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Adventure is probably the most musically complex of all the five Allegories. There are many moments of real independence between each instrument and the phrase and sentence structure of the music is often highly ambiguous. It is as though the’ adventurers’ in two teams (violin 1 and cello, and violin 2 and viola) continually take different and unusual directions, and rarely stop for a rest!
I did not buy the pistol to murder myself or my wife; I never was really modern. I bought it because it was the great adventure of my youth, with a general notion of protecting her from the pirates doubtless infesting the Norfolk Broads, to which we were bound; where, after all, there are still a suspiciously large number of families with Danish names . . . But the point here is that the very fact of these allegories being acted over again . . . does in a sense transform them, and does in some sense veil even while it invokes the original visions
of the child.