JAVS Spring 2026

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2026 Spring JAVS

Features: Stravinsky’s ‘Élégie’ & Debussy’s ‘Élégie’: Two Compositions in Dialogue Rhythm as the Musical Soul in Adès’ Three Berceuses Boccherini Before the Quartets The Viola Behind the Iron Curtain, Pt. III Journal of the AmericanViola Society Volume 41 Number 2

Journal of the American Viola Society A publication of the American Viola Society Spring 2026: Volume 42, No.1 p. 3 From the Editor p. 4 From the President p. 5 From the 2026 AVS Festival Host Feature Articles p. 7 2025 David Dalton Research Competition 1st Prize Winner Stravinsky’s ‘Élégie’ for Solo Viola, Debussy’s ‘Élégie’ for Piano: Two Compositions in Dialogue by Kylie Baird p. 21 2025 David Dalton Research Competition 2nd Prize Winner Rhythm as the Musical Soul in Adès’ Three Berceuses from ‘The Exterminating Angel’ for Viola and Piano by Brightin Rose Schlumpf p. 27 2025 David Dalton Research Competition 3rd Prize Winner Boccherini Before the Quartets: A Possible Early Violin–Viola Duet by Vanese McPherson p. 35 The Viola Behind the Iron Curtain, Pt. III: Mr. Stepanov and Ms. Stepanova—the Generically Utopic World of Small-Scale Socialist Realist Repertoire by Nethanel E. Pollak Departments p. 52 Development Corner: Money, Music, and the IRS: A Practical Tax Guide for Violists p. 55 With Viola In Hand: Pedagogical Reflections from the Practice Room, by Andrea Priester Houde p. 57 In the Studio: Supporting Emotional Development in the Viola Studio, by Jacob Burk p. 61 Book Review: All Strings Attached written by Lanson Wells, by Christina Ebersohl-Van Scyoc

On the Cover: Wassily Kandinsky

Impression III (Concert), 1911, Lenbachhaus Gallery, Munich After hearing the revolutionary sounds of Arnold Schoenberg in 1911, Russian-born French artist Wassily Kandinsky (1866-1944) found the clarity he needed to complete his abstract vision. He believed music to be the purest abstract art and hoped his paintings might be heard as well as seen. “Color is the key. The eye is the hammer. The soul is the piano with its many strings,” he wrote. His works unfold like musical forms—Compositions as symphonies, Improvisations as spontaneous utterances, Impressions shaped directly by sound. Kandinsky asked only that we listen: “Lend your ears to music, open your eyes to painting, and…stop thinking. Just ask yourself whether the work has enabled you to ‘walk about’ into a hitherto unknown world.” If the answer is yes, what more do we need?

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

The Journal of the American Viola Society is published in spring and fall and as an online only issue in summer. The American Viola Society is a nonprofit organization of viola enthusiasts, including students, performers, teachers, scholars, composers, makers, and friends, who seek to encourage excellence in performance, pedagogy, research, composition, and lutherie. United in our commitment to promote the viola and its related activities, the AVS fosters communication and friendship among violists of all skill levels, ages,

Editor: Christina Ebersohl-Van Scyoc Assistant Editor: Lanson Wells Consultant Dwight Pounds Tom Tatton AVS National Board of Directors: Officers President: Ames Asbell (2026) President-Elect: Daphne Gerling (2026) Secretary: Katrin Meidell (2028) Treasurer: Ann-Marie Brink (2025) Board Members Ruben Balboa (2028) DJ Creek (2028) Caroline Coade (2027) Anthony Devroye (2028) Christina Ebersohl -Van Scyoc (2028) Renate Falkner (2027) Misha Galaganov (2026)

Kimia Hesabi (2026) Andrea Houde (2027) Gabrille Padilla Molina (2026) Diane Phoenix-Neal (2027) Marcus Pyle (2026) Sheronda Shorter (2026) Steven Tenenbom (2026) Joyce Tseng (2028) Rose Wollman (2026) AVS General Manager Madeleine Crouch AVS National Office 14070 Proton Road, Suite 100 Dallas, TX 75244 (972) 233-9107 ext. 204

JAVS welcomes articles from its readers. Submission deadlines are December 1 for the Spring issue, April 1

for the Summer online issue, and August 1 for the Fall issue. Send submissions to the AVS Editorial Office, Christina Ebersohl-Van Scyoc editor@americanviolasociety.org or to

Madeleine Crouch, 14070 Proton Rd., Suite 100 Dallas, TX 75244

JAVS offers print and web advertising for a receptive and influential readership. For advertising rates please contact JAVS Editor Christina Ebersohl-Van Scyoc editor@americanviolasociety.org

