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Die Brasilianische oder Das Kreuz des Suedens The Brazilian or the Cross of the South Symphony No. 1 C-Dur Plot: First Movement: Guanabara The Bay of Rio de Janeiro Deep double-bass depict the endless expanse of the South Atlantic Ocean. The city of Rio de Janeiro emerges from the fog like a Fata Morgana, with the enormous cosatal mountains in the background. Among them lie the miserable huts of the Cariocas. A three-act theme rings out from the woodwind players. This is confronted by the pizzicato rhytm of the strings, which supports the main theme (horn solo) of the first movement. Confrontation; Catholic Church-Paganism. Both themes are separated from one another by various other organ points during the course of the movement. A number of Engfuehrungen of the main theme lead with triple forte to the use of the "drums idea", which is blared out from the trumpets over the organ point C. The Christian missionary take the pagans in. Second Movement: DOS DE EUS The Finger of God This hand just high out of the coastal mountains almost threateningly, an incessant reminder of the Lord's commandments. The movement begins with a cantilena, reminiscent of the Greek kalamaia reed pipe. This motif sounds out as if from an invisiable church and slowly develops into a choral while accompanied by all instruments. Third Movement: COPACABANA The easygoingness of the people, the takativeness, the eternal zeal for life, love, jest, dancing. Here the main motif of the first movement is carried out in reverse form, playfully characterized by other folklorist motifs, leading up to a finaletto, which combines all three themes in a counterpoint fashion and brings about the Carneval, which breaks off suddenly: Ash Wednesday. Fourth Movement: CORCOVADO The immense Christ figure, visible everywhere towering upon a rock over the bay of Rio. In this movement, which begins 'myxolydically', the themes of the unrestrained b elievers of different religions facing each other develop once again. One positively senses the dance of the spirits and the figure of Christ. The motife, struck up by drums, increasses from a nearly lyrical tenderness to dramatic excitement. From a heart-beating drum rhythm led into the finale, the symphony ends. |