Of The Concerto For Oboe and Small Orchestra by Richard Strauss

Formal Analysis
Of the
Concerto for Oboe and Small Orchestra
By
Richard Strauss
Cleobaldo de Oliveira Chianca
Submitted in Partial Fulfillment

of the
Requirements for the Degree
Doctor of Musical Arts
The Hartt School, University o f Hartford
30 November 2004
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Date; 30 November 2004
I HEREBY RECOMMEND THAT THE DOCTORAL THESIS PREPARED UNDER

MY SUPERVISION BY; CLEOBALDO DE OLIVEIRA CHIANCA
ENTITLED: FORMAL ANALYSIS OF THE CONCERTO FOR OBOE AND SMALL

ORCHESTRA BY RICHARD STRAUSS
BE ACCEPTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE

DOCTOR OF MUSICAL ARTS DEGREE
Thesis Advisor
Division Director
'V / / / A"' X
</<A A
Thesis Committee
Date
Abstract
Forma! Analysis of the Concerto for Oboe and Small Orchestra by Richard Strauss
A Dissertation submitted to the faculty of the Hartt School of Music at the University o f
Hartford in candidacy for the degree of Doctor of Musical Arts
by
Cleobaldo de Oliveira Chianca
November 30,2004
Dr. Akane Mori, Advisor
Richard Strauss’s Oboe Concerto is one of the most important concerti in the
oboe literature. It was composed in the months following the end of World War II and is
one of the composer’s last works. In this last phase, Strauss confirmed his prior aesthetic
turn away from experimentation with pitch organization, and returns to Classical
inspiration.
Though the concerto gives tempo indications for each movement, the division in
movements is camouflaged by his compositional approach. This study examines how the
concerto’s constituent parts relate with the purpose of discovering whether the concerto is
organized in movements or in a single episodic movement. The methodology was to
examine the motivic, melodic and harmonic elements that provide a sense of continuity,
unity, and formal structure to the piece. The chapter organization based on the above
elements reflects a cross-analysis independent from the movement sequence given by the
composer.
Strauss successfully achieves unity and continuity primarily through motivic
recurrence and melodic organization. Even though he enriches diatonic harmony through
extended tonality, the deeper background on traditional tonality anchors the composition
to traditional forms. The harmonic treatment supported by thematic organization
establishes key areas that relate the piece to formal arrangements that originated in the
Classical Era. This investigation asserts that the structure which emerges is that of a
multi-movement composition.
Dedicated to my mother and to the memory o f my fa th
ii
Acknowledgment
I would like to first express my deepest gratitude to my advisor Dr. Akane Mori, whose
steady patience and calm demeanor gave me confidence to pursue a very treasured field
of studies. I also gratefully acknowledge my oboe teacher Professor Humbert Lucarelli
for his musical inspiration during the earlier stages of this project and especially for
sharing some of his oboe and life experiences with joy and unselfishness. In addition, I
owe thanks to my friends and colleagues, especially Daniel Pereira, Dan Roman, and
Cameron Logan for their support and encouragement in matters such as computer
technology and the English language. Finally, Dr. Ronald Borror’s generous assistance
has proved invaluable throughout this entire project.
iii
Table of Contents
Acknowledgments Page iii
List of Examples v
« « 9
List of Tables VU1
Introduction 1
Chapter One: Motivic Aspects 6
Chapter Two: Melodic Aspects 28
Chapter Three: Harmonic Aspects 53
Summary and Conclusion 73
Bibliography 85
iv
List of Examples
Example Numbers Measure Numbers Movement Page
1.1 1-2 Allegro moderate 8
1.4 65 Allegro moderate 10
1.6 215-19,279-82,333—40 Andante 11-12
1.7 366-72 Vivace 12
1.8 647-52 Allegro 13
1.9 720-25 Allegro 14
1.10 83-86 Allegro moderato 15
1.11 215-19 Allegro moderato, andante 16
1.12 220-25 Andante 17
1.13 511-20 Vivace 17
1.14 658-63 Allegro 18
1.15 73-76, 91-94 Allegro moderato 19
1.16 9,17, and 36-37 Allegro moderato 20
1.19 423-30 Vivace 21
1.21 233-39 Andante 23
1.22 341-48,358-62 Andante 23
1.23 625-30 Allegro 24
1.24 238-42 Andante 24
1.25 456-59 Vivace 25
1.26 460-71 Vivace 26
2.7 220-25 Andante 41
2.8 254-57 Andante 41
2.9 333-40 Andante 43
2.10 366-72 Vivace 44
2.11 423-30 Vivace 45
2.12 455-61 Vivace 46
2.13 511-20 Vivace 47
2.14 625-30 Allegro 49
2.15 661-64 Allegro 50
vi
2.16 657-83 Allegro 50
2.17 694-98 Allegro 51
2.18 205-14 Allegro 51
3.1 486-90 Vivace 54
3.3 253-58 Andante 56
3.8 381-85 Vivace 61
3.9 655-60 Allegro 62
3.11 511-13 Vivace 64
3.12 511-20 Vivace 66
3.13 532-44 Vivace 67
3.15 521-31 Vivace 71
© Copyright 1947, 1948 by Hawkes & Son (London) Ltd.
Copyright Renewed. Reprinted by permission of Boosey &
Hawkes, Inc.
vii
List of Tables
Table Description Page
Table 1 Summary o f H arm onic Structure and Phrases: First Theme 68
Table 2 Allegro moderato 75
Table 3 Andante 77
Table 4 Vivace 79
Table 5 Allegro 81
viii
Introduction
Richard Strauss’s concept of musical form is expressed by his own statement that
an artist should strive for a “new form for every new subject.” The Oboe Concerto is an
example of episodic structures that relate to the broader formal context, providing
continuity, not opposition or conflict. Notwithstanding, some elements are manipulated in
order to structure the piece and give it a large-scale contour. My initial approach was to
determine whether the piece was organized in various movements or in a single episodic
movement, and find out how its constituent parts relate. In order to achieve these results,
it was necessary to analyze the different compositional features used by Strauss in the
Oboe Concerto that suggest how these elements grant a sense of continuity and unity, and
how the concept of form manifests itself in this particular piece. The following chapters,
the result of a comprehensive analysis of the composition from different perspectives,
shed some light on how the concerto is organized formally. The presentation of the
chapters will reflect an emphasis on motivic, melodic and harmonic aspects, instead of
the usual division that would follow the order of the movements. The terminology for
forms will be guided by the Classical nomenclature whenever Strauss uses traditional
ones, even if he expands their notion. Finally, the choice between examples from either
the orchestral or piano scores is guided by reasons of clarity, size and purpose.
The division of the Oboe Concerto into four movements reflects the Classical
tradition of symphonic writing, but Strauss chooses to Mur these divisions by not writing
breaks between the movements. Strauss had previously done this as early as his first Horn
2
Concerto (1882-83). This piece already hints at Ms imminent departure from traditional
classical forms, and continues even further in this direction in Ms first tone poems. Like
many other Romantic composers, Strauss develops his own particular formal
arrangements, often determined by programmatic content. He borrows Classical forms in
three of Ms early tone poems: Don Quixote in 1897, Don Juan in 1888-89, and Till
Eulempiegei in 1894-95, but modifies them. The conflict between form and musical
content derived from a program persists in Strauss’s instrumental output. His later formal
constructions are characterized by the juxtaposition of contrasting sections.
The solo literature of an instrument at a given time suggests the stage of its
development, as well as the musical and technical qualities of its performers. The oboe
flourished in the eighteenth century, but missed the golden era for virtuoso players in the
nineteenth century because the instrument was still undergoing important developments
in its construction. The range of the oboe and its expressive and technical capabilities
could not provide the sonority valued by Romantic composers, nor compete with the
increasingly more appreciated brass and strings. Therefore, the literature of the nineteenth
century testifies how the standard of oboe players had declined in comparison to the
Baroque and Classical periods. Even though a few Classical concertos by major
composers have established themselves as part of the standard repertoire of the oboe,
there are still some issues surrounding their creation. There can be doubts about the
authenticity in Haydn’s Oboe Concerto, or if the Mozart Concerto was conceived
originally for the oboe and not a transcription. In the case of Beethoven’s Oboe Concerto,
only an incipit exists from a contemporaneous cataloguing attempt. The complete slow
3
movement was allegedly discovered just recently. The Oboe Concerto by Strauss is one
o f the most difficult concertos in the oboe literature. It stands out as a rare oboe concerto
by one of the most celebrated composers of Late Romanticism, and it is one of the most
significant of the twentieth century. An interesting aside is the fact Strauss played a role
in establishing the French conservatoire key system by proclaiming its superiority over
the German instrument.
The majority of the published investigation concerning the Oboe Concerto by
Strauss deals with its musico logical aspects. Gunter Brosehe (1992) wrote an elucidating
article on a newly found autograph (there are five autograph sources). John de Lancie
(1984) produced an article on the circumstances that involved Strauss’s inspiration to
write an oboe concerto, and Jonathan Del Mar (1984) suggests a revision of the published
scores based on different original sources. Further research has also been made through
studies of a comparative and analytical nature, which sometimes brought up practical
observations for performance, or historical and referential contributions. In her
dissertation (1977), Valerie Poppy gives a panorama of the piece and analyzes it
structurally and thematically. In addition, she provides a description o f audience reactions
to the concerto, a list of its performance difficulties according to prominent interpreters,
and a discography of the concerto. In another dissertation, Theresa Delaplain (1984)
primarily analyzes the concerto’s melodic implications and makes comparisons with
Strauss’s earlier works. A doctoral dissertation by John Kissler (1988) concerns the
quantitative and comparative investigation from a harmonic perspective that establishes
how the concerto and other compositions from Strauss’s last period relate to traditional
4
tonality. The present study focuses exclusively on how Strauss organized formal structure.
This should help the performer dealing with this large-scale composition to understand
and project its more intricate compositional structure.
In general, a composer’s harmonic material is one of the most significant
elements in granting shape to a composition. Up until his early operas, including Salome
(1905), and Elektra (1908), Strauss pushed the limits of tonality to its furthest borders.
With his next opera, Der Rosenkavalier (1910), he retreated from this tonal ambiguity,
and looked to a traditionally more functional tonality. After that, Strauss achieved
balance between chromatic and diatonic harmony through a less dissonant chromaticism.
In this context he approximated the layer of a diatonic background to the chromatically
enhanced foreground, and used a more vertical than contrapuntal texture. For the purpose
of this study, his realm of harmonic configuration will be considered to be that of
‘extended’ tonality. This involves enriching a primary diatonic tonality through
chromaticism and mode mixture. It is nevertheless difficult to draw general conclusions
because of his diverse and ever-changing style and evolution.
Strauss composed in varied genres and styles, but he achieved more recognition
for his operas, sometimes referred to as “staged tone poems.” As in larger scale works,
his fragmentary melodic disposition and freedom in dissonance treatment suggest the
importance of motivic and melodic features in crystallizing formal disposition. The Oboe
Concerto is a composition from Strauss’s maturity that does not relate to his earlier stage
o f extreme experimentation with pitch organization, but his motivic development and
transformation are at the center o f the compositional technique he applied to the creation
of this concerto.5
The examination of the concerto that follows is divided into three main sections.
The first chapter discusses motivic construction from germinal to cyclic; the second,
melody construction throughout the piece; and the third chapter discusses the dual
harmonic nature created by simultaneously using both traditional and extended tonality.
The final chapter summarizes how Richard Strauss organized his Oboe Concerto
formally.
1 The opera Capriccio of 1941, Metamorphosen for twenty-three strings of 1945, and the Four Last Songs
fo r Voice and Orchestra of 1948 are among the most important works that belong to his last creative period.
Chapter One
Motivic Aspects
Strauss’s motivic handling is an all-generating element and the strongest unifying
force in the composition.1 The importance of this aspect in the conception of this piece is
derived from a conflict between traditional ideas of harmony and form, and Romantic
concepts of expanded tonality and formal continuity. On the one hand, motivic
manipulation supplied the kind of cohesion between movements that became necessary to
composers who were searching alternate formal arrangements beyond Classical tradition,
but in the realm of expanded tonality. On the other hand, these composers did not
completely relinquish past notions of formal organization, so they needed the motivic
element as an anchor to formal structure that could otherwise be threatened by their
experimentation with harmony. Therefore, a close observation o f the motivic handling is
crucial in understanding the compositional method of this concerto and how it relates to
form.
The structure of motives consists of melodic or rhythmic ideas, and is often a
combination of both. Their presence in solo and orchestral parts of the concerto is
pervasively noticed in their function within phrases or themes, or as accompaniment or
1 Motive as defined by Douglass Green, Form in Tonal Music: An Introduction to Analysis (New York:
Holt, Rinehart and Winston, 1965), p. 31: “The motive is a short melodic fragment used as a constructional
element...[which] must appear at least twice, though reappearances need not be in the original form...fit] is
characterized by its melodic contour, with its harmonic implication, and by its rhythm.”
7
connective figuration. Based on their genesis and dissemination, they reveal themselves
in four ways. In one group they are germinal motives that create themes and phrases
through various developmental procedures. These can originate in a theme and be
developed within and beyond it. In another group they do not configure as a motive
initially, because they are isolated or incomplete, but foreshadow their identity before
they crystallize later as part of a phrase or theme. In a third category, they appear in a
theme that is a composite of motives, and in the last group they occur as ‘cyclic’ motives.
This expression refers primarily to themes which appear in different movements. This
study adopts and expands this definition, but only to those motives with exceptional
relevance in providing cohesion and shape to the piece. In the following sections of this
study, I will describe the most important motives relating structure, function and category
according to their predominance in each case. The purpose of this description is not to
exhaust all motives present in the concerto, but to investigate and illustrate how the most
important ones resolve the conflict between continuity and segmentation, cohesion and
inconsistency, and their consequence to formal organization in this particular piece.
The First Orchestral Motive
The first beat of the concerto introduces a motive here termed motive x. It
features a repetitive ascending and descending melodic motion of a second, as well as a
subdivision of the beat into four equal sixteenth notes. It normally expresses a
combination of melodic and rhythmic ideas. At times, it is this rhythmic aspect alone that
predominates. In its first appearance (ex. 1.1), it is a brief orchestral introduction of two
8
bars in the cello part to the soloist’s opening, after which it is repeated invariably at
every first beat for another five measures. It returns later as the closure of the movement
and as a transition to the Andante. Its exact repetition connects the movements without
separation and provides continuity within the piece. Its pervasive flow of four sixteenth
notes is extensively manipulated in all movements in both orchestral and solo parts.
Motive x is germinal in establishing a rhythmic subdivision reference, creating new
themes or melodies, as well as in providing connecting and accompaniment figuration.
The numerous examples below demonstrate its indispensable unifying power in the piece.
'-X - '
V M o n cftE J i
Example 1.1: mm. 1-2, Allegro Moderato.
In Melodic Construction
Its rhythmic importance in generating new themes can be observed immediately
after it is introduced in the first two measures of the composition. The first theme of the
Allegro moderate at m. 3 in ex. 1.2 is based on the compound motive of mm. 3-4.2 It is
significant that its first unit at m. 3 is rhythmically developed from motive x.
2 This fragment is considered to be a compound motive whose two measures are later separated and used
independently.
Example 1.2: mm. 1-5, Allegro moderato.
As a. Connective and Accompaniment Fragment
When the oboe introduces the first theme in the Allegro moderato (mm. 3-10),
the motive in the cello part at first remains unchanged on the first beat of every measure
until m. 7 (ex. 1.3, mm. 6-7). Then it is rearranged in an ascending line in the solo viola
part by diatonic transposition, while it keeps the same upward and downward motion of a
second (ex. 1.3, m. 8). In the first case, the restatement of the motive in its rhythmic and
melodic unity provides an accompaniment for the first theme in the solo part. In the
second case, it is a connective figuration that preserves the rhythmic and melodic identity
of the motive. This bridge within a phrase allows for a breath in which, at the same time
the embryonic appearance in the solo part of another motive utterly important is
highlighted (m. 9). This motive (triplets motive) will be discussed later in this chapter.
10
These connective sequences o f the motive sometimes appear as broken chords (ex. 1.4),
or at octave transpositions as shown in example 1.5, m. 59.
?L1
Example 1.4: m. 65, Allegro moderato.
In Cyclic Repetition
In its melodic and rhythmic combination the motive migrates from the Allegro
moderato into the Andante as a connector between the movements (ex 1.6-a, mm. 215-
18). It assumes a cyclic characteristic at m. 219 (ex. 1.6-a) as it provides a short
orchestral introduction and accompaniment to the theme, played by the soloist, in the
11
same fashion as it did in the beginning of the first movement. In the same perspective it
returns at m. 280 (ex. 1.6-b) to accompany and connect the restatement of the initial
theme through repetition and an ascending diatonic chain that starts in the cello and is
