JAVS Fall 2007

Mr. Shulman's idiom is decided ly conservative, and there is much in the seven variations, chorale and posclude that brings back certain Frenchmen of the late 19th Cenrury. The use of the harp is both unusual and effective. v

if Primrose had recorded this work - which he promised Shulman twice but never did - it would be more popular today because of Primrose's extensive performance and recording career. After the original version for viola and piano was completed, the sub sequent orchestral version was scored for pairs of flutes, oboes, clarinets, bassoons, four horns, a pair of trumpets, three trombones, tympani, percussion, harp, and strings. The published viola/piano version incorreccly suggests that it is a reduction of an earlier orches tration. When it was printed, the idea of the publisher Chappell/Warner - and probably Shulman's as well - was that they wanted it to be considered an orchestral piece that one would learn from the piano part. 2 q The printed edition was made available for sale in the 1950s, nearly ten years afrer the premiere, and this is why it reads as it does today. Although the Theme and Variations was held in high regard in the mid-twentieth century, many vio lists today are relatively unfamiliar with the work. Violist Lynne Richburg of the New Cenrury Chamber Orchestra in San Francisco was introduced to this work in its original version for viola and piano, nor realizing that it had been orchestrated. In 1987, she entered the Primrose Viola Competition and chose this work from the repertoire list. She won first place and subsequencly per formed the work, with Shulman present, at the 1987 Viola

Congress in Ann Arbor.

Ms. Richburg has performed the work in all three of its versions. In her experience, each variation has its own unique qualities depending on the supporting instrumenta tion. When she performed the full orchestra version she remembers all of the really interesting colors that were explored in some of the Faster variations with the inclusion of the winds and brass, colors that cannot be produced on the piano. When asked what her favorite version was, Ms. Richburg stated she liked the version for strings and harp, believing this orchestration is just "beautiful," because it is more inti mate when performed with the smaller ensemble. .10 Before comparing the orchestra tions, it will be helpful to give a brief overview of the work. The piece begins with a simple, lyrical theme that is developed in seven distinct variations. The variations fearure, in rurn, characteristics of a waltz, stately rhythms, a light grazioso, a siciliana, a spirited vivace, a soulful reminiscence of the past, and a thrilling chase. The finale opens with a Bach-like chorale that flows direccly to the cadenza, concluding with a tran quil postlude that ends peacefully and in question. The versatility of the Theme and Variations is accomplished through its textures, musical colors, and orchestral sercings, as can be found in the comparison of the three orchestrations. Few pieces have three orchestrations written by the

The review from the Boston Herald describes the work as follows:

...a conventional work bur one more deeply felt and more truly musical in its essence and its urgency. Based on a fine theme ofa Warlockian character, its seven variations are now glowing in lyric, now warmly elegiac, again lively and vivacious, all culminating in a very moving posclude. Mr. Shulman shows a marvelously sympathetic arcirude ro the strings and obviously knows all their mysteries. 23 In short, the Theme and Variations was nignly regarded among violists and music critics. Violists of the mid-rwentieth cenrury, including Emanuel Vardi, Joseph de Pasquale, Milton Katims, Nathan Gordon, Karen Turcle, and Walter Trampler, many who knew Shulman person ally, embraced the Theme and Variations, accepting ir as part of the repertoire. Performances con tinued around the world, includ ing ones by Louis Kievman, David Dawson, and Carlton Cooley, and four additional performances by Milton Preves and the Chicago Symphony Orchestra. Wtlliam Primrose toured North and South America with it from 1944 to 1946. It is nighly conceivable that

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