Act II: Scene 6 - The Piano (w/ Variation XIII)

General
This is the point in the story when things really begin to come to a headit is here that Flora sneaks off, here that Miles ostensibly distracts the Governess and Grose so Flora may do so, here that the Governess leaves Miles alone purposefully (with Quint), etc. We have essentially reached the height of our rising action, and as such the scene functions as a microcosm of nearly everything weve had so far. Subterfuge/hidden meanings: in text especially, but also through music (flat-side switch) Appearance vs. reality Turn of the Screw - metaphorical hiking/jacking up level of intensity (represented musically) - literal inversion of the screw theme - literal musical turns as motivic elements

Pitch Organization (Variation through [89])

Rupprecht rubric would have us be in C major in this scene, which works well (one of the few times when Brittens key signature actually seems to match the music on the page)
1 Variation opens with arpeggiated I6V(42)I6 chords (over E pedal ), then left hand accompaniment begins Alberti I-V-I accompaniment Turning of the Screw (in all three senses):

Sudden/unexpected Bb instead of C at [85]elaboration of same idea in ghost town" Restart/re-establish C @ [S.6]-2 (diatonic Screw)

extra turn at [86]+2 (puts Malo in Governesss later key)

Motive and Theme

sanitized Quint presence at [84]-1; official entrance: at [85]-1 [85]+3 Malo interrupts ostinato, which falls apart (I am bad/naughty boy)

Orchestration/Gesture etc.
clarity and primacy of piano attack Nursery-like tune in voices until Bb switch at [86] (produces minor inflection at [88])
1

E pedal lasts from the opening of the variation through to halfway through the scene (ends at [89] when focus switches from Miles to Flora); sets up strong cross-relation when the Quint Eb appears

 effect of parallel fourths, then closure on C at end of section

Text
double entendre in everything: Grose meaning vs. Governess meaning - specifically highlighted in Malo theme under with such children [86]+3 and Quint appearance in Were all[!] enjoying it [88]-2

Pitch organization (beginning at [90])

Now A majorreturning to C becomes flat-side move (small scale and large scale at [93]) Pussycats cradle/cradles for cats/etc outlines beginning of turn

Rising tension/turning screw in Vocal ascent (F#, G, Ab, A) and [94]-[97]

Motive and Theme

[95]: Lake, Quint, Jessel, At Night, Miles! final turn (complete); [97]-4