Profile III: Chamber Music Inside the Orchestra and its relationship to Choirs

Each profile will highlight a specific problem of composition for orchestra.

Rarely is the entire orchestra playing. More than likely, sub groups or smaller chamber ensembles interact to produce the maximum textural contrast.

  • 1. Handel Water Music. PP. 31-33 (after hornpipe).
    Double-reed choir is a trio of soloists to present the main idea. They become sustaind chordal accompaniment at meas. 9, when the strings take up the same foreground in four parts and in the same register.
    Notice that the viola part begins with a point of imitation of the melody by inversion.
    Second phrase is lead by the strings at meas. 13, and solo `double reeds join inby tonal imitation at meas. 18 upbeat (fifth replace fourth in opening interval).
    Phrase is rounded off by solo woodwinds, meas. 24-27 to create a symmetrical timbral period of phrases.
    An extended real tutti follows from meas. 28.
  • 2. Berlioz, Symphonie Fantastique, Movement III ("In the Countryside"), P. 58)
    Oboe and english horn duet sets off the movement and prepares for the solo flute melody at Reh. 37.
    At the end of the piece, the english horn melody returns in a fragmented form against complicated timpani rolls, Reh. 49 (imitate the tremolos of the divided violas which start at meas. 10).
  • Mahler Symphony No. 5, Movement 5: Rondo-Finale (PP. 178-179).
    Oboe, bassoon and horn fragment the introductory melody, completed by a quartet of horns (M. 24).
  • Debussy, La Mer, Jeu de Vagues (PP. 32-33)
    Flutes and Clarinets, gliding figures, punctuated by bassoons, horns, trumpets against a string wash.

    Updated, April 20, 2004.