The name is absent

138

As with the earlier movements there are no direct quotes from source material, yet Larsen
cites the rhythmic energy of artists such as Bob Seger and Bruce Springsteen⁷⁹ as
influential in the conception of this movement. In addition to the rhythm, the liberal use
of accents and other articulation marks are intended to capture the sound of “gritty
rock.”⁸⁰ For example, the viola entrance in m. 5 is marked vigorously, and includes an
accent, a fp, and a one-octave glissando. Throughout the movement Larsen notates slides,
scoops, and bent pitches in the viola part, suggesting the influence of vocal jazz as well as
the sound of George Gershwin’s famous clarinet opening to Rhapsody in Blue.ⁱⁱ

In recent years, Larsen has incorporated this style into many of her instrumental
works and recognizes Gershwin’s influence in her compositions.⁸² When asked about the
slides and influence of Gershwin in Licorice Stick (2002) for clarinet and piano, Larsen
remarked:

Gershwin recognized the vocal style of sliding between notes in jazz and
hot club genres, and honored it in his music with the famous opening of
Rhapsody in Blue. I admire that groundwork and have consciously
decided, as Gershwin did, to work from the inflections and articulations of
American authentic music. I inform my own language from this core. ^{83 84}

Although the third movement of the sonata is filled with articulation markings and
instructions to the performers, at times Larsen feels as though there are not enough

79

Larsen, interview 8/2008.

80

Ibid.

⁸' Stefan Harg, “An Interview with Libby Larsen,” The Clarinet 30.3 (June 2003): 59.
82

In the first movement of Black Birds, Red Hills there is a very difficult slide for the
clarinet in m. 39 from D₄ to A3, which in some ways recalls Gershwin’s famous slide.
83

Harg, 59.

⁸⁴ The glissando was not originally Gershwin’s idea: it was suggested by the first
performer of the work.

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