The Firebird

An analysis of the orchestration

The post-Wagnerian era, opened up tremendous opportunities to composers of the twentieth

century. From composing extremely long hours of music to inventing new orchestral techniques,
which included the placement of the orchestral musicians into the pit away from the opera singers,
and also the famous Wagnerian Tuba1, Wagner opened doors to new redefining thoughts, innovative
and artistically creative, which freed composers from an already existing norm. Further importance
was given to agogics, dynamics and timbre as opposed to the conventional melodic, harmonic and
rhythmic features of a muical norm. Debussy especially, responded to sensual properties of
instrumental sound2. In his works such as Prlude l'aprs-midi d'un faune (1894), Nocturnes
(1899) and Nuages (1899) he presents characteristics from Wagner (such as string distributions
from Lohengrin) as well as representing an absence of melodic, harmonic or rhythmic purpose
(through long moving chords). According to The New Grove Dictionary of Muic and Musicians3,

Debussy's later orchestral works are notable less for their colouristic innovations than for
their elaboration of the figurational role of each instrument - an interest which may have
come to him from the Russians in general and from Rimsky-Korsakov in particular

When Stravinsky was born in 1882, one could say that he was born into a time of transition, if
especially, in Russia. 'The Five' had already led onto Russian Nationalism during the years from
1856-1870, producing a very strong Russian sound through their compositions. Wagner died in
1883, after composing his thought-breaking works of art such as Der Ring des Nibelungen (1876),
Lohengrin (1850), Tristan and Isolde (1865), and Die Walkuere (1862). Tchaikovsky composed
Swan Lake in 1875 and his Nutcracker Suite in 1892. One could imagine a young Stravinsky,
brought up in a Bourgeois Russian home, listening to the above composers and growing amidst
ideas of Russian Nationalism4. Meanwhile, new compositional techniques were starting to be
explored around the Globe. In USA, Charles Ives explored 'polyrhythm, polytonality, free
dissonance, chance and collage effects, and spatial music' 5(The Unsanswered Question and Central
1 Strong, E.R: Wagner the Innovator (1997-2009) URL: http://www.bikwil.com/Vintage10/Wagner-Innovator.html
2 Holoman, D. K.: Instrumentation and Orchestration, 4: 19th century, ed. S.Sadie and J.Tyrrell: The New Grove
Dictionary of Music and Musicians, Vol.12, 2. Ed. 2001, p. 414.
3 See Holoman, D.K., supra note 2.
4 Noble, J.: Stravinsky, Igor: 1: Up to 1910, ed. Sadie: The New Grove Dictionary of Music and Musicians, Vol.18,
1. Ed. 1980, p. 242.
5 Swafford, J: A Question is Better than an Answer (2011) URL: http://www.charlesives.org/ives_essay/

Philips 12. March 2013 1

Park in the Dark (1906)). Discord and atonality were explored by composers such as Mahler (the
unfinished symphony) in the same year as that of The Firebird. Metric irregularity was explored in
Mahler's Symphony no.8 (1906) and Mahler's 6th symphony (1903) also explored percussiveness6

But it took Stravinsky, to combine them all into one form. As his first major commission to write a
large piece of work, instilled by Diaghilev, a visionary who encouraged revolutionary thoughts, and
pushed by the twentieth century's urgent compulsion, Stravinsky was able to bring it all together in
his first major piece of work: The Firebird. Along with the other two ballets which belong to
Stravinsky's 'Russian Ballet' phase, these can be considered as some of the most powerful in terms
of orchestration and sound, if not, throughout the history of music. According to Scherliess, 7what
characterises Stravinsky's orchestration most importantly is the importance he gives to individual
instruments. His charming and unconventional combiations of instruments with detailed dynamics
and extended techniques creates not only a different dynamic scale but also exhibits a very different
sound colour. He also often uses virtuosic instrumental techniques such as the harmonics on open
strings in the introduction, sul ponticello and col legno in strings, rapidly repeated notes as opposed
to flutter tonguing in woodwinds, and arresting stopped horns.8

This essay will focus on the vibrant orchestration of The Firebird, influences on Stravinsky's
thought process during the composition as far as orchestration is concerned, his use of the orchestra
as one major organism through juxtaposition of microensembles and other techniques of
orchestration that make this piece sound so different. The Firebird has been called as a 'Thesaurus
of current styles'9 in that it has been influenced by several composers and compositional techniqes.
In this work, it is possible for one to see Stravinsky's attempt at finding himself and his sound.

