JAVS Fall 2007

viola concerto, as is seems that the Bartok is becoming co most often played and celebrated concerto among violists. The basic tempo structure seems co be the biggest influence. These three movements are nor performed attacca like the Bartok, bur the tempos are Strik ingly similar, as well as the basic feel of the movements. The first movement, Andant~ con moto: Flowing has a similar flowing feel like the opening Moderato of the Bartok. Both concertos have Adagio second movements with sustained string chord accompani ments (the Barcok is labeled Adagio r~ligioso, though we now know that the "religioso" was added by Serly). Both works also have a middle sec tion that features a fast middle part with "buzzing bees" in the accom paniment. The last movements of both works are also marked as Alkgro vivau, with fast, furious 16th notes and an upward climb at the very end of the work, ending in bravura fashion . There are also some swift downward chromatic passages that are similar in contour co the downward chromatic pas sage and the end of the Bartok first movement of the concerto. With all of that being said, the work is completely original-sounding in irs voice, and does not sound to me Like Bartok at all, or any composer for that matter, except in some hauntingly beautiful spars where I am reminded slightly ofHolst, especially Th~ Plan~rs. The solo part features a large num ber of idiomatic slides. The viola writing is often lyrical which is later juxtaposed with flashy virtuosic material. The orchestration is

always good, transparent when the soloist is playing, and very full when it is not. Gellman uses a full compliment ofwinds and brass [2 flutes (2nd with piccolo), 2 oboes Bassoons, 2 Trumpets, 3 Horns, 2 Trombones, Tuba] and a variety of percussion instruments. The count ing shouldn't be a problem in this work, as ir is mostly in 4/4 meter with some 5/4, 6/4, 3/2, and 7/8 mixed in. The form of these move ments is basically through-com posed, bur there is some repetition and motivic material that gives each movement some individuality. The first movement contains two caden zas, the first one being a short one with percussion, and the second one being more extended. The sec ond movement is strikingly beauti ful in the opening, and features an attractive English horn solo that is later joined in duet with a solo bas soon, all against the tranSparent sustained notes in the strings. The third movement features a Fantastic timpani part with glissandos, and is one of the most interesting timpani pares I have ever heard. The Holst influence is heard even stronger in this movement, especially in the brass writing. The solo part sounds Like great fun co play, featuring some very flashy octave glissando passages and Iars of fast 16th notes. There is a slow cadenza in the mid dle of the last movement which is larer broken up by the return of the fast material. The ending is flashy and concludes with a big bang, which will certainly bring the audi ence co their feet every time. (2nd with English Horn), 2 Clarinets, Bass Clarinet, 2

The score for this concerto is avail able free by loan through: Canadian Music Centre 837 Davie Street Vancouver, BC CANADA V6Z 1B7 Tel: (604)734-4622 Fax: (604)734-4627 E-mail: bcregion@musiccentre.ca www.musiccentre.ca Key to the Difficulty levd chart: 1 Very Easy 2 Somewhat Easy 3 Intermediate 4 Somewhat Difficult 5 Difficult 6 Very Difficult

Please send all viola scores for review consideration co:

Kenneth Martinson, Viola Professor University of Florida School of Music, 300B AUD P.O. Box 117900 Gainesville, FL 32611 -7900

--------J-OURNAL OF THE AMERICAN VIOLA SOCIETY 60