JAVS Fall 2008

N EW M USIC R EVIEWS

Suite for SoloViola (1958) by Ernest Bloch (incomplete) Andante; Moderato; Andante; Allegro deciso Conclusion to the Suite for Viola Solo (1991) by David L. Sills Conclusion to the Suite forViola Solo (1989) by Marshall Fine Difficulty: Level 6 Duration: 9 minutes, 11 minutes with the completion (both versions) I have been somewhat mystified by this work for a while now, having owned the music since I was in college. I never put in the effort to really learn it, mostly for practicali ty reasons. Due to the fact that it is unfinished, it never seemed like a good programming option. Having played through it a few times, I also admit that this work seems a bit more abstract then the other familiar viola pieces by Bloch, like the Suite (1919), the Suite Hébraïque (1951), and the Meditation and Processional (1951). But because I knew the other viola music of Bloch so well, I thought there must be some musical merit to this Suite for Viola Solo. It has continued to intrigue me enough to get to know

by Ken Martinson

around the low “E” on the C string. This work is idiomatically written for the viola, and interestingly Tietze chooses rhythms with odd numbered beaming groups (triplets, quintuplets, septuplets, and nonu plets), which seem to add to the improvisatory feel. The rhythm seems to be the most difficult aspect of this piece, as the notes really only stray from first position once, going as high as the G in third position on the A string. The Shoah (Holocaust) is a bit more demanding technically, with many more double-stops and more dissonant harmonies, often featur ing minor seconds and major sev enths. This work is a musical response to the events of 9/11, serv ing as a musical depiction of the horrors and atrocities of genocides throughout human history. The opening dissonant minor second (G-sharp against open A string) suggests an initial turmoil and con flict, from which the rest of the music is spun. This work is certain ly filled with anguish as the disso nant intervals dispersed throughout suggest. Down-bow accented notes also suggest anger and inner frustra tion. The work ends softly and very hopelessly on a minor ninth—an open C string with a D-flat above it—leaving the listener in despair and in need of healing of the soul. These two pieces are available directly from the composer: E-mail: patietze@bsu.edu

This issue’s column includes works for viola solo by American Viola Society members. Yamim Noraim: Reflection for Solo Viola (2000)

Difficulty: Level 4 Duration: 5 minutes

Shoah: Lamentation for SoloViola (2001)

Difficulty: Level 5 Duration: 6 minutes

By PhilipTietze (b. 1957) I was immediately struck by the emotional and reflective moods of both of these attractive pieces upon my first hearing. The fine recording I heard is by Philip Tietze himself, described as a hybrid of styles of Bloch and Hovhaness, in particular the simplicity of Hovhannes’s Chahagir for solo viola, although Tietze’s work is more complex and compositionally interesting. The Yamim Noraim is written without barlines, “freely, in an improvisato ry manner.” This work was origi nally written to be performed dur ing the High Holy Days, either Rosh Hashanah or Yom Kippur. It sounds a little bit like Jewish plain chant in the beginning, and stays in the Phrygian mode, centering viola professor at Ball State University. The music is best

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