Performing Forces And Their Handling

Question 1

What is the range of ‘Sinfonia’?

Answer 1

In general, all the music lies comfortably within the standard ranges of the instruments. Though the solo cello port is occasionally quite high (top A, bar 6)

Question 2

‘Gavotta’ uses solo instruments throughout, all only from which section of the orchestra?

Answer 2

Wind instruments (the whole wind section from the sinfonia with the addition of two flutes)

Question 3

What is the first bassoon part like in ‘Gavotta’?

Answer 3

It has a relatively virtuosic part, starting on top A and having some very un 18th century glissandi (615-17) A glissando is obtained by sliding rapidly from one note to another.

Question 4

What does the first variation of the ‘Gavotta’ start with?

Answer 4

The unusual timbre of an oboe accompanied by a horn.

Question 5

Stranger than even the opening’s oboe-horn combination, what is the instrumentation at the double bar of Gavotta, variation I?

Answer 5

A trumpet and a trombone are called on to join in the accompaniment. These two instruments tend traditionally to be reserved for loud orchestral climaxes or, in the case of the trumpet solos, melodies.

Question 6

Which variation of Gavotta is more technically demanding, especially for the solo flute and 1st bassoon?

Answer 6

Variation II

Question 7

Which is the only one of these three extracts from Pulcinella Suite to use the full orchestra?

Answer 7

Vivo

Question 8

Though ‘Vivo’ uses the full orchestra, a full tutti is only heard on two very brief occasions. When and why?

Answer 8

To give a sudden sense of surprise, emphasised by the loud dynamics (bars 33 and 37)

Question 9

What is a surprise in the ‘Vivo’

Answer 9

That the movement ends with a very small group of players (just trombone, cello and basses)

Question 10

What does the light-hearted style of the music and use of solo trombone and double bass give the impression of?

Answer 10

A circus piece.

Question 11

What is one of the most distinctive characteristics of ‘Vivo’?

Answer 11

The use of glissando in the trombone and double bass parts.

Question 12

What is ‘modern’ about the double bass part in ‘Vivo’?

Answer 12

It is sometimes unnaturally high (bars 24-25)

Question 13

What does the indication ‘du talon’ in the lower strings in bar 12 of ‘Vivo’ mean?

Answer 13

That the music should be played at the heel of the bow. This gives added ‘bite’ to the sound.

Question 14

How are two of the DSCH motif’s three homophonic statements partly highlighted by Shostakovich’s writing?

Answer 14

They rise to ‘mf’ (bars 23 and 82) and the first of these briefly touches the only forte in the movement.

Question 15

The original eighteenth-century pieces Stravinsky used for ‘Pulcinella Suite: Sinfonia, Gavotta and Vivo’ had a maximum of four players. How many did he write the suite for?

Answer 15

A chamber orchestra of 32 players.

Question 16

Though Stravinsky wrote for a chamber orchestra roughly equivalent to the type of orchestra Haydn might have used in the late eighteenth century, there are, however, a number of features that eighteenth century composers would not have made use of in a piece of this type. What are these?

Answer 16

A solo trombone in the ‘Vivo’ would not have been used in an 18th century piece. Stravinsky also adds many articulations like slurs and staccatos, as well as frequent bowing marks.

Question 17

A separate sole string group was a feature of many Baroque pieces in Concerto Grosso style (eg the concertos of torelli) but torelli would have used two violins and a ‘cello, together with harpsichord or organ continuo. What, instead, does Stravinsky use in ‘Pulcinella Suite Sinfonia, Gavotta and Vivo?

Answer 17

He uses five solo string players instead and there is no keyboard part.

Question 18

The double bass part in 18th century music was usually virtually the same as the cello parts. In Stravinsky’s piece, however, what are the double bass parts like?

Answer 18

The two double bass parts are often very different from the cello music, especially in ‘Vivo’ where the double bass has a virtuoso solo part.

Question 19

In ‘Sinfonia’ what kind of woodwind does Stravinsky utilise?

Answer 19

Standard double woodwind but no clarinets.

Question 20

There are a number of tutti orchestral sections, during which the solo quintet doubles the orchestral strings, in ‘Sinfonia’. Give an example of this.

Answer 20

The first 4 bars.

Question 21

Occasionally in ‘Sinfonia’ Stravinsky leaves out a bass line entirely. Give an example of this.

Answer 21

Bars 29 - 30

Question 22

In ‘Sinfonia’ there are a number of solo passages for wind, either accompanied by strings or on their own. Give an example of both.

Answer 22

with strings (b7-9) 
on their own (b33-34)

Question 23

Which string technique does Stravinsky employ in ‘Sinfonia’?

Answer 23

Double stopping (non divisi) eg violin II b53-34

Question 24

What is a distinctive feature of the violin II music in ‘Sinfonia’?

Answer 24

Consecutive down bows.

Question 25

In ‘Harold in Italy’ Movement III, Berlioz uses and unusual combination of instruments from the Romantic era symphony orchestra such as piccolo, cor anglais, harp and four horns. What however, does he not use?

Answer 25

Trumpets, cornets, trombones and percussion.

Question 26

In ‘Harold in Italy’: Movement III Berlioz has the horns in different keys to allow both transposition and chromatic chords. Give an example of this.

Answer 26

The diminished chord at bar 103 : first and second horn in C, third in F, fourth in E.

Question 27

How does the cor anglais transpose to sound in ‘Harold in Italy’ Movement III?

Answer 27

Down a perfect 5th.

Question 28

How is the piccolo played vs how it is written?

Answer 28

It sounds an octave higher than written.

Question 29

Why are the violas divided at the beginning of ‘Harold in Italy’ Movement III?

Answer 29

To enable the lower part to play open string chords with the upper part playing melodic material.

Question 30

In ‘Harold in Italy’ Movement III what do piccolo and oboe represent at the beginning?

Answer 30

Pifferi (rustic oboes) which can still be heard in Italian folk bands today.

Question 31

What do the strings do at b53 of ‘Harold in Italy’; Movement III?

Answer 31

Return to arco

Question 32

At the Allegretto of ‘Harold in Italy’: Movement III, what do the violins do, and why?

Answer 32

The first violins and cellos play pizzicato with double stopping in the second violins. This simulates the sound of plucked ‘guitar-style’ instrumental accompaniment.

Question 33

n ‘Harold in Italy’: Movement III, where does the clarinet use the (low) chalumeaux register?

Answer 33

BAR 48

Question 34

What is different about the strings in the final section of ‘Harold in Italy’: Movement III?

Answer 34

they play

Question 35

In the final section of ‘Harold in Italy’: Movement III, what does the harp do?

Answer 35

It plays harmonics

Question 36

When does the solo viola first come in, and what does it first play in ‘Harold in Italy’?

Answer 36

It doesn’t play until bar b5 when it plays the ide fixe in longer note values.

Question 37

What is the difficulty of the viola part in ‘Harold in Italy’: Movement III?

Answer 37

Overall, the technical demands of the viola part are relatively simple, the octave passages from b99 being the most demanding feature.