In this section we will look at some of the composers who influenced Stravinsky in his
orchestration. The influence of composers such as Debussy (Nuances and La Mer especially in the
orchestration of the string section) and Mussorgsky (Song of the Flea) on The Firebird is not
unknown to musicologists. However, in this essay the three chosen composers include: Rimsky-
Korsakov, Tchaikovsky and Balakirev, as an attempt to present their unexplored connections to
Stravinsky's orchestration.

6 Barnett, R: Stravinsky (1882-1971) The Rite of Spring (1997) URL: http://www.musicweb-

international.com/Programme_Notes/strav_sacre.htm
7 Scherliess, V.: Igor Strawinsky und seine Zeit. Chapter Instrumentation (pp. 205-235), Laaber 1983, pp. 205, 209.
8 Diamond, J: Theory of Music-Stravinsky, unpublished article
9 Noble, J.: Stravinsky, Igor: 1: Up to 1910, ed. Sadie: The New Grove Dictionary of Music and Musicians, Vol.18,
1. Ed. 1980, p. 242.

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Rimsky-Korsakov

While composing The Firebird in 1910, Stravinsky's influencial teacher Rimsky-Korsakov had been
dead only for two years. Stravinsky, with his orchestration lessons still fresh in mind, offers a strong
insight into Rimsky-Korsakov's orchestration lessons through the composition of The Firebird. In
his Principles of Orchestration by Rimsky-Korsakov, he explains in detail the sound timbre of
each and every instrument and the mood character they produce when used in solo, combination or
in different tone structures. The work deals with,

the combination of instruments in separate groups and in the entire orchestral scheme, the
different means of producing strength of tone and unity of structure; the subdivision of parts;
variety of colour and expression in scoring [...] the whole, principally from the standpoint of
dramatic music.10

Rimsky-Korsakov's orchestration instructions varied from those of Berlioz (Berlioz's Treatise upon
Modern Instrumentation and Orchestration) or earlier composers especially in the sense that he
provided a much more holistic approach to orchestration. It deals much with the combinations of
instruments and how best to combine them to achieve a particular sound. Some citations from the
book are:

The relationship which exists between string harmonics and the flute or piccolo constitutes
a link between the two groups in the upper range of the orchestra. Moreover the timbre of
the viola may be vaguely compared to the middle register of the bassoon and the lowest
compass of the clarinet; hence, in the medium orchestral range, a point of contact is
established between the quartet of the strings and the wood-wind.11

The influence of the timbre of one group on another is noticeable when the groups are
doubled; for instance, when the wood-wind timbre is closely allied to the strings on the one
hand, and to the brass on the other. Re-inforcing both, the wind thickens the strings and
softens the brass. The strings do not blend so well with the brass, and when the two groups

10 Rimsky-Korsakov, N.: Principles of Orchestration. Extract from the Preface to the last edition, New Tork: Dover,
1964, p. 5.
11 Rimsky-Korsakov, N.: Principles of Orchestration. Chapter: Comparison of resonance in orchestral groups and
combinations of different tone qualities, New York: Dover, 1964, p.34.

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 are placed side by side, each is heard too distinctly. The combination of the three different
timbres in unison produces a rich, mellow and coherent tone12
(Further discussed on page 6 with an example from Dance of the Firebird.)

