KS55

KS New Set Works for IB Music: first exam

2014, teaching from September 2012
Alex Tester is
by Alex Tester
Director of Music at
St Edwards School,
Oxford, and teaches
the set works,
history and harmony Set Work 1: Xian Xinghai (arr Chengzong
sections of both
the A-level and IB et al), Yellow River Piano Concerto (1969)
courses.
Teaching the Xian: an introduction with IB in mind

Teaching a new work can be bewildering, particularly one with such an international flavour, and mixture of
different styles. So for the analysis, a structure-based approach makes it easier to digest, taking each section
of the colourful score at a time. Within these sections, its useful to take students through the individual topic
words that the IB syllabus encourages use of. For example:

Melody what themes are there, and what development is seen within each section?

Tempo, rhythm and metre What distinctive rhythms push the music forwards? Where are there
changes of time signature?

Harmony and tonality In what key is each section, and how do particular chord sequences relate
to these keys?

Texture and instrumentation Xian often uses sections of the orchestra battling against each other
how is texture maintained/built up/dropped down? Where do Chinese instruments sometimes double
or colour the score?

Above all, this piece enables us to show students how a composer can combine two very different and varied
world music styles. Key questions might include: which aspects of this music can you say are Western in their
approach? And which aspects of this music demonstrate aspects of Chinese culture? In a work so politically
inclined, can we also see the meaning and message of Xians music, and the signs of the historical period in
which it was written?

The Western/Chinese comparison

In tackling this comparison, you might get students to consider:
The pentatonic nature of the melodies; the phrase structure employed; the use of different time signa-
tures, led purely from the direction of the different melodies
The use of Chinese folk song, and the fragmentation of these melodies; the importance of individual melodic
and rhythmic cells when developing those melodies; the use of The East is Red within the last movement is
a good starting point
In what ways does each movement employ a traditional Western key structure, and where does it break
from this? At what points has the setting of the music and the coherence of the melodies become more
important than the keys and sections within the music?
The use of Chinese and Western instruments and the layering of different sounds to build tension through
texture
Programme music: The storyline of the work, and how it relates to the Yellow River Cantata: in what way
does each movement succeed in setting a scene or telling a tale?
Nationalistic music: The use of politics within a piece of music: how can it help us understand world history
and where does this piece of music fit within the time it was written?
Western influences: In what ways does the writing of this piece look back to Romantic period composers
of piano concerti? Schoenberg claimed the Yellow River was little more than movie music a rehash of
Rachmaninoff, Khachaturian, late romanticism, bastardized Chinese music and Warner Brothers climaxes.
Where was he right, where was he wrong?

1 Music Teacher April 2012

Background Xian and the Yellow River Cantata
Born in 1905 in Panyu (part of the Guangzhou province), Xian Xinghai initially studied clarinet, but switched to
violin and piano at the National Music Institute (Beijing University) and at the Shanghai National Music Conser-
vatory. In 1931, he studied composition with dIndy and Dukas, with early successes such as Wind, Song of a
Wanderer and the Violin Sonata in D minor, before returning to China in 1935.

His music during the anti-Japanese war (1937-1945), such as Non-Resistance the Only Fear and Children of
the Motherland, was meant to inspire and motivate people to fight the incoming invasion. He became head of
music at the Lu Xun Institute of the Arts in Yanan in 1938 and joined the Communist Party, based in the same
area.

It was at this time (1938-39) that he wrote the Yellow River Cantata. This eight-movement work became his
signature piece throughout his life, successfully capturing the lyrics of a revolutionary poet, Guang Weiran, in
a setting for chorus, orchestra and soloists and with narration in between. Many of the choral sections were
based strongly upon National Salvation songs, and there were also references to Chinese folk songs in the
orchestral parts. The latter piece was written for a mixture of Chinese and Western instruments, although this
was largely because there were not enough Western instruments in the Communist orchestra.

This powerful cantata reflected the passion of the Chinese people. The Yellow River itself was known both as
the cradle of Chinas civilization and as its sorrow, as it frequently flooded its banks. The cantata aimed to con-
jure up the struggles of the people who lived on its shores, battling against both the uncontrollable waters and
the Japanese invaders, in their daily struggle to survive. Written in just four days, the work made use of Western
compositional techniques, whilst using source melodies, instruments and textures that are distinctively Chi-
nese. Each movement focused on one aspect of the Yellow River, leaving the listener with a composition that
depicted the huge panorama of the river, whilst giving the dramatic power required to symbolize the passion
of the Chinese peoples struggle for liberty.

