TEM Issue 66-67 Cover and Back Matter

Total Page：16

File Type：pdf, Size：1020Kb

Musical Opinion Aaron Copland A MAGAZINE FOR ALL INTERESTED IN MUSIC Founded 1877 Published on the 1st of each month N O NET Among regular features are: Articles on Music and Musicians Reviews of New Music, Books and for Strings Gramophone Records Current Musical News Organists' Notes and News Full score >sl~ MONTHLY, ONE SHILLING AND Set of parts 20/- SIXPENCE Extra parts each 2/6 ANNUAL SUBSCRIPTION, £1 post free Free specimen copy on request Pocket score 6/- MUSICAL OPINION LTD. 26-27 HATTON GARDEN Boosey & Havvkes LONDON, E.C.I. MICHAEL TIPPETT recently published compositions KING PRIAM Vocal score 84/- opera in 3 acts Libretto 5/- PIANO SONATA No. 2 10/6 MAGNIFICAT AND NUNC DIMITTIS 4/- for SATB and organ PRAELUDIUM Min. score 10/6 for brass, bells and percussion IN THE PRESS CONCERTO FOR ORCHESTRA Min. score SONGS FOR ACHILLES for tenor and guitar SONGS FOR ARIEL for voice and harpsichord (or piano) SCHOTT 48 GREAT MARLBOROUGH STREET, LONDON Wl: GER 1246 Downloaded from https://www.cambridge.org/core. IP address: 170.106.40.40, on 28 Sep 2021 at 11:20:21, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0040298200036275 HAWKES POCKET SCORES Benjamin Britte n 734 A Midsummer Night's Dream 90s Od 719 Cantata Academica 17s 6d 83 Four Sea Interludes from "Peter Grimes" 10s Od 39 Les Illuminations 8s 6d 713 Nocturne 10s Od 84 Passacaglia from "Peter Grimes" 6s 6d 749 Peter Grimes 100s. Od 10 Phantasy 5s 6d 31 Quartet No. 1 6s 6d 89 Quartet No. 2 6s 6d 63 Saint Nicolas 17s 6d 71 Serenade 8s 6d 38 Sinfonia da Requiem 12s 6d 11 Sinfonietta 8s 6d 66 Spring Symphony 22s 6d 656 The Rape of Lucretia 80s 6d 606 The Young Person's Guide to the Orchestra 10s Od 64 Variations on a Theme of Frank Bridge 10s 6d 742 War Requiem 45s Od Benjamin Britten is but one of the many composers represented in this extensive library of miniature scores which contains both classical works and a representative collection of outstanding modern compositions. The complete catalogue of Hawkes Pocket Scores may be obtained by writing to this address. BOOSEY & HAWKES 295 REGENT STREET LONDON W1 Published by Boose)- &. Hawkes Ltd., and printed in England by The Regent Press (Booth) Ltd. Liverpool 2o Downloaded from https://www.cambridge.org/core. IP address: 170.106.40.40, on 28 Sep 2021 at 11:20:21, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0040298200036275.

Copy Link

Recommended publications

“Music-Making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts
“Music-making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts Daniel Hautzinger Candidate for Senior Honors in History Oberlin College Thesis Advisor: Annemarie Sammartino Spring 2016 Hautzinger ii Table of Contents 1. Introduction 1 2. Historiography and the Origin of the Festival 9 a. Historiography 9 b. The Origin of the Festival 14 3. The Democratization of Music 19 4. Technology, Modernity, and Their Dangers 31 5. The Festival as Community 39 6. Conclusion 53 7. Bibliography 57 a. Primary Sources 57 b. Secondary Sources 58 Hautzinger iii Acknowledgements This thesis would never have come together without the help and support of several people. First, endless gratitude to Annemarie Sammartino. Her incredible intellect, voracious curiosity, outstanding ability for drawing together disparate strands, and unceasing drive to learn more and know more have been an inspiring example over the past four years. This thesis owes much of its existence to her and her comments, recommendations, edits, and support. Thank you also to Ellen Wurtzel for guiding me through my first large-scale research paper in my third year at Oberlin, and for encouraging me to pursue honors. Shelley Lee has been an invaluable resource and advisor in the daunting process of putting together a fifty-some page research paper, while my fellow History honors candidates have been supportive, helpful in their advice, and great to commiserate with. Thank you to Steven Plank and everyone else who has listened to me discuss Britten and the Aldeburgh Festival and kindly offered suggestions.
