolls to mimic thunder and create tension.

The significance of Key

I was at a choir rehearsal a few months ago when the conductor mentioned that the creed we were singing was written in C Major, as C Major had an affiliation with faith in the Catholic church. This got me thinking about the significance of keys and whether more thought goes into selecting a key than I first realised.

For example, C Major was considered to be a key of strength particularly when combined with a modulation from C minor to C Major; many academics associated C minor with strive and struggle so the resolution to C Major is seen as a triumph. C minor also seems to have particular significance to Beethoven; many of his powerful and emotional works are written in the key.

I was intrigued that Baroque composers seemed to favour G and D Major for joyous works, but one commentator mentioned that the invention of the valve trumpet shifted the preference of composers to flatter keys.

I also hadn't considered how some keys lie better on some instruments. Many comments were made about setting violin concertos in A or E Major as these are the higher open strings so a fuller, richer sound can be achieved in these keys. There was also reference to Chopin believing B Major was the simplest key to play on the piano because its notes naturally fitted the human hand. There was also an interesting comment about issues around clarinet writing and minor to parallel major modulations; the main example being D minor to D Major where a Bb clarinet would better suit the former and an A clarinet the latter.

I have a natural preference towards sharper keys, A and E Major in particular, as for me sharp keys sound sweeter than flat keys. Equally C Major always sounds bland and mundane, but maybe that’s because it’s the first scale you learn on most instruments so is the most familiar.

I found it interesting that it Bb minor is considered a dark key. The oboe solo in Tchaikovsky’s 2^nd symphony is written this key; Tchaikovsky described it as “the feeling you get when you are all alone.”

I also found different lists compiled by people describing the characteristics of keys; this document summarises the ideas of three different people:

http://www.skylineperformingarts.org/instrumental_files/documents/misc/Key%20meanings.pdf

I don't necessarily agree with all of them, but I find Schubart's ideas the most relatable. He does, however, have some negative connotations to major keys, such as Ab Major; D minor also has a more positive spin than other minor keys. Maybe I should generate my own ideas. 

BBC Four - Symphony Episode 4

Having watched the third episode in the series last week, I watched the 4th and final episode on iplayer over the weekend. This episode started in the by looking at Shostakovich's 1st symphony, commenting on the humour and wit in it; something which would be important to consider in future symphonies as the Stalinist regime gained power. Equally, they looked at Charles Ives and how he wrote "nationalist" music by incorporating the sounds he heard around him e.g. marching bands and hymns.

The programme then moved on to look at the effect of the Second World War on the music output at the time. Again they used Shostakovich as an example and his 7th symphony, how it was written during the siege of Leningrad for the forces available at the time with no provisions for publishing the music. They mentioned the power and effect the symphony had on the people of Leningrad, encapsulating their defiance and suffering.

The programme then moved on to look at the end of the war and the want for a triumphant composition along the lines of Beethoven's 9th symphony. The programme drew comparison between Copland's 3rd symphony and Shostakovich's 9th symphony. Copland's 3rd symphony, incorporating the 'Fanfare for the Common Man', draws on blues, country and American folk music to create a heroic and stirring work. In contrast, Shostakovich's 9th symphony has a neo-classical feel to it, using a much smaller orchestra than some of his earlier works and is generally lighter than what was expected; Shostakovich even noted that he began working on a large scale, grand celebration of victory, but stop working on it. One of the commentators on the programme commented about how the final movement, expected to be the triumphant conclusion to the piece begins with a bassoon solo "the clown of the orchestra", which seals the mood of the movement as a low key celebration of victory. The symphony was not well received by the Soviet leadership and was a contributing factor in his second denunciation under the Zhdanov Doctrine.

Assignment 3: Reflections

Trio in D

I decided to write for three woodwind instruments, with flute, oboe and bassoon creating a good mix of tones and ranges. I opted for an opening triad, two middle triads and the ending triad. As this created three sections, I wanted each to have a distinct sound to it. Overall I think the piece works well, particularly the mix of instruments, the range of the music as a whole and the contrast between the sections.

The piece starts out in D Major with all instruments on a unison D. This then opens out into a chord of A Major in the next bar. I felt this gave sets up the tonality of the piece well, although it is completely homophonic.

