118
exposition of sorts with two main thematic areas. It begins lyrically (x and y motives),
becomes more animated in m. 19 (mambo theme), and returns to the lyrical motives in m.
43. Swing rhythms that alternate with the earlier lyrical lines dominate the B section.
Although this section does not “develop” material from the A section in the traditional
sense, it could be seen as a development section in that it has several rising octave figures
relating it to those in the A section and also contrasts in texture to the opening. The first
gesture (y+x) is recapitulated in mm. 101, although the mambo material from the A
section is represented as early as m. 71. A coda, beginning in m. 112, has two features of
a traditional “classical” coda: it is mostly made up of new ideas, and reintroduces a fairly
insignificant figure from the movement, motive z, first found in the piano part in m. 51
and 54.
Figure 7: Viola Sonata First mvt., Formal Structure
|
A |
B (Development) |
Al |
Coda | |||
|
y+x |
Mambo |
x+z |
Swing |
Mambo |
y+x |
z |
|
mm.1-18 |
mm. 19- 42_______ |
mm. 43- |
mm. 55-70 |
mm.71- 100 |
mm. 101-112 |
mm. 112- 120________ |
The A and A1 sections are unified by a three-measure motive that spans almost two
octaves. Presented in m.3 for the first time, this motive (x) is made up of five-note
descending scale fragments that change pitch collection every half measure, as shown in
Example 3.8.