Analysis

on Firebird Suite, 2nd tableau,

(version transcribed for Piano)
Bhannavichaya V.
ID : 5737061

Firebird Suite was originally written for large orchestra by
Igor Stravinsky in 1911. However, the piano version was
introduced by the composer in 1910, shortly before the
orchestra version will be presented. The orchestra version was
considered as original version and the piano version was
reduction. This work was composed under the hired of Sergey
Dyagilev in order to find new piece for ballet to perform in
Paris.

Igor Stravinsky (1882-1971) was a Russian composer. He
was considered one of the greatest composers in the 20th-
century. The Times magazine, one of the most influential media
had chosen Stravinsky as one of the most influenced person of
the past century. Throughout his life, he mostly composed
music in 3 main styles, which are Nationalism, Neo-Classism
and Serialism. Firebirds Suite is the work under Russians
Nationalism style.

Firebird story talked about the Firebird whom helped
Prince Ivan to destroy evil Kaschei, who was immortal. In the
battle, Prince Ivan seemed to be loose. Firebird knew Kascheis

secret and tell Prince Ivan to destroy Kascheis soul in a secret

egg-case. So that Prince Ivan won. After recovering from the
battle, Prince Ivan and Firebird celebrated their victory.

Stravinskys Firebird has 2 tableaus, the second tableau,
which is in this analysis, starts from the recovering of Prince
Ivan after killing Kaschei until Prince Ivan and Firebird
celebrating their victory.

This analysis considered the structure in 2nd tableau as an
introduction, a theme (A) and variations (A, A, A, and A)
and a coda. The form could be considered Theme and
Variations because there is a theme and this theme keeps on
developing. From A-part to the end of the piece, the bass
strongly shows the root of the harmony, mostly are in tonic and
dominant of B Major-scale.

An introduction was composed of various chords tremolo
throughout the section. In this section, the dynamic has been
written as pp throughout the section. From the score, the top
line (at the right hand) falls from the high to lower register and
the bass line (at the left hand) rises from the low to higher
register. In other hand, it could be said that the right and left
hands melodies are in contrary motion. The top line strictly
declined in half-step, but the bass line was mostly moved by 3rd
interval, or whole step may be occurred.


A, the tremolo from introduction section still proceed from
the introduction in upper register. The theme is performed by
the left hand. In this part, dynamic is still in ppp. The harmony
analysis is as follows.

In part A, the tremolo technique is proceed from an
introduction and A-part, which the character will later be built
to the false climax in A. The harmony becomes more complex.
In the middle register, the pitch rises from lower to upper
pitches stepwise. The harmony analysis is as follows.


The false climax starts at the rehearsal-mark number 201
and ended at 202. At the beginning of A, the middle register is
the same as in A, but now in tertian harmony. At the climax,
the dynamics becomes ff. The harmony analysis of A is as
follows.

There is a short transition between A and A, which the
composer used the motions of chromatic interval to interrupt
the piece.

A has 2 parts, which divided by key center. The first part

is in B Major as the key signature and the second part is in C
Major. What should be considered in A is the composer used
different composite meter to feel the different of the
downbeat. In this part, the dynamic rises to f from the interrupt
in transition section. A will be built to the real climax in A
Entire A is truly in B Major-scale, and considered climax
of the piece. The harmonies are in seventh-chord. The
dynamics keep in ff.
Coda is in B Major, with mostly dynamic in fff. What is
important in this section is the dynamic, the immediate pp
after the fff could be considered, and return to fff again to
concluded the piece at the last three measures. This occurred
because the composer immediately changed the character of
the piece, in order to finish the Firebird Suite.
Overall the character of the piece, the emotion starts from
the recovering in a very soft dynamic until the Firebird and
Prince Ivan grandly celebrated their victory at the end of the
piece, or it could be said that the piece built the tension to the
climax before conclude the piece.
In conclusion, this piece, compare to other pieces, is very
unique in using harmony and structure. In harmony, Stravinsky
keeps on repeating the theme but soundly changed the
harmony, which could be seen from the harmony analysis. In

structure, this piece clearly shows how to build the piece to the
climax effectively, by starts from the very soft dynamic, and
built to the climax, and developing to strong ending.