Modal counterpoint in Charles Koechlin, Trio Op.92
For Woodwind Trio
Uploaded on Mar 4, 2019
Charles Koechlin was a French composer of Debussy's generation who was interested in ancient and foreign modes, to the abject horror of his contemporaries. This is the second movement of his trio for flute, clarinet and bassoon, which I transposed to the renaissance "cantus mollis".
It seems to be intended as an invertible canon in late renaissance style, although the cantus firmus is Fuxian degenerate garbage and there are many instances of unelegant dissonance treatment. In addition, the composer takes advantage of the ridiculous range available to each instrument. Two aspects in particular which I like are modulations arising from gestures in individual voices (e.g. "dorianisms") rather than with chords, and the lack of need for a leading tone - although clear cadential formulas with no leading tone feel like mispronouncing a word, and one would be severely tempted to improvise a leading tone anyway.
|Key signature||1 flat|
|Part names||Other Woodwinds(3)|
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