5 mark question-Neoclassicism (Pulcinella Suite)

-in rounded binary form, both sections on similar thematic material.

*Section A (bars 1-15) introduces the main theme

*Section B (bars 16-32), the first theme returns in the dominant

*reprise of the A section 

-The theme of the Gavotta is in binary form

-The Vivo is also in rounded binary form. 

-Made the pieces for 32-part chamber orchestra, similar to the 18th century set up.
-And a novel trombone.

-weakened basslines
-articulation/bowing and dynamics (precise detail)
-ornamentation/melodic decoration
-high bassoon lines in tenor clef
-use of trombone

A number of string techniques are used, such as double and triple stopping in the violins (bars 1-4) and consecutive down bows (bars 17-18). The cello sometimes uses a high tessitura, reaching a top A in bar 6.

In variation 1 of the Gavotta, some of the timbres used are unusual, such as the combination of the oboe, horn, trumpet and trombone in variation 1.

The Vivo movement uses unusual solo instruments – a trombone and a double bass – which create an almost circus-like feel. Like the Sinfonia, there is a variety of string techniques, such as the ‘du talon’ (using the heel of the bow) marking at bar 12. 

-Usually baroque trio sonatas have a fourth performer playing a continuo on harpsichord, to fill in harmonic gaps. Stravinsky uses whole orchestra to blur and fill harmonies.

-The tonic key of the Sinfonia is G major. 

-At many points, the tonality is complicated by added note dissonances, such as the A in the G major chord in bar 3. This technique is also used to destabilise some perfect cadences

-There is also a circle of fifths in bars 7-9.

The Gavotta is in D major, and does not modulate.  

-Added note dissonances are also used.

This movement also includes retardations (suspensions which resolve upwards), such as in bar 2 

The Vivo is in F major, and this tonality is established by the use of bare harmonies in the opening – the accompanying instruments play the root notes of chords in unison or octaves, while the solo melodies fill in the rest of the chord.

-strong rhythmic drive:
*emphasising offbeats
*accents
*doubling of particular notes

-The Sinfonia is in 4/4, but an extra beat in bar 11 results in a brief switch to 2/4, and then 3/4.

-Dotted rhythms  and syncopation  are also important.

-The theme of the Gavotta is in 2/2, while variation 1 is in 6/8 and variation 2 is in 4/4. T

-The Vivo is in 2/4 throughout. The use of staccatissimo (bar 46) adds to the circus-like mood, while the dramatic pause before the final chords (bar 65) gives a comic feeling. There are also demisemiquavers in the double bass (unusual for a lower string instrument), such as in bar 50.

Texture continually enriched with countermelodies
Mostly homophonic, main melody supported by parts

-The main texture of all three movements is melody dominated homophony.

-In the Sinfonia, there is a clear contrast between the grand tutti sections and the more subdued solos, and Stravinsky often switches rapidly between the two.

-There is also treble dominated homophony in the opening, and some polyphony (such as bar 7) and three part texture (bars 29-30).

-In the Gavotta there is also some use of homorhythm (bar 23) and broken chord accompaniments, such as the variation on the Alberti bass 

The melodies of all three movements are relatively close to the originals, but with some development.

-In the Sinfonia, melodic features include motivic repetition, some balanced phrasing,sequences, repeated notes (bar 5), and conjunct melodies followed by leaps (such as in the first bar).

-There are also exaggerated ornaments, such as the trills in bars 7-9, and gruppetti in bar 5.

-Much of the melody of the Vivo is made up of motifs which use two shorter notes followed by a longer one. There are brief scalic passages (such as bars 20-21), sequences (there is a descending sequence in the brass in bars 6-13) and melodic decoration in the flutes in bars 38-45.