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Solo De Concours Analysis Paper

In partial fulfillment of the requirements for

Music 203 LU: Commercial Music Theory and Harmonic Practices I Advanced

By

Michael Dillon Wright

November 20, 2015

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Introduction

Before the 19th Century, instrumental music could be described simply from its form and

structure. Composers followed specific rules regarding chord structure and form. However,

during the mid to late 19th century, a shift from an emphasis on structure to an emphasis on

expressiveness started to occur. This shift towards freedom of expression is what marks the

Romantic era. Some of the characteristics of this time include: freedom of form, chromaticism,

great virtuosity, and a variety of other trends. This can be seen in Andre Messager’s Solo De

Concours. In 1899, Andre Messager wrote Solo De Concours as a competition piece for the

Conservatory in Paris. Throughout this piece, many of the characteristic of this era can be seen.

Some of the prominent features of the Romantic era that can be observed in Solo De Concours is

the freeness of form, variations and sequences, and the use of Chromaticism.

Form

During the Romantic one of the main characteristics is freedom of form. Andre

Messagers primary occupation was writing operas. French opera has characteristics that make it

unique from other styles of opera. French opera always opened with a French Overture

characterized by a flowing melody with the use of Double Dotted rhythms which help accent the

downbeats. French opera also had to have ballet in the opera. Ballet was popular in France and

was iconic in French opera. The opera would have various solo features that showcased the

virtuosity of the soloists. Then, at the end, the opera would close in an exciting finale. Even

though there is an absence of a standard form, Andre Messager’s Solo De Concours takes on an

opera like form. Andre Messager’s occupation plays a huge part of the style and characteristics

of the instrumental music he writes. Each section of the piece is unique in and of itself and there

is very little repetition of material within sections. I would say the sections and form of Solo De

Concours would be as follows: Overture, Ballet, Cadenza, transition, Finale.

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Within the Overture section there are two main melodies as seen in example 1 and 2. The

first melody in example 1 shows the French march style with the use of Double Dotted Rhythms.

These rhythms are specifically characteristic of French overtures and French marches. French

overtures usually took on a fast-slow-fast shape. The second melody, shown in example 2,

demonstrates this slow section of this overture. It is marked cantabile in the score to show the

contrast in character of this section. The rest of the overture section is fast paced and ultimately

serves as a modulation to the ballet section.

Example 1: Overture Theme 1

Example 2: Overture Theme 2

The Ballet section demonstrates a single melody, shown in example 3, which is

played first by the clarinet while the piano accompanies. After the melody is presented by the

clarinet, the piano takes over the melody with slight variation and the clarinet accompanies with

a 6-tuplet figure. The last section of the ballet modulates back to the original key for the cadenza.

Example 3: Ballet Theme

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The clarinet cadenza serves to showcase the virtuosity of the performer. The cadenza,

shown in example 4, seems to have been wrote idiomatically for clarinet. Each phrase follows

natural finger patterns that help the performer play smoothly and efficiently. The ending of

cadenza sets up a series of trills to reestablish the key.

Example 4: Cadenza
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The transition section begins with a transitional sequence, shown later in example 11,

which modulates in thirds back to the original key of the overture. This sequence will be

discussed later. After the sequence, material from the overture is referenced and the style of the

overture is present throughout this section. The transition section ends on a dramatic half

cadence, in example 5, in preparation for the finale.

Example 5: Transition Half Cadence

BbM: I64 iio7 V7

The finale features the clarinet performing exciting 16th note runs while the piano plays a

light 8th note accompaniment at the beginning and sustained chords toward the end. Example 6

and 7, on the next page, show the two kinds of texture that Andre Messager uses in the Finale

section.

Example 6: Finale Opening Texture

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Example 7: Finale Closing Texture

Even though there is not a structural form represented in this piece, each of the sections

of Solo De Concours are well thought out and put together in a way that makes sense to the

performer and audience. Andre Messagers use of operatic themes and styles plays a huge part in

the overall form of the piece. The use of similar techniques and slight repetition of material

connect each section and make this piece unique in its own way.

Variations and Sequences

One of the distinct characteristics of the Romantic period is song-like melodies and a

flowing form. The themes in Solo De Concours are all flowing and lyrical. Even the

accompaniment parts when the piano has the melody are flowing. One of the composition

techniques used in Solo De Concours is the use of Variation and Sequences. Variation is used in

the Overture and Ballet sections.

In the Overture, Messager uses variation on the opening theme. The opening theme and

variations are shown in Example 8 on the next page. The opening theme is the first 4 measures.

