The name is absent

16

the third measure. Though the pitch content varies as the duet unfolds, the instruments
continue essentially in rhythmic unison throughout this opening statement.

The quasi-rhythmic unison established in the opening measures continues as the
bassoon and oboe join the flute∕clarinet duet in m. 8. The winds carry on in this fashion
until [d∣ (m. 54), sometimes expanding into pairs of complementing rhythmic ideas. There
is a conversational feeling to this opening both in terms of timbre and texture. The
contrasting colors of the wind instruments provide the feeling of several different people
watching the storm approach. There is rarely more than one event happing at a time—
when a new instrument or instrument pair enters with a melodic or motivic idea, the other
instruments) either drop out or sustain a pitch. Although the score looks rather dense,
this alternation of short motives creates the impression that there are just four people
watching the storm approach while carrying on some sort of routine conversation—
perhaps remarking on the weather!

The viola, Larsen’s observer, enters at ∣B∣ and reiterates the x, y, and z motives
throughout its contrasting melodic line. By repeating the motives the winds had
previously introduced, it seems to be commenting on the conversation^) of the opening.
A new glissando figure, motive c is also introduced briefly. Although not significant in
this section, this motive previews a large glissando that will mark the eventual arrival of
the storm. This first viola melody is largely tonal, yet the wind responses are less
diatonic. The top and bottom notes of the viola melody outline separate descending
scales, a compound line shown below in Example 1.13. This voice leading along with the
indication “warmly, with freedom” creates a longer and more lyrical phrase, setting it
apart from the shorter one-beat motives that the winds introduced. This lends support to

<<   32   33   34   35   36   37   38   >>

More intriguing information