JAVS Summer 1989

38

The choice of pitches, pitch sequences and repetitions, if not serial, at least make some use of serial techniques. Economy and skill in compositional manipulations are amply evident. Formal sections, phrases that have beginnings, middles and ends, cadences, arch, shape and sense of forward thrust are all present. This is a well-crafted example of the type. On aspect of From one to another ( I) which deserves special notice and praise is the tasteful use of lower dynamic levels. There is only one "II," and it is brief, while "ppp," "ml," flautando, and other soft indications abound. There is no ear-shattering amplification here. From one to another ( I) would be a practical and welcome addition to the recital repertory, since it would not take the elaborate sound equipment, often considered essential for proper presentation of electronic music. But there are real obstacles to programming this work. Permission to perform the piece is predicated on ASCAP licensure, or fees in lieu of institutional licensure. Rental fee for the master tape (sans solo viola part), is a minimum of $50.00, and the score cost $23.00. The publisher is not promoting a mass audience for this excellent work. Orpheus and Eurydice: Concerto lor Viola and Chamber Orchestra, unpublished, 1987; Music lor "Equus" lor viola and prepared piano, unpublished, 1986. By Duane Heller. Probably Duane Heller had violist Patricia Wells specifically in mind as he composed these two moody and gently beautiful pieces. Even though they are quite different in character, they are wonderfully suited to the viola. Further, it just may be possible that Mr. Heller has developed a recognizable personal compositional style. These works, though unpublished, found their way to the JAVS in the form of well-prepared manuscript scores and a tape of performances. The Concerto was performed in Corvallis, Oregon, by The Oregon Mozart Players and Patricia Wells with Mr. Heller conducting. Miss

The phrase "cannot be used" is a curious one; "cannot be used" for what? It has a tendency to limit ones interest. The rehearsal tape accompanying the score has the copyright year 1986, a year before the score, and one Daphne Dram is given as collaborator in its creation. At any rate, Miss Musgrave has been thinking about this piece for a long time, and we can assume, in more ways than one. From one to another (I) is a ten minute work for three distinct voices: the solo viola and what would be, ordinarily, two other instruments or instrumental groups, but which in this case are electronic voices on tape. The notation is mostly on three staffs, the upper two devoted to approximate notation of the taped voices. These sound like viola playing in many places with a predominance of pizzicato, but there is much electronic manipulation, both rhythmic and tonal. Some of the sounds have no pitches, some sound electronically generated, while others sound like normally recorded instruments. But, in the world of electronic music, this tape would be considered conservative, indeed. The solo viola part is on the tape also, so it is a fairly easy matter to play along, once the unfamiliar interval patterns and rhythms have been dealt with. By and large, the viola part is accessible, carefully notated with generous dynamics, articulation marks, tempo marks, and expression indications. Extremes of range or dynamics are avoided. The rhythmic-melodic element is firmly based in the mid-twentieth century atonal, quasi-serial tradition. Key orientation and memorable melodic elements are absent as is any sense of rhythmic pulse. The music is written without bar-lines and makes use of "controlled aleatoricism" in that the score indicates that synchronization with the tape is expected only at certain points indicated in the score. These points are fairly frequent, and are often modified with the direction "circa." A certain amount of rhythmic freedom is more than implied.