How pre-heating before momentum against the roughness del dittico verista (la prima di domenica 16 sarà trasmessa, oltre che da Radio3, anche in video da RAI5 - chissà se pure in web…) Daniel Harding ha diretto Il primo concerto del 2011 dei Filarmonici scaligeri, con un programma che ha affiancato due autori assai lontani per concezione, approccio e ideali, pur avendo convissuto per 40 anni nello stesso secolo.
Ha aperto il concerto la Suite A dell' Ulisse di Luigi Dallapiccola . Solisti di canto Manuela Bisceglie e Lucio Gallo (ascoltato sabato 8 dal MET, in the role of Jack Rance ). Wondering why a work like Ulysses, has had - since 1968 - representations that can be counted with the fingers of one hand is perhaps tedious ... it happens the other night-radio commentators American Girl wondered why the work most innovative Puccini (plus that gave him the greatest musician of consecration) was also performed less and less loved by the general public! ( because there is almost nothing that they can whistle, or sing in the shower , the explanation was hovering there ...) Ergo, tirèm first.
In the second half of the concert Harding led the Trepper hypertrophy Eine Alpensinfonie of Richard Strauss . The total minimum indicated by Strauss is an orchestra-base of 107 professors, which he should add, for a change in the scene of Vision , others 10 (a doubling of some woodwind instruments); more - so much to like - other Brass 16 seats in the distance , episode Der Anstieg . Two harps, possibly doubled, percussion josa, including wind machine and - in just 3 lines of employment, which waste! - Thunder machine (actually a lamierone hanging from a perch and beaten with a stick drum). In all, at least 133-135 items, stuff Bengodi , not Bondi ... Maybe yesterday there was some element not in (the offstage brass then, who could count them? Certainly there were 5 horns, then entered the orchestra ...)
The difficulties for the musicians of the winds are so quakes, which Strauss that has bothered to add a footnote to the score, encouraging them to use the ' aeroforo of Bernard Samuels (invented just behind the composition, in 1912) for adequate air supply to the mouth, with which to address long related ! The gimmick has not been very successful, to tell the truth, presenting more drawbacks than advantages, as recognized by some individual concerned. Nor does it appear that anyone has ever proposed to install (behind the scenes or under the table of the stage) a centralized system of air supply (similar to those used in hospitals for oxygen and nitrogen), with a few dozen torches, sbucanti from the floor, available to musicians in need.
What can I say? Harding gave a sober reading of this elephant, senza esagerare troppo con l'enfasi e l'affettazione e mostrando il meglio proprio nei passi più intimistici e raccolti di questa partitura. L'orchestra ha risposto bene, e particolarmente nella sezione che è solitamente definita come suo tallone d'Achille: gli ottoni, e i corni in particolare. Grandi ovazioni per tutti: un buon viatico per il Direttore, in vista dell'appuntamento con Mascagni-Leoncavallo .
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Nella sinfonia (un poema sinfonico , in realtà) si esplora un'intera giornata, da notte a notte, dall'alzataccia per i preparativi dell'escursione al ritorno a casa, dopo una giornata difficult, even dangerous, but exciting and unforgettable. The various musical adventure moments are clearly indicated in the score, exactly with subtitles 22, which guide us carefully throughout the day.
Then work programmatically descriptive, as the music can describe things, places, animals, and attitudes, movements and human feelings. If a listener, unaware of the subject, do you hear the theme of ' ascent, asking what we can see, there is one chance in a few million billion that he be the guess of a brisk walker at the foot of the Alps ( this as a Hanslick any absolutely right). Ditto if you ask him what he sees in the Wagnerian theme sword (if no one feels that this issue does represent, in fact, a sword). Moreover, it is indisputable that, once we know that this issue does represent the step of the way (or the sword of Wotan in the second case) we can not help but recognize that those issues are actually very apt to objects or movements who wish to represent. This means that the authors of those issues have been able idearli and put on the staff with great skill and supremely musical genius.
back to Strauss, the music we describes those 22 stations is perfectly cross-cutting in places, circumstances, feelings, threats, visions that a hiker will encounter in its path and test in front of what he encounters. Of course, like music they might like (or dislike) even if those subtitles are missing, or if there were stuck in a totally different (it is usually Hanslick to ensure).