continued by the first violin, as it did at m. 8 o f the Allegro moderato. Once again it is
applied in a connecting function at the end of the Andante (ex. 1.6-c, mm. 337-39)
between the coda and the cadenza. The wide scope of functions and the reach throughout
the piece this motive assumes is matched only by one other motive that will be studied in
the next section. Both motives are essential in providing formal cohesion and
organization to the composition as well as structural continuity. Before this, a few other
examples (1.7-1.9) from the two remaining movements in which this motive also appears.
a. mm. 215-19.
Lf 1 - j
12
b. mm. 279-82.
c. mm. 333-40.
Example 1.6: Andante.
In the Vivace motive x Is the rhythmic component that is used in constructing a
new theme (ex. 1.7). The rondo refrain takes its subdivision to express a flow o f sixteenth
notes interspersed by eighth note skips.
Y|?&C8
Example 1.7: mm. 366-72, Vivace.
13
In the final Allegro, the motive undergoes a slight modification because of the
change from simple to compound duple meter in which the dotted quarter-note can be
split into six equal parts. Thus the first four notes reproduce the pattern while the last two
provide the connection to the rest of the phrase, normally an upward motion of the
melody. In the winds at m. 648 (ex. 1.8), the flute and the clarinet help delineate the
melody by linking phrase members with motive x. This also provides an accompaniment
figuration as the second clarinet accompanies the melody based on the first theme of the
Allegro with the same motive one measure later (ex. 1.8, m. 649).
Wi
Example 1.8: mm. 647-52, Allegro.
14
At the end o f the concerto the motive adjusts for the first time to a downward
motion and is restated in an explicit and definitive concluding gesture (ex. 1.9).
Example 1. 9: mm 720-25, Allegro
A Contrasting Motive from the Second Theme
In the first movement the upper strings, clarinets, and horn introduce a
contrasting second theme at m. 84 (ex. 1.10). It is an eight-measure phrase built on a two-
bar compound motive which is developed as a result of its melodic and rhythmic nature.
The pitch range within the motive is limited. The first part o f the motive starts on the
second beat of the first measure with the same note (C#) in a series o f three quarter notes
and is germinal in creating new melodies as well as connective figuration. The second
part is a half note followed by a melodic movement of four eighth notes within a minor
sixth (E-G#). The second part is rhythmically originated from the first theme of the
Allegro moderate, first introduced at m. 10 (ex. 1.3, oboe part). Both the first part and the
whole compound motive generate new melodies. The unifying consequences of their
cyclic participation are only comparable in importance to those from motive x. As in the
15
first theme o f the Allegro moderate,, the compound motive is sequenced to form the
phrase It appears in, which also outlines a broken chord as the melody progresses.
Example 1.10: num. 83-86, Allegro moderate.
In Connective Function
The first and second themes o f the Allegro moderate are restated In the coda from
m. 208. At m. 213 the first part of the motive is dissociated from the second theme and
joins motive x as an accompaniment and connective figuration. Example 1.11 shows the
repeated notes in the clarinets against motive x in a transition from the Allegro moderate
into the Andante. Their connection is seamless because the smaller note values o f the
new movement are compensated by a slower new tempo which makes the equal
subdivision o f the beat into four sound the same in both movements. A similar transition
takes place before the cadenza at the end o f the Andante (ex. 1.6-c).
16
r
Yv.
Example 1.11: mm. 215-19, Allegro moderato and Andante.
The restatement of both themes at the end of the movement represents a
significant moment of thematic cohesion that is also expressed at the motivic level. The
intertwining of both motives in a transition between movements rounds up their unifying
force and grants continuity within the composition. The first example of the next section
will illustrate the same procedure at the end o f the concerto in a situation of cyclic usage
o f the motive.
In Cyclic Usage
Another vertical combination of motives is subtly presented at the end of the
concerto at m. 721. Strauss combines the repeated notes from the second theme of the
Allegro moderato in chords in the upper strings with the running sixteenth notes (based
on motive x) of the Allegro in the bass instruments in a final reunification o f the two
contrasting motives (ex. 1.9).
17
The first measure o f the Andante theme Is developed by metric diminution and
transposition o f the first part of the motive. Despite the change of tempo to Andante the
indication ‘quarter note=half note’ keeps the rhythmic result unchanged (examples 1.11
and 1.12). The beginning o f the new theme assimilates the rhythmic and melodic
qualities o f the motive from the previous movement in an effect that accomplishes
continuity between movements, in spite o f the new key and change in mood of the new
movement.
jie n n ia h ifc
Example 1.12: mm. 220-25, Andante.
The following example from the Vivace, a rondo in simple duple meter, relates to
both thematic and motivic handling in a cyclic context. The number of measures that
comprise the entire motive is doubled to four in order to accommodate the motive from
its original time signature (simple quadruple meter). The entire compound motive is used
to build the melody o f the central episode of the rondo which is actually a varied
repetition of the second theme of the Allegro moderato (ex. 1.13).
Later, in the Allegro, the whole theme comes back again varied by transposition
and extension of some o f its fragments (ex. 1.14, from m. 661). A rhythmic variation is
also necessary to adjust the melody to the compound duple meter. This repetition o f the
18
Allegro moderate’s second theme accounts for the middle section of the Allegro, in
which the solo oboe has an important duet with the English hom before the orchestra
joins for the second half o f the melody. The phrasal structure outlines a broken chord as it
did in previous appearances.
§Msi
The First Theme ami the Tie; A Rhythmic Motive
A tie from at least the first fell beat over to the downbeat o f the subsequent
subdivided beat is a germinal rhythmic motive that helps create and provide thematic
organization among different phrases throughout the concerto. The initial five bars o f the
first theme of the concerto were given in example 1.2. This theme is extended over fifty-
six measures in a long solo melody which comprises several o f the motivic ideas to be
used throughout the Allegro moderate, and in subsequent ones. Among these features is
the tie from the first half note over to the downbeat o f the group of four sixteenth notes in
the oboe part at m. 3 (ex. 1.2). The tie as a motivic element is repeated in all themes in
the first movement that evoke activity and are written in relatively smaller note values. It
connects the first note to the downbeat part of the following group o f notes. Example
19
1.15-a, at rehearsal number seven, and example L15-b at rehearsal number nine sample
these themes in order of appearance. In the former it is the transition between themes, and
in the latter it is the closing theme in the exposition of the Allegro moderato.
a. mm. 73-76.
b. mm. 91-94.
Example 1.15: Allegro moderato.
At another Instance, in the Vivace, the tie is implicit by its replacement with a rest.
The rest on the second downbeat is an allusion to the tie. In this case the rest between the
two accented eighth-notes and the release o f the three quick notes make the energetic
character o f this theme even more poignant (ex. 1.7).
The Triplets Motive
The first theme also participates with another important motive. This motive
makes its first embryonic appearance in the oboe part with a syncopated rhythm. It helps
develop the theme but also undergoes changes within it before it stands out as a full
motive many bars later. At first it comes with two eighth notes followed by a dotted
quarter note, an eighth note, and a group o f eighth-note triplets in m. 9. At m. 17 it adds
20
another beat with triplets, and finally, at mm. 36-37 it is restated with repetition and
displays its full transformation into a motive (ex. 1.16).
Example 1.16: mm. 9, 17, and 36-37, Allegro moderato.
Its sequential importance as a whole increases in the oboe part at mm. 45-50
where it develops the first theme in a combination of its rhythmic and melodic
characteristics (ex. 1.17, mm. 45-50).
The triplet subdivision is developed through augmentation as well, as the first
theme approaches its climax from m. 54 to 58 in the orchestra and solo parts (ex. 1.5).
The closure of the first theme elides with the beginning o f the orchestral opening at m. 59
(ex. 1.5).
21
Later in this section the whole motive is developed from mm. 70-75 (ex. 1.18). At
first repeated then sequenced, the motive undergoes a process o f dissolution, until the
triplets from the motive take over and atone become connective figuration in an
unaccompanied soloistic passage that foreshadows a dramatic harmonic turn in the
evolution o f the first theme.
The triplets from the motive become a pastorale melody in its own right in the
Vivace at m. 424. Although it is a soloist passage, it actually accompanies the first
episode o f the rondo (ex. 1.19).
22
A Triadic Motive
The following discussion illustrates another instance o f Strauss’s motivic
handling in which he seems to work backwards. Instead of presenting a motive and then
developing it as he does in many other situations, the crystallization o f a fragment into a
motive is sometimes carefully prepared by prior appearances. They are subtly introduced
as a melodic fragment of a phrase, in an unrelated segment or section, or in rhythmic
variation. The opening o f the Vivace in ex. 1.7 shows where the oboe introduces the
theme o f the rondo, which is based on a diminished triad. This sonority is pervasive in the
harmony o f the concerto. Table 1 in chapter 3 discusses this feature in Strauss’s harmonic
handling. Here he carefully prepares this striking triad before it turns into a melodic
motive as well.
When Strauss introduces a descending diminished triad (E-C#-A#) in the oboe
melody for the first time in the sonata transition o f the Allegro moderato (ex. 1.20), he
foreshadows a melodic fragment to be used later as a motive, particularly in the theme
above (ex. 1.7).
Example 1.20: mm.76-77, Allegro moderato.
23
The diminished triad is also discernable In the Andante (ex. 1.21, first two beats
o f m. 234).
The melodic diminished triad becomes more conspicuous as it approaches the
Vivace. In the beginning o f the cadenza that antecedes it, the triad is insinuated two times.
One time in the first phrase through the motive that has a dotted rhythm and an eighth-
note ending (ex. 1.22-a, mm. 343-44). The second time comes in the second phrase at
mm. 347-48 with a transposition of the same motive.
a. mm. 341-48.
The reference to the Vivace finally becomes evident when the motive appears first
at m. 358 (ex. 1.22-b), then at the end o f the cadenza (ex. 1.22-b, m. 360) with the same
general tone collection as in the beginning of the Vivace (B-G#-(E)-F; F on the
following downbeat).
b. mm. 358-62, Cadenza.
Example 1.22: Andante.
24
A Rhythmic Motive from the Transition
In the Allegro, a dotted rhythm is pervasively used in creating melodies for the
movement (ex. 1,23). Its preparation evolves in a similar way as the triadic motive
described above, before it finally becomes a rhythmic motive, metrically varied to fit the
compound duple meter o f the Allegro. It is used in the movement both as thematic and
accompaniment figuration. The next paragraph demonstrates its evolutionary steps into a
motive.
Allegro
The dotted rhythm first appears in the oboe part on the second beat of m. 76, in
the transition between themes o f the Allegro moderato (ex. 1.20). In the Andante the
embryonic motive is augmented at m 224 and later extensively transposed and extended
as an important element o f the theme (ex. 1.24, mm. 238 and 241-42). It is also motivic
in the cadenza at m. 342 (ex. 1.22-a) and in the retransition of the Vivace at m. 456 (ex.
1.25). Example 1.8 shows the motive being developed in melodic construction at mm.
649-51, in the flute and clarinet parts.
Ex. 1.24: mm. 238-42, Andante.
Example 1.25: a m 456-59, Vivace.
Combination of Motives
Phrases that are completely constructed from the combination of motives are
more conspicuous and frequent in orchestral ritomelifos. Example 1.26 demonstrates how
Strauss builds phrases through a composite o f motives, and combines such phrases
vertically between the solo part and the orchestral texture. In the Vivace retransition from
the first episode to the refrain, the second phrase makes use o f such motivic elaboration
(ex. 1.26, mm. 464-71).
26
In the first two measures (464-65) the orchestra plays alone combining a melodic
variation on the rhythm from the first theme o f the concerto and a broken chord
figuration. Both are based the sixteenth-note subdivision o f motive x. The latter had made
its first appearance at m. 187 in the recapitulation of the second theme of the Allegro
moderato in an ornamental divisi for solo violin and viola. This fragment was previously
used in the Andante as well, before it becomes a melodic motive in the Vivace, mainly in
orchestral passages. In the following measures (466-70) the orchestra repeats the pattern
against a triplet melody in the oboe that was a comitermeiody in the first episode of the
Vivace; the triplet figuration was discussed previously in this chapter. In the last four
measures o f the phrase (468-71) the flute repeats a fragment with appoggiatura from the
opening of the Vivace (m. 374) followed by the broken chord figuration, while the oboe
proceeds with its melody in triplets. There is little new in the melodies described, except
27
for the inventive combination o f motives and melodic fragments. A more homophonic
texture with changes in the instrumentation and. melodic activity in the orchestra, besides
a prevalence of minor chords differentiate this phrase from the anteceding one. These
factors also provide a variety of colors that prevents such motivic elaboration from
sounding repetitive.
The complexity o f his motivic handling and the interchange o f elements that
become integrated to the smallest detail in other movements challenge the limits o f the
definition o f the term cyclic as applied in this study. It is however, precisely Strauss’s
almost unlimited motivic ingenuity that prompts the careful use of the term in a more
limited sense. Other elements such as texture, instrumentation, harmony, and a regular
phrasal structure play an important role, but it is the motivic elaboration that primarily
defines the melodic contour of themes and phrases.
Chapter Two
Melodic Aspects
This chapter is concerned with demonstrating the next level o f structure that
emerges from the composer’s continuous motivic development, their participation in
creating thematic material and how related this material is. It describes the succession of
themes as they organize and establish the most important formal divisions in the piece.
The addition o f the harmonic aspects in the following chapter complements the
investigation on the relationship observed between melody and harmony in defining form.
The current formal nomenclature used to denominate the movements and their parts and
sections anticipates the conclusions of a formal design, but a final word is left to the last
chapter with a summary and exact measure indications. Except for a digression on the
first theme of the Allegro moderato, it linearly describes each melody in their context as
they punctuate and organize the composition.
Theme is applied to melodies that are structural and repeated in a movement with
this purpose, or according to pre-established forms such as sonata in the Allegro
moderato or rondo in the Vivace where the theme is also referred to as refrain. Most of
the themes are motivicaily related to previous ones or originate motives to be employed
in the following melodies. As a result, the melodic flow is continuous and the connection
of sections seamless. Strauss manages to avoid the impression of periodicity through
changes in the combination of motives and other elements already heard. Thus the
phrases in this piece seem to be irregular, when, in reality, they are primarily shaped and
28
29
identified by their regular eight-measure length and four-measure phrasal unit. This unit
is also termed phrase member which is sometimes the result of a smaller grouping o f two
plus two measures.
Allegro moderato (Sonata Form)
No other melody in the concerto has as distinctive traits as this first theme. The
most intriguing characteristics of this long melody are its length o f fifty-six measures and
restlessness. It consists of seven eight-measure phrases from mm. 3 through 59. Strauss
confirms its teleological nature by frustrating a climax at about three-quarters o f its
course and delaying it until the end at m. 59. A more detailed analysis o f this particular
theme is useful to illustrate his motivic manipulation applied to melodic construction.
After an orchestral introduction o f two measures, the soloist part presents the first
theme from m. 3 through m. 10. It consists o f an eight-measure phrase based on two
motives. Both of them are introduced in the first phrase, and the theme is subsequently
developed in a long solo melody (mm. 3-59) for the next six phrases. The first motive
comprises two measures. The first measure is characterized by a long note (half note)
slurred to the first sixteenth note from a group of sixteenth notes that moves by leaps (ex.
2.1, m. 3). The subdivision of the beat into four equal parts relates to the motive from the
orchestra introduction, motive x (ex. 2.1, mm 1-2). The second measure completes the
motive with a half note framed by two quarter notes (example 2.1, m. 4). Slurs over the
30
bars indicate the initial phrasal unit to be double-barred, but the probing character of the
theme intentionally conceals the points of departure of each phrase.
Allegro moderate
V iol ini II
The other motive is introduced in m. 9 (ex. 2.1, oboe part). It is used extensively
from m. 36 until the end of the first theme in the exposition at m. 59. The occurrence of
this motive normally entails some distinct harmonic progressions or abrupt key changes
that are discussed later.
The discussion so far dealt with the motivic background of the first theme. Its
melodic conception is also revealing of Strauss’s compositional procedures. The first
motive (mm. 3-4) summarizes how the first theme is developed. On the one hand it is a
structural fragment that is used to build and develop the first theme. Strauss repeats this
fragment with slight modifications in a two-bar pattern for the first half in the exposition
o f the first theme. On the other hand ft presents a feature that establishes the character of
this long melody. The two measures that create this motive are very different from one
another. In the first measure o f the motive Strauss deals with the idea o f contraction and
