JAVS Spring 2013

Example 1. Anthony R. Green, Dona Nobis Veritatem , movt. II: Declaration of Independence: one , mm. 1–2.

(ex. 2). As Green proceeds with the proclamation “SHALL! NOT! BE! IN!-FRINGED!” the viola is commanded to be wild and free, as the audience is forced to ponder what these texts mean. Green has often commented on his attraction to the viola as compared to the violin. He recently observed: The violin is the most “diva,” and the personality of violinists goes with the type of playing. Viola is the most “mysterious,” cello is the most “smooth,” and bass is the most “supportive.” With this, the viola is unique because, while it has a personality all its own, it can also play the roles of the other instruments with ease. Not saying that the other string instruments can’t also do this, but it is easy for a viola to be supportive like the bass, smooth like the cello, and diva like the violin . . . therefore it’s the most mysterious. 7 Political and social awareness and an understanding of how the American government functions are important values that appear often in Green’s com positions. Such was the case in his 2009 composi tion, Earned, for string octet plus speaker. The octet combines reminiscences of patriotic hymns and materials with melodies that have become interwov

en in the American fabric, while the speaker poses questions that citizens must know when becoming naturalized. Green, through his narrator, asks his audience a question: Are there double standards for what makes something, or someone, American? In addition to Green’s works featuring the viola that promote social awareness and change, there are sev eral other notable works by him that violists should explore. Among them is Nachtspiel , an earlier work completed in 2006 and first performed by violist Clark Spencer. Literally translating as Night Play, the work can be viewed as a nocturnal journey, filled with singing, knocking, seagull calls, and other sounds of nature. Several extended techniques are explored—such as trilling on glissandi and playing behind the bridge—and a violent middle section suggests the activities of the night as they escalate. Nachtspiel also has very onomatopoetic tendencies, requiring the violist to hum, sing, hiss, and hush, and even to recite a line in German while playing, which is meant to summarize the nature of the piece. Although the act of turning the violist into a more vocal and verbal creature takes much effort, this is a piece that has been well received by audiences, particu larly younger audiences that are new to the world of contemporary music.

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