The name is absent

125

Example 3.15: Viola Sonata, First mvt., mm. 109-111

molto rit

The “breathing” figure marks the transition into the coda. In this final section, the
pace quickens slightly with a repetition of the piano’s “country swing” material from m.
51 and 54 marked very lightly, and swiftly to the end in the score. Although the figure
was used twice earlier in the movement (see Example 3.13), it seems new here, starting
out with a fragment and then restarting for a more complete version of the motive, as
shown in Example 3.16.

Example 3.16: Viola Sonata, First mvt., m. 112

Except for the rising octave motive, echoed twice in the closing measures, the viola has
all new, almost entirely pentatonic material that sounds like it could have been influenced
by Dunham’s scat-singing in String Quartet: Schoenberg, Schenker, andSchillinger.
Although the passagework lies rather awkwardly in the viola, its function again seems to
be to capture the improvisatory feeling that has reappeared with several different melodic

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