JAVS Fall 1998

25

Example 7. Theme II in Recapitulation, measures 188-191.

a tempo, enelifco e risoluto umprt brwsco r:

>

p > ./

sim.

p

./

P./

p

P./

p ./

p

./

sempre brusco! mo/to secco f p

p

f

p

p

Coda. The coda begins with the viola playing the first theme (m. 231). As the notes relax towards a peaceful ending, an unobtrusive memory of the second theme brings the movement to a close. Untraditional Harmonic Devices. There is nothing shockingly new or unexpected in the form of the Viola Sonata. However, the harmonic materials are non-traditional. IfRochberg is not using traditional har monies, how is he able to create a functional sonata-allegro form? One answer is the use of dissonance to create tension and release (a technique used by Hindemith). The climactic point of the development (mm. 171-178) uses extremely dissonant chords to intensifY the formal apex (Example 8). Another an swer is Rochberg's use of a sonata form based on specific pitches rather than on definite keys.

Example 8. Developmental climax, measures 173-175.

2 > f:

>

t

;

-.1

-

.ll >-;'

>-;-

I

>

f\

.

-" >

-,

n I

I

I

~

ltkJ: qt ~

\

"

=

--~

>

~

>

Quartal harmony is structurally significant in the Viola Sonata, in which the perfect fourth is the foundation of both the primary harmonic and the melodic materials. Quartal material appears in the opening notes of the viola and gives cohesion to the main theme. The transitional passage from theme I to theme II (mm. 18-25) is a succession of fourths. Also, the fourth provides the harmonic base in the fugue as the piano plays inverted quartal chords (Example 4). In addition, the overall form of the move ment points to the importance of the fourth, as the second theme in the recapitulation returns in B-flat (a perfect fourth above the tonic F) instead of the traditional return in the tonic.