ln the first of two articles, Leila Josefowicz explores ideas of feverishness, hallucination, death and resurrection in the second movement of a great 20th-century concerto
This piece is a work of art of the Viennese School. It is dramatic, deeply emotional, genius writing of unbelievable music at the most profound level, and it uses the 12-tone-row serialist technique so masterfully. Please have a full orchestral score on hand as you read this article, so that we can go through it together. Pay close attention to the opening legend, because it forms one of the backbones of 12-tone writing.
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