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Stravinsky Contra Monza

The document analyzes the manipulation of source material in Variation 1 of the Gavotte from Stravinsky's Pulcinella. It details the changes in orchestration, melody, and counterpoint across various bars, highlighting differences in rhythm, instrumentation, and harmonic implications. The summary emphasizes the transformation of the original material while retaining certain melodic elements.

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20braddock
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10 views4 pages

Stravinsky Contra Monza

The document analyzes the manipulation of source material in Variation 1 of the Gavotte from Stravinsky's Pulcinella. It details the changes in orchestration, melody, and counterpoint across various bars, highlighting differences in rhythm, instrumentation, and harmonic implications. The summary emphasizes the transformation of the original material while retaining certain melodic elements.

Uploaded by

20braddock
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PPTX, PDF, TXT or read online on Scribd
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Stravinsky contra Monza:

An overview of the manipulation of source material in


Variation 1 of the Gavotte from Pulcinella (1920)
Bars 1-10
same speed &
key
Melody line remains
the same, played in
the oboe, but
passed to the 1st
horn at the end

Repeat retained

Slightly different rhythm in


bass line Different, more scalic,
Unusual No octave countermelody in 1st horn
combinatio displacement
The bass line
n of Oboe, passes to
Bassoon the first
and Horns horn, which
replaces plays a
the descending
Harpsichor rather than
d and
ascending
arpeggio
Leading notes omitted
in the Stravinsky
Bars 11-21 Added
expanded, denser countermelodies
orchestration melodic line unchanged in 1st oboe imitate the 1st oboe
line

bass line passes between bassoons, with


slightly different arpeggios and octave
displacements.

1st bassoon partially doubles 2nd


bassoon, but also mirrors it in
contrary motion
Added static brass block chords sometimes clash against the harmonic implications of the winds
Bars 22-32
Melody continues in
Oboe 1, with no
alterations save for the
lack of a trill in b28

The brass are The 2nd Oboe line


absent, but the The 2 Bassoon plays a
nd
resembles the shape of
oboe and bassoon version of Monza’s bass line, the melody, but with
lines become more omitting notes on weak mostly scalic rather
individual and beaks (the arpeggio in b28 is than arpeggiated
contrapuntal – and played by the first bassoon), movement
more distant from and including an arpeggio on
the source the final beat to lead into the
material next variation.

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