The 1^st section begins with a legato motif for oboe which is picked up by the flute a bar later and the bassoon a bar after that. It creates the impression of being a round, but after a few bars each part develops the theme into their own melodic lines; the flute introduces some chromatic notes to bring about the resolution on the 2^nd triad, A Major. 

The 2^nd section begins like the 1^st section trying to create the impression of a round. This time the flute begins followed by the oboe and the bassoon. To contrast the 1^st section, this section is much more light and detached to begin with. The oboe motif develops into a legato melody reminiscent of the first section, whilst the bassoon and flute imitate each other with rising and descending scales. The flute and bassoon continue to imitate each other with a failing sequence whilst the oboe melody becomes scalic and more detached, leading into the next triad of A Major.

The 3^rd section again begins like a round with the bassoon starting, followed by flute and the oboe, but this time each instrument has a subtly different motif; the flute’s uses triplets whilst the oboe’s is detached with dotted rhythms. The instruments exchange this 2 bar motif, each one entering a note higher than the previous one until the melody breaks down into a series of broken chord-based motifs which brings about the perfect cadence and the final triad of D Major. 

Project 10: A contrapuntal trial

Clarinet Trio

As a contrapuntal trial I wrote a trio for clarinet. The idea was that each part had a separate melody based on a different rhythmic idea.

Project 9: Descants

Overall I found this exercise a lot easier than exercise 8. I think this was because you didn't have to pay such close attention to what the different parts were doing as there were only 2 and you didn't have to work to a prescribed chord sequence; it might just have been that the melody was already written so I didn't have to start from scratch.


Quem Patores

I wrote this with an oboe playing the melody and a flute playing the descant. I left the oboe melody with no articulation markings as I wanted to mimic a singer with a syllable on every note. The flute, on the other hand, has a much more legato melody.

You Gentlemen of England

I wrote this with an oboe again playing the melody, but this time with a clarinet playing the descant. I wrote it for an A clarinet since the key signature was A Major. The clarinet descant mimics the oboe melody but then becomes more elaborate. This time both parts have legato lines except bar 7 for the oboe; this creates a nice contrast, as the clarinet interjections at the end of each section.

Na haste do castanheiro

I wrote this with a clarinet playing the melody and a bassoon playing the descant. I wrote it for an A clarinet since the key signature was D Major. I think using the bassoon provides an effective counter-melody, though it makes it difficult to set up the cadence at the end as you expect the bass line to lead it. The accents in the clarinet part are to give it a 1 in a bar feel whilst the bassoon gives accents to the other beats. The bassoon part, in particular, is detached and bouncy.

Project 8: Rounds and Catches

Flute Round

I started by writing a flute round using the chords from sequence 2 with one chord per bar. It has quite a quick tempo and I tried to write so that there was always movement between the parts.  The image below shows a complete single part with the rehearsal marks (A, B and C) denoting where each new part joins.

The image below shows what the round looks like when all parts are playing together.

Oboe Round

I wrote a round for oboe using the chords from sequence 4, again with one chord per bar. Like the flute round I wanted to ensure movement across the parts, but this time the round is Adagio and has more of a lilt to it. The image below shows a complete single part with the rehearsal marks (A, B and C) denoting where each new part joins.

The image below shows what the round looks like when all parts are playing together.

BBC Four - Symphony Episode 3

I watched the third episode of this series on Friday evening, although I had seen the full series when it was originally aired. The third episode, "New Worlds and New Nations", looks at the draw of Vienna for composers, the works of Brahms, Wagner and Bruckner, as well as the nationalist composers of the late Romantic era, such as Dvorak, Sibelius and Tchaikovsky.

They look at Dvorak's 6th and 9th symphonies and how he utilised the musical cultures of the Czech Republic in the former and America in the latter. They particularly focused on the 3rd movement of the 6th symphony, where Dvorak uses a style of a Furiant (a Bohemian dance), and the 2nd movement of the 9th symphony where the melodic theme has been linked with Negro spirituals. I found this interesting to see how the composers got the inspirations for their large scale works. 

There was an interesting moment, whilst looking at Sibelius and his Finnish influences, where they mentioned the encounters between him and Gustav Mahler; how they would talk about symphonic form, but each composer had a different view of what it meant to them. Sibelius said he admired the severity and logic of the form and how it created connections between motifs, Mahler said the symphony should be like the world, it should embrace everything. 

