JAVS Fall 1998

26

Rochberg also employs tertia! chords, but they are used in a nontraditional way. Tertially based chords alternating with dissonant harmonies arpeggiate above the chromatic bass pedal in the opening measures creating a sense of tonal instability (Example 1). Dynamic contrast occurs frequently (sometimes up to five dynamic markings within one measure) with alternating subito piano and forte (Example 9).

Example 9. Theme II fugue entrance, measures 32-34. Second Movement Sui C 1 Stmprr brvsco!

;

;

·•o#y'o#

>

p

p

f

b. _[ r ,.,

sempre staccatiss..

II

I

tJ

-

)

sem/J")

p

p f

f

~ ~

.. :;

:::: ... p

11-41

""---~

>

~ b=i

~

...

~i

~ ~

p

f

f

The form of the second movement is a traditional A B A B A with free and varied statements of each theme as it returns (examples 10 and 11). The B theme comes directly from the second theme of the first movement (compare examples 3 and 11).

Example 10. The A theme, movement two, measures 1-6, viola.

Adagio lamentoso ( ) =ca. 63) 2 arco r· I I

_.-. E:f •. II

-=

mp stmprt cantando

Example 11. The B theme, movement two, measures 28-30, piano.

poco mf

poco mf

poco mf

p

=====--p

p

..:.

The opening measures have a hint of jazz blues harmonies (Example 12). There is a brief viola ca denza interpolated within the middle A theme. Rochberg creates color changes within the movement by using contrasting dynamics, pizzicato and flautando.