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CARNEVAL IN PARIS, Episode for Grand Orchestra, Op. 9 Johan Severin Svendsen HIS composition is in a very free form, and presents the elaborate working- out of several themes, almost all of which may be found, in the end, to be little eise than various rhythmic phases of two leading ideas. The first of these comes in at the beginning of the work, (in the fifth measure,) in triple imitation,— violins, violas, and flutes; oboes, clarinets, and horns; violas, celli and double- basses,—reminding one strongly of the opening measures of Berlioz’s Carnaval Romain. The second is a lively, jiggy little tune that comes in somewhat farther on in the flute, piccolo and clarinet. These two themes constitute the bulk of the thematic material of the work; but they undergo many changes of time and rhythm, and are treated with infinite ingenuity. This presenting the same theme in various rhythmic phases reminds one of Liszt; in some other respects the work reflects Berlioz’s influence quite as strongly. The Instrumentation is often very elaborate.
