The Trout, written to the poem of a German poet, Christian Friedrich Schubart, has

Transcription

1 LISTENING GUIDE Franz Schubert ( ) Song, Die Forelle ( The Trout ) Date of composition: 1817 Voice and piano Tempo: Etwas lebhaft ( Rather lively ) 2 Meter: 4 Key: D b major Duration: 2:10 Student CD II, 59 Complete CD IV, 1 The Trout, written to the poem of a German poet, Christian Friedrich Schubart, has been a favorite among Schubert s songs since its composition. Part of the song s charm lies in the composer s remarkable ability to depict the atmosphere of the poem by blending the melody with its accompaniment, both of which have an equal share in the musical interpretation. 243

2 YUDKMC09_ hr :28 Page 244 CHAPTER 9 The song begins with a piano introduction based on a rippling figure that evokes the smooth flow of a stream. This figure becomes the dominant feature of the accompaniment, over which the voice sings an animated and lighthearted melody. The song represents a modified strophic form with an unexpected change of mood in the last stanza. The first two stanzas are sung to the same music simply because the scene remains the same: As long as the water in the stream is clear, the fish is safe. In the third stanza, however, when the fisherman grows impatient and maliciously stirs up the water to outwit the trout, the music becomes more agitated and unsettled. After the fish is finally hooked, the smoothing of the water s surface is represented by the return of the gentle rippling figure, which gives a sense of artistic unity and makes the song a highly organic work. The subtlety of expression, the perfect matching of feeling to music, and the gentle pictorial touches all combine to make this song a complete miniature masterpiece. CD TIME LISTEN FOR 59 (1) 0:00 Piano introduction based on the rippling figure. Stanza 1 [rippling accompaniment continues] Stanza 2 0:08 In einem Bächlein helle, In a limpid brook Da schoss in froher Eil In joyous haste Die launische Forelle The whimsical trout Vorüber wie ein Pfeil. Darted about like an arrow. 0:20 Ich stand an dem Gestade I stood on the bank Und sah in süsser Ruh In blissful peace, watching Des muntern Fischleins Bade The lively fish swim around Im klaren Bächlein zu. In the clear brook. [last two lines repeated] 0:39 Piano interlude 60 (2) 0:45 [same music] Ein Fischer mit der Rute Wohl an dem Ufer stand, Und sah s mit kaltem Blute, Wie sich das Fischlein wand. An angler with his rod Stood on the bank, Cold-bloodedly watching The fish s flicker. 0:57 So lang dem Wasser Helle, As long as the water is clear, So dacht ich, nicht gebricht, I thought, and not disturbed, So fängt er die Forelle He ll never catch that trout Mit seiner Angel nicht. With his rod. [last two lines repeated] 1:17 Piano interlude Stanza 3 [sudden change of rhythm, harmony, and accompanying figures] 61 (3) 1:23 Doch endlich ward dem Diebe But in the end the thief Die Zeit zu lang. Er macht Grew impatient. Cunningly Das Bächlein tückisch trübe, He made the brook cloudy, [diminished sevenths] Und eh ich es gedacht, And in an instant [suspense gaps in piano] 244

3 YUDKMC09_ hr :28 Page 245 THE NINETEENTH CENTURY I: EARLY ROMANTIC MUSIC 1:37 So zuckte seine Rute, His rod quivered, Das Fischlein zappelt dran, And the fish struggled on it. [crescendo] Und ich mit regem Blute And I, my blood boiling, [earlier music returns] Sah die Betrog ne an. Looked at the poor tricked creature. [last two lines repeated] 1:58 Piano postlude LISTENING GUIDE Franz Schubert ( ) Fourth Movement from Quintet in A Major, D. 667 (The Trout) Date of composition: 1819 Orchestration: Violin, viola, cello, double bass, piano Tempo: Andantino Allegretto ( Medium slow A little faster ) 2 Meter: 4 Key: D major Duration: 8:34 Student CD II, 62 Complete CD IV, 4 Schubert chose the gentle theme from his song The Trout for a set of variations written for piano and strings. The original song was written in the key of Db major, but here it is transposed to D major, which is easier to play and more resonant on stringed instruments. Instead of the normal complement of strings (two violins, viola, and cello the string quartet group), Schubert uses one each of violin, viola, cello, and double bass. This makes for a slightly more transparent texture and, of course, a deeper bass line. The movement consists of the Trout theme and six variations. The theme is presented first, in a simpler form than in the song. It is played by the strings; the violin plays the melody while the other instruments provide a simple accompaniment. You can clearly hear the double bass, with its deep, rich tones. In the first three variations, the theme is heard successively in the treble, in an inner part, and in the bass with little modification. In the fourth variation, it is presented in the parallel minor key, D minor, and transformed, but it comes back again in recognizable form in the fifth variation in Bb major. In the closing variation, Allegretto, Schubert presents the theme in yet another version; this time he borrows the texture and the rippling accompanying figure directly from the original song. 245

