CONTENTS INHOUD. Journal of the Department of Music Tydskrif van die Departement Musiek. Volume Editorial/Redaksioneel. Chronicles/Kronieke

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1 Journal of the Department of Music Tydskrif van die Departement Musiek Volume CONTENTS INHOUD Editorial/Redaksioneel 3 Chronicles/Kronieke Of violins, violas and others (2) Music prize and bursary winners during 2001/ Musiekprys- en beurswenners gedurende 2001 Die Vierde Unisa Internasionale Strykerskompetisie Twenty years of International Music Competitions at Unisa Rupert Mayr Stefans Grové John Roos Music Examinations/Musiekeksamens Die 2001 Unisa Suid-Afrikaanse Musiekstudiebeurskompetisie The 2001 Unisa Overseas Music Scholarship Competition Hennie Joubert Merietepryse/Merit Prizes 2001 Roll of Honour of Outstanding Achievers 2001/ Ererol van Uitblinkers 2001 Merit certificates to Music Teachers 2001/ Merietesertifikate aan Musiekonderwysers 2001 Candidates who obtained the Unisa Licentiate in Music in 2001/ Kandidate wat die Unisa Lisensiaat in Musiek in 2001 verwerf het Teaching Aspects/Onderwysaspekte Piano Questions (11)/Klaviervrae (11) Gedagtes oor die skryf van melodieë Slow practising: techniques, processes and strategies Joseph Stanford 90 Paul Loeb van Zuilenburg 95 Graham Fitch 107 1

2 Personalia Profile: Unisa Music Examiner (21) Diane Coutts Ricordare XXX Michael Blake 50 Miriam Makeba 70 Mimi Coertse 70 Lloyd Strauss-Smith 80 Virginia Fortescue 80 Hubert du Plessis 80 Stefans Grové 80 Jan Bouws 100 Victor Hely-Hutchinson 100 Joubero Malherbe Stephanus Muller Riek van Rensburg Barry Smith André Serfontein Edward Aitchison Henk Temmingh Reino Ottermann John Hely-Hutchinson In memoriam Margaretha Johanna Visser Herbst ( ) Artimisio Paganini ( ) Roelof Willem Temmingh ( ) Ian Smith Yonty Solomon Celia Woodland Albert Troskie Reviews/Resensies New music publications/nuwe musiekpublikasies CD reviews/cd-resensies Johann Potgieter Stefans Grové Original composition/oorspronklike komposisie Twee preludes vir klavier Ben Schoeman 173 2

3 Editorial Redaksioneel While I was working on this edition of Musicus we had the privilege of listening to many talented violinists and cellists from all over the world who were taking part in the 4th Unisa International String Competition at the Old Mutual Hall in Pretoria. These young artists enhanced our lives by playing a grand selection from the standard repertoire, interesting lesser-known works as well as specially commissioned South African works. Four South African composers created these compositions: for violin Harvest Moon Eclogues No.1 (Bongani Ndodana) and Tarantula (Thomas Rajna), and for cello Concert Piece (Alan Stephenson) and I Can hear a Swan Sing (Jaco van der Merwe). As usual this issue is primarily devoted to the various prize winners of competitions hosted by Unisa as well as others institutions/organisations. We congratulate them on their success and wish them well for the future. Rupert Mayr continues his series Of violins and others, Graham Fitch expresses his views on slow practising, Joseph Stanford answers piano questions and Paul Loeb van Zuilenburg pens his ideas about melody writing. In the Personalia section tribute is paid to prominent South African music personalties past and present: composers, Victor Hely-Hutchinson, Stefans Grové, Hubert du Plessis, Michael Blake; musicologist, Jan Bouws; singers, Lloyd Strauss-Smith, Miriam Makeba, Mimi Coertse and pianist Virginia Fortescue. Over many decades they have enriched the musical heritage of the country immensely with their diverse talents. Die Unisa Internasionale Musiekkompetisies is vanjaar 20 jaar oud. John Roos skryf oor hierdie gebeurtenis en interessantheidshalwe word al die foto s van die vorige wenners ook gepubliseer. Stefans Grové resenseer nuwe CD s met n Suid- Afrikaanse konnotasie. Die oorspronklike komposisie wat geplaas word, is Twee Preludes vir Klavier deur Ben Schoeman, n eerstejaar musiekstudent aan die Universiteit van Pretoria. The following musicians were born 100 years ago: French composer and organist Maurice Duruflé was born in Louviers on 11 January 1902 and died in Paris on 16 June1986. English composer Sir William Walton was born in Oldham on 29 March 1902 and died in Ischia on 8 March1983. Italian conductor Mario Rossi was born in Rome on 29 March

