It begins allegro vivace ending in a lonely oboe solo.
The stage is strewn with Marguerites.
The opening movement begins in sets of call-responses in G major.
In sonata form, it advances to a minor key played by strings,
rising to a frantic crescendo then culminating by the repeat of that plaintive oboe.
The second movement continues in lilting 6/8 waltz time,
a melody having a lazy dreaminess shifting in and out of keys in major and minor;
midway through, the tempo changes to a set of quick mood swings.
The latter part takes up themes from the first movement once again changing keys.
Built with clarity and steady rhythms the closing melody shines sublime.
The third section sings in andante cantabile, a fugato of four voices:
a constant swirling and weaving of themes, each voice expressing different things.
Each playing in counterpoint to the others but the whole accelerating to a Viennese.
The figures circle then return to andante, each song highlighted in razor
sharp relief before being united one last time as the woodwinds and brass rejoices.
The last section, a haunting largo piece, hearkens nature’s sounds.
Beginning with bassoons then clarinets to mimic mockingbirds and parakeets;
the melody returns to the initial plaintive tune as each motif is like a treasure.
The rise and falls are like sun and moon, the turns, rotations; the starts and endings–
lullabies dissolve into strains that arc to triple forte, a conclusion of leaps and bounds.
© Gay Reiser Cannon * 9.11.2014 * All Rights Reserved
Posted for d’Verse Poets hosted today by Karin Gustafson. The prompt is an extended metaphor.