The name is absent

133

Example 3.22: Viola Sonata, Second mvt., mm. 36-44

Occurrences of both horizontal and vertical alignments of major and minor third
are too numerous to list. Following this passage the pitch center of the viola line switches
from A in mm. 36-44 to F in m. 45, (another example of the third relationship). The
dotted “breathing” motive, which unites the first and second movement, appears in m. 73
as an augmentation of the dotted figure used as a rhythmic grounding earlier in the
movement. This sustained rhythm, marked as if breathing in a deep sleep, is
accompanied by flourishes similar to earlier material. The significance of this lies in the
placement within the movement: immediately before the last section of the piece (see
Example 3.15 and 3.23). This mirrors the spot where the similar motive was introduced
in the first movement.

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