Music 538B-Bob Moore Octet Alexander Koops 11

Music 538b-Bob Moore

Stravinsky Octet

Stravinsky’s Octet is considered neoclassical while continuing to include many traits developed in Symphonies of Wind Instruments. The piece is written in three movements, though the second movement Tema con Variazioni leads directly into the third movement Finale without a break. While one of Stravinsky’s genius ideas in the Symphonies of Wind Instruments was his use of a “moment form”, the Octet balances traditional forms and moment form, partially by following pan-tonal schemes which keep listeners guessing and wondering where the music is going, yet bringing back familiar motivic material in an ever developing and changing pattern.

This is one of the salient aspects of Stravinsky’s composition style. As stated in class,

Stravinsky’s sense of timing is impeccably right for how often to repeat a musical idea and how much to change it when it is repeated. The balance of chaos and order seems perfect.

In addition, Stravinsky’s music often contrasts linear and non-linear (or static) musical moments. Stravinsky loves “activated stasis”(as we discussed in class) where the foreground has continuous movement, but doesn’t feel like it is going anywhere. In the middle-ground and background there may or may not be linear movement. Stravinsky often does include a final cadence in each section of music that references traditional tonality giving listeners something to hold on to if they felt a little lost in the flowing sea during the course of the music. The chorale at the end of the Finale definitely leads to C major.

Stravinsky uses a mixture of traditional tonal and atonal harmonic language that includes a lot of modes and the octatonic scale. The opening movement suggests an E-flat dorian mode at rehearsal 1, while the Tema con Varazione suggests an octatonic scale and the finale ends in a Music 538b-Bob Moore Octet 2

definite C major. The instrumentation choice is also noticeably all winds, similarly to the

Symphonies of Wind Instruments and the Symphony of Psalms (plus cello, bass and voice).

The Sinfonia seems to be neoclassic both by its title and construction. Stravinsky gives a

slow introduction followed by the movement proper which is in quasi “ABCBA” form, as can be

seen below.

Chart 1 Sinfonia Form m. 1-4 Intro. Intro. Part A Palindrome B flat (V/E flat) Reh.#1 Flow theme; scaler materials Intro. Part B Or E flat dorian 2 Intro+ 3 ABCBA’ E, G#,(Ab),B 4 C#,G; Db; d0, Eb7; B 5 Intro. Theme returns Intro. Part A (A flat) B flat 7

6 Theme A Exposition P1 Eb (c,Bb…) 7 A Ab 8 A Bb; D flat, A, E… 9 A D; d 10 B (with scaler cell material; Jumpy Development P2 d; or g? 11 Interlude (including triplet idea) f 12 B- fl, cl., trbn, (arpeggio X; ostinato) Ab 13 Interlude (scaler, jumpy, arpeggio X) C; G 14 C New theme P3 D; d 15 C e; f 16 (D) (scaler+jump); B accompaniment; More P2 d; G; chromatic; D phrygian; fragments of A development E-B descents-e minor feel too 17 Interlude (including motivic idea from 13 b7;E7;A; a; d; Eb and clarinet triplet idea from 11) 18 B, C alternate 19 A, jump fragments; canon False recap P1 C major 20 A Jump in Flute; C Rhythm in trpt. Descending chromatic in cl. 21 A canonic Recap (like 7) E flat 22 X Stretto 23 A canonic Coda like E flat

The Sinfonia introduction begins on B-flat and while not in B-flat major, it does end on a B-flat

major chord which suggests a dominant feel when it is followed by the E-flat at rehearsal 1. Alexander Koops: Stravinsky Octet-Sinfonia Music 538b-Bob Moore thematicOctet musical examples 1,2,3,4,5,6 3

