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21331668
21331668
21331668

Largo, In Homage To B.A.C.H.

By Thea Musgrave

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https://prod.sheetmusicplus.com/title/largo-in-homage-to-b-a-c-h-sheet-music/21331668

String Orchestra - Grade 4
Composed by Thea Musgrave (1928-). Music Sales America. Studyscore. 28 pages. Novello & Co Ltd. #MUSNOV163911. Published by Novello & Co Ltd. (HL.14043116).

Item Number: HL.14043116

8.25 x 11.75 inches.

Largo, In Homage To B.A.C.H. Was Commissioned By The Carmel Bach Festival 2013, And Music Director Paul Goodwin To Whom The Work Is Dedicated. Composer Note: My Very First Idea Was To Use The Bach Initials As A Basis For The Work - Not As The MelodicMotif Often Used By Composers, But Rather As A Harmonic Structure. This Is Possible Because In The German Musical Tradition, B Stands For B Flat And H For B Natural. This Led To The Thought That There Would Be Four Short Sections, Each Led By ADifferent Soloist, Forming An Emotional Journey: Lamentoso (Mournful), Ardente (Fervent), Inquieto (Restless) And Sereno (Peaceful). The Double Bass Leads The First Section, B. Lamentoso (B Flat Major). The Cello Leads The Next, A. Ardente (A Major),Faster And Higher In Pitch To Reflect The Change Of Mood, And When The Viola Soloist Urgently Interrupts In C. Inquieto (C Major), The Scene Is Set For A Big Climax. In The Final Section, H. Sereno (B Minor), The Mood, Persuaded By The ViolinSoloist, Quietens And Eventually Leads To A Brief Quote From The Famous Chorale From The St. Matthew Passion, O Haupt Voll Blut Und Wunden Which Ends The Work, In Calm And Peace, With A Tierce De Picardie. In Turn, Each Soloist Carries The LinearActivity As Protagonist On This Emotional Journey, And The Accompaniment To Each Section Is Dominated By The "Tonality" Indicated. But There Is Also A Mysterious "Misty" Overlay, Only Dissipating After The Viola'S Tempestuous Climax. The Cluster OfNotes That Makes Up This "Mist" Is Formed From The Octatonic Scale, In Each Case Incorporating Notes Of The Triad Of The Relative Section To Determine Its Tonality (B Flat Major, C Major Etc). Each Section Therefore Uses Only The Notes Of TheOctatonic Scale1 Associated With It - Until The Viola Begins To Incorporate A Chromatic Scale2 - And It Is Only In The Final Section That The Familiar Diatonic Scale 3 Appears And The Mist Is Dissipated. Therefore, Although The Overall Feeling Of TheFour Sections Alters To Travel Spontaneously And Organically Through The Arc Of The Piece, Each Section (B.A.C.H.) Is Rigorously Organised And Controlled With Similar Internal Ingredients As Well As Within A "Master Plan." This, For Me, Is TheEssence Of Bach.

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