Introduction and Passacaglia travels through a broad spectrum of sounds, energies and emotions. Clarinets emerge from the hazy opening before a trumpet signal starts off a brass fanfare. This fanfare announces the passacaglia tune to follow, but climaxes with echoes of the clarinet opening. The wheels of the passacaglia then begin to turn and over it melodies develop contrapuntally. A melody from the introduction comes to the surface again and begins to compete with the passacaglia for predominance, eventually usurping itıs position at the bass. After this violent interaction, things settle down and a tender cello solo takes the passacaglia to a far off place of rest and repose. But the trombone recalls the passacaglia to its original C minor, and a five-part fugue begins on the competing theme, while the passacaglia expands to double its original size underneath. This conflict of fugue (a linear process) versus passacaglia (a cyclical form) brings what has been the ongoing competition between these two themes throughout the work to a head. It plays itself out with great force and ends with Brucknerian cannon shots in the brass, finishing with both themes claiming victory in the final two bars.
- Cleveland, 2000.
Approximate Timing : 8:00-8:30
Recordings:
Performers: Cleveland Institute of Music Orchestra. Harry Marenstein, conductor.
I&P (8:20). MP3: 7.8 MB
[Excerpt #1] (1:19). Real Player: 28k,
56k
[Excerpt #2: Fugue] (2:16). Real Player: 28k,
56k
Performers: Illinois Wesleyan Civic Orchestra. Steven Eggleston, conductor.
MP3: 7.2 MB
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