4 YUDKMC09_ hr :28 Page 246 CHAPTER 9 The theme consists of two sections, the first of which is repeated. In the second section, after eight measures, a trill at the cadence leads to a four-measure extension before the close. 8 measures measures CD TIME LISTEN FOR Theme Strings only. 62 (4) 0:00 First section. Violin states theme with group accompaniment; prominent double bass. Variation I 0:21 Repeat. 0:43 Second section. (Trill to start added measures at 1:04.) 63 (5) 1:19 First section. Variation II 1:36 Repeat. In this variation, the theme is played by the piano and is slightly embellished. The strings weave an ornamentation around the melody with fast-moving triplets and trills. Listen here to the pizzicato bass. 1:53 Second section. 64 (6) 2:40 First section. Variation III 2:58 Repeat. Now the main melody is taken over by the viola, above which the violin plays ornaments in triple rhythm. The theme is complemented by short imitative phrases in the piano part. 3:15 Second section. 65 (7) 3:40 First section. Variation IV 3:55 Repeat. This variation is dominated by the piano, which plays an uninterrupted flow of fast notes. The theme is played (rather ploddingly!) by the double bass and progresses steadily along this perpetual motion of the piano part. 4:10 Second section. This variation bursts out loudly in the minor key, but the initial dramatic chords soon yield to a more playful section in triplets. The second half gradually becomes more and more calm, gently introducing the cello. 246

5 YUDKMC09_ hr :28 Page 247 THE NINETEENTH CENTURY I: EARLY ROMANTIC MUSIC 66 (8) 4:33 First section. Variation V 4:49 Repeat. 5:06 Second section. 67 (9) 5:38 First section. Variation VI 6:00 Repeat. The cello dominates the fifth variation, which is in Bb major but is also tinged with melancholy minor touches. The second section is extended to lead the music back to its home key, D major. 6:21 Second section. A little faster. The music livens up for the final variation, which is marked by the rippling accompaniment that characterizes the original song. Violin and cello trade phrases, and the ripple brings the movement to a peaceful conclusion. 68 (10) 7:16 First section. Violin with piano. 7:27 First section repeated. Cello with strings. 7:40 Second section. Violin/piano. 7:58 Second section repeated. Cello/strings, joined by piano for quiet ending.

6 YUDKMC09_ hr :23 Page 249 THE NINETEENTH CENTURY I: EARLY ROMANTIC MUSIC LISTENING GUIDE Hector Berlioz ( ) First Movement from Symphonie fantastique (Fantastical Symphony) Date of composition: 1830 Orchestration: Piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 cornets, 2 trumpets, 2 timpani, violins I, violins II, violas, cellos, basses Tempo: Largo Allegro agitato e appassionato assai ( Broad Fast, quite agitated and passionate ) Meter: 4 Key: C minor (Introduction), C major (Allegro) Duration: 11:17 Complete CD IV, 11 The Symphonie fantastique, Berlioz said, describes various situations in the life of a young musician who falls desperately in love at first sight. The symphony depicts his dreams, despairs, and fantasies. Clearly the symphony is autobiographical. The first movement is entitled Reveries, Passions. It describes the young musician who sees for the first time a woman who embodies all the charms of the ideal being he has imagined in his dreams. The woman is linked in his mind to a musical idea; Berlioz calls it an idée fixe, an idea that won t go away. The program continues: The passage from a state of melancholy reverie (interrupted by moments of inexplicable joy) to one of frenzied passion, with its feelings of fury and jealousy, its return of tenderness, its tears, its religious consolations all this is the subject of the first movement. Berlioz has cast his first movement into an approximation of sonata form with a slow introduction. He deliberately blurs the outline of the form: The end of the exposition runs directly into the development, and the second theme comes back before the first in the recapitulation (and its treatment here still sounds developmental ). The keys are vague rather than clear-cut. And the whole effect with its constant changes of tempo, dynamics, and instrumentation is surging, passionate, and free. The idée fixe, the musical idea representing the beloved, permeates the whole movement: The theme of the slow introduction is like a pre-echo of this idea, the first theme of the Allegro is the idée fixe, and the second theme starts out very much like it too. It is the perfect embodiment of Romantic melody: long, flexible, yearning upward, falling back, hesitating, surging, retiring. It breathes as though alive. In this, one of his earliest works, Berlioz has taken a fixed Classic form and radically reinterpreted it to express the new Romantic spirit. 249

