JAVS Spring 2026

The decision to separate the opening material into two intertwining voices, combined with the darker harmonic palette, not only aligns with themes of sorrow and reflection but also draws attention to the structural and expressive similarities present in Stravinsky’s work. Moving forward with the analysis (employing the lens of exploring dialectic connections, not affinitive statements of direct influence), the overall designs of both compositions further reinforce signs of parallelisms. In

each case, the opening four measures establish a single phrase group, followed by a contrasting middle section that introduces faster rhythmic values and explores the boundaries of bitonality. Loosely speaking, both Élégies may be understood as employing ternary form. An additional rhythmic parallel emerges at the conclusion of the B section in each work, where developmental material gives way to fragments of the opening ideas.

Figure 14. Élégie by Claude Debussy, opening phrase, mm 1-2.

Figure 15. Élégie by Stravinsky, opening phrase, mm.1-2.

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

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