expansion (ex. 2.1, m. 3). The longer duration o f this first note is compensated by the
immediate expansion in the number of notes through the release o f seven sixteenth notes
in the same measure (ex. 2.1, m. 3). This rhythmic feature keeps a subtle balance between
tension and relaxation in the first bar o f the motive. The second measure brings the free
flow of sixteenth-notes to a hah (ex. 2.1, m. 4). It comprises a half note framed by two
quarter notes. Here he introduces a durational accent that keeps the idea of syncopation
from the first measure, but reduces the pitch range of the melody and the number of notes
within that bar. The successive alternation o f these two bars creates a restless movement
o f activity and repose.
Strauss uses some techniques to keep the listener’s attention such as a gradual
crescendo, and never repeating the same succession of sixteenth notes in the oboe part.
Yet his ingenious manipulation of tension in this first long melody lies in the way he
envisions the first theme and relates it with the harmony, based on the primary idea of
expansion and contraction of the melody.
32
The first phrase o f the theme summarizes this notion that is further expressed by
the phrasal layout and melodic contour o f the whole theme. The seven eight-bar phrases
o f the first theme form a phrase group that can be roughly divided into two halves. The
first half has three phrases and the second half four. Their identification as phrases is not
based on cadential movements but motivic construction. The first phrase in its first half
presents the two motivic constituents o f the theme, while the other two phrases restate
them with changes. In the second half, the other four phrases develop the previous
material and prepare the climax o f the whole theme.
In the first phrase Strauss repeats the two-bar configuration (compound motive)
for six measures which gives the constant impression of going back and forth from
activity to rest, from tension to relaxation. Once this motion is established he changes the
last two measures of the phrase to introduce a contrasting second motive (m.9), before the
second phrase resumes the melody construction with the original motive. The new motive
does not interfere with the phrasal structure. It occasionally substitutes (ex. 2.1, mm. 9 -
10, and 17-18, ex. not provided) the first measure in the two-bar pattern described earlier.
This new motive is introduced over a ii (E Minor) harmony. At this point a supertonic
secondary key does not call much attention. Relevant is the fact that this passing
modulation of two measures is squeezed between tonic areas, and enhances a motive that
is later associated to the idea o f melodic and harmonic frustration. Noteworthy is the
possible relationship between the first motive o f the theme being in D Major, while the
second one is in E Minor. These tonics are the two notes of the orchestral introduction,
B-E (motive x), at nan. 1-2. An assigned conflict between these two notes and the
33
motives they engender may be the origin of the idea o f expansion and contraction and the
cumulative tension these two motives create in the development of the first theme.
The melodic contour is also based on the same concept o f contraction and
expansion. In the first part of the theme the half notes outline broken chords. The first
phrase is on the tonic chord (D-F#-A, mm. 3-6), the second on the second inversion o f
the dominant chord (E-A-C#, mm. 11-16). The first half o f the third phrase repeats F#
on the first beat of every measure which suggests a thwarted second inversion of the
submediant chord (mm. 19-22) which is never realized. The second half confirms this
disappointment with an F Major (bill) chord (F-A-C, mm. 23-26). The first notes o f
each phrase have an ascending direction (D-E-F#), except for the second half o f the
fourth phrase that is lowered a half-step to F natural. Apart from for this contraction in
pitch here, every previous phrase departs from and reaches a higher note than its
anteceding phrase, then recoils to the initial register. This is how Strauss expresses
melodically the idea of expansion and contraction. This overall ascending design creates
the expectation that the melody needs to reach a high D, and that the harmony resolves to
a conclusive cadence on D Major, in order to bring about its full realization. Within the
last two measures of the fourth phrase (mm. 27-34) it completes the ascending line o f the
tied quarter notes (JD-E-F#~A) that had started at m. 29, and supported by a dominant
harmony the melody reaches a secondary peak in the following phrase (m, 35). The frill
climactic realization is only met at the end o f the theme at m. 59.
34
The orchestra plays an additional opening of the concerto from m. 59 until m. 75
(ex. 2.2), which is melodically based on the first measure of the oboe theme, and on the
transformation o f the first motive x (mm. 1-2). The use of elements from the first theme
together with foil orchestral forces and an accompaniment made by a syncopated
background in the strings enhance the excitement and assertion that is expected from a
concerto opening which is now decisively anchored on the tonic. The rearrangement of
the form so that oboe had the opening theme first is an interesting aside that has to do
with orchestrational matters. Strauss was aware of the limited dynamics range o f the
oboe, so he wrote the concerto for oboe and “small orchestra” as printed in the score—it
calls for two flutes, English horn, two clarinets in Bb, two bassoons, two horns in F, and
strings. His concern with balance, color, and the prominence of the solo part made him
remove most of the brass and the oboe section from the orchestra altogether.
Example 2.2: mm. 56-60, Allegro moderato
The orchestral opening section starts the transition to the second theme o f the
movement. It momentarily changes the eight-bar partem to three six-measure phrases.
The penultimate phrase loses one bar (mm. 65-69) for the abrupt juxtaposition o f a
35
previous motive. The last phrase connects the orchestral opening with the transition
proper.
The oboe introduces the transition melody at m. 76. This new melody has many
features from the first theme—its first two beats are a mixture o f the first orchestral
motive x and the first solo motive o f the concerto—and it is a single phrase o f eight
measures (ex. 2.3). It is almost entirely developed from rhythmic and melodic motives
from the first theme.
p ’ C S .B sa .
The second theme keeps the eight-measure phrase length and is introduced by the
orchestra at m. 84 (ex. 2.4).
36
So far this melody offers the biggest contrast to any previous one, especially as a
counterpart to the first theme in the oboe. It is short, broad, and starts off with repeated
notes instead of the restless sixteenth-note leaps in the first theme. In common with the
first one it has the two-measure motivic unit, and it is built on a chord, now the dominant
arpeggio within an octave range. Furthermore, the last two beats o f each motivic unit
recycle the eighth-note rhythm and its motion by steps from the first theme. Strauss also
repeats the accompaniment with motive x in the cello part, and adds interpolations in the
bassoon part (ex. 2.4, m. 84) that are originated from the first theme. The last two
measures extend the eighth-note fragment. This theme features a cyclic motive to be used
in the long and lyrical theme o f the Andante, and in the course o f the concerto.
The closing theme at m.92 (ex. 2.5) preserves the tie from first theme of the
concerto, and has a peculiar character. Its assigned instrumentation is much thinner, and it
evolves in an Imitative fashion (almost exclusively in the winds).
37
Paradoxically, rather than a smooth bridge or transition, this closing theme in the
oboe part is an energetic melody that is contrary to the continuous flow of the concerto
thus far. The dynamics on the first beat of the theme is sfzp, followed by a fast
descending run that is immediately balanced by broad upward leaps. The next two bars o f
the theme are melodically and rhythmically different from the first bar, and together
invert the design o f the first bar. These two last bars make use of previous thematic
material The whole theme is accompanied by a stable rhythmic figuration in the strings
and by arpeggios in quintuplets in the violin.
The development (ex. 2.6) starts at m. 114 compellingly introduced by the
orchestra.1 It goes freely over melodic motives already presented. Its first melody is
based on a melodic figure taken from the last bar o f the closing theme in the oboe part (m.
94), ascending scales, and a motive based on the first theme. Interjections in the violins
and flute (mm. 118 and 122) were first heard at m. I l l in the oboe part, but actually even
1V iv a c e , L e b h a ft (Vivo), t h u s d e s i g n a t e d a c c o r d i n g to d i f f e r e n t s o u r c e s .
38
earlier in an augmented version at m. §7 in the flute and first violin parts. Along with the
main melody the development is elaborated with a reminiscence o f the second theme, and
a countermelody in the flutes with a motive from the first theme over the orchestral
melody (mm. 124 and 126). The same motive from the first theme together with runs
from the closing theme is also used imitativeiy throughout the development. Various
other interjections are previously heard melodic material, and the first motive x also
comes back to bridge melodic passages. It is a short development section because of the
motivic handling that has been developmental since the beginning o f the concerto. The
opening o f this section is a surprising F Major, and this is the most active section of the
Allegro moderato in terms o f harmony. The uniqueness o f the section, the harmonic
unrest, and the ensuing recapitulation are traits that entitle this to be the development area.
Lebhaft (Vivo)
I
Example 2.6: mm 112-17, Allegro moderato.
At m. 144 the oboe extends the triplets motive and adds other figures from
previous themes in a cadenza-style retransition into the recapitulation at m. 148. The
39
recapitulation does not introduce any new elements or melodies, but a few changes are
noteworthy. Strauss abbreviates it by doing away with the orchestral opening in the
transition. The first theme itself is condensed and shortened by thirty-two measures, or
the equivalent to four phrases. This is compensated by a longer recapitulation o f the
second theme. The transition between the first and second themes is the only section that
preserves the same length (eight measures). This transition comes back once more
between the second and closing themes. All themes are a varied restatement of the
exposition.
The conclusion of the first movement is a coda (m. 208-18) with a reminiscence
o f the first theme played by the soloist and accompanied by the orchestra. The strings
play the first orchestral motive that introduced the concerto, while the winds play the
quarter-note fragment from the second theme. The end of the Allegro moderate blends in
smoothly with the Andante through a transition (ex. 1.6-a, mm. 217-18) that is the same
as the introduction of the Andante. It is a repetition of the introduction the oboe theme
had in the Allegro moderate. The meter also contributes to the continuity between
movements. Even though the accompanying motive has a four thirty-second note
subdivision, they will sound at the same speed as the motive they are associated with
from the Allegro moderate, because the previous half note equals a quarter note in the
Andante. Besides an orchestral diminuendo, the instrumentation is very thin and fades out
little by little in the last measures. A descending movement by major thirds in the cello
accompaniment line guides the modulation from D Major to Bb Major (third relation).
40
Besides the modulation, the immediate noticeable change from the previous segment is
the time signature from quadruple simple to triple simple meter (ex. 1.6-a).
Andante (A-BA’I
The first theme o f the Andante [A], mm. 219-54, is a foil melody which contrasts
in character with the Allegro moderato and is played by the soloist. It is also very long
and slow, and takes thirty-two measures to get to a close. As in the first movement most
of the phrases have eight measures, but each phrase member here consists of four
measures instead of two. Cadences and harmonic areas are more clearly defined in this
segment, where the subdominant harmony is emphasized over the dominant.
Consequently, harmonic structure plays a bigger role in phrasal inflection here.
Motivic elaboration is again at the center of his melodic creation. The first
measure of the theme as well as the accompaniment o f the first two phrases has an
important predecessor. They are based on the quarter-note fragment from the second
theme of the Allegro moderato (ex. 2.7, m. 221).
41
Other previous motives or fragments are varied by transposition, augmentation, or
extended to create this insistent melody. Finally, the last phrase in the oboe theme is a
countermelody to an orchestral entrance playing the main theme at m. 245. The two
contenders join in the fourth and final phrase to round off the exposition together.
Strauss uses again a transition of two measures (253-54) to introduce a new part
of the composition. A descending line in the French horns prepares a modulation to the
subdominant (Eb Major). The orchestral part [B] (un poco piu mosso or etwas bewegter,
mm. 255-79) is very developmental both harmonically and motivically (ex. 2.8).
e i.„
42
It has its own melody, but again based on different previous motives. The soloist
makes occasional comments but has a minor role in this section. The orchestral melody is
repeated with variation three times. They interchange their elements with each other and
the accompanying sections of the ensemble at every repetition. The last one is a bar
longer in order to accommodate a short bridge to the recapitulation. Other variations
include modulations and changing registers in the instrumentation (m. 271). The last
phrase member (275-78) echoes the melody o f the transition from the first movement.
This melody is used transitionally again in the cadenza at m. 363 when the soloist finally
rests on iii of Bb (D minor, the parallel minor o f the concerto main key) before the trills
that anticipate the conclusion of the cadenza. Such fragmented inclusion of previous
melodies or motives grants unity to the piece while it also distracts the listener from a
preconceived formal arrangement, thus the notion of continuity is reinforced and prevails
over the distinction of an obvious formal organization.
The restatement of the first theme [A] starts at m. 280 and follows the same
phrasal pattern of the exposition. The solo melody is repeated exactly as in its
presentation, except in mm. 239 and 243 that are slightly varied. The restatement is
lengthened by two phrases (ram, 312-28) that develop elements from previous sections.
In the first phrase the oboe develops motives from the main theme, and in the second one
it supports with countermelodies a variation on the first theme by the orchestra. A coda
(m. 328) of twelve measures brings the movement to a close, including a transition with
the same figuration as the opening introduction (this time for three measures). Once again
the composer takes advantage o f familiar elements that can provide continuity to the
43
piece (ex. 2.9, mm. 337-39). A short fragment of two measures supply a bridge to the
cadenza.
Strauss writes the most important cadenza of the concerto (mm. 342-65) at the
end of the slow movement and, in addition, accompanies it by occasional pizzicatos in
the strings. Moreover, the orchestral tonic 6/4 chord that usually precedes a cadenza is
substituted with a diminished chord. This harmony is preceded by a tonic chord in root
position and prepared by a melodic line that insinuates the motivic diminished triad of the
Vivace. The cadenza starts with the same melodic line left over by the orchestra and
emphasizes tritones and diminished triads throughout. In addition to the motive of the
Andante it also develops previous motives and closes with an upward run in the soloist
part into the Vivace.
44
Vivace (Rondo)
The Vivace theme [A] is immediately introduced by the soloist at m. 366 (ex.
2.10). This theme is the refrain o f the modified rondo in which this movement is
organized.
¥1mm
Cc>E.13
I* Fa
Example 2.10: mm. 366-72, Vivace
As for most of the melodies in the concerto, this refrain is a result of motivic
assemblage. It has a distinctive character o f vigor that was only present in the closing
theme of the Allegro moderato, and it carries some elements from that theme. The most
remarkable are the eighth-note skips on chord notes which are now often accented. It
also assimilated the energetic activity of smaller note values that fall and rise in pitch
quickly and give a U-shape contour to the melody. The melodic range is wide in both
constituents of the melody. The difference lies in the fact that the eighth notes move by
leaps and the sixteenth notes compensate with a nearly conjunct motion of faster notes.
Another borrowed feature is the sixteenth-note rest on the second downbeat of the first
measure which relates to the tie that comes from the first theme of the Allegro moderato.
The most individual feature of this theme however, is the diminished fifth triad. Though
carefully prepared, this is its first appearance as an independent motive that strongly
distinguishes the melodic character of the movement. The Vivace is in duple simple
45
meter and preserves the eight-measure phrasal structure, though frequently the length of
phrases results in different multiples o f four other than eight, through the four-bar phrasal
unit. The theme is repeated three times in the first part of the rondo (mm. 366-23). After
its presentation by the oboe, the orchestra and solo oboe take turns in imitatively
presenting an interlude o f two phrases based on material from the theme. The oboe and
the orchestra then take turns starting the imitative repetitions of the theme, interspersed
by interludes and short transitions. An orchestral interlude based on previous material
(mm. 410-23) leads a transition to the first episode o f the rondo in a fourteen-measure
phrase.
The first episode [B] at m. 424 (ex. 2.11) is one of the few contrapuntal events in
the piece. It consists of two long phrases of sixteen measures each. In the first half of the
first phrase the violinythe cello, and the bassoon play a melody in the low register over an
orchestral accompaniment that favors perfect fifths and sounds like a drone. In contrast,
the oboe plays an arpeggiated melody in triplets which retains the tie and develops the
triplets motive from the Allegro moderato. It is written for the middle register of the oboe
and sounds pastorale and carefree against the drone and the somber register of the other
melody.
1 L— j4 ^ r
^ A:- ____
j ---- tT T ~ ~
LL-t
46
A retransition of four eight-measure phrases (mm. 456-88) connects the first
episode to the return o f the refrain. [A’] (ex. 2.12). It is mostly based on previous
elements, but it can hardly be called a melody because of its new element of melodic
discontinuity through wide leaps. It starts with an eighth-note upbeat that skips