4 Austrian conductor Joseph Krips was born in Vienna on 8 April 1902 and died in Geneva on 13 October Twenty five years ago: American singer Elvis Presley was born in East Tupelo, MS on 9 January 1935 and died in Memphis on 16 August Geniet die uitgawe! Enjoy this issue! Pierre Boulez leaves his post as Music Director of the New York Philharmonic to become Director of the Institut de Recherche et de Coordination Acoustique/Music (IRCAM) in Paris on 30 May

5 Chronicles Kronieke Of violins, violas and others Aspects of scoring in the symphonic works of the Great Masters (part 2) The Symphonies of Beethoven (1) Rupert Mayr For most of the eighteenth century, orchestral scoring continued along lines established during the late Baroque and early Classical Eras. Concurrent with the development of classical forms, strings assumed a leading position, with competition in woodwind instruments arising only later. For a long time, composers still needed to adjust their scores to available sources rather than follow their own preferences. Thus it was only late in the eighteenth century that scoring technique began to consider and utilise sound qualities specific to the various instruments and instrumental combinations. Once again, as in the days of Monteverdi, operatic demands facilitated experiments and innovations. The sound of cymbals, triangle and side-drum in Mozart s Il Seraglio, for example, immediately suggests an Oriental background. While trombones accompanying the Commander s voice in the Cemetery Scene from Don Giovanni enhance the ghostly atmosphere, the simple duet of clarinets in Cosi fan tutte amusingly portrays the naïvety of the two sisters. Such effects, however, are not restricted to opera but abound in Haydn s Oratorios, where specific instrumental combinations portray the various scenes as, for example, a group of lower strings which accompany the blessing of fish and birds. (Example 1.) Example 1: J Haydn Extract from the Creation No. 16 5

6 Perfectly fitting the particular occasion, a scoring of this type also reflects the growing interest composers took in exploring the full potential of the string section. Still avoiding risky excursions into higher positions, initial attention focused on the lower register of the available spectrum. The separation of cello and double-bass, as witnessed in the later symphonies of Joseph Haydn, merely paved the way for other, farreaching changes Beethoven introduced in his symphonies each of which not only presents a unique solution to aspects of form and style but an equally individual approach to orchestral sound. Disregarding a degree of idiomatic affinity to Mozart and Haydn, even his early symphonies display such idiosyncrasies as a liking for powerful sounds, off-beat sforzandos or sudden changes of mood. At times, technical demands are considerably increased as in this passage from the Finale of Symphony No. 2 which, though not difficult to finger, requires a firm control of bowing movements. (Example 2.) Example 2: Beethoven Symphony No. 2, fourth movement, bars 289 to 294 Equally demanding is the transparent interaction of different lines in the Finale from Symphony no l which needs secure and precise timing. (Example 3.) Example 3: Beethoven Symphony no l, fourth movement, bars 270 to 284 6

7 New ideas show in many details. In the introductory bars of Symphony No. 1, for example, strings are limited to pizzicato chords, while an ensemble of wind instruments secures continuity of sound. (Example 4.) Example 4: Beethoven: Symphony No. 1, first movement, bars 1 to 5 The prominence given to wind instruments in those few bars, continues throughout the work and foreshadows the role wind instruments were to play as an integral part of the compositional texture. Often they echo strings as, for example, in bars 8 to 12 from the same movement. (Example 5.) Example 5: Beethoven Symphony No. 1, first movement, bars 9 to 12 7

8 Combinations of this kind are a favourite device to achieve contrast of sound. They recur also in later works as, for example, in the Finale from Symphony No. 3, with woodwinds echoing the strings in their statement of the first main theme, and as in the Finale from Symphony No. 5, where accelerating echoes by wind instruments facilitate the change from Allegro to Presto. Placed on off-beats they help to confirm an important cadence point or increase expectation as in this extract from Symphony No. 2. (Example 6.) Example 6: Beethoven, Symphony No. 2, first movement, bars 96 to 101 More important than mere echo affects are colour changes within thematically important lines. Occasionally used by Mozart, they are a favourite device of Beethoven s and, among his early works, underlie the subsidiary subject of the first movement from Symphony No. 1 (bars 53ff) (Example 7) and the transition theme of the second movement from Symphony No. 2 (bars 32ff), in both instances their individual phrases being shared by woodwinds and strings. Example 7: Beethoven Symphony No. 1, first movement, bars 50 to 61 8

