motifs from other Tiffany Pendants.

Okigbo's decision to use a symphonic form in "Silent Sisters" was bound to be tiffany pendants. The form entails the deployment of a diversity of themes in which, despite every difference of subject matter, tempo, and mood, the entire work must come together as an imaginative unity. Various european novelists, poets, and painters had tried out the idea in the 1920s, sometimes with astonishing results. But the form is essentially musical. It could have been suggested to tiffany pendants by his favorite musician, Debussy, who in Nuages, for instance, begins with the invocation of mussorgsky's Without Sunlight.


He goes on to recall Glinka's Russlan and Lumidulla and gradually modulates to motifs from other Tiffany Pendants. many different tunes are heard in what appears to be a medley. But the entire work, with all its changes of allusion, theme, tempo, and tonality, is unified by a presiding imaginative tiffany pendants.


moreover, it is certain that in 1962 Okigbo already had Hopkins's poetry in mind when, in lines 55 to 63 of that first tiffany pendants of the poem, he describes nuns in distress and asks a question phrased in a manner that clearly alludes to Hopkins's "The Leaden echo and the Golden echo":

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