Summer 2013 - The American Viola Society

The description of the fourth movement as Rondo-scherzoso and its tempo, Allegro giocoso, are
clearly in tune with the playful character of the main theme (violin, ex. 7). Major-minor tonality is
mixed with modal elements in rapid fashion. The cello part has some significant features. It plays
canon with the violin at the beginning of the melody. On the other hand, it adds a folkloric sense
with its double notes in the manner of a drone. Beginning in m. 8, the viola repeats the melody
while the violin performs an ascending-descending chromatic scale in pizzicato (mm. 9–16).
Example 7. Ponce, Trio, movt. IV, mm. 1–9.
The long coda, which spans thirty-eight measures, builds up to an exciting finale (ex. 8). It grows
out of the main theme but introduces a short new motive of Spanish flair that is played first by the
viola and then replied by the other instruments. This element can be seen in example 9c (viola;
notice an Arabic-like rhythmic accompaniment). The motive occurs in the cello in mm. 196–98 (ex.
8), first in the natural minor mode, then in the harmonic minor scale with the augmented second.
The upper parts execute thrilling fortissimo sixteenths in octaves based on the theme with its
characteristic major-minor interplay.
VOLUME 29 SUMMER 2013 ONLINE ISSUE
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