The Yellow River Piano Concerto origins and background

Thirty years later, the Cultural Revolution had seen to it that Chinese music was banished in favour of Marxist
and Maoist principles. The Mao supporter Yin Chengzong suggested that traditional Chinese music could be
arranged for piano:

Is it possible to make the piano serve the workers, peasants and soldiers? The piano was created by work-
ing people. Why cant it serve the working people, proletarian politics and socialism?

After his death in Moscow in 1945, at the age of 40, Xians entire written works were taken back to Yanan by
a former Communist Party chairman, and both a large memorial service and a personal inscription from Mao
meant that his name would not be forgotten. The Yellow River Piano Concerto was started, as an adaptation
of the Cantata, by Yin Chengzong and a team of arrangers. The eight-part cantata was fitted into a four-move-
ment framework, which would both regain the position of the piano within Chinese music, and would be able
to express Chairman Maos concept of a peoples war.

In analysing this
The piano concerto in detail work, I have used
the version (and bar
numbers) from the
Movement 1: The Song of the Yellow River Boatmen Eulenberg score.

This takes the ideas from movement 1 of the cantata, which takes the same title. The key is D major and the
tempo is a steady crotchet pulse, veering from 3/4 to 2/4 from section to section.

The main feature is the use of a work-chant, based on a pentatonic scale in D (D, E, F#, A, B), played sepa-
rately or together by piano and/or orchestra. Loosely in Rondo form, the piece revolves between theme x (the

Music Teacher April 2012 2

 work-chant motif, first heard in the strings) and theme y (a five-note pentatonic motif, first heard on the piano).

Section A (bars 1 16)

Five-bar introduction (using II (Em7) V7 (A7) -) preparing the listener for theme x, characterized
by rising tremolo arpeggios in the strings, ascending and descending chromatic scales in the
woodwind, and long held chords in the brass
Theme x sticks rigidly to I (D major) except for an excursion at the end of the phrase to Bbo7 (bar
12) and then to A7 (bar 14), where the piano then takes on a cadenza-like A7 arpeggio in paral-
lel 6ths (bars 15 16)
In 3/4 for the intro, 2/4 for the statement of the theme, and 3/4 for the excursion to Bb and A
Section B (bars 17 24)
Theme y is heard four times, each time stated by the piano and answered with the full orchestra
entering with emphatic I and V chords. In 2/4
Section A (bars 25 38)
A reversal of bar 1, with recurring semiquaver-semiquaver-quaver patterns in the strings and the
piano taking the ascending and descending chromatics. There is the same harmonic movement
from E (bar 25) to A (with added minor 9th, bar 27) preparing us for the main theme x in D (bar
29), with development in 2/4 from bar 31
There is the same excursion to Bbo7 in bar 35, leading to A in bar 37 but no piano arpeggio
Section B (bars 39 46)
A return of theme y, this time with the piano using a full chordal account of the melody using
emphatic V and I chords
Section A (bars 47 50)
A brief link using material related to motif x, all based on I (D major)
Section C (bars 51 74)
A new developmental section, using distinctive sq-sq-q, q-q rhythms in the piano, with similar
imitative lines in the strings accompaniment
Bar 51: In B minor, mostly I and IV chords, except for final V-I cadence in bar 58
Bar 59: In C, same material; bar 63: In E minor; bar 67: In G major; bar 71: In D major in all of
these, the material become more repetitive and fragmented
Section A (bars 75 83)
The first work-song motif returns, but this time with a different chord sequence: F#7 (bar 75)
Am/C (bar 77) Em/B (bar 79) Em/Bb (bar 80) A (with minor 9th, cadenza of dominant and
diminished seventh chords, ending with an ascending run of first-inversion parallel chords, bars
81 83). This section is meant to portray the boatmen passing the torrents and dangerous sand-
banks]
Section D (bars 84 92)
A new Chinese folk melody, theme z, is heard in a newly contrasting section, linked to previous
melodies through the same distinctive rhythmic cell
The music is in D major; simple chordal progressions, twice running through a sequence of Ib
IV II V I. The new time signature of 4/4 makes the music more tranquil, as if the boatmen
have almost reached their destination
Coda (bars 93 113)
The first half of the Coda works off a quicker harmonic rhythm, changing chords most bars, and
working through a fast 2/4 melody, related closely to section C in parts In D major, it runs through
V I IIb, then pushes the bass down using Em (II) above D, C#, B, Bb, and leading into A7 for
4 bars, bar 100. This section suggests the boatmen moving forward bravely and fighting against
the torrents and waves
The final section then sets off in a fast 3/4, mirroring the motif x material from bar 6, based
entirely on I until the last four bars. Here a long held Em/G (IIb) chord is heard in bar 110, and a
quick perfect cadence on the final three accented quaver beats, bars 112 113, where the whole
orchestra respond homophonically

