Tchaikovsky | Romeo and Juliet

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Tchaikovsky, Pyotr | Romeo and Juliet (overture-fantasia), TH 42 (1880)

Performed by: Conductor: Valery Gergiev. Mariinsky (Kirov) Theatre Orchestra, St Petersburg

All Movements

0:00 - Introduction: Andante non tanto Quasi Moderato
5:52 - Exposition: Allegro giusto
7:59 - Love Theme
11:28 - Development
13:36 - Recapitulation
17:38 - Coda: Funeral Theme

Highlights

Learn about the orchestration

Love Theme, 1st orchestration: Doubling at unison, a registral coupling, is a frequently used technique in orchestral arrangements. This method, which combines instruments and registers, often produces some of the most exquisite sounds. For instance, in Tchaikovsky's "Romeo and Juliet," as shown at the 8:00 mark, the English horn and muted viola are played at the same pitch and in rhythmic unison. This creates a beautiful two-instrument coupling on the same functional voice.

Love Theme, 2nd orchestration: In the second orchestration of the love theme (as shown at the 9:10 mark), the opening features both flutes and oboes playing in tandem octaves, establishing a registral octave coupling. By the second measure, the flutes diverge into separate octaves, mirrored by the oboes, thus forming a multi-unison octave coupling. This arrangement positions the first flute and oboe in the upper octave (upper registral voice), while the second flute and second oboe occupy the lower octave (lower registral voice), resulting in a distinctive, augmented flute timbre, enriched by oboe's contribution to the overall timbre. This orchestration is maintained by Tchaikovsky through most of the theme, with occasional unisons. The theme's final rendition (at 9:59), however, introduces a slight variation: the two clarinets align with the two oboes in unison, supporting the lower registral voice, while the two flutes maintain the upper registral voice. This setup soon transitions to another multi-unison octave coupling, where the two flutes and first oboe are in the upper register, and the second oboe with the two clarinets in the lower. While the overarching augmented flute timbre persists, the accompanying or embellishing timbre undergoes a subtle shift in quality.

More moments

Forsyth (p. 430)highlights an example from the conclusion of Tchaikovsky's Romeo and Juliet Overture, showcasing the uncommon unison doubling of bassoon, violins, and cellos (as shown at the 17:44 mark). This unison is accompanied by a pedal texture that includes a timpani ostinato, a sustained tuba note, and pizzicato double basses.