JAVS Fall 2012

Example 2. Louise Lincoln Kerr, Etude, mm. 38–43.

Aeolian seems to have had a great influence on this work. The perpetual motion of the sixteenth notes is carried from one instrument to the other. While this work has many similarities to the piano character pieces that would have been popular in New york during the 1910s and 1920s, it is also similar to the Minimalism of Philip Glass and Elliott Carter. This crossover piece has elements of both jazz and Southwest hoedowns similar to Copland’s ballet suite from Rodeo. It is also similar to Debussy’s Golliwogg’s Cake-Walk from Children’s Corner , which in turn was influenced by the American rags and

rhythm. That’s why the young Audiences programs are so successful—the children love to be part of it, to respond to the rhythm, to try conducting.” 7 Diane Sullivan and Louise Kerr were the first two musicians to play this piece, while Louise was working on it. According to Sullivan: “There were three versions of the Etude , and Louise finally decided on the first ver sion. She did not think that it sounded as good with rests. She was in a good mood when she wrote it. It is a very happy piece.” 8

The Orientale , for violin and viola, is both brilliantly composed and virtuosic. She wrote many of her vio

cakewalks of the day. The violist and violinist alter nate guitar-style pizzicato underneath melodic pas sages (ex. 2). Sixteenth notes lead into an A major section, and the duet finishes in D major with harmonics and a whimsical pizzicato pas sage in both instruments. The highly syncopated rhythmic style of writing exhibited in Etude can be extremely challenging for string players. Louise Kerr said this about her music: “We all respond to

Example 3. Louise Lincoln Kerr, Orientale , mm. 15–18.

J OURNAL OF THE AMERICAN VIOLA SOCIETy 28