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 Movement 2: Ode to the Yellow River

This slow movement is more lyrical, using statements of long ballad-like melodies, all very much based on a
Bb pentatonic scale (Bb, C, D, F, G). The melodies are shared between the piano and orchestra, and the for-
mer uses strong chordal progressions largely influenced by Romantic period piano concertos (Rachmaninoff,
Tchaikowsky). Though initially in 4/4, the piece is directed largely through the flow of the melody, and there
are moves into 3/4 and 2/4 as the theme develops. The movement as a whole matches the style of the second
movement of the Yellow River Cantata (also bearing the same name), depicting the image of travelling down
the river.

The piece is based largely in four section and it is rounded off with the initial introductory material.

Section 1 (bars 1 35)

An initial 16-bar statement of a cello melody is heard, accompanied by lower woodwind. Based in
Bb major, simple chord progressions are used, with imperfect cadences in bar 4, 11 and 16. The
statement is then answered by the theme, now more chromatically embellished, and using full piano
chords along a similar chordal progression, with imperfect closes in bar 20, 26 and 35.
Section 2 (bars 36 49)
The piano continues to take on the melody, now pushing this theme into constant quaver movement
and with quintuplet and triplet patterns commonly accompanying. The section feels faster, both
because of the shorter note values, and the shorter phrases, starting off with a simple 4-bar phrase
and then rushing into an accelerando 2/4 flurry of sextuplet semiquavers.
Section 3 (bars 50 60)
The piano opens out into new material using running octave scales and full chordal arpeggios, back
in 4/4. The contour within the chordal progression is the same as at the opening: Bb D- Eb(M7)
F, leading to largely regular phrases and clear imperfect cadences at bar 52 and 57, and a perfect
cadence rounding off the ideas at bar 60.
Section 4 (bars 60 66)
The final statement of new material focuses largely on the return to Bb major, with the I chord
heard for 4 bars, then IV and V, and a final perfect cadence in bar 66. The piano uses full chordal
arpeggios, highlighting the simple nature of the melodic and harmonic material.
Section 5 (Coda, bars 67 73)
The final climactic section brings back melodies in 3/4, using I and IV in Bb, before using fragments
of the initial melodic material over a clear Ic-V-I cadence. The instrumentation drops back down to
forces similar to the beginning, the cellos and bassoons leading the melody over clarinets and upper
strings held chords. The final horn melody once again highlights the pentatonic nature of these
melodies.

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 Movement 3: Wrath of the Yellow River

Adapted from the third and fifth movements of the original cantata, this movement uses contrasting different
sections, all based on different pentatonic melodies. Many of these are folk song melodies from Yanan; the
first is introduced with a traditional Chinese bamboo flute, although much of the development of the material is
again centred within the piano solo part.

