JAVS Spring 1994

12

The movement must also be divided at the tempo changes: Adagio Religioso (m. 1-29), Poco Agitato (m. 30-39), and Tempo Primo (m. 40-57). The GSs within these tempo changes delineate the movement's secondary structure. The Adagio Religioso divides at irs nGS, separaring the exposition, mm. 1-11, and themaric development, mm. 12-29 (see Figure 1). Both the exposition and thematic development divide at their GSs, m. 7 beat four and m. 23 beat one, respectively. Divided at the nearest complete measure, the structure also coincides with the Lucas Sequence, which is a variation of the Fibonacci series.!3 The ten measure Poco Agitato cannot be separated into shorter musical phrases. However, its GS, m. 36 beat two, and nGS, m. 33 beat 4, are marked by the two accented eighth notes in the solo viola. The GS for the Poco Agirato corresponds exactly to the primary GS for the entire movement. The Tempo Primo does not musically divide at an internal GS, but rather at m. 50. This forms a ten-measure restatement and an eight-measure Ritornello, both of which divide at their GS. Figure 2 shows the major GS divisions within the Poco Agitato and the Tempo Primo.

(Primary nGS) '23 I I I Thematic Development I I GS rnm.12-29 I I

m.l

8

12 nGS

30

~"'Pos it ion

GS rnm.l-Il

I Inversion I I I

Cadenza

Fig. 1. The Adagio ReLigioso, mm. 1-29. Numbers beneath the horizontaL Line refer to the number ofmeasures within phrases, grouped according to the Lucas Sequence.

A detailed analysis of the movement reveals the significance of the GS divisions. The first phrase of the exposition, mm. 1-3 plus one beat, presents the movement's only theme, a thirteen-beat melodic arch. 14 The theme is constructed according to Fibonacci numbers, eight

(Primary GS) I I

(GS,mm.36-S7) I

4:>

46

:50

55

e[1d

34 361 Poco Agit.'ato ,

Tempo Pn.mo I

I I I

l~itornel1o I

Restatement

1 , I 1 :l

GS

GS mm.40-S0

GS nun.SO-57

nC,s

Fig. 2. The Poco Agitato and Tempo Primo. The CS ofmm. 36-57 approximates the RitorneLLo.