Section A
This section occurs once only and is based on the Irish tune Sí Beag Sí Mór.
It is split into 2 halves with each half repeated, therefore 4 quarters! Note the repeat marks. Each quarter features a clear change in dynamics (f, mp, f, ff, >.)
He sets the tune in canon and uses inversion (first half) and retrograde inversion (2nd half).
Although it sounds dissonant, the tonality is C major.
The Tempo is very fast.
Metre - 3 in each bar (3/4) except for 3 4/4 bars.
Instrumental technique - Senza vibrato.
Articulation - Light staccato.
It is split into 2 halves with each half repeated, therefore 4 quarters! Note the repeat marks. Each quarter features a clear change in dynamics (f, mp, f, ff, >.)
He sets the tune in canon and uses inversion (first half) and retrograde inversion (2nd half).
Although it sounds dissonant, the tonality is C major.
The Tempo is very fast.
Metre - 3 in each bar (3/4) except for 3 4/4 bars.
Instrumental technique - Senza vibrato.
Articulation - Light staccato.
Section B1
This is a new melody. It is played 3 times, first on violin and accompanied by 5ths on the viola. 2nd time, Cello joins in on 5ths in the accompaniment. 3rd time the strings play the tune in octaves, while the piano plays note clusters.
Texture is homophonic (melody and accompaniment)
Tonality C major. (Note all the Cs and Gs in the viola and cello.) Accidentals for change of colour.
Dynamics f, and fff
Metre Changing. 3/4, 5/8, 2/4, 3/8.
Instrumental technique. "Roughly, senza vibrato. Explosively, with very little vibrato"
Articulation. Staccato. Hand clusters
Texture is homophonic (melody and accompaniment)
Tonality C major. (Note all the Cs and Gs in the viola and cello.) Accidentals for change of colour.
Dynamics f, and fff
Metre Changing. 3/4, 5/8, 2/4, 3/8.
Instrumental technique. "Roughly, senza vibrato. Explosively, with very little vibrato"
Articulation. Staccato. Hand clusters
C1 and C2
C1
This is structured in 2 very contrasting halves. The first is in 3 parts, polyphonic played by strings, while in the 2nd half the piano joins in, there is a huge increase in tempo and dynamics and it's in 7 parts polyphonic, (4 on the piano). This section features canon at the unison. The metre is constantly changing (3/4, 3/8, 2/8, 3/16, 3/8,)
Instrumental technique - "Senza vibrato, Harmonics, détaché, accented, savagely accented. Ped." (piano)
All 9 C sections use the Irish tune, “The Last Rose of Summer".
C1 runs straight into C2
Texture. 2 part polyphonic. Vla and Cello(low strings).
Dynamics mp. Quietest constant so far.
Instrumental technique. Senza vibrato.
Articulation. Separate bows but not staccato.
This is structured in 2 very contrasting halves. The first is in 3 parts, polyphonic played by strings, while in the 2nd half the piano joins in, there is a huge increase in tempo and dynamics and it's in 7 parts polyphonic, (4 on the piano). This section features canon at the unison. The metre is constantly changing (3/4, 3/8, 2/8, 3/16, 3/8,)
Instrumental technique - "Senza vibrato, Harmonics, détaché, accented, savagely accented. Ped." (piano)
All 9 C sections use the Irish tune, “The Last Rose of Summer".
C1 runs straight into C2
Texture. 2 part polyphonic. Vla and Cello(low strings).
Dynamics mp. Quietest constant so far.
Instrumental technique. Senza vibrato.
Articulation. Separate bows but not staccato.
B2
All B sections use the B1 melody heard earlier. In B2 this melody is played 5 times.
1st time, Polyphonic, 3 part canon (strings), 1 beat apart, at the unison, dux violin and descending.
2nd time, different order in the canon and piano added.
3rd time, different order in canon and piano doubled.
4th time, Double canon and parallel 5ths.
5th time, as 4th plus double stopping on strings. Open string D “drone” on cello. (Use of 5ths is a general feature)
Tonality - “drone” on D around B239 leans towards D.
Dynamics - Mostly ff, and “powerfully”. 4th time is mp.
Instrumental technique. "Lightly detached articulation. Bouncing. Double stopping. Full bodied" sound on piano
Articulation. " Searingly. detached articulation. Bouncing. Full bodied sound."
Compositional technique. Canon (imitation)
1st time, Polyphonic, 3 part canon (strings), 1 beat apart, at the unison, dux violin and descending.
2nd time, different order in the canon and piano added.
3rd time, different order in canon and piano doubled.
4th time, Double canon and parallel 5ths.
5th time, as 4th plus double stopping on strings. Open string D “drone” on cello. (Use of 5ths is a general feature)
Tonality - “drone” on D around B239 leans towards D.
