Arthur Ness wrote:
> Immediately Hindemith's _*Ludus Tonalis*_ comes to mind. Twenty-four
> fugues with interludes (instead of preludes--they function to modulate
> between the
> keys of the fugues), and all of this surrounded by a prelude and
> postlude, the postlude being the same as the prelude in retrograde.
> The latter being perfectly possible due to Hindemith's system of
> tensional harmony, which Ludus Tonalis exemplifies.
>
> My favorite would be Stravinsky's "Vom Himmel hoch Variations", which
> was premiered in St. Mark's after the authorities refused his initial
> idea to perform a work based on Gesualdo. (Apparently the Venetians
> did not like the idea of music by a Neapolitan murderer being
> performed in their basilica.<g>)
>
> And then there's Brahms's Fourth Symphony, last movement. The
> chaconne theme appears to be based on the chaconne in the last
> movement of JSB's Cantata No. 150 ("Nach Dir, Herr, verlanget mich").
All new to me. Thanks, Arthur!
Steve
--
Mark & Steven Bornfeld DDS
http://www.dentaltwins.com
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