Summer 2013 - The American Viola Society

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Example 3. Ponce, Trio, movt. I, mm. 40–47 (theme 2). As expected, theme 2 is quite contrasting in key, character, and texture. Its harmony is tonal rather than the modal harmony of theme 1. The key area is the typical dominant, D major. However, the composer cleverly mixes elements from the major and minor modes. As stated before, this is a frequent device that appears throughout the work. The viola counterpoint supplies rhythmic and harmonic clashes, which add spice (mm. 40–43). The tune is simple yet emotive and lyrical. It has a clear Spanish taste with arabesques provided by melodic groups of sixteenth notes in mm. 41, 43, 45, and 47. In fact these types of figures were first introduced in m. 16 (violin, ex. 9a). They are also an important element in the second movement (ex. 5). Less evident instances can also be found in the last two movements. The thin texture emphasizes the violin melody (mm. 40–43). An even leaner texture with almost no dissonances is used when the viola takes up the theme (mm. 44–47). The cello responds at the end of phrases by imitating the arabesques. Mm. 87–89 (ex. 4) exhibit faster harmonic rhythm and active interaction between violin and viola by means of canonic writing. The cello is also very busy with material akin to the upper parts. This modulating passage, begun in m. 81, moves through some foreign keys. A new modal theme was first introduced by the viola in mm. 74–77 and then repeated by the violin in a different register and key (mm. 78–81). Now, a powerful version appears in octaves (except for m. 90) in the lower voices (mm. 90–93) while the violin persistently repeats the final and dominant notes of the D Phrygian mode. VOLUME 29 SUMMER 2013 ONLINE ISSUE 32
Example 4. Ponce, Trio, movt. I, mm. 87–93. Example 5. Ponce, Trio, movt. II, mm. 1–8. VOLUME 29 SUMMER 2013 ONLINE ISSUE 33
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Page 3 and 4: Journal of the American Viola Socie
Page 5 and 6: FROM THE EDITOR The AVS board has b
Page 7 and 8: Schwartz was faculty member of the
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Page 13 and 14: involved. This was followed by Tull
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Page 17 and 18: Brian Hawkins, chairman of the jury
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Page 21 and 22: composers, and now there are twenty
Page 23 and 24: As with the Eight Pieces (Op. 83 7
Page 25 and 26: Back in 2004, when I began my clari
Page 27 and 28: of the most famous classical music
Page 29 and 30: Musical Sources The Trio was publis
Page 31 and 32: According to MS2, the Trio was comp
Page 33: Example 2. Ponce, Trio, movt. I, mm
Page 37 and 38: The description of the fourth movem
Page 39 and 40: This figure and its variations infu
Page 41 and 42: Example 11. Ponce, Trio, movt. II,
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Summer 2013 - The American Viola Society

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