Doppler Concerto For Two Flutes Program Notes Theatre 2.This is more conventional, salon-style writing, although the end of the first main phrase does take a Magyar turn reminiscent of a phrase-ending early in 's Hungarian Rhapsody No. There's even what amounts to a brief cadenza before the theme reverts to something resembling its original, though more ornamented, form before moving along to a rhapsodic section close.With a theatrical, somewhat march-like buildup, the accompaniment paves the way for a more animated, major-mode flute melody. A second statement begins to vary this material, but instead of producing full variations, creates rhapsodic metamorphoses of various portions of the melodies. Soon the flute enters with a modal, improvisatory melody ranging gradually all over the staff, twisting through many ornamental turns along the way. His Hungarian Pastoral Fantasy uses the slow-fast verbunkos form that employed in his Hungarian Rhapsodies, although in 's work there's a transitional section separating the slow lassu and fast friss movements.The fantasy begins with a gloomy, falling motif in the accompaniment (it sounds especially Lisztian in the piano version). Although born in Poland and spending the early part of his prodigal flute-performing career in Vienna (he made his debut there at age 13), ultimately settled in Pest to play in theater orchestras, and developed a keen ear for Hungarian music.
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