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Figure 94
Transition section
Flutes homophonic in first bar
Some chromaticism; suggests modulation soon
Imitation; tenuous links to fig. 57 (transition of 2nd mvmt) in violin 2 at 94
Texture: ‘delicate web of interweaving lines’ – polyphonic
2 bars before 94: flute almost reminiscent of falling figure from fig. 16 in 1st mvmt
Figure 95
‘Quietly throbbing chords’ in violas and cellos
Triplet anticipation in violas and cellos
Music seems to be heading towards minor key; Emin heard 5 bars before 96
F# minor (possibly); up 1 tone like at fig. 60 in 2nd mvmt
F diminished 7th chord; leaves options open. Could move F to E to make E7 to make
perfect cadence to A in 2nd subject (but doesn’t)
Figure 96
2nd subject – A major (dominant of D major)
Melody in violins – rising disjunct
Countermelody in violas and upper cello, supported by flutes and clarinet – falling
conjunct
Polyphonic texture
Violas voiced in 3rds
Elgarian leap in violin melody
Both melody and countermelody begin on mediant; tenuous links to motto theme
Kind of contrary motion/contrasting contour between melody & countermelody
Figure 97
Inverted texture; violins play countermelody and violas/cellos play melody
(Sounding) thicker texture
Octave triplets in violins stem from transition (fig. 94)
Falling figure from transition heard echoed on approach to development
Figure 98
Development
Reduced orchestra down even further – chamber music scale
Melody & accompaniment texture
Solos in clarinet, violin 1 – ‘florid’, intricate, elaborate. Almost arabesque,
arpeggiated. Passed around orchestra – from clarinet to violin back to clarinet
Transition material echoed – triplet octave motif heard in 4th bar of 98 in violin 1
and fragmented in flutes. Diminished pattern from transition heard 6 and 7 bars of
98 sequential
Violin solo in bar 2 of 98: sequential to clarinet solo
Figure 99
‘Throbbing chords’/triplet anticipation heard in violas and lower cellos, from fig. 95 –
building tension
Rumbling in timpani, suggesting tension/lead up to something new
Dynamics 4 after 99: building up then dying down as if building up to something
C#7 chord heard 2 bars before 100
Interrupted cadence 1 bar before 100 leading into recapitulation – dominant 7th of
F# min
Figure 100
Recapitulation: 1st subject – back to D major
Melody and accompaniment (violin 1 melody and other strings except bass
accompaniment)
Violin 1s in unison – quiet, peaceful
No added colour from woodwinds – complements rich wind writing in development
‘Brief gesture’ from clarinet and bassoon 4 bars after 100
5 bars after 100: bass arco; was pizzicato in exposition
Lots of chromaticism; indecisive of key
Sounds like it is going to a minor key 6 bars before 101
Figure 101
Triumphant – reminds of motto theme
Strong A major
No transition section
2 bars before 102: shift in tonality, sounds like it will go to minor key
Figure 102
2nd subject: C# major – surprise
Flute melody sounds sweet
Minor feel 3 bars before 103; major feel 1 bar later
Figure 103
Unpredictable harmony; don’t know where it is going next
Transition material in flutes – triplet octave motif
Falling transition figure in violins
Figure 104
Coda – D major
New ideas, new melody – starts on mediant (F#), like ataca into 3rd movement and
motto theme melody
Sequential melody
Leap of 7th, not Elgarian 6th
Figure 105
2 bars before 106: solo in clarinet almost same as at fig. 98
Figure 106
Transition falling idea 4 bars after 106 in clarinet
Figure 107
Slowing down to end of mvmt
Con sordini and con sordino in trombones towards end
Triplet motifs towards end of mvmt in horns and trombones