Example 1 Example 2 Example 3 Flow m. 1-4 "Quasi V/E flat" 1 (m. 5-12) m. 5

E flat Dorian=minor w/Raised 6th

Interestingly he begins and ends the introduction with this chorale-like section that has a definite m. 15 Reverse Flow Alexander Koops: Stravinsky Octet-Sinfonia Ex 4 6 Theme A linear quality leading to the B-flat and he also ends the Finale with a chorale sectionthematic that musical has examplesa 1,2,3,4,5,6

linear descent to C major. Example 1 Example 2 m. 1-4 "Quasi V/E flat" 1 (m. 5-12) Stravinsky introduces a flowing theme that appears to go no-where, just alternating Alexander Koops: Stravinsky Octet-Sinfonia Alexander Koops: Stravinsky Octet-Sinfonia thematicbetween musical examplesE-flat and 1,2,3,4,5,6 F, but eventuallythematic traces outmusical an E-flatexamples Dorian 1,2,3,4,5,6 scale. E flat Dorian=minor w/Raised 6th

Example 1 Example 2 Example 1 Example 2 Example 3 Flow "Quasi V/EExample flat" 31 (m. 5-12) m. 15 Reverse Flow m. 1-4 "Quasi V/E flat" 1 (m.m. 5-12) 1-4 Flowm. 5 Ex. 6 m. 5 Ex 4 6 Theme A Ex. 5 10 Theme B 14 theme C (clarinet)

E flat Dorian=minor w/Raised 6th E flat Dorian=minor w/Raised 6th

Reverse Flow Ex 4 Example 3 m.Flow 15 Reverse Flow m. 15 6 Theme A m. 5 Ex 4 6 Theme A

The surface texture continues to be very flowing (kinetic) throughout this introduction,Ex. 6but the Ex. 5 10 Theme B 14 theme C (clarinet) harmonic movement is actually quite static. Stravinsky uses a lot of scaler ideas and arpeggios,

leaping motivic fragments, ostinatos and and pedal points, all of which prepare the listener for Ex. 6 Ex.Ex. 5 610 Theme B Ex. 5 10 Theme B the rest of the Octet. Alexander Koops: Stravinsky14 theme Octet-Sinfonia C (clarinet) Examples 14 theme C (clarinet) "Compare"

Scaler Material-Heavily used through out X Arpegio Cell X Jumpy cell 16.1 m. 108

G major X =rhythm 15.1

The13 mainm. 87 theme begins at rehearsal 6, with a definite feeling of the B-flat seventh chord

acting as dominant to the E-flat downbeat.

16 m. 112 13 (m. 93)

similar cells

6 m. 46 (similar to 44, 45) 17 M. 119

7 m. Alexander Koops: Stravinsky Octet-Sinfonia thematic musical examples 1,2,3,4,5,6

Example 1 Example 2 m. 1-4 "Quasi V/E flat" 1 (m. 5-12)

E flat Dorian=minor w/Raised 6th

Reverse Flow Example 3 Flow m. 15 m. 5

Music 538b-Bob Moore Octet 4

Example 4 Alexander Koops: Stravinsky Octet-Sinfonia Examples 6 Theme A "Compare" Scaler Material-Heavily used through out X Arpegio Cell X Jumpy cell 16.1 m. 108

Alexander Koops: Stravinsky Octet-Sinfonia Ex. 6 ThereEx. 5 10is also Theme a B3:2 tempo relationship which Stravinsky loves to do: =76 to =104. ThemeG Amajor thematic14 musical theme examplesC (clarinet) 1,2,3,4,5,6X =rhythme q 15.1 is Example 1 repeated at rehearsal 9 in canonic fashion, then13 m.at 87rehearsalExample 8 it 2 is fragmented as it modulates m. 1-4 "Quasi V/E flat" 1 (m. 5-12) through D-flat major and E major and lands in D major at rehearsal 9. Stravinsky lightens the texture and dynamics at rehearsal 8, so when the full ensembleE flat comes Dorian=minor in again w/Raised at rehearsal 6th 9 it is an excitingExample 3 moment.Flow Additionally Stravinsky adds16 m. an 112 offbeat echo to the main m.theme 15 Reverse creating Flow an 13 (m. 93) m. 5 exciting new twist to theme A that keeps the listener intrigued.

