Table of Aesthetic Elements

III: mm.172-176 

Analysis:

Information about the general structure of the Trio may result useful to the performers, while setting a general stylistic approach to the piece.

The Piano can be considered the leading instrument in the Trio, according to the classic period's tradition in chamber music which included a keyboard instrument.⁵ The Piano initiates the movements, presents and introduces thematic material, subsequently doubled by the other instruments in thirds, sixths and octaves.

The first two movements share based on a typical ternary form (A-B-A), while the third movement is in a rondo form. However, we can observe wild fluctuations in proportion among these sections.

Neoclassical traits usually appear as primary material, Popular traits as secondary material, and Experimental traits in transition material. This contributes to a strong sense of sectionalism, together with the use of changes in the tonal center at section divisions, use of silences, changes in meter, tempo and texture. These elements should be recognized by the players, in order to emphasize their specific function.⁶

The work is unified by a cyclic theme that appears both in the Codetta to the A section (mm.147-160) and Coda (mm.220-238) of the first movement. This returns in the Coda of the third movement (mm.172-194) on a different meter, emphasized by the triplet at the Piano. Nevertheless the duple character of the earlier statements of this theme is preserved in the new setting.

I: mm.147-151  

The next paragraphs will give some examples of how and where specific aesthetic principles could be expressed in the performance.

The table at the end of the chapter provide a more detailed list of all the aesthetic elements found in the piece.

First movement

The movement starts with an introducion^Video that shows a combination of Neoclassical, Jazz and Popular elements.

It opens with a slow introduction of the Piano^Video (mm.1-4) that remind the ones frequently found in Haydn works. Still the presence of several seventh chords and the conclusion on a ninth chord show the influence of jazz music, such as Duke Ellington harmonies. These characteristics should be emphasized (the fourth diminished interval in the base between m.1-2, or the dissonance in bar 3).

I: mm. 1-4   

CHAPTER 4

-

Case-study

In the previous chapters I presented the main characteristics of a common aesthetic in the Group of the Six, highlighting some of their reflections in the compositional techniques.

In this last chapter I will give an example of how one can apply the information hitherto collected in relation to a specific piece. I decided to use the Poulenc's Trio for Oboe, Bassoon and Piano (FP 43, 1926)^Score as case-study: this piece is considered the first major achievement of the composer in chamber music, and many of the characters previously discussed are greatly amalgamated under his personality.¹ Chamber music composition for woodwinds could be seen as a stylistic cross-section of Poulenc's works. Attentions for woodwind instruments is characteristic of his style², and is a clear recall reminiscence of the baroque French tradition.

The Trio presents many examples of Neoclassical idiom, and can be considerate a parody of classical style. About the composition Poulenc stated:

Yes, I rather like my Trio because it rings clearly and it is well balanced. For those that think of me as careless in form, I will not hesitate to divulge my secrets here: the first movement follows the plan of an Allegro of Haydn, and the Rondo Finale, the outline of the Scherzo of the Second Concerto for piano and orchestra of Saint S~ns. Ravel has often recommended this method of composition to me, one he has often followed.³

However, from the music itself, it is clear that Poulenc is not imitating the great masters, but is inspired by them.

"Whom shall I imitate in order to be original?" seems as silly to me as "How in order to be original, can I avoid imitating anyone?" I wish to be able to employ at will a chord of Wagner, Debussy, Schumann, or even of Franck if it more clearly expresses the nuance I wish to render.⁴

The many short melodies of the Presto A section tend to be diatonic, often stepwise, with a triadic basis. Examples can be found in mm.21-22 (stepwise descent from 3^rd to 3^rd), mm.25-28 (7^th,1^st, 1^st, 7^th, 6^th, 5^th), mm.33-40 and mm.48-57 (5^th, 4^th, 3^rd, 2^nd, 1^st). The performers should be aware of that in order to both reinforce the tonal center and emphasize the thematic material.

I: mm.21-22   

I: mm. 25-28  

I: mm.33-40

I: mm.48-51    

Second movement

The opening melody (mm.1-4), together with the tonal orientation, texture and rhythm, recall at first the classical idioms (perhaps Mozart). However, the C# of bar 1 (that initially seems to be just a passage note), reappear in bar 3 as a D-flat, pulling the harmony to a G-flat major triad (against the tonic pedal). By bar 4, D-flat is discarded and the tonic triad reappears as if it had never been absent. This is an example of the typical Poulenc's humors, that can be used to move away from the prevalent classical style of the movement.

