JAVS Spring 2014

here transposed up a fifth and harmonically altered—the music becomes more rhythmically structured and dance-like, with bar lines appearing for the first time. Centered in the viola’s middle reg ister, this section features double stops that almost always include an open string, recalling the reso nance and openness of the beginning. yet here, the pleasant-sounding major seconds from the opening are transformed into crunchy minor-second disso nances that provide agitated harmonic energy to the already propulsive rhythm. The rigid and precise metrical structure serves as a welcome contrast to the earlier improvisatory mood. After two cadenza-like measures, the music shifts into a moto perpetuo section that is the most virtu osic and technically demanding passage of the work. Ran indicates for this part to be played “ almost ‘fid dle’-style ,” recalling Berio’s instruction of “ like a wist ful ‘country dance fiddler’ ” at the beginning of his song. These two styles, however, couldn’t be more different: Berio’s fiddler plays a relaxed and plaintive melody, while Ran’s is in a rollicking speed contest. This section features scalar sixteenth notes in a vari ety of groupings (four, five, and six mostly) with complicated open-string staccato measures interrupt ing the scales. It concludes with high octave E’s marked “ ferociously fast ,” leaving both performer and audience breathless by the end. The repeated E’s provide a tonal bridge to the third and final appearance of the Berio motive, modally centered on E. Marked “ rich, with passion ,” this final iteration of the motive bears the least resemblance to Berio’s original. At this point, Ran has assimilated this fragment into her own musical language to the point that it is barely recognizable as originating from an outside source. The rapidly ascending scale fragments from the beginning are reintroduced in a repetitive and, as Ran states, “ obsessive ” sextuplet passage that gradually dissipates in energy and dynamics toward a sul ponticello tremolo on a low E-flat. Following this tremolo, a coda section reprises several of the melodic fragments from the beginning and is noticeably devoid of any clear references to the Berio motive. After a brief and sudden outburst of fluttering thirty second notes, the work concludes with fragile artificial

harmonics that disappear into the distance. From the performing perspective, Perfect Storm is a technically and artistically demanding work but is by no means unattainable. It contains frequent high double stops and several fast passages that require great left-hand dexterity. In general, though, the piece is very idiomatically written for the viola. While subdivisions between adjacent beats can vary widely, Ran’s rhythmic notation is incredibly precise and clear, eliminating the need for frustrating rhyth mic deciphering. Its technical demands are some where around the level of Penderecki’s Cadenza. Perfect Storm is a remarkably deep and multifaceted work that, while paying homage to viola repertoire of the past, joins a select list of masterful works writ ten for the viola in the twenty-first century. Ran’s prodigious compositional talents give this work musical depth and meaning well beyond that of many contemporary viola works. This piece is as sat isfying to study as it is to play, and it will find a wel come home in many violists’ libraries. Composer and flutist Katherine Hoover’s Shadows , for viola and piano, is deeply influenced by the September 11 attacks. In the score, Hoover writes that she began composing the work in August 2001. Upon returning to it after the attacks, “The piece became darker,” as “if a black cloud had settled over the island—a giant shadow.” After shelving the piece for some years, the work was premiered in 2009 by violist Marka Gustavsson and pianist Lisa Moore. Shadows consists of two movements to be performed without pause. After an initial outburst of dissonant double stops, the Adagio begins with eerily winding chromatic eighth notes in the piano, underneath fluttering thirty-second-note figurations in the viola. This is reminiscent of Bartók’s “night music” style. The movement continues with several recitative-like Shadows , for viola and piano By Katherine Hoover (b. 1937) Duration: 16’ Papagena Press $17.95

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