AO6: Stravinsky: The Rite of Spring

Question 1

Dhiaghilev

Answer 1

Choreographer and Stravinsky’s partner

Question 2

Pagan subject matter

Answer 2

Modern primevalism

Question 3

Schoenberg and Berg focusing on the constraints of tonality, structure and harmony: What was Stravinsky focused on?

Answer 3

Rhythm

Question 4

Large orchestra

Answer 4

Quintuple woodwind, extra large brass section, expansive timbre. Normally one tuba so he wrote for two. Normally four horns so he wrote for eight.

Question 5

Folk influences

Answer 5

Magpied from a collection of 1, 785 Lithuanian folk songs

Question 6

MELODY: opening bassoon melody

Answer 6

Derived from Lithuanian folk song in the Juskiewicz collection

Melody also made up of six notes making it hexatonic

Question 7

MELODY: Ostinato

Answer 7

Four note ostinato heard repeatedly in Augurs of Spring

Question 8

MELODY: perfect fifths

Answer 8

Ritual of Abduction

Perfect fifths used as whooping hunting calls

Question 9

HARMONY: atonal effect

Answer 9

Actually a collection of modal melodies

Question 10

TONALITY: opening bassoon melody

Answer 10

Diatonic in Aeolian style

Question 11

TONALITY: bitonality

Answer 11

Augurs of Spring
Upper strings Eb7
Lower strings F# major
Bassoons play both C minor and E minor

Question 12

HARMONY: parallel fourths

Answer 12

Parallel movement in figure 1 In clarinets

Question 13

HARMONY: dissonances

Answer 13

9th chords

Throughout all three movements

Question 14

SONORITY: extra large orchestra

Answer 14

Quintuple woodwind, large brass section including 2 tubas (normally 1) and 8 horns (normally four)
Large percussion section (two timpani, parts for tuned cymbals, tam-tam, guiro etc.)

Question 15

TEXTURE: build up of parts

Answer 15

Monophonic texture in bassoon solo to two sort texture in a duet with French horn. At piu mosso after figure 3 there is a four part texture. Before figure 12 there are numerous polyphonic parts in chaos of spring’s arrival.

Question 16

TEXTURE: abrupt change in texture when transition to Augurs of Spring

Answer 16

Suddenly homophonic chords for stamping dance

Changes to melody dominated homophony with solo trumpet entry

Question 17

TEXTURE: hetero-rhythmic layers at figure 16

Answer 17

Ostinato in straight quavers
Triplet quavers in violas
Chordal blasts and brief melodic snatches

Question 18

TEXTURE: homorhythm

Answer 18

Ritual of Abduction

Used in most climaxes e.g from figure 43

Question 19

TEXTURE: complex texture at figures 28-29

Answer 19

Trolls in clarinets and bassoons
Ostinato in trombone
Flute melody
String scales
Antiquesw cymbals
Overlaid by trumpets in parallel chords

Question 20

RHYTHM: rubato

Answer 20

Free rhythm in bassoon solo. Orchestra required to play colla parte

Question 21

RHYTHM: complex rhythms

Answer 21

Triplets and quintuplets everywhere e.g. first three bars

Question 22

RHYTHM: climax of introduction

Answer 22

Simultaneous triplets, septuplets and straight quavers etc.

Sound together to illustrate chaos of spring awakening.

Question 23

RHYTHM: multiple time signatures

Answer 23

Figure 41 of Ritual of Abduction

Violins, violas and cellos play in 9/8, double basses in 4/8 and 5/8; groupings do not align

Question 24

RHYTHM: cross rhythms

Answer 24

Two against three at figure 15, triplet quavers in solo trumpet part work against straight pairs of quavers in string chords

Question 25

RHYTHM: alternating time signatures

Answer 25

At the start, 4/4 then 3/4 then 2/4 alternate

Question 26

RHYTHM: syncopation

Answer 26

Powerful off beat string and horn chords appear randomly at beginning of the Augurs of Spring

Question 27

1911 ballet ’Petrushka’

Answer 27

Octatonic scale used

Petrushka chord; C major against F# major chord (augmented fourth interval, common to Stravinsky); bitonality

Question 28

1910 ballet ‘The Firebird’

Answer 28

Homorhythm in finale as Ivan frees those who have been turned to stone by evil king and wins hand of 1/13 princesses

Syncopation in ‘Infernal Dance of all Kashchei’s Subjects’; brass melody at beginning is syncopated utilising cross rhythms and off beat notes

Extended techniques; before figure 14, down bows, pizzicato, arco and staccato are used

Question 29

Symphonie Fantastique, Berlioz, 1830 programmatic symphony

Answer 29

Berlioz specifies 90 instruments minimum; 15 violins (15 first and 15 second), at least 10 violas, at least 11 cellos, and at least 9 double basses; extended orchestration