I got back to work on the Moderato last night, and I thought this was interesting enough to write about. Your mileage may vary.
You may recall that last week I spent a couple of sessions just generating crap for the development session. I churned out variations of the two themes without regard to quality or how (or even whether) they could be used. I think I need to do some more of that, possibly tonight, but last night I thought I would evaluate what I’ve done so far.
I took my music Moleskine (where I sketch out harmonic ideas when necessary) and listed the sections of the Idea file that I thought were interesting/valid. For example, I’d write, “97-99, a gentler variation of the B theme; sounds like it might come near the end.” I ended up with about ten of these segments that had possibilities.
One in particular sounded like it might make a good lead-in to the recapitulation, so I opened up that file, moved what I had already written over by a couple of blank measure, and stuck the fragment in. Lo! it worked. And then another fragment, which I had marked as “nearly atonal, possibly a lead-in to the lead-in,” I stitched onto that one. And then, I stitched that to the lead-in to the recap that I had already written, and lo! it worked. So now I have a fake-out that jumps into a pretty wild variation before plunging back into the recapitulation.
It might be too powerful, i.e., the recap itself might sound a bit weak after so much sturm und drang, but on the other hand the main theme sneaks up on you, and you realize a bit slowly that you’re hearing it again for the first time.
More work is required.
It occurred to me that the wild variation leading back to the recapitulation would in itself make a fabulous ending to the movement. I have to decide:
What to do, what to do?