Orchestration final hand-in paper

Comment on orchestrational / compositional choices

Gaston de Foix – Overture

Davide Catina
The present paper is intended as a set of considerations upon the orchestral piece I’ve
written earlier this year, Gaston de Foix – Overture. The approach will be rather concise,
commenting some of the choices I have made, and when possible providing examples
(models) drawn from the repertoire.

During the course of the paper I will equally comment on orchestrational and compositional
choices, since these two instances can be detached only up till a certain extent.
Orchestration is, as composition, an art in all respects; as in composition, conventions might
be followed or rejected; as in composition, the striving for a certain sonority, atmosphere or
dramatic expression must overcome mere technicalities.

Gaston de Foix is scored for symphony orchestra, with a setting and orchestrational
approach which could be historically placed around 1850. The scoring is indeed that of a
mid-Romantic Orchestra: Strings (estimated 14,12,10,8,6), 2 Flutes (2nd plays also piccolo), 2
Hoboes, 2 A Clarinets, 2 Bassoons, 4 F Horns, 2 Trumpets, 3 Trombones, Tuba, Timpani
(Starting F#, B, D, then retuning), Snare drum, Bass drum and Cymbals. The stylistic
inspiration in composing-orchestrating the piece has been given from composer such as
Verdi, Tchaikovsky, Weber, Wagner; more in general, I based myself on the mid-Romantic
operatic tradition, and got inspired from the way opera composers set Drama to Music even
in purely instrumental forms.

The overture is of course composed in Sonata form, preceded by an introduction and

followed by a coda. These extra-sections, as happens in multiple opera overtures or concert
overtures with programmatic content, held also a dramatic function within the piece. Notice
that in the present paper I will only discuss compositional-orchestrational details, while
programmatic references to specific moments of the story will be mostly avoided; they will
be only mentioned when necessary to give a more nuanced light on technical choices I have
made.

Let’s proceed now to the actual analysis, considering separately each section of the piece.

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Introduction
The whole introduction works as curtain-raiser to the whole body of the sonata form, as it
often happens in overtures and preludes of operas and in introductions of concert overtures.

The bipartite form is determined by two contrasting themes, which are connected by a
modulating transition.

The opening theme is a Marche funebre (bb. 1-9), given to the strings and orchestrated in an
pretty classical way with basses doubling celli at the lower octave. In bar 9 the timpani enter
with a mf roll, which continues with a diminuendo over 5 bars (pp in bar 13): to accompany
such decreasing gesture, the trumpets enter with a call-like motive (which is clearly
reminiscent of an element of the Marche funebre – dotted rhythm), immediately
commented by the flutes and oboes. The same dialogue is re-presented one octave lower by
horns, clarinets and bassoons (11-13) and then trombones and tuba conclude this triple
statement of the call-like motive, expanding it further to a short modulating transition to A
minor. Such a way of rendering a diminuendo effect - orchestrating the same motive in three
different octaves - coupled with decreasing dynamic indications (mf-mp-p) represents one of
the most standard ways to effectively orchestrate a diminuendo section. Examples can be
found all over the repertoire, and because of its incredibly frequent usage, I won’t bring here
any specific model.

The solemn sound of the solo low brass chorale has exercised great fascination on
composers from different times and places: Beethoven, Brahms, Verdi, Tchaikovsky, Mahler
(to name a few) employed this a-cappella trombones-tuba setting in often dramatically
important transition-like moments of their compositions: Let’s think for instance at the
closing chorale of Tchaikovsky’s Pathetique Symphony – mvt. 4 (trombones and tuba soli,
prolonging I 6/4 in b before the recapitulation of the 2nd theme in minor) or at the
trombones-tuba chorale of the transition between 1A and 1B sections of Brahms’s 2nd
symphony.

The low brass chorale prepares the transition between the two themes of the introduction
(bb 16-26). In bar 16 the combination of the low brass held chords and the tremolos of the
strings create a solemn yet restless atmosphere, on top of which the winds are alternating in

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figurations which melodically foreshadow the second theme of the introduction (27-41). The
dramatic increase of tension towards bar 22 is obtained via doublings of the thematic
material in the winds and strings (bb 20-21 unison and octave lower), together with the
entrance of the double basses (b 20) and the speeding up of the harmonic rhythm.