A d-minor scaler passage leads to theme B “cantabile tranquilo” at rehearsal 10 in the similar cells

Example 4 6 m. 46 (similar to 44, 45) 17 M. 119 first trumpet.6 Theme The A bassoons have an accompaniment with obvious G major arpeggios, while trumpet two plays a motive that Alexanderpredicts theKoops: C theme. Stravinsky Octet-Sinfonia Examples "Compare" X Arpegio Cell X Jumpy ExampleScaler 5 Material-Heavily used through out Example 6 cell 16.1 m. m. 108 10 Theme B 7 14 theme C (clarinet)

13 m. 87 Trpt. 2 Rhythm X

Rehearsal 11 acts as a brief interlude before restating the B theme in the trombone, clarinet and 16 m. 112 13 (m. 93) flute at 12. At 13 emphasizes the X arpeggio cell on C major all the while retaining scaler material that is derived from the original theme A. similar cells

6 m. 46 (similar to 44, 45) 17 M. 119

7 m. Alexander Koops: Stravinsky Octet-Sinfonia Examples "Compare"

13 m. 87

Alexander Koops: Stravinsky Octet-Sinfonia Examples "Compare"

Scaler Material-Heavily used through out X Arpegio Cell X Jumpy cell 16.1 16 m. 112 m. 108 13 (m. 93)

G major Music 538b-Bob Moore X =rhythm Octet 5 15.1 similar cells 13 m. 87 6 m. 46 (similar to 44, 45) 17 M. 119

Alexander Koops: Stravinsky Octet-Sinfonia thematic musical examples 1,2,3,4,5,6

Example 1 Example 2 16 m. 112 7 m. 51 13 (m. 93) m. 1-4 "Quasi V/E flat" 1 (m. 5-12)

E flat Dorian=minor w/Raised 6th similar cells

6 m. 46 (similar to 44, 45) 17 M. 119 Example 3 m. 15 Reverse Flow Flow At 14 Stravinsky states Theme C boldly in the clarinet, emphasizingTrpt. 2 Rhythmthe X-rhythm, X beginning in m. 5 a D tonal center, evolving into B-flat major arpeggios, passing through g-minor and arriving in

an E minor mode at 15. The key changes make sense in that they are following third Example 4 7 m. 6 Theme A relationships, but they don’t follow tradition harmonic pulls. The chromatically twisting theme,

repeated at 15, is similar to the kind of chromatic themes that Bartok composes.

Example 5 Example 6 10 Theme B Trpt.14 theme 2 C Rhythm(clarinet) X

Rehearsal 16 does not contain theme B but it does have similar traits to rehearsal 10 and 12

including the X-arpeggio cells and ostinatos. One of the salient composition tricks Stravinsky

uses here is to take the initial descent {E,D,C,B} built from the original A theme and use it to

structure a beautiful descent over the next four measures in the bassoon and clarinet. Stravinsky

brings out the {D, C, B} descent with accents in the bassoon part. At rehearsal 17 we hear yet

again at the exact pitches, but two octaves higher. Stravinsky frequently uses this technique

which helps give great structural integrity.

Rehearsal 17 acts as another interlude including a similar figure taken from 13 shown

below as well as the triplet clarinet figure from rehearsal 11. Alexander Koops: Stravinsky Octet-Sinfonia Examples "Compare"

13 m. 87

Music 538b-Bob Moore Octet 6

16 m. 112 13 (m. 93)

similar cells

6 m. 46 (similar to 44, 45) 17 M. 119

Theme B returns at 18, alternating with theme C in a perfectly timed dialogue, segueing right 7 m. 51 into fragments of theme A at 19, treated in canon, preparing us for the full return of theme A in

the original key at 21. Rehearsal 22 offers a quasi-stretto section following a similar patten to

what was originally set up in rehearsals 7-8. The final statement of theme A at 23 in E-flat is Trpt. 2 Rhythm X perfectly timed with a canonic treatment that syncs up on a final beat after 9 glorious measures,

ending solidly on E-flat major. The alterations of meter throughout the movement offer the

sense of timeless flow that is magical and contribute to the beautiful dichotomy of kinetic and

static movement.