downward either on chord notes or accented appoggiaturas in dotted rhythm in the
orchestra, then followed by the soloist.
^ ^leb h aft {Vivo) • L in i 1 . _
The orchestra repeats the refrain [A’] alone (mm. 488-511) in two eight-measure
phrases followed by a bridge of four measures into the second episode [€].
The central episode o f a rondo is normally a developmental section or the moment
in which to include new material. In this case (ex. 2.13) the new material is the return of
the second theme from the first movement in two long sixteen-bar phrases played by the
soloist and English hom in thirds and sixths, accompanied by sustained chords in the low
strings, then by the orchestra alone (mm. 512-43).
47
The orchestra develops the eighth-note fragment in the last eight measures, in a
motivic extension that is corresponded by an enhanced harmonic expansion as well. The
following refrain [A” ] (544-63) is also sixteen measures long with the addition of a four-
bar bridge to the last episode. It also allows a harmonic motion from dominant to tonic at
m. 560.
Episode [JET] (mm. 564-75) can be summarized as a varied repetition of the first
one, this time in the tonic o f D Major instead of the dominant as in the first time. It is also
shorter and has two twelve-bar phrases instead of two sets of sixteen bars. Also
noteworthy is the feet that the episode and the retransition are written simultaneously in
this part (at m. 570 and 582).
The final refrain is replaced with a twelve-bar transition (mm. 588-600) that leads
traditionally to another cadenza (mm. 601—24). This unaccompanied cadenza is shorter
and simpler than the first one at the end o f the second movement It has twenty-four
48
measures and basically recalls the second theme o f the Allegro moderato also used in the
middle episode o f the Vivace. Its position here has more to do with a formal rather than
melodic or expressive function. The fact that it is based on the central episode and is
primarily in the tonic key (D Major), makes up for the repetition that the first episode had
in that same key. Together with the transition this cadenza balances the shape of the
rondo into a larger simple binary: A [A -B-A -C]- A’[A-B’-(A j-C ’], thus doing away
* «
with the missing fin al refrain .
Allegro (A-BA’l
The Allegro starts with a new theme and is the coda of the concerto. It is
developed and organized in the same manner as the previous movements, and with the
exception of a few non-structural secondary keys, it just prolongs the home key of D
Major. Although most of the phrases are longer than eight measures and irregular in size,
the Allegro still keeps the four-measure unit of phrasal construction. It is written in a
compound duple meter where the dotted quarter note indicates the beat. There are tempo
changes within the segment other than the new tempo indicated at its opening.
The first theme of the Allegro [A=ab] is presented by the oboe in four measures
(ex. 2.14, mm. 625-28). It comprises two phrase members o f two bars each that work as
2 Nevertheless, as if this omission is not acceptable, the Vivace theme comes back briefly as a reminiscence
in the final Allegro at mm. 718-720.
49
a compound motive in extending the melody for twenty measures. This compound
motive is developed in different combinations and transpositions [a].
The orchestral ritomello from m. 645 to m. 660 ffr] develops and extends the first
part of the Allegro within two (eight-bar) phrases immediately after the presentation of
the theme. The first phrase inverts the order of the presentation of the motives. The first
half of this phrase starts with the dotted quarter-note motive connected to its transposition
by motive x. The second half of the phrase uses the dotted rhythm of the first motive,
accompanied by motive x. The whole phrase is repeated at a perfect fourth upward
transposition.
The second theme o f the Allegro moderato is used once more as a protagonist to a
middle part (mm. 661-77) [B] (ex. 2.15). In the first phrase, orchestra and soloist play the
melody together, whereas in the second phrase the orchestra plays it alone.
A varied restatement o f the first theme (A’=aba’) at m. 678 (ex. 2.16) is shortened
by four measures. The running sixteenth notes based on motive x are pervasive in the
Allegro throughout a l sections, but in the first section o f A’ it acquires prominence as it
becomes part of the oboe melody in a dialogue with the first violin. Before this, it had
been relegated to accompaniment or connective figuration mainly k the first part, but
also in the middle one.
675
679
51
A’ features a middle section [b] (etwas gemachlicher, pom pin eomodo) at m. 697
based on the rhythm o f the first motive o f the theme (ex. 2.17). The return of motive x in
the solo part, as well as the Vivace diminished-fifth motive in the orchestra herald the
beginning o f the last section [a’] (Tempo primo). Example 2. IS shows the beginning o f
the section that ends the concerto from m. 709. It is based on the Vivace theme, motive x,
and repeated chords in the winds and strings from the second theme of the Allegro
moderato.
705
Qb,S08*
52
The melodic organization o f this concerto magnifies the importance o f motivic
organization in preserving formal structure. In a setting of harmonic expansion and
formal innovation, motivic and melodic organization play a similar role o f providing
continuity and cohesion. The melodic component has a dual function in this case. It
crystallizes the motivic amalgam into phrases and themes which in turn shape the piece
from sections to parts, to movements. At the same time the melody pairs with the more
traditional aspect o f the harmony, as it organizes major harmonic changes that confer
form to the piece. Distinct melodies introduce each movement and help establish a formal
plan for the concerto. Their identity is based on their similarity or contrast, and function.
The function is linked to how they contribute in organizing the overall tonal structure.
The repetition, with variation of themes in different movements, suggests that at the
melodic level cyclic reference is preferred over strict thematic transformation.
Chapter Three
Harmonic Aspects
While the concerto’s continuous form is achieved through motivic and melodic
handling, it is achieved at a harmonic level as w ell There are two complementary
harmonic structures: traditional and expanded. The traditional one provides
recognizable keys that divide the movements, while the expanded one enhances the
harmony and grants a steady flow that clouds the division of the piece into
movements. The subsequent section will first discuss harmony and classical form.
The final section investigates manifestations o f the second case through sudden key
shifts, avoidance of cadences, and deceptive cadences.
Traditional Harmott|c Stractsre
Each movement has a clearly defined key. All of them are in D Major, with the
exception of the Andante which is in Bb Major. The use of expanded tonality will be
examined later in this chapter, after the examples below, where Strauss also
compromises with traditional harmony in conjunction with his thematic organization
at critical moments. He does this in order to accommodate Ms harmonic expansion
and motivic development into a Classical formal definition through various means,
such as ¥7-1 cadences, tonic prolongation, and traditional modulatory devices.
53
54
Cadences
At the first restatement of the rondo refrain in the Vivace at m. 488 (ex. 3.1)
Strauss carefully delineates the tonal structure from the episode as an expression o f an
open harmonic motion between sections that stays within the dominant sphere.
>
A: 16/4 ¥7 I V7 I 16/4
Key Prolongation
The use of traditional harmonic devices is not abandoned by Strauss when he
wants to categorically establish the keys o f certain sections. At the recapitulation o f the
closing theme o f the Allegro moderato starting at m 203 (ex. 3.2) he uses I-V7 chords in
succession for four measures before a harmonically unstable transition of one measure
leads into the coda with a reminiscence of the first theme on I in D major for eleven
measures.
55
D: I ¥7
Another important example of prolongation happens in the last phrase of the first
theme of the Allegro moderato at mm. 51-59. This phrase is goal-oriented and finally
allows for the climactic conclusion o f the first theme through an authentic cadence with
the tonic D Major in the oboe part at m. 59. This is preceded by ten measures of a pedal
point on A, six of which are ¥ 7 chords.
In Modulation
Example 3.3 shows a prepared modulation from m. 253 to 255 in the second
movement which depicts a situation o f traditional harmonic handling.
56
erw$. - *w
Bb: V7/IVIV V7/IV Eb:
Phrases two and three of the first theme of the Allegro moderato introduce
chromatic lines that often trigger unexpected harmonic motion. Although such a
descending motion is first introduced at m. 14, it does not involve any further harmonic
implications. Then, just before the second half o f the third phrase at m. 22 (ex. 3.4), a
similar chromatic line is used to prepare a modulation to F Major (bill in D Major). Here
Strauss uses a typically Romantic device o f modulation by third relation, but in this case
to a minor instead of a major third upward. Lowering the melody and the harmony by a
half-step in this context has to do with frustrating the expanding motion of the theme, and
shrinking, or contracting its ascending line at least temporarily.
D: vi vi
57
Expanded Harmonic Structure
Sudden Key Shifts
The expressive puli o f unprepared keys also has structural consequences to the
composition. It is used expressively and transitionally, as well as being utilized in a
sequential, cadential, and divisional gesture between sections o f a movement. Some
motivic fragments are extended with the support of a changing harmony that keeps the
interest of the passage.
Frustration of melodic motion
The first example shows an expressive instance where a sudden key shift
frustrates a melodic motion. The triplets motive in ex. 3.5, mm. 36-37, comes originally
from m. 9 in the Allegro moderato and is associated with melodic hesitation as opposed
to the searching but determined first motive of the same theme that develops it and keeps
an upward direction in the melody outline.
This triplets motive is sequenced in mm. 45-50 in the oboe part, as the first theme
in the Allegro moderato approaches the end of its exposition (ex. 3.6). In the first four
measures (mm. 43-46) the harmony changes abruptly to Ab Major, while the bar
preceding the passage as well as the four bars that follow it are in D Major. The sudden
harmonic shift together with the intrusion o f a Bb in the melody followed by an extension
on the motive frustrates and delays the release of the mounting melodic tension of the
first theme. The melodic goal of the theme is its arrival at a high D3 with a conclusive
cadence. The last four measures are back in D Major but the avoidance of cadences
supports the delaying motivic sequence. A similar situation takes place again in the
recapitulation at mm. 164-66.
59
Ab: vii bVII+6 ii vii°2 16/4 vii°4/3 16/4
D: V4/3 IV bVII7 V4/3 IV V 16/4
D: 16/4
Example 3.6: mm. 43—50, Allegro moderato.
Transitional
In the following example the connective importance of a transition based on motivic
variation is enhanced by this harmonic motion. In the passage that starts after the
exposition in the first movement, the brilliant orchestral melody is interrupted by another
60
appearance of the motive at m. 70. This orchestral ritomello is also the first orchestral
opening of the concerto despite coming at m. 59, and it is simultaneously the first part of
the transition to the second theme in the Allegro moderato. The sudden shift from A
Major (the dominant in D Major) to Bb major associated with the appearance of the
motive (ex. 3,7) determines a change in direction that connects the passage with the
second part o f the transition at m. 76.
3
s
fp„
Example 3.7: mm. 67—78, Allegro moderato.
61
Sequential
At a transitional passage in the statement o f the rondo refrain (mm. 382-93 in the
Vivace), a motive from the Allegro moderato reappears ornamented by appoggiaturas. It
is sequenced by transposition for four measures with the help of a V-I succession in
different keys (ex. 3.8). In the following example (ex. 3.9) the shifts of key are also
unprepared and support a melodic expansion by transposition. Unlike example 3.8, this
one is not of a familiar succession of dominant and tonic chords, but one where wider
harmonic pulls add drama to this transitional moment. This occurs before the second
theme from the Allegro moderato is remembered in the middle section of the second part
of the Allegro.
Bb: V I d: V I F: V I
62
J d J
D: 16 11 VI bYII7
H vi Eb: V6/4 V2/VV 1-^ I
Cadentiai
The chromatic line from m. 22 is transposed a minor third up at m. 26, at the end
of the third phrase of the Allegro moderato. An event of enhanced harmony (blll-bVII in
F Major) supports this motion in a cadentiai gesture that marks the beginning o f the
second half of the theme (ex. 3.10, mm. 26-27), and the return of the key center back to
D Major.
63
bill—bVII
j 7—
D: V4/3
Transition and Divider
The following examples come from the Vivace. Strauss takes the cyclic second
theme from the Allegro moderato (m. 84) and uses it as the middle episode o f the third
movement (ex. 3.11, m. 512).
64
c: A: V?
F: V/iii
The central episode is in F major and the refrains that frame it are in A Major (the
dominant in D Major). The last chord before the episode is E Major (V in A Major).
Though not a dominant chord, it prompts the listener to expect a return to the main key of
the anteceding refrain, A Major, instead of F Major. Such unprepared modulations by
third relation occur frequently in the composition. The new section starts on the second
beat of m. 512 on vi in F Major. In addition, another sudden shift from C Major to Db
Major (m. 509) to C Minor (m. 511) within four measures happened in the transition
immediately before the beginning o f this section. Therefore the sudden key changes do
not cause much surprise, but are effective in indicating a transitional motion or providing
a cadential gesture that introduces a new section.
65
The Avoidance of Cadences/Weak. Cadences
In the Rondo
Continuing in the same excerpt above, the tonic chord is not heard until m. 516
(ex. 3.12). Immediately before this, a passing secondary tonic is reached (A Minor)
through a dominant seventh chord o f ill in F Major (¥7 of ¥ in D Major) also at m. 516.
After the F Major tonic chord Strauss uses a harmonic progression ¥7/111 similar to the
previous example (m. 512), this time with a minor seventh, in a different key (A Minor),
at m. 519. The harmonic progressions in this excerpt are very weak because the cadences
are also weak. The second theme of the Allegro moderate which was used to compose
this section is one o f Strauss’s favorites whenever he wants to combine motivic extension
with extended tonality. The melody contour aids in deducing Ms intentions. In fact,
starting at irt 512 and after every four bars, an upward F Major broken chord is outlined
until m. 522. Then he starts the downward movement o f the melody through extension of
the eighth-note phrase member from m. 524.
66
¥ 1.1
m,n
We.
Vs.
€».
F:V/iii-vi V7/iii ill I a:V 7M III
The orchestral passage that repeats the theme and its motivic extension in the
same F Major key area is a vigorous orchestral tutti that connects this episode to the
refrain. This connection is even more harmonically unstable than the previous statement
with the soloist. Nevertheless, this is very revealing o f Strauss’s technique of avoiding
cadences by making them weak or just evading them altogether (ex. 3.13). The vi at m.
532, which follows a €7 chord, is an example of a dominant chord that does not resolve
to I At mm. 539-40 the cadence takes place within the extended phrase. It can also
happen on the weak beat or a strong beat subdivision. Finally, at mm. 534-35 and 543-44,
quick secondary key changes occur.
vi ¥ iiiV7/ii ii v7 I-IV lii (V I) ill
Bb:I IV ill V I
C: v7
A: I
In the First Theme
The key of D Major is indicated by the key signature, the first tone in the oboe
melody, and the harmony. But it takes the lull exposition o f the first theme that starts in
m, 3 for the key to be established in an unequivocal way. The analysis of the tonal
structure in the first, theme elucidates Strauss’s inconclusive harmonic treatment with the
intention o f allowing melodic expansion and postponing the goal of a phrase. The
summary below relates the phrases in the exposition of the first theme with the harmony
that supports it.
68
Table 1
Summary o f Harmonic Structure and Phrases: First Theme
Phrases Bars Harmony Comments
1 3-10 D: I-IV -I6—> e:—*
2 11-18 D: V—*I—» This conclusive cadence loses strength
because it is in the middle of a melodic
transition to a new phrase, starting on vi
of D Major.
3 19-26 b:—> b: (4 measures); F: (3 measures); bill—
F:—>•b ill- bVII—> bVII (1 measure).
4 27-34 D: V -16/4
5 35-42 I6-vii°4/3ofV—*I—»
6 43-50 Ab—►D: V4/3-H 6/4
7 51-59 D: ii7-V7-+I This final cadence elides with the next
melody on the first beat o f m. 59.
It can be noticed from the summary above that although the most important key
remains D Major there are no strong cadences that could alone delineate the melodic and
phrasal outline, prepare eventual modulations, or cause movement to secondary keys. In
the fifth phrase (mm. 35-42) the melody starts with a high D3. It reaches another high D
at m. 39, but in both cases the underlying harmony undermines the importance of such
melodic feats. In the first case the cadence misses the inflection of the phrase with a D
69
Major tonic chord from the previous bar repeated in its first inversion, and in the second
case with a subdominant chord, also inverted.
S traus’s recurring use o f diminished triads in melodic construction was already
discussed in chapter 1 (A Triadic Motive, examples 1.20 through 1.22), while in this
chapter an instance o f diminished chords in harmonic progression is shown in the next
section, at ex. 3.10. The table above is revealing o f such a preference also in a large-scale
context, as the tonics o f the keys that support the first theme outline a diminished seventh
chord (b-D-F-Ab). Seeing that it often happens in this concerto, the chord can resolve in
any direction, here to the goal of the theme, in D Major.
The previous description allows us to understand how the composer devises the
avoidance of conclusive cadences in order to intensify the climax o f the first melody.
Such compositional techniques axe also responsible for the continuity within phrases.
Extension
The following example (ex. 3.14) shows the brief transition (mm. 90-91) from the
exposition o f the second theme o f the Allegro moderate to the closing theme (m. 92). It
captures the moment where a fragment from the second theme is varied by sequence, in
which many harmonic devices take place, such as an abrupt change o f key at m. 91 and a
tonally prepared return to A Major from m. 91 to 92. A chain of diminished chords (mm.
90-91) expands the harmony and avoids a cadence just as the motivic handling did.
70
Cl.
A: ii dim? dim? (dim)

