Dr. Justin Henry Rubin: Thematic Metamorphosis and Perception in the Symphony [No. 1] for Organ of Kaikhosru Sorabji (4/7)
Ex.7. – mov. II, page 40, system 3
Ex.7. Although PT incipit remains intact, the central section is modified, although the contour and specific pitch content is maintained. For Sorabji, this is adequate to make an audible connection with the original statement while allowing the theme to development.
Ex.8. and 9. – mov. II, page 41, system 3;
Ex.8. and 9. The PT incipit melodic shape is maintained and sequenced, although each succeeding restatement contains altered intervallic content.
Ex.10. – mov. II, page 54, system 3; Ex.11. – mov. II, page 56, system 3
Ex.10. and 11. Each of these statements introduce the PT incipit into the discourse of the double fugue. Each occurrence involves interval alterations but maintains rhythmic integrity and the prevailing melodic contour of its archetype. Ex.10. is distinguished by the use of the theme in augmentation, and 11. for the interposition of material within the course of a line. Here, then, the motive that was once associated with the opening of a phrase becomes an interior component within a longer passage.
Ex.12. – mov. II, page 58, system 1; Ex.13. – mov. II, page 58, system 2
Ex.12. This statement of the PT incipit, plus part of the center section, is conspicuous because the rhythmic integrity begins to erode as the durations become reduced to straight eighths.
Ex.13. The chromatic descending material found in both the PT center section and the FS2 is emphasized here by stating it as part of the FS2/R, but in augmentation, which further binds it to the next figure, which begins the FS1/R.
Ex.14. – mov. II, page 59, system 2; Ex.15. – mov. II, page 59, system 3
Ex.14. The PT incipit is connected to an extended pedal passage, interestingly used as the terminal statement rather than an opening. Therefore, the PT incipit has now functioned in numerous roles, as an opening, central section, and closing fragment.
Ex.15. The center section of the PT is altered and integrated within a longer melodic element. It is less discernable from its surroundings than previous similarly integrated statements: the alterations being imposed by Sorabji onto the primary themes are becoming more significant. The triadic sub-section of the PT has a modified contour and a much narrower ambitus, and the chromatic, three-note descent has been extended into a four-note diatonic descent.