Introduction (bar 1) and Section A (bars 2 54)

The introduction immediately introduces us to an Eb pentatonic scale (Eb, F, G, Bb, C) over a solid
Bb11 chord in the upper strings. This acts as a precursor to the main theme in the piano at bar 2;
here, there is a strident melody using the same scale, depicting the prosperous life of the people
along the banks of the Yellow River. After initial material offered by the piano in bars 2 15 (written
to emulate a chinese zither), the music settles into a folk-like verse of 4 x 4 bar phrases, heard in
bars 16 31 and again in 32 47. Though mostly harmonically simple, there is a particular lift in the
sequence used in each third line, due to the false relation: Bb/D, Cm7, Ab-F, Bb. The fourth line is then
repeated with a thinner texture, slowly dying away, in the woodwind and harp (bars 48 54).
Section B (bars 55 81)
A sudden change of dynamics, texture and tempo changes the mood of the music, as the piano
plunges the music into C minor. Two one-bar and two three-bar phrases introduce a distorted version
of the zither melody, pushing the music harmonically into all kinds of places: from C minor (bar 55)
to Bb (bar 57); from Eb minor (bar 58) to G minor (bar 60); from G major (bar 61) to Eb (bar 63). This
section is intended to portray the invasion of the enemy.
The music then changes texture again, restarting the key sequence from bar 55, but with the piano
using constantly repeating notes, imitating the Chinese lute, a lament for the suffering people of
China.
A final more upbeat idea rounds off the section; the Eb pentatonic idea is presented using dotted
rhythms, with insistent triplet accompanimental figures in the horns. Modulations are heard, pushing
this fragmented melody onto a held D# major chord (bar 81).
Link (bars 82 92) leading to Section C (bars 93 105)
The music pushes into B major, with the melodies now based on B pentatonic (B, C#, D#, F#, G#),
and the piano using increasingly busy textures before being joined by the orchestra for a final 4-bar
flourish. Here, the music settles on a perfect cadence in Db major (enharmonically prepared from the
G# chord at the end of the piano solo in bar 88).
The piano then continues into section C, a piano cadenza-like solo, using a consistent flurry of triplet
and semiquaver scales and arpeggios, exploring fragments from the themes so far.
Section D (bars 106 134)
The strings gradually rebuild the orchestral texture, slowly joined by the horns and then eventually
the woodwind. The piano uses a simpler right hand tune, with accompanying triplet left hand
arpeggios, all based on a pentatonic on Db. The key is more ambiguous, though; the first 4 bars are
based around Bb minor, but quickly there are brief encounters with Db (bar 115) and F minor (bar
119), as well as phrases ending dramatically with an Ab7 chord (bar 114), a C7 chord (bar 123), F
minor (bar 127) and a C half-diminished chord (bar 130). The section raises to a climax, with added
brass and timpani, in bars 132 134, resting on a Bb minor chord ready to be V of Eb in the following
music.
Section A (bars 135 148) and Coda (bars 149 156)
The music returns to 2/4, and with this comes the original motif from the Ballad of the Yellow River
in the Cantata. This melody, based once again on the Eb pentatonic scale, is stated with orchestral
doubling and a fuller texture, particularly due to the arpeggiated accompaniment in the piano solo
part. It is largely back in 4 bar phrases. The Coda then rounds off the ideas, with an extended II (F
dim 7) V (Bb9) I (Eb) cadence with piano arpeggio embellishments.

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 Movement 4: Defend the Yellow River

