Vasiliy Antipov Symphony, Movement III

For those who, for some reason, missed the first part, I highly recommend visiting my channel and experiencing it. In the description, I provided an explanatory text revealing the essence of integrated forms.
This part, like the first, is also written according to the principles of integrated forms that I developed. But first, I would like to say a few words about the content of the music itself.
This music describes a state that sometimes occurs in dreams: suddenly, right in the middle of the dream, there is a feeling that the reality we have perceived through the prism of our own filters will now be revealed to us in a way we cannot bear. Usually, at such moments, the body is attacked by a panic fear, and we wake up in horror. But if we remain calm, for a moment, in the dream, we are allowed to enjoy the divine radiance of truth.
This time, I did not color the score or draw colorful diagrams. After all, those who carefully looked at the colored score of the first part have already, to some extent, gained an initial understanding of integrated forms, thus preparing themselves for the perception of subsequent parts.
Therefore, this time I will limit myself to a verbal description of some important moments.
The time signature of the part is 12/8. This meter allows for the composition to be written in both even and odd dimensions: for example, it can be three halves, or four dotted quarters (the pulsation of the eighths then switches from four to three), or just six quarters… Or two dotted halves…
The 12/8 time signature also allows for the possibility of all this diversity being conducted either sequentially or simultaneously. And the transitions within these changes are maximally smooth and organic, as all these transitions occur within a single meter.
The part begins as a classical Passacaglia, or Ground, within the structure of which mutations quickly start to occur. The exposition of this principle takes place in the first five measures, and in the sixth, a new idea emerges: the woodwinds, each playing only one note, begin to form a complex chord. The gradually added sounds start to reveal the gravitational pull of this chord, and when this gravity reaches a critical mass, the chord resolves, and what was previously vertical becomes horizontal: the material "spaghettifies," stretching into a long structure, within which various dance pulsations can be heard, such as the Siciliana and Passepied. These pulsations converge and diverge, creating a dizzying effect of entanglement.
The fragment concludes with a short two-bar cadence: measures 18-19, and in the 20th measure, it seems as if another exposition begins, but in A-flat minor. From the first bars of this exposition, however, it becomes clear that the momentum gained by the previous development works like a spring, sharply intensifying and accelerating all processes. Again, the strings play the exposition of the passacaglia, fitting into four bars instead of five; again, a complex chord is formed from individual notes, whose gravity again stretches the vertical structures into horizontal ones. And then, after the first peak, in the area of the golden section (measures 33-34-35), something new is born: it is seemingly a fugue, but not a fugue, as it lacks dominant or subdominant answers. Each new statement of the theme occurs in the same key (E-flat minor), almost unchanged. Such statements make this fugue akin to the Passacaglia or Ground, as the theme transforms from a developing structure into a static one, onto which subsequent material is layered. After four statements and a short interlude (measure 41), in the forty-third measure, all the voices suddenly unite and powerfully, almost in unison, present the theme in the style of "Noema," while the brass simultaneously enters with the theme… of the Passacaglia (with which it all began). Thus, the fugue, distorted by the gravity of the passacaglia, is integrated into this Passacaglia.
And in measure 47, the first culmination arrives-the trumpets enter, and with the power of only three voices, they gather the idea that was previously developed by two sets of woodwinds! We are already in the middle of the development section, but when did the exposition end and the development begin? In such integrated forms, there are no clear boundaries: the end of the exposition overlaps with the beginning of the development-one smoothly transitions into the other.
In measures 52-53-54, you can hear the transformed material from measures 10-11-it seems everything is calming down, but no: following the wave that began in measure 47, a wave of truly catastrophic power rises. It begins at the junction of measures 55 and 56, again at the golden section point. It reaches its peak in measure 63, and in measure 64, we see all the structures and time signatures that have been used in the symphony integrated into each other.
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Мощно, божественно! Браво!