In Rimsky-Korsakov's last opera, The Golden Cockerel (1906-1907), apart from distinguishing the
reality from the magical world through diatonicism and chromatisicm respectively, he also uses
noticeable orchestration to bring about this difference.13 Stravinsky also uses this technique to
differenciate between the unreal world of Katchei, the magical Firebird and the real world of the
prince and princesses. The magical world is considerably notated through bright colourful sounds,
such as those of the harp and celesta alongside chromatic harmony. The reality is orchestrated
conventionally besides using diatonic harmony. Taking the excerpt shown below from The Golden
Cockerel, we look at the differences in orchestration between the two worlds. Example A(a) shows
the real world of King Dodon (King Dodon's Monologue, Act I) with conventional diatonicism and
orchestration, and Example A(b) shows the Epilogue (Act III) with a contrasting tonal theme
orchestrated to piccolo flute, flute, oboe, campanelli and harp (both excerpts are the opening bars).
This type of similar orchestration is also found to be employed in The Firebird. In the Princesses'
Round Dance, Stravinsky employs a very conventional orchestration method (Example B(a)). A
beautiful theme is carried by the woodwinds, with the string section playing their traditional role of
accompaniment. The prince and princesses dance the traditional Russian Khorovod to this sound
which marks a strong difference from the setting of the unreal world. A contrasting setting of the
orchestra can be found in several instances in the score, such as the Enchanted Garden of Katchei,
Dance of the Firebird, Arrival of Katchei's subjects and so on. Shown in Example B(b) is an excerpt
from The Enchanted Garden of Katchei which employs extended techniques such as sul ponticello
in the strings and chromatic thematic fragments in celesta and harp. String flautando is played here
in combination with harp and celesta providing a strong blend between the two instrumental groups.
The tonality is rather chromatic and differ noticeably from that of the Khorovod.

Stravinsky also supposedly employs some of Korsakov's very own musical material and
orchestration. One could presumably analyse that he picks them out in fragments, builds them
through detailed juxtaposition of micro ensembles and larger ensembles, using orchestration as a
means of coherence. As an example, we analyse the Dance of the Firebird with reference to a theme

12 See Rimsky-Korsakov, N.: Principles of Orchestration. Chapter: Comparison of resonance in orchestral groups and
combination of different tone qualities, New York: Dover, 1964, p.33.
13 Noble, J.: Stravinsky, Igor: 1: Up to 1910, ed. Sadie: The New Grove Dictionary of Music and Musicians, Vol.18,
1. Ed. 1980, p. 243.

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from The Golden Cockerel. In Example C, we look at the triplet figure semi-quaver theme, fourth
bar from figure 61 orchestrated to piccolo flute and flute. First played in unison, the same theme is
spread between the piccolo flute and flute immediately one after the other that it sounds like one
continuous flute, nevertheless displaying an interesting sound timbre. The theme is also juxtaposed
together shortly before figure 64.

In Example D, we find a very similar theme almost throughout the Dance of the Firebird. Here, the
same principle of juxtaposition can be found but on a much higher level. It is not an unknown fact
that Stravinsky tried to out-do Rimsky-Korsakov in his orchestration. The basic music material is
juxtaposed within the wood wind ensemble in such a concoction that it is difficult to differenciate
between the separate instruments. A similar triplet figure theme can be seen juxtaposed in a similar
way between the flute and piccolo flute at figure 18. A variation of the figure is found later in the
oboe and clarinet piccolo in demi-semi quaver notes. In the following page, the flute starts with the
triplet figures, imediately followed by a realted chromatic theme on the oboe, juxtaposed on top
ofthe clarinet piccolo trill. This is then immediately followed by a similar theme in the flutes,
orchestrated on top of a long bassoon note. So virtuosic was Stravinsky's orchestration that through
this continuous, immediate and close juxtaposition of this micro wood wind ensemble, he created
one large wood wind ensemble, ranging from the low register of the clarinet piccolo to the high
register of the piccolo. According to Jonathan Diamond, this can be called as Synthesis.

