JAVS Fall 2007

instance, in variation IY, Alia Siciliana, of the strings and harp edition, the string orchesrra is playing with mutes, con sordino. In addition, Shulman instructs the first violins ro play ponricello in the second half of the variation, producing a glassy sound, which adds a mysrerioso feel ro the varia cion. (See Example 5 on page 37.) Variation VI, the most passionate and soulful variation, has the most significant texrural changes. These occur in the animando middle sec tion with the addition of overlap ping rhythmic patterns in the orchestra's voices. The basic srruc rural outline is taken from the piano version bur expanded upon. (See example 6 on page 37.) The full orchestra score includes sextuplets, syncopations, and six teenth notes, while the strings and harp version employs tremelo, syn copations, sixteenth notes, and

original composer, and this author is unaware of any other piece in the viola repertoire having so many. Differences amongst the three orchestral senings, although subtle, occur throughout the work, while the solo viola parr is lefr essentially intact. One of the more obvious changes is in the opening of variation Vll. In the original version as well as in the srrings and harp version, the variation begins with a single eighth note. (See Example 1.) In cl1e full orchestra version, the tuba and timpani play rwo eighth notes. (See Example 2.) The latter version is a more secure way of starting the variation for tempo with an ensemble because it sets up the tempo immediately for the orchestra. The other obvious difference occurs at the very end of the work. The original version concludes with the solo viola supported by open flfrhs in the piano. (See example 3.) This Example 1

is also present in the strings and harp version with the addition of a simple motive in the harp, also in flfrhs, which enters whimsically. (See example 4.) The full orchestra version yields the most obvious change with this version ending with only the viola solo holding F#. In his manuscript, Shulman originally scored a parr similar ro the original version for ruba, and low strings. Shulman, however, later removed these parts. Toscanini, who received a score from Shulman, heard the perform ance and asked Shulman after ward, "What happened to the ruba at the end? I didn't hear it." Shulman replied, "Maestro, the rexrure was to thick, so I made it tacit. " 31 The majority of other changes occur in the use of different orchestral colors and texrures, something that cannot be fully expressed on the piano. For

Example 3. Postlude, final bars of viola and piano version.

.

...........

u

p~

~

mf

pp

.-._

t:'\

1'1 Ill

£.

I

I

I

t)

ppp

-

.

t:'\

d

~

~

~

Example 2

Example 4. Postlude, final bars of viola, strings, and harp version. ... ...........

......,

p

"ff

pp ~

harp

t:'\

1'1 ~

- - - - mf

pj;p- --

-; -~

t)

I

via, ccllu

v-

t:'\

.J' >

~- ~ ~ ~ bass ......__...... -

OURNAL OF TH~ AM~R!c::AN V!_QLA SOCIETY 34