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

From the Editor

Dearest friends of the alto clef persuasion, Spring is here, which means renewal, fresh ideas, and that peculiar mix of excitement and exhaustion that comes from saying “yes” to something big before fully remembering how much work it will be. I write to you in that exact moment—mid-stride, slightly over-caffeinated, and very happily deep in the planning of the 2026 AVS Festival in Harrisonburg, Virginia,

thoughtfulness to work that shapes young artists’ experiences. Kimia Hesabi, our Volunteer Coordinator, has the rare gift of turning chaos into community. Rose Wollman, our EMVB Coordinator, leads the Exhibition of Modern Violas and Bows, our competition for luthiers and archetiers, where the spotlight shifts—briefly but proudly—from the left hand to the workshop. Lanson Wells, our Program Book Coordinator, somehow transforms sprawling information into coherence and grace. And anchoring us all is our JMU host, Diane Phoenix Neal, whose warmth, wisdom, and institutional memory remind us that these festivals are as much about hospitality as they are about programming. That spirit carries directly into this issue of the JAVS. I’m especially pleased to highlight three of our Featured Articles from our 2025 Dalton Competition winners. Together, they delve into important scholarly questions, resist the easy answers, and embody the reflective, curious mindset that serves our field so well. If this letter sounds like controlled enthusiasm with a to-do list tucked under its arm and wearing sensible shoes … that’s probably accurate. Between planning the 2026 Festival from the ground up and assembling this Journal page by page, I’ve been reminded how much care—and how many people—it takes to build the structures that hold our community together.

hosted by the wonderful James Madison University.

Festival planning, as it turns out, has a lot in common with viola playing—and with building an issue of the Journal . You start with a vision, spend a lot of time adjusting things you didn’t know needed adjusting, and rely heavily on the people around you to make the whole enterprise sing. There are moments of beautiful flow, moments of intense focus, and the occasional “wait…how did we get here?” followed closely by “oh—that’s how.” Putting together this Spring issue has felt remarkably similar to building the Festival itself: laying foundations, shaping structure, and trusting that many small, thoughtful decisions will eventually add up to something meaningful. Neither project is a solo act. Both depend on collaboration, generosity, and a shared belief that the viola—and the people who love it—are worth the effort. I am endlessly grateful for the extraordinary team helping bring the 2026 Festival to life. Tony Devroye, our Assistant Coordinator and Proposals Coordinator, keeps the big picture clear and the details grounded. Gabriella Padilla Molina, our Competitions Coordinator, brings care, integrity, and deep

A surprising number, as it turns out.

And thankfully, every one of them showed up.

Thank you for reading, for contributing, and for showing up with curiosity, generosity, and just enough pluck to keep us all on our toes. With appreciation (and with a slightly tired but very happy bow arm),

Dr. Ebersohl-Van Scyoc

Join the American Viola Society Your membership supports the viola community through performance, education, research, mentoring, publishing, commissioning new works and more. www.americanviolasociety.org/Join.php

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

From the President

Dear Friends and Fellow Viola Lovers,

Warmest greetings to you during this winter season. While many of us are navigating snow, ice, and shorter days, the work of the American Viola Society continues at full pace—and already our sights are set on the months ahead, when we will gather once again to celebrate our shared passion for the viola.

While Festival planning has been underway, the broader work of AVS continues year-round. Our committees have been busy selecting recipients for the 2025 AVS Presents recording project, gathering nominations for the 2026–2029 AVS Board cohort, and advancing programs that directly support teachers and students. This includes our second annual Mid-Winter Teacher Potluck online event and our fourth annual Educator Mini-Grant Program, created to empower viola educators with resources for professional development and creative studio initiatives. This issue of the Journal of the American Viola Society further reflects the richness of our community. I hope you enjoy the Feature Articles by laureates of the 2025 David Dalton Research Competition—Kylie Baird, Brightin Rose-Schlumpf, and Vanese McPherson—as well as Part 3 of The Viola Behind the Iron Curtain by emerging scholar Netanel Pollak. You will also find practical guidance on topics ranging from teaching and engagement to timely tax considerations, alongside news and reviews from across the viola world. Thank you for supporting the American Viola Society through your membership and generosity. Your involvement makes possible everything we do—from festivals and competitions to publications, grants, and Greenroom events. If AVS has been meaningful to you, I encourage you to share that experience with a colleague, student, or friend. Our strength lies in this community, and we are stronger together.