Dynamics - Mostly ff, and “powerfully”. 4th time is mp.
Instrumental technique. "Lightly detached articulation. Bouncing. Double stopping. Full bodied" sound on piano
Articulation. " Searingly. detached articulation. Bouncing. Full bodied sound."
Compositional technique. Canon (imitation)
C3
C melody played 4 times,. Polyphonic. (not canon). Each repeat of the melody is easily recognised by obvious changes in dynamics, pitch, texture and tempo.
1st time 3-part strings
2nd time, 4-part piano added.
3rd time, 5 part, 2 on piano.
4th time, 7 parts. 4 on piano.
Tonality Atonal.
Metre. Varied as in all C sections.
Instrumental technique. " Senza vibrato. Blend with strings."
1st time 3-part strings
2nd time, 4-part piano added.
3rd time, 5 part, 2 on piano.
4th time, 7 parts. 4 on piano.
Tonality Atonal.
Metre. Varied as in all C sections.
Instrumental technique. " Senza vibrato. Blend with strings."
D1 and D2/B3
D1 is the shortest section so far, and uses the Irish tune Beidh Áonach Amárach. this section is recognised by the alarming "6 o'clock news" rhythm.
Texture. Polyphonic. 2 part (low strings)
Tonality E "ish". Note the recurring E-B 5ths in cello.
Dynamics. ff, Wild.
Metre. Varied.
Instrumental technique. "Wild! Roughly detached articulation".
D1 runs straight into D2/B3. This is the first example of 2 themes being played simultaneously, hence can be referred to as "Bi-thematic". This section is played with "detached articulation"
Structure. D and B played together. Played twice, the 2nd time is faster than the first.
Texture. Polyphonic. Unison between Violin and R.H. piano. Unison between viola and cello. L.H. piano 3rds.
Tonality C
Dynamics. ff, Heavy, "Galumphing".
Metre. Varied but a lot of 4/4.
Texture. Polyphonic. 2 part (low strings)
Tonality E "ish". Note the recurring E-B 5ths in cello.
Dynamics. ff, Wild.
Metre. Varied.
Instrumental technique. "Wild! Roughly detached articulation".
D1 runs straight into D2/B3. This is the first example of 2 themes being played simultaneously, hence can be referred to as "Bi-thematic". This section is played with "detached articulation"
Structure. D and B played together. Played twice, the 2nd time is faster than the first.
Texture. Polyphonic. Unison between Violin and R.H. piano. Unison between viola and cello. L.H. piano 3rds.
Tonality C
Dynamics. ff, Heavy, "Galumphing".
Metre. Varied but a lot of 4/4.
E1
E1 is considered to be a new tune but is in fact a Retrograde of D, played once.
Texture. Polyphonic. 4-part canon dux violin, descending, in octaves, a quaver apart,
Tonality C
Tempo. No tempo change at start; very unusual.
Dynamics. ff, "Strike", >,
Metre. Varied. 3/8, 3/16, 2/8, 5/16
Compositional technique. Canon. Retrograde.
Texture. Polyphonic. 4-part canon dux violin, descending, in octaves, a quaver apart,
Tonality C
Tempo. No tempo change at start; very unusual.
Dynamics. ff, "Strike", >,
Metre. Varied. 3/8, 3/16, 2/8, 5/16
Compositional technique. Canon. Retrograde.
C4 and C5
C4 is also known as Hommage á Horowitz, a tribute to a concert pianist called Horowitz. This is the only solo section in the whole work, featuring solo piano. The tribute to Horowitz is represented by the large stretches throughout, featuring Octaves in both hands.
Structure. Short C section played twice. pitch swapping (wedging) in the repeat, sometimes a semitone above, sometimes below.
Texture. Polyphonic. 2 parts in octaves.
Dynamics. fff,
Instrumental technique. Octaves played with "complete abandon".
Compositional technique. Wedge technique. Octaves.
This is followed by C5, another short C section.
Texture. Polyphonic. 3 part canon on strings in octaves and a crotchet apart.
Tempo. Crotchet = 66. Slowest so far.
Dynamics. Mp, Cresc. Dim. Espressivo, Sadly. (Mood)
Instrumental technique. Senza Vibrato.
Compositional technique. Canon.
Structure. Short C section played twice. pitch swapping (wedging) in the repeat, sometimes a semitone above, sometimes below.
Texture. Polyphonic. 2 parts in octaves.
Dynamics. fff,
Instrumental technique. Octaves played with "complete abandon".
Compositional technique. Wedge technique. Octaves.
This is followed by C5, another short C section.
