The name is absent

Example 1.12: Cajun Set, Second mvt., mm.71-77

This motive is unique, due in part to the sudden unison texture, abrupt dynamic
changes, and accents. It has no relation to the Cajun song, and other than the contrary
motion glissando in m. 74, there are no hints of material from earlier in the movement.
Nonetheless, this motive gains further significance because it appears as an important
motive in Larsen’s next chamber work for strings, Alauda: Concert Piece for String
Quartet (1986) as shown in Example 1.13.

Example 1.13: Alauda, Mvt. 1, mm. 10-12

V     r— 3—. ∏ V-----

Jfl .--------. ! > > . Г . . .. port-

-F

ff

Following a pause after the rhythmic acceleration gesture, the violin melody returns
to the French Blues material, hinting at the cadence gesture, shown in Example 1.14.

Example 1.14: Cajun Set, Second mvt., mm. 78-80 (violin only)

A second iteration of the accelerated rhythmic motive follows in m. 83-88, fading
into a chord of open fifths. The movement concludes with a lightly accompanied guitar

<<   56   57   58   59   60   61   62   >>

More intriguing information