JAVS Summer 2021

Example 1. Adolphus Hailstork, Sanctum, m. 1. The initial iteration of the two primary motives, labeled A and B in the example. © 2008, Theodore Presser Company. Used with permission.

The second section, B, begins with the piano presenting the chant-like theme. The viola then joins the piano where the theme is now expanded, with additional rhythms and complexity. In this section Hailstork portrays the viola as a true collaborator with the piano. Upon first listen, it may seem as if the viola and piano are in complete opposition to each other, but in taking a closer look, one sees that the piano often previews or imitates motives of the viola. A good example of this occurs mm. 47–51 (ex. 2). The viola and piano pass varied triplet rhythms back and forth beginning with the

viola on the fifth beat of m. 47. The piano takes over this figure until the viola briefly takes the lead on the fourth beat of m. 49, bringing this section to its climax. In the B section, Hailstork also showcases the sound and power of the viola in two distinct ways. First is in his use of subito-piano crescendo gestures (ex. 3). While these happen in different ways, they usually occur towards the end of a phrase that is building in volume and rhythmic complexity. It’s as if Hailstork pulls the rug out from under you, drops the dynamic to piano on a

Example 2. Adolphus Hailstork, Sanctum, mm. 47–54. The passing back and forth of the triplet sixteenth gesture in section B. © 2008, Theodore Presser Company. Used with permission.

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

22