9 Scoring of this nature culminates in the Scherzo from the same work where sounds differ from bar to bar. (Example 8.) Example 8: Beethoven Symphony No. 2, Scherzo, bars 1 to 16 9

10 Changes of colour often coincide with changes of range. This method is particularly favoured within development sections when a single motif migrates from instrument to instrument, usually in an upwards progression. (Example 9.) Example 9: Beethoven Symphony No. 1, first movement, bars 143 to 148 Woodwind instruments, often together with horns, also play a major role in passages of greater length and, apart from adding extra colour to the overall texture, participate in presenting and developing thematic material. In the first movement from Symphony No. 2, for example, woodwinds introduce the fore-phrase of the subsidiary subject, the after-phrase of which is then taken up by strings. (Example 10.) Example 10: Beethoven Symphony No. 2, first movement, bars 71 to 80 10

11 A similar scoring also underlies the subsidiary subjects of Symphonies Nos 3 and 4. At this stage it is important to note, however, that in both instances clearly phrased periodic themes (often referred to as second subjects ) are preceded by other thematic material already on the new tonal level, but immediately undergoing further development. Symphony No. 3 Together with other innovations, structural changes of this kind make Symphony No. 3 an important landmark in Beethoven s symphonic oeuvre. This symphony also marks a major step in orchestral scoring with wind instruments gaining increasing prominence. Woodwinds, whether as a group or in solo passages, frequently add special colour to the ensemble, often enriching the upper range. They also have their share in introducing and developing thematic material as, for example, early in the first movement, where flute, clarinet and horn continue the gradual unfolding of the main subject, started in the cellos. (Example 11.) Example 11: Beethoven Symphony No. 3, first movement, bars 15 to 21 Following trends mentioned earlier, woodwinds alternating with strings also present the transition subject. A most striking and colourful innovation, however, is the combination of flutes, oboes, bassoons and strings used for the new subject entering at the climax of the development. (Example 12.) 11

12 Example 12: Beethoven Symphony No. 3, first movement, bars 280 to 295 Woodwinds hold an equally prominent position in the second movement by either repeating entire thematic phrases (bars 8 16 and 37 56) or by introducing new melodic lines over a gentle string accompaniment (bars 69 75). In both instances their sound quality introduces a colour which strongly contrasts with that of the strings. While flute passages inevitably brighten and/or soften an existing sound, melodic lines played by the oboe illustrate the ability of that instrument to change its character according to circumstances, at its first entry in bar 8, it continues the subdued, mournful mood of the preceding string passage. In bar 69, as the music changes into the major mode, its sound is equally suitable to introduce a brighter tone. In the early stages of the Scherzo it is also the clear sound of oboe (played staccato) and flute rather than that of first violins which draws attention to the new theme. Wind instruments, led by the first oboe, also introduce the second main theme of the Finale, the individual halves of which are then repeated by the strings. They retain considerable prominence throughout the movement by adding counter-motives or thematic fragments to the polyphonic texture. A particularly interesting passage begins in bar 175 where the first flute joins the strings in their harmonically varied statement of the second main theme. From bar 183 onwards, initially supported only by oboes and first violins, it assumes total prominence, freely con- 12

13 tinuing the same phrase before eventually ending in almost cadenza-like figurations. (Example 13.) Example 13: Beethoven Symphony No. 3, fourth movement, bars 177 to 198 The prominence woodwind instruments enjoy throughout the symphony has a parallel in the growing importance of brass instruments. Horns, in particular, form part of the compositional plan for the entire symphony, a choice that may well have been influenced by their historic connection to heroic figures and legends. Equally important, however, is the triadic structure of several important themes which renders them ideally suitable for the natural range of trumpets and horns. The dissonant horn entry in bars 394/5 of the first movement which anticipates the capitulation, is followed, only a few bars later, by a longer solo by the first horn, now changed to a Horn in F. Horns also open the closing portion of the Coda to announce the final and complete version of the triadic theme, later to be repeated by trumpets. Beethoven s careful attention to detail also shows in the second movement where first and second horn change their 13

