4th Movement: Allegretto poco mosso
Sonata Form:
Primary theme is written by canon. The theme flows very smooth and natural. There is no characteristic skips which associates M1. The theme may leave off M1 consciously which have been provided various expressions. M4 in Fig.1 is frequently used in the development section楽
Fig.1 Mes.1
The theme is played twice keeping canon style for 21 measures, and then connected to the secondary theme.
Fig.2 Mes.38
Secondary theme is the same as the phrase presented in the 3rd movement. There are some skips, though the secondary theme is also quite as they are within a same harmony. It is presented on the same key of primary theme and has not a characteristic contrast to the primary theme.
After this exposition of the secondary theme, two themes appear alternately. Fig.3 shows the phrase used to make a climax part. This phrase begins from the after beat of measure 87.
Fig.3 Mes.87
Closing the exposition section, Fig.4 shows a closing phrase which is from M1.
Fig.4 Mes.99
It is interesting that the closing phrase appears with subito piano abruptly and it sounds light and even funny. And it connects to very queer passage from measure 109. I could not understand the meaning of this 7 measure long phrase unless it is made for changing keys to open the development section. This phrase shown in Fig. 4 is used only once and is not repeated in the recapitulation section. It is clear that M1 is not important in 4th movement.
Development:
Development section begins from measure 117 with the primary theme in f minor. In this section, the primary theme and M4 are mainly used, and the dramatic phrase of 3rd movement shown in Fig. 5 comes back with increased importance and power. Dramatic nature of the phrase that is to start in a challenging and determined mood but ends with a peaceful resolution gives a sense of the sublimation. Here, the phrase is used twice. It starts in D flat minor and ends in B flat minor for the first turn. After 10 measures of development by M4, it starts again in F minor and reaches C major finally. And the phrase shown in Fig.6 comes with fortissimo in triumph. It sounds like a trumpet from Heaven. (It may be difficult for violins to play fortissimo in this middle range as the piano is playing in full force. however; I agree that this range is the best fit to music.) Then, music comes quiet and calm and prepares for the recapitulation section.
Fig.5 Mes. 143
Fig.6 Mes.170
Recapitulation:
Recapitulation section is simplified and the secondary theme is not recaptured. The primary theme is played twice and reaches a climax part. Then brilliant coda closes the entire work.
Special Notes:
This violin sonata is known as a good example of cyclic form. As you have seen here, however, the basic motive M1 of 1st movement is apparently taken over the new phrase that appears in the fantasy part of 3rd movement. This calm phrase grows gradually and eventually it becomes the melody for climax. It is the composer’s clear intention to change the mood of 4th movement from former 3 movements. We are unable to know why, but he was very successful to realize his intention.
|
4th Movement |
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|
Exposition |
Theme1 |
1 |
21 |
21 |
New Free Melody M4 |
|
|
Theme1 |
21 |
37 |
17 |
|||
|
Theme of Fantasia |
38 |
50 |
13 |
|||
|
Theme1 |
51 |
64 |
14 |
|||
|
Theme of Fantasia |
65 |
79 |
15 |
|||
|
Theme1 |
80 |
87 |
8 |
|||
|
Closing |
87 |
99 |
13 |
|||
|
Closing |
Passage 1(1st Mov Theme) |
99 |
109 |
11 |
M1 |
|
|
Development |
Theme1 |
117 |
132 |
16 |
||
|
Dev by Motive |
133 |
143 |
11 |
M4 |
||
|
Passage2 of 3rdMov |
143 |
151 |
9 |
M1 |
||
|
Dev by Motive |
151 |
161 |
11 |
M4 |
||
|
Passage2 of 3rdMov |
161 |
169 |
9 |
M1 |
||
|
Theme of Fantasia |
170 |
184 |
15 |
|||
|
Recapture |
Theme1 |
185 |
205 |
21 |
||
|
Theme1 |
205 |
221 |
17 |
|||
|
Coda |
closing |
222 |
235 |
14 |
||
|
coda |
236 |
242 |
7 |
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