2. Section E Section E is a retrograde of section D A retrograde is a piece of music played backwards Though a retrograde uses old material it sounds as though it is completely new material The retrograde starts with the F in bar 357. It’s as if the music begins to rewind at this point
3. Section E (contd) 4-part canon at a quaver distance mean polyphonic texture Loud dynamics Heavy accents (arrows)mean that this section is distinctly hard hitting Changing time signatures, result in darting, unstable music
4. Section F Distinctive accented triplets are played in the violin (reminiscent of an Irish jig) The piano plays a loose retrograde of F Section C is played simultaneously on the viola and cello, resulting in polymetry, where two or more different time signatures are used at once Section C is now played in augmentation, where note values are lengthened
5. Section G This is the shortest section in the whole piece Barry uses telescoping here, by taking small sections of each previous section Though the music is recycled it sounds completely new Homophonic texture Loud dynamics, sudden (subito) fast tempo, accents and changing time signatures all result in a confused and violent sound.
6. Section H The last section is based on the Irish tune, Lord Mayo’s Delight 2part canon on viola and cello at a crotchet’s distance, followed by a 3 part canon at the unison at a crotchet’s distance Instruments play flautando (bow over the fingerboard) which results in a quiet, wispy, flute-like sound Low register is used. This means that some notes are missing from the violin part as they don’t exist on the violin Left-hand piano returns for the last note only. It results in an unfinished and open sound at the ending
