The name is absent

46

Example 1.18: Cajun Set, Third mvt., mm. 32-34

Following this solo, a short poco piu mosso section features a new statement of the
Cajun Joe Férail in the guitar, preceded and accompanied by an ostinato of syncopated
quarter notes by the other instruments. Foot stomping in m. 59 leads into a short but
rather virtuosic violin cadenza. Throughout this cadenza the other instruments
accompany with unison foot stomps and shouts of “hey,” “hah,” and “hoo.” Although the
harmonic language is quite different than that of typical Cajun music, in this section
Larsen has attempted to capture the energy and improvisatory element of the folk music.

The remainder of the movement is interspersed with one or two measure solos from
Joe Férail, unison statements of the x and y motives, and many tutti foot stomps and
shouts. As with the previous movements, Larsen brings back the original melody in its
entirety near the end. This last statement is a call and response between the violin and
cello, with the viola and guitar serving as the rhythm section. The last five measures have
quick energetic alternations of the x and y motives, stomping, and shouting, all at aff
dynamic.

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