And in fact - the same accomplice Strauss, it must be said, with his shot on the 'Antichrist - there are the usual scaffolding that is to explain (to us poor idiot) as qualmente and, in this' operates under the externality of programma naturalistico si celino in realtà problematiche socio-politico-filosofico-psicologico-esistenziali di abissale profondità. E che quindi i titoli delle 22 stazioni si potrebbero sostituire con altri, del tipo: l'uomo nella notte dell'ignoranza e della religione; scocca la scintilla della ragione e si fa luce ; il lungo cammino verso la conoscenza; il pensiero umano si inoltra nella foresta del dubbio; le prime conquiste della scienza; errori ed eresie; finalmente la pienezza della liberazione e della purificazione morale … e così via inventando. Diciamo la verità: con simili sottotitoli la Alpensinfonie diventerebbe una stucchevole, velleitaria riproposizione dello Zarathustra o della narcisistica e megalomanìaca Heldenleben …
Volendo, si potrebbero proporre anche altre, diverse e ancor meno naturalistiche, visioni dell'opera. A partire da quella autobiografica: nel 1915 Strauss, a 51 anni (l'età che aveva il suo amico-rivale Mahler al momento di morire, quattro anni prima) dopo aver composto e fatto eseguire tutti i suoi Tondichtungen e quattro cosucce come Salome, Elektra, Rosenkavalier e Ariadne , si sentiva all'apice del successo, avvertendo allo stesso tempo che gli sarebbe stato difficile rimanere in vetta per perhaps forever, and that was about to begin for him to step down (actually lasted 34 years, during which he continued to produce music, however, far from being contemptible). So how can you interpret this story as a parable of the musical film on the western and central Europe, which - in the eyes of Strauss and in the face of revolution in progress (Schoenberg, Stravinsky) - seemed starts at sunset, after the splendours Wagner, Brahms ... and Straussian! Or even - because of the great war in full swing - as acknowledging, with great regret, the decline of a civilization, after the peaks touch turn of the century.
is why, personally, I tend to like this just looking - and listening to them, especially! - With the eye-ear naive hikers passing a beautiful day in the mountains! And what a day ...
1. Nacht - Night
Time slow and shades of Bb minor. A descending motion of strings and bassoons, which in 8 sizes covers exactly two octaves, from Bb tonic, is the solemn introduction to the topic of the mountain ancora avvolta dalle tenebre, esposto da tromboni e basso tuba:
Poi i contrabbassi creano un movimento di ondeggianti terzine, come un sommesso, sordo stormire di fronde, mosse dalla brezza che annuncia l'albeggiare; arpeggi dei fagotti preparano ancora il tema notturno, esposto a canone largo da tuba, tromboni e corni. Ora, poco a poco più mosso , flauti, trombe, oboe e corni eseguono a turno degli squilli (una quinta ascendente) come di qualcosa che si risveglia, o forse sono gli olà degli escursionisti che si danno il richiamo per radunarsi in vista della partenza. Tutti gli archi adesso stormiscono a fast quatrains, thus accelerating , the theme of the mountain is solemn (the day is approaching) going from Bb major Bb minor to in trombones, trumpets, horns and strings and woodwind instruments that enlarge further sound, with fast demisemiquavers. A triplet of the trumpet and woodwind instruments, in strong, always in Bb major, leads a daring leap of tone, a greater THE ...
