"Beren and luthien". (original composition). (Book, 1984) [WorldCat.org]
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"Beren and luthien". (original composition).

Author: GLENN ARTHUR BUHR
Publisher: 1984.
Dissertation: A. MUS. D. University of Michigan
Edition/Format:   Thesis/dissertation : Thesis/dissertation : Manuscript : Microfilm   Archival Material : English
Summary:
Beren and Luthien is a symphonic work in three movements for full orchestra which derives its character and, in part, its form from the mythical tale in J.R.R. Tolkien's The Silmarillion. The mood of the first movement is derived from one of the principal characters in the drama, Beren Erchamion. The movement has a dynamic, expressionistic quality with several abrupt changes in tempo which interrupt the basic
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Details

Genre/Form: Academic theses
Material Type: Thesis/dissertation, Manuscript
Document Type: Book, Archival Material
All Authors / Contributors: GLENN ARTHUR BUHR
OCLC Number: 68294379
Description: 90 pages
More information:

Abstract:

Beren and Luthien is a symphonic work in three movements for full orchestra which derives its character and, in part, its form from the mythical tale in J.R.R. Tolkien's The Silmarillion. The mood of the first movement is derived from one of the principal characters in the drama, Beren Erchamion. The movement has a dynamic, expressionistic quality with several abrupt changes in tempo which interrupt the basic process of acceleration underlying the entire movement.(,).

In the second movement, Tinuviel, also named after a character in the story, the orchestra is reduced to a small complement of strings, piccolo, percussion and harp in order to achieve a pale, fragile effect and to contrast it with the outer movements. Other than brief allusions to the first movement and a foreshadowing of the last movement, there is no dramatic motion or progressive harmony.

The third movement is entitled The Lay of Leithian after the epic poem by Tolkien which tells in detail the story of Beren and Luthien. This is the most dramatic of the three movements; it takes several musical characters derived from events in the story and achieves its form by their interaction. For example, the harp, alluding to the character of Tinuviel established in the second movement, re-appears as a functional force in the final movement. The delicate sound of the harp music is opposed by a.

Violent and grotesque music in which the timpani plays a dominant role. Like the first movement, an intricate pattern of acceleration controls the form until a brief harp cadenza dissolves the thrust of this acceleration. The work ends with an extended coda which is richly lyrical and tranquil in mood.

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