14 fundamental to C. This allows them, together with trumpets, to add their power to the C-major climax at bars 96 to101. The third horn, however, remains in E Flat to support the clarinets at the entry of the fugue subject in bar 135, a support all the more important as the entry has to compete with counter-lines in the strings. (Example 14.) Example 14: Beethoven Symphony No.3, second movement, bars 135 to 140 Following the practice of the preceding symphonies, wind instruments dominate the Trio. At this point the inclusion of a third horn finds its ultimate justification as its presence is essential to musical material surprisingly close to traditional hunting fanfares. (Example 15.) Example 15: Beethoven Symphony No. 3, Trio, bars 167 to 176 (horns only) With wind instruments being actively involved throughout the Finale, it is hardly surprising that a wind ensemble also opens the Andante. Yet once again it is left to the horn though combined with clarinets, 14

15 bassoons and lower strings to lend emphatic support to the final statement of the Prometheus Theme which brings the movement to its ultimate climax. Far-reaching changes also occur in the scoring for strings, technical demands on which are considerably increased. Quick scales, triadic and other figuration patterns, wide jumps, articulation ranging from staccato to extended legatos and an equally wide dynamic range with frequent sforzati and other abrupt contrasts abound in practically all parts of the score and require a high degree of agility. The separation of cello and bass, started in Haydn s last symphonies, assumes greater importance from Symphony No. 2 onwards. Here, departing from long-established practice, the principal subject of the first movement enters in cellos and violas with upper strings merely providing a simple accompaniment. The opening bars of Symphony No. 3 go one step further when the cellos introduce the first statement of the main subject. At the same time, the separation of the two parts results in a new awareness for the unique sound produced by powerful entries of the double-basses. Once again it is in Symphony No. 2 where this effect is utilised for the first time: in bars 198 to 203 of the second movement forte and sforzato doublebass entries drastically change the hitherto lyrical mood. (Example 16.) Example 16: Beethoven Symphony No. 2, second movement, bars 197 to

16 In the fugato section of the slow movement from Symphony No. 3, double-basses suddenly joining the strings in bar 126 strongly support the entry of the fourth voice. Later in the movement, double-basses and cellos produce a most powerful effect in their sudden fortissimo entry in bar 158. Its impact is all the greater as it follows a sotto voce passage terminating on a single note. (Example 17.) Example 17: Beethoven Symphony No. 3, second movement, bars 151 to 161 In Beethoven s time the range of the double-bass never went below the low E. Occasional references, in early scores, to notes below this compass are purely erroneous as the composer was fully aware of the existing limitations which he carefully observed. However, in bars 557 to 562 of the first movement, the sound of low notes is essential to the effect of the stepwise descending major chords on D Flat and C respectively. To solve the problem, Beethoven uses a device well known to organists as the acoustic 16- foot, which utilises the difference tone emerging from any simultaneously played fifths in a lower range. (Example 18.) Example 18: Beethoven Symphony No. 3, first movement, bars 557 to 565 (strings only) 16

17 It is, however, the entire ensemble of strings which substantially contributes to the intensification of sound needed to accommodate the equally intensified emotional language. To this end the scoring relies on: (1) An altogether higher dynamic level with extended fortissimo passages and sforzati, often on off-beats. (2) Increased use of higher positions in the parts for first and second violins to utilise the bright sound produced by the e-string. (3) Multiple stops, especially at points of climax. (4) Compositionally motivated, single-beat units allowing for powerful down-bows in fairly quick succession. (5) Contrapuntal textures to increase density of sound. (6) Tremolos in various speeds and contexts. Tremolos, well known as an operatic device, originally entered symphonic music to create a rich, harmonic background to other musical events. At first they merely shortened the time values of slower moving accompaniment patterns but, especially in some of Mozart s later symphonies, also helped to intensify the brilliance of chordal or scalar unisono runs moving towards a cadential point. Adding tremolos to harmonic progression of a more complex nature, not only increases drive and tension but also allows for a degree of dynamic variation. Particularly effective in this respect, is the extended crescendo towards the end of the development (bars ) where an originally syncopated accompaniment pattern in the upper strings changes into a tremolo that gradually increases its dynamic level from piano to fortissimo. The passage is all the more interesting as most of the thematic development takes place in the wind section, an internal balance that, by totally inverting the old tradition, exemplifies Beethoven s drastically innovative approach to orchestral sounds. (Example 19.) Example 19: Beethoven Symphony No. 3, first movement, bars 334 to

