JAVS Spring 2019

3 My approach to describing the interaction between the two instruments loosely adapts Klorman’s theory of multiple agency; see Klorman, Mozart’s Music of Friends , ch. 4 . Throughout my analysis I use instrument names (“viola” and “piano”) to represent Klorman’s “fictional performer personas,” not actual performers (133). This approach leads to a problematic use of gendered pronouns (see Klorman 134n57); in my prose, I have arbitrarily chosen to use male pronouns for the piano and female pronouns for the viola. My approach to interpreting this sonata as a twentieth century tonal composition draws on Daniel Harrison, Pieces of Tradition: An Analysis of Contemporary Tonal Music (New York: Oxford University Press, 2016). In particular, Harrison defines four tonal techniques that can serve to reference tonality in contemporary works (40). All four techniques—linearity, meter, harmonic fluctuation, and traditional rhetoric—are present in Rochberg’s Sonata. 4 Rochberg, Five Lines, Four Spaces , 225. The organization of these pitches as two fourths (or fifths) separated by a tritone relates to a theoretical construct Rochberg later described as the “new circle of fifths”; see George Rochberg, A Dance of Polar Opposites: The Continuing Transformation of Our Musical Language , ed. Jeremy Gill (Rochester, NY: University of Rochester Press, 2012), 140–42. 5 The emphasis on perfect fifths relates to Harrison’s concept of “overtonality”; see Harrison, Pieces of Tradition , 17. 6 For a detailed presentation of sentence structure and its role in classical form, see William E. Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (New York: Oxford University Press, 1998), 35–48. 7 The reader is encouraged to consult the details provided in the formal maps (Figures 1 and 2) for sections of the piece not included in musical examples. 8 In fact, when this passage returns in the recapitulation (m. 179), there is a notated rest before the viola’s next entrance. 9 Unlike the local hemiola at the end of the primary theme, in the closing theme the metric dissonance continues throughout the entire section. A hemiola is specific type of “grouping dissonance” that involves a 2:3 ratio. For a definition and discussion of “grouping dissonance,” see Harald Krebs, Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann (New York: Oxford University Press, 1999), 31.

Bibliography

Caplin, William E. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven . New York: Oxford University Press, 1998. Harrison, Daniel. Pieces of Tradition: An Analysis of Contemporary Tonal Music . New York: Oxford University Press, 2016. Hepokoski, James, and Warren Darcy. Elements of Sonata Theory: Norms, Types, and Deformations in the Late- Eighteenth-Century Sonata . New York: Oxford University Press, 2006. Klorman, Edward. Mozart’s Music of Friends: Social Interplay in the Chamber Works . New York: Cambridge University Press, 2016. ———. “An Afternoon at Skittles: On Playing Mozart’s ‘Kegelstatt’ Trio Part II: Analyzing and Performing Musical Play.” Journal of the American Viola Society 32 (2016): 31–41. Krebs, Harald. Fantasy Pieces: Metrical Dissonance in the Music of Robert Schumann . New York: Oxford University Press, 1999. Rochberg, George. Five Lines, Four Spaces: The World of My Music . Edited by Gene Rochberg and Richard Griscom. Chicago: University of Illinois Press, 2009. ———. A Dance of Polar Opposites: The Continuing Transformation of Our Musical Language . Edited by Jeremy Gill. Rochester, NY: University of Rochester Press, 2012.

Notes

1 George Rochberg, Five Lines, Four Spaces: The World of My Music , ed. Gene Rochberg and Richard Griscom (Chicago: University of Illinois Press, 2009), 223 (emphasis added). 2 For a historical overview on the metaphor of chamber music as conversation, see Edward Klorman, Mozart’s Music of Friends: Social Interplay in the Chamber Works (New York: Cambridge University Press, 2016), ch. 2.

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