The second theme of the introduction starts in bar 27 on I 6/4 in G major. Notice that the
only PAC of the introduction is to be found in bar 41: this expedient concurs in keeping the
tension from the beginning of the piece up till the start of the Exposition. Some
orchestrational instances of the second theme require further comment; looking for a
certain sound, I made choices in order to get a very specific atmosphere. First let’s look at
the winds in bars 27 till 33: it’s immediately noticeable that the range is considerably low,
and quite unusual (the higher voice – 1st flute – is stuck on a D5). The result of this expedient
is that the winds don’t stick out with their individual sounds, but are heard only as a soft
harmonic carpet in the background, enhancing the melody of violins and violas. An example
of such a solution can be found in Tchaikovsky’s 1812 overture, and can be seen in the
fragment below

Tchaikovsky, 1812 Overture

Fragment.

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The cantabile melody of the 2nd theme in the introduction is given first to the violins and
violas (1st time, bb. 27-33) and then to the winds (2nd time – bb. 34-41) always with a
standard 3-octaves doubling; such melody is counterpointed by a statement in major of the
marche funebre motive (bb. 28-31 1st horn solo and 35-38 1st and 2nd violins in octaves). The
two repeats of the theme are then differently orchestrated, according to a developmental
principle: the second is fuller and more moving-forward than the first. In bars 34-42 in fact,
the Marche funebre motive is played by all the violins instead of the solo horn; the complete
horn section can then accompany with full chords the melody in the winds; and eventually
the violas join the celli, double basses and timpani in the tremolo. This way of using the
tremolo effect to create an almost imperceptible tension throughout a passage is an
evergreen in Italian ottocento tradition; we could give multiple examples of such instance,
but perhaps a very explanatory one is to be found in Verdi’s overture to La forza del destino.

Verdi, La forza del destino

Fragment from the overture.

The gradual thinning of the texture towards the end of the introduction is rendered by
progressively leaving out sections of instruments: the horns drop out after the PAC of bar 41,
and in bar 47 the low winds leave the strings and the timpani alone, preparing the beginning
of the 1st theme of the exposition.

Often, in concert overtures, the introduction doesn’t display a clear 1st theme/2nd theme
subdivision, since one theme is prevailing on other freshly introduced material (like for
instance happen in Tchaikovsky’s Romeo and Juliet). In Italian opera overtures though, the
bipartite setting of the introduction or – when very short - of the whole overture (in this
case we would name it Prelude) is a very common feature, even if on a smaller scale. Think

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for instance of the Preludio to Act 1 from Verdi’s Traviata or, always by Verdi, the
introduction of the overture from I Vespri Siciliani. In the latter, the strongest motivic
element of the 1st theme pervades the whole introduction into the 2nd, overarching the
whole section. The same happens in Gaston de Foix on a much larger scale, where the
Marche funebre theme is found right at the beginning, on to the 2nd theme and eventually in
the quiescenza-like post-cadential section (41-50).

Exposition

1st Theme
The first theme of the sonata form body presents many classic features when it comes to
dramatically depicting “war” in an operatic 19th century context, like the extensive use of the
full percussion and brass sections.

The exposition opens with the full woodwind section, with the flute and piccolo playing the
melody (2nd flute plays piccolo), and the rest accompanying with homorhythmic harmony.
Cellos and Double basses support the 1st bassoon playing the bass line, in order to give to
the whole passage a more solid and grounded character, still in pp dynamic. The two
trumpets (unisono) complete the first two bars of the Allegro with a call-like intervention
answering to the rhythm displayed by the winds, in order to create a continuous musical
flow; the snare drum, with its figuration, underlines and unifies both instances.

The abovementioned setting would probably sound, on its own, somewhat static: the
introduction of running figurations in the 1st and 2nd violins (alternating) overcomes this
problem: the violins are in fact acting on the background and are not heard but rather felt;
their function is that of giving a sense of moving forward, without actually influencing in any
way the core of the melodic-harmonic material presented. Examples of this use of the strings
can be found all over the standard repertoire; to mention a couple of clarifying ones, let’s

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think of the recapitulated 2nd theme of Tchaikovsky’s Romeo and Juliet (see fragment below)
or of the complete 1st theme section of Wagner’s Overture to The flying Dutchman.

P. I. Tchaikovsky

Romeo and Juliet

Fragment from the

recapitulation (2nd
theme)

The 1st theme section starts in pianissimo (bar 51), it then slowly builds up towards a forte
(bar 59), which explodes then in fortissimo in bar 65. The crescendo from 51 to 59 is
supported by the progressive adding of brass instruments to the texture, from lowest to
highest: the entrances of trombones-tuba (55), horns (56) and trumpets (57) bring to the
fuller re-statement of the motive starting in bar 59. The lower strings (Basses, Celli and
Violas) are also supporting the crescendo with a livening tremolo, starting from bar 55.