II: mm.1-4   

The chordal arpaggiations in sixteenth-note quadruplets (mm. 23-25) is an example of classic homophonic patterns. These are frequently used by Poulenc in all the Trio. The performers can use these elements and they slow harmonic rhythm to achieve a sense of fullness and unification.

II: mm.23-25  

Third movement

In the opening bars^Video, the first phrase of the rondo theme (mm. 1-3) is cut short by the early entrance of a longer second phrase on the raised fourth scale degree (mm.4-7), going against the traditional 4+4 phrasing. Underline these elements will help to emphasize the upsetting of classical norms of balance and phrase symmetry.

III: mm.1-7   

The antecedent-consequent phrases in bars 1-29 are not in the 4+4 bars classical form, but in a 3+4,2+2+2,4+1+2,4+5. In the last 4+5 section (mm.21-29), a D-flat major scale announces the return of the rondo theme. However the four measure passage at first does not achieve the tonic, because of a restart in a five measure phrase, which misses again the tonic. It concludes on the 2^nd, and only after a two-octave pause it proceeds to the tonic. This is an example of the typical Poulenc “surprise”, and can be used to emphasize the humorist alteration of classic elements.

III: mm.21-29    

Furthermore the restatement of the opening phrase (mm.1-7) is later represented in a shortened 3+3 beats form^Video (mm.30-35), loosing only one beat thanks to the change in 9/8 in the last bar. The players should keep in mind this aspects while setting the phrasing of this passage. In particular, they should try to generate the sense of balance upset at the last possible moment in the last 9/8 bar.

III: mm.30-35  

The next nine bars (mm.5-13) presents a theme (before bassoon^Video, then oboe^Video) that clearly lures to a military bugle-call "Taps"^Audio. These were necessary based on a single overtone series. The articulation notated in the score should be interpreted having in mind the articulation of a bugle. Following this mindset, the “eleventuplets” (irregular group of eleven notes) can be seen as an imitation of the trilling techniques found in such instruments.

I: mm.5-7  

CHAPTER 4

-

Case-study

In the previous chapters I presented the main characteristics of a common aesthetic in the Group of the Six, highlighting some of their reflections in the compositional techniques.

In this last chapter I will give an example of how one can apply the information hitherto collected in relation to a specific piece. I decided to use the Poulenc's Trio for Oboe, Bassoon and Piano (FP 43, 1926)^Score as case-study: this piece is considered the first major achievement of the composer in chamber music, and many of the characters previously discussed are greatly amalgamated under his personality.¹ Chamber music composition for woodwinds could be seen as a stylistic cross-section of Poulenc's works. Attentions for woodwind instruments is characteristic of his style², and is a clear recall reminiscence of the baroque French tradition.

The Trio presents many examples of Neoclassical idiom, and can be considerate a parody of classical style. About the composition Poulenc stated:

Yes, I rather like my Trio because it rings clearly and it is well balanced. For those that think of me as careless in form, I will not hesitate to divulge my secrets here: the first movement follows the plan of an Allegro of Haydn, and the Rondo Finale, the outline of the Scherzo of the Second Concerto for piano and orchestra of Saint S~ns. Ravel has often recommended this method of composition to me, one he has often followed.³

However, from the music itself, it is clear that Poulenc is not imitating the great masters, but is inspired by them.

"Whom shall I imitate in order to be original?" seems as silly to me as "How in order to be original, can I avoid imitating anyone?" I wish to be able to employ at will a chord of Wagner, Debussy, Schumann, or even of Franck if it more clearly expresses the nuance I wish to render.⁴

Analysis:

Information about the general structure of the Trio may result useful to the performers, while setting a general stylistic approach to the piece.

The Piano can be considered the leading instrument in the Trio, according to the classic period's tradition in chamber music which included a keyboard instrument.⁵ The Piano initiates the movements, presents and introduces thematic material, subsequently doubled by the other instruments in thirds, sixths and octaves.

The first two movements share based on a typical ternary form (A-B-A), while the third movement is in a rondo form. However, we can observe wild fluctuations in proportion among these sections.

