Third
Movement
The second movement ends with B-flat-minor on the first
half of the last bar and B-minor on the last half.
In the first bar, the third movement continues in B-minor.
In the second bar the first violin (who plays a B-flat,
which is actually an enharmonization of leadingtone A-sharp)
and cello are responsible for modulation to d-aeolic
minor (with no leadingtone). In m.5, the cello and viola both
play leading-tone figures in D-minor. With an F-sharp
in m.5 and a B-flat in m.6 the first violin tends
to modulate to sub-dominant g-minor.
A diatonic chord played in unison on the second half of the
third beat of m.6 ends the opening section.
Form scheme
| 1-6 |
6-11 |
11-12 |
13-17 |
18-19 |
20-22 |
23-24 |
25-27 |
28-30 |
31 |
m.7-9
are characterized by softly played, diatonic chords.
Key is C-major from the last beat of m.9, until the first
half of m.11, becoming minor with an E-flat in 1stvl.
From the second half of m.11, a minor third motive (D-F)
appears in violins and viola.
F-sharp is introduced, becoming more important in coming
sections.
Until m.17 all instruments have played con sordino. From
m.18, the golden section of the movement, all play senza
sord. The tempo here changes from quarter=54 to quarter=112;
much faster.
m.18-19 are characterized by fast ascending and descending motives.
m.20-22: F-sharp as appogiatura for F-nat. Second
half of m.22 consists of a unison-gesture E-flat, D-nat.
m.23-24 are 3/4th bars with unison, unirhythm and repetetive
elements.
The first chord of m.25 resolves in a way comparable to what
happens in the middlesection of the Zwischenspiel.
m.25-27 has many direction giving motions, the instruments are
getting together in a B-flat unison on the third beat
of m.27 cutting of the section.
m.28 is a solo for the viola who plays again F-sharp as
a changing note for G-sharp.
m.29-30 contain the fifth C-G we are familiar with (see
first movement m.3 and 25-26), here played pizzicato, introducing
the final m.31 which forms the coda. The viola continues its
motive from m.28.
the final gesture is formed by the inaccessible sound of an
augmented triad in first inversion on B-flat, made even
more tense by a C-sharp yell in extreme high register
of the cello.
