Summer 2013 - The American Viola Society

Example 2. Ponce, Trio, movt. I, mm. 1–11 (theme 1).
The texture is dense with much contrapuntal interest. There is a connected, balanced dialogue
between violin and viola. The melodic idea initiated by the viola in mm. 8–9 is imitated by the
violin two measures later. Likewise, the viola line in mm. 10–11 is related to that of the violin in
mm. 8–9.The rhythmic motive eighth–quarter–eighth passes from the violin to the viola in mm.
3–4. In search of equity, the return of theme 1 in the recapitulation is presented by the viola.
While the violin and viola parts have a reduced range and a more stepwise nature, the cello has
arpeggio-like figurations and a wider range. It reinstates the basic pedals and adds contrasting
material characterized by a free, improvisational spirit.
There is an attractive rhythmic saturation. Take for instance mm. 8–9. The syncopated viola line is
set against quarter notes in the violin while the cello seems to imitate a percussion instrument. A
primitive, ethnic flavor is evoked.
The first phrase finishes in m. 4. The second starts there but propels a series of sections with a
developmental character that never stops until the beginning of the second theme in m. 40 (ex. 3).
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