The arrival of the fortissimo in bar 65 is suddenly prepared by a block entrance of the
complete brass section (bar 63); in the next bar (64) the fragmentation of the motivic
material in the higher winds and strings is supported by a rhythmical figuration in upbeat
played by the complete brass, lower winds and strings and the complete percussion section,
probably one of Tchaikovsky’s most beloved expedients when it comes to a rushed and
restless atmosphere.

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The following section of the 1st theme behaves as the B section of a pretty standard ABA
setup (bars 65-76 and) presents contrasting features; the more noticeable one is that the
focus is now on the lowest instruments of each orchestral group: Bassoons, trombones-tuba
and celli-double basses have a central role in displaying thematic material, while the higher
instruments of the orchestra are merely commenting or complementing. Such a way of
creating variety by switching the focus on lower groups of instruments was a very common
practice within the operatic tradition, especially in contrasting or middle sections.

When we especially consider the case of bars 70 – 73, we notice three independent layers.
The first and most important one is represented by bassoons, trombones-tuba and celli-
double basses: the doublings are written in three different octaves, with double basses and
tuba playing the lower, celli, bass trombone and 2nd bassoon playing the middle, and 1st/2nd
trombones and 1st bassoon playing the higher. These instruments are displaying thematic
material drawn from bars 3 and 4 of the A section of the 1st theme. The second unity is
represented by violins and violas: the triplet gesture of bars 66 and 68 evolves in
quadruplets starting from bar 70; in the first two beats of the bar the sound alone (as in the
triplets) but from the third they are joined by 1st flute and piccolo (at the octave), reinforcing
the accompanying chromatic lines: the result is another 3-octave setting, with the violas
playing the lower octave, the violins and 1st flute playing the middle, and the piccolo coloring
on the higher. The third unity is composed by the remaining brass (horns and trumpets) and
snare drum, which strongly reinforces the “upbeat leading to downbeat” gesture of the
elaboration of the theme given to the low instruments of the orchestra.

Such reinforcing orchestrational expedient is also brilliantly used by Verdi (with a slightly
different texture including timpani and bass drum) in his Overture to I Vespri Siciliani (see
fragment below).

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 Verdi, I Vespri Siciliani

Fragment from the

Overture

Such a way of giving thematic importance to low brass, bassoons and low strings,
accompanied by restless runs of the higher instruments of the orchestra was also dear to
Tchaikovsky. Examples can be found all over his pieces (for instance in the Swan Lake or
Nutcracker) but perhaps a great example of the same kind of setting can be found in the last
movement of its 4th symphony, which is showed in the fragment below.

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 Tchaikovsky, Symphony n. 4

Fragment from mvt. 4

The structural cadence of bar 89 marks the beginning of a regular transition. In bar 92,
trombones and tuba enter with a loud statement of the beginning of the Marche funebre
theme (introduction), displaying a strong register contrast with the preceding fast tremolo
passage of solo violins and violas, and preparing the entrance of the timpani roll in bar 93;
such roll lasts (starting mf and then diminuendo to pp) for 13 bars on the dominant of the
relative major, and accompanies the general decreasing of tension throughout the passage.
Source of inspiration might have been the masterfully composed diminuendo found in the

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transition between section 3 and 4 of Rossini’s Overture to William Tell. Even if the scale of
the sections and the material are completely different in the two pieces, similarities can be
found: first, the timpani roll sounds almost as thunders slowly getting further and further,
and supports entrances of thematic material above it; such entrances are subsequently
lower in range, and contribute to the progressive release of tension accumulated during the
course of the 1st theme. In fact, after having had such an intense and restless span of music,
for sake of proportions the cooling down has to be carefully handled.

In bar 96, the clarinets enter with a thematic statement based on material clearly drawn
from the 1st theme (Phrygian tetrachord), and are answered by the complete string section
in tremolo (the Phrygian tetrachord belonging to the 1st theme is now to be found in basses
and celli). The whole dialogue is then immediately repeated (from bar 100) transposed an
octave down and one step softer in dynamics, in a sort of echo effect (the statement of the
clarinets is now given to the bassoons). The timpani finally sound alone for a considerable
amount of time releasing even more tension (3 beats in bar 104) and accompanying the first
entrance of bassoons and clarinets (105). Having carefully prepared the fading out from the
scene of the timpani, now double basses, celli, clarinets and bassoons prepare the beginning
of the 2nd theme.