The program briefly looked at Mahler, in particular his 3rd symphony and the ground breaking developments he made in orchestration and musical sound. They mentioned how he grew up around military marching bands and how he tried to re-create the sound of the "slightly out of tune" marching band; Mahler tries to create a very raw and biting tone to some of the passages. He also knows exactly how he wants pieces to sound, calling for oboes and horns to play with their bells in the air. They say in passing how Mahler was the Berlioz of his day for musical sound and orchestration. Having studied Berlioz's 'Symphonie Fantastique' at school I understand what they mean by this; both composers did some ground breaking things with their respective works. 

Valery Gergiev Interview in BBC Music Magazine

In the June issue of BBC Music Magazine, James Naughtie writes about an interview with Valery Gergiev. They talk about the influence of Russian composers and his upbringing and education. They talk about his education under Ilya Musin and how he won a conducting competition Musin didn't want him to enter.

For me, the most interesting piece of the article was where Gergiev says he was left with a recording of a Tchaikovsky symphony by Musin and asked to write down the second viola part. When he couldn't, Musin said he had to learn how to listen. I found this interesting, because I have only recently discovered how listening to different recordings of a pieces will bring out different parts in the texture. Equally, I have started listening to pieces with the score in front of me and it makes you realise how many subtleties there are hidden away in an orchestral texture; it then creates a new listening experience for a piece you may have thought you knew very well.

Research Point: Polyphonic Vocal Music

Thomas Tallis - If ye love me

This piece, like many Renaissance choral works, starts with a homophonic passage before Tallis introduces more polyphonic writing. This starts with the sopranos, followed by the tenors singing the same opening notes, but then a slightly altered melody to fit with the soprano line. He does the same with the alto and bass entries so all 4 parts are singing together; the polyphony creates a pulse or beat to the music that you couldn't feel in the opening homophonic passage. The tenors begin the next phrase, but this new pulse is slower than the previous phrase, as the melodies are based around minims rather than crochets. Tallis brings some parts in on the 2nd and 4th beats of the bars to create a syncopated feel to the music which is very effective.


William Byrd - Nunc Dimittis from the Great Service

This was the first piece of Byrd I ever sung and it has stuck with me ever since because of the sheer beauty of the writing and the way the different lines weave around each other, particularly in the amens; we sang this at an evensong with the Arvo Part 'Magnificat', so it provided quite a contrast!

There are some passages where one voice leads the others by a bar, but through the polyphony this is eventually resolved. It is also a useful way of introducing a new section or line in the text; one of the downsides of heavy polyphonic writing is that the text can get lost. The use of rising and descending scales really lifts a particular line out of the texture, particularly in the amens where the text isn't changing.


Claudio Monteverdi - Vespro della Beata Vergine (1610)

Whilst not an English Elizabethan composer, Monteverdi was composing in Italy around the time of Byrd and  Morley. His 1610 Vespers is a large work for SSATTBB soloists, double choir and orchestra. I bring this piece up as I'm performing it in a couple of weeks time so had a copy of it to hand.

Monteverdi uses a Cantus Firmus based on existing Gregorian chants for the text of most movements as the basis to build the choral writing around. He also combines large homophonic and polyphonic passages to great effect; these polyphonic passages can be built around up to 10 voice parts. He also uses the double choir to different effects, sometimes writing call and response passages between the 2 choirs and sometimes using all parts at once, either polyphonically or homophonically.

I think the most effective part of this piece is in his polyphonic writing where he uses syncopation to great effect; in many cases one voice part sing identical music to a different part but 1-2 beats later. When used in light, detached passages this is very effective.

Research Point: Henry Purcell

When researching Purcell rounds and catches I found the following playlist on youtube:
http://www.youtube.com/watch?v=ioiOJf7YsX4&list=PL52CF65EACA871B81

I found these videos useful as they also show the sheet music so you can see how the round is set out, though you need to do a bit of work to see how the parts move when put together.


Come, let us drink (Z245)

My first thought when hearing this was how long the opening theme was before the second voice entered, and thus how much thought and planning must have gone into composing it; there are moments when each part moves together in thirds while the number of beats in the bar is constantly changing (though these may be editorial).


