【HMV】【タワー】潰れるのは？【WAVE】【新星堂】3
864 ：名も無き音楽論客：
Only the Fourth Symphony's D minor central movement - a spaciously
developed Landler - achieves, through contrapuntal development of its main
theme, a measure of the unbroken continuity normally associated with dance
forms in a symphony.
This is a very Mahlerian movement in a large binary form, its second
subject clearly anticipating the sombre descending main theme of the Fifth
Symphony's first movement.
The two outer movements that frame this intermezzo, on the other hand, are
disruptive in the extreme.
The vast episodic sonata structure of the first movement, with its
splintered central development of material in several episodes, makes a
feature of the most disconcerting changes of direction before reaching its
ultimate climax in the retransition, with its piled-up dissonances.
The twelve-note, multi-intervallic chord that immediately precedes the
recapitulation suggests an allusion to the "crisis" chord of the first
movement of Mahler's Tenth Symphony.
Now, the compressed and thematically reversed recapitulation effects a
radical transformation of its main themes so that the reflective, wandering
second subject assumes the relentless martial identity of the first in an
overall structural-ecpressive scheme that served the composer well in his
subsequent Moderato first movements.
Hope that helps. let me know if you have any more questions!
Hope that helps. let me know if you have any more questions!
Hope that helps. let me know if you have any more questions!
Hope that helps. let me know if you have any more questions!
developed Landler - achieves, through contrapuntal development of its main
theme, a measure of the unbroken continuity normally associated with dance
forms in a symphony.
This is a very Mahlerian movement in a large binary form, its second
subject clearly anticipating the sombre descending main theme of the Fifth
Symphony's first movement.
The two outer movements that frame this intermezzo, on the other hand, are
disruptive in the extreme.
The vast episodic sonata structure of the first movement, with its
splintered central development of material in several episodes, makes a
feature of the most disconcerting changes of direction before reaching its
ultimate climax in the retransition, with its piled-up dissonances.
The twelve-note, multi-intervallic chord that immediately precedes the
recapitulation suggests an allusion to the "crisis" chord of the first
movement of Mahler's Tenth Symphony.
Now, the compressed and thematically reversed recapitulation effects a
radical transformation of its main themes so that the reflective, wandering
second subject assumes the relentless martial identity of the first in an
overall structural-ecpressive scheme that served the composer well in his
subsequent Moderato first movements.
Hope that helps. let me know if you have any more questions!
Hope that helps. let me know if you have any more questions!
Hope that helps. let me know if you have any more questions!
Hope that helps. let me know if you have any more questions!
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