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Give a brief account of the First Movement, the Introduzione, paying particular attention to the structure and melodic invention.

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Elizabeth Morgan. Give a brief account of the First Movement, the Introduzione, paying particular attention to the structure and melodic invention. This movement is in Sonata form with an introduction. The movement opens with a theme in the cellos and double basses which is built on the interval of a perfect fourth and a major second. At bar 6 the violins begin a very chromatic wedge figure which is continued through the violin, violas and flutes, with the cellos and basses holding on their note as a pedal. The flute part in bar 11 continues the wedge figure, and the upper flute part highlights the perfect fourth. At bar 12 the perfect fourth and major second sequence from the beginning is repeated, but the idea grows. At bar 22, the theme is repeated again, this time with the violas joining the cellos and basses. The theme is in diminution and is lengthened yet again. Bar 30 sees the introduction of a new idea in the flutes. ...read more.


Motive X finishes off the first section of the first theme, followed by a complete bars rest in all parts. Theme 1b begins in bar 95 with a Cminor feel. The woodwind at bar 99 have the same rhythm as the violins at bar 76, and at bar 109 the lower strings have an inverted version of that motive in bar 76. In bars 118 the oboes and clarinets play a whole tone scale, with an interval of a tritone between the parts. Theme 1c begins with the trombones in bar 134. This tune begins with the perfect fourth, and the germinal motive is highlighted in the oboe part at 138. The drone on C in the violins and cellos at bar 149 should lead on to the second subject in C, but actually lead down to B instead. The second subject begins at the end of bar 154 in B, with the oboes playing the tune. At first the theme is built on two notes, similar to that of an Arab style melody, with a narrow range. ...read more.


The development section ends with a glimmer of theme 1a. The recap begins in bar 396, in which all of the parts are brought in the wrong order. The second subject comes in at bar 401 in the clarinets. This first section can be compared back to bar192 of the exposition, where the orchestration is completely different. Like bar 192, the flute and clarinet parts at 424 are spaced out with the oboe between the flute parts, and the second flute unusually low. At this point there are cross rhythms between the strings and harp. There are tone clusters in the second harp part at 438, like those Kodaly used in his Harry Jones Suite. At 456 there is syncopation in the flutes and oboes, and at 462 the trumpets and harp have parallel moving chords, reminiscent of Debussy. At 467 there are snippets of the Arab melody from the second subject, and snippets of the germinal motive from the first subject. The recap of the first subject returns in bar 488, but with no 1b theme. At 514 there is a glimmer of 1c in the brass parts, and the movement finishes with the inverted X motive. ...read more.

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