Once, twice, thrice I Julia try'd (Z265)


I think the most effective thing about this round is how the opening melody is slow moving, with many rests, but once combined in full the other parts move in these rests. He also writes it so that when one part has a held note another part moves, and vice versa, to create a constant flow to the music. The line "fo kif's my ar", when combined with the first line of the round, sounds as "fo kif's my arse", which is amusing but I'm not sure if this translates the same in Old English. 



Since time so kind to us doth prove (Z272)

The most effective thing about this round is how Purcell sets out the words and music so the singers sound like they are having a conversation or argument with one another; you have the great effect of "I must", "what do you mean?", "I must", "Oh fye". This effect only becomes apparent once the 3rd and final voice is added to the texture.

Faure - Requiem Op.48 (1888)

I recently performed the Faure 'Requiem' in Worcester Cathedral. The piece, which consists of 7 movements, is written for two soloist (soprano and baritone), choir and orchestra.

The orchestration of the piece and the setting of the vocal lines have a strong focus on the middle register; there is only a solo violin in two movements, but then spilt violas and celli. There are numerous exposed passages for the altos and tenors as well.

Its also a very restrained piece; there are lots of piano and pianissimo passage but rarely forte passages and never a fortissimo. There are subtle distinctions in dynamic contrast throughout though, such as crescendi from mp to mf, diminuendos from mp to p. There is still a lot of intensity the music though through this restraint.


Introit - Kyrie

The piece opens with a forte orchestra chord with a rapid diminuendo before the choir enters with a pianissimo, homophonic passage. The choir lines are interjected with forte orchestra chords; the choir lines themselves gradually build in dynamic to a forte for the line "et lux perpetua". The music then gradually dies back again to pianissimo. This is followed by a short passage with the organ playing the melody accompanied by the strings, before the tenors enter with the main "Requiem" tune. This is followed by a passage for sopranos before the entire choir enter with a passage consisting of contrasting phrases; the first phrase of each line is loud followed by a second phrase which is suddenly quiet. The opening tenor line returns for unison choir before a return of the contrasting phrases heard previously, gradually diminuendo-ing
to a pianissimo conclusion. The movement sets the mood of the piece very well with dynamic contrasts and subtle harmonic changes.


Offertorie

The offertorie opens with intertwining melodic lines for the celli and viola parts. The altos enter a cappella, mimicked a few beats later by the Tenors. The two vocal lines continue a cappella before being joined by the strings. The music is repeated in a different key before the basses join the texture. This is followed by a baritone solo accompanied only by organ, giving it a very religious feel appropriate to the text being sung (Hostias et preces tibi Domine). Given the nature of the text the piece calls for an intense, retrained quality to the baritone soloist. The choir return, with sopranos this time, to conclude the movement. The setting of the text by Faure wouldn't be out of place in a church service or evensong. 


Sanctus

The Sanctus opens with rising arpeggios on the harp and contrary motion arpeggios in the two viola parts. This ostinato continues for most of the movement, only breaking for the forte "hosanna" passages. Whilst the movement is written in 3/4 time, the opening gives it a 4/4 feel. The sopranos open with a long flowing vocal line which is repeated by the tenors and 1st basses. This conversive writing is continued throughout the movement. The tenors and basses are always accompanied by a solo violin descant played high in its register. The violin is only used twice in the piece; both times it is used to portray an angelic quality to the music. The music gradually builds to the entrance of the forte horn fanfare which sets up the tenor and bass "hosanna". This is mimicked by the sopranos, before the opening music returns and dies away again, ending with the opening arpeggios accompanying the solo violin. Like the violin Faure uses the horns quite sparingly as the mood of the piece doesn't really suit a big brass sound, but there are three prominent moments for them; the hosanna section of the Sanctus and passages in the Agnus Dei and Libera Mei.


Pie Jesu

The Pie Jesu is written for solo soprano and is in two verses. The first verse is piano and just written for the soprano and organ, giving it a very ethereal quality. The vocal line is interjected with legato string and harp broken chords. At the end of the first verse, the repetition of the "sempiternam requiem" line is used to build up to the start of the second verse, which is mf and has a much fuller orchestral accompaniment. The music gradually dies away to the end of the movement; the flowing quavers in the bass line create the atmosphere of a lullaby which fits the meaning of the words perfectly ("grant them eternal rest").


