Romeo and Juliet, Stravinsky

Romeo and Juliet, Stravinsky

1. Background

   • Fantasy Overture on Romeo and Juliet. Balakirev suggests the key od the piece as well as details for the plan of the piece.
   • published 1880

2. Orchestration

   • Large orchestra
     • Piccolo, cor anglais w/ wood wind, valve horns in F, two trumpets, three trombones and tuba.
     • percussion: cymbals, bass drum, harp and strings.

3. Structure

   • Classical Sonata Form (although it's programmatic). Symphonic poems normally in free form.
   • Fantasy Overture and not symphonic poem as the tend to be very free in form.
   • Introduction: a Solemn introduction of FL theme. slow register clarinets 4 part harmony chant-like slow=descriptive. minor keys. gradually more instruments added (like scene unfolding).
     • enharmonic change to distant keys. FL introduced over 3rds in strings.
       • harp high crotchet double thirds.
         • Pizz crotchets into seminquavers in violins over FL semitone lower cnanges between F minor and E Maj.
           • loud rolls in timp - build of tension. juxaposed against the quiet harp chords.
             • FL in all woodwind = tension build. scalic build in cor anglais. V imitate woodwind
               • low clarinets = tragic end to introduction.
   • Standard Sonata. Slow introduction,1st subject,transition,2nd sub,codetta, development, recap (1st sub,2nd sub,1st sub and slow intro theme)
   • Expostion: Feud between Montagues and Capulets starting with tutti syncopation ith angry semiquver runs in the violin.
     • 1st subject = feud. F dynamics
       • fight breaks out: angry interchanges between string and woodwind. 1 subject spilit into motifs
         • rhythmic variant of subject 1 a. Imitative figure to show brawl
           • brawl grows - every instrument takes part
             • sword clashes in percussion. semiquaver runs keep pace scalic in strings.
               • climax of brawl - tutti, ff appears.
   • transition: Starts with perf cad B Maj. transition theme based on subject 1 b. quietens down, changes key lead to second sub.
     • 2nd subject = love theme between romeo and juliet.
       • Second subject - starts with solo muted violas and theme in cor anglais, expressive string pizz.
         • modulates freely enhances the romantic feel. Romantic harmonics. 2nd sub 2nd theme in violin. muted violin makes it expressive. specific markings are expressive. introducing love with swooping scales.
           • swaying theme under love theme. dom pedal A. The whole of the second subject both in it's themes and scoring epitone of romanticism.
   • Development: all three themes come together. consists mainly of FL theme and M nd C theme 1st sub
     • semiquaver runs = anticipate something is going to happen. The use of FL intro theme in developemnt os his attempt to stop the fighting.
       • repeat of Fl theme = 3 horns now indicate he is more persistent.
         • Fl repeated again - up a semitone. fighting can't be stopped ff whole orchestra.
           • fighting in full orchestra. tutti, ff fighting can't be stopped. FL theme in trumpets over tutti chords
             • FL didn't stop it again. runs back. whole orchestra semiquaver runs w/ angry syncopated chords. highly scalic angry strings go to recap.
     • Recapulation = first subject shorter than in exposition in tutti ff.
       • second subject in oboes over semiquavers in violins. gradually build towards love theme.
         • second sub unison in strings
           • both the love theme imitates and restless strings gather strength until another tutti appearance. FL return in wind. Hell breaks loose again ff tutti. Drum roll cresc.

4. 3 themes reflect 3 elements of Shakespeares play

   • 1. Friar Lawerence in intro music as clarinet and bassoon 4 part harmony F sharp min. modal makes it sound like a hymn.
   • 2. Feud Montagues and Capulets. First Sub, develops in exposition all orchestra loud.
   • Romantic love theme of Romeo and Juliet. solo muted viola and cor anglas. 2nd Sub. 2nd theme.