In the Tema con Variazione Stravinsky uses an incomplete octatonic scale, and begins

with the [0134] tetra-chord, both of which he also used extensively in Symphony of Psalms. The

form is obvious because of the theme and variations format, though each individual variation has

its own unique form.

Chart 2: Tema con Variazioni form Reh. # Section label Description-rehearsal #’s- Key/tonality/centricity 24-26 Theme Octatonic/d minor; D major 26-28 Variation A Scales following Octatonic theme; d, C,D,b,B,b lydian, …D,d,f dorian 28-31 Variation B E; 29=G; 30=D, A, (A acts V/ D for return of variation A) 31-33 Variation A d 33-38 Variation C (Waltz) a/g; D… 38-49 Variation D A …42 D….43 F,eo, Eb,c,… 44- Gb…a mixolydian; 45-A; a; 47-A… 49-51 Variation A d 51-56 Fugato A; E/C#... Music 538b-Bob Moore Octet 7

The octatonic feel is strong because of the initial tetrachord, but it is interesting to note that these notes are also contained in the D melodic minor scale. The accompaniment begins in d minor contrasting the feel of A major in the melody (A-C#). The “Tema” itself can be divided into four motivic ideas as seen above: TA,TB,TC, and TD, and an arch form “ABA” where the theme is first heard in the flute and clarinet (high range voices) in D minor/A octatonic, then contrasted with a B section in C major, trumpet 2 (middle range voice), and ending in a return to the original key with the theme in the trombone (low range voice). Music 538b-Bob Moore Octet 8

Variation A simply takes the theme and add scales above each of the given notes of the theme. The theme is transposed so it begins on D, and the first scale played above the D root is a D melodic minor scale. The second note is a B-flat in the theme, so Stravinsky gives us a B-flat

Lydian scale. Variation A theme begins in the trombone and follows the original theme in its pitch organization, though the exact rhythms are changed. At rehearsal 27 the trumpets, flute, and clarinet take over the melody. The ending coming in two measures before 28 is altered to make a smooth transitionAlexander Koops: to variation Stravinsky B.Octet Musical Examples-Tema Compared to Variation C Alexander Koops: Stravinsky Octet Musical Examples-Tema Compared to Variation C TD TA TB TD TA TB TC m. 3rd 24 Tema TC TTm. 3rd 24 Tema TT

(tonic "d"...d,f,a,c#)(octotonic scale pattern) (tonic "d"...d,f,a,c#)(octotonic scale pattern)

26 Ribbons of scales -Variation A 27 Change 26 Ribbons of scales -Variation A 27 Change

TATA (transposed (transposed "T3")"T3") TD TD T D 25 Trpt. II TT m.3 m. 3 25 Trpt. II TT m.3 TT m. 3

TC.2 Back to original Pitch

*change*change changed(changed( similar contour) 28

m. 3 m. 3 m. 3 E major

Variation B offers a needed contrast in its light bouncy character. The form is basically structured around the original “Tema” form. The opening two measures of accompaniment try to hide the rhythmic pulse, so when the trumpet enters with the melody it is a nice surprise. The theme begins clearly with the original major third head motive TA, but it is developed with new Music 538b-Bob Moore Octet 9 variations, modulations and rhythmic twists. It still contains each of the core elements of the

“tema” including TA, TB, TC, and TD, though TD is altered. Alexander Koops: Stravinsky Octet Musical Examples-Tema Compared to Variation C

TD TA TB Alexander Koops: Stravinsky Octet Musical Examples-TemaTC Compared to Variation Cm. 3rd 24 Tema TT TD TA TB TC m. 3rd 24 Tema TT (tonic "d"...d,f,a,c#)(octotonic scale pattern)