[Show full text]
Britten Spring Symphony Welcome Ode • Psalm 150
BRITTEN SPRING SYMPHONY WELCOME ODE • PSALM 150 Elizabeth Gale soprano London Symphony Chorus Alfreda Hodgson contralto Martyn Hill tenor London Symphony Orchestra Southend Boys’ Choir Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Benjamin Britten (1913 – 1976) Spring Symphony, Op. 44* 44:44 For Soprano, Alto and Tenor solos, Mixed Chorus, Boys’ Choir and Orchestra Part I 1 Introduction. Lento, senza rigore 10:03 2 The Merry Cuckoo. Vivace 1:57 3 Spring, the Sweet Spring. Allegro con slancio 1:47 4 The Driving Boy. Allegro molto 1:58 5 The Morning Star. Molto moderato ma giocoso 3:07 Part II 6 Welcome Maids of Honour. Allegretto rubato 2:38 7 Waters Above. Molto moderato e tranquillo 2:23 8 Out on the Lawn I lie in Bed. Adagio molto tranquillo 6:37 Part III 9 When will my May come. Allegro impetuoso 2:25 10 Fair and Fair. Allegretto grazioso 2:13 11 Sound the Flute. Allegretto molto mosso 1:24 Part IV 12 Finale. Moderato alla valse – Allegro pesante 7:56 3 Welcome Ode, Op. 95† 8:16 13 1 March. Broad and rhythmic (Maestoso) 1:52 14 2 Jig. Quick 1:20 15 3 Roundel. Slower 2:38 16 4 Modulation 0:39 17 5 Canon. Moving on 1:46 18 Psalm 150, Op. 67‡ 5:31 Kurt-Hans Goedicke, LSO timpani Lively March – Lightly – Very lively TT 58:48 4 Elizabeth Gale soprano* Alfreda Hodgson contralto* Martyn Hill tenor* The Southend Boys’ Choir* Michael Crabb director Senior Choirs of the City of London School for Girls† Maggie Donnelly director Senior Choirs of the City of London School† Anthony Gould director Junior Choirs of the City of London School
[Show full text]
Benjamin Britten: a Catalogue of the Orchestral Music
BENJAMIN BRITTEN: A CATALOGUE OF THE ORCHESTRAL MUSIC 1928: “Quatre Chansons Francaises” for soprano and orchestra: 13 minutes 1930: Two Portraits for string orchestra: 15 minutes 1931: Two Psalms for chorus and orchestra Ballet “Plymouth Town” for small orchestra: 27 minutes 1932: Sinfonietta, op.1: 14 minutes Double Concerto in B minor for Violin, Viola and Orchestra: 21 minutes (unfinished) 1934: “Simple Symphony” for strings, op.4: 14 minutes 1936: “Our Hunting Fathers” for soprano or tenor and orchestra, op. 8: 29 minutes “Soirees musicales” for orchestra, op.9: 11 minutes 1937: Variations on a theme of Frank Bridge for string orchestra, op. 10: 27 minutes “Mont Juic” for orchestra, op.12: 11 minutes (with Sir Lennox Berkeley) “The Company of Heaven” for two speakers, soprano, tenor, chorus, timpani, organ and string orchestra: 49 minutes 1938/45: Piano Concerto in D major, op. 13: 34 minutes 1939: “Ballad of Heroes” for soprano or tenor, chorus and orchestra, op.14: 17 minutes 1939/58: Violin Concerto, op. 15: 34 minutes 1939: “Young Apollo” for Piano and strings, op. 16: 7 minutes (withdrawn) “Les Illuminations” for soprano or tenor and strings, op.18: 22 minutes 1939-40: Overture “Canadian Carnival”, op.19: 14 minutes 1940: “Sinfonia da Requiem”, op.20: 21 minutes 1940/54: Diversions for Piano(Left Hand) and orchestra, op.21: 23 minutes 1941: “Matinees musicales” for orchestra, op. 24: 13 minutes “Scottish Ballad” for Two Pianos and Orchestra, op. 26: 15 minutes “An American Overture”, op. 27: 10 minutes 1943: Prelude and Fugue for eighteen solo strings, op. 29: 8 minutes Serenade for tenor, horn and strings, op.