I am delighted to invite you to join us June 3–6, 2026, at James Madison University in Harrisonburg, Virginia, for the 2026 American Viola Society Festival. This biennial event represents one of the Society’s most meaningful opportunities to bring our diverse community together—students, teachers, performers, researchers, and enthusiasts alike—for learning, collaboration, and inspiration. The upcoming Festival reflects the depth and vitality of our organization. Alongside distinguished guest artists such as Marina Thibeault, Victoria Chiang, Rudolf Haken, guest composer Kevin Day, and the Northern Virginia String Quartet, we are especially excited to introduce a new Teacher-in-Residence initiative, featuring Peter Slowik and other respected pedagogues offering open lessons. The Festival will also showcase an illustrious slate of artists and educators selected through our proposals process, final-round performances by participants in our Solo and Orchestral Excerpts Competitions, and a wide range of masterclasses designed to serve violists at every stage of their journey. Take a look at the roster on our website:

Yours in alto clef,

Ames Asbell President

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

Host Letter

Dear Viola Friends,

and Main or in the evenings, meet up “freestyle” at the extensive lounge of Hotel Madison, where music is always welcome. As we gear up for another biennial gathering, know that your presence at the AVS Festival, including your engagement with our exhibitors and sponsors, matters! Registration is available at: https://www. americanviolasociety.org/2026-avs-festival-early-bird registration-open/

As I reflect on my meaningful musical experiences during the past year, educational concerts and world premieres in New York, Chicago and in my state, Virginia, top the list. I like to think of educational and performing encounters as moments of beauty

I look forward to seeing you in Harrisonburg, Virginia in June!

Diane Phoenix-Neal

we can create as musicians through dialogue, interaction and artistry. Recently, I spent a remarkable week at the 50th International Viola Congress in Paris, and from that experience, I’m more inspired than ever to host the 2026 American Viola Festival. Our AVS Festival team includes a wonderful collective of knowledge and musicianship, ready to provide a wealth of experiences for viola lovers from all over the world… celebrating all things viola. Every year, the American Viola Society brings you many opportunities for learning and growth. During this year’s AVS Festival you will experience exemplary recitals, lectures, masterclasses, expert luthiers and ensemble opportunities. Guest artists include Victoria Chiang, Rudolf Haken, Lynne Ramsey, Marina Thibeault, and 2024 Primrose Competition winner Emad Zolfaghari. James Madison University’s Forbes Center for the Performing Arts welcomes you! Whether your stay is in the dorms on campus, with access to a fabulous student recreation center and meal plan, or at the nearby Hotel Madison, you are sure to enjoy comfort close to Festival activities.

During the Festival, I hope we can informally gather for discussions over coffee or tea at the corner café Grace

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

Featured Article

Stravinsky’s “Élégie” for Solo Viola, Debussy’s “Élégie” for Piano: Two compositions in Dialogue by Kylie Baird

In 1944, the Russian composer Igor Stravinsky (1882–1971) composed a short work for solo viola (later transcribed for violin) titled Élégie . The piece was commissioned in memory of the recently deceased founding violinist of the Pro Arte String Quartet, Alphonse Onnou, at the request of the quartet’s violist, Germain Prévost. The condensed history of this work traces a complex web of interpersonal interactions involving Prévost, many of which were shaped by negatively tainted perceptions of his musicianship— perceptions that ultimately involved Stravinsky himself. It was Nadia Boulanger, then music director at Edgewood College, who independently recognized Prévost as a highly capable musician. The damaging rumors surrounding his performance stemmed largely from the quartet’s new violinist, Antonio Brosa, who had spoken disparagingly of him. Around the same time that Prévost contacted Stravinsky to commission Élégie in honor of Onnou’s legacy, Boulanger conveyed this clarification to the composer. In response, Stravinsky not only composed the piece as a gesture of apology for the misunderstanding but also waived the commission fee. 1 Stylistically, Élégie occupies a position between two of Stravinsky’s most prominent compositional periods: Neoclassicism, which emerged in the early 1920s, and Serialism, which would dominate his output in the 1950s. His earlier works—from the so-called “Russian period” through Neoclassicism—often display a focused attention to harmonic and intervallic relationships, experimental uses of timbre, and the employment of scale collections governed by principles inherited from Classical tradition. Stravinsky’s musical development was strongly influenced by Russian composers such as Nikolai Rimsky-Korsakov and Pyotr Ilyich Tchaikovsky, as well

as by the French composer Claude Debussy, who rose to prominence during the Impressionist period.

This composition is notable for several reasons. Most significantly, it represents a rarity within the viola repertoire and remains the only work Stravinsky composed specifically for the instrument, despite his broader output for violin and cello. 2 From an analytical perspective, the piece reveals intricate rhythmic and harmonic displacements, the use of diatonic scale collections, and instances of superimposition—elements that position Élégie as a distinctive example of tonal and rhythmic exploration within mid-twentieth-century literature. However, the most compelling element of this research emerged through the discovery of Claude Debussy’s Élégie , L. 138. Written for piano between 1915 and 1916—approximately three years before Debussy’s death and nearly three decades prior to Stravinsky’s composition—the work dates from the First World War and is dedicated to Queen Alexandra. At approximately two minutes in length, Debussy’s Élégie reflects his late compositional style, with thematic material that evokes an introspective and angular approach to phrasing and expression. The initial aim of this project was to survey other elegies written during or around this period, comparing works within the genre in order to better understand the structural and stylistic choices composers employed. It was not until a complete listening and score study of Debussy’s Élégie that several points of parallelism became apparent—despite the two works being written for different instruments.

