JAVS Fall 2007

This column fiatures three new viola concertos written in the pastfive years.

existence. It consists ofseven continu ous movements:

This work is comprised of seven movements, all played without pause (another similarity ro the Barrok Vwla Co1uerto). The whole work treats the viola solo nor so "concerto-like", bur as a vehicle for telling the story, and it happens to be somewhat virtuosic at times, very similar ro the treatment of the viola line in the rwo works by Giya Kancheli (Sry.x- and ~m Wiruk beweint) I reviewed for this sum mer's online issue (see , go to online issues ofJAVS). Frank very success fully writes this work from an "Impressionist's" mode of operation, and she includes a program guide for what is happening in each of the movements which is as follows: Dedim~d w rny old friend, Wzyne Brooks, "La I.lorona: Ton~ Poemfor Viola and Orchestra" is inspired by the many existing myths in Latin America regarding afemale spirit known as "La liorona': or "crying woman': Somnvhat similar wfemale ghosts from other cultures (such as the ''RJJS~tlka" from R11ssia or the ''KuchistJiu-onna" from japan), the Unrona genemlly comes about as the result ofa violent death: drowning, suicit:le, childbirth, andmurder at the hands ofa lover are common causes. The riverbanks are typ ically theplaces where one might encounto the lwrona, for these are fo qumtly the sites ofthe tragedies that t()()k away her human lift. This programmatic work is a por trait ofthe internal shift that hap pens as the llorona accepts her new

La Llorona: Tone Poem for Viola and Orchestra (2007)

I. Slumber: It is just minutes after the llorona has lost here human lifo and crossed over inw the new realm. Not fully conscious, she is still in the fog ofa supernatural sleep. II. Awakening: After the quiet orchestral tutti which builds, the solo viola's entrance signals that the Unrona has spnmg to new lift. ill Flight: The llorona denies this new reality and tries to escape, liter alLy. Irrationally, she runs here and there, cryingfor what was. Jv. Da11.za de las ChuUpa.s: In the course offoeing herfate, the llorona stumbles upon a scme ofother spirits normally unseen to humans. The chullpas are ancient spirits (hailing from Peruvian culture) in the fonn ofskeletons hobbled overfrom hav ing been bound into fital positions as mummies. The llorona reluctantly begins to realiu that she indeed has crossed over into another realm. V. Canto de La Lumu Revered in many cultures, the moon is often a female tkity that communicates with humans and spirits alike. Here, the moonlight sings to the llorona, asking her to find acceptance. VL Flight: The llorona cannot find it in herselfw accept, and tries once again to escape. V/1 Coda: The llorona slowly retreats into the shadows to join the other spirits unseen by the rest ofus. It is the acknowkdgement that tragi cally, she simply can't change what's not hers to change. - Gabriela Lena Frm1k

I. Slumber II. Awakening III. Flight IV Danza de las Chullpas V. Canto de Ia Luna

VI. Flight Vll. Coda

Difficulty: Level 5 Duration: 20 minutes

Premiere: Wayne Brooks with Houston Symphony Orchestra

By Gabriela Lena Frank (b. 1972)

This piece was fascinating ro listen ro from beginning to end. Ar times in the piece I almost felt like I could be listening to the Barrok Viola Concerto No. 2, which is actually a huge compliment, not a critique for lack of originality, since many great composers in their youth relied heavily on strong models as a basis for their works (the most famous example in my mind being Beethoven's Symphony No. 1 which could be dubbed as Mozart's Symphony No. 42 because of irs strong reliance on the Mozart Symphony No. 41 'Jupiter'). The chromatic language and the rhyth mic material also were pleasant reminders of Barrok's style, as well as the opening of the rwo "Flight" movements, which reminded me of the Barrok Violin Concerto.

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