The beginnings and development of a New Zealand music: The life ...

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At bar 9, the first theme 1S introduced in the viola:
Ex.26: Theme 1 of Allegro, viola bars 9-19.
MJ QABI uN. 1 QItuJ tiD 1 W;) 1
'1 -c:::: .... r
Although contrasting in mood and dynamic with the theme of the
introduction,_the two themes do show marked resemblances, particularly
in their antecedent phrases. Both these phrases employ the same pitches
in the same undulating contour. As well, both of the harmonisations
display the same move to an F-major chord following the establishment of
a G-minor tonic. The relationship between these two themes is highlighted
and exploited extensively later in the piece.
From bars 23 to 31, theme 1 is repeated 1n the violin I line with
altered accompaniment. From bars 32 to 45 a brief development of theme
1 occurs, mainly concentrating on the quaver rhythms employed in the
theme. Gradually the legato nature of the texture is superceded by a
marcato sound. The quavers become more and more insistent until at bar
46 they dominate the texture by introducing a new theme comprised solely
of marcato quavers:
Ex.27: Allegro, violin II bars 46-50.
RJ t!Jl !l J] I arPID nn tTfJ I 1
...J ,.....,c:.--'"
;~ rrD tlU I f) J1 ill i ) 1
This 'transition' theme is anchored to the note D, both within the theme,
where it is used as a springboard for the sounding of various other
pitches, and in the accompaniment, where it provides an inverted pedal in
the violin I and viola. Significantly, the pitches used in this theme
match exactly those used in the introduction theme.