The Septet for clarinet, bassoon, horn, piano, violin, viola and cello is a Chamber music composition by Igor Stravinsky. It was composed between July 1952 and February 1953, and the first performance took place at Dumbarton Oaks in Washington, D.C., on 23 January 1954. The score is dedicated to the Dumbarton Oaks Research Library and Collection. [1] It consists of three movements, [2] the first lacking a title, and the last lacking a number in the score. [1] The work is influenced by twelve-tone technique, especially by the Wind Quintet, Op. 26, and the Suite for septet, Op. 29, composed by Arnold Schoenberg. [3]
The Septet stands at a stylistic turning point in Stravinsky's œuvre, between the neoclassical period ending with his opera, The Rake's Progress , and the final, serial phase. All of the Septet is characterized by highly contrapuntal textures, but the first movement remains close to Stravinsky's earlier manner, whereas the remaining two exhibit his emerging new style. [4] Stravinsky's adoption of serial techniques, here and in the Ricercar II of the Cantata (1952), caught nearly everyone by surprise at that time. [5]
The first movement is in sonata-allegro form, with a first theme group in the winds in the key of A, characteristically hesitating between major and minor and strongly recalling the opening of Stravinsky's "Dumbarton Oaks" Concerto (1938). The second theme is in the piano, with a series of syncopated E-minor chords, and is followed by a developmental fugue for the winds and strings. The recapitulation has the first theme in its original key but the second now in D minor, and the movement closes with a short coda. [6] The main theme of this movement anticipates the pitch material of the second and third movements, as its recurring thematic motto is the same as the first five notes of the tone-row used in the Passacaglia and Gigue. [7]
The second movement, according to Robert Craft, "is everything, ... the Passacaglia, that's where the big change occurs". The second movement is actually a repetition of the note-pattern of the Passacaglia, a set of nine variations over a bass theme consisting of a series of sixteen notes. The movement ends with a coda, or tenth variation, but the ninth variation is the climax, "an utter marvel", according to Craft, "because all seven instruments are playing the same pianissimo and you must hear every note and you do hear every note". [8] Stravinsky uses the bass theme similarly to Schoenberg's twelve-note series. The upper parts consist of various sorts of canons using the same sequence sixteen notes, with imitation at various intervals, by inversion, retrograde, and inversion of the retrograde. [4]
The third movement consists of a succession of four fugues, all based on the same sixteen-tone series used in the Passacaglia. The first is a three-voice fugue for strings. This is then repeated in the piano, with another fugue for wind trio superimposed on it, thereby forming a double fugue. The subject of the new wind fugue uses the same notes, but with different rhythms. The third and fourth fugues are disposed similarly to the first pair: a three-part fugue for the strings, followed by a double fugue for the piano and the winds, now with the note rows of the subjects inverted. The entries in all four fugues present a double tonal center on A and E. [9]
Louis Andriessen is a Dutch composer and pianist based in Amsterdam. He is a lecturer at the Royal Conservatory of The Hague. He was recipient of the Gaudeamus International Composers Award in 1959.
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Alvin Derald Etler was an American composer and oboist.
The Octet in F major, D. 803 was composed by Franz Schubert in March 1824. It was commissioned by the renowned clarinetist Ferdinand Troyer and came from the same period as two of Schubert's other major chamber works, the 'Rosamunde' and 'Death and the Maiden' string quartets.
Wallingford Constantine Riegger was an American music composer, well known for orchestral and modern dance music, and film scores. He was born in Albany, Georgia, but lived much of his life in New York City. He is noted for being one of the first American composers to use a form of twelve-tone technique.
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In music, a decet—sometimes dectet, decimette, or even tentet—is a composition which requires ten musicians for a performance, or a musical group that consists of ten people. The corresponding German word is Dezett, the French is dixtuor. Unlike some other musical ensembles such as the string quartet, there is no established or standard set of instruments in a decet.
Israel Sharon is an Israeli composer, pianist, arranger and conductor.
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Willard Somers Elliot was an American bassoonist and composer. He was the bassoonist with the Houston Symphony Orchestra (1946–1949), bassoonist with the Dallas Symphony Orchestra (1951–1956), principal bassoonist with the Dallas Symphony Orchestra (1956–1964), and principal bassoonist with the Chicago Symphony Orchestra (1964–1997). Elliot composed and twice performed the Concerto for Bassoon and Orchestra with the Chicago Symphony Orchestra under conductors Seiji Ozawa and Jean Martinon.
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