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The Serenade
in G (identical
in its three formats, though I prefer the original's two violins,
two violas, two cellos, single double-bass) was the most poised
response I could make to "unjustified criticism". Convicted
of palliating crimes against long-defunct obligatory progressivist
"modernity", I wrote the sweetest, most escapist and
self-indulgent strains I could muster. The careful listener
won't miss the same concern with symmetry / asymmetry in the phrase
lengths, and a constructivist approach to the basic materials,
consistent whether the context is Brahmsian warmth or grim eviscerated Rivers
of Hell. |
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