and themes in cyclic form. Schelomo is scored for three flutes, two oboes, English horn, two clarinets in Bb, bass clarinet, two bassoons, contrabassoon, four horns in F, three trumpets in C, three trombones, tuba, timpani, tambourine, snare-drum, bass-drum, cymbals, tam-tam, celesta, two harps, violins (at least twelve players), violas (at least ten), cellos (at least six), basses (at least four). First section In the first section, the texture in the orchestra is transparent. Both orchestra and cello soloist introduce and develop the main thematic material heard throughout the composition. There are six essential thematic ideas introduced in this section. The work begins with a lament for the solo cello as the voice of King Solomon, inspired by the text, "Nothing is worth the pain it causes." "All this is vanity." The next theme, which transforms the free-flowing, cadential lament into a rhythmic dance motif, is introduced for the first time by the solo cello. This motif will appear throughout the work, in both the solo cello and orchestra, highlighting the interplay of narrative roles. After these two themes of the introduction conclude, the first occurrence of the cadenza appears in the solo cello. The cadenza is used to interrupt the piece three times, representing Solomon's rejection of the vanity the world provides. Bloch describes this section as the wives and concubines of Solomon trying to tear him away from his thoughts. At rehearsal number 2, the solo cello begins variations on the dance theme. This section grandly builds to a climax after a series of Oriental motifs, finally ending with another statement of the cadenza, a depiction of Solomon's revulsion, before the next section begins. Second section The second section introduces the shofar-like theme and texture for the first time in the piece, which is played by the celesta. The theme is then passed to the bassoon. Once this new theme is introduced, the solo cello immediately returns to the motif of the cadenza. This iteration of the cadenza highlights the conflict between the soloist and the orchestra. Put in counterpoint with the new theme, the solo cello is fighting the direction the orchestra is taking. The aggressive presentation of the orchestra forces the solo cello to join in, claiming the theme at an even faster tempo. This section continues to build and accelerate until the largest climax of the piece occurs. This is the point in which Solomon