So I think I actually have some idea of what’s going on with the C#m. Finally.
I think I have a means to go back and revisit the first theme, those orphaned first four or so measures that intro-ed the thing and then vanished. I’m not sure if I want to use it as a punch line or not; I don’t think so. I think I want it to come in before the coda, with some bits and pieces of the middle bits to flavor it. But I definitely can see myself getting back to the first theme with more of a flavor of what things ended up nucleating around. Only this time, instead of starting and finishing up in C#m, it’ll start in F#m and then wander to the tonic. Maybe. Don’t hold me to that.
And again, no viola this weekend. All piano. Some more slow practice on “Bethena,” but mostly that damned C#m. When it’s done-in-airquotes, I’ll need to go back and start fixing it up, adding some ornament and seeing how I can transition from a more Baroque feel to … well, I’m not sure. But parts of it don’t feel too terribly Baroque in the middle. I should just call it postmodern and be done with it.
BTW, super-obscure Italian handwork is a great way to completely blow an entire day on a tiny strip of stuff about an inch wide and 8 or so inches long. Everyone needs a little autistic perseverating every now and again. And hey, I was listening to Brahms. Anything’s better with Brahms #4.