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

Because Debussy’s Élégie emerged through what was initially an almost spontaneous discovery, this prompted further historical investigation into potential connections between the two composers. Notably, Debussy and Stravinsky were well-known musical colleagues and prominent figures within the Parisian art scene. 3 Stravinsky even dedicated a short cantata to Debussy in 1911, and their relationship developed into a friendship that lasted until the final days of Debussy’s life, despite an eventual divergence in their musical trajectories. 4 Though they originated from different compositional traditions, Stravinsky held a deep admiration for Debussy’s Impressionistic roots and his use of harmonic color as a means of sonic expression. Given this context, the aim of this study is to investigate both Élégies through analytical inquiry, with a primary focus on Stravinsky’s viola work. By drawing stylistic parallels between these two compositions - primarily through discussions of theoretical form - this research proposes that they may be understood as existing in a form of artistic dialogue with one another. In addition, it also becomes an interesting historical study on the composers’ compositional style, particularly Debussy’s short work. Contextually, the French composer’s Élégie was written in the years preceding his death, when the composer was experiencing turmoil from physical ailments, financial struggles, and processing the lingering heaviness of the First World War. Stylistically, Élégie , L. 138 can be viewed as a unique work reflective of the times; Stravinsky’s Élégie can also be regarded in a similar light, opening up discussions for ways these melancholic pieces can align narratively. Theorists and Analytical Tools The theoretical terms “polyscalarity” and “displacement” will be used as primary analytical lenses for the Élégie analyses, polyscalarity being particularly relevant in the Stravinsky. To briefly contextualize, polyscalarity refers to the simultaneous use of musical notes belonging to different source collections—such as octatonic scales, modes, etc—without necessarily implying distinct tonal centers or key areas. Displacement—particularly focusing on rhythm—goes hand in hand with defining the tonal ambiguity present in these works; it can be a tool used to challenge the traditions and notions of form predating twentieth century compositions, used to highlight certain motivic gestures, and influence the direction of phrases.

Before examining the inner workings of Stravinsky’s composition, it is worth considering the theoretical discourse surrounding the Russian composer’s compositional style during this period. While extensive research exists on Stravinsky’s musical language in the early twentieth century and during the early stages of Serialism, a degree of ambiguity remains regarding this so-called transitional period. Given the nature of the present composition, this ambiguity allows for a more nuanced and intriguing approach to its stylistic categorization. Music theorists Pieter van den Toorn and Dmitri Tymoczko, in particular, sought to challenge prevailing assumptions about Stravinsky’s compositional methods and to articulate the techniques at work in his music. Pieter van den Toorn’s research on Stravinsky and his use of the octatonic scale in the late twentieth and early twenty-first centuries represented a revolutionary mode of thinking within the music-theoretical community. He demonstrated how Stravinsky employed octatonic scale collections (octatonic referring to an eight-note, symmetrical scale that connects dissonant intervals with dominant harmonies) to shape rhythmic, harmonic, and intervallic structures, emphasizing the use of unconventional harmonies through both symmetrical and asymmetrical constructions. 5 Tymoczko’s research, however, challenges this viewpoint by suggesting that the octatonic scale is less central to Stravinsky’s compositional language. Instead, he argues that “many instances of purported octatonicism actually result from two other compositional techniques: modal use of non-diatonic minor scales, and superimposition of elements belonging to different scales.” 6 Both perspectives offer valuable insights: van den Toorn’s approach— particularly as articulated in The Music of Stravinsky: Collected Essays —facilitates close examination of how small pitch collections underpin a work’s overall structure, while Tymoczko’s framework foregrounds polyscalarity, or the simultaneous use of material derived from different source collections, allowing multiple tonal areas to be perceived concurrently. 7 Despite their differing analytical emphases, both theorists agree that Stravinsky was highly methodical in his use of technical constructions—especially with regard to displacement. This is evident in his tendency to “shift

