The name is absent

21

series of repeated rhythmic figures marked “mechanically, monotonously” which persist
until the ultimate climax of the piece at ∣K∣ (m. 109). The first of these, at is voiced
closely together in the same register that the m. 85 tone cluster appeared. This regular
rhythmic pattern gives the impression of increasingly strong yet steady rain, especially
when the pattern changes in m. 99 to a lower register.

At the same time, the winds have a hocket-like melody made up of fragments of
motive x, as well as variants of motive b. These outbursts of short motives gradually
increase in volume and intensity suggesting approaching thunder and lightening. In m.
102 the upper three winds introduce a new motive that repeats three more times before
the climax. This motive, motive d, is different from all of the other motives because it
spans three beats instead of one. Each time the winds reenter with this descending and
ascending chromatic arpeggio the pitch is higher, creating a feeling of urgency or perhaps
cries from the people “struggling to hold themselves and their possessions against the
wind” of the storm. During this time, the strings trade harsh sul ponticello trills,
suggesting the “parching of skin, throats, and noses.”

Amidst all of the chaos of this section, the viola has a few brief measures of
prominence from mm. 100-105. Buried in the middle of the instrument’s range, in
addition to the ff dynamic marking, the violist is twice asked to play “furiously." It is
unclear whether this solo, primarily made up of motives x and d, is an “observation” of
what is unfolding, or whether in it the viola becomes part of the storm itself. Regardless
of the exact interpretation of this solo, it seems curious to assign arguably the softest
instrument in the ensemble to such a prominent role within the buildup of the storm.

The climax of the piece is a twenty five-second aleatoric section occurring at letter

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