2. Sonnenaufgang - the sun comes
Time supported moderately slow. The rising sun is a theme played by degrading for nearly two octaves, made sawtooth , that represents the light that falls progressively flooding the ridges of the mountains, thus revealing the jagged profiles - highlighted by dishes - the sharp peaks:
is always 8 steps, played by strings, horns and woodwind instruments, then by the horns and trombones, gradually was marked by strings and woodwinds. There he was, right in front of us, the majestic theater of our tour! With a transition to greater Eb, violin and woodwind instruments also seem to show ancora al nostro sguardo il suggestivo panorama, ancora lontano, fatto di picchi, boschi, valli, ghiacciai e burroni. Ricompare il tema della montagna, dapprima in minore, che poi sfocia in una sesta napoletana , in tromboni e trombe, che sembra spronarci con un: forza, in marcia! Accelerando , arriva una scala ascendente di tromboni, corni e fiati, poi le trombe introducono frammenti del successivo tema dell'ascesa, come se ci si stesse riscaldando prima di attaccare l'escursione...
3. Der Anstieg – l'ascesa
Tempo piuttosto alive and energetic. The theme of the rise is explained by the low strings (first section) with the addition of violets (second section) and then the violins (third section):
It gives us the very idea of \u200b\u200ba brisk walk , stride, high morale, to address the first ascents. I still feel, and move in a more varied (including reverse fee). Then he gives a little 'rest ( slowing down ) takes effect immediately but in strings, bassoons and clarinets ( rather energetic ) to touch a brief suspension, and leave space for a new theme, marcatissimo (the tramp of a wild goat that climbs up a ridge? Or our rapid leaps from rock to rock, to climb over the first hurdles?) Exposed by the horns and trombones, trumpets also closed on:
here should be heard in the distance (off) with 12 horns, two trumpets and two trombones (we were not even a fox hunt, the Queen of England!) that sound familiar triplets, while continue to hear, in counterpoint, the characteristic ascending clatter (whether deer pursued by hunters?) plus three repetitions of a figure of clarinetti (quasi tre respiri un po' affannati, che ci consentono di prender fiato dopo la prima parte della salita) a preparare...
4. Eintritt in den Wald – entrata nel bosco
Un poderoso accordo generale, in tonalità di DO minore ci descrive la cupa maestosità del bosco, che ci sta proprio davanti; profondi arpeggi degli archi ci rappresentano lo stormire delle fronde nel folto. Ed ora corni e tromboni intonano un tema solenne, piuttosto arcano, che ben dipinge le nostre sensazioni al momento di addentrarci in una foresta, un misto di curiosità e di inconscio timore:
bassoon and strings low ( a bit 'tight ) take up the theme of the rise (but in a minor key, as if to underline the mysterious landscape that surrounds us), then in high winds ( slow again) back to the theme of wood, which bends and goes back, in the strings, even then that was marked by the rise in bundles. An ascending progression of trumpets and woodwind instruments leads to a sound peak in E major , from which one returns the key of Ab major ( time a little 'more alive ) over which the violins sing a new pattern, profile dreamily
which leads, taking up the first time , in the key of greater LA , which returns to the theme of wood bass clarinet and bassoon, was marked by three authentic twittering the clarinet and the flute, which in turn imitating a nightingale. Descend, from C major , and then by Eb ( back a bit 'tight ) where the theme is repeated in the previous child, to make way for the brass to take up the theme of the forest ( gradually calming ) then in counterpoint with woodwind instruments, and the resume time ( somewhat moderate ) and hue (more Ab) on which the violins and violas are inspired by the rise, even to a change languishing (perhaps the slope here is less demanding, or start to feel fatigue ...) on which suffered the first violins and viola seem to invite us to meditate, listening for a while ... the silence of the forest, before the theme of the rise to resume and expand wanderings in (obviously we are in a stretch of the route relatively affordable), culminating ( a little off ) in four species of hops that bring us down to a stream, announced by floating sextuplets of sixteenth notes of flutes and clarinets ...