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

the metrical alignment of repeated motives, themes, and chords. Stravinsky himself often began […] with a phrase turned rhythmically, a motive or chord displaced in relation to a steady metrical framework.” 8 It is also worth noting Stravinsky’s own perspective on harmony, as documented in Robert Craft’s Conversations with Igor Stravinsky, published in 1959: Harmony, a doctrine dealing with chords and chord relations, has had a brilliant but short history. This history shows that chords gradually abandoned their direct function of harmonic guidance and began to seduce with the individual splendors of their harmonic effects. Today harmonic novelty is at an end. As a medium of musical construction, harmony offers no further resources into which to inquire and from which to seek profit. The contemporary ear requires a completely different approach to music. It is one of nature’s ways that we often feel closer to distant generations than to the generation immediately preceding us. Therefore, the present generation’s interests are directed toward music before the “harmonic age.” Rhythm, rhythmic polyphony, melodic or intervallic construction are the elements of musical building to be explored today. When I say that I still compose “harmonically” I mean to use the word in a special sense and without reference to chord relations. 9 All of this information is directly applicable to the analysis of this viola work. There are numerous instances in Élégie where motives introduced in the exposition gradually unravel in the B section while still referencing the initial foundational patterns. Additional elements— such as intervallic juxtaposition, particularly motion by half-step—contribute to a broader understanding of how the two melodic voices interact and evolve over the course of the piece.

É légie - Analytical Breakdown For the purpose of this analysis, the viola work will be discussed through two broad sections, addressing how rhythm (phrase groupings) and intervals (scale collections and patterns) are distinctly utilized. Focusing first on the linear elements of the piece, Stravinsky’s Élégie is set in ternary (ABA) form and contains no indication of a time signature. The melodic writing can be described as exhibiting a “two-voice counterpoint,” a style traceable to J. S. Bach’s keyboard works that emphasized the interaction between two independent melodic lines, as found in the two part inventions. 10 Stravinsky explicitly reinforces this approach in his program notes, emphasizing that “the fingerings have been chosen with a view to underlining the counterpoint, and not for technical facility,” thereby privileging clarity of line over physical ease in performance. 11 Although this comment is primarily intended as guidance for performers, the compositional decision to employ multiple voicings invites further discussion regarding how harmony and rhythm contribute to the shaping of phrase structure, as well as how displaced intervals suggest underlying modal implications. The methodology of displacement—both rhythmic and intervallic—serves as a key component in understanding the work and will be expanded upon throughout this section. The first A section (mm. 1–15) plays a critical role in understanding the construction of the piece as a whole. At first glance, the opening measures appear centered around a C-minor tonality. A closer examination of the intervallic content, however, reveals fragments of C Phrygian, characterized by lowered scale degrees 2, 3, 6, and 7. On a more localized level, the vertical intervallic structures consist primarily of minor thirds, sixths, and sevenths, contributing to the overall dissonant character of the harmonic framework.

Figure 1. C Phrygian Scale.

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

Figure 2. Élégie by Igor Stravinsky, A section, Exposition. mm. 1-10.

Within the context of the exposition, E ♮ is parenthesized in the scale chart (Figure 3), illustrating the juxtaposition found in the lower voice beginning in m. 5, where the pitch focus shifts toward D ♭ –D ♯ (Figure 2). This pitch

fluctuation contributes to a sense of tonal “wandering” within the narrative, an effect that remains subtly present throughout the work.

Figure 3. Detailed phrase groupings including measure numbers.

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

Figure 4. Additional (interval) areas to observe: Inversion of B section subjects.

Figure 5. Additional (interval) areas to observe: Intervallic Consonance and Dissonance Cadential Points.

Figure 6. Additional (interval) areas to observe: Tonal parallelisms comparisons.

The tables in Figures 3- 6 were constructed with several analytical considerations in mind: rhythmic groupings (including attention to printed commas and their implications for pulse), intervallic relationships, and the overarching ABA' formal design. The following figures present more focused observations, drawing attention to specific intervallic parallelisms and subtle transformations within the material. Building upon these observations, part of the tonal ambiguity of the piece emerges through its cadential endings—specifically, the relationship between the final four measures of both A sections (mm. 12–15 and mm. 56–59), and what these passages reveal about the work’s tonal orientation. While the piece largely adheres to a diatonic framework in C minor, closer attention to the

intervallic content preceding the Picardy thirds offers further insight.

When the upper and lower voices are examined independently and then combined into composite pitch collections, they suggest an A ♭ -Lydian sonority. The Lydian mode, characterized by a major third, raised fourth, and major seventh, is nearly fully represented in the pitch content of this passage. This observation is particularly significant because, beginning at m. 16 (the onset of the B section), A ♭ remains tonally prominent until approximately m. 22, after which fragments of C re emerge. This process creates a form of reverse parallelism to the opening of the work.

