JAVS Spring 2011

Example 8. Flackton, Viola Sonata, op. 2, no. 8, movt. III, mm. 16–37.

sweeping ornamental flourishes. The use of written-out ornamenta tion differs from Flackton’s previ ous sonatas and is reminiscent of C. F. Abel’s freely ornamented slow movements. The movement ends with an implied closing adagio following the half cadential fermata (ex. 7).

While Flackton uses this technique at the end of the first movement of the D-Major Sonata, the overall result at the end of the G-Major Sonata is one of a grand finale fol lowing the ornamented setup. For the second movement, Flackton offers a fugal Allegro, the only movement in the set to

the previous two viola sonatas and to the opening three cello sonatas, this sonata is more fully developed and may be the most satisfying of all of these short works. Flackton treats the first movement far more expressively, with a plain tive move to the relative minor key, adorned with written-out,

J OURNAL OF THE AMERICAN VIOLA SOCIETY 42