[Show full text]
There's a Real Buzz and Sense of Purpose About What This Company Is Doing
15 FEBRUARY 7.15PM & 17 FEBRUARY 2PM “There’s a real buzz and sense of purpose about what this company is doing” ~ The Guardian www.niopera.com Grand Opera House, Belfast Welcome to The Grand Opera House for this new production of The Flying Dutchman. This is, by some way, NI Opera’s biggest production to date. Our very first opera (Menotti’s The Medium, coincidentally staged two years ago this month) utilised just five singers and a chamber band, and to go from this to a grand opera demanding 50 singers and a full symphony orchestra in such a short space of time indicates impressive progress. Similarly, our performances of Noye’s Fludde at the Beijing Music Festival in October, and our recent Irish Times Theatre Award nominations for The Turn of the Screw, demonstrate that our focus on bringing high quality, innovative opera to the widest possible audience continues to bear fruit. It feels appropriate for us to be staging our first Wagner opera in the bicentenary of the composer’s birth, but this production marks more than just a historical anniversary. Unsurprisingly, given the cost and complexities involved in performing Wagner, this will be the first fully staged Dutchman to be seen in Northern Ireland for generations. More unexpectedly, perhaps, this is the first ever new production of a Wagner opera by a Northern Irish company. Northern Ireland features heavily in this production. The opera begins and ends with ships and the sea, and it does not take too much imagination to link this back to Belfast’s industrial heritage and the recent Titanic commemorations.
[Show full text]
BENJAMIN BRITTEN's USE of the Passacagt.IA Bernadette De Vilxiers a Thesis Submitted to the Faculty of Arts University of the Wi
BENJAMIN BRITTEN'S USE OF THE PASSACAGt.IA Bernadette de VilXiers A Thesis Submitted to the Faculty of Arts University of the Witwatersrand, Johannesburg for the Degree of Doctor of Philosophy Johannesburg 1985 ABSTRACT Benjamin Britten (1913-1976) was perhaps the most prolific cooposer of passaca'?' las in the twentieth century. Die present study of his use of tli? passac^.gl ta font is based on thirteen selected -assacaalias which span hin ire rryi:ivc career and include all genre* of his music. The passacaglia? *r- occur i*' the follovxnc works: - Piano Concerto, Op. 13, III - Violin Concerto, Op. 15, III - "Dirge" from Serenade, op. 31 - Peter Grimes, Op. 33, Interlude IV - "Death, be not proud!1' from The Holy Sonnets o f John Donne, Op. 35 - The Rape o f Lucretia, op. 37, n , ii - Albert Herring, Op. 39, III, Threnody - Billy Budd, op. 50, I, iii - The Turn o f the Screw, op . 54, II, viii - Noye '8 Fludde, O p . 59, Storm - "Agnu Dei" from War Requiem, Op. 66 - Syrrvhony forCello and Orchestra, Op. 68, IV - String Quartet no. 3, Op. 94, V The analysis includes a detailed investigation into the type of ostinato themes used, namely their structure (lengUi, contour, characteristic intervals, tonal centre, metre, rhythm, use of sequence, derivation hod of handling the ostinato (variations in length, tone colouJ -< <>e register, ten$>o, degree of audibility) as well as the influence of the ostinato theme on the conqposition as a whole (effect on length, sectionalization). The accompaniment material is then brought under scrutiny b^th from the point of view of its type (thematic, motivic, unrelated counterpoints) and its importance within the overall frarework of the passacaglia.
[Show full text]
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman.
[Show full text]
The Four Seasons I
27 Season 2013-2014 Friday, November 29, at 8:00 The Philadelphia Orchestra Saturday, November 30, at 8:00 Sunday, December 1, at 2:00 Richard Egarr Conductor and Harpsichord Giuliano Carmignola Violin Vivaldi The Four Seasons I. Spring, Concerto in E major, RV 269 a. Allegro b. Largo c. Allegro II. Summer, Concerto in G minor, RV 315 a. Allegro non molto b. Adagio alternating with Presto c. Presto III. Autumn, Concerto in F major, RV 293 a. Allegro b. Adagio molto c. Allegro IV. Winter, Concerto in F minor, RV 297 a. Allegro non molto b. Largo c. Allegro Intermission 28 Purcell Suite No. 1 from The Fairy Queen I. Prelude II. Rondeau III. Jig IV. Hornpipe V. Dance for the Fairies Haydn Symphony No. 101 in D major (“The Clock”) I. Adagio—Presto II. Andante III. Menuetto (Allegretto)—Trio—Menuetto da capo IV. Vivace This program runs approximately 1 hour, 40 minutes. The November 29 concert is sponsored by Medcomp. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 3 Story Title 29 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community itself. His concerts to perform in China, in 1973 is one of the preeminent of diverse repertoire attract at the request of President orchestras in the world, sold-out houses, and he has Nixon, today The Philadelphia renowned for its distinctive established a regular forum Orchestra boasts a new sound, desired for its for connecting with concert- partnership with the National keen ability to capture the goers through Post-Concert Centre for the Performing hearts and imaginations of Conversations.
