Passions - Allegre

Dynamics

• Extremely wide range: pp → fff; frequent sfz markings. - Stravinsky's Rite of Spring uses sudden dynamic changes

• Rapid contrasts within short passages: mf → pp → ff → ppp.

• Crescendos and diminuendos - emphasise emotional intensity.

Rhythm / Tempo / Metre

• In 2/2 - makes it 4 4 times faster

• Allegro passages - fast, agitated, passionate.

• Huge variety of note durations; dotted rhythms throughout.

• Continuous quaver passages; syncopation prominent (bar 410 – syncopated Idée fixe).

• Features
  • three-beat rest;
  • bars 78–79: heartbeat motif.

• Markings
  • a tempo con fuoco
  • moto perpetuo.

• Long tied semibreves at the end contrast frenetic sections.

Texture

• Predominantly melody-dominated homophony.

• Exceptions:
  • Monophonic in the Beginning of Idée fixe: flute and violin double
  • Homorhythmic homophony.
  • Plagal Amen: homophonic and homorhythm.
  • Antiphony : melody split between violin and full ensemble
  • Anti Texture - 3 bars of silence
  • Second iteration: octave textures.
  • Figure S: ascending/descending homophonic chromatic scales create drama.

• Oboes carry melody; double basses provide crotchet rhythm.

Structure

Sonata form present but treated flexibly: story/content over formal rules.

• Sections:
  • Introduction: bars 64–71
  • Exposition: bars 72–167
    • First Subject (Idée fixe): 72–111
    • Bridge: 111–149
    • Second Subject: 150–167
  • Development: bars 166–231
  • Recapitulation: bars 232–308
  • Coda: bars 329–525

• Sonata form unconventional - plot guides structure.

• Characterisation via subjects: first subject “masculine,” second subject “feminine” but aspiring toward first subject.

Melody

• Idée fixe - rising enthusiasm → falling → repeated attempts to ascend.

• First presented in flute and violin; irregular phrasing - conveys instability, yearning, unpredictability.

• Conjunct motion with expressive leaps (6ths and 7ths) – emotional turbulence.

• Chromaticism - obsession, restlessness, searching.

• Dotted rhythms - yearning quality.

• Begins on dominant G: perfect 4th → major 6th → descending.

• Second subject: similar ascending/descending gesture; related to Idée fixe.

• Sighing motif - emotion, resignation.

• Heartbeat motif: protagonist’s emotional response.

• Appoggiaturas: semitone movements (bars 152–154).

Instrumentation (Sonority)

• Precise articulation and detailed score markings. - Stravinsky's Rite of Spring expands on these techniques significantly in the 20th century

• Pizzicato, arco, senza sordina (without mute).

• Tremolo - creates anticipation and tension.

• Specific player references (e.g. first violin desk).

• Double stopping (double corde) – bar 121.

• Timpani: bar 329 – baguettes d’éponge; bar 64 – baguettes du recouvert en peau.

Tonality

• Broadly C major and G major .

• 1st subject (Idée fixe): C major

• Bridge moves C → G.

• 2nd subject: G major.

• Chromaticism hides tonality
  • Chromatic deviations:
    • F minor;
    • D♭ minor;
    • D♯ major → E minor → restored G.

• Bars 290–295: three perfect cadences establish tonality.

• Recapitulation: 2nd subject remains in G - defying Classical expectations.

• Coda: mostly C major; chromatic bassline and occasional A major chord obscure tonal certainty.

• Bar 451: Idée fixe in C major (flute), followed by C minor (oboe) – narrative over rules.

• Bars 511–end: plagal cadence IV → I.

Harmony

• Functional harmony with chromatic colouring - for drama.

• Bars 122–123: conventional 4-4-3 prepared dissonance.

• Cadential suspensions.

• Bar 143: cycle of fifths – conventional device.

• Persistent dominant 7th patterns.

• Numerous perfect cadences; ending includes plagal cadence.