Agnus Dei

The opening of the Agnus Dei features polyphonic string writing to create a pastoral sound to the music; no doubt to reflect the "lamb of god" in the text. The tenors enter with a long flowing vocal line; again Faure puts emphasis on the middle register. The tenor line is followed by forte orchestra chords which introduces a full choir homophonic passage which, like in the Offertoire, consists of large dynamic contrasts. The opening music then returns with the tenor line, but the ending is altered; the "sempiternam requiem" line mimics the end of the Pie Jesu to introduce a piano a cappella choir passage. The organ is introduced as the music builds through dynamics and subtle harmonic changes to a forte climax. A short orchestral interlude, with prominent horn chords is used to change to mood of the music and re-introduce the opening music of the first movement. Instead of leading into the Kyrie, the opening pastoral string theme returns to conclude the movement.


Libera Me

The Libera Me begins with long sustained orchestral chords above a crochet bass ostinato which is heard throughout the movement. The baritone enters with a long sustained vocal line, which wouldn't be out of place as an operatic aria; it is more restrained and not sung out fully though. The vocal line builds to a climax before a piano string bridge passage introduces the pianissimo homophonic choir. The music builds and dies away again before a sudden horn fanfare introduces the Dies Irae. Compared to other requiems Faure doesn't write a big, dramatic Dies Irae. The music is loud and full of emphasis, but general movement of the music is slow; the choir and orchestra move together in long chords with only the bass motif showing some independent movement. Instead, Faure uses a sudden contrast in dynamics and harmonies to create the intensity and power. The end of the Dies Irae sees a return of the opening bass ostinato rhythm throughout the orchestra, before the choir sings the opening baritone solo in unison. The baritone sings a reprise of the opening line before final piano chords end the movement.


In Paradisum

The final movement begins with staccato arpeggios on the organ above sustained chords in the strings. The sopranos open with a high, piano, long flowing vocal line which creates an angelic quality to the music (again appropriate to the meaning of the text). The remainder of the choir eventually enter to provide backing chords to increase the texture. The harp and solo violin are added at the start of the second verse to reinforce the angelic theme. The music builds to climax with the sopranos before the rest of the choir are added and the music gradually dies away; the chords become longer and the moving arpeggios disappear before the final "requiem".

Sir Simon Rattle and The Rite of Spring

There's an interesting article in this month's BBC music magazine featuring an interview with Sir Simon Rattle as he prepares to conduct Stravinsky's 'The Rite of Spring'. He describes the occasions he has previously conducted the piece, his working relationship with the Berlin Philharmonic and how he goes about tackling the piece. There is also an insert with a history of the piece, including a summary of the fateful première.

It's interesting to read how when the piece was premièred 100 years it was considered impossible to conduct and play, yet now it is considered a staple in a professional orchestra's repertoire and even amateur orchestras perform it; I played it in my university orchestra and have never had to concentrate so much in my life! I think this goes to show how much modern classical music has pushed the boundaries and abilities of professional players, to the extent that later in his life Stravinsky suggested transposing the opening bassoon solo up a semitone so it sounds as difficult as it did when it was first performed.

Rattle also talks about the difficulties of conducting it and interpreting how Stravinsky intended the music to sound; he notes in particular how even Stravinsky wasn't happy with what he had written given the number of revisions he made. Revisions are something I've always associated with late Romantic music onwards, but it might be that we don't have records of early composer's revisions rather than it being something which only started occurring more recently. Rattle also notes that, whilst the piece has some interesting rhythms, they aren't difficult in themselves, it's how to phrase them into larger units and create a harmonic line from them which is the challenge; I liked the concept of a harmonic line based on rhythmic grouping.

Something which Rattle said which struck a chord was how we also assume what the composer wrote was what he intended, yet we forget that composers are fallible just like anyone else; Rattle tells a story about how he was rehearsing a piece with the composer present where it was marked double the speed when half the speed was much more reasonable and what the composer actually intended. He also talks about how Stravinsky struggled to write on paper the music he heard in his head; this is something I could strongly relate to.

