declares, "Vanity of vanities, all is vanity! Nothing!" The turmoil of the orchestra subsides and fades away into the distance. Final section The final section of Schelomo is marked andante moderato and does not introduce any new thematic material, instead, texture changes and the main themes from the previous section are developed considerably until the end. While heavily orchestrated, the theme in the solo cello remains unaffected by the surrounding influences, setting it apart from previous statements earlier in the work. In addition, the introduction of major seconds in the main theme, which was previously highly chromatic, relieves tension. The final measures of the piece restate the theme from the cadenza as a discouraged epilogue. This final attempt of the cadential motif illustrates Solomon's final collapse into silence. Reception In 1921, Italian critic Guido Gatti wrote of Schelomo that Bloch had "reached the perfection of his music... The violoncello with its ample breadth of phrasing, now melodic and with moments of superb lyricism, now declamatory and with robustly dramatic lights and shades, lends itself to a reincarnation of Solomon and all his glory... The orchestra palpitates in all colors of the rainbow; from the vigorous and transparent orchestration there emerge waves of sound that seem to soar upward in stupendous vortices and fall back in a shower of myriads of iridescent drops." References Sources External links , Mstislav Rostropovich performing Schelomo, E. Bloch – Schelomo – Rostropovich – Bernstein Compositions for cello and orchestra Compositions by Ernest Bloch Rhapsodies 1916 compositions Solomon Jewish music