Ab:V7 I A: ¥7 A; I
Example 3.14: nun. 90-92, Allegro moderate.
Deceptive Cadences
Deceptive cadences are another means by which Strauss assures a continuous
flow to the concerto. The example below (ex. 3.15) shows the end o f the oboe and
English horn duo from the middle episode of the third movement (Vivace), already
described above (ex. 3.11). From m. 524 (ex. 3.15), the four eighth-note motive is
extended for four measures. At first the melody descends by step on the downbeat of the
first two measures, then more quickly at every eighth note in the next two measures.
Strauss extends the phrase member mentioned above through a succession of Y-VI
deceptive cadences and passing modulations.
The downbeat o f m. 528 suggests a dominant chord in A Major. Instead of
modulating to A major however, he repeats the theme in F major with the orchestra alone
this time. This frustrating cadential movement from ¥ in A Major to F Major is the same
as in the beginning o f this section In m, 512.
71
SUM
WagAM
^“ (1 .mi -}
a: l Y7 VI
g: V7 VI
c: V7 VI A: vii°7/V
V
F: I V7
This chapter shows how traditional and expanded harmony collaborate to preserve
continuity and delineate the shape of the concerto. It was discussed in the previous
chapter how traditional harmony determinates the keys o f movements and their
subdivisions according to pre-established forms. This chapter added examples to
illustrate Strauss’s compositional treatment o f traditional harmony.
72
Expanded harmony also lias a structural function by either delaying or
interrupting melodic and harmonic motion. The examples above reinforce the notion that
Strauss enhances the traditional harmonic layer but preserves continuity rather than
provoking opposition between the two harmonic systems.
Summary and Conclusion
Summary
The preceding study has examined the Oboe Concerto by Richard Strauss with the
purpose o f understanding and establishing its formal organization. This effort is meant to
supply oboe performers and music analysts with information that enables them to make
better informed interpretative decisions. An overall detailed description of the form
should also help the performer follow the relationship between the orchestral and soloist
parts. The latter seems fragmented if not contextualized as part of a formal arrangement
in which both instrumental forces participate. A deeper understanding of the underlying
enhanced harmony and motivic implications also lend the performance a deeper
significance. The five parts of this study emphasize different aspects of the composition.
Some of them are of more practical interest than others and the decision of which are
more adequate to specific purposes is left for the reader to decide.
The first and third chapters are dedicated to an investigation o f important motivic
and harmonic procedures, respectively, that were used in the conception of this piece.
The second chapter is a description of the movements, parts, and sections through their
themes and represents an attempt to describe the concerto as it unfolds. In this chapter,
tables with subdivisions o f the movements and their exact measure numbers and keys
result from this study, and should also be useful in performance and analysis.
73
74
The configuration o f this composition confirms the traditional division of
concertos where the first movement is in sonata form, the second one need not be in any
predefined form but bears a slower tempo, and the third one is in rondo form or variations.
The dialogue between the soloist and the orchestra is balanced in the alternation of solos
and ritomellos, the assignment of structural themes between them, and orchestration, due
to a reduced orchestra size that favors a chamber like texture.
The Allegro moderate is organized in sonata form. The exposition comprises
three thematic areas: the first theme in the tonic of D Major, the second and closing
themes in the dominant. A brief orchestral opening introduces the soloist at the beginning.
A transition between the first and second themes starts with a misplaced orchestral
opening with ail instrumental forces. This cannot be considered a double exposition
because the movement is not in concerto-sonata form and the orchestral opening does not
introduce thematic material The ensuing transition proper modulates to the dominant to
usher in the second theme. The development has its own, opening theme based on prior
motives, but also develops fragments from the previous themes o f the exposition over a
continuously moving harmony. The recapitulation restates the themes in the tonic and
closes with a coda followed by a short transition Into the next movement. There is no
cadenza in this movement.
75
Table 2
Allegro moderate
Parts/Sections Smnmaiy
A Exposition 1-113
Orchestral Opening 1-2 D:
First Theme 3-10 D: D:
11-59 D:-» b:—»■F:-» D:—» Ab:-+ D:
D: —>Bbr—►
Transition 59-75 B:-» A:
76-83 A:
Second Theme 84-91 A: ->€:-» e:-* A:-> C:-» Ebf A:

