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the wind-like chromatic figures and slow, still chorales that had begun at ∣C∣. This section
starts with a slow dolce unison between the flute and viola, followed with material
similar to the previous sections. However, beginning in m. 61, motive z is reintroduced,
leading to a gradual thickening of the texture as this motive is passed (mostly in pairs)
among the seven musicians. The term “darkly” appears in the score as foreboding
indication that after a long wait, something might be about to happen.
This “something,” in musical terms, is the arrival of the piano. After being absent
for over half of the piece, the piano enters in m. 66, sneaking into the texture with a
variant of motive x followed immediately by motive z. However the piano does not
remain in the background for long. The next section is dominated by the piano’s loud
marcato outbursts, and at long last it seems that the storm has arrived.
The energy of the piece increases considerably at ∣G] (m. 67) due in large part to a
significant tempo change and the addition of the piano. Here all of the previous motives
(except the newer motive a) are abandoned temporarily and two quite aggressive motives
are introduced. The piano’s rhythmic marcato gestures make up the first of these: motive
b. It is a quick four note accented chromatic outburst spanning a minor third, and is
repeated continuously by the piano through this section. Motive b alternates with several
fp notes from the winds and violent Bartokpizzicati and glissandi figures in the cello.
This glissando figure, a more intense variant of motive c, spans a minor ninth and is
marked “violently. ” Between mm. 71 and 75 the violin is in the forefront playing motives
a, b, and c, yet despite the building chaos, the viola remains tacet throughout this entire
section. Although the tempo, dynamics, and the overall energy of the piece is increased,
the texture still is rather thin. There are no overlapping motives, and the winds continue