![]() In that overall context, his aim was to suggest musically “the flaming eloquence of the ancient prophets among the surrounding voices of the people and voices of nature,” and thereby to evoke a general aura of perceived “Hebraic flavor”-which is noticeable at the outset of the first movement in the echo of a biblical cantillation motif of the initial three-note motive upon which the movement is built. The second movement begins with a passage for unaccompanied solo violin mirroring the character of a Hebraic liturgical chant or incantation, which is treated contrapuntally and imaginatively developed throughout the movement. ![]() ![]() The introductory passage of the third movement hints at pentatonic modality, which proceeds quickly to fanfare fragments. Those two recurring elements are developed throughout the movement, which, in its overarching, jubilant march rhythms, suggests the traditional messianic associations with Elijah.
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