Music 251A Chamber Music Profile No. 5: Counterpoint

Each profile will highlight a specific problem of orchestration for chamber ensemble. This profile deals with contrapuntal passages, meaning passages of at least two parts with independent phrase structure. Within a complex accompaniment, a mildly imitative contrapuntal texture would be illustrated in a piece like "Colombine" from Schoenberg's Pierrot Lunaire. Also Three examples of traditional imitative contrapuntal procedures are illustrated. In each case, the individual voice is reordered by means of timbral modulation. Also, new relationships may be introduced by fragmentation and selection of certain modules to be played by the same instrument. As a contrast to such pieces as the Stokowski orchestrations of Bach or the Schoenberg orchestration of the St. Anne Prelude and Fugue, imitative counterpoint in the following examples highlights the sound of individual instruments.

  • 1.Stravinsky, Symphony of Psalms, Movement II:
    Fugue subject introduced in the solo oboe, defining a specific register, which is then expanded by the answer in flute I. What is remarkable is the the third entrance enhances the flute timbre by having flute III enter in its lowest register. The fourth entrance is countered by oboe II in its low register for balance. The whole thing shifts with subsequent entrances of flutes II and IV with piccolo. The entire exposition achieves a homogeneous timbral identity, allowing an oboe, clarinet, bassoon, trio, with horns accompaniment to present new material at Reh. 5.
  • 2. Varese, Octandre, Movement III.
    Here, imitation is hinted at in the opening between bassoon and contrabass, but it is the oboe at Reh. 1 that kicks off the fugal exposition. The structure of the subject is of particular interest, because it sharpens the contrast of registral identity, between the opening gesture of this subject, and the following motifs, two measure later, which expose a radically different contour.
    Also of note is the intervals of imitation, which expose the harmony/tonality connection.
  • 3. Webern Fuga Ricercata transcription of the second Ricercar in 6 parts from Bach's Musical Offering:
    By fragmenting the extensive subject and redefining its linearity, Webern creates new motivic identities, not inherent in the original fugue subject. Also, following those fragments played by any one instrument (horn, trumpet, or trombone) one can see new, nonadjacent pitch associations created by timbral association.

    Updated, November 6, 2003.