Sinopsis
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1917 Excerpt: ...and leads to another section, in C sharp major, in which, over a double organpoint held by the violoncellos, the oboe brings forward a new idea. Mr. Krehbiel. who learned much from Dvorak about the significance of this music, says of this episode, "it may be intended to suggest the gradual awakening of animal life in the prairie scene; and striking use is made of trills, which are exchanged between the different instrumental choirs, as if they were voices of the night or dawn in converse." At the close of this section the opening theme returns, and the movement closes with the solemn chords with which it had begun. III. Scherzo. (Motto Vivace, E minor, 3-4 time.) The subject is announced, after twelve introductory measures, by the flute and oboe, answered by the clarinet. A new theme (Poco sostenuto, E major) appears in the flute and oboe, the first material beina then resumed. Later, the principal theme of the first movement is heard in the basses, and following this the wood-wind bring forward a new theme (practically the Trio) in C major. At the conclusion of this the whole scherzo is repeated, and the principal;tbemc of the first movement returns once more in the coda. IV. (Allegro con fuoco, E minor, 4-4 time.) Like the other movements, the Finale presents the principal theme after prefatory material. This theme is shouted forth by the horns and trumpets, the whole orchestra coming in with incisive chords // at the beginning of the measures. A transitional passage brings into existence a new and jiggy melody in triplets. The second theme is sung by the clarinet over a tremolo accompaniment in the strings, another section of the subject appearing in the first violins. The Development first works out the opening theme, together with that heard ...
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Reseña del editor
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1917 Excerpt: ...and leads to another section, in C sharp major, in which, over a double organpoint held by the violoncellos, the oboe brings forward a new idea. Mr. Krehbiel. who learned much from Dvorak about the significance of this music, says of this episode, "it may be intended to suggest the gradual awakening of animal life in the prairie scene; and striking use is made of trills, which are exchanged between the different instrumental choirs, as if they were voices of the night or dawn in converse." At the close of this section the opening theme returns, and the movement closes with the solemn chords with which it had begun. III. Scherzo. (Motto Vivace, E minor, 3-4 time.) The subject is announced, after twelve introductory measures, by the flute and oboe, answered by the clarinet. A new theme (Poco sostenuto, E major) appears in the flute and oboe, the first material beina then resumed. Later, the principal theme of the first movement is heard in the basses, and following this the wood-wind bring forward a new theme (practically the Trio) in C major. At the conclusion of this the whole scherzo is repeated, and the principal;tbemc of the first movement returns once more in the coda. IV. (Allegro con fuoco, E minor, 4-4 time.) Like the other movements, the Finale presents the principal theme after prefatory material. This theme is shouted forth by the horns and trumpets, the whole orchestra coming in with incisive chords // at the beginning of the measures. A transitional passage brings into existence a new and jiggy melody in triplets. The second theme is sung by the clarinet over a tremolo accompaniment in the strings, another section of the subject appearing in the first violins. The Development first works out the opening theme, together with that heard ...
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