18 Equally interesting is the prolonged diminuendo immediately following the point of climax. Once again, wind instruments dominate the scene with strings merely answering the repeated chords and eventually abandoning motivic figuration in favour of single pizzicatos and gentle tremolos to prepare for the recapitulation. Most tremolos use semiquavers. Occasionally, however, the score refers to demisemiquavers as, for example, in the scalar and triadic runs of the Presto section at the end of the symphony. Six-duplet demisemiquaver tremolos occur in bars 76/77 and 98/99 of the second movement. At their first entry they merely increase the effect of a powerful fortissimo preceded by only a short crescendo. At their second entry, however, they follow an extended build-up, doubling the speed of an established triplet-semiquaver pattern. The combination of fast tremolos, multiple stops and upper strings placed in a high position adds great brilliance to the powerful sound of the full wind ensemble and results in one of the major climaxes of the entire symphony. (Example 20.) 18

19 Example 20: Beethoven Symphony No. 3, second movement, bars 94 to 104 (strings only) Sounds of a totally different nature are produced by the quickly moving pianissimo and staccato progressions that occupy a large portion of the Scherzo. The particular effect of this passage includes a slight but inevitable degree of mechanical noise. (Example 21.) Example 21: Beethoven Symphony No. 3, third movement, bars 1 to 9 (strings only) One of the most important innovations, however, is the systematic use of sound qualities specific to the lower strings of the violins as in the Marcia Funebre. Marked sotto voce, using open strings in first and second violins, and short up-beat runs in the basses, the first few bars create a pale, almost expressionless colour. (Example 22a.) 19

20 Example 22a: Beethoven Symphony No. 3, second movement, bars 1 to 8 At the beginning of the second phrase, legato bowing and an increased dynamic level result in the rich and intense sound usually associated with sul g indications. With the gradual move into a higher range, dark sounds give way to the brighter colour of the upper strings. (Example 22b.) Example 22b: Beethoven Symphony No. 3, second movement, bars 17 to 26 20

21 The significance of this scoring can hardly be overestimated. Over and above a general trend that merely reflects the sound consciousness typical of the newly emerging romantic era, it introduces a compositional process that no longer considers musical substance an abstract material to be orchestrated but rather a congruous unit, conceived, from its very beginning, on the basis of its sound. Symphony No. 4 Compared with the revolutionary spirit permeating Symphony No. 3, Symphony No. 4 returns to principles of a classical nature. Its language is lyrical rather than heroic emotional and its scoring favours bright and transparent textures rather than heavy blocks of sound. In many respects, the work stands close to the spirit of Haydn. Apart from the similarity of its slow introduction to that of Haydn s Clock Symphony, it also displays a touch of Haydnesque humour such as the sudden change from a serious to a light-hearted mood at the opening of the first movement, the playful lingering on but a few notes to introduce modulatory passages, the restless drive of the last movement and, in particular, the unexpected stops delaying the final chords. Reminiscences of this kind, however, never detract from the prominence of all the other features commonly associated with Beethoven s personal idiom. Even though suggesting a return to pre-eroica transparency, the scoring abounds in new ideas and combinations. Once again, specific sound qualities play a major role. In the Adagio introduction, for example, wind instruments alternate between sustained and short pianissimo notes, an effect that has its parallel in the changes between pizzicato and legato bowing in the string section. In addition, systematic use is made of differences in texture and range with the dark sound of lower strings finding opposition in the brighter colour created by high-pitched flute and other wind instruments. Moreover, the short, floating sounds, interrupted by moments of silence create a sensation of wide-open space that is further enhanced by low-range entries of celli and double-basses in bars 9/ 10 and 21/22. (Example 23.) Example 23: Beethoven Symphony No. 4, slow introduction, bars 1 to 17 21

22 Contrasts of this kind appear in various places. Early in the development of the first movement, for example, predominantly bright colours briefly give way to a low-pitched pianissimo interlude by first violins and cellos (bars ). Later, the same material underlies one of the most innovative passages of the movement where a diminished seventh chord shared by first and second violins (bars ), leads into an extended and nearly static section (bars ) that eventually terminates with the powerful entry of the recapitulation. Beginning in bar 294 a single melodic line, passed on from violins/violas to cellos, descends over more than four octaves before ascending into an arpeggiated and sustained harmony, a scoring that introduces a typically pianistic device into orchestral idiom. (Example 24.) Example 24: Beethoven Symphony No. 4, first movement, bars 269 to