2nd Theme
The 2nd theme presents itself as a ternary setup: ABA followed by a quiescenza-like closing
section. The principal theme (A section) is first presented by the solo 1st horn and the viola
unisono: this combination is an evergreen, since the sounds of these two alto instruments
beautifully merge with each other. The harmony is played in syncopation by 1st/2nd violins
divisi, while the bass function is provided by the 1st bassoon, with celli and basses only giving
a sweet rhythmical touch on each note-change with pizzicato. Such a warm yet intelligible
solution can be found, for example, at the beginning of the 2nd theme (exposition) of
Tchaikovsky’s Romeo and Juliet Overture.

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 Tchaikovsky,
Romeo and Juliet

Fragment

The B section (starting with the upbeat for bar 131) displays an almost pastoral-like
character right at the beginning: clarinets, oboes and flutes, interplaying with the horn, play
a simple melody over a tonic pedal: such pedal is given, in bars 132-137, only by celli and
violas: the first hold a long Db3 throughout, the second play it in syncopation one octave
higher. The absence of rest in the syncopation and the presence of a held pedal under it
contribute in giving a suspended feeling to the passage, more horizontal rather than vertical.
The Poco animando of bar 138 brings to the more appassionato-like cantabile of the higher
strings starting in bar 142 (written in a standard 3 octaves setting); these moment is
prepared by introducing the 2nd, 3rd and 4th horns to make the texture fuller (b. 138), and by
strengthening the tonic pedal in volume (adding two bassoons) and rhythm (adding double
basses pizzicato).

The restatement of the A section is clearly, for sake of variation, re-orchestrated. No

noteworthy comments have to be made on that, and looking at the score will be self-
explanatory. The closing section is just prolonging tonic harmony and has the function of
bringing the listener back to the disquiet atmosphere of the 1st theme, which comes back
into play during the development. The overall sound impression is warm and embracing,
with a predilection for clarinets and bassoons (winds) and celli divisi soli (bb. 166-170). The
continuous pizzicati in the strings are eventually interrupted in bar 171 and 173 by the sound
of low clarinets and bassoons accompanied by a timpani roll; I find such “throwback” effect
particularly effective, since the exact same blending of sound was found in the more spooky
and suspended transition from 1st to 2nd theme, and then gets here quite an evocative
dramatic power.

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Development
Not many words will be spent on the development, since the dramatic stress put on the
section is mostly transitional: in concert overtures of consistent length (the present is
roughly 15 minutes) the development often has a modest extension and a less important
role than in shorter overtures, since the Introduction and Coda normally get a higher status
in the articulation of the discourse; this is for instance the case of Tchaikovsky’s Romeo and
Juliet. The whole section is essentially composed out of two long sequences, of which is
worth to briefly discuss the general outlines.

Let’s look for instance at bar 188. The pp beginning of the 1st theme is here stated again,
with the same elements (harmonized melody in the winds, call-like motive in the trumpet,
snare drum march-like rhythm and same setting of the strings) only transposed one tone
higher. At first sight, everything looks as it appeared in bar 51, but with a closer look is
possible to point out small differences which in my opinion radically change the sound of the
passage, and therefore its dramatic functioning within the overall discourse. The winds are
looking exactly alike bar 51, with the only difference that the piccolo is silent; the call-like
entrance is now played by one trumpet instead of two; and concerning the low strings, while
in bar 51 both celli and basses were playing the bass line, now the latter are silent, leaving
cellos alone. Leaving out the piccolo and the double basses reduces the whole range by two
octaves: these little modifications concur in giving to this passage a more rarefied,
suspended character, when compared to the more grounded one of the beginning of the
exposition, making it particularly fitted to a transitory moment such as the present
development section.

2nd Theme - Recapitulation

In the recapitulation, the 2nd theme is subjected to formal and orchestrational
transformations, in order to better achieve a developmental discourse pointing and
resolving into the beginning of the coda.

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The clearest and most important of these transformations is of a formal nature; In the
exposition the 2nd theme has an ABA setup, while in the recap I chose to switch it around,
making of it an BAA; such expedient, inspired from Tchaikovsky’s Romeo and Juliet, appears
to be particularly efficient in creating a developmental discourse up till the beginning of the
Coda.

Important to point out that within the 2nd theme of the exposition, the B section is the most
intense regarding the reaching of goals: after a mild statement of the A section (starting in
bar 118) the tension slowly builds up towards bar 142 (mf cantando of the violins and violas),
and eventually relaxes again for the restatement of the A section. In the recap (BAA),
everything is reversed: we get a very mild and soft statement of the B section, a fairly full
statement of A, and then a very intense and forward-moving restatement of A. This
developmental discourse is handled via careful orchestration. First, when looking at the
particello below, the difference in sound at the beginning of the two B sections will become
immediately clear.