[Show full text]
Download Full TMC Choral Library
Toronto Mendelssohn Choir Choral Music Catalogue - updated February 2018 TORONTO MENDELSSOHN CHOIR 720 Bathurst St., Ste 404 Toronto, ON M5S 2R4 [email protected] 416-598-0422, ext 223 GUIDELINES 1. Adminstrative fee applies. Contact TMC Librarian at [email protected] 2. Borrower is responsible for shipping and handling 3. Music must be returned within one month after performance 4. Lost music must be replaced by borrower Alphabetical by Composer - Go to page 13 for Alphabetical by Title of work Composer Last Name Composer First Name Title of Work # of copies Edition/Publisher Comments Adams Lydia Micma'q Honour Song 120 McGroarty Music Unison arr Anderson Robert B. Huron Carol, The 175 GV Thompson Applebaum Louis Cherry Tree Carol 83 Alfred Archer Malcolm Infant Holy 130 Oxford SATB + organ Arne Thomas Rule Britannia 175 Jarman Bach Johann Sebastian Cantata No. 4 (Christ Lag) 96 Breitkopf Eng. & Ger. Bach Johann Sebastian Cantata No. 191 (Gloria in Excelsis Deo) 101 Breitkopf Bach Johann Sebastian Christmas Oratorio (complete) 171 Novello Bach Johann Sebastian Jesu, Joy of Man's Desiring 100 Belwin & Oxford (2 sets) Bach Johann Sebastian Magnificat 39 Novello Lat. & Eng. Bach Johann Sebastian Mass in B Minor 121 Novello Bach Johann Sebastian Motet No. 1 (Sing Ye to the Lord) 46 Peters Bach Johann Sebastian Motet No. 2 (The Spirit Also Helpeth Us) 209 Novello Eng. & Ger. Out of Print Bach Johann Sebastian Motet No. 5 (Komm, Jesu, Komm 46 Peters Eng. & Ger. Bach Johann Sebastian Motet No. 6 (Lobet Den Herrn) 85 Peters Bach Johann Sebastian Peasant Cantata 175 Patterson OUT OF PRINT Bach Johann Sebastian Sanctus (Mass in B Minor) 71 Jarman/Schirmer Bach Johann Sebastian St John Passion ENG 88 Novello Bach Johann Sebastian St John Passion GER 186 Melbay Ger.
[Show full text]
Expanded Perceptions of Identity in Benjamin Britten's Nocturne, Op. 60
EXPANDED PERCEPTIONS OF IDENTITY IN BENJAMIN BRITTEN’S NOCTURNE, OP. 60 Anna Grace Perkins, B.A. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS May 2008 APPROVED: Paul B. Berry, Major Professor Bernardo Illari, Minor Professor Benjamin Brand, Committee Member John P. Murphy, Chair of the Department of Music Theory, History, and Ethnomusicology Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Perkins, Anna Grace. Expanded Perceptions of Identity in Benjamin Britten’s Nocturne, Op. 60. Master of Music (Musicology), May 2008, 67 pp., 6 musical examples, references, 53 titles. A concentrated reading of Benjamin Britten’s Nocturne through details of the composer’s biography can lead to new perspectives on the composer’s identity. The method employed broadens current understandings of Britten’s personality and its relationship to the music. After creating a context for this kind of work within Britten scholarship, each chapter explores a specific aspect of Britten’s identity through the individual songs of the Nocturne. Chapter 2 focuses on how Britten used genres in a pastoral style to create his own British identity. Chapter 3 concentrates on the complex relationship between Britten's homosexuality and his pacifism. Chapter 4 aims to achieve a deeper understanding of Britten's idealization of innocence. The various aspects of Britten’s personality are related to one another in the Conclusion. Copyright 2008 by Anna Grace Perkins ii TABLE OF CONTENTS Page LIST OF EXAMPLES…………………………………………………………………..……iv Chapter 1.
