JAVS Fall 1998

28

Example 12. Jazz blues influence, measures 1-5, piano.

;..~ ..

Adagio lamenloso ( )l =ca. 63)

umprt carl/411~

!:'

arco !f.•

;--~~.

.,.~~-~~

Viola

==--

•P

.......::;

II

I ~

"P -

~ ~ ~ ~

#~ ~ ~ ~ ~~; .... ~ ~ ~ ~"!...... "! "! '! ~ ....--

#~ ~ ~ ~ --=-=---

~ ~ ~ ~

Piano

~

•P ?- -

p

sim.

..- .......

-,....:;....;;

l"""""""

~

-

- 11 ... ll - - 'J 11 ll

-

-

...... ]I -

'JI y -,; 'JI

-

_

-

...... ]I

Third Movement The third movement is an epilogue in fantasia form (Example 13). The first movement generates ma terial for the whole sonata, which is especially evident in the third movement (where themes I and III recur), and the concept of development and change is not limited to a "development section" bur encom passes the whole work (examples 14 and 15).

Example 13. Opening of third movement, measures 1-4.

Allegro moderalo; ma un poco parlando v v , ~! ~· 3 0 . /)w IS/)r. - f ,J ~1 ~J - : I r , q ~· ( j." ben lenulo [1hj '"1

poco lncalzando

z /I..

_l 1

. ~

Viola

;,:;;;:-

l

sub.

I _l

~

p

II

.

I ~

u

I"~ ....

q+t~~ :

~~~:

11..-:

sub. p

Piano

cresc.

I

~~ ~ .........__.,. ~ =iJ \IV

~'Z:i.

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