Twentieth century Ostinato

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debussy, des pas sur la neige



of major classical composers of twentieth century, stravinsky possibly 1 associated practice of ostinato. in conversation composer, friend , colleague robert craft remarked “your music has element of repetition, of ostinato. function of ostinato?” stravinsky replied; “it static – is, anti-development; , need contradiction development.” stravinsky particularly skilled @ using ostinatos confound rather confirm rhythmic expectations. in first of 3 pieces string quartet, stravinsky sets 3 repeated patterns, overlap 1 , never coincide. here rigid pattern of (3+2+2/4) bars laid on strictly recurring twenty-three-beat tune (the bars being marked cello ostinato), changing relationship governed pre-compositional scheme. “the rhythmical current running through music binds these curious mosaic-like pieces.” subtler metrical conflict can found in final section of stravinsky’s symphony of psalms. choir sing melody in triple time, while bass instruments in orchestra play 4-beat ostinato against this. “this built on ostinato bass (harp, 2 pianos , timpani) moving in fourths pendulum.








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