The name is absent

127

yet the repetitions of the open string pitches of the viola act as a sort of grounding for the
harmonic structure. In addition, much of the melodic and harmonic material is derived
from thirds (both major and minor), tritones and octaves, as in the outer movements.

As previously mentioned, the motivic connections between Black Birds, Red Hills
and the Viola Sonata are especially pronounced in this movement. The very first viola
entrance consists of a series of alternating minor thirds, strikingly reminiscent of a figure
from Black Rock, the second movement of Black Birds, Red Hills, as shown in Example
3.17.

Example 3.17: Comparison of Motives found in Black Birds, Red Hills, Second mvt.,
mm. 11-12, and Viola Sonata, Second mvt., m. 2

mp                       p

Although the thirds alternate in different directions, the number of oscillations is the
same, and the rhythmic and melodic contour following the thirds is related. Indeed, the
mood of both pieces is quite similar: BlackRock is a study of the sand acting on a stone,
or motion acting on non-motion, which seems closely related to the concept of drifting,
where an immobile object is moved by water currents.⁶⁷ This alternating third motive
becomes a major structural part of the slow movement of the sonata.⁶⁸ When Larsen
realized the connection she remarked, “it’s as if we got into [O’Keeffe’s] rock and are
just sitting there.”⁶⁹

This unintentional musical duplication led Larsen to remark, “It’s funny how the
unconscious works.. .sometimes I take a little bit of a piece, consciously, and put it in
another, but not this one.” (Larsen, interview 8/2008).

⁶⁸ It returns in m. 10, 14, 16, 21, 38-39, 43-44, and 67-68.

69

Larsen, interview 8/2008.

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