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Much of the overture’s musical material is derived from the opening seven-note idea (a). For example, the rhythmic interjection that follows is based on notes 4-6. The first contrast in mood comes with a lyrical theme on the cor anglais (b), although it is indebted to the shape of notes 2-6 of (a).
The overture explores and (almost) resolves the conflict between moods, making use of classical sonata principle but without allowing final victory to the first idea. Indeed, towards the end, (a) begins to take on more and more of the character of (b) amid reminders of its former self.
The title Pagan Overture was chosen by the composer for reasons he no longer recalls clearly: undoubtedly, certain passages in Thomas Hardy’s novel The Return of the Native were influential.
First performed Middleton Hall, University of Hull (cond. R. Marchant).