JAVS Summer 2021

experience fondly, saying she had no idea there was a “. . . local treasure living in Virginia Beach.” 7 In the years to follow, they developed a friendship as Hailstork continued to work with the orchestra. Hailstork wrote Sanctum with Baker as his inspiration, highlighting her artistry and beautiful sound. In the acknowledgements in the score, Hailstork states “ Sanctum was written for violist Beverly Baker, whom I hold in high esteem as a performer and as a person.” 8 In an interview with Colin Clarke, Hailstork elaborates, stating: I do like writing for particular performers, often without their knowing I am doing so. It’s my humble way of trying to show them how much I appreciate them, especially if they have been kind and supportive. I was impressed with and proud of Beverly Baker, who, as an African-American, won the first chair of the VSO (a rare feat in any American symphony orchestra). Her musicality and her poised, self-disciplined demeanor make her a consummate professional. 9 Outside of his sonic inspiration, Hailstork also drew on the role of the Cathedral of All Saints in his personal and musical development. Sanctum describes the stark differences between the chaos of the outside world and the peace and calm one finds inside a cathedral. Sanctum highlights “. . . the sense of refuge I felt every time I entered the quiet space of that [Cathedral of All Saints] grand building.” 10 The score details to the performer: “. . . Sanctum reflects the contrast between the turbulence of the outside world and the search for serenity within the walls of the cathedral.” 11

The work is divided into six sections: A. Viola introduction; B. Piano enters and the two instruments share ideas that are mostly turbulent in character; C. Intricate florid writing that includes improvisation on the part of both performers; D. A slow serene melody over quiet chords in the piano; E. A final agitated outburst, before, finally, settling into the, F. Tranquil coda. 12 By far the most distinct and unique section of Sanctum is its opening. This three-minute introduction for unaccompanied viola is written entirely as one measure, alluding to idea of structured liberty. Here, with the tempo marking Ad libitum, the violist is given the freedom to interpret the opening in whatever way they wish. Hailstork’s clear use of dynamics keeps this opening from being completely liberal and open to one’s own interpretation. This section is effective in capturing the viola’s essence in several ways. First, it highlights the viola as a solo instrument; the piano does not enter until about three minutes into the piece. Second, this solo section evokes the subdued characters that are often ascribed to the viola, such as reclusiveness, somberness, and melancholy. Finally, Hailstork’s deliberate use of rests in between ideas creates a natural sense of reflection, helping to restate the idea of the solitude one might experience inside of a cathedral. Two motifs presented in the opening section reoccur throughout the piece (ex. 1). The first is the motive of four thirty-second notes, with the fourth tied to an eighth note. The second is the chant-like theme that is presented directly after the aforementioned idea. In the case of Sanctum , Hailstork tied in ideas reminiscent of his time in Albany, not only in the overall approach of constructing this piece, but also in incorporating ideas inspired by chant: “The chantlike theme recalled my youth in the all-male Anglican Cathedral Choir. . . .” 13

Capturing the Viola’s Essence: Analysis of Sanctum

What follows is an overview of the piece, paying particularly close attention to Hailstork’s astute ability to fully highlight the viola’s most characteristic aspects. Sanctum is a single-movement work in six cohesive parts. As indicated by Hailstork:

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

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