The final movement is structured as a theme and set of variations, all based upon a number of themes, includ- With the clear
ing parts of the cantatas sixth and seventh movements. It also uses references from the revolutionary song structure, it may well
be possible to ask
The East is Red, positioned within the piece by Chengzong and his team, in honour of Mao. It uses far simpler students to identify
material in a driven, battle-like climax to the concerto. what is similar, and
what is different in
each section. Keep
Introduction (bars 1 18)
using the IB topic
An eight-bar introduction (based largely on pentatonic scales in C major) mixes together
words wherever you
homophonic fanfare figures on the brass, held tremolo chords in the strings and fast ascending can.
scales in the woodwind. These build up to four bars of the main East is Red melody in tutti octaves,
finally moving into to a piano cadenza section. Harmonically, the first 7 bars use second-inversion
chords, and do not settle until the G major chord in bar 7; the piano cadenza then bases itself
around C major A major D major B major, the last of which then sets up E major, in a II-V-I
from bars 8 10.
There is then a link towards the main theme, using the distinct rhythmic dotted motif from the brass
fanfares, over simple I, II and V chords in A major.
Theme (bars 19 49)
The march-like theme starts off in the piano, over repeated bass and quaver chords in the strings,
alternating solidly between tonic and dominant in A major. There is a 12-bar statement, answered by
10 bars which take the last section and expand on the themes over a more tonic-based sequence.
The music then runs into a link passage (bar 41), alternating antiphonal phrases between the piano
and the strings, and heading for a final perfect cadence to round off the section.
Variation 1 (bars 50 71)
Here, the piano uses more of a single right hand melody over a simplified repeating left hand
phrase, again centred upon the tonic-dominant alternation, still in A major. The repeated quaver
accompaniment continues, in violin II and viola only. It uses the same chord sequence and phrase
structure as in the theme.
Variation 2 (bars 72 93)
The orchestration reverses, giving the piano the repeated quaver figure, over which the violin I part
takes the melody. It uses the same chord sequence and phrase structure as in the theme.
Variation 3 (bars 94 115)
Here, there is a fuller orchestration, with the piano right hand taking the melody (answered in canon
by the violin I/viola parts), the bass highlighted every 2 bars in the cellos, and piano left hand and
violin II parts taking the repeated quavers. Still in A major, it uses the same chord sequence and
phrase structure as in the theme.
Episode 1 (bars 116 132)
The piano plays a solo passage, which is then answered by full orchestra with homophonic quaver
pushes on the last beat of the bar. This episode is almost entirely based on A, gradually building
using scales and arpeggios on A7 in bars 129 132, leading us towards the new key in the next
variation.
Variation 4 (bars 133 163)
The tonality changes to D major, and the melodic material continues to be based upon pentatonic
ideas within that new key. The chord sequence (transposed) and phrase structure remain the same,
although there is a building of orchestral instrumentation, but using the same 3-part texture: some
on the melody, some on the melody in canon, and some on insistently repeated chords on every
crotchet beat.
A link passage then opens out (bar 154) which uses the same antiphonal work between piano and
trumpets (as in bar 41), and using sequences briefly before bringing the music back to a perfect
cadence in D major.
Episode 2 (bars 164 196)
The same material is explored as in Episode 1, using changes between 2/4 and 3/4 to highlight the
quirky quaver motif and static tonic-dominant harmonies and bass line. An A major pedal from bar
171 is emphasised through layered pentatonic figures in the woodwind and strings, but this tails off
into an unexpected Bb major chord in bar 181.
Here, a new link section begins, with driving rhythms in the violin II/viola parts, on top of which the
horns and flutes vie for attention. The section leads the music from Bb to G minor, and then onto C
major.

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 Variation 5 (bars 197 216)
This slightly shorter variation is based strongly in C major. The melody can be found in the flutes/
clarinets, joined later by the trumpets. On top of this, the piano plays mostly chromatic semiquaver
patterns more virtuosic and exploratory in terms of harmony.
Variation 6 (bars 217 246)
This is a full length variation, and more predictable in terms of harmony and melody the piano
is back in charge with violins taking running semiquaver descending scales and strident crotchet
chords in the violas and cellos. The music is now in F major.
Another link section is heard (bar 238), using the same antiphonal figures, based in D minor to start
, but still alluding back to F major through the pentatonic fragments.
Episode 3 (bars 247 326)
The same kind of antiphonal writing is set out, in D major, but this time with the introduction of
distinctive triplet figures, both in the piano and the accompanying strings. These spread to flute/
clarinet counter-melodies, and as the texture builds, the time signature changes to 4/4 and the brass
develop a strong fanfare motif in a rather unexpected Gb major (bar 259). This passes to another
piano solo cadenza from bar 263, based largely in Ab major, still making great use of pentatonic
scales and arpeggios. Gradually, fragments from the theme from The East is Red are incorporated,
both into the piano left hand and the accompanying cello, strings, clarinet and in the end, full
orchestra. Antiphonal and triplet fanfare writing continues (bar 279), starting in G minor, but through
diminished and chromatic progressions and sequential writing, the music is able to progress through
to a huge tutti A9 chord in bars 297 302, setting up for the music to be in D major.
There is then a clear account of the main melody from The East is Red, doubled throughout the
orchestra, and accompanied by huge piano chords using the full range of the instrument. Back in
Dmajor, the harmonies are much more settled using I, IV, V and VI in that key. There is a solid 8-bar
phrase, answered by an extended 9-bar phrase, with 8 bars to complete the theme (this time with
reversed orchestration, with the tune in the piano).
Variation 7 (bars 327 366)
The tonic-dominant bass starts again, and above it, the piano using the same single-line melody
and left hand as in variation 1. There is a shortened account of the entire variation with strings and
piano, followed by a fully orchestrated restatement still in D major, but exploring other harmonies in
the final section, to round off the music towards the final perfect cadence: B7 (VI) Em (II) A7 (V7)
Dmajor (I).
Coda (bars 367 381)
A final flurry of virtuosic piano triplet figures in octaves begin the rush to the final bars of the piece.
Here, there are repeated versions of the I chord (D major), throwing the music towards the climax
using full orchestra in homophony.