5. Wanderung neben dem Bache - walk from the stream
The theme of the rise in returns to low strings, bassoons and bass clarinet, and strings, clarinets and flutes make us feel the presence of water flowing further down ; the weather turns gradually moved more , bassoons and horns still expose the theme of the rise, more and more in LAb ; fast figurations of the flutes, then again the theme of the ascent, always bassoons and horns, some in greater Ab, the other in C minor . Now the weather turns gradually more and more alive , walking near the water now, as emphasized by the figures of strings and clarinets, the first violins, with the horns, the theme of the ascent now leads to a excited progression, while strings and woodwind instruments reflect the current more impetuous stream. But now we are almost running us too, because we are irresistibly drawn towards the mountain, from the classic sound of a waterfall ...
6. Am Wasserfall - at the waterfall
In time much alive and shades of D major, the theme pawing (are our last leap to get to the front of the waterfall? Or some ibex that he runs away from there, frightened by our arrival?) is repeated, very strong, with trumpets and horns, and flutes, clarinets, bassoons and violins produce precisely the cascades of descending notes:
On a flat background of struck by sticks, which makes the idea completely vaporize the water in contact with the rocks, waterfall continua, prima in tempo quaternario, poi in ternario, punteggiata dalle due arpe e dalla celesta, mentre si prepara una...
7. Erscheinung – apparizione
Chissà se per caso si tratta della famosa Alpenfee , la Maga delle Alpi (quella che anche il byroniano Manfred incontra proprio sotto una cascatella…) È sempre il ribollire della cascata che occupa il campo, con continui glissando di violini e arpe, finchè il primo corno intona un dolce tema (lo risentiremo presto, e in quale maestosità!) che results in the ascent:
theme that woodwind instruments and violins take over and close with a climb to RE, then the MI, which leads to F #, the dominant hue which characterizes the next scene ...
8. Auf Wiesen blumige - on fields in bloom
Time much alive and shades of SI greater. The theme is the rise once again in the low strings, while the woodwind instruments and harps to emit sounds limit of buzz, perhaps to represent the insects and bees that are busy around the flowers. Then the theme is open - just like the scenario we are experiencing now, underlined by chrome pizzicato cellos, which seem to describe the rabbit a few races - in new forms, increasingly lively :
to lead, accompanied by the theme of the article, to a new key, which also introduces a new scene ...
9. Auf der Alm - on pasture
I n time moderatamente veloce e tonalità di MIb maggiore fagotti, clarinetti e corno inglese emettono come degli jodel , accompagnati dagli squittìi del flauto piccolo. Il clarinetto piccolo e gli oboi letteralmente belano , suonando con la tecnica nota come frullato (il tedesco Flatterzunge , consistente nel far vibrare la lingua mentre si emette il suono). Poi corni, viole e un violoncello intonano un nuovo tema, derivato da incisi uditi sin dall'inizio, dopo lo spuntar del sole, che si innalza in volute successive:
Il sottofondo è sempre di squittìi dei flutes, jodeln English horn, clarinets and bassoons, while you also hear the bells, apparently from herds that graze in pastures in the area ... some horns and strings take up the theme, including the fee, while jodeln, squeaks and sounds of bells are made more intense, because now we have to be very close to the pasture. A final peroration of the theme in the strings, leading to a new scene, in fast time : bassoon and woodwind instruments expose, in subsequent revenue, a figure downward to less than four octaves, from dominant to dominant (who knows, the call of a shepherd's whistle that echoes several times, reflected from different rock walls ...) and immediately after first horn, making their way, on with freshness , out a new theme:
this catchy theme, right from ... mountain running, but expands, the arches in figurations moves like a herd of running here and there, and introducing the next scene ...
10. Dickicht durch und auf Gestrüpp Irrwegen - through bushes and undergrowth on the wrong paths
The last issue of grazing continues to occupy the scene, now in fugal form, varied and iridescent colors, of intensity, and always in character, pushing violently with strong ascending scales of horns. We have now sent over the rough paths, we are surrounded by thorny bushes and we are in a very critical situation, but we do not lose heart, rather emerge from brambles and proceed always accelerating. Here the theme is also played by the ascension pipe content (Wagner) that we hear for the first time. The music brings us to a suspension, and to a lesser extreme, the entire orchestra, when trumpets and trombones reproduce majestically in Bb minor, the opening theme of the mountain, where the horns take over FA minor, the theme of the ascent, which now has made us reach the glacier ...
