Second
Movement 2
Second
half
m.38 onward:
in C-major. This section makes clear that an important
feature of the composition is pointed out in harmonic functionality.
It is the feature of the appogiatura, the (melodic) note leaning
on the next (harmony), which I already brought about in the
Zwischenspiel. In this section it is often played by the first
violin.
For instance in m.38: the note D in vl.1 (appogiatura
or 2nde ajouté) leads to C. In m.41 (descending
E-D-C) this is the E leading to tonic D,
followed up by C on the last beat which is a passing
note to B which is the third of G7 in m.42.
In m.40 the G is the third in E7 (degree III
in C) and is an anticipation to G-sharp. This
G-sharp who follows up indeed, makes the dominant 7th
chord on E complete making it (V7)-VI: Dominant
7th for degree VI in C-major, suggesting modulation.
This principle creates many ways analyzing and understanding
other (non-tonal) parts of the work.
In m.32-37 the viola plays in G-major, dominant to
C-major which follows up in m.38. The cello completes the
dominant function of G in m.34 playing harmonic F, the
minor seventh.
Since G is the centre in this section, the A-flat-harmonic
in three voices in m.32-34 can only be interpreted as an appogiatura
to G. The second violin in m.36 only adds to this point.
The E-flat in m.34 in the first violin leads to fifth
D in G-major. The D is played by this instrument
in m.38. (explained above).