Variation 1, in Measures 7-10, uses the same melodic idea as the opening theme and use many of

the same chords, but the melodic idea is up a third. The second variation, in measures 11-14,

elaborate the opening theme with a triplet figure over the same chord structure in the piano as the

opening theme. The final variation of this theme, in measures 15-18, elaborates the 1st variation
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with the same triplet figure as seen in variation 2; also, the chord progression is the same as

variation 1 as seen with variation 2 and the opening theme.

Example 8: Overture Theme 1 Variation

Theme

Bb M: I V6+ V6 vi7 V I

Variation 1 Variation 2

iii V64+ V64 viio7/ii V7/V ii9 V I V6+ V6

Variation 3

vi7 V65 I iii V64+ V viio7/ii V7/V V

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The second theme of the overture begins right after the last variation of theme 1. This

theme, shown in example 9, is another 4 bar phrase just like the opening theme of the overture.

Just like the first theme, Andre Messager uses variation and writes this theme up a fourth. In this

variation, the piano has the same texture as in the theme, but with different chords.

Example 9: Overture Theme 2 Variation

Theme

Variation
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In the Ballet section, the clarinet plays the opening melody while the piano accompanies

with syncopated chords. After the clarinet finishes the theme, the piano plays the theme while the

clarinet plays an arpeggiated 6-tuplet figure. Andre Messager uses this figure to create a

variation in the texture. Halfway through the variation the clarinet and piano switch roles and the

clarinet has the remaining melody while the piano continues playing the 6-tuplet figure. In

example 10, on the following pages, the theme and variation are labeled.

Example 10: Ballet Variation

Theme
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Variation
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Example 10 (Cont.)

Clarinet and Piano switch roles here

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Example 10 (Cont.)

In the Overture and Ballet sections of Solo De Concours, each theme has had a variation

applied to it; either the melody changes to different mode or there is a change in texture. In the
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transition and finale sections, Andre Messager uses sequences to expand the phrases instead of

using variation. The following examples will show transitional sequences that are employed to

expand the harmonic progression and lead to the next idea. Just like the variations in the

overture, the sequences in the transition and finale are used at the intervals of thirds and fourths.

At the beginning of the transition section, shown in example 11, on the next page,

the piano plays a 4 bar phrase which goes through a progression from the key of Db to the key of

F. The next 4 bars is exactly the same as the previous 4 bars. The progression then goes from the

key of F to the key of A, which is the secondary dominant of the third in the key of Bb. This A

Major chord leads us to the first variation from the first theme in the overture.

Example 11: Transition Opening Sequence

DbM ---------------------------------------------> FM FM --------------------------

--------------------------> AM (V/iii) iii V64+ V64 viio7/V/V V/V V

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A few measures later, the same sequence technique is used in two measures to lead from

I to V through three Dominant seven chords and a secondary diminished seven chord. The

sequence starts on the V/IV to IV and goes up a third to a V/ii to ii. Then Andre Messager uses a

bVII/V and viio7/V to lead to V. Example 12 shows the sequence and chord progression.

Example 12: Transition Sequence

V42 /IV IV6 V42/ii ii6 IV42 viio7/V V43

In the Finale section, there are two examples of sequences back to back. The first

sequence is replicated at the fourth and is a series of dominate seven chords that lead to ii. Then

the second sequence takes this and goes up in thirds until it reaches tonic again. Example 13

shows these two sequences and their harmonic progression.

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/Example 13: Finale Sequences

Andre Messager uses this theme and variation technique to elaborate on each of his

melodies. Using theme and variation, Andre Messagers either writes the melody up an interval of
V/iv V42/iv iv V43/V/ii V/ii V42/ii ii V43/ii ii ii viio7/IV IV viio7/vi vi viio7 I
a third and fourth, or varies the texture with the use of triplet and 6-tuplets. The use of these

figures gives his music a sense of a flowing feeling.

Chromaticism

Another characteristic of the Romantic period is the use of chromaticism. Andre

Messager uses chromaticism within the harmonic structure. The use of these chromatic notes

enable the use of a wide variety of chords that would not be used earlier in music. These chords

add an extra dimension to the music. In many sections, the bass line moves up or down

diatonically in seconds. There are a few sections where the bass moves up or down

chromatically.

In the overture, during the second theme, the bass line steps down chromatically.

Example 14 shows this passage. Another section that uses this technique is in the transition
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section. Right after the sequence mentioned earlier, the Bass line moves down chromatically

while the melody in the clarinet moves up chromatically. This section is shown in example 15.

Example 14: Chromaticism in Bass

Example 15: Chromaticism in Melody and Bass

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Conclusion

The structure and composition of Solo De Concours greatly reflects the trends and

characteristics of the Romantic Era. The freeness of form, flowing melodies, and use of

chromaticism show how Solo De Concours reflects the trends from this era in music.