Journal of the American Viola Society / Vol. 42, No. 1, 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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rhythmic values. 13 Each sonority is initially presented in relative isolation, highlighting the distinct motivic ideas Stravinsky seeks to convey, such as forward motion or moments of stasis. When these rhythmic ideas intersect— for example, in m. 5, where quarter notes and eighth notes align and respond to one another—they inform the organization of phrasing. Closely related to the alignment of the “subjects” in the B section, the printed commas further reflect how these rhythmic groupings interact. These elements establish the material that will be developed and referenced throughout the remainder of the work. At the onset of the B section, an altered rhythmic structure emerges that recalls the prominence of the slower eighth-note motion from the exposition, while gradually combining all three sonorities into a developing variation.

Brief Displacement Synopsis Given the work’s use of polyscalarity across multiple pitch collections, any complete analysis must also account for the role of displacement. Displacement is a compositional tool frequently employed to foreground specific musical elements, challenge audience expectations, and shape pitch relationships in distinctive ways. Considering the expressive nature of an Élégie , the form is particularly well-suited to conveying themes of mourning and lament. Through rhythmic displacement, the music “can map out a form of development of its own, one capable of creating a sense of initial stability, departure, conflict, and resolution.” 12 Focusing on the first A section, three primary rhythmic sonorities emerge: thirty-second notes, eighth notes, and quarter notes—that is, faster versus slower moving

Figure 11. Élégie by Igor Stravinsky, start of the B section. mm. 16-19.

Figure 12. Élégie by Igor Stravinsky, mm. 23-28.

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By the time m. 40 is reached—the final inverted statement of the fugal subject—the rhythmic sonorities have been fully integrated and move toward resolution in the quarter-note standstill at m. 44. The reappearance of a single rhythmic sonority creates an atmosphere of ambiguity, facilitating a seamless transition back into the A section. Ultimately, the observation of rhythmic displacement offers critical insight into Stravinsky’s compositional priorities in Élégie . His use of displacement not only challenges conventional perceptions of form but also draws attention to the tonal ambiguity that permeates the work. Displacement in Debussy’s Élégie, much like in the Stravinsky, is utilized to speed up the progression of harmonies (highlighting cadential arrival points, implying the blend of modal areas, etc.) while equally showcasing different rhythmic sonorities that make up the driving lines. This will be further explored in the next section.

Debussy’s É légie, L. 138 (1915-16) - Analysis, Parallels, Significance Claude Debussy (1862–1918) composed Élégie , L. 138 as part of the memorial album Pages inédites sur la Femme et la Guerre (“Unpublished Pages on Woman and War”), published in 1916. The project sought to honor the contributions of women during World War I and curated a wide range of artistic media, including songs, poetry, stories, pictures, and letters. 14 Stylistically, Debussy’s compositional approach during this period remained rooted in the Impressionist tradition, emphasizing atmospheric expression through explorations of timbre and other orchestrated effects. This perspective is further articulated in the article “The Piano Works of Claude Debussy,” in which the authors emphasize musical phrasing as an extension of sensory experience. 15

Figure 13. “The Piano Works of Claude Debussy,” pg. 433.

Turning to the works at hand, Debussy’s Élégie is a striking contribution to the piano repertoire that— despite being composed several decades before Stravinsky’s Élégie —reveals compelling parallels in approaches to voicing, harmonic placement, and rhythmic treatment. While Debussy’s work is shorter in duration, consisting of twenty-one measures compared to Stravinsky’s fifty-nine, the formal structures of the two compositions are notably similar. Examining specific

examples, both openings exhibit rhythmic similarities, with overlapping voices that contribute to a slower harmonic pacing. The use of dotted figures (dotted half notes and quarter notes) alongside a lower bass line articulated in eighth notes suggests a sense of tonal grounding while maintaining forward momentum in the musical line.

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

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Figure 16. Élégie by Debussy, ending phrase. mm. 16-21.

Figure 17. Élégie by Stravinsky, end of B section into A’. mm. 43-47.

Closer examination of the cadential arrivals—m. 44 in Stravinsky and mm. 17–18 in Debussy—reveal particularly striking correspondences. Although the rhythmic constructions differ, the harmonic relationships exhibit similar patterns of juxtaposition. In Stravinsky’s Élégie (m. 44), beats 1–2 and 4–5 alternate between F major and a B-centered tonality, with the leading tone in the final beat resolving into the diatonic C-minor context upon the return of the A section. Notably, Debussy

employs a comparable technique by alternating the same two chords in mm. 17 and 18, creating an analogous juxtaposition of contrasting harmonic motion. Drawn directly from the opening material, m. 19 ( più lento, perdendo ) resolves using the same pitch content as the beginning, hovering within a modal D-minor framework as shown in Figure 18.

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

Figure 18. Drawn directly from the same pitch content as the beginning, hovering within a modal D-minor framework. m. 19. Élégie by Debussy.

