JAVS Spring 2019

10 It is also quite common for eighteenth-century sonatas to cycle through thematic material in P–T–S–C order during the development. This is one aspect of what Hepokoski and Darcy’s call “rotational form”; see James Hepokoski and Warren Darcy, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth Century Sonata (New York: Oxford University Press, 2006), 611–14. 11 This alteration has been anticipated throughout the movement. The primary theme material returns quite frequently, and there are six locations in the movement that correspond to m. 8: mm. 17, 79, 88, 162, 171, 238. From its first statement of this theme in the transition of the exposition, the piano always includes the extra step down (m. 17). The only time that the viola includes the extra step down is during the coda (m. 238); often a deviation at this location in the theme leads to some kind of chaotic gesture (for instance, see m. 88 and m. 171). 12 This type of sonority is often used in jazz as a type of V chord. If one were to hear the opening in such a context, then the viola’s emphasis on the seventh of the chord would further emphasize the dominant function of the sonority. This hearing would imply that the note D serves the role of a dominant, not a tonic.

13 For a detailed presentation of periods and their use in classical form, see Caplin, Classical Form , 49–58. 14 The term “parallel” refers to fact that both phrases start with the same melody. In the “Arpeggione” Sonata, the melodic lines of the two phrases begin identically. Although Rochberg’s Sonata adds two flats in the second phrase, the two phrases resemble one another enough to be considered parallel. 15 Rochberg, Five Lines, Four Spaces , 228. 16 In the first movement, the viola presents a gesture in m. 254 that is identical to the piano’s inner voices in m. 1. This gesture also seems related to the rising eighth notes that first appear in m. 85 of Movement 1 and are recalled throughout Movement 3.

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Journal of the American Viola Society / Vol. 35, No. 1, Spring 2019