The name is absent

122

Figure 9: Viola Sonata, First mvt., Motive Y Usage

The other main musical idea in the A section draws on the influence of the mambo,
a musical form that peaked in popularity in the 1950’s. The piano, marked “ mambo !” in
m. 9 and elsewhere, is in the forefront with its simple (016) trichords from the x motive
accompaniment, now displaced by several octaves, creating a stride-piano-like effect.
Marked poco animato, the piano figure alternates with short fragments of motives x and y
and chromatic scales in the viola and includes many sudden dynamic changes to emulate
this lively Cuban dance.

The large B section does not fulfill any traditional expectations of sonata form
development, mostly because the motives from the A section are abandoned temporarily.
This section has an easy improvisatory sound reminiscent of early rock ^,n^, roll and
country music guitar solos. In m. 51 and 54 a swung pentatonic scale in octaves in the
piano part marks the transition into the B section (see Example 3.13). This figure is
accompanied with the instructions “country swing, not jazz swing,”⁶³ a potentially
puzzling instruction for classically trained musicians. Both Larsen and Dunham choose to
describe this difference with musical examples. Larsen likens it to the song Don ^,t Fence
Me In by Gene Autry, one of the most famous “singing cowboys” in the history of film.

Larsen, Viola Sonata, 7.

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