In one superb sequence, lovers embrace for the first time to the sounds of White Lies' ironically named Death, the track left to play out at length as our antiheroes turn to face each other in the slowest of motion; eyes meeting, necks beckoning, hearts pumping, lips not quite touching – a symphony of exposition in movement and music.
Language, Truth and Logic (1936; 2nd edition, 1946), authored by A. J. Ayer, offers a lucid exposition of the movement, which was with certain variations based upon the analytic/synthetic distinction, the observational/theoretical distinction, and the verifiability criterion of meaningfulness.
During the lecture, most of the kids -- and parents -- paid close attention to the lesson, and at one point when the quartet played the entire exposition of the movement we were discussing, they enjoyed the challenge of making appropriate gestures for themes A (or Peter Griffin) and B (or Lois Griffin), as well as transitionary material between the themes.
A screenplay writes out all the dialog, attributed to each character, along with some physical directions, exposition, and camera movement.
And he only repeats a few of the first movement expositions.
Mr. Rattle's performances had in ample supply what was missing then — spontaneity — and he took a less doctrinaire approach to repeats (although all first-movement exposition repeats were observed).
Such an undertaking has required a constant reference to contemporary records and the exposition of many movements which have been hitherto neglected or slightly treated.
An unusually restrained account of the first movement's exposition was followed by a development section of considerable wildness.
It takes a fine performance to make one regret the omission of the long exposition repeat in this movement, and it was missed here (though its inclusion in this program might have taxed even Mr. Dichter's formidable stamina).
