JAVS Fall 2000

VOL. 16 No.3

28

jOURNAL OF THE AMERICAN VIOLA SOCIETY

As noted earlier, Schubert added a transition to the final movement in the revised version (second movement, mm. 89-90). The soloist expanded upon this and added a cadenza over the dominant seventh chords that prepare the listener for the final movement. Note the rhythmic treedom and the interesting shape of the phrase.

Example 8. Schubert, Viola Concerto in Ejlat Major, II, mm. 89-90.

Rondo themes are often light, playful melodies that are easy to remember, which enable lis teners to follow along with the form. The rondo theme in the last movement of Schubert's con certo (mm. 1-8) is no exception. In each case the solo iteration of the theme is repeated by the full orchestra.

~~f'-·~f'- ~!~~

~ ~f'-·~f'- ~ !~~

h.~---.. tr

~--. .~---.. tr

II

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I

fl

:J: :t: • ~,

•

:J: f:

)

:J

~

·~

p

• • •

• •

~

:

-•

I

I

I

Q'

I

Q·-·

Example 9. Schubert, Viola Concerto in E-Jlat Major, III, mm. 1-8.

The following passage (mm. 111-20) highlights the playful side of the final movement. After much seriousness (the passage preceding the excerpt being in C minor), the phrase stops unex pectedly. It is then repeated, tempo rubato, in the new key of E-flat major before stopping again. The music finally resumes after this second fermata. In this manner the music teases the listener into guessing the direction the music will take.