23 An enharmonic change in bar 302 followed by a progression into an inversion 6/4 chord then leads into an extended passage, the effect of which relies particularly on the prolonged drum-roll supporting the gradual build-up from a sempre pianissimo to the bright fortissimo at the return of the B Flat harmony. 1 Pianistically influenced figures are equally obvious in the Adagio where innovative scoring reaches particular heights. To counteract the slow pace of the melodic progressions, two differently shaped short-phrased accompaniment patterns provide rhythmic continuity and harmonic background. Owing to its strictly retained dotted rhythm, the first pattern also serves as a unifying element of major importance.(example 25a.) Example 25a: Beethoven Symphony No. 4, second movement, bars 1 to 8 The second pattern opens with widely swinging pianistic arpeggios by violins, violas and cellos which, together with offbeat accentuated chords in wind instruments, create a rich and sonorous sound ideally suited to support the modulatory after phrase leading to the Dominant. (Example 25b.) Example 25b: Beethoven Symphony No. 4, second movement, bars 17 to 20 23

24 The passage closes with the first violins dissolving a basically simple melody into a richly embroidered line that subsequently continues in second violins and lower strings, at the same time changing from legato to staccato bowing. (Example 25c.) Example 25c: Beethoven Symphony No. 4, second movement, bars 21 to 24 Even though both the modulation to the dominant key and the entry of a new melodic phrase in the clarinet imply the start of a subsidiary section, the modulatory effect is considerably weakened by an 24

25 arpeggiated diminished seventh chord immediately following the point of cadence and a harmonic vagueness prevailing throughout the clarinet solo. The clarinet, in its progressions towards a second cadence point is accompanied by strings and bassoons which are later joined by the full woodwind ensemble and the horns. The crescendo effect of this passage rests not only on individually increased dynamics but also on a scoring for strings that gradually changes from single pizzicato notes to bowed staccato and an eventual legato. Equally important is the change from an initial three-part texture to the rich and full harmonies of the closing bars. (Example 25d.) Example 25d: Beethoven Symphony No. 4, second movement, bars 25 to 34 25

26 Richly ornamented lines migrating from cellos to violins not only counterbalance the harmonic simplicity of the next few bars but also prepare for the return of the main theme in bar 42, now embroidered in the manner of traditional variation technique. Progressions are interrupted, however, by a development-like insert which begins with a move into darker regions the impact of which rests equally much on a sudden change of mode as on the heavy accents emphasising the stepwise descending progression. To achieve a high intensity of sound, tremolos, including initial octave jumps, are added to violas, cellos and eventually also to violins. If not erroneous, a division in bar 53/54 extending the double-basses beyond their normal compass, is an adjustment from later times. (Example 26.) Example 26a: Beethoven Symphony No. 4, second movement, bars 51 to 56 First and second violins then lead into a free and colourful passage with pianissimo strings accompanying a sequence of solos by high-pitched bassoon, clarinet, double-basses and a final combination of two horns and timpani which prepares for the return of the main theme. (Example 33.) 26

27 Example 26b: Beethoven Symphony No. 4, second movement, bars 57 to 65 The richly ornamented lines first introduced in bar 34 return in bar 89, closing the recapitulation. However, they depart from the model of the exposition, however, and continue for three more bars, though in a downward direction and over a static harmonic basis. This not only results in an arch-like symmetry, but also allows for a quite unique scoring that, in addition to inevitable changes of instrumental colour also utilises the spatial effect created by the interaction of differently placed instrumental groups. (Example 27.) Example 27: Beethoven Symphony No. 4, second movement, bars 92 to 98 27

28 After a short reference to the main theme, figurative play continues with a hoquetus-like succession of horn, violin, clarinet and flute that terminates in a great climax by the full orchestra. A short drum solo finally prepares for the closing chords. Throughout the Scherzo, wind instruments occupy an important position by frequently alternating with strings and/or participating in the development of short motifs. Once again, they dominate the Trio. Owing to their flexibility, strings hold the leading position in the final moto perpetuo. The quick pace, in turn, substantially increases demands on intonation, agility and precision of ensemble, particularly in unisono passages that also involve the lower strings. Wind instruments, nevertheless, play an important role by adding complimentary phrases, introducing episodic material and providing harmonic background. In addition and following common practice, bassoons occasionally double the bass-line. Throughout the movement, the score pays careful attention to string-specific aspects affecting the actual sound. In bar 12, for example, initial detached bowing, essential for precise semiquaver figurations, gives way to legato phrasing to achieve the gentle sound associated with the lyrical mood of the newly entering melodic line in first violins and woodwinds. Colour contrasts, coupled to contrasts in range, once again appear in various places of the movement. The dark sounds produced by strings in bars 66 to 69, for example, find immediate contrast in the bright and high-pitched sounds of the ensuing bars.(example 28.) Example 28: Beethoven Symphony No. 4, fourth movement, bars 67 to 73 28