7 YUDKMC09_ hr :28 Page 250 CHAPTER 9 CD TIME LISTEN FOR INTRODUCTION C minor ( Melancholy Reverie ) (11) 0:00 Flutes and clarinets: repeated notes, pp, ascending scale in oboes; held chord. 0:09 Dreamlike melody on muted violins, then other strings. (12) 0:47 Scooping melody in violins with pizzicato basses (faint pre-echo of idée fixe). Violins pizz. ALLEGRO Exposition 1:14 Crescendo on low strings and held note. 1:19 Staccato violin melody skitters upward, p; addition of winds and lower strings, crescendo; melody climbs upward forcefully then slides down gracefully; quieter. 1:36 Slow passage, flute, clarinet, horn, and strings, surging. 1:59 Dreamlike melody, slightly louder, now accompanied by rapid flutes and clarinets; crescendo, with climb and then gradual descent. 3:11 Suspense. 3:24 Two contrasting violin figures, alternating with pulsating wind chords, accompany a solo horn, then two horns; gradual crescendo. 4:14 Sustained chords swell to ff, and back to pp; alternating cadential figures on strings and winds, with loud punctuating chords, end the Introduction. C major ( Frenzied Passion ) (13) 4:33 First Theme First theme (idée fixe) in violins with solo flute, first unaccompanied, then with repeated notes in low strings; striving upward, crescendo, agitated, then calming. poco 250

8 YUDKMC09_ hr :28 Page 251 THE NINETEENTH CENTURY I: EARLY ROMANTIC MUSIC 5:09 Transition Brilliant rapid passage in strings leads to: 5:15 Short peaceful passage, flute, clarinet, horn. 5:21 Again, brilliant string passage, leading to: 5:27 Faster melody, flutes, clarinets. 5:33 Short, rapid motif in strings, crescendo, leads to: (14) 5:41 Second Theme (E minor/g major) First part of theme (similar to idée fixe): flute and clarinet, quiet. Second part: strings, loud. Flute, Clarinet Violins I dolce Continuation, crescendo, leads directly into: Development (15) 5:54 Low strings develop opening idea of idée fixe, answered by winds; big crescendo. 6:14 Fragments of second theme. 6:19 Chromatic rise and fall with crescendos, increasing in intensity. 6:41 Sudden stop and long pause. 6:44 Sustained horn note, p, accompanies leaping motif in strings. 6:52 Idée fixe returns in flute, clarinet, and bassoons, dominant key; leaping strings join in; crescendo. 7:24 Low descending continuation on bassoons and cellos, crescendo, full orchestra, merges into: Recapitulation [still sounds developmental] (16) 7:52 Second Theme (C major/g major) Second part of second theme by strings in imitation, ff, then strings and winds together. 8:07 Peaceful passage, p, winds then strings over timpani roll; diminuendo, low strings. 8:37 Solo oboe over strings, new long melody with expressive leaps; continuation is doubled by flute (both striving upward). Huge crescendo (with cornets and trumpets) to: (17) 9:22 First Theme (C major) Climactic return (faster) of idée fixe, ff, full orchestra (first appearance of piccolo), wild. 251

