Profile II: Soloistic writing against the Orchestra

Each profile will highlight a specific problem of composition for orchestra. This profile addresses real solos by winds and the idea of a solo voice in a section.

  • 1. Handel, Water Music, Adagio e staccato (P. 9).
    Solo oboe has the foreground. Notice the rhythmic discplacement of the string accompaniment.
  • 2. Berlioz, Symphonie Fantastique, Movement I after the Introduction (P. 8).
    Two flutes and violins act as one voice against other string punctuations. This first entrance of the idee fixe anticipates later, true flute solo entrances of this material in this and other movements.
  • Movement V (Witches' Sabbath, PP. 95-100).
    After big Tutti and transition, muted horn III (meas. 19, P. 99) introduces clarinet II (in C!!) with the transformed idee fixe. Notice the percussion accompaniment.
  • 3. Brahms, Symphony No. 1, Movement II (PP. 30-31).
    After initial material in strings (P. 28) oboe and clarinet pass material between each other after Reh. B (P. 30). Notice the rhythmic fragmentation of the string accompaniment. Strings have now receded from foreground, which is taken over by wind solos.
  • 4.Mahler Symphony No. 5, Opening of Movement I.
    Trumpet I with ostinato leads to the big tutti at meas. 13. The upward excursion at meas. 11 defines the register of the second solo phrase, now heavily punctuated by bassoons, horns, and strings. Notice the triplets in the horns against the sixteenths in the winds and strings (3 against 4, creating greater pitchj density). There is also apreparation of the tutti at the upbeat of Reh. 1 in which the triplets take over.
  • Movement II, Adagietto for harp and strings opening:
    Melody in first violins, although not truly a solo operates like a singing voice against the sustained accompaniment (PP. 173-177).
  • Debussy, La Mer, Movement II (PP. 34-35).
    After chamberlike pair of wind duets (2 fls and 3 cls), solo english horn (at Reh. 16) overlaps flute, leading to solo oboe (at Reh. 17).
    Sustaining textural factor here is string tremolos with harped pizz. in cellos (meas. 9-17).

    Updated, April 20, 2004.