Eric Phung

BMus
Part 2: 2012/13

Orchestral & Instrumental Studies

Dr Robert Percy

Coursework
First Copy

Assignment No. 3: Task B (essay)

1,112 words

Emmanuel Chabriers Suite Pastorale

Chabriers Suite Pastorale is a piece written in a cyclic form; it contains a long series of different
melodic themes placed next to each other. The structure is unified when it finally repeats and
returns to the first melodic idea found in 8 bars into Figure D.
The main subject of this piece revolves around a falling melodic figure; this is introduced right at the
start of the piece with the flutes playing the two descending notes from Bb-A. This figure makes a
return on the 9th bar however it is now given to the oboe. This marks the first change of instrumental
colour in this piece, where the same phrase is played but with different instruments. More
significantly, in this repeat, the Bb-A figure is now doubled by an octave lower by the clarinets. This
places emphasis on this descending figure and allows it to be more characteristically distinct from
the first repeat. Meanwhile, the whole string section supports this first theme with a very texturally
interesting harmonic idea. The strings have been split up into two halves; the 1st violin and double
bass is involved in playing a single note on the every beat whilst the 2nd violin and viola and cello play
a note on every offbeat. The strings are played with pizzicato apart from the viola that plays a
smooth arco line against them creating two different sound worlds within the strings section. All
together, it forms a coherent staccatissmo line with importance being placed on the fragmented
main beat and offbeat relationship.
Throughout this piece, each different musical theme brings forth a different instrumental colour and
a different manipulation of these colours as these themes return. The first two pages contain simple
melodic ideas which Chabrier gives to the flute. He exploits the characteristics of the flute, using
them to bring a mellow feel to the melody. The second time the melody comes back, it returns with
more force. This correlates with the use of the oboes which gives the melody a more certain
intensity. This is especially at the 6th bar into the second page where the repeated idea is now played
a third higher giving it more weight before it leads onto the second theme.
As we arrive onto the second theme (3rd page), the melody is given back to the flutes. It plays a very
expressive, dolce melody in its higher register. It is played against a very thin orchestra now allowing
it to really penetrate through. The second flute is given an almost comical line involving a descending
then ascending scalic passage. This light sweet passage is then starkly contrasted against a very dark
and menacing section (5th bar of 3rd page). Here the full string section is now brought in. The double
bass, cello and the viola plays a series of repeated descending chromatic figure over 3 octaves whilst
the violin plays a constant drone note of the low A. This sinister melody is also reflected by the
doubled flutes suddenly jumping to their lower registers to play the melodic idea.
We arrive onto 5th bar of page 5 where we find the same falling semitone figure found at the
beginning of the piece. This time, it is used in a completely different context. It is given to the 1st
violin this time and is played a minor 3rd higher, from Db-C. The same figure is now given a
completely different melodic character; it is now a fun and light melody. This is underpinned the
harmonic support from the second violin. The comical ascending and descending scalic passage
originally found in the flutes in the 3rd page makes a return, but this time in the 2nd violin. This
example reflects Chabriers approach on orchestration, the manner in which he takes pre-existing
ideas and then blends them together to create a new idea with a completely different characteristic.

A new melodic theme is introduced at Figure D. The whole orchestra dies away and a solo clarinet is
introduced playing a trill lasting over two bars. A melodic idea is then played by the solo oboe on
top of this trill. We move onto the 5th bar into Figure D, where now the 2nd flute plays a solo melodic
line which is then picked up by the by the first flute playing the same idea a fourth higher. What is
interesting is that the 2nd flute is swapped for a petite flute, distinctly distancing itself from the first
flute. This theme is especially significant as it makes a directly reference to the title Suite Pastorale.
The dialogue in the two flutes can be heard as a depiction of a bird conversation; especially
prominent since the flute has been swapped for a petite flute, making the illusion of two separate
distinct birds. The trills have also increased in frequency where it is taken up and passed around by
more than a third of the orchestra; depicting a fluttering of birds as the morning rises. Figure D is
almost certainly programmatic, with an entirely different colour and introduction of techniques such
as trills to represent the pastorale.
This piece is littered with many fine details with the capacity to change the colours of this piece, but
at a closer analysis of the piece, we often find a reoccurring technique and themes. The first
observation is the relationship between the pizzicato and arco of the string section. There is such
significance in the use of these two techniques that they have their own character in this piece; to
generalise whenever the employment of pizzicato is used, it gives the effect of a walking bass, a very
upbeat and cheerful character. This contrasted to the use of the arco where it is used a predominant
sinister sound. This is first found in the 5th bar of page 3, featuring a bowed chromatic figure. This
idea is reoccurring throughout the whole piece with minute details being changed all the time to add
different colouristic effects; the chromatic figure being reintroduced played as tremolos in Figure F
as an example.
Another reoccurring technique that Chabrier employs is the successive contrast of instrumental
colours. Although melodic ideas and melodic fragments are constantly being brought, they are
always done with a colour and a different effect. Ideas are never repeated in the exact same fashion.
The first page demonstrates this already, it consists of a melodic idea being repeated, however the
second time it is given to a different instrumental colours. If we look at the broader view of the
piece, we find the return of this same idea in the latter half of the piece (page 8), but this time the
melodic idea is given to the violins and a full rhythmical woodwind section is added for harmonic
support.
Emmanuel Chabrier thus has created a piece where he has managed to use the full extent of the
orchestra within a dialogue where each instrument plays a fundamental role in giving the piece in a
different sound in this ever evolving musical piece.