First and Second Movements
The first two movements of the work are coupled together and scored in C major in 2/4 and 3/4 time marked Allegro non troppo. They open with a glissando ranging over two octaves in the treble voice which culminates in the statement of the main theme centered on two percussive chord structures. This leads to a series of rhythmatic arpeggios in the key of D flat minor followed by a series of descending sixteenth note groupings echoing the main theme. The theme is subsequently restated in the key of D sharp and eventually progresses into the key of F flat. The thematic motif soon descends into the bass voice where it heralds a arpeggio in the treble voice.
Development of the theme now transpires in 4/4 time. Chromatic key changes from the key of C major through G minor into D minor lead back into the key of C major and a return to 2/4 time. The theme is recapitulated in G major and developed as a scherzo marked Legato e dulce. A restatement of the pervasive percussive chords of the main theme ensues in the treble voice shortly thereafter. This culminates in an arpeggio and a return to 4/4 time.
Another series of glissandos in the treble voice ushers in a brief cadenza. This foreshadows another arpeggio which brings the two movements to a percussive conclusion.
Read more about this topic: Concerto For Free Bass Accordion, Movements
Famous quotes containing the word movements:
“Awareness of the stars and their light pervades the Koran, which reflects the brightness of the heavenly bodies in many verses. The blossoming of mathematics and astronomy was a natural consequence of this awareness. Understanding the cosmos and the movements of the stars means understanding the marvels created by Allah. There would be no persecuted Galileo in Islam, because Islam, unlike Christianity, did not force people to believe in a “fixed” heaven.”
—Fatima Mernissi, Moroccan sociologist. Islam and Democracy, ch. 9, Addison-Wesley Publishing Co. (Trans. 1992)