Alan Rawsthorne (1905-1907) didn't start studying music as a career until he was in his twenties, and did not emerge into the public eye until he was in his thirties. This was his first important orchestral work

As the title suggests, the work is deeply concerned with orchestral sonorities. Next in importance are the development of a melodic line from the main motive, and the use of tonality in an original way to organize the work.

Although it is a continuous piece (about twenty minutes altogether), it is six sections, each with a predominant sonority:

Introduction, Maestoso 1. Allegro di bravura (winds and string antiphonally) 2. Allegretto (full orchestra alternates with quiet string/harp textures) (etc.) 3. Allegro di bravura 4. Lento 5. Allegro piacevole

The basic motive is an A Major ninth chord, played in falling intervals : B, E, C#, A. One way it is treated is by melodic variants, such as B (down) A (up) C# (up) E, or transposed. The other basic way the material is varied is by altering the intervals by lowering the C sharp to a C natural, or the A up to an A sharp, etc. Each of such variant motto generates a theme.

Harmonically the work quickly moves from one to another key center. The opening three measures, go through B, A Major, b flat minor, then through F to A minor.

This impressive debut piece began a respected career, in which Rawsthorne emerged as an important although not widely famous composer. The work as a whole is angular, a bit academic, but a highly energetic work.



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