(tonic "d"...d,f,a,c#)(octotonic scale pattern) trumpet/flute clarinet 28 Var. B (Trpt. II) 29 (Transposed up a fifth) (Transposed down a M. 2nd)

trumpet/flute clarinet 28 Var. B (Trpt. II) 29 (Quasi-Dominant- E major) (Transposed up a fifth) (Transposed down a M. 2nd)

(Quasi-Dominant- E major) (Var. B continued) transposed up a m.2nd 29 Tumpet I

(Var. B continued) transposed up a m.2nd 29 Tumpet I

TA (transposed "T3") TD T D 25 Trpt. II TT m.3 TT m. 3 TA (transposed "T3") TD T D 25 Trpt. II TT m.3 TC.2 TT m. 3 Back to original Pitch TC.2 30 Trpt. Back to original Pitch

30 Trpt. Head Motive-(Tritone distance from original C#-A)!

Head Motive-(Tritone distance from original C#-A)!

Stravinsky shows off instruments in pairs: flute and clarinet, bassoons, trumpets, and trombones.

The bassoon ostinato at 29 and trumpets dialogue at 30 are examples of this and the creative and masterful writing Stravinsky continually produces.

Variation A (31-33) is brought back and transitions directly into Variation C. The flute begins a solo which is clearly related to TA, but then it flourishes around in a way that covers the Music 538b-Bob Moore Octet 10 pitches used in TB, TC, and TD, but it is difficult to point out exact connections. The flute solo acts as introduction that is followed at 34 with the trumpet 2 and clarinet stating the “tema”. The rest of the variation follows the basic form set in the “tema”. At rehearsal 35 the clarinet and bassoon 1 become static while bassoon 2 has an interesting chromatic ascent and descent which serves as a bridge section leading to the continuation of the “tema”. At 37, to conclude the variation and transition to the next variation, bassoon two has a bass descent line leading to A major and bassoon 2 also sets some motivic and rhythmic patterns that foreshadow the upcoming music. Alexander Koops: Stravinsky Octet Musical Examples-Tema Compared to Variation C Alexander Koops: Stravinsky Octet Musical Examples-Tema Compared to Variation C TD TA TB TC TD m. 3 24 TemaTA TB TT TC m. 3 24 Tema TT

(tonic "d"...d,f,a,c#)(octotonic scale pattern) (tonic "d"...d,f,a,c#)(octotonic scale pattern) Var. C TA TB (7 m. after 34) TC TD Var.Fl. 33 C TA Clarinet, m. 273-275 TB (7 m. after 34)Trpt. 2 TC(10 after 34) TDTT- m.3 Fl. 33 Clarinet, m. 273-275 Trpt. 2 (10 after 34) TT- m.3

Trpt. 34 Trpt. 34 TA (transposed "T3") TD T D TA (transposed "T3") 25 Trpt. II TD TT m.3 TTT Dm. 3 25 Trpt. II TT m.3 TTm. 3

TC.2 BackTC.2 to original Pitch 2 m. before TA TD Back to original Pitch 36 TB 2 m. before TA TD TT - m. 3 37 36 TB TT - m. 3 37

Stravinsky decides wisely to skip placing variation A before Variation D, upsetting the pattern previously established, but keeping the listener from getting tired of variation A. Music 538b-Bob Moore Octet 11

Variation D can be viewed as a passacaglia and begins with an ostinato “ground-bass” pattern in the clarinet and bassoons that can be seen below.

38 Intro; : S Introduction: D0, D1, D2, D3, D4, D0, D1, D0 A major -Ostinato ground-bass o n

ground- a Chromatic descent(Bssn.I)Bb-A-G#-G-F#-F-E established t bass a (Bb-E=TT)

39 1.1 T E TA in Trpt. (Ostinato exact repeat) A major/Octatonic –Tema @original h x . p 1

o pitch level 40 1.2 . TB Trpt +Fl (D0,D1,D2,D3, D0,D1,D2,D3) A major/Octatonic–Tema @original pitch level

