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John Case
MUS 344
Curricular/Conceptual Analysis of the Score: Elsa’s Procession to the Cathedral
Broad Description
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Originally from the opera Lohengrin
Arrangement by Cailliet is a major work for wind band
Type/Genre Label
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Opera
Romantic Period
Background Information
Elsa’s Procession to the Cathedral is from the opera Lohengrin by Richard Wagner.
Conception of the opera began around 1841, with a full score written out by 1848, while he was
employed as Kapellmeister in Dresden. Lohengrin is the last work by Wagner to be considered
an opera before he began writing works as “music dramas,” his own genre with which he sought
to correct the errors of opera. The first performance of the work was in 1850 under the direction
of Liszt in Weimar, with Wagner himself unable to attend due to being in exile in Switzerland.
Additional Instrumental Information
Wagner originally wrote the music for two solo voices, a double chorus, and an orchestra.
In Cailliet’s arrangement for wind band, all of these parts are accounted for. The solo
instrumentation from the original score is paralleled in Cailliet’s arrangement, with added cues
incase solo instruments are missing from the ensemble. As a lyrical work, nothing in the score is
technically demanding. Solo parts are written for flute, oboe, clarinet, and horn.
Elements of Music
Form
Elsa’s procession to the Cathedral is in ternary form, outlined ABA’ with a codetta.
Within the A and A’ sections, there are smaller subsections, labeled a and b. The B section is
also further divided into c trans. c trans. d.
Rhythm
Most of the rhythms found throughout the score are very simple. The most complicated
are dotted eighth sixteenth rhythms and grace notes notating turns. There are also instances of
tied notes, usually as longer notes tied to eighth notes, and syncopated rhythms.
Melody
There are four main melodies heard in the piece, and they coincide with the small letter
labels of the form. All melodies are of a major tonality, and they consist of both leaps and
stepwise motion. Lines also have stepwise chromaticism throughout.
John Case
MUS 344
Harmony
The piece begins in E flat major, and it momentarily modulates to E major in for part of
the B section before returning to E flat. Because of the slow, lyrical nature of the piece there are
many instances of dissonance heard in the passing tones of the melody. This is most obviously
heard in the b sections.
Timbre
A number of different timbres and timbre combinations are used throughout the piece. It
starts off with a high, thinly scored woodwind sound. Lower woodwinds and horns are added,
and the low brass enter right before the B section. Cornets do not enter until the modulation to E
major, and trumpets do not enter until the modulation back to E flat. By the time the A’ section
arrives, all winds are playing, and snare drum, bass drum, and cymbals are not heard until the
last eleven measures of the piece.
Texture
The overall texture of the piece is polyphonic. There always seems to be some sort of
countermelody or moving line playing under the main melody. The texture starts out very thin
and, as outlined in the timbre section, becomes denser over time as more instruments are added.
Expression
This is a slow, lyrical piece. Cailliet insists that the tempo should never exceed eighty
beats per minute. Dynamically, the piece is mostly reserved, starting out piano and rarely
pushing beyond that. The slow addition of instruments over time gives the piece a natural
dynamic progression, building up to a molto crescendo and a climax eleven measures from the
end.
The Heart of the Music
I find the heart of the music to be in its pure beauty. This piece is not technically
demanding. It was not written to show off the skill or virtuosity of the performers. Wagner
simply wanted the music to sound good.
Concepts that can be taught using this composition
Because this piece does not have difficult, technical passages, performers can use it as an
opportunity to develop their sound. They can work on their individual tone, as well as the overall
blend of the ensemble. This work demands great tuning as well. Students will also be exposed to
a variety of textures which they will need to learn to balance. These include thin, chamber-like
scoring, playing at soft dynamics with a full band, and balancing very loud dynamics with a full
band.
John Case
MUS 344
References
Bonds, M. E. (2010). A history of music in western culture (Vol. 2, 3rh ed.). Upper Saddle River,
NJ: Prentice Hall
Millington, B., Deathridge, J., Dahlhaus, C., Bailey, R., Forbes, E., Jost, C., & Sheren, P. (n.d.).
Wagner. In Grove music online. Oxford University Press. Retrieved March 31, 2012,
from http://www.oxfordmusiconline.com
Morell, K. (n.d.). Unit Plan of Elsa’s Procession to the Cathedral. Retrieved March 31, 2012,
from http://www.personal.psu.edu/users/k/m/kmm5043/eportfolio/unitplan.htm