ODESSA

Pyotr Ilyich Tchaikovsky
Symphony No. 6 in B minor, Op. 74, “Pathétique”
(1893)

This page presents all the Subjects and Examples from the recording session at Salle Claude-Champagne on September 29-30, 2018, with the Orchestre de l’Université de Montréal. For more info on each Subject, follow the link to its homepage where there are with scores as well as audio examples exploring the sounds of various microphones and their placement in the hall. The ordering of the subjects is arranged chronologically.

 

Subject 1

Movement I, mm.89-97, perception  of individual violins or of a section of violins. Scores and all audio here

Overview of the audio examples

One violin

Two violins

Three violins

Four violins

Six violins: starts to sound like a section

Violin I, all: front desk leading

Violin I, all: rear desk leading

Subject 2

Movement I, mm.170-185, counterpoint and orchestration as a way to enhance energy. Scores and all audio here

Overview of the audio examples

Strings : strings only, thematic and motivic counterpoint

Winds and brass only

Tutti: full orchestration

Subject 3

Movement I, mm.284-304, hyper-romantic counterpoint and the building of a climax. Scores and all audio here

Overview of the audio examples

Sections 1: Winds (no fl), horn, trumpet, trombones, tuba, timpani: harmony+ counter-subject

Sections 2: Flute, violin I, violin II, viola, cello: melody alone

Tutti: full orchestration

Tutti : full orchestration (extended section)

Subject 4

Movement I, mm.305-325: Continuous recording to allow the musicality to flow at the start of the session.

Overview of the audio examples

Tutti example, full orchestration

Subject 4.1

Movement I, mm.305-313, contrapuntal texture, a study of orchestral strata. Scores and all audio here

Overview of the audio examples

Section 1: Horns, Trombones, Tuba, Timpani, add Oboe (309-311), add Clarinet (309-311): harmony only.

Viola, Cello, Contrabass: Melodic bass line

Sections 2: Oboe, Clarinet, Bassoon, add Viola, Cello at m.309: contrechant only

Sections 3: Flute, Violin I & II, add oboe (311), add clarinet (312): melody only

Tutti: full orchestration

Subject 4.2

Movement I, mm.305-309: How a poetic demand from the conductor can impact interpretation. Scores and all audio here

Overview of the audio examples

Tutti: full orchestration playing “normal”

Tutti: full orchestration playing like a “Bridge of Ice”

Subject 5

Movement III, mm. 196-256, study of contrast: pointillistic motives vs linear horizontal ascending energy lines. Scores and all audio here

Overview of the audio examples

Tutti: full orchestration

Subject 6

Movement III, mm. 221-229, alternating sections. Scores and all audio here

Overview of the audio examples

Sections1: Strings

Sections2: Woodwinds

Tutti: full orchestration

Subject 7

Movement III, mm.330-end, percussion studies (Gran Cassa and Timpani). Scores and all audio here

Overview of the audio examples

Sections 1: timpani + G.C. only

Sections 2: timpani + G.C. + brass

Sections 3: only winds and strings

Tutti: full orchestration

Subject 8.1

Movement IV, mm.1-18, woodwind timbre addition and reduction, harmonic tension and release. Scores and all audio here

Overview of the audio examples

Woodwinds (mm.4-18)

Tutti: full orchestration

Subject 8.2

Movement IV, mm.19-23, composite violin line (only violins). Scores and all audio here

Overview of the audio examples

Violin II

Violin I

Violins I&II: violin II leads

Violins I&II: Even

All strings: in musical context


*Thanks to Eliazer Kramer for the engraving of these scores and to the University of Montreal Faculty of Music for funding the engraving.

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