JAVS Fall 2007

Example 5. Variation N of viola, strings, and harp version. co sord. n :;.---- ... * ~~ ~ Viola - mf:==-p

share this role, providing the orchestra with their own tutti. (See example 9 on page 38.) Although many of the differences amongst the three versions are subtle, each musical texture and color takes the music co another emotional level. Violists today can compare each of the three settings on recording, which yield only five co date. The earliest

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Insert Example 6.

commercial recording dates from 1989 with Yizhak Schotten perform ing rhe srring orchestra version with the Grear Lake Chamber Orchestra. Emanuel Vardi's 1941 premiere performance with the NBC Orchestra is available in a re-mas tered version, as well as other more recent record ings in the original ver sion by Joseph de Pasquale, Cathy Basrak, and Robert Glazer. These recordings are valuable resources ro study and compare, enabling musi cians co expand their knowledge of the work and understand all the inuicacies of each of rhe orchestral settings.

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Example 7. Variation VII, reduction of full orchestra version.

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The Th~m~ and Variations remains a hidden ueasure

triplet figures. In example 7 and 8 (page 38), the right hand ofthe piano is in the harp and the left hand is now in the cello in both orchesrrarions. There is only one change in the solo viola part from the original version. ln Variation VII, Allegro

riunico, of both orchestrations, Shulman removed the viola pizzi caro from the score in the second half. In the version for full orches tra, the low strings, cello and bass, and the horns cover the part. While in the suings and harp ver sion, the harp and low srrings

in the viola repertoire, being dis covered by many young musicians who are looking for something besides a dense Romantic sonata or a lengthy concerto. Pedagogues such as Emanuel Vardi, Joseph de Pasquale, Karen Tuttle, YIZhak

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