9 YUDKMC09_ hr :28 Page 252 CHAPTER 9 9:44 Suddenly quiet, crescendo again to: 9:53 Sudden relaxation flute, clarinet, oboe, and bassoon overlap opening of idée fixe, p. 10:05 Again sudden crescendo to: 10:15 Rapid syncopated melody, f, full orchestra, timpani strokes. 10:21 Fast rising strings, followed by falling pizzicato strings and cadential chords. 10:28 Chromatically descending strings and oboe, decrease in volume. 10:40 Violins, alone, state opening of idée fixe, pp. 10:51 Movement ends with alternating churchlike chords, pp; plagal cadence (IV I); religious consolations. Coda (18) Felix Mendelssohn ( ) Mendelssohn is one of the two composers in this period (the other being Gustav Mahler) who illustrate the uncomfortable position occupied by Jews in nineteenth-century Europe. His grandfather had been the famous Jewish philosopher Moses Mendelssohn. His father was a banker, a prominent member of German middle-class society. His mother was also from a distinguished family; she was cultivated and Art and Life are not two different things. very musical. In 1811 the Mendelssohn family Felix Mendelssohn was forced to flee from Hamburg to Berlin for political reasons, and when Felix was seven years old, his father had the children baptized; a few years later, his father converted to Christianity himself. Despite the increasing tolerance of nineteenth-century society, it was still easier to make your way in an enlightened age if you were not Jewish. After their conversion, the family enjoyed increasing prosperity and social status. The Mendelssohn home was a focal point for writers, artists, musicians, and intellectuals in Berlin society. Chamber concerts Felix Mendelssohn about were held every weekend, and under the tutelage of

10 LISTENING GUIDE Complete CD IV, 19 Felix Mendelssohn ( ) First Movement from Concerto in E Minor for Violin and Orchestra, Op. 64 Date of composition: 1844 Orchestration: Solo violin and orchestra Tempo: Allegro molto appassionato ( Fast and very passionate ) 2 Meter: Key: E minor Duration: 13:17 This concerto, one of Mendelssohn s most popular works, was composed three years before his death. It has remained one of the most popular of all the Romantic violin concertos for its combination of lyricism and dazzling virtuosity. This concerto has many innovative features: The movements follow one another without a break In contrast to the Classical concerto, melodies are initially stated by the soloist instead of by the orchestra The cadenza in the first movement is placed immediately after the development section, instead of coming at the end like an afterthought There are many demanding sections in this concerto. Particularly challenging are those places where the violin soloist is required to finger and bow two strings simultaneously. This technique is 254

11 YUDKMC09_ hr :28 Page 255 THE NINETEENTH CENTURY I: EARLY ROMANTIC MUSIC called double-stopping and is featured in all movements. Octave double-stops present even more difficulties, because precise fingering is extremely difficult. CD TIME LISTEN FOR FIRST MOVEMENT Exposition [sonata form] Allegro molto appassionato (19) 0:00 FIRST THEME (solo violin), high, over quiet accompaniment. etc. 0:32 Violin plays faster flourishes, answered by orchestral chords. 0:52 Octaves, solo violin. 1:02 Orchestra plays first theme. 1:34 Orchestral transition and theme repeated and extended by solo violin. 2:06 More flourishes, featuring double-stops (solo violin), and an orchestral climax. Gradually the music calms and leads to a cadence. etc. (20) 3:03 SECOND THEME, initiated by woodwinds, answered and extended by solo violin. etc. Development 4:24 Return to first theme, virtuosic passages, crescendo, big orchestral chords. (21) 5:38 Fragmentation of themes, including transitional material and first and second themes. Contrasts of loud and soft, violin descends, everything calms down before a big crescendo into the: (22) 7:20 Cadenza (violin alone), featuring difficult trills, double-stops, and extremely high notes. Recapitulation (23) 8:54 Orchestra plays first theme while solo violin continues virtuosic flourishes. 255

12 YUDKMC09_ hr :28 Page 256 CHAPTER 9 9:13 Transitional material, loud, orchestra, repeated and extended by violin, quietly. Cadence. (24) 9:48 Second theme, woodwinds, then solo violin with extension. Cadence. 11:08 Motion increases, brilliant running passages in solo violin, fragments of themes and pizzicatos in the orchestra. 11:59 Stratospheric climbs by solo violin, punctuated by big orchestral chords. Speed and intensity gradually increase to: 12:09 Subsidiary Theme, solo violin. 12:44 Presto (very fast) section, hurried-sounding, signaling ending of the movement. 13:10 End of movement, but bassoon holds a single note (to lead into the beginning of the next movement).