AAA
Closing Theme 92-113 Gb:—» Ab:~* d:-> A:->
p . AAA J ) .
B Development 114-47
114-43 F:—»a:—»F:—»Db:—>A:-» D: V7
Retransition 144-47 D:V7
A’ Recapitulation 148-218
First Theme 148-71 D: D:
Transition 171-78 D:
Second Theme 179-94 D: D:
Transition 195-202 D: D:
Closing Theme 203-07 D:
Coda 208-16 D:
Transition 217-18 D:
76
The Andante is a rounded sectional binary, A -B A \ The first part is harmonically
closed with the end o f the melody on the tonic chord. It is the transition o f two measures
at mm.253-254 that connects A to B with a progression from I—»IV (Bb—»Eb) from
where part B continues, and connects with A’ by means o f a dominant seventh chord
back to Bb Major. The restatement o f A is extended and, as in many melodic extensions,
Strauss also expands the harmony, though it remains basically circumscribed to the tonic
key. The coda and cadenza sections reiterate the tonic key o f Bb Major.
77
Table 3
Andante
Parts/Sections Bars Keys Summary Comments
A 219-54 Bb:
Introduction 219-20 Bb:
221-52 Bb:—»d:—> Bb:-»
Transition 253-54 Eb:
B 255-79 Eb;—* Cb:-^ Eb: c :^ Eb:
Bb
A’ 280-328 Bb: The extension
280-311 Bb: -*d:—+Bb: includes a variation
Extension 312-28 Bb: AAABb: on motives from the
first part as well as a
restatement o f the
initial theme by the
orchestra.
Coda 328-39 Bb: Bb:
Transition 340-41 Bb:—>
C a ie n a 342-65 D: -^Bb:-* d: Bb;
The Vivace is a modified rondo, ABA’CA5,B’, because not all refrains are in the
tonic. The ones surrounding the middle episode C are in the dominant although refrain
A” moves toward the tonic before the last episode. Episode B9 is a restatement of B but
in the tonic. The second episode C is independent thus not strictly o f the developmental
type.
79
Table 4
Vivace
Parts/sections Bars Keys Summary Comments
A Refrain 366-409 D: AAAD: D:
Transition 410-23
B Episode 424-55 A :AAA A:
Retransition 456-88 A: ^ A
A’ Refrain 488-511 A:—>C: A:
C Episode 512-43 F:-+ a: ^ F: AAA F:
A” Refrain 544-63 A: -*D:
544-59 A:—»
560-63 D:
B’ Episode/ D: The retransition