Set Work 2: Prokofiev Classical

Symphony (1917)
Introduction to study

Studying the Prokofiev is, perhaps, an easier task for IB teachers. With quite a lot of resources out there in
terms of analysing this symphony, teachers should be able to devise a good scheme in looking into the various
sections of the music. Using a topic-based approach you can starting by looking at the different form/structure
of the piece, dividing the work into sections, and then adding the detail of melody, rhythm, harmony, tonality,
instrumentation and texture as required in the wording of IB questions.

The Classical Symphony, rather like the Xian, has a history infused with political references. Its composition in
1917 came right at the end of the Bolshevik revolution, a time when musicians had become highly valued for
their art: but at the expense of their ability to produce music with real artistic and creative freedom. Prokofiev,
however, claimed to have no interest in politics, and tried to disassociate himself from any reference to the
ideals and movements of its day, even though the symphony was a great success in being seen to wittily re-
invent a style from the past.

To Prokofiev, the work was a satire of the late 18th century symphony, taking Haydns work into particular con-
sideration. He claimed that had Haydn lived in the 20th century, he would have retained his own style while
accepting something of the new at the same time. The result was a work which demonstrated real depth as a

7 Music Teacher April 2012

composer in terms of structure and melodic development; by twisting and distorting ideas the classical style
was reinterpreted with great respect and integrity.

Much of our study with sixth formers ought, therefore, to not only centre upon topic words to analyse the music
concisely and accurately, but also consider what is Classical and what is 20th Century. Much can be gained
by getting students to consider both sides of this argument throughout their analysis of the piece. With this in
mind, structure may be the easiest starting point in order to understand the basis of this symphony. Once this
is in place, discussions can take place as to the other features of the music.

Starting to analyse the symphony

The first movement

The movement is set out as a conventional Sonata form movement, with exposition, development and reca-
pitulation.

EXPOSITION (bar 1 86)

1st subject (bar 1 45) Conventional 1st subject in tonic: two themes: one diatonic
Theme A1 in D (bar 1) and based around ascending arpeggiated figures, leading
Theme A1 repeats, but in C (bar 11) to a tonic chord; the other, a very measured rhythmically
Theme A2 in D (bar 19) repetitive melody
Theme A2 repeats, but in B minor (bar 28) Unexpected repeats of material in C and B minor, made
Link passage rounds off the 1st subject ideas, and pushes more obvious through lack of symmetry in phrases, and
the music towards the dominant (bars 36 45) static nature of harmonies in themes
2nd subject (bar 46 86) Conventional set-up for 2nd subject in the dominant key,
Theme B in A major (bar 46) and stated several times using regular phrasing
Restated in A (bar 54) Intervals between adjacent notes of up to 2 octaves give
Excursion briefly touching F# minor, then restatement of the theme a distinctively quirky character; this combined
theme back in A (bar 62, bar 66) with sudden changes of dynamic and use of accents give
Fragments of material from theme A1 brought in to accom- surprise and momentum to the music
pany repeated A major triads (bars 73 84)
DEVELOPMENT (bar 87 139)
Material from the 1st subject: Conventional in terms of a variety of different keys, and in
In D minor (bar 87) the way the melody is repeated, fragmented or developed;
Excursions onto chords of G, Ab, F (bars 91 102) what is different is Prokofievs daring use of unrelated keys
To D major (bar 103) (e.g. C to F#) and the sudden changes between subse-
Excursions onto chords of B7, to E, to C, to F# (bars 107 quent sections
118) These daring changes are often made even clearer
Sequential material around B and F# (bars 119 122) through use of changes of instrumentation and texture
Settles in G major (bar 123)
Cadential figures lead back to perfect cadence in C major
(bars 137 138)
RECAPITULATION (bar 140 207)
1st subject (bars 140 170) Structure largely based on D major, the tonic, as you would
Starts with theme A1; material as before, but this time in C expect in a classical era recapitulation
major (bar 140) However, the variety of keys shown in the 1st subject before
Restatement of material, this time using theme A2, but in D (with D, then C) is reversed to provide a mirror image here
major (bar 150)
Development of A2 material, using a variety of different
chords: F#, B, C, and A7 (as the dominant to the 2nd
subject) (bars 159 170)
2nd subject (bars 171 207) The 2nd subject is stated in the tonic, as per usual in a clas-
Theme B as before, but this time in D major (bar 171) sical symphony
Theme restated (bar 179) Same kinds of excursions as in the exposition
Excursion brings the melody for flute solo in B minor (bar Build-up to the end uses the same triadic, diatonic broken
187) leading to a build-up with a rising broken chord in D chords as were heard at the start of the movement
major (bar 194)
Repeated perfect cadences with full orchestra in D major
bring the movement to a close (bar 202)