Neoclassical traits usually appear as primary material, Popular traits as secondary material, and Experimental traits in transition material. This contributes to a strong sense of sectionalism, together with the use of changes in the tonal center at section divisions, use of silences, changes in meter, tempo and texture. These elements should be recognized by the players, in order to emphasize their specific function.⁶

The work is unified by a cyclic theme that appears both in the Codetta to the A section (mm.147-160) and Coda (mm.220-238) of the first movement. This returns in the Coda of the third movement (mm.172-194) on a different meter, emphasized by the triplet at the Piano. Nevertheless the duple character of the earlier statements of this theme is preserved in the new setting.

I: mm.147-151  

III: mm.172-176 

The next paragraphs will give some examples of how and where specific aesthetic principles could be expressed in the performance.

The table at the end of the chapter provide a more detailed list of all the aesthetic elements found in the piece.

First movement

The movement starts with an introducion^Video that shows a combination of Neoclassical, Jazz and Popular elements.

It opens with a slow introduction of the Piano^Video (mm.1-4) that remind the ones frequently found in Haydn works. Still the presence of several seventh chords and the conclusion on a ninth chord show the influence of jazz music, such as Duke Ellington harmonies. These characteristics should be emphasized (the fourth diminished interval in the base between m.1-2, or the dissonance in bar 3).

I: mm. 1-4   

The next nine bars (mm.5-13) presents a theme (before bassoon^Video, then oboe^Video) that clearly lures to a military bugle-call "Taps"^Audio. These were necessary based on a single overtone series. The articulation notated in the score should be interpreted having in mind the articulation of a bugle. Following this mindset, the “eleventuplets” (irregular group of eleven notes) can be seen as an imitation of the trilling techniques found in such instruments.

I: mm.5-7   

The many short melodies of the Presto A section tend to be diatonic, often stepwise, with a triadic basis. Examples can be found in mm.21-22 (stepwise descent from 3^rd to 3^rd), mm.25-28 (7^th,1^st, 1^st, 7^th, 6^th, 5^th), mm.33-40 and mm.48-57 (5^th, 4^th, 3^rd, 2^nd, 1^st). The performers should be aware of that in order to both reinforce the tonal center and emphasize the thematic material.

I: mm.21-22   

I: mm. 25-28   

I: mm.33-40    

I: mm.48-51    

Second movement

The opening melody (mm.1-4), together with the tonal orientation, texture and rhythm, recall at first the classical idioms (perhaps Mozart). However, the C# of bar 1 (that initially seems to be just a passage note), reappear in bar 3 as a D-flat, pulling the harmony to a G-flat major triad (against the tonic pedal). By bar 4, D-flat is discarded and the tonic triad reappears as if it had never been absent. This is an example of the typical Poulenc's humors, that can be used to move away from the prevalent classical style of the movement.

II: mm.1-4   

The chordal arpaggiations in sixteenth-note quadruplets (mm. 23-25) is an example of classic homophonic patterns. These are frequently used by Poulenc in all the Trio. The performers can use these elements and they slow harmonic rhythm to achieve a sense of fullness and unification.

II: mm.23-25   

Third movement

In the opening bars^Video, the first phrase of the rondo theme (mm. 1-3) is cut short by the early entrance of a longer second phrase on the raised fourth scale degree (mm.4-7), going against the traditional 4+4 phrasing. Underline these elements will help to emphasize the upsetting of classical norms of balance and phrase symmetry.

III: mm.1-7   

The antecedent-consequent phrases in bars 1-29 are not in the 4+4 bars classical form, but in a 3+4,2+2+2,4+1+2,4+5. In the last 4+5 section (mm.21-29), a D-flat major scale announces the return of the rondo theme. However the four measure passage at first does not achieve the tonic, because of a restart in a five measure phrase, which misses again the tonic. It concludes on the 2^nd, and only after a two-octave pause it proceeds to the tonic. This is an example of the typical Poulenc “surprise”, and can be used to emphasize the humorist alteration of classic elements.

III: mm.21-29    

Furthermore the restatement of the opening phrase (mm.1-7) is later represented in a shortened 3+3 beats form^Video (mm.30-35), loosing only one beat thanks to the change in 9/8 in the last bar. The players should keep in mind this aspects while setting the phrasing of this passage. In particular, they should try to generate the sense of balance upset at the last possible moment in the last 9/8 bar.

III: mm.30-35  

Table of Aesthetic Elements