JAVS Spring 2017

Musical Example 5: From Movement II, D hexachord (D E F G A B-flat) in the A theme; solo viola accompanied by low strings (mm. 234-237). Score excerpt © 2010. Used with kind permission from MUSIKVERLAG HANS SIKORSKI GMBH & CO. KG, Hamburg.

The second hexachord used is a B-natural hexachord (B C-sharp D E F-sharp G), and it appears in the B theme, (see Musical example 10). From the baroque period, Yusupov takes counterpoint as a principal element in this movement, and creates a clear melodic line connecting the D and B hexachord within the viola solo part, “as

while the orchestra is in the background. It is especially interesting how Yusupov presents the variations of the themes in different registers and rhythms. Each theme, either A or B, is separated by a bridge or transition that leads through chromatic motions back to either the D hexachord or the B hexachord. These first two movements

Musical Example 6: From Movement II, theme B, viola solo (mm. 289-333) Score excerpt © 2010. Used with kind permission from MUSIKVERLAG HANS SIKORSKI GMBH & CO. KG, Hamburg.

Bach did in his suite No. 1 for cello.” 26 Incidentally, the second movement is written in rondo form, which is characteristic of many baroque and classical concertos. As in classic rondo form, the A theme alternates with the B theme, which is connected only by the solo part

truly blend a variety of styles and compositional techniques from various periods of music history, but, as we will see in the following movements, Yusupov does not stop there.

Journal of the American Viola Society / Vol. 33, No. 1, Spring 2017

21