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 The second movement

As in a typical Haydn symphony, this movement is based on slow, lyrical melodies and a broad 3-part struc-
ture. It is in a bold 3/4 time, which is striking considering the third dance movement is in 2/4.

Section A (bars 1 19)

A four bar introduction, with pulsing quavers in the strings, leads into a first hearing of the theme
in the violins. It uses the highest register possible, providing a more modern sound than perhaps
expected. An 8-bar statement with conventional harmony in A major is answered by a developmental
8-bars in response.
Section B (bars 20 41)
A staccato semiquaver-based motif takes over in the pizzicato cellos and basses, and bassoons,
accompanied by pizzicato strings homophonically. It refers back to the initial quaver-based
introduction but provides a more insistent (yet tranquil) sound. The harmonies, still in A major, are
more static, based largely on the tonic chord for the first 8 bar phrase, but then on their return, the
music moves into C major. Here, above static tonic chord accompaniment, longer counter-melodies
are heard in the woodwind.
Section A (bars 42 71)
The initial theme returns in the rather unexpected F# minor, and incorporating the staccato section
B theme as counter-melodies above and around the violins. After an 8-bar statement, there are 8
bars where the semiquavers predominate. A re-statement then occurs, this time back in A major for
8 bars, before going back to the material from the introduction, rounding off the movement both in
terms of melody and tonality.

The third movement

This Gavotte was previously composed by Prokofiev; very much a classical dance movement but strikingly in
2/4 rather than 3/4. This gives a heavier, more rhythmic feel to the music, particularly as many phrases start
with a solid anacrusis. Once again, in ternary form, the music uses conventional phrasing and development of
melody, whilst surprising with shifts of harmony and tonality, clear through the use of orchestral doubling and
strongly homophonic texture. This movement is reused and extended in Prokofievs ballet Romeo and Juliet.

Section A (bars 1 13)

A heavily rhythmic and somewhat rustic theme appears in the upper strings, with distinctive octave
leaps, and a move from an initial D major, through chords of C, B and F#, to a perfect cadence in
G major, over a 4-bar span. The next phrase takes this same motif and harmonic movement, but
this time pushes it towards D major, and then develops on through A7 and C# major, to cadence
unexpectedly back in D major. The longer phrase opens the texture out, gradually introducing each
section of the orchestra, using orchestral tutti for the final cadence.
Section B (bars 14 28)
Settling immediately in G, over a pedal on an open 5th in the strings, the movement uses a melody
strongly linked to the initial theme, particularly with an opening octave leap. The pedal remains for
the entirety of the section, over which there are imperfect cadences with intentional clashes, and
perfect cadences rounding off the ideas. There are four 4-bar phrases, the last two adding counter-
melodies in quavers from the oboes.
Section A (bars 29 41)
The same themes recur from the opening, this time abridging both the first and second phrase in
heading for the final perfect cadence in D major.

9 Music Teacher April 2012

 The fourth movement

The final movement uses a conventional sonata form once again, developing quick and energetic motifs within
a structured form.