41 2.1 T “Brilliante”; (D4, D2, D3) (F major-Cl. –D-D chromatic linear h e

m descent) e

A major- Ostinato Gr.-Bass 3 2.2 2 Brilliant 2 -fl. D0-(D maj. 7) (Augmented Syncopated D 7 bars Rhythm, and extended in Cl.) b4-42 42 2.3 Brilliant Ending (2 measures) fl. hands off to bssn. 1. Bssn. D7; cont’d 2 reverses rhythm from cl.@ 41 2 after 42=cadence to F leads to next Reminiscent of TC, But chromatically altered section

5bars Soli D D0 D1 D2 D3 D4 (bssns. only) F major e b4-43 Gr-bass v e l 43 3.1 o F, e dim, Eb maj.

p D0D1 D0 D0, D1, D2, D3, D4 Brilliant 3 m F------e0 Eb e n

t Triplet plus brilliant variation Trbns have Maj. 3rd ostinato –(just like TA) 44 3.2 Triplet plus brilliant variation continued Gb, d, a mixolydian D0 D2 D0---- 45 Soli D0 D1 D2 D3 D4 ----D0D1 D2 A, a Gr-bass A major------a minor 46 4.1 Cantabile Variation-solo flute, similar to 42,plus brilliant A major and A minor triplets—(Reminiscent of Tema; also reminiscent of 1st mvt. Reh. #2,3,4) D3 D4 D3 D4-__-D0 D0 D1 D3

47 1.3 R TA (obvious quote in trpt. 1, similar to 39) A/ Octatonic –Tema @original pitch e c

(or 5) a D0 D1 D2 D3 D4(cl/bssn) --- p D0 D1 D2 D3-trpts/trb. 1 (only time gr-bass theme not played by bssn) c

48 Soli o D0 D1 D2 D3-(trpts/trb. 1) A (sounds like dominant to D, d

Gr-bass e D0 D1 D2 D3 D4-(end is bssns again) which is the next down beat- t t a Overlap of Passacalia ground bass theme; offset by Variation A, 49!) starting in the middle of the bar Music 538b-Bob Moore Octet 12

The form could be labeled in several ways including a mini-sonata style form, but it makes the most sense to label it as a passacaglia variations form. Stravinsky liked revisiting forms and characteristics from earlier music such as the passacaglia form, and that is partly why his music is called “neo-classical”. Grove’s music defines and explains a passacaglia as follows:

In 19th- and 20th-century music, a set of ground-bass or ostinato variations, usually of a serious character; in the earliest sources, a short, improvised ritornello between the strophes of a song. When 19th- and 20th-century composers returned to writing passacaglias, they found their models in a handful of ‘rediscovered’ pieces by the German masters, especially Bach’s Passacaglia for organ and perhaps also the Passacaglia from Handel’s Suite no.7 in G minor, works deserving of their canonic status, but atypical of the former mainstream genre traditions (Handel’s passacaglia was in fact in duple metre). From Bach’s passacaglia they took what now became the defining feature: the ostinato bass. The theme-and-variation idea, often incidental to earlier passacaglias (if present at all) became central to the revived genres. As with Bach, the ostinato theme is usually stated at the outset in bare form and in a low register.1

This variation does exemplify some of these features, especially obviously starting the theme at the outset in bare form and in a low register. As the form chart above shows, variation D features an ostinato ground bass that is made up of 5 parts [D0, D1, D2, D3, D4] that Stravinsky interchanges the exact order of so it doesn’t always sound exactly the same, but it does have the same texture. There is a linear chromatic descent from B-flat down to E in the initial statement that can be heard in the first bassoon if one listens carefully, but the middle ground is quite static, sounding A major overall. From the original tema, Stravinsky quotes TA and TB directly at 39 and 40 and TA again at the end of the variation at 47, as can be seen in the example below.

1 Alexander Silbiger: ‘Passacaglia’, Grove Music Online ed. L. Macy (Accessed 17 March 2005), Music 538b-Bob Moore Octet 13

The middle variation materials include exciting flourishes of sixteenth notes alternating with triplet ideas. The chart also shows the harmonic motion from A major through various keys and back to A major which finally ends as dominant to the following Variation A.

