JAVS Spring 2022

Figure 4: Miriam Gideon, Sonata for Viola and Piano, I. Allegretto marcato, mm. 30-39. Score courtesy of American Composers Edition (BMI), New York, NY.

The second movement, Andante teneramente , is through composed in seven phrases. Even though the movement’s thematic material does not repeat, there is a background harmonic structure. Different sections of the movement feature one or two different set classes, comprising the formal divisions ABCA. Out of the three movements, the second sounds the most melodious (see the few measures in Figure 5.) It is almost waltz or dance-like at times. Harmonies are atonal, as in the first movement, but phrases feel melodic.

The third movement of Gideon’s Sonata for Viola and Piano is in a modified rondo form, although the large scale form can be labeled as ternary (ABA’). Four rondo themes recur, interrupted by rubato and meno mosso sections. The main rondo theme of the movement is fast and frenetic, while other sections may be a bit more subdued.

Table 3: Miriam Gideon, Sonata for Viola and Piano, II. Andante teneramente, Form.

Figure 5: Miriam Gideon, Sonata for Viola and Piano, II. Andante teneramente, mm.1-5. Score courtesy of American Composers Edition (BMI), New York, NY.

Journal of the American Viola Society / Vol. 38, No. 1, Spring 2022

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