11. Auf dem Gletscher - Glacier
Time submission, but alive and shades of D minor. While violas and cellos then emit undulating sextuplets of sixteenth notes (carefully, because here we slip!) Trumpets and woodwind instruments take up the theme of clatter (here are our boots that are struggling to hold his balance) which is then flanked by varied theme of ascent, culminating in D minor on supertonic:
Now falling short, we move to the next discussion ...
12. Gefahrvolle Augenblicke - dangerous moments
Time vivo, such as . Bassoons, then horns and trumpets take up again the theme of clatter, which here represents well our difficult climb on the ice, punctuated by various slips (descending scales of bassoons and cellos). The solo cello takes up the theme of the rise in F minor , but here with extreme caution, given the precariousness of the moment! Even more cautious and trembling trombones repeated, Eb, we proceed in steps, indeed shivering tremolo on the strings (let's face it, a little caghetta here is attacking us). Finally, violas, cellos and then the trumpet in A minor , themes recur and the rise of hops, until the horns, God willing, with recent jumps decided, bring us ...
13. Auf dem Gipfel - on top
We are, at least initially, in the key of F major trombones and interpret the arrival of the top three ever upward jumps: a dominant-tonic, tonic-dominant, dominant-tonic:
This is the highlight of the day, the objective of our outing. And we want him to enjoy it as it deserves (and how we deserve!) We sit on a rock and listen to admire: the incredible silence of the glaciers, a bit 'quieter , oboe presents a delicate melody
is sometimes hesitant chiusa su una cadenza presa dalla conclusione del pascolo cui, più mosso , il flauto, con gli archi in tremolo, risponde con un inciso che ricorda, sviluppandolo, l'apice del tema dell'ascesa; ancora l'oboe, di nuovo più tranquillo , ribadisce il suo tema esitante, che adesso sfocia ( più mosso , in tutta l'orchestra e con una modulazione da FA maggiore a DO maggiore ) nella grandiosa, enfatica perorazione del tema della magnificenza della Natura. Che altro non è se non l'ultima sezione del tema dell'ascesa, magistralmente sviluppata. Qui la parte dei flauti:
Here, when Strauss was alluding to the symphony as Nietzsche's Antichrist likely had in mind especially this scene and this shade: the DO, which is the Nature in its pure objectivity (it Notice how the previous theme is exposed using only the notes of the diatonic scale, the white keys of the piano, with the exception of sensitive!) Now that the trombones are in Allegro , say the three leaps upward, directly ENTAILING ( rather restrained, with the addition of horns) in a restatement of the opening theme of the mountain, in A minor, which follows, the horns in C major , the solemn theme, presented shortly before (in the scene of ' appearance after the fall) and further developed than good snapshot of the superb view of nature near
The issue is now also exposed by the cellos, clarinets, and high arches while the counterpoint, with a heady jump of nearly two octaves descendants, and with dizzying ascents, on and on, before stopping, followed by more jumps (the latter is even a range of 17th, a real dip in ' abyss!) There really is described in sublime attacking the stunned amazement the little man in the face of such a sight!
Then horns and trombones, then trumpets the theme of our jumps reappear, as if we were to achieve a much better position to explore the landscape, and landscape that we are represented ( wide enough ) from the restatement of the theme of the rising sun, here in C major, something really breathtaking, even more radiant, if possible, from initial exposure. Have high arches, horns and woodwind instruments to expose it, with horns in counterpoint with exciting sharp climb up to the FA. He thus arrives at ...
