By Leeds Music Corporation
Piano song publication
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Additional info for 40 More Hits of Our Times, Book 2
Now occurs in E-flat major (bars 293–7), but this is virtually the only move to a key remote from near relatives of the basic tonality. While Dvorˇák avoids monotony by a combination of harmonic ornament, lyricism and an astonishing variety of orchestral texture, the relative lack of volatility in modulation, coupled to the extreme regularity of the recapitulation after the quotation of the second theme, adds greatly to the sense of grandeur and gravity projected in the movement. This atmosphere of weighty inevitability is felt at its strongest in the recapitulation.
V . œ ˙ ƒ ˙ œ œ œ \ ˙. v Allegro Cl. # \ & c œ. œ œ P ˙ œ. œ œ ˙ Ex. 2 œ œ. œ. œ. œ. œ œ. œ. n œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . > . œ. œ. > . . œ œ œ. œ œ œ. œ œ œ œ œ œ œ œ. B # # [c] œ Z Z Í vivo Í p spiccato [Allegro] Solo cello B # # œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ. œ. œ. œ . œ. Concerto separate it from the products of Dvorˇák’s first fifteen months in America, there are also some marked similarities, particularly in aspects of thematic design. 1; to facilitate comparison, the Cello Concerto melody is transposed from its original B minor into E minor).
Immediately striking is the shaping of the theme in the continuous sketch: the sixteen bars of the melody fall into clear four-bar periods until the last five-bar phrase, which nevertheless concludes with a leadenly trite 33 Dvorˇák: Cello Concerto Ex. ] @ ˙ [B] œ œ # œ n œ œ œ # œ # œ \ ƒ Str. fZ œ ˙ œœœ ˙ œ œœ ˙ œ #### œ œ œ ˙ aœ œ œ # & œ œ [&] Ÿ~~~~~ w [ #] Orchestra cadence. The final version of the theme is extended by two bars leading to the lively (Tempo 1) tutti (a feature which did not occur to Dvorˇák until relatively late in the continuous sketch of the movement), which provides the concluding section of the introduction.