[Show full text]
Proquest Dissertations
Benjamin Britten's Nocturnal, Op. 70 for guitar: A novel approach to program music and variation structure Item Type text; Dissertation-Reproduction (electronic) Authors Alcaraz, Roberto Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 13:06:08 Link to Item http://hdl.handle.net/10150/279989 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be f^ any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitlsd. Brolcen or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author dkl not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectk)ning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6' x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additkxial charge.
[Show full text]
Intertextuality, Intermediality and Mediality in Benjamin Britten's
Intertextuality, Intermediality and Mediality in Benjamin Britten’s Nocturne, Op. 60 Von der Falkutät für Geistes- und Erziehungswissenschaften der Technischen Universität Carolo-Wilhelmina zu Braunschweig zur Erlangung des Grades Doktor der Philosophie (Dr. phil.) genehmigte Dissertation von Kenton Emery Barnes aus Toledo, Ohio, USA Eingereicht am 11.06.2012 Mündliche Prüfung am 28.08.2012 Referent: Prof. Dr. Rüdiger Heinze Korreferent: Prof. Dr. Hero Janßen Druckjahr 2017 Intertextualität, Intermedialität und Medialität in Benjamin Brittens Nocturne, Op. 60 Benjamin Britten ist nicht nur einer der am meisten verehrten Komponisten Großbritanniens, sondern zugleich auch einer der Komponisten, über die äußerst kontrovers diskutiert wird. Kritiker bewerten seine Musik auf sehr unterschiedliche Art und Weise. Einige halten seine Musik für zu altmodisch und zu sehr den Traditionen der Tonalität verbunden, andere bewerten sie als zu modern und schwer zugänglich, an Atonalität grenzend. Aber wie soll man Brittens Musik betrachten? Setzt sie die Traditionen der romantischen Komponisten des 19. Jahrhunderts fort? Ja, dies ist der Fall, jedoch bringt Britten diese Konventionen an ihre Grenzen. Ist Brittens Musik atonal? Obwohl manche Kritiker der Ansicht sind, dass seine Kompositionen abstrakt sind, bleibt er den etablierten Konventionen der Musik doch treu. Nicht zu bestreiten ist, dass Brittens gesangliche Kompositionen in ihrer Poesie nur schwer zu übertreffen sind. Er vertonte Gedichte von bedeutenden Dichtern wie Arthur Rimbaud, Victor Hugo, Paul Verlaine, Henry Longfellow, William Shakespare, Edith Sitwell, Emily Brontë und William Blake. Alles in allem vertonte Britten mehr als 300 Gedichte von nicht weniger als neunzig Dichtern. Die vorliegende Arbeit Intertextualität, Intermedialität und Medialität in Benjamin Brittens Nocturne, Op.
[Show full text]
Sinfonia Da Requiem, Op. 20 Benjamin Britten (1913–1976) Written: 1940 Movements: Three Style: Contemporary Duration: 20 Minutes
Sinfonia da Requiem, Op. 20 Benjamin Britten (1913–1976) Written: 1940 Movements: Three Style: Contemporary Duration: 20 minutes The composer Benjamin Britten left England for America in 1939 rather than become involved in the impending war. He returned to England in 1942 and registered as a conscientious objector. While in America, Britten received a strange commission from the government of Japan to write a piece to help celebrate the 2,600th anniversary of the founding of the Mikado dynasty. Britten reluctantly agreed as long as his work wouldn’t have to include any “musical jingoism.” He had already been considering writing a work to commemorate his parents, so he sent a proposal back. The Japanese agreed and in very short order, Britten wrote his Sinfonia da Requiem. He dedicated it to his parents and wrote “as anti-war as possible.” Upon seeing the final product, the Japanese rejected it and disinvited Britten. “We are afraid that the composer must have greatly misunderstood our desire . [it] has a melancholy tone both in its melodic pattern and rhythm, making it unsuitable for performance on such an occasion as our national ceremony,” they wrote. Britten also said they accused him of “providing a Christian work where Christianity was apparently unacceptable.” He provided these (here much abbreviated) comments about the piece for its premiere in 1941 in New York City: I. Lacrymosa. A slow marching lament in a persistent 6/8 rhythm with a strong tonal center on D. There are three main motives. The first section of the movement is quietly pulsating; the second is a long crescendo leading to a climax based on the first cello theme.
[Show full text]