JAVS Fall 1997

24

FIGURE 5· Phrases of the Theme in Variation 2

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Variation 3 consists of six phrases of varying length, each ending in a fermata during which a short viola cadenza makes a transition to the next phrase. The piano carries the melodic burden; the viola follows the piano canonically. The first two phrases in the piano present the first seven notes of the first phrase of the Theme as even quarter notes (Figure 6). The third phrase presents motive y' from the second phrase, then repeats it sequentially, extending the repeat to cadence on C.

FIGURE 6. The first two phrases of Variation 3

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The fourth and fifth phrases present motive x'; the sixth extends x' to a Picardy-third cadence in C. The piano's harmonies are allowed to build up additively within each phrase, then move chromatically toward the drone note sustained through the phrase by both viola and piano. These drone notes direct harmonic movement along C-minor lines: the first is C, followed by the subdominant F, the dominant G (this rises chromatically to the cadence on C), C again, F again, and C once more-with an added Bb that reminds us of the V 7 /iv harmony at the end of the first presentation of the Theme. Variation 4 is the first to begin in a key other than C minor: it starts in Eb minor, parallel minor of the relative major of the main key. For the first time, the viola's tone is heard unmuted, and it presents motive x in the very pattern found in the first eight measures of the Intro duction (Figure 2). Here, however, it is presented without accidentals-except for theE~ in the fifth appearance-and is unaccompanied by motive y. Instead, the piano plays a countermelody rich in descending fourths (in contrary motion, that is, to the fourths in motive x) in a rhythm that ensures that the viola and piano never play together. In measure 31, the viola and piano reverse roles, the piano presenting motive y' in long notes and the viola playing the counter melody. After cadencing on unharmonized Cs, a three-measure scalar passage propels the listener forward to Variation 5. The first of the three phrases ofVariation 5 begins with an A-minor triad in the piano. Were this indicative of key, that key choice would be symmetrical with the Eb minor of Variation 4 (the one a minor third above C, the other a minor third below). A C-minor triad is played in