Instrument Research - YouTube Symphony Orchestra

As part of my research for part 2 I found the following videos useful:
http://www.youtube.com/playlist?list=PLF852224BFF35A1BE

These are a series of master classes by members of professional orchestras, such as the Berlin Philharmonic and London Symphony Orchestra, about their instrument to introduce a series of audition excerpts for when the YouTube Symphony Orchestra was set up.

Not only did these videos show off the tone colour of the instruments introduced in section 2, there are also videos for other instruments in the woodwind family, such as Cor Anglais, Eb Clarinet and Piccolo. It's interesting to listen to the professionals talk about the difficulties of playing the excerpts, despite making it sound effortless when they play them.

There are also other videos for most instruments in a symphonic orchestra, which will no doubt useful when they are introduced later on. 

Assignment 2: Reflections

Elegy and Reflections for Solo Oboe

I wanted to write a piece in ABCA form with the following principle - the music begins sorrowful with someone mourning the passing of a loved one. The person then begins to reflect on the happy times they shared, so a more upbeat, bright passage is required. This then leads to a more aggressive, animated passage where things start to go wrong and something tragic happens; a death or a break up. The sorrowful, morning mood returns to end the piece.

I thought the first motif I wrote for the Bassoon East European Minor Scale piece as part of Project 7 would make a good starting point for the sorrowful, mourning melody. I decided to write for oboe as I thought the tone of the oboe in the upper register would suit the mood I was trying to create. I transposed the minor version of the East European scale provided in example 25 up a fourth so that the 3 notes a semi-tone apart were focused around a D so that it was in the right part of the oboe’s upper register; Poulenc uses this part of the oboe’s register to superb effect in the third movement of his oboe sonata to create a very passionate, mournful melody. To aid writing I set a key signature of D Major so that the only accidental that needed to be added was an Eb; I used the Eb’s as focus points because it is the only note which doesn't fit into a D Major scale. Bars 5-9 are designed to create more of a major feel to the melody; it’s loosely based on a flute solo from Shostakovich’s 5^th symphony, 3^rd movement (bar 94). The final phrase of the lento passage was written to sound as though the melody resolved into D Major, creating the impression of a positive outcome to the situation to aid the transition to the next section.

From working on Project 7 I found the nine-note scales quite easy to work with; the extra chromatic notes allow a few different keys to be explored. I decided to use the scale in the left hand side in example 25, but with a Bb; this allowed the keys of F and Bb Major and G minor to be employed. I recently sang Schubert’s Mass in Ab flat where he frequently modulates to the flattened submediant to very good effect. Using this idea, I was able to modulate from D Major at the end of the first section to Bb Major at the beginning of the second section. I wrote it in 6/8 to give it a dancing feel, with the melodic line emphasising the beat; I also set it lower in the oboe’s register so that a fuller, more rounded tone would be possible. Using ideas from Phaeton (six metamorphoses after Ovid) I added rests to some of the groups towards the end to add a sense of unease and uncertainty. The music modulates from Bb Major to F Major before the last line of the section sees the introduction of F#s to introduce G minor and the transition into the next section.

I used the chromatic scale to create an agitated feel to the third section as it loses the sense on tonality. The section from bar 39 to 44 is based around a rising sequence, but with rests interspersed at different points to make it sound uneasy.  Whilst this passage requires quite a lot of skill and dexterity I don’t think it is outside the realms of a good oboe player. The section ends on a held top D which allows a return of the opening music. The opening two phrases return, but are heavily ornamented with particular emphasis on the Ebs; Debussy’s Syrinx was the inspiration for this. I add a low B to the end of the second phrase to give it a rawer, edgy ending. The phrases return in their unornamented form, with the added bottom B again before the last phrase of the first section ends the piece, but it ends on an Eb rather than a D so that it doesn't sound like a natural resting point or ending, as though there is some unfinished business. 

Project 7: Exploring Different Scales

Flute Whole-Tone Scale

I wanted to use the dexterity of the flute to shape the melody, but found the whole tone scale quite limiting to work with as there are a limited number of intervals you can actually use.

Treble Recorder Whole-Tone Scale

I wrote this with a Renaissance dance in mind, but the whole tone scale gives it a distorted, spooky feel which I think works quite effectively.

Oboe East European Major Scale

I found it difficult to use this scale and keep a feel of major tonality to it. I tried to use different parts of the oboe's register to colour the melody.