theme is repeated
Retransition 564-75 D:-» simultaneously with
the theme of the
576-83 C:—> second episode.
584-87 A:—»
Transition 588-600 D :AAA The final refrain is

replaced with the
transition.
Cadenza 601-24 D:
80
Strauss develops the Allegro in the same way he did in the other movements,
through the same motivic, melodic, and harmonic technique that are characteristic to the
concerto, It has a different tempo, time signature, and introduces a new theme.
Reminiscences from the Vivace theme (the eighth-note perfect fourth skips at m. 709—
tempo primo—later accented and followed by the diminished fifth motive at mm, 717-20
in the soloist part) are the only reference to a prior movement. Nevertheless its lack of
harmonic distinction makes the strongest argument for it to be considered a coda.
The final Allegro is organized in a rounded sectional binary, A-BA’. The
unifying element between parts is the sixteenth-note motive x from the Allegro moderate.
The harmonic movement of the first part A is interrupted in Eb major. The second and
contrasting part, B, starts in the tonic o f D Major and connects to the third part A’
through a vii°7/V chord in D Major. Part B is motivically related to the second theme of
the Allegro moderate; A’ is a varied repetition of the first part A.
8!
Table 5
Allegro
Parts/Sections Bars Summary Comments
625-60 D:
625-44 D: I-V7-*
F:-»
D: IV-I-*
Ab: V7—I—»
b: V7-I—»
D: I-V7—»
645-60 D: I-»
B:—>
Eb:—>
661-77 D:
661-73 D:—»
674-77 Bb:—»F#:—>•D: vii°7/V
A’ 678-725 D: Sections a and a’
a 678-96 D: V-I share
b 697-708 D: IV ^ V7 motivic elements
a’ 709-25 D: ¥6/5 of V-I with b from A
above, and
b with a from A
above.
82
Conclusion
Although each movement is named with a tempo indication, the notion of
separate and individualized movements is thwarted by the fact that they are attached
seamlessly to one another in many different ways throughout the concerto. The
connection from the Allegro moderate to the Andante is an example o f seamless
transition. The Andante is twice as slow as the previous Allegro moderate, but the
subdivision of the beat compensates for the tempo change in a way that the connecting
motive between them sounds exactly the same in both movements. It is the harmonic
change of key from D Major to Bb Major that first tells the listener that a major change
has taken place. The Andante connects with the Vivace through an accompanied cadenza
that emphasizes the most important motive of the next theme which is reached through a
fast run that closes the soloist’s cadenza. Finally, from the Vivace to the Allegro another
short cadenza connects the two, but the final Allegro is started immediately after the
fermata that follows the cadenza (attaca). The examples above demonstrate how, even
though not in a strict Classical sense, the four tempo indications that hint at movement
subdivisions are enriched by the constant motivic transformation Strauss fevers. There
are also subordinate tempo indications within a larger segment that do not interfere with
the overall form.
On first encounter, the oboe concerto seems like a continuous and uninterrupted
flow of long and episodic soloist and orchestral statements. This continuity is based on
two principal elements: continuous motivic development as well as subordination of
harmonic structure to the first element. Apart from the tonal structure, the whole concerto
83
is made up of solitary motives or motives derived from themes that have been introduced
previously. The harmony perpetuates this flow by repeatedly frustrating, or avoiding
cadences altogether. Oftentimes the shift of key is completely unexpected. Although this
effect o f extended tonality provides contrast and surprise, it is normally used to enrich the
tonal structure when the motivic treatment alone would otherwise become repetitive.
Therefore this extended tonality is preferred at certain moments of motivic or phrasal
extension. It is also employed for sectional division or expressive results. The harmony
makes the most important inflections necessary to the choice of Classical forms, but its
harmonic motion within movements has its roots in the notion of tonality expansion from
Late Romanticism.
Following the methodological path of starting from motivic aspects to melodic to
harmonic proved to be useful. The motivic element is so pervasive in unifying the piece
that an assumption a priori that the movements would be self-contained would have
inhibited or even prevented a comprehensive investigation. The definition of the parts
and movements of the concerto comes as a result that confirms its external appearance,
and emerges from a better understanding of how Strauss composed this piece. The
continuous interchange o f motives and themes among movements is the compositional
feature that gives cohesion and continuity to the piece. The melodic structure plays an
enormous part in linking the harmonic and motivic layers. It relates with the larger form
as it compromises with key inflections based on traditional tonality. It concomitantly
shapes up and develops multiple motive fragments that are disconnected from their
generators or evolving in a constant process of creation. Harmonic structure on the other
84
hand is in dialogue with both other layers as well. It expands to support motivic variation
in melodic construction, while at the same time it contracts to adhere to melodic
organization according to traditional tonality and form. I believe the concerto features
three movements (Allegro moderate, Andante, Vivace) and a coda (Allegro).
Richard Strauss was not alone when he experimented with continuous forms in
symphonic writing, whether they were completely new forms or inspired in traditional
ones. Despite the limitations of Classical forms applied to a Post-Romantic composer,
Strauss’s harmonic structure leaves no doubt about such a scheme. This is a prime
instance in which harmony prevails over motivic and melodic aspects in configuring the
formal design of the concerto. Extended tonality is present at many moments and with
different purposes, but the predominance of tonal centers at structural points is well
defined by the composer.
85
Bibliography
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Perspectives on the Composer and His Work, ed. Bryan Gilliam (Durham and London:
Duke University Press, 1992), pp. 55-76.
Philip Bate, The Oboe: An Outline o f its History, Development and Construction (London:
Ernest Bern Limited, 1956).
Gunter Brosche, ‘The Concerto for Oboe and Small Orchestra (1945): Remarks about the
Origin of the Work Based on a Newly Discovered Source,” in Richard Strauss: New
Perspectives on the Composer and His Work, ed. Bryan Gilliam (Durham and London:
Duke University Press, 1992), pp. 177-192.
Geoffrey Burgess, Bruce Haynes: “Oboe”, Grove Music Online ed. L. Macy (Accessed
25 May 2004), <http://www.grovemusic.coin>
Nicholas Cook, A Guide to Musical Analysis ((Oxford: Oxford University Press, 1987).
Theresa Delaplain, The Oboe Concerto o f Richard Strauss: An Analysis and Comparison
(diss. Bowling Green University, 1984)
Jonathan Del Mar, “Strauss Oboe Concerto: A Re-Examination o f the Available Sources
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86
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Of The Concerto For Oboe and Small Orchestra by Richard Strauss