Returning to the concept of rhythmic displacement, Debussy often employs the tool in passages after the established rhythmic sonorities found at the beginning present themselves once more– e.g., running triplets with embellishments against blocked chords. Compositionally, displacing call-and-response motives in time helps move

forward the development of darker harmonies. A prime example of this is the arrival of m. 13, brought forth by the growth of m. 10 (Figure 19) .by the time m. 13 arrives, the motive is displaced and the harmonies are blending into the phrasing.

Figure 19. Élégie by Debussy, mm. 10-13, showcasing the build-up of displaced rhythmic structures.

In terms of displacement’s contribution to the dialectic discussion, both Élégies employ this compositional tool in distinct but effective ways. Stravinsky frequently uses displacement to emphasize intervallic dissonance within his voice leading, reinforcing the two-part contrapuntal nature of the melodic writing. The greater length of the work further allows for a more gradual tonal development and creates expanded opportunities for rhythmic sonorities to build upon one another (e.g., the arrival of the final fugue inversion in m. 40).

return of the D-minor modality presented at the opening and recapitulation. Despite the shorter duration of the piece, this process remains effective. Although Debussy’s work is more concise than Stravinsky’s, its rhythmic motives are similarly supported by shifting harmonic underpinnings. In both compositions, key centers remain fluid, allowing polyscalarity to emerge as a prominent feature. Dissonant harmonies are employed to propel tension and shape melodic lines, particularly as each piece approaches its climax before reprising the opening material.

Debussy’s Élégie exhibits a similar approach, particularly in passages that emphasize arrival at a key area or the

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These selected parallels are significant because, despite the highly individual harmonic language Stravinsky constructs in Élégie , Debussy’s composition offers a compelling source of aesthetic and conceptual inspiration. This invites a broader question: did Stravinsky have direct knowledge of Debussy’s Élégie , especially given his longstanding engagement with the French composer’s music—and, conversely, Debussy’s awareness of Stravinsky’s early works? 16 Although no direct evidence has yet surfaced indicating that Stravinsky explicitly referenced Debussy’s Élégie , the similarities between the two compositions encourage deeper introspection. It is not unreasonable to suggest that Stravinsky’s viola work may subtly incorporate elements that acknowledge both his connection to the Impressionist tradition and his personal relationship with his late friend. From this perspective, meaningful connections can be drawn between Stravinsky’s Élégie , composed in memory of a recently deceased musician and shaped by themes of mourning, and Debussy’s work, which likewise engages with loss and reflection. The shared focus on death and remembrance reinforces the parallels between the two pieces and, given the historical and personal relationship between the composers, renders these thematic connections particularly compelling. Closing Thoughts Igor Stravinsky made a significant contribution to the twentieth-century repertoire with the composition Élégie for Solo Viola, a work that offers valuable insight into his evolving stylistic approaches. Situated within a period often described by analysts as stylistically “transitional,” the piece reflects Stravinsky’s lingering connections to the Impressionist tradition alongside his continued willingness to experiment with alternative tonal constructions. The work incorporates a range of techniques characteristic of twentieth-century composition, including rhythmic and intervallic displacement, superimposition, and the use of multiple scale types—both symmetrical, such as the octatonic, and asymmetrical, including Phrygian and Lydian—all unified within a cohesive harmonic language articulated through ternary form. At the heart of Stravinsky’s work is the monumental two-part counterpoint structure, which evolves from the basis of displacement and further pushes the boundaries of modal ambiguity, leaving a lasting impression. Debussy’s piano Élégie i s a stylistic rarity in his output of literature and invites further historical

and analytical inquiry. The selected parallels presented in this research offer the gift of introspection and allow Stravinsky’s composition to be viewed through an expanded interpretive lens.

Footnotes 1 The full extensive story can be found in Chapter 29 of David Bynog’s book “ Notes for Violists: A Guide to the Repertoire.” 2 Stravinsky wrote many compositions for violin, including his Violin concerto in D major, a Duo Concertante, and two short pieces as a result of a collaboration with violinist Samuel Dushkin. His most prominent cello work was additionally a result of a collaboration with performer Gregor Piatigorsky. 3 Mark McFarland, The Musical Relationship Between Claude Debussy and Igor Stravinsky , United Kingdom: University of Rochester Press, 2024. 4 Robert Craft, “ Conversations with Igor Stravinsky and Robert Craft, ” Internet Archive , Doubleday Amp Company, Inc., 1 Jan. 1970. In this particular edition (published in 1959), conversations and references to Stravinsky and Debussy’s interactions can be found on pages 31, 39, 50-59, 60, 63, 65, 75, and 131. These sections are letters taking place between 1913-15 and indicate certain pieces of information that connect the two composers together. 5 Symmetrical referring to some of the following: octatonic, chromatic, whole tone, diminished; Asymmetrical regarding scale modes. 6 Dmitri Tymoczko, Stravinsky and the Octatonic: A Reconsideration . Music Theory Spectrum , 24:1, 2002. Quote from page 1, paragraph 2. 7 Pieter C. van den Toorn, The Music of Stravinsky: Collected Essays (with contributions from Richard Taruskin and Dmitri Tymoczko). A highly regarded and recited source amongst theorists that focuses on the composing evolution of Stravinsky. 8 Pieter C. van den Toorn, “Chapter 8: Stravinsky, Adorno, and the Art of Displacement,” in The Music of Stravinsky: Collected Essays. 9 Robert Craft, “Chapter on “Harmony, Melody, Rhythm,” in Conversations with Igor Stravinsky and Robert Craft , 121. 10 David Bynog, “Chapter 29.” Notes for Violists: A Guide to the Repertoire. 11 Editing commentary notes for the performer, written on the score under the last line of the A section. It is

