JAVS Spring 2013

Example 3. Gilad Hochman, Akeda , mm. 1–6.

Example 4. Gilad Hochman, Akeda , mm. 47–50.

ritardando as the drama unfolds. The violence reach es a boiling point about three measures later, as Isaac is (perceivably) being sacrificed (ex. 4). The story continues at measure 51, muted and mod ulated, as Hochman explores the colors and timbres of the C string. 16 By measure 66, the mute is off, and the viola becomes a vehicle for protest. The intensity begins anew starting around measure 76, as anger swells over the loss of life. Hochman inserts expressive motions to convey the building of rage and frustration, with a più con moto in measure 79, più energico in measure 84, a tempo ma con forza in measure 88, and agitato and molto accelerando by measures 92 and 93. The piece, now wailing after the renewed violence from protests, lets out a cathar

tic scream in measure 94, illuminating a major sev enth that starts sffzpp and crescendos into ff . “The violence,” Hochman acknowledges, “reaches its peak as the slaughtering takes place,” 17 particularly in measure 98 (ex. 5). These cries of pain continue and diminish over the next several bars, easing into the Lento found in measure 103. By this point the viola is again muted, as the mourning continues, but this mourning is different. Here the music is fragmented and the character is more pensive and brooding, with a resigned acceptance of the violence that con tinues on throughout the world. In an alternative interpretation of the piece, Hochman observes that the death of Isaac takes place between measures 94 and 98. He perceives

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