The diatonicism of this work's second movement is an example of what its composer called an "extension in range", and the final movement opens with a two-note tympani motif and strummed chords in the violins, violas, and cellos.  
The diatonicism of this work's second movement is an example of what its composer called an "extension in range", and the final movement opens with a two-note tympani motif and strummed chords in the violins, violas, and cellos.  The first movement of this work, Andante tranquillo, uses the golden section to determine the placement of its climax; it is a chromatic fugue centered on A, which features twelve entries all the way around the circle of fifths.  The other slow section of this four-movement work is the third movement, which opens with a xylophone solo and is in its composer's characteristic "night music" style.  An imperfect translation of this composition's title falsely implies that this work does not include a part for piano, which plays a non-concertante role; and one of its titular instrumental sections is arranged in two antiphonal groups. For 10 points, identify this work by Bela Bartok named for its orchestration, which lacks winds and brass.
The diatonicism of this work's second movement is an example of what its composer called an "extension in range", and the final movement opens with a two-note tympani motif and strummed chords in the violins, violas, and cellos.  
Music For {Strings}, {Percussion}, and {Celesta}