EXPOSITION (bar 1 90)

1 subject (bar 1 42)
st

A fast melody, based on arpeggiated figures on the tonic triad of D major is heard in the violin 1
part, with a counter-melody in contrary motion in the cellos. After 8 bars on D major, it moves to
G for 8 bars, back to D for 6 bars
There is then some development, in moving the music to and from different chordal progressions:
after a 2-bar excursion to Ab, the music centres around G, and then C (b, 23 30), to around Bb
and then G (bars 31 38). There is an unexpected move to F (bars 39 42), moving towards the
bridge section
Conventional, due to the clear tonic key at the start of the movement D major, as well as the
obvious use of primary triads within D major for the development. But there are some unexpect-
ed keys nearing the bridge. The fast and furious theme, however, suggests 20th century work,
and whirlwind orchestration provides a suitable beginning to this final movement
Bridge (bars 43 74)
The fast pace continues with a motif based on repeated notes with a distinctive crotchet/6 quaver
rhythm in the woodwind, accompanied by arpeggiated figures in the strings
The music moves into a new tonal area, to prepare for the 2nd subject: E7, to A (where a new
melodic idea comes into play), back to E7, and through to F major once again (bar 65) before
heading for a perfect cadence in D (bars 70 71)
Four bars then link the section in a move to the dominant for the 2nd subject (bars 71 74)
2nd subject (bar 75 90)
A new theme uses longer note values, with a distinctive minim and dotted quaver figure, leading
to a series of staccato crotchets
The 2nd subject remains in the dominant throughout, clearly in A major, with mostly tonic and
subdominant chords
DEVELOPMENT (bar 91 128)
The development uses elements of the 1st subject and 2nd subject, as per usual classical form, in a
variety of different keys.
Bar 91: The quaver figure from the 2nd subject leads the music into C major
Bar 97: The 2nd subject appears, now in Bb major. It is heard once as a 4-bar phrase, and then
again with the flute 1 and 2 parts answering in imitation
Bar 105: The imitation continues, as the oboes take up the same melody in 3rds, back in C major.
Another 4-bar phrase, answered by a similar 4-bar phrase with extra woodwind counter-melodies
Bar 109: The music moves into Ab major (a change of tonality already seen in the 1st subject),
using the repeated motif from the bridge. After 8 bars, it is fragmented and heard in a more chro-
matic section leading in the end towards D major for the recapitulation
RECAPITULATION (bar 129 224)
1st subject (bars 129 170)
This starts off as per the exposition, with the theme heard for 8 bars on D major, 8 bars on G
major, 5 bars on D major. The move to different key areas then occurs quickly, with a slide (chro-
matically via F# major) to F major (bar 151); then to Bb (bar 155) and A (bar 159)
Taking the same material, the music explores C (bar 163) and Bb (bar 167) before merging into
the material for the next section
Bridge (bars 171 200)
The same crotchet/6-quaver motif is employed, with repeated note figures solidly built upon A7-D
progressions, reaching the tonic again in bar 178
The more melodic motif enters in octave doubling in the high woodwind an 8-bar period with 1
bar link. The music then pushes into A7, to Bb, through C major scales, and back into a perfect
cadence in D major
2nd subject (bars 201 224)
The main theme returns as before, but this time in the tonic (D major). It states the melody for 8
bars in the flutes, and then again in clarinets with oboe imitating
The piece ends with 8 bars of ascending D major scales, gradually building to a climax through
pitch and texture

Music Teacher April 2012 10

 References and further reading
Xian
Xian, Yellow River Piano Concerto, score; Eulenberg 2000/2009

Snow, The Other Side of the River, New York, Random House, 1962

Melvin and Cai, Rhapsody in Red, Algora, 2004

Xian, On National Form in Chinese Music, within Holm, Art and Ideology in Revolutionary China, Oxford, Clar-
endon Press, 1991

Bai, The Historical Development and a Structural Analysis of the Yellow River Piano Concerto, University of
Praetoria, 2006

Prokofiev
There are many comprehensive accounts of Prokofievs history and style, but the following might be good
starting points for this earliest of works:

Prokofiev, Orchestral Anthology, scores; Boosey and Hawkes Masterworks, 1998

Minturn, The music of Sergei Prokofiev, Yale University, 1997

Lee, Masterworks of 20th century music, Routledge 2002

ed. Simpson, The Symphony, Vol 2, Penguin 1967

11 Music Teacher April 2012