JAVS Fall 1998

23

Example 3. Theme II, measures 26-32.

semp" brusco! molto secco p

p

p

f

p

,.,

' t) <

- f p f p

-

-

p

f

p

f

.

~

l~

.

.

~~it":' 11'. .

._, . .

......__.,

>

•

~l*i.":' 1f.

t~#7 ~

~

The third theme also employs sharp, short articulation but uses different rhythmic material (Example 4). The ostinato in the piano provides the foundation for an active melody.

Example 4. Theme III, measures 52-55.

..

®

..

> ,...;,

>--..;

>,

~~

~

p

-

f

p-:f p

-==f p

.

. .,

.

J'l

I I

I

., .,

., '"!

,

•

1 J

•

1 '"! dTz

t)

p

I ,. .. . .

~ ;

~I , •.J

~ ~

~ ~

~ ~

~ ~

( 'rih)

Although the exposition material is diverse rhythmically, texturally, harmonically, and dynamically, there are relationships (compare underlying intervallic content, articulation, and similar basic rhythmic units.

Development. There is a clear-cut section of development in which Rochberg employs recombinations of the main themes to give continuous growth, change and synthesis to those materials (mm. 68-154) (Ex ample 5). This section is mostly free and cadenza-like.