Bassoon East European Minor Scale

I wrote this as 2 similar phrases; one very high in the bassoon's register, the other towards the bottom. I felt this scale had much more of a minor feel to it than the previous one.

Clarinet Middle Eastern Eight-Note Scale

I found this scale difficult to write in because it has no real sense of tonality to it; it is hard to tell whether it is major or minor. 

Tenor Saxophone Middle Eastern Eight-Note Scale

Like the previous piece, I found this scale quite difficult to write in as I struggled to fit what I wanted into the notes available. 

Flute Nine-Note Scale

I based the first phrase loosely on a dominant seventh in the key of C, but the final scales at the end create the impression the piece ends in E Major. The extra chromatic notes in the scale were useful in ornamenting the melodic line.

Oboe Nine-Note Scale

I noticed that, from the notes of the scale, you could write a melody in either A Major or A minor so this is what I did; the first phrase is in A Major, the second is the same in A minor but the ending gives a feel of finishing in G Major.

Clarinet Chromatic Scale

I actually found this the easiest to write, mainly because I just used rising and descending chromatic scales for most of it and didn't need to constantly check the notes to see whether they belonged to the scale. 

Project 6: Analysing a Solo Composition

My rational behind choosing these two pieces was very simple - they are the two pieces listed in the course notes that I had sheet copies of at home.


Syrinx - Claude Debussy (Flute)

This was the piece I played as my solo study for my Grade 8; 12 years ago. What amazed me the most about this piece when I got the score was that it's 8 pages long, but the music only fills the first 2; the remaining 6 pages are performance notes and a background to the setting of La Flûte de Pan. The piece was requested by Gabriel Mourey as incidental music to his play Psyché, to be performed as the last melody the character Pan plays before his death. As a result, the music contains the lines spoken on stage in between the musical lines.

In general the music has a very chromatic feel to it; Debussy also only tends to use the bottom 2 octaves of the flute's register as the brightness of the top register is not really in keeping with the mood of the music. Throughout the piece Debussy is very precise about how the rhythms should be played and the tempo of the music; he regularly marked where the music should have more movement, where it should slow and even where rubato should be employed. His dynamics are also very precise; in many cases he marks crescendos and decrescendos to indicate emphasis in a musical phrase rather than actually meaning get louder and softer. He also never marks the music louder than mf, meaning everything is slightly restrained.

The opening melody features emphasised dotted quavers interjected with demisemiquavers which create the feeling of mordents leading into the next note. Debussy then uses a rising triplet motif to create a sense of movement and building before the section ends with long, sustained high notes. A paused bar denotes words spoken on stage before the opening motif returns an octave lower and piano. Some scalic flurries lead into the next section based around triplet groups low in the flute register. Setting it this low gives a tone of mystery and mourning. The same triplet group begins each phrase followed by a different short motif; it's as though Pan is reminiscing about something, but by repeating the same motif with a different ending it creates a feeling of uncertainty. The music then becomes more animated, as directed by Debussy, but aided by rising and falling semiquaver triplets.

Rising trills lead to the return of the opening motif with different embellishment from before. The notes of this motif are then repeated down an octave but with a triplet rhythm, making it sound sleepier than before. The triplet groups of the middle section return, but with long held notes in between so that it loses the fluidity it had before. One final piano, descending scale leads to a bottom D to finish the music, marked perdendosi (dying away) to represent the passing of Pan.


Six Metamorphases after Ovid - Benjamin Britten (Oboe)

If I had remembered I had this at home I'd have selected a different oboe piece for the study point, but hindsight's a wonderful thing. Like in Syrinx, Britten provides a short description of each movement to set the mood.

I. Pan - who played upon the reed pipe which was Syrinx, his beloved.

The movement is marked Senza misura, meaning without measure; Britten doesn't specify a time signature and only uses bar lines to denote breaks between phrases. The phrases at the beginning are short, only a few beats long, and tend to start and end on the same or notes close to one another; the melodic line simply turns around the starting notes. Britten varies the number of notes he groups together so that the melody arrives at his desired note on the beat; groups of 5, 6 and 7 are used. A second section begins pianissimo with repeated notes followed by a rising and falling section. This theme is repeated a few times with embellishment on the rising and falling motifs until a rising sequence with a crescendo leads to the same repeated notes up an octave; it's interesting how effective repeating the same note is in building or tapering the musical line. The final section uses demisemiquavers in front of dotted quavers to ornament the notes of the melodic line and create a feel of uncertainty and almost panic; the music crescendos and accelerates to a final trill before two phrases reminiscent of the earlier passages end the movement.


