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・ Symphony No. 3 "Universe"
・ Symphony No. 3 (Arnold)
・ Symphony No. 3 (Bax)
・ Symphony No. 3 (Beethoven)
・ Symphony No. 3 (Bernstein)
・ Symphony No. 3 (Berwald)
・ Symphony No. 3 (Brahms)
・ Symphony No. 3 (Bruckner)
・ Symphony No. 3 (Chávez)
・ Symphony No. 3 (Copland)
・ Symphony No. 3 (Davies)
・ Symphony No. 3 (Dvořák)
・ Symphony No. 3 (Elgar/Payne)
・ Symphony No. 3 (Furtwängler)
・ Symphony No. 3 (Garayev)
Symphony No. 3 (Glass)
・ Symphony No. 3 (Glazunov)
・ Symphony No. 3 (Glière)
・ Symphony No. 3 (Górecki)
・ Symphony No. 3 (Harris)
・ Symphony No. 3 (Haydn)
・ Symphony No. 3 (Ives)
・ Symphony No. 3 (Khachaturian)
・ Symphony No. 3 (Lilburn)
・ Symphony No. 3 (Lutosławski)
・ Symphony No. 3 (MacMillan)
・ Symphony No. 3 (Mahler)
・ Symphony No. 3 (Malipiero)
・ Symphony No. 3 (Martinů)
・ Symphony No. 3 (Mendelssohn)


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Symphony No. 3 (Glass) : ウィキペディア英語版
Symphony No. 3 (Glass)
Philip Glass's Symphony No. 3 is a work for string orchestra, commissioned for the Stuttgart Chamber Orchestra. The premiere, conducted by Dennis Russell Davies, took place in Künzelsau, Germany, on February 5, 1995.
== Form ==
The symphony is in four movements. The first movement is elemental in nature, initially based on pulsing Cs but giving way before long to contrasting scales. It is soft and brief, evocative of the composer's earlier string quartets, and acts as a prelude to the faster and more lively second movement, which begins with running quavers that immediately signal a change in texture and harmonic breadth. The movement progresses to a series of abrupt metrical changes, and ends when it moves without transition into a new closing theme with pizzicato counterpoint. The third movement forms the core of the piece, taking the form of a dark, slow-building ''chaconne'' beginning with a ground bass in the cellos and violas. The rest of the orchestra joins the pattern with each repeat, setting in place a layered effect before a solo violin introduces a high, keening cantabile melody over the accumulated rhythmical tissue. The melody passes to a different member of the violin section with each repeat, as the other instruments continue to build the underlying structure. The melody is eventually subsumed beneath contrapuntal filigrees and trills from the rest of the violin section, disappearing almost entirely within the texture, and the movement ends abruptly once the theme has reached its peak and all instruments have been included. The energetic fourth movement recapitulates and develops material from the end of the second, with brisk chords intersected by short chromatic runs. These chromatic sequences come to dominate as the movement progresses, taking over from the earlier chord stabs and steering the movement into its closing theme.

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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