Violin Sonata, III. (Vivace)

Directions: Vivace (lively and brisk)

This fast finale is far and away the most frantic and most expressive movement out of the sonata. A lengthy beginning in A-flat minor introduces some themes, particularly the piano accompaniment texture, the "sonata theme" prevalent throughout all the movements, which acts here as the antecedent part to the lightly marching A theme. The tonality here is of interest; one approach to analysing the harmony of this section is to interpret the scale of the violin melody as being a synthetic Ab-Bb-Cb-C♮-Db-Eb-E♮-F-Gb-G♮ (merger of A-flat major and minor) - or more simply using notes from both the major and minor scales - though some parts of the piano accompaniment, if taken in isolation, can be interpreted as F minor, which shares notes with the A-flat scales. The music then swells with piano filigree, moving onto the triumphant B theme in a far firmer G-flat major. Though no programme is given, this is evocative of overcoming a great obstacle. On an unrelated note, the B theme is reminiscent of one of the themes in the Prelude.

After the B theme, the violin takes an extended break as the piano takes the foreground in the development, lifting the melody up an octave. A rapid modal progression moves the harmony to the major in a roundabout way by moving down whole steps; from B-flat minor, to A-flat minor, to F-sharp minor, to E minor, to D minor, to C minor, to D-flat major (relative major to B-flat minor), all while obsessively repeating the second half of the B theme. However, the apparent stability of the D-flat major is but a ruse; a mediant shift to E major and then B major restarts the desperation.

The recapitulation begins with the striking piano texture heard at the start, but without violin. Instead of taking the established path straight to the A theme, the music takes a detour to have a dramatic outcry before restating the A theme a fourth lower. Then comes the B theme restatement after an extended version of the lead-in filigree.

What further sets this movement apart from the others is the sheer directness of expression. There is a coda, even faster and more passionate than all the rest of the movement, ends the sonata with finality on an unambiguous E-flat minor chord. Where the other movements are more restrained and convey ambivalent emotions, the finale makes its desperation and yearning clear as day, hence why I decided on this background - a naked expression of passion.