Beethoven | Symphony No. 4 | Ex. 20

Cahiers d'orchestrationBeethoven
Written By Victor Cordero

Learn About Orchestration | Cahiers d’orchestration | L'équilibre et le contraste | Examples

Beethoven | Symphony No. 4, iv | Ex. 20

Exemple 20 : Contraste entre deux densités instrumentales : 2 pupitres de cordes et un basson soliste

Example 20: Contrast between two instrumental densities: 2 string sections and a solo bassoon.

 
Exemple 20 - Beethoven - Symphony No. 4, iv

Figure 20. L. van Beethoven, 4ème symphonie, 4ème mouvement mm. 184-192.  © Dover Publications, 1989

Ex. 20: 28:52

 

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All Examples from the Cahiers d’orchestration

Examples
Beethoven | Symphony No. 5 | Ex. 1
Beethoven | Symphony No. 5 | Ex. 1

A dramatic peak achieved by contrasting two sections of the orchestra

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Schoenberg | Five pieces for orchestra | Ex. 2
Schoenberg | Five pieces for orchestra | Ex. 2

Extremely rapid shifts in contrast

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Berlioz | Symphonie fantastique | Ex. 3
Berlioz | Symphonie fantastique | Ex. 3

Increase in the frequency of contrasts

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Beethoven | Symphony No. 8 | Ex. 4
Beethoven | Symphony No. 8 | Ex. 4

Clean transitions with no overlap between consecutive scenes

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Mozart | Symphony No. 40 | Ex. 5
Mozart | Symphony No. 40 | Ex. 5

Overlapping sequence

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Handel | Music for the Royal Fireworks, Overture | Ex. 6
Handel | Music for the Royal Fireworks, Overture | Ex. 6

Various types of sequencing

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Mahler | Symphony No. 4 | Ex. 7
Mahler | Symphony No. 4 | Ex. 7

Sequencing through a cross-faded and blended transition

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Bizet | Carmen | Ex. 8
Bizet | Carmen | Ex. 8

The color remains balanced. Only the spatial quality is contrasted.

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Mahler | Symphony No. 2 | Ex. 9
Mahler | Symphony No. 2 | Ex. 9

Balance of tension between two different instruments.

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Bizet | Carmen, 2nd Suite | Ex. 10
Bizet | Carmen, 2nd Suite | Ex. 10

Dramatic dynamic contrast achieved through the recurring use of a single musical motif

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Tchaikovsky | Symphony No. 4 | Ex. 11
Tchaikovsky | Symphony No. 4 | Ex. 11

Recreating the near-far effect

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Tchaikovsky | Symphony No. 4 | Ex. 12
Tchaikovsky | Symphony No. 4 | Ex. 12

Parallel construction of a crescendo and an echo effect

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Beethoven | Symphony No. 7 | Ex. 13
Beethoven | Symphony No. 7 | Ex. 13

Spatial sweep across the string sections, traversing all the music stands. Panning effect.

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Bartok | Music for Strings, Percussion and Celesta | Ex. 14
Bartok | Music for Strings, Percussion and Celesta | Ex. 14

Achieving contrast solely through spatial means while maintaining balance in all other musical parameters.

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Tchaikovsky | Romeo and Juliet| Ex. 15
Tchaikovsky | Romeo and Juliet| Ex. 15

Alternation between woodwinds and strings in spectral balance on the same chord

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Tchaikovsky | Symphony No. 6 | Ex. 16
Tchaikovsky | Symphony No. 6 | Ex. 16

Spectral contrast between strings and woodwinds

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Victoria | Ave Maria | Ex. 17
Victoria | Ave Maria | Ex. 17

Example of antiphony in a polychoral work from the Renaissance.

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Beethoven | Symphony No. 3 | Ex. 18
Beethoven | Symphony No. 3 | Ex. 18

Antiphonic structure created by the alternation between winds and strings. 3rd mov., mm. 99-112

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Beethoven | Symphony No. 9 | Ex. 19
Beethoven | Symphony No. 9 | Ex. 19

Responsorial structure created by the contrast between two instrumental densities.

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Beethoven | Symphony No. 4 | Ex. 20
Beethoven | Symphony No. 4 | Ex. 20

Contrast between two instrumental densities: 2 string sections and a solo bassoon.

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Brahms | Symphony No. 2 | Ex. 21
Brahms | Symphony No. 2 | Ex. 21

Contrast through the textural treatment of a melodic line.

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Bruckner | Symphony No. 7 | Ex. 22
Bruckner | Symphony No. 7 | Ex. 22

Inverse relationship between polyphonic density and instrumental density.

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Ligeti | Atmosphères | Ex. 23
Ligeti | Atmosphères | Ex. 23

Extreme contrast of orchestral registers

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Mendelssohn | Les Hébrides | Ex. 24
Mendelssohn | Les Hébrides | Ex. 24

Extreme contrast between the 2nd thematic group in the exposition and the recapitulation of a sonata form

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Victor Cordero
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