From 49 through 51 we hear Variation A for the final time, identical except for the last measure, which is adjusted so as to prepare Variation E. This variation is a fugato based on a subject that clearly derives from the original tema parts TA and TD, and vaguely from parts TB and TC, as can be seen below. Alexander Koops: Stravinsky Octet Musical Examples-Tema Compared to Variation C

TD TA TB TC m. 3rd 24 Tema TT

(tonic "d"...d,f,a,c#)(octotonic scale pattern)

51 Variation E. "fugato" TA

TD symetrical! Stravinsky is very creative not only in using octave displacement to create new sounds on the TA (transposed "T3") TD T D same old25 theme, Trpt. II but he also is free with his use of repeatingTT m.3 notes to get just TTthe rightm. 3 amount of expectation and surprise from his listeners. He pieces together the subject in a very balanced and TC.2 symmetrical way, switching one note here and there to create anBack intriguing to original Pitchline as can be seen in the example below. Music 538b-Bob Moore Octet 14

The fugato is based on an octatonic theme, and Stravinsky, as a fine craftsman, tailors the end of the initial subject to include the notes B flat, E, and G, which are included in the octatonic set used in the real answer beginning in the clarinet. The two octatonic scales can be seen side by side below.

Stravinsky gives us two statements of the subject and answer, each time thickening the texture by adding more instruments and more counter point. Five measures after 53 an episode begins which is more free and chromatic in nature, modulating and very intense in dissonance. This builds to a climactic section at two measures before 54 and then finally leads to a statement of the initial subject at three after 54. Some of the imitation found around rehearsal 54 is similar to the imitations found at rehearsal 4 in the first movement, though in this fugato the harmonic tensions are very high. The form chart below shows the development of this little fugue variation. Music 538b-Bob Moore Octet 15

The Finale comes right out of the end of Variation E in a brilliant and smooth transition in the bassoons (This octet must be considered one of the ultimate pieces for bassoonists!).

Stravinsky begins with an arpeggio theme accompanied by the C major scale. What is interesting is that he treats the scale independently of the theme, in what must be building on renaissance principals of iso-rhythmic motets in which the melodic and rhythmic elements are treated separately. Here the scale begins and ends at different times then the melody, but it is not the least concern because it is independent of harmonic pulls developed in the Baroque and classical period. The scales simply run their course in the initially set pattern repeating until the section of music is complete. The form follows a Rondo form or might be called a Pseudo rondo, as the chart below shows. As was seen in Symphonies of Wind Instruments, the sections could come in another order—“moment form”—except for the final chorale is the perfect ending and must come last! Music 538b-Bob Moore Octet 16

Beginning Theme A; C scale underneath C major m. 459 Repeat A C major (2 m. b4 58) 58 (m. 461) Clarinet enters with scale work 59 A variation C major scale; d minor at 473 60 A DFF#A 61 Transition for two measures A Theme B F scale, C scale,F, D7…d,e,d,F, D mixolydian 62 4 measure interlude; ostinato like Bssn. 2; m. 508 Return of Theme A C 63 Clarinet joins as before C 64 Continues as before, but with a change 2 before 65 C 65 Theme A in Trpt. 1 D flat 66 Theme C=C Phrygian scale in cl. Followed by leaps; C Phrygian Ostinatos in cl. Bssn. 67 Theme C1.2 in trpts.; cl. = chromatic variation Bb…B nat. 68 Theme C1.2(reverse of 67) fl. + Cl. B minor… 69 Theme A’ c minor Theme C1.2 in diminution (very chromatic) 70 Theme A’ Trpt. 2 e minor Theme C1.2 bssn 71 Theme A fragments D; Eb; 72 Chorale idea introduced; all rising motion in various lines Eb 73 Chorale -descent to D F7 G7 -related to Theme A through C major descent and arpeggios, Very static feel augmented! 74 Chorale ending/conclusion-descent to C- F; C -related to Theme A through C major descent and arpeggios, augmented!