Profile VI: The use of Counterpoint in the Orchestra.

Each profile will highlight a specific problem of composition for orchestra. This profile deals with the use of Fugato and separate contrapuntal devices, both in the extension and development of thematic material.

General considerations:

1. Traditional contrapuntal devices, like imitation, episodes, stretto, pedal point, may exist independent of a general contrapuntal section; however, THE MOST IMPORTANT ELEMENT OF COUNTERPOINT is the independence of phrase structure between the various parts. Imitation is really optional; and, history has revealed much contrapuntal writing which is non imitative.

2. Counterpoint is almost invariably linked with development (witness the Berlioz an Mahler examples).

3. There are other types of counterpoint, mostly linked to concepts of invertible (vertical position) counterpoint, involving other perameters of timbre and register.

4. In the 20th century the linear aspect of contrapuntal writing often takes a back seat to a pointillistic treatment of the voices, making timbral and registral counterpoint easier to realize (Webern's transcription of J. S. Bach's Six-Part "Ricercar" from The Musical Offering would be a good example). Under these circumstances, the creation of new submotivic identities becomes an essential developmental device.

5. A single contrapuntal device, like augmentation and diminution could be used in an isolated passage: e.g. in the closing bars of La Mer (Reh. 62, P. 134 of full score), the main material appears in augmentation in the lower strings on Bb (triplet quarters) against cornets on F (cornets are in C). The passage is also marked in the reduced-score handout which has some tonal analysis.

  • 1. Brahms, Symphony No. 1, Movement IV, PP. 64-69 (big tutti).
    Referring to the earlier developmental passage at P. 55 (Reh. E - 5 meas.), Violins 1 and 2 have an imitative passage with violas and lower strings, using the sixteenth-note runs against the chordal material in the winds, which is in turn completed in the strings not playing the runs.
    What is most important here is that the phrase structure of the imitative material is independent of that of the chordal phrases, which are short.
  • 2. Berlioz, Symphonie Fantastique. "Witches Sabbath" (Movement V). Fugato which precedes development (P.P. 115-133).
    Fugato begins with subject in the lower strings around C (triplet sixteenths upbeat). This material is actually introduced as a fragment, first in the violas in meas. 106 and with the oboe at meas. 115. In the measure preceding the "Dies Irae" there is no hint that this material is actually a counterpoint to the chant. They combine at meas. 414 in the coda of the piece.
    The answer is at the fifth (G) in the second violins at meas. 247. First violins take up the subject at meas. 254, answered by te violas at the fifth at meas. 261. CS1, in the lower stirngs is now below (invertible counterpoint at octave).
    This exposition is further complicated by two countersubjects agains the third and fifth measures of the subject. CS 1 is first in the violas from meas. 243 and against the answer in the lower strings at meas. 250. CS 2 starts with an octave leap in the second violins and interlocks with the end of CS 1. Likewise it occurs a fifth higher, interlocking with the end of CS1 with the answer at meas. 252.
    after the exposition there is a kind of textural episode: far less contrapuntal and with tutti interjections. At P. 122, larger complements of strings (first, violas, cellos, and basses followed by first and second violins) take up the answer (meas.290) and then the subject (meas. 297) in the violins.
    PP. 124-127 are a development of subject fragments, leading to a very modified (by interval substitution) subject (first in lower strings at meas. 331: notice the absence of the triplet upbeat).
    The end of the Fugato (from P. 170) is a kind of free stretto in the strings, setkting up the final combination with the "Dies Irae."
  • 3. Mahler, Symphony No. 5, Movement III (III/5) Rondo Finale Fugato (PP. 180-188).
    The exposition of this Fugato proceeds in a manner similar to the Berlioz example in that the eight-note subject (around D) in the cellos is answered by the second violins a fifth higher. The subject continues in the violas at meas. 71 with a truncated answer in the basses at meas. 78.
    Like the Berlioz, there is counter material: CS1 appears against the answer at meas. 63 and it is joined by CS 2 with the fourth entrance of the subject in the bassoons and basses at meas. 78. CS2 is played by flutes and first violins.
    In a manner similar to Berlioz, the subject and countersubjects reappear later with strengthened forces (strings against winds, e.g. Reh. 3)
    What follows the exposition is a kind of episode and contrasting development from reh. 5. The monolithic development discussed in Profile V follows that at P. 188.

    • Updated May 20, 2004.