Abstract
T his I have just completed, wrote Igor Stravinsky on 7 June 1931 of Aria II, the third movement of his Violin Concerto.' Soon after writing this letter, however, he sketched a substantial new passage and inserted it into Aria II, forever changing the movement and its form. Why did Stravinsky revise his opinion of the original Aria II and alter the movement so significantly? Two primary reasons emerge from study of Aria II and its compositional history: to incorporate sharper contrast, and to enhance motivic content and connection. To explain these circumstances more fully and to explore what such a late and dramatic revision reveals about his creative process, I will present a brief analysis of the published form of the movement, then trace
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