The result of Synthesis is that contrasting elements are brought into increasingly close
relationships with each other, assimilating contrasting rthythms, contrapunctal melodies or
harmonies to the point that they work as a unified whole 12

This material is then connected to the string section (another largely juxtaposed section) through
basic rhythmic and harmonic material, and conituing fluctuating dynamics, thus providing
coherence. The harp and celesta, treated together as a micro ensemble fuctions as a further aid,
connecting the two ensembles, not only by using the same material as the string ensemble but also
through its sound timbre, which is more detached than the string ensemble (therefore connecting it
to the wind section), and more yielding than the wind ensemble (hence connecting it to the string
ensemble). Furthermore, the very detailed instructions and articulations provide additional
coherence, connecting the various sections. The string section often plays pizzicato, harmonics,
spiccato and trills which share wind characteristics. Pizzicato and harmonics also connect to the

12 Diamond, J: Theory of Music-Stravinsky, unpublished article.

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sound timbre of the harp and celesta. One can imagine, how to the trained ears of the regular
concert-goer of the early 1900s, this sound timbre must have been rather unforseen, astounding or
even perplexing or upsetting.

Tchaikovsky

Tchaikovsky's influence13 on The Firebird in both orchestration and harmony can clearly be seen in
the Scherzo of The Firebird. The excerpt below is from Dance of the Merlitons from Tchaikovsky's
Nutcracker Suite. When Stravinsky seems to take materials from other composers, he always seems
to take them as minute fragments. He then builds up on this small idea with a completely different
approach to orchestration and makes it entirely different. As discussed above, the material which I
have speculated that Stravinsky has taken from Rimsky-Korsakov, is a rather simple triplet figure.
This kind of borrowing can be seen again between Tchaikovsky and Stravinsky. At example E(a),
we look at basic thematic materials from the Nutcracker Suite. Two materials are to be taken into
consideration. One, the opening theme of the two flutes.

Theme from Example E(a)

Two: This small theme attributed to the violins at bar 10:

13 Noble, J.: Stravinsky, Igor: Up to 1910, ed. Sadie: The New Grove Dictionary of Music and Musicians, Vol.18, 1.
Ed. 1980, p.243.

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While Tchaikovsky orchestrates them conventionally to three flutes, Stravinsky disperses the theme
amongst the entire orchestra (flute, oboe, clarinet piccolo, clarinet and bassoon) using his
juxtaposition technique (figure 56, Example E(b)). He nevertheless, holds on to the violin theme
shown above, but uses it more extensively than Tchaikovsky (figure 57).

Here is a melody that Tchaikovsky attributes to the Cor Anglais (figure A in Example E(a))

A rather similar theme can also be found in the Scherzo, although more chromatic, in the clarinets at
figure 60

The orchestration of both the composers also differ in the sense of the employment of the motor
figures which drive the music forward. Tchaikovsky's Dance of the Merlitons has an almost
constant motor figure which are the quaver notes played pizzicato in the string section. Stravinsky's
motor figure (appearing initially as semi quaver notes on the string section at figure 56) is not
something one can identify on an islolated instrument or an instrumental section. It is spread and
dispersed across the entire orchestra in fragments. When performed, it sounds as a unified whole
with the theme and the motor all running across each other, proving the holistic approach to
orchestration taught so religiously by Rimsky-Korsakov.

