JAVS Summer 2021

Feature Article

Adolphus Hailstork’s Sanctum Capturing the True Essence of the Viola By Kathryn Brown

The racial uprisings of 2020 and subsequent racial reckoning pressured many classical music organizations in America to reevaluate the inner workings of their institutions in the hopes of making them more equitable and inclusionary. While it should not have taken these unfortunate events to question the centering of whiteness in classical music institutions, these discussions and action plans are essential in helping to make the profession more just. To see an overall change in classical music, smaller changes must be elicited in every facet and at every level: from the way we first engage students in general music classes to curricula in music schools, to the repertoire requirements for orchestra auditions. Speaking more specifically to the viola community, one must consider the works and composers that are celebrated and played the most. Similar to other instruments learned in the classical tradition, the viola has a repertoire of “standard” works. Some of these include the Bach Cello Suites, the Stamitz, Hoffmeister, Walton, Bartók, and Hindemith viola concerti, or the sonatas of Brahms, Schubert, Shostakovich, or Clarke; this assumption is rooted in the fact that most of these pieces can be found on any viola audition repertoire list. Beyond orchestral requirements, conversations surrounding repertoire in the viola community also shape the pieces that have become standard. In their article, “11 Top Players Pick Best Viola Works of All Time,” Strings Magazine asked some violists which pieces are their favorites as well as which pieces they believe are overlooked. 1 Excluding the fact that none of the violists polled were Black violists (a separate conversation), none of the works discussed by these violists, particularly in regards to pieces that may be overlooked, were written by Black composers. And while this is one specific instance, it would be dismissive to assert that conversations

involving repertoire choice in the field do not mirror this Strings Magazine article. By ignoring and overlooking composers in the classical cannon, not only does the repertoire continue to be dictated and limited by the “standard” pieces, but the narrative is further skewed in dictating who is writing music for viola and whether or not it is deemed worthy of playing. In this age of making classical music more equitable, it is also important to note that pieces written by Black composers should not be sought out and played solely for the sake of playing them. This work is not about checking off boxes on a symbolic inclusion checklist. Instead, pieces by Black composers should be researched and played in genuine interest in learning about the voices that have been left out of the conversation. In searching for these composers, while simultaneously seeking pieces that showcase the viola well, I would like to highlight American composer Adolphus Hailstork and his piece Sanctum: Rhapsody for Viola and Piano. Sanctum is a post-tonal piece with clear structure, ideas, an obvious tonal center, and reoccurring motives, making it enjoyable to not only listen to but to play. The viola inhabits a wide range of personalities throughout the work: singing, recluse, feisty, reflective, mournful, excited, and subdued. It is a piece all violists should have in their repertoire as it explores the full range and attributes of the viola. Further, it challenges the violist in captivating ways including the use of improvisation and being a true collaborator with the pianist. My analysis will focus on the aspects of Sanctum that showcase and capture the true essence of the viola.

Adolphus Hailstork

Before diving into an exploration of Sanctum , it is important to learn more about Adolphus Hailstork.

Journal of the American Viola Society / Vol. 37, 2021 Online Issue

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