14. Vision – vision
Il tempo è sostenuto e trattenuto e il tema dei tre balzi ascendenti si ripresenta, esposto in tonalità diverse (inizialmente FA#) da trombe, corni ed oboi, e porta lentamente alla riapparizione del tema del sorgere del sole, ora esposto da violini e flauti in LAb maggiore (si noti: un semitono più basso rispetto alla prima esposizione, all'alba, e a partire dalla mediante, anzichè dalla tonica, come a segnalarci che ci stiamo lentamente avviando verso il meriggio?) Anche le content four tubes swell the volume of sound. The theme of the summit back in trumpet and horns, but in dark shades, such as C # , was marked by the theme of the three trombones in the jumps, in Bb , erupting, strong, the theme of the rising sun, exposed to trumpets, violas and cellos that begin in LA (again by means of, however) as the dawn, but now in a rather darkened by tremolo strings and the colors of the wind, then down and pause for a moment on the dominant MI greater , from which you depart also suffered, with strings and horns that go back to the hard chromatic scale, until the explosion of the theme of the night mountain, Bb minor, in brass, horns, except ... (Strauss for this step requires a doubling of woodwind instruments, to give even more punch to the tone). The grand vision of the majestic mountain scenery is blurring, however, since now ...
15. Nebel auf steigen - salt fog
Time still a little wider. are only 8 bars, where all the strings tremolo make figures in ascending order (because, in the mountains, the mist rises from the bottom ...) while clarinets and flutes, then make all the watery landscape of tiny particles that are invading the scene ...
16. Die Sonne sich verdüstert allmählich - the sun fades gradually
The second violins, accompanied by the organ, still exhibit, in Bb major , the theme of sunrise, which however, is hopelessly obscured by the fog, well represented by horns and trumpets last time trumpet, organ and bassoon is repeated, then, just dropping , we proceed to the next ...
17. Elegies - elegy
In time moderate expressive arches singing a sad melody, derived by degradation hear from those at the top, the hue is undefined, ever-changing, from F # C-sharp minor . Sustains a pedal organ, then the bassoons and bass clarinet, English horn repeats again, sadly, the theme of sunrise, now totally run down. Oboe and violins still displaying the theme of elegy and then, in a quiet time , bows low and violets preparing the transition to the next scene ...
18. Stille vor der Sturm - calm before the storm
Timpano Announce deaf and bass and ominous thunder, so far in the distance. The clarinet, in more tranquil time sets in B minor (because by now the atmosphere is anything but serene ...) the wavering melody that had played the oboe the summit, the English horn the flute and then resume the 'elegy , now is the English horn melody to sketch the top, followed by the bass clarinet. Oboe seem to fall the first drops of rain; Bassoon and flute still test themselves in the melody of the peak in F # minor and increasingly slow, here is a trill on the clarinet, in the general silence, then makes a first flash, followed by two others, the flute is small with short upward leaps. Woodwinds and low strings are inspired by degrading the original in Bb minor , then drums, drums and wind machine ( livelier ) make us understand, mimicking nature, the storm is near, while flutes, oboes, harp and pizzicato violins in drop drops of water in growing numbers, with an accelerating of the entire orchestra enters in real time ...
