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The overture to Utopia Limited is dominated by a slow section, with only a very brief original passage introducing it.
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A courting dance for couples, it begins with a slow section (lassu), followed by an exhilarating fast section (friss).
Following this, a slow section is marked by quiet music which symbolizes the hero's grief.
A slow section brings the eight dancers low to the floor until the activity subsides.
In a slow section in the middle, Jones reined the movement in, lowered the flame.
The overture to Princess Ida, for instance, has only an opening fast section and a concluding slow section.
Before that arrives, though, there is plenty of taxing solo writing – especially in a main allegro section haunted by Scotch-snap rhythms – as well as a rather wistful slow section, both managed with suave ease by Ashkenazy.
A slow central section, ushered in by measured timpani throbs, is notable for filigree steel-drum patterns against a lyrical viola solo, before the exuberance returns, this time over a big chorale that makes its way through the orchestra.
The slow section opens with a languid duo between viola and bass clarinet.
Voices were electronically stretched in a slow central section, the sound curiously reminiscent of a muezzin's call to prayer.
In a slow central section, ghostly contrails shimmered in Mr. Dufour's wake like phantom images trailing a moving object in a slow-motion film.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com