![fantasia when i see you letra español fantasia when i see you letra español](https://studiosol-a.akamaihd.net/uploadfile/letras/albuns/8/9/1/a/985351605269938.jpg)
![fantasia when i see you letra español fantasia when i see you letra español](https://i.ytimg.com/vi/loOXW59s8Z0/maxresdefault.jpg)
Kennedy describes the opening as "the theme … first hinted at on pizzicato lower strings in a hauntingly poetic introduction before we hear its first full statement in Tallis's four-part harmonisation". Ĥ time, with all three groups playing together, ppp molto sostenuto. The published score does not stipulate the number of players in Orchestra I Orchestra II consists of two first violins, two seconds, two violas, two cellos and one double bass The composer's metronome marking indicates a playing time of 11½ minutes, but in recorded performances the duration has varied between 12m 40s ( Dmitri Mitropoulos, 1958) and 18m 12s ( Leonard Bernstein, 1976), with a more typical time of between 15 and 16½ minutes.
![fantasia when i see you letra español fantasia when i see you letra español](https://http2.mlstatic.com/D_NQ_NP_674525-MCO40434272027_012020-O.jpg)
Orchestra I is the main body of strings Orchestra II is smaller. The Fantasia is scored for double string orchestra with string quartet, employing antiphony between the three contributory ensembles. Problems playing this file? See media help. Vaughan Williams's fantasia draws on but does not strictly follow this precept, containing sections in which the material is interrelated, although with little wholly imitative writing, and antiphony in preference to contrapuntal echoing of themes. The term "fantasia", according to Frank Howes in his study of Vaughan Williams's works, referred to the 16th-century forerunner of the fugue "in that a thread of theme was enunciated and taken up by other parts, then dropped in favour of another akin to it which was similarly treated". For the Hymnal, he adapted the tune as a setting of Joseph Addison's hymn "When rising from the bed of death". Īccording to his biographer Michael Kennedy, Vaughan Williams came to associate Tallis's theme with John Bunyan's Christian allegory, The Pilgrim's Progress, a subject with which the composer had a lifelong fascination he used the tune in 1906 in incidental music he composed for a stage version of the book. The tune is in Double Common Metre (D.C.M. It was a setting of Parker's metrical version of Psalm 2, which in the King James Bible version begins, "Why do the heathen rage, and the people imagine a vain thing?", and is rendered by Parker as "Why fumeth in sight: The Gentils spite, In fury raging stout? Why taketh in hond: the people fond, Vayne things to bring about?".
![fantasia when i see you letra español fantasia when i see you letra español](http://s3.amazonaws.com/halleonard-coverimages/wl/00353653-wl.jpg)
Tallis's theme was one of nine tunes he wrote for the Psalter of 1567 of the Archbishop of Canterbury, Matthew Parker. Parker's verse for which Tallis composed the tune used by Vaughan Williams Vaughan Williams conducted the London Symphony Orchestra in the first performance of the Fantasia, as the first part of a concert in Gloucester Cathedral on 6 September 1910, followed by Elgar's The Dream of Gerontius, conducted by its composer. It is based on a tune by the 16th-century English composer Thomas Tallis, which Vaughan Williams had come across while editing the English Hymnal, published in 1906. He composed what his biographer James Day calls "unquestionably the first work by Vaughan Williams that is recognizably and unmistakably his and no one else's". In that year the Three Choirs Festival commissioned a work from him, to be premiered in Gloucester Cathedral this represented a considerable boost to his standing. Vaughan Williams did not achieve wide recognition early in his career as a composer, but by 1910, in his late thirties, he was gaining a reputation.