JAVS Spring 1994

13

bears (5 + 3) plus five bears (see Example). The downbear of measure 4 serves as both the end of the first phrase and the beginning of the second phrase, a variation of the theme. Likewise, the five-bear D, mm. 7-8, serves as the end of the second phrase and rhe beginning of the solo viola cadenza, mm. 8-11. The GS for the single nore D bridge corresponds to, and thus verifies, the GS for the exposirion. In the E-major tonality of rhe exposition, the D's imply a shift to A-major. The resolution, however, is to a C sharp-major triad. This false cadence focuses our attention on rhe nGS of the Adagio Religioso. The thematic development, mm. 12-29, divides at its GS, m. 23, separating an expansion of the theme from a thematic inversion. The D in the solo viola, m. 18 beat four, is the highest melodic pitch of the thematic expansion, mm. 11-22, and is located at its GS.16

E;(AMPLE. Exposition, mm. 1-11/ 5

[ nGS ] ITUTJ. 1-7

[Phrase 1]

• • [Phrase 2]

(5 beats)

(3 beats)

(5 beats).1

•

j. ..

I .- - It. - - IllIf

r-----:....::....-~~~~'-'--.......,r__ol_.;;;,._......;:~:.=~--...--.:....----....::..--.....:....i-I....,I

A I iii f- ~~ 1I. .. I

P-

A

mp aemplice Adagio religioso, J; 69

01

J----TJ

,,~

L .....

1f

pp

-&- - ----- ------------

--------

-&-

[GS mm.

[nGS mm •

, • . ..

1-11]

8-11]

• t

[Cadenza]

•

..

...---:---- -

• t.A .. ,. ~ •

#

.. ~. poco ,.,,6uto

~

3

f

3

t

I

~S:

-&- en:

fJ'

-

I

tJ

I

I t

I

fl..--

tJ'-'

[~~ 1-29]

• I [Thematic Development] I

•

~ --

-

-

...-..

'"

I

-

-

=

01

/IIf =--10 tempo

-

5

/liP

poco "01/.

crfl!$C.

I

fJ

tJ

I

P

I

fJ

-

tJ

.IT!.

~ ------------- -&-