13 YUDKMC09_ hr :28 Page 257 THE NINETEENTH CENTURY I: EARLY ROMANTIC MUSIC LISTENING GUIDE Fanny Mendelssohn Hensel ( ) Lied from Songs without Words, Op. 8, No. 3 Date of composition: 1840? Tempo: Larghetto ( Fairly slow ) Meter: 4 Key: D Major Duration: 3:05 Student CD II, 69 Complete CD IV, 25 The Lieder ohne Wörte (Songs Without Words) were not published until after Fanny s death. The third of this four-piece set, entitled Lied (Song), is also marked Lenau, the name of a German poet, suggesting that an actual poem may have inspired her to write this song. The tuneful, flowing phrases are indeed highly singable and memorable. The form is a typical one for a song: ABA. Throughout the piece, there is an accompaniment of gentle, repeated chords in the middle range, and slow, isolated bass notes. The atmosphere suggests a reflective inner dialogue. CD TIME LISTEN FOR A 69 (25) 0:00 Melody repeats a gently curving motive, followed by an ascending leap, as a kind of questioning idea. This is followed by a balanced descending motive. The mood is one of contemplation. B 0:30 Questioning idea in low range, response in higher range. 70 (26) 1:03 Modulating, unstable B section shorter, faster exchanges of questioning idea, answered by descending arpeggios. A 1:20 Minor version of questioning idea in low range. Crescendo, then decrescendo, leads to: 71 (27) 1:39 Clear return of the beginning, moving quickly to faster sequential phrases. 2:15 Closing section using questioning idea, including crescendo and leap to highest note of the piece. Ends with gentle decrescendo. 257

14 LISTENING GUIDE Student CD III, 1 Complete CD IV, 28 Fryderyk Chopin ( ) Prelude in E Minor, Op. 28, for Piano Date of composition: Tempo: Largo ( Broad ) 2 Meter: Duration: 2:27 Chopin composed twenty-four preludes between 1836 and They follow the same idea as Bach s two sets of preludes and fugues, presenting all twenty-four major and minor keys of the scale system. This prelude features an ABA structure. In the A section, an almost static melodic line is accompanied by steady chords that constantly descend. Notice the use of neighbor tones in the righthand melody: the melody goes to an adjacent pitch and then returns. The B section is marked by melodic arpeggios and has more rhythmic movement. The return of the A section is varied, and there is a wonderfully expressive silence before the end. CD TIME LISTEN FOR A section 1 (28) 0:00 Opening melody. Focus is on descending left-hand accompanying chords. Upper neighbor tone is heard several times in right hand. 0:20 New note, melodic motion continues to descend. 260

15 YUDKMC09_ hr :28 Page 261 THE NINETEENTH CENTURY I: EARLY ROMANTIC MUSIC B section 2 (29) 0:46 More motion in melody and change in accompanying figures. 1:01 End of section, little flourish in melody, returning to: A section 3 (30) 1:07 Variation of A. 1:22 More rhythmic activity in both hands. 1:25 Loudest part. 1:35 Feeling of stasis. 1:48 Goal reached. 2:01 Final chord? 2:04 Expressive silence. 2:09 Real final cadence (three chords). LISTENING GUIDE Fryderyk Chopin ( ) Waltz in Db Major, Op. 64, No. 1, for Piano Solo (Minute Waltz) Date of composition: 1847 Tempo: Tempo giusto ( Exact tempo ) Meter: 4 3 Duration: 1:47 Complete CD IV, 31 This is the sixth of fourteen waltzes Chopin wrote for the piano. Each one is based on the characteristic ONE-two-three ONE-two-three waltz rhythm, but each one is different. The Db Major Waltz is known as the Minute Waltz because it is so short, though it actually takes about two minutes to play. Chopin marks it Molto vivace leggiero ( Very fast and lively light ). The opening theme, in which the melody seems to circle around itself, has been compared to a dog chasing its own tail. The overall scheme is ABCAB, with repetitions of melodic phrases within each section. This gives form to the delicate and swirling music. CD TIME LISTEN FOR A (31) 0:00 Around and around, right hand only. 0:04 Waltz rhythm enters in left hand, right-hand melody in eighth notes. 261

16 YUDKMC09_ hr :52 Page 262 CHAPTER 9 B (32) 0:12 New melody, rapid key changes, continuing fast eighth notes. 0:22 Repeat of B section. C (33) 0:33 Lower melody in Ab, slower in effect (melody in half and quarter notes). 0:48 Ornamented repeat; slow down. 1:01 Trill, return to: A 1:06 Around and around, opening music and melody. B (34) 1:19 B section again; repeated. 1:38 Very high descent to closing chords.

