![]() Perhaps the closest Messiaen comes to a genuinely contrapuntal texture is in the fourth movement – the most traditional in form, harmony, and rhythm and meter. In the course of such a conversation, one instrument might present an idea, develop it a bit, be interrupted by another which develops the idea further or digresses before yet another introduces a new idea altogether, the first now perhaps pausing to reflect a bit before offering a rebuttal or posing a question. Johann Wolfgang von Goethe is said to have compared the classical string quartet to 'a conversation among four educated equals' – an apt description of the contrapuntal texture often found in chamber music, in which each instrumental part is clearly independent from the others while unfied by the common topic of 'conversation': the musical themes and variations.
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