19. Gewitter und Sturm, Abstieg - storm and tempest, downhill
Time quick and vehement and shades of Bb minor. All tremolo strings and flutes running in fast descending scales, just to represent the flow of the rain from the storm, all the horns, trombones excluded, are inspired by the rise reverse, since now you go down, and damned in hurry! Flutes, clarinets and trumpets emit thunder and lightning, while the timpani explode (oh, col dovuto ritardo!) i relativi tuoni. Il tema dello scalpitìo riappare qui nei fiati, proprio a rappresentare la fuga verso valle, a saltelloni; ancora lampi e tuoni in grande quantità, altri balzelloni all'ingiù nelle trombe, poi negli archi, con la tonalità che cambia in LA minore . Ancora balzelloni negli ottoni, finchè si ripassa dalla cascata: tre sole battute bastano a ricordarcela, perchè non è proprio il momento di fermarci ancora ad ammirarla, ma quello di scappare... In DO minore prosegue il temporale, con i temi della discesa e dei salti, intercalati da reminiscenze di suoni uditi prima della tempesta, che prosegue ancora, mentre si ripassa dai pascoli (da C minor to Eb major on ) with horns to restate their beautiful theme, now in a very lively time (we are, so to speak, in a hurry ...) Shortly after it go even of the woods, period and its theme in the trumpets, horns and trombones to be taken now ... From a note here - no doubt intentional - variant path on which Strauss has led us, in the descent. Recall that, going up, we went first the woods, after front of the waterfall, and after that in the pastures. Will drop the first encounter the waterfall, then pastures and quindi il bosco! Comunque sia, adesso si può correre a rotta di collo: su un accelerando ascendente di tutta l'orchestra si passa ad un molto veloce , dove ancora sentiamo lampi e tuoni (qui anche prodotti dalla Donnermaschine ) accompagnati da scrosci d'acqua e dal vento persistente. Si intuisce però che forse il peggio sta per passare, perciò il nostro passo si fa più disteso (tema della discesa molto largo negli ottoni). Ancora gocce di pioggia, ma sempre più rade, qualche sporadico lampo ( poco calando ). Un tuono ancora, forte, ma lontano; un po' più largo e maestoso , reappears in the solemn brass theme night on the Mount, in its original key of Bb minor . Because now we are at the sunset ...
20. Sonnenuntergang - sunset
The Neapolitan sixth terminating the previous agreement with a flat SOL, violins and woodwind instruments that reproduce more dawn to restate the theme, was marked by trumpets, trombones, and harps on the theme of the ascent, but much enlarged; dawn in the theme fits a wide digression, derived from that of elegy. We then move to tonalità relativa di MIb minore , con altri fraseggi degli archi, sempre contrappuntati da trombe e tromboni col largo tema dell'ascesa. Una stupenda modulazione porta al SI maggiore , con cui trombe e poi tromboni riespongono il tema dell'aurora, sempre sostenuti dalle figure degli archi, in perenne tensione cromatica, che sfocia poi nella ricaduta sul MIb maggiore che conduce a...
21. Ausklang – epilogo
Tempo poco largo e solenne . Sono le sensazioni a caldo che proviamo appena rientrati a casa, al termine dell'escursione, mentre See you in like a replay an exciting day. It is the organ to expose the first part of the theme of the dawn, followed by the horns, then the trumpet, which leads to reproduction, in woodwind instruments, dell'esaltante theme of the summit (there was C major, tone linked to the vision secular - Antichrist! - the nature here in Eb Major, who represents the religious side ) intervals with the abysmal and his descendants lift, then the other horns in counterpoint theme of the summit. The arches, as if to prevent the end of the day, sing a long and poignant variation on the themes of the summit, which is the counterpoint here and there by brass clips with the theme of appearance and the rise, reaching a climax in which the beginning of the dawn of the theme is exposed to high arches and woodwind instruments in greater Solbar, a modulation sudden us back to Eb, which concludes the cadence ... Now, a little more lively , flutes, clarinets chased by, make us listen to the opening theme of the scene of the pasture, which is characterized by four runs in the eighth. Then, the first time , violins and violas seem to return the rise, now imitated by horns, bassoons, tuba and string bass, but it is only a pale reminder of the bold scalata del mattino, e serve solo a riportare alla nostra memoria l'alba, il cui incipit viene riproposto da tromba, oboi e corno inglese, col pedale dell'organo, nell'originale tonalità di LA maggiore ; ma ormai sta tornando…
22. Nacht – notte
Siamo proprio stanchi, ma ancora i ricordi della giornata ci accompagnano verso il sonno. In tonalità di SIb minore i clarinetti e i secondi violini, seguiti da fagotti e viole, poi dai violoncelli e dai contrabbassi, riespongono il tema degradante con cui la giornata, e con lei la sinfonia, si era aperta; for the last time, the theme reappears in the night of the mountain brass (horns included) and then die, in time very slowly, at an extremely slow and reminiscence, in the violins, the theme of ascent.
is: now we can just fall asleep calm, let's face it ... thanks to Alpen-Reisen Strauss !
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