The development section starts with material from the first theme group, giving
the impression that this is perhaps a recapitulation. The first major deviation from the
original material occurs in measure 116 where the key area shifts to D minor, and the
developmental idea of visiting several key areas begins. While the lengthy development
section visits several keys, the main focus is on the exploitation of rhythm. Very much in
the traditional sense of a development section, Ewazen develops all previous melodic
material and subjects it to the compositional processes of fragmentation, diminution of
rhythm and changing meter. The gradual growth in rhythmic energy and dynamics,
while avoiding any sense of arrival or repose, culminates in the climax of the movement
at measure 168.
The development section starts with material from the first theme group, givingthe impression that this is perhaps a recapitulation. The first major deviation from theoriginal material occurs in measure 116 where the key area shifts to D minor, and thedevelopmental idea of visiting several key areas begins. While the lengthy developmentsection visits several keys, the main focus is on the exploitation of rhythm. Very much inthe traditional sense of a development section, Ewazen develops all previous melodicmaterial and subjects it to the compositional processes of fragmentation, diminution ofrhythm and changing meter. The gradual growth in rhythmic energy and dynamics,while avoiding any sense of arrival or repose, culminates in the climax of the movementat measure 168.
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