17 YUDKMC09_ hr :28 Page 265 THE NINETEENTH CENTURY I: EARLY ROMANTIC MUSIC LISTENING GUIDE Robert Schumann ( ) Träumerei (Dreaming), from Kinderszenen, Op. 15, for Piano Date of composition: 1838 Meter: 4 3 Key: F major Duration: 3:00 Student CD III, 4 Complete CD IV, 35 This selection comes from Schumann s Kinderszenen (Scenes from Childhood). It is a simple accompanied melody, in an ABA structure. You ll notice that the melody features an upwards shape, and this shape (called an ascending contour) characterizes all three brief sections. The slow tempo and the reiteration of the theme create a wonderfully dreamy atmosphere. CD TIME LISTEN FOR A section 4 (35) 0:00 Melody is presented: first phrase: 0:08 High point of the first phrase. 0:19 Ending of the first phrase overlaps with the beginning of the second. 0:27 Melody reaches even higher, to its highest pitch. 0:38 Cadence. 0:42 A section repeated. B section 5 (36) 1:23 Melody is presented, but varied melodically and harmonically. A section 6 (37) 2:03 Melody is restated. 2:31 Large, rolled chord under the highest pitch of melody ( signal that the piece will end soon). 2:45 Ending cadence. 265

18 LISTENING GUIDE Clara Schumann ( ) Third Movement from Trio in G Minor for Piano, Violin, and Cello Date of composition: 1846 Tempo: Andante ( Quite slow ) 6 Meter: 8 Key of movement: G major Duration: 5:19 Complete CD IV, 38 Clara Schumann s Trio in G minor dates from shortly after the birth of her fourth child. Published in 1847, the four-movement work reworks a Classic structure. The expansive first and fourth movements employ sonata form, and the middle two movements reverse the ordering of the conventional four-movement arrangement: the scherzo is the second movement, and the thoughtful, melancholy, slow movement is the third. The slow movement, marked Andante, is in ABA song form. It reflects the Romantic period s fascination with warm, lyrical melodic lines and the expression of heightened contrasts in emotion. As we have come to expect with the various ABA forms, the sections show contrast, and the modified A section returns enriched by the experience of the B material. 267

19 YUDKMC09_ hr :28 Page 268 CHAPTER 9 CD TIME LISTEN FOR A (38) 0:00 The opening melody is slow, songlike, and pensive, with regular phrase lengths. But tension and a subtle restless quality are created by the pattern of using dissonances on strong beats, resolving on weak beats. Also, while the steady accompaniment keeps up the regular grouping, the melody gently pushes against this pattern with its grouping by twos. diss. cons. diss. cons etc. etc etc. 0:37 The melody is taken up by the violin, with the piano energizing the accompaniment with sixteenth notes while the cello plays pizzicato on the weak third beats, adding to the rhythmically unsettled quality. 1:12 Finally, the cello takes the melody while the violin plays a rich harmony. The short subphrases here rise to a dramatic high point, while the piano accompaniment still emphasizes the third beat. 268

20 YUDKMC09_ hr :28 Page 269 THE NINETEENTH CENTURY I: EARLY ROMANTIC MUSIC B più animato ( more animated ) 1:48 This section, in E minor, is darker, agitated, and more intense: the melody uses faster note values with jerky rhythm. The strings play staccato, with brusque chords in the piano. A 2:01 The melody moves to the cello. 2:13 A brief contrasting phrase in the violin, smoother, and in the major. 2:29 Return to the agitated figure from the beginning of the B section; then the piano returns to the minor key. 2:50 Assertive statement of agitated melody in piano with heavy chords in the cello. 3:00 The agitation subsides as the rhythmic values slow and the material becomes smoother. (39) 3:18 The cello begins with the original melody, accompanied by rocking piano arpeggios. Back to G major. Coda 3:50 Without repetition, the first phrase moves directly into what corresponds to the last phrase of the original A section, with the roles of the instruments now reversed; the violin has the melody in its rich lower register. 4:19 New material gently transforms the agitated fast rhythmic values of the B section; conclusion with peaceful arpeggios and harplike, ascending rolled chords. 269