JAVS Fall 1990

37

crowd. There is sorne eclecticism: a little Mahler, a little Rite of Spri~g, some Firebird , but the overall impression is of originality. In a general sense, the forms are presented in traditional manner, so that looking at the score, the various sections are clearly evident, even labeled. Not nearly so obvious to the listener, probably the only easily recognizable form is the overall slow-fast-very slow format. On this is superimposed, perhaps deliberately obscured, an introduction (cadenza), theme and four variations, with at least one other cadenza. An illustration of perceived vagueness lies in the fact that Andrew Porter, writing for The New Yorker on February 5th, 1990, talks of ".. .intelligent exploration of a long, eloquent melody," whereas this humble reviewer sees the theme as six teen notes found in just four measures. Be that as it may, the concerto is masterly constructed, doubtless wi th compositional complexities, contrapuntal cunning, and clever connivances enough to keep the high-minded occupied as long as they want to be. The orchestration is for normal strings with winds and brass in pairs with traditional doubling. Exceptions are a larger-than-normal battery (vibraphone, marimba, two tam-tams, etc.), good-sized harp and piano parts, with some reaching-into-the-strings called for in the piano part. Mr. Friedman really does know how to put what he wants on paper. In spite of what might be construed as unnecessary rhythmic complexity in places, his orchestration is meticulous, reminiscent of Tschaikovsky or Mahler in attention to detail. Because of unconventional rhythms, some extreme ranged and almost constant meter and tempo changes, this music is only for a good orchestra and a secure conductor. The solo and orchestral parts apparently underwent some last-minute changes durirlg performance preparation, which is a time-honored custom. The solo part is for a virtuoso, and Mr. Neubauer certainly is one of our finest. The soloist is allowed to show the

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In 1988, Joel Phillip Friedman, a young Boston University-educated New York composer (though born in Philadelphia), was awarded the ASCAP Young Composers Foundation Grant for Concerto (in the form of Variations) for Viola and Orchestra. In 1989, he became Winner and Fellow of the National Orchestral Association's New Music Project. As a result, the Concerto received its premier in Carnegie Hall, 19 January 1990, with Paul Neubauer as soloist, and Jorge Mester conducting an orchestra closely related to the Manhattan School. The New Music Orchestral project produced a promotional tape, (with a stern warning about unauthorized use), which found its way to the Primrose International Viola Archive. The Concerto is a magnificent, twenty minute viola declamation· dramatic passionate, lyrical, eloqu~nt, acerbi~, tender, rough, sentimental, and yet pleasant and approachable, by twentieth century standards. It is a completely qualified candidate to be programmed by a good orchestra and mature soloist as a serious/ part of a subscription-series conceit. The style is "post-Mahlerian," completely atonal (almost 12-tone), and rhythmically amorphous. It seems to be composed of self-generating rhythmic cells, with constantly shifting meters, and not a trace of a down-beat. Harmonically ?issonant, but not abrasively so, the viola IS a dramatic personality, perhaps speaking or singing to a restive, unpredictable