JAVS Fall 1995

13

The end of the transition (Ex. 2) has a distinct impressionistic flavor because of the blurred harmony and the exotic violin line with the recurring augmented second E flat-Fl. Two con flicts of a minor second-D-E flat and F-F#-shown in circles, contribute to blur the D domi nant chord implied in the excerpt. This chord resolves deceptively to E flat major in m. 23, launching the second theme (the key of the second theme is the typical III in a minor key sonata form).

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Example 2. Mov. L mm. 18-23

In contrast to the previous sections, the second theme (Ex. 3) starts with a limpid harmony free of unresolved dissonances. The quiet and lyrical character of this theme, with its delicate Spanish musical flavor, is a pleasant relief from the agitated and dissonant quality of the first theme.

Example 3. Mov. L mm. 23-27

The end of the exposition (Ex. 4) shows a more avant-garde harmonic approach. The non serial use of the chromatic scale (eleven notes present by m. 41, all twelve notes by m. 43) results in a quasi-atonal passage. Complete atonality is prevented, among other things, by the strong presence of the note G presented as a pedal.