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Balakirev

Balakirev's influence14 on The Firebird is evident at its very beginning. Tamara (1867-1882), one of
Balakirev's best known works especially for orientalism, is characterised through very slow moving
melodies and changing harmonies with noticeable ornamentation. The orchestration is particularly
interesting, in the sense that it starts with a rather transparent orchestration, over perpetually moving
ostinato figures15 mainly in the strings, also later shared with wood winds. It then builds up over
slow moving melodies exploring various combinations of instrumental sound timbre. This piece
also shows where Rimsky-Korsakov might have taken his ideas for the melodies in one of his most
well-known pieces, Scheherazade (1888).
Taking a look at Example H(a) and H(b), we compare the opening bars of both the pieces. Both the
composers employ ostinato figures in strings as well as a tremolando figure in percussion. Balakirev
uses this combination from time to time in Tamara whereas Stravinsky's employment of this
combination is evident only in the Introduction.
Balakirev also uses light instrumental combinations such as the harp, strings and woodwinds, and at
the end of most of the passages, harp harmonics along with long woodwind chords. This type of
light orchestration, much different from the orchestration of the Dance of the Firebird (employing
the juxtaposition technique) is found in the Lullaby of The Firebird. Example I(a) is an excerpt
from the Lullaby, where we find the rather 'Balakirevian' orchestral combination of harp,
woodwinds and strings. Stravinsky here, uses the bassoons and oboes for the melody on top of an
accompaniment played by harp harmonics and pianissimo strings, not far in its orchestration from
Example I(b), an excerpt from Tamara. Here, Balakirev also employs a harp accompaniment figure
(and pizzicato strings), topped by a theme played initially by clarinets, bassoons and flutes, later
taken up by the violas, then celli and finally the violins.

14 Noble, J.: Stravinsky, Igor: 1: Up to 1910, ed. Sadie: The New Grove Dictionary of Music and Musicians, Vol.18,
1. Ed. 1980, p. 243.
15 Wikipedia, Keyword Mily Balakirev, Last accessed: 12-03-2013, URL:
http://en.wikipedia.org/wiki/Mily_Balakirev

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Orchestration Techniques
This section will focus on the different techniques of orchestration unique to Stravinsky.

Note Association/ Orchestration as Leitmotiv16:

Stravinksy often uses orchestration as a means to remind us of a particular character or an instant.

At times, he does not use the same instrumentation, he uses a combination of a group of instruments
which remind us of an already mentioned instrument before. The struggle of the Firebird is for
instance, shown by an accented sf > pp played by horns, depicting stopping of the horns using the
right arm, a technique invented by Wagner17. This motiv is especially evident in the Capture of the
Firebird by Prince Ivan, when the Firebird struggles to gain freedom (Example J)

Another instance is where the Firebird presents to Ivan Tsarevich one of her feathers (Supplication
of the Firebird), which he may use in an urgent situation. Here, the presentation of the feather is
orchestrated for a very bright set of oboe, clarinet piccolo, clarinet (all staccato) and string pizzicato
(Example K(a) before figure 42)This recurs before the Infernal Dance when Ivan Tsarevic summons
the Firebird. Here, the same theme is orchestrated for a much richer orchestra. However, the theme
stands out in the triangle, celesta, harp, the staccato quavers in the woodwinds and the pizzicato
strings, which creates a similar sound colour (Example K(b))

Expression of physical gestures through purely musical terms 18

Much of the orhestration and arrangement is related to the ballet choreography and composed with
this in mind. Stravinksy pushes this principle to the extend that he magnifies the music-
choreographic relationship with over literal composition of the music. An example can be found in
the dialogue between Katchei and Prince Ivan. In Example L, at figure 110, is a theme played by
stopped horns and muted trombones. For the choreography part, here appears no dance movements
but rather something of a theatrical scene where Katchei appears to challenge and question Prince
Ivan, gesturing with his arms to move precisely in rhythm to the theme at figure 110. Katchei
continues to challenge him and lures Prince Ivan through the theme which follows, played by
brassy (cuivr ) horns, clarinet, clarinet piccolo and bass clarinet. To Prince Ivan's indifferent
attitude, the evil Katchei demands him to kneel before him, supported by a sf chord at figure 111,
16 See Diamond, supra note 12.
17 Scherliess, V.: Igor Strawinsky und seine Zeit. Chapter: Instrumentation (pp.205-235), Laaber 1983, p.209.
18 See Diamond, supra note 12.

