JAVS Spring 2026

Figure 7. The upper and lower voices suggest an A ♭ Lydian sonority, creating a form of reverse parallelism.

Figure 8. Written diagram comparison of the C (fragment) vs. A ♭ Lydian construction.

In Figure 8, the thematic “subjects” reveal intervallic inversions that influence the subsequent development of the piece, with an upward registral shift contributing to the growing sense of dissonant tension. On a broader structural level, the B section references a diatonic blend of C minor and Octatonic Collection II, characterized by minor second and major second intervallic relationships. The return of the A section (mm. 45–59) closely mirrors the opening material until approximately m. 55.

As in the opening measures, fragments of C Phrygian reappear prior to the conclusion of the work; however, the rhythmic values are noticeably elongated. In parallel with mm. 12–15, the piece concludes with a Picardy third, though this time an octave lower, reinforcing a heightened sense of closure and finality.

Figure 9. Élégie by Igor Stravinsky, end of the first A section. mm. 12-15 (bracketed).

Figure 10. Élégie by Igor Stravinsky, end of piece. mm. 56-59 (bracketed).

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Journal of the American Viola Society / Vol. 42, No. 1, Spring 2026