JAVS Fall 2007

ond, a network broadcast to the domestic public. Apparently, there was a lot of response from the lis teners, resuJcing in additional broadcasts of the work in front of a live studio audience on April I , 194 I and February 3, I942, both again with Vardi as soloisr. Vardi's performance remains definitive and the work's success is due in large part to his championing of the work. 21 orne 66 years after he premiered the work, Vardi, at 91, still shows as much enthusiasm and gratitude towards this work, one that he describes as "a great piece of music." When Milton Preves, the principal violist of the Chicago Symphony Orchestra, heard Vardi's 1942 broadcast and was impressed with the work. 22 He sent a letter to Shulman who, in turn, senr Preves the score. Preves performed the work with the Chicago Symphony Orchestra, in December 1943. ShuJman procured a leave from his miljtary duties and traveled by train to Chicago to meet Preves and attend the performance.:u Felix Borowski 's review for the Chicago Sun states: "this artist [Preves] was given music to interpret which was more immediately effective than any in which, up to now, has been heard. Alan Shulman wrote gratefully and, on occasions, brilliantly for the instrument. He knew its strongest points and made a great show with them; but he knew the orchestra as well, and caused it to be more than a mere background." 21 In I 954 , Joseph de Pasquale, then the principal violist of the Boston Symphony, approached Shulman, sug gesting that he make a string arrangement of the Theme and Wlriations. In Boston, there was a small chamber ensemble called the Zimbler Sinfonietta, which de Pasquale thought was the perfect outlet for this orchestration. After several conversations, ShuJman suggested to de Pasquale that a harp be included in the orchestration, which de Pasquale liked. 2 ~ Shulman, in turn, re-orchestrated the Theme and Variations for viola, strings, and harp. The first performance took place at Jordan Hall in Boston on November 10, 1954. 16 The Boston Globe review of this performance states,

network and guest conductor for the orchestra.'RBlack, an accomplished pianist, played through the work with Vardi and asked that hulrnan orchestrate it. 19 Shulman recalls from this event: When [the Theme and Wlriations] was subsequently orchestrated, [NBC violist] Manny Vardi went to Frank Black and said "look, this man, our col league, has written this piece, and I'd like to play it. " So we had an audition, and Black said "finish it up" - it was only half-finished at the time- he said "finish it up and we' ll put it on." 21 ' The Theme and Wlriations, subsequently re-scored for viola and full orchestra, was completed in the early months of 194 I and first performed on a new radio series featuring young composers called "New American Music." The inaugural broadcast of the full orchestra version was presented on March 1 I , 1941 with Vardi as soloist and Black conducting. This evening boasted two broadcast performances; the first, a short wave broadcast to outh America and the sec

jOl;dRNAL QF THE AMERJ~N VIQLA ~Q~ I ETY 32