An analysis of motives, form, and orchestration in Igor Stravinsky’s Danses des Adolescentes

October 12th 2016 by Josh Stovall
Professor Rachel Short
Arizona State University

Table of Contents

  1. Introduction
  2. Motives
  3. Form
  4. Orchestration

Introduction

I will begin by presenting the motives (in the order that they appear in the music), followed by an analysis of form, and lastly an annotated score that explores Stravinsky’s use of orchestration.

Motives

I have catalogued the various motives, listing details such as function, range, pitch centricity, reoccurrences, and any other relevant information.

Bar Motive Details
13
    Static String Ostinato/Rhythmic Jabbing
  • E♭7 in first inversion on top of an F♭7 with the root doubled 8va
  • Rhythmic jabs create a purely rhythmic motive that creates interest to an otherwise static ostinato
  • Re-introduced at m18, m31, m34 → end
14
    8th Note Motive
  • Prime form = (025)
  • Range = F4-A♭4
  • Reintroduced in original form at 15 and 22
  • Variations of the original melodic 8th note motive are presented over time but seem to serve a more rhythmic/chordal purpose
15
    Triplet Motive
  • Descending chromatic triplets
  • Range = F♭4-B♭4 (considering the extension played by the oboe)
  • Returns in original form at 26
16
    Pedal Tone Trill
  • Starts as a single note but later develops into a larger representation of a Cm scale
19
    Scalar Motive
  • Pitch Center = G
  • Range = F2-B♭2/F3-B♭3
  • Originally presented by the bassoons and later orchestrated using the entire woodwind section.
25
    Horn Motive
  • Prime form = (02457)
  • Range = C5-G5
  • Circles around G.
  • Call and response with flute.
28
    Planing Motive
  • Scalar motion
  • Parallel major 3rds and Perfect 4ths
28
    Scalar 16th Notes
  • Scalar motion
  • Develops soon after first statement and emphasizes the 2/4 meter

Form

My analysis of form will be primarily focused on how Stravinsky presents and develops the motives over the course of the movement. The sections are roughly based on melodic content, however it is difficult to identify a concrete form in this piece as there tends to be an overlap between sections. Stravinsky will often displace the introduction of a melodic motive from the moment a texture changes, which creates a few blurred lines. Nonetheless, I have based my decisions on what strikes me the most while listening rather than exactly what is printed on the page.

Features
A1
  • String ostinato (E7/E♭7) polychord in the strings with displaced rhythmic jabbing.
    1. Continues throughout with the exception of juxtaposition at 14
  • 8th note motive introduced by english horn at 14 for 4 bars, rests for 4, and then continues throughout
B1
  • New polymetric (6/8 feel) arpeggio texture in low strings
  • Triplet brass chords at 16 built off of perfect 5ths
    1. Marks the beginning of what I think of as the “triplet section” (15-18) This would designate the entire B section, however I decided that the termination of the rhythmic motive is a stronger force in determining form
  • Chaotic chromatic gestures in upper woodwinds
  • Double reeds sustain a pedal tone C throughout
    1. Bassoon sustains trill on C4
    2. Oboe plays halfnotes on C4 and C5, articulating the upbeats
A2
  • Static string ostinatio reintroduced and continues until 22
  • New scalar motive at 19 presented by the bassoons over the static ostinato
    1. flute grace notes used to add color the second time the motive is stated
  • Cadential gesture before 22 (the only break in rhythmic pulse throughout the entire piece)
  • 8th note motive reintroduced at 22
    1. first split between voices, then sustained by the english horn
  • Pedal tone trill reintroduced at 22
C
  • 8th note motive continues and is developed by the 2nd violins
  • Rhythmic jabs return for 5 bars
  • Pedal tone trill develops throughout C and most of B2
  • New horn motive introduced at 25, juxtaposed by the triplet motive at 26, and then continues
B2
  • Horn motive orchestrated in upper woodwinds
  • Pedal trill and 8th note motive continue to develop until 30
  • Polymetric (6/8 feel) arpeggio returns and continues until 31
  • New planing motive introduced after 4 bars
  • New idea of scalar 16th notes introduced and build the chaos, but also help provide the 2/4 pulse
  • Rhythmic jabs return 2 bars after 30 stated by the upper winds and strings
  • Violin triplets create polyrhythm (8th note triplets over 8th notes)
  • Horn motive returns in solo piccolo at 31
  • New bass motive introduced at 31 by horns and bassoons and continues to the end
D
  • Constant build to the end
  • Horn motive and bass motive provide the melodic content of D
  • Begins with scalar ascending 16th notes in strings
  • Rhythmic jabs boldly stated at the end of each 4 bar phrase starting at 34
  • Descending scalar 16th notes introduced at 33
  • Chaotic upper wind gestures build until the end
    1. Similar to B1
  • Long harmonics arpeggiated by 1st violins