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BATTALIA for Band by Heinrich Ignaz Franz Biber (1644-1704) written in 1673 is edited by Joel Blahník. An excursion into sound effects with "Bartok snap bass" and paper over the Contrabass strings to imitate the snare effect of Drums. An incredible 8-movement battle descriptive "tour de force" from Central Europe, employing many innovative sound devices, including polytonality and col legno. Perhaps Biber's most "inventive" work! A popular University of Wisconsin String Workshop classic for years. It has been on the WSMA class A list and recorded many times. Incredibly imaginative! String Orchestra. Score. Grade: 5 Duration: 9:30
Performance Guide is available in Resources Product Tab
Battalia (Battalia_for_strings.pdf, 314 Kb) [Download]
TEACHER RESOURCE GUIDE
UNIT 1: Composer
UNIT 2: Composition
UNIT 3: Historical Perspective
UNIT 4: Technical Considerations
UNIT 5: Stylistic Considerations
UNIT 6: Musical Elements
With the notable exception of movement 2, the harmonic and metrical structure of Battalia is rather traditional: key of D major and common or 3/4 time. In movement 2, however, Biber fugally introduces eight folk songs simultaneously sounding in multiple keys with two meters in nine voices. The songs represent the various ethnic groups forming the armies and the resulting din allegorically implies the cancellation of identity in the chaos of war.
UNIT 7: Form and Structure
2. The Profligate Society of Common Humour
Song 1 - M. 1 - D major “Cabbage and Beets” – third violin section. J. S. Bach later uses the same melody in the Goldberg Variations.
Song 2 - M. 2 - D Dorian—first violins
Song 3 - M. 3 - C major-—second violins
Song 4 - M. 4 - D major—second violas
Song 5 - M. 5 - D major—-second cellos
Song 6 - M. 6 - D major is 12/8—first violins
Song 7 - M. 7 - G major with ascending passing tone C-Sharps—second and third cellos
Song 8 - M. 8 - E-harmonic minor—double basses
3. Allegro
A one and one-half measure melody in the first violins is played f over I-IV 6-V accompaniment then repeated p. In m. 4 the melody is lengthened to two full measures, again first f then repeated p, Though not marked, consider using left hand pizzicato on the open E and A eighth-note passages for a cleaner articulation as well as a more impressive visual presentation.
4. The March
A virtuoso solo violin flourish provides a fife-like part. The bass imitates a drum effect through a cadence style rhythm played in the open A string while a piece of paper is woven under the A string and over the E and D string imitating a buzzing snare drum sound. This eleven measure duet repeats.
5. Presto
An unnamed Renaissance dance in triple meter follows the battle march. Biber’s irony is apparent while the soldiers are marching to war, the aristocracy throws a gala ball, possible to celebrate the impending victory. Social dances were typically danced by one couple at a time, with the other guests around the sides of the room. The people of highest rank sit at one end of the room and the dance was directed towards them. Presto has the feel of the lively galliard, volte, popular with the young and agile dancers because of the turning and lifting of the girls by their partners on count five.
A four bar f lyrical antecedent phrase is followed, in contrast, by a four-bar p staccato consequent phrase leading to several canonic entrances of the lyrical theme, two more statements of the contrasting staccato theme and a closing cadence where the rhythmic pulse shifts, in Renaissance style, from half note/quarter note quarter note/half note. The entire dance repeats.
6. Aria
Binary form: A — ms. 5 ends of a half cadence; repeats.
B — ms. 6 begins in dominant key; modulates back to tonic; repeats.
This Baroque Aria lends itself to ornamentation. As a start, consider adding a trill to each dotted eighth note.
7. The Battle
In characteristic battle music fashion, repeated 16th notes create a fury of sound. The melody, similar to movement 1, is stated in tertian harmony by the violins. The double bassists snap pizzicato against the fingerboard to imitate the sound of cannon. Homophonic 16th notes bring The Battle to rousing conclusion. This twelve-bar movement repeats.
8. The Lament of the Wounded
Biber’s Lament does not fit a standard musical form, but probably draws its material from 17th - century opera. A three note, static, motive occurs canonically throughout the piece as if to emulate double bass and cello countermelodies move chromatically. The piece descends by semitones to its final resting note. For dramatic effect, consider using a same finger shift under the slurred Limiting the use of vibrato, especially on the last note, will add to the somber mood.
Contributed by:
Kirk D. Moss
Assistant Professor of Music Education Valdosta State University
Valdosta, Georgia
Reproduced with permission from GIA Publications, Chicago, IL from Teaching Music through Performance in Orchestra, volume 2, compiled and edited by David Littrell © 2003, pp. 344-349.