An Analytical and Educational Survey of Howard Hanson's Dies ...

37Five Variations: Dynamics and OrchestrationVariation I.This variation begins at piano with clarinets and low reeds asaccompaniment, above which the flute, oboe, English horn, trumpet, cornet, and Frenchhorn solo. As the harmonic texture thickens and the dynamic rises, the orchestrationthickens as well. There is a subito piano at the second section of the first variation, afterwhich as similar evolution occurs. At the arrival of the third section, the dynamic level isnot lowered, but remains forte, highlighting the energy of the passage until it reduces toclarinets and bassoons at the end of the variation.Variation II.Dynamics and orchestration are the core elements to this variation.The second variation dynamics consist of sforzandi melody andforti accompaniment,diminishing to pianissimo at the very end of the variation. The accompanimentorchestration is primarily played by the woodwinds minus bassoons and saxophones,with the addition of cornets toward the end of the variation, though slight alterations inorchestration maintain originality and interest. Octave displacement and orchestration inthe brass, saxophones, and bassoons create the unique sounds and texture of thisvariation.Variation III. The entire third variation is composed at the piano dynamic, and asdiscussed previously, contains multiple solo passages. Featured instruments include oboe,clarinets, bassoon, flute, baritone, basses, tenor saxophone, and piccolo.This distinctiveselection of soli instruments in canon from high to low voices in the ensemble create thediversity of high to low voices and polyphonic texture of a Gregorian chant.One