JAVS Summer 2001

AN OVERVIEW OF TWENTIETH-CENTURY VIOLA WORKS, PART II

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three different versions existed of the same measure. I copied all of the discrepancies and sent same to the composer who kindly circled the correct version of each of the thirteen bars in question and returned these errata to me vowing to have the printing mistakes rectified. I believe this was accomplished in a later edi tion, circa 1973. (Mr. Partos, born in Hungary, settled in Israel and became the head of the Tel Aviv Conservatory.) Emmanuel Vardi has recorded this work. [New York: Israeli Music Publication, 1949} An interesting solo viola piece which was published privately in Paris (circa 1928) is the "Fantaisie sur un theme Chassidiqup" by Mitya Stillman. At one point the composer employs two staves to properly communicate the three things that are going on simultaneously, one being left-hand pizzicato. [New York: Stillman, 1928} During my perambulations in China in the mid-eighties I was presented with a piece written by Sha Han-Kun in 1954 entitled Madrigal for Viola and Piano. It is a single page Andante most conservative-with several places where the oriental slides create a soothing cantabile effect. The piano accompaniment is very similar to the accompaniment of Massenet's "Medita tion'' from Thais.

SOME CONCLUDING OBSERVATIONS My limited experiences commissioning com positions for viola have resulted in felicitous returns. There are, however, circumstances where one cannot afford to pay the prevailing fee of a composer whose works one admires. This leads me to advise violists in search of a new piece to emulate the four performing piano soloists who banded together some years ago to commission Elliott Carter for a solo piano work. Perhaps all four of them secured exclusive performing rights for one year or so. I do not remember who gave the actual pre miere. Another thought apropos of first perform ances deals with the gratification I've encoun tered as an occasional second performance spe cialist. For the performer, the historical importance of a world premiere cannot be overestimated. For the composer, however, the second and subsequent presentations may have more significance as the new work reaches for durability. Truly, a good piece will go its own way and exist independently of its creator, but did the second or third performance add the alchemy that the first exposition lacked? I can only try to answer the foregoing question after presenting a new work at least three times. Sometimes familiarity breeds adoration.

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