JAVS Fall 2012

Koffman have become champions of this combina tion. Lachrymae , for viola and saxophone by Armenian composer Tigran Mansurian, was record ed by Kim Kashkashian and released in 2004. Earlier evidence of this combination comes from Hindemith, who wrote a two movement trio, op. 47, in 1928 for viola, heckelphone (or tenor saxo phone), and piano. French composer Florent Schmitt (1870–1958) composed Légende , op. 66, in 1918 for viola and orchestra but later arranged the viola part for alto saxophone. And Vincent d’Indy’s Choral varié , op. 55, originally for saxophone was recently recorded in the viola version by Lawrence Power. Because of their similarities in register, the saxophone/viola relationship is perhaps making its way to becoming as popular as what the clarinet and viola have shared for so many years. Regarding the two versions of Walimai the composer said that because the range of the two instruments is almost identical as well as their similar dynamic and timbral tendencies, no alterations were required for the viola version. (There is one place where the viola plays

an octave higher than the saxophone in order to remain completely faithful to a repetition of a melodic line that had to be displaced in the original version.) In my opinion, the viola version is the better of the two. The composer writes that “much of Walimai inhabits the dark mysterious world that lies concealed beneath the rainforest canopy. This vast, timeless landscape is also the setting for the powerful short story of the same name found in Isabel Allende’s fascinating collec tion Cuentos de Eva Luna . Allende’s work first provided the inspiration for this piece, and to some extent, sug gested its dramatic and emotional trajectory, which traces a path from clarity and freedom through a terri ble loss (death) toward an eventual release from suffer ing and return to peace.” (More complete program notes are available on the composer’s website.) as well as its virtuosic abilities. The first section looks rhythmically complex on the page but sings forth in a beautifully lyrical, lamenting, and rhap sodic way with intricate conversation between the piano and viola. This section builds in emotional intensity, which drives it into a rhythmic vivo sec tion almost resembling Stravinsky-like rhythmic pas sion. The lyrical section returns, builds in intensity again, and then fades away into the distance. The score includes excellent footnotes, and tempo indica tions relay the composer’s intentions clearly as well. Walimai is an excellent piece that will surely enjoy popularity with audiences. I’m pleased to see that it is gaining momentum and look forward to many more performances and hopefully the first commer cial viola recording. Michael Djupstrom has received awards from Ithaca College, ASCAP, and the National Band Directors Association, among others, and is now published by Boosey and Hawkes. He has received numerous commissions from groups including the Philadelphia Orchestra Association, the Milwaukee Symphony Orchestra, and the Tanglewood Music Center. As an accomplished pianist he has performed throughout the United States, the UK, France, and China. Copies of the music may be purchased by contacting the composer at: mdju p str@yahoo.com. This piece is both programmatic and exciting. It explores the lyrical and lamentful aspects of the viola

J OURNAL OF THE AMERICAN VIOLA SOCIETy 70