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Of The Concerto For Oboe and Small Orchestra by Richard Strauss

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Formal Analysis

Cleobaldo de Oliveira Chianca

Submitted in Partial Fulfillment

ProQuest Information and Learning Company

Date; 30 November 2004

I HEREBY RECOMMEND THAT THE DOCTORAL THESIS PREPARED UNDER

ENTITLED: FORMAL ANALYSIS OF THE CONCERTO FOR OBOE AND SMALL

BE ACCEPTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE

Dr. Akane Mori, Advisor

organized in movements or in a single episodic movement. The methodology was to

Strauss successfully achieves unity and continuity primarily through motivic

to traditional forms. The harmonic treatment supported by thematic organization

of studies. I also gratefully acknowledge my oboe teacher Professor Humbert Lucarelli

has proved invaluable throughout this entire project.

Acknowledgments Page iii

Chapter One: Motivic Aspects 6

Chapter Two: Melodic Aspects 28

Chapter Three: Harmonic Aspects 53

Summary and Conclusion 73

Example Numbers Measure Numbers Movement Page

1.1 1-2 Allegro moderate 8

1.2 1-5 Allegro moderate 9

1.3 6-10 Allegro moderate 9

1.4 65 Allegro moderate 10

1.5 56-60 Allegro moderate 10

1.6 215-19,279-82,333—40 Andante 11-12

1.7 366-72 Vivace 12

1.8 647-52 Allegro 13

1.9 720-25 Allegro 14

1.10 83-86 Allegro moderato 15

1.11 215-19 Allegro moderato, andante 16

1.12 220-25 Andante 17

1.13 511-20 Vivace 17

1.14 658-63 Allegro 18

1.15 73-76, 91-94 Allegro moderato 19

1.16 9,17, and 36-37 Allegro moderato 20

1.17 43-54 Allegro moderato 20

1.18 70-75 Allegro moderato 21

1.19 423-30 Vivace 21

1.21 233-39 Andante 23

1.22 341-48,358-62 Andante 23

1.23 625-30 Allegro 24

1.24 238-42 Andante 24

1.25 456-59 Vivace 25

1.26 460-71 Vivace 26

2.1 1-10 Allegro moderato 30

2.2 56-60 Allegro moderato 34

2.3 76-77 Allegro moderato 35

2.4 81-85 Allegro moderato 36

2.5 91-94 Allegro moderato 37

2.6 112-17 Allegro moderato 38

2.7 220-25 Andante 41

2.8 254-57 Andante 41

2.9 333-40 Andante 43

2.10 366-72 Vivace 44