B section 2nd theme,

Exposit/Recap

Particello

In the B section/recap, despite the softness in dynamics the rhythmical drive is very
accentuated right from the start; the syncopations (Exp. Violas, Recap. Violins 1,2) are now
in double speed compared to the exposition, and determine the forward-moving character
of the passage.

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Concerning the A/A’ sections of the recapitulation we can make a couple of remarks: first,
that the melody is played by 1st and 2nd violins, violas and celli in a standard 3-otaves
doubling, with the basses playing the bass line. When comparing A and A’, notice that right
from the start the string parts stay basically unchanged, a part from the dynamic indication
(first mf then f). That means that the orchestrational variation in the repetition lies in the
rest of the orchestra: the first time (starting from bar 294) the accompaniment is relatively
low, and performed by the warm and embracing sounds of Horns (which give the rhythmic
impulse), trombones (harmonic filling) and bassoons / tuba (bass line in two octaves,
doubling the Contrabasses).

The second time instead (starting from bar 312), I applied quite some orchestrational
changes: first, concerning the melody, the piccolo doubles the 1st violins at the unisono,
giving them an extra exciting ring. Furthermore, 2nd flute, oboes and clarinets are introduced
playing repeated notes in triplets, which together with the horns, represent the rhythmic
fundament of the passage. Last but not least, trumpets are introduced, and together with
the trombones they get the role of harmonic filling; now trumpet and trombones form a
unity, and therefore the spacing of the trombones greatly changes from the first statement
of the A section, when they sounded alone. To graphically resume all of these information,
the particello below might be clarifying.

A, A’ sections, 2nd
theme Recap.

Particello illustrating
the different sections
of the Orchestra

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Coda
The 2nd theme doesn’t conclude with a cadence confirming the key of D major. Instead,
elements of the 1st theme disturb its course and eventually wipe away the conclusion of the
cantabile melody of the strings. Elements from the 1st theme come back (b.322), and after
an abrupt cut-off (329), the Marche funebre theme from the Introduction is also
recapitulated. The dynamic is fortissimo, and the tone peremptory: 2 trumpets and 2 tenor
trombones display the Marche funebre in unisono, at the distance of an octave
(orchestrational solution that was dear to Verdi above all; enough to think of the beginning
of Rigoletto, or to multiple spots from Aida and Ernani, and many more).

Preparing the actual start of the Coda, another moment from the Introduction is re-
presented and re-orchestrated in bars 333-335. When we look back at bars 22-24, we notice
that the orchestration greatly differs, in order to fit the dramatic needs of this intense
moment in the form.

The first section of the actual coda starts on 16/4 in the home key b minor and ends on V of
the same key. It therefore has the function of prolonging the dominant function and
postponing the structural cadence which funnily enough is performed by the solo timpani in
bar 347. This section of the coda preceding the tonic displays a low winds chorale (clarinets /
bassoons), accompanied by the gloomy and lugubrious sound of a bass drum roll; the
chorale re-states the complete Marche funebre motive of the introduction, supported by
slightly different harmonies in order to fit the dramatic needs. The combination of clarinets
and bassoons is an evergreen especially in moments of such dramatic intensity; let’s think
for instance to the famous beginnings of Tchaikovsky’s Romeo and Juliet and 5th symphony.

The re-statement in minor of the 2nd theme is played exclusively by the strings accompanied
by the timpani (bars 348-355); it contributes in prolonging the tonic, in a sort of mournful
comment on what we could see and hear as the moment in which Gaston de Foix dies on the
battlefield. This quiescenza-like gesture happens to resolve (b. 355) to the parallel Major key
(B Major), opening the field for the last section of the Overture.

The last closing episode is introduced by a solemn brass chorale (starting in bar 360). The
choice of mixing the sound of horns and trombones (playing exactly the same notes), helps

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recalling the sound of a choir, rather than an ensemble of soloists: the individual sounds of
the instruments are in fact less prominent, and the resulting timbre has something of the
smoothness and darkness of the horns, but also of the solemnity and clarity of the
trombones.

In this Coda, I wanted to handle the dramatic discourse via orchestrational means. First the
winds (338), followed by the strings (348), and ultimately by the brass (360), articulate the
formal stages of this last section: I believe that such alternation concurs in creating a strong
narration within the section itself.

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