II. Phaeton - who Rode upon the chariot of the sun for one day and was hurled into the river Padus by a thunderbolt.

The movement is set in 12/8 time and the opening melody is reminiscent of a gigue, except Britten puts rests on the 3 note of some groups to make it sound less secure; this creates the impression Phaeton is slightly out of control on his chariot. The notes are short and detached to create a contrast with the previous movement. After a pause the music continues with a similar motif a fourth higher but slurred in different groups to create a smoother melodic line, yet still with rests at the end of some groups breaking up the melodic line. The detached version of the motif returns followed by a descending, crescendoing chromatic scale down to a fortissimo Bb, the lowest note on the oboe. This section is to symbolise Phaeton soaring too high before plummeting to earth. The loud, low passages which follow suit the oboe very well as it creates a raw, edgy tone.


III. Niobe - who, lamenting the death of her fourteen children, was turned into a mountain. 

Marked Andante piangendo, meaning weeping, this movement contrasts the previous movement being much slower and more restrained. Overall it is set high in the oboe register, which gives it a pained tone in keeping with the meaning in the title. The music features a lot of descending phrases; the opening motif is particularly poignant as Britten writes a dotted crochet-quaver pattern with stress on the dotted crochet to create a motif which dies away as it descends onto the quaver. The middle passage becomes more animated and lively with slurred triplet motifs built around rising and failing arpeggios; I get the impression this passage is meant to symbolise Niobe's transformation into a mountain as it completely breaks the mood of the previous section. The opening music then returns but piano, decrescendoing to pianissimo before rising to a top D to create a weak, feeble ending to the movement.


IV. Bacchus - at whose feasts is heard the noise of gaggling women's tattling tongues and shouting out of boys.

This movement is roughly laid out in an ABAC form. My interpretation is that the A section gives the setting of the feast, almost like incidental music to be played while the guests are eating. The dotted quaver-semiquaver grouping which forms the basis of the melody gives it a grand, pompous feeling. Each group is slurred together to give it a bouncy feeling and this is interjected with detached semiquaver groups. There is a suggestion that the music is set in 4/4 time, but in the opening section there are regularly bars with only 3 beats in them, thus Britten is able to vary the number of dotted quaver-semiquaver groups he uses in a bar. The B section I think is meant to symbolise the gaggling women; it features large rising leaps in the melodic line and detached semiquavers to create a more edgy, biting feel to the melody. One beat, or longer, rests are interspersed to create a break in the proceedings, as though the women are pausing for thought. The C section I think symbolises the boys shouting. Breaking away from the previous sections it is marked con moto and uses long semiquaver broken chords to give a feeling of fluidity and agitation. The passage ends on repeated sforzando Cs, creating a feeling of anger and power as though the boys are being told off. A variation of the opening music then returns to end the movement.


V. Narcissus - who fell in love with his own image and became a flower.

This movement, marked Lento piacevole meaning slow and pleasant, fits perfectly with the tranquil fixation of the title character. Britten uses written out trill motifs to ornament the melodic line. As the movement progresses he begins to write some of the notes with upward stems and some with downward stems; he notes the upward stems represent the reflected image of Narcissus, and the downward stems represent Narcissus himself. Britten writes the passages with upward stems roughly an octave high than the downward stems and the music generally echoes the preceding motif but inverted, like a reflection. Listening to the music, it is sometimes difficult to appreciate that it is written like this as there is no dynamic contrast between the motifs. This might be intentional though, as Narcissus became so infatuated with his own image he lost sight of what was real.


VI. Arethusa - who, flying from the love of Alpheus the river god, was turned into a fountain.

This movement is written with rising and descending arpeggios to depict flowing water. Britten puts emphasis on the first note of every group to mark the melodic line out of the semiquavers; the rest of the notes are then slurred to create one long, flowing group. The middle passage is very different; Britten uses trills on every note to create a feeling of movement through the descending melodic lines.