JAVS Spring 2026

conventions of Russian lullabies. A short, slightly faster middle section (mm. 32–39) introduces a more “oriental” sonority, featuring ostinato-like, jumping figures in the piano and modal, melismatic gestures in the viola (see Figure 2b). When the opening material returns at m. 40, traces of this oriental color remain in the piano’s right

hand, before the texture resolves back to its original state and the movement concludes with a reminiscence of the piano introduction at m. 52. As is common in lullabies, the prevailing affect is one of longing—often associated with absence, typically that of a father—which may help explain the exotic inflection of the central section.

Figure 2a. Stepanov, Three Miniatures , I (Lullaby), mm.1-21 (viola part), opening tune.

Figure 2b. Stepanov, Three Miniatures , I (Lullaby), mm.32-42, ‘oriental’ B section and recapitulation of A (under B’s influence).

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

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