Texture. Polyphonic. 3 part canon on strings in octaves and a crotchet apart.
Tempo. Crotchet = 66. Slowest so far.
Dynamics. Mp, Cresc. Dim. Espressivo, Sadly. (Mood)
Instrumental technique. Senza Vibrato.
Compositional technique. Canon.
E2/D3
D and E played together. Remember, E is a retrograde of D, therefore, retrograde and original occur simultaneously. Repeated in octaves.
Texture. Polyphonic. Piano and cello play D in unison. Violin and Viola play E in unison. Repeat is in octaves.
Tonality Db. This is the only place a key signature is used in the work.
Dynamics. F, ff, >, accented.
Instrumental technique. Detached articulation. Accented.
Compositional technique. Bi-thematic. Original and retrograde together.
Texture. Polyphonic. Piano and cello play D in unison. Violin and Viola play E in unison. Repeat is in octaves.
Tonality Db. This is the only place a key signature is used in the work.
Dynamics. F, ff, >, accented.
Instrumental technique. Detached articulation. Accented.
Compositional technique. Bi-thematic. Original and retrograde together.
C6 and C7
Very short C section.
Texture. Polyphonic. 3-part Canon a Quaver apart, in octaves.
Dynamics. p. "hushed, espressivo".
Instrumental technique. Senza Vibrato, flautando, hushed, espressivo. .
C6 runs straight into C7.
Structure. C material, original and inversion together.Texture.
Polyphonic. In 7 parts. Piano doubles string parts. Not Canon.
Tempo. Crotchet = 88. Faster 96, poco accel. tempo changes.
Dynamics. "Striding, ff, >, Hammered"
Instrumental technique. Striding, Soaring, Hammered, Urgently???.
Compositional technique. Original and Inversion together.
Pitch. 8ve----
Texture. Polyphonic. 3-part Canon a Quaver apart, in octaves.
Dynamics. p. "hushed, espressivo".
Instrumental technique. Senza Vibrato, flautando, hushed, espressivo. .
C6 runs straight into C7.
Structure. C material, original and inversion together.Texture.
Polyphonic. In 7 parts. Piano doubles string parts. Not Canon.
Tempo. Crotchet = 88. Faster 96, poco accel. tempo changes.
Dynamics. "Striding, ff, >, Hammered"
Instrumental technique. Striding, Soaring, Hammered, Urgently???.
Compositional technique. Original and Inversion together.
Pitch. 8ve----
F/C8
Note: The audio clip below starts with a repeat of C7.
F/C8 begins at about 30''
Bi-thematicism appears again after a Full Bar Rest.with F (new tune) AND its retrograde onviolin and piano, and an augmented version of C-Viola and Cello.
Texture. Polyphonic. 4 parts,
Compositional technique. Bi-thematic. Original and inversion together. Polymetre.
C9, G and H
Section C9 at 6 bars is the shortest in the whole work and features strings.
Texture. Polyphonic. 3 part Canon, a crotchet apart, at 2 OCTAVES.
Dynamics. p. espressivo
Metre. Varied
Instrumental technique. Very little vibrato.
Compositional technique. 3 part Canon. Irish tune.
This is followed by another really short section of only 9 bars, G
Texture. Polyphonic. Bits and pieces from all themes mixed or juxtaposed.
Dynamics. ff, sfz, >, Instrumental technique. Double Stopping.
The final section, H, features new material, the Irish tune Lord Mayo’s delight it is in three sections: the first is a canon in two (viola and cello) at the unison (molto flautando); a middle part with the addition of piano and violin in a canon in three; and a return to the first section, another canon in three.
Texture. Polyphonic. 2 part canon at unison a crotchet apart, then 3 part canon.
Metre. Varied.
Instrumental technique. Molto Flautando, lightly.
Compositional technique. Canon, Irish tune.
Texture. Polyphonic. 3 part Canon, a crotchet apart, at 2 OCTAVES.
Dynamics. p. espressivo
Metre. Varied
Instrumental technique. Very little vibrato.
Compositional technique. 3 part Canon. Irish tune.
This is followed by another really short section of only 9 bars, G
Texture. Polyphonic. Bits and pieces from all themes mixed or juxtaposed.
Dynamics. ff, sfz, >, Instrumental technique. Double Stopping.
The final section, H, features new material, the Irish tune Lord Mayo’s delight it is in three sections: the first is a canon in two (viola and cello) at the unison (molto flautando); a middle part with the addition of piano and violin in a canon in three; and a return to the first section, another canon in three.
Texture. Polyphonic. 2 part canon at unison a crotchet apart, then 3 part canon.
Metre. Varied.
Instrumental technique. Molto Flautando, lightly.
Compositional technique. Canon, Irish tune.