143
intense sound is created through the use of repeated and accented sixteenth-note double
stops on the lower open strings of the viola. Dunham expanded on the instructions,
suddenly, jazz in m. 111 by splitting the bowing to bring out the glissando and adding left
hand pizzicatos to the accented notes in m. 107 and 1IO.91 This is all new material, and
like the first fast passage from m. 17, the piano part is rather sparse, its function purely
rhythmic. The final two statements of motive x are played by the viola in mm. 118-126
and by the piano in mm. 127-134. The ending restates several of the motives of the piece,
including the syncopated piano part (m. 136), the rising viola octaves (m. 136), and
motive z (m. 136). Although most of the final motives are reiterations of earlier material,
a new three-measure motive, the “salt peanuts” theme outlined earlier in Example 3.4,
and the (016) harmony closes the piece. There are some familiar aspects of this figure
including the emphases on the pitch C, the voicing of the piano chord, the accents, and
the general influence of a jazz gesture. However, perhaps because of the lack of a
traditional tonic-dominant relationship, the ending of the piece seems rather abrupt.
91 See appendix D. As he puts it, “I think she likes a good ‘rock-em’ sock-em last
movement!” (James Dunham, interview by author, 7 July, 2009).