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Vaughan Williams on Music$
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David Manning

Print publication date: 2007

Print ISBN-13: 9780195182392

Published to Oxford Scholarship Online: October 2011

DOI: 10.1093/acprof:oso/9780195182392.001.0001

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Violin Sonata

Violin Sonata

Chapter:
(p.380) (p.381) Chapter 91 Violin Sonata
Source:
Vaughan Williams on Music
Author(s):

David Manning

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195182392.003.0092

The Fantasia begins with a figure in the pianoforte left hand, which after a few bars becomes the accompaniment to the principal theme, played by the violin. The pianoforte later takes up this theme, while the violin plays with the accompaniment figure and works up to a cadenza-like passage. A new subject appears for the pianoforte alone, which is repeated, more or less exactly, by the violin. The principal subject is then developed, with the relative positions of the two instruments reversed. This development continues on similar, but not identical lines to the opening. It leads to a still-longer cadenza, then, with a reference to the second subject, the movement finishes very softly. The Scherzo is founded almost entirely on one figure that is first played on the pianoforte. Tema con variazione is given out by the pianoforte alone in three octaves without harmony, and is repeated, phrase by phrase, on the violin.

Keywords:   Fantasia, pianoforte, violin, cadenza, Scherzo, Tema con variazione

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