. Programme . econd members of the first theme. The nervous passage-work in the violins is the counter-theme to this. The development issuddenly cut short by syncopated chords in the full orchestra. A long-held D in horns and bassoons is followed by a modulation to G raajor,and the most Schubertian second theme is sung first by violoncellosagainst syncopated harmonies in the violas and the clarinets, and thenby violins in octaves. The development is soon of an imitative con-trapuntal character. The free fantasia is a long and elaborate working-out of the first section of the first theme. The t
. Programme . econd members of the first theme. The nervous passage-work in the violins is the counter-theme to this. The development issuddenly cut short by syncopated chords in the full orchestra. A long-held D in horns and bassoons is followed by a modulation to G raajor,and the most Schubertian second theme is sung first by violoncellosagainst syncopated harmonies in the violas and the clarinets, and thenby violins in octaves. The development is soon of an imitative con-trapuntal character. The free fantasia is a long and elaborate working-out of the first section of the first theme. The third part of the move-ment begins with the first theme in the tonic, and the second themeenters in D major. The coda is short and based on the first section ofthe first theme. The second movement. Andante con moto, E major, 3-8, is in sonatinaform, the sonata form without the free fantasia. The first theme is The Boston Music Gq []26 West Street ^lephone Beach 1561 m most conoementmusic store in town. COMPLETE STOCK OFALL THE LATEST MUSIC 376 in E major in the strings. Wind instruments interrupt subsidiary theme is given out forte by wood-wind and brass over acontrapuntal bass in all the strings. There is a return of the first themein the wood-wind. The second theme is a clarinet solo in C-sharpminor over syncopated harmonies in the strings. The theme suffersmodulation in the development. A subsidiary in C-sharp minor isannounced fortissimo by the full orchestra, and a theme in D majorfollows; the first violins imitate the violoncellos and the double-bassesagainst a syncopated accompaniment in second vioHns and is a free closing passage, based on figures from this conclusiontheme. The second part of the movement is planned according tothe same scheme with the conventionally regular changes of coda is short and built on the conclusion theme and the first theme. ** * The following sketch of the Unfinished Symphony is taken from Ed
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