The name is absent

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

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.

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