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orchestrated to horns, trombones, tuba, bass drum, and pizzicato in the lower strings. This sort of
expression of physical gestures through purely musical terms continues until the Intercession of the
Princesses, and dance movements slowly resume, although always combined with over literal
composition of music-choreographic motives and instrumentation.

Percussive quality of the orchestration

One of the major characteristics with which one identifies Stravinsky and his unique sound
(especially of the Russian Ballet period), is the percussive character of the orchestration. Although
this trait of Stravinsky is best developed in The Rite of Spring19, early tendency towards
percussiveness are evident in his earlier compositions. In The Firebird, this is particularly evident in
the Infernal Dance of Katchei. Example M is an excerpt taken from this scene. Here, the
orchestration is extremely detailed with extensive instructions. Every note is accented in the
trombones, leading to a unison sfff chord and pizzicato in the strings. In figure 138, the percussive
unison chords play for an entire bar in fortissimo followed by sff rhythmic theme on oboe, cor
anglais on top of fff trombones and tuba. In figure 137, the harps are also assigned the
unconventional role of behaving as a percussion instrument on top of strings performing harmonics.
According to Scherliess, Stravinsky's love for a specific type of sound production and
unconventional instruments leads him to employ the melodic instruments in an orchestra as
percussive instruments, such as the string section portrayed in the example.

Rapid juxtaposing within ensembles and microensembles 20

Refer to page 6.

The Firebird is indeed an important work of study towards Stravinsky's originality and unique
sound. It offers us an insight into the making of the genius he was, and is almost a reference work of
the several composers he admired and studied. Marking the beginning of his career and paving the
way towards the varied sound of twentieth century, The Firebird stands today as one of the most
important pieces in the history of western classical music.

19 Scherliess, V.: Igor Strawinsky und seine Zeit. Chapter: Instrumentation (pp. 205-235), Laaber, 1983, p.207.
20 See Diamond, supra note 12.

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http://imslp.org/wiki/Tamara_(Balakirev,_Mily) (Last accessed: 12-03-2013)

Barnett, Rob: Stravinsky (1882-1971) The Rite of Spring (1997) URL: http://www.musicweb-
international.com/Programme_Notes/strav_sacre.htm (Last accessed: 12-03-2013)

Diamond, Jonathan: Theory of Music-Stravinsky, unpublished article.

Noble, Jeremy: Stravinsky, Igor: 1: Up to 1910 (pp. ), ed. Sadie: The New Grove Dictionary of
Music and Musicians, 1. Ed. Vol.18 (London, 1980)

Rimsky-Korsakov, Nikolai: Principles of Orchestration, ed. Maximilian Steinberg; trans. Edward

Agate (New York: Dover, 1964)

Rimsky-Korsakov, Nikolay: The Golden Cockerel (opera): Moscow: P.Jurgenson, n.d, 1908. Plate
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(Last accessed: 12-03-2013)

Scherliess, Volker: Igor Strawinsky und seine Zeit, (Laaber, 1983)

Stravinsky, Igor: The Firebird (Complete Ballet): Moscow (Muzyka): Dover Publications, 1987:
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Strong, E.Roy: Wagner the Innovator (1997-2009) URL: http://www.bikwil.com/Vintage10/Wagner-

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Swafford, Jan: A Question is Better than an Answer (2011) URL: http://www.charlesives.org/ives_essay/

(Last accessed: 12-03-2013)

Tchaikovsky, Pyotr: The Nutcracker (Suite), Op.71a: Moscow: P. Jurgenson, n.d, 1892. Plate 17668:
URL: http://imslp.org/wiki/The_Nutcracker_(suite),_Op.71a_(Tchaikovsky,_Pyotr) (Last
accessed: 12-03-2013)

Wikipedia, Keyword Mily Balakirev, Last accessed: 12-03-2013, URL:

http://en.wikipedia.org/wiki/Mily_Balakirev

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