JAVS Spring 2019

In the instrumental rapsodies, Loeffler incorporates many new ideas and changes. There is one new section that, due to its magnitude and programmatic significance, must be addressed (ex. 9). In this section, the solo oboe line and the perfect fifth drones in the viola paint a clear reference to the song and sound of bagpipes. It is a glorious and challenging oboe solo that fits the oboe well. The solo lies in the sweet range of the instrument which allows the oboist virtuosic flexibility to move fluidly between the held drones within the melodic line and embody the bagpipes. This section contains new material and was almost certainly inspired by Longy. My goal in writing this article is to provide a deeper understating of Loeffler and his Rapsodies , and an accessible programmatic and motivic analysis to aid in the musical interpretation and performance of Deux Rapsodies. On an emotional level, these compositions are connected to deep, personal loss in Loeffler’s life. This adds yet another layer of complication and pain to the already bleak and desolate poetry. It is rare in instrumental music to be handed a key in which to decipher specific programmatic elements. This is the gift that the vocal rapsodies provides. The opportunity to dive into and examine Rollinat’s poetry provides context, mood and Conclusion

Example 7. Similar melodies and accompaniments in “La Cornemuse.” Top: vocal rapsodies, mm. 63–64; Middle: instrumental rapsodies, mm. 92–93; Bottom: instrumental rapsodies, mm. 72–73.

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