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informative for the performer and theorist investigating the work. 12 Pieter C. van den Toorn, “Chapter 8: Stravinsky, Adorno, and the Art of Displacement,” in The Music of Stravinsky: Collected Essays, 378. 13 mm. 1-4 switches between 32nd and 64th notes, introducing 16ths in m. 17; given the slow tempo, the different rhythmic values contribute equally to the steady progression of the phrases. 14 Information found in “Pages Inédites Sur La Femme et La Guerre | Graphic Arts.” Princeton University. https://graphicarts.princeton.edu/2021/04/10/pages inedites-sur-la-femme-et-la-guerre/. 15 Guido M. Gatti, Claude Debussy, and Frederick H. Martens, “The Piano Works of Claude Debussy,” in The Musical Quarterly 7, no. 3 (1921): 433. 16 Footnotes info. in Robert Craft’s Conversations with Igor Stravinsky, Chapter “About Musicians and Others.” A specific example referenced is Debussy’s composition of “ Jeux, ” in which the French composer consulted Stravinsky for editing aid. Bibliography Bynog, David M. “ Notes for Violists: A Guide to the Repertoire.” Notes for Performers, 2021, pg. 265-270. New York: Oxford University Press. https://search.ebscohost.com/login. aspx?direct=true&AuthType=sso&db=ram&AN=A21 19098&site=ehost-live&scope=site. Craft, Robert. “ Conversations with Igor Stravinsky and Robert Craft .” Internet Archive , Doubleday Amp Company,inc, 1 Jan. 1970. archive.org/details/dli. ernet.151251/page/121/mode/2up?view=theater. “É légie (Debussy, Claude).” IMSLP. Accessed May 30, 2025. https://imslp.org wiki/%C3%89l%C3%A9gie_%28 Debussy%2C_Claude%29. Gatti, Guido M., Claude Debussy, and Frederick H. Martens. “The Piano Works of Claude Debussy.” The Musical Quarterly 7, no. 3 (1921): 418–60. http://www. jstor.org/stable/738116. Lesure, François, and Roy Howat. “Debussy, (Achille-)Claude.” Grove Music Online. 2001. https://www.oxfordmusiconline.com/grovemusic/ view/10.1093/gmo/9781561592630.001.0001/omo 9781561592630-e-0000007353

“Pages Inédites Sur La Femme et La Guerre | Graphic Arts.” Princeton University. Accessed May 30, 2025. https://graphicarts.princeton.edu/2021/04/10/pages inedites-sur-la-femme-et-la-guerre/. Stravinsky, Igor. “Elegy for Solo Viola.” YouTube , recording. Written in 1944. youtu.be/ RDPZXesJunE?si=CDdd6xQfXSWh0BAe. Stravinsky, Igor. “Stravinsky - Elegy for Viola Solo.1.” IMSLP, score. Composed in 1944. IMSLP755287 PMLP1198615-Stravinsky_-_Elegie_para_Viola_solo. pdf. Tymoczko, Dmitri. Stravinsky and the Octatonic: A Reconsideration , Music Theory Spectrum . 24:1, 2002. dmitri.mycpanel.princeton.edu/files/publications/ stravinsky.pdf. van den Toorn, Pieter C. The Music of Stravinsky: Collected Essays (with contributions from Richard Taruskin and Dmitri Tymoczko). Available from: VitalSource Bookshelf, CRC Press, 2023 https://bookshelf. vitalsource.com/books/9781000821772. van den Toorn, Pieter C., and John McGinness. Stravinsky and the Russian Period: Sound and Legacy of a Musical Idiom , Cambridge University Press, 2012. ProQuest Ebook Central . https://ebookcentral.proquest. com/lib/depaul/detail.action?docID=1744020.

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