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.