JAVS Summer 2021

When you consider Iranian music, you almost cannot ignore the role of the kamancheh and how unique its sound and timbre is. The fact that it also has many similarities in timbre with the viola creates a natural gravitation point for a lot of composers. 21 Razaz’s compositions have a sense of trajectory and dramatic flow in how she creates anticipation, climax, and resolution. This quality is reflected through not only the melodic and harmonic ideas but also in the rhythmic energy in her compositions. In the first part of the piece, for example, the viola plays atmospheric effects and sounds, exploring a variety of contact points and bow strokes, creating a sense of anticipation. Gradually, Razaz introduces a seed of the melody, moving back and forth between the melodic cells and timbral effects (ex. 9). Song and Whispers comes from the relationship of the two sound worlds created by the melodic components and the atmospheric effects. Razaz envisions the atmospheric effect as “whisper,” with its pitchless and soft quality, and how it can be intense yet barely noticeable at the same time. On the other hand, she creates melodic components, resembling qualities of a “song” (ex. 10). The alternations between atmospheric sounds and melody create dramatic contrasts that imbue the piece with narrative intensity. In these sections, she was not necessarily after a typical “beauty” in sound, but rather unique and different combinations and range of timbres, stretching the instrument to its boundaries, and emphasizing variety over refined sound.

Razaz’s command in shaping musical ideas with originality is clearly visible in this piece, and she creates an emotionally compelling and effective work, requiring great technical demands of the performer. Contrasting characters and experiments in extended techniques and timbre make this piece a prime example of exploring a new spectrum of sounds and lyricism previously unknown for viola. The three works discussed display a musical language and performance practice that explores a mutual exchange between cultures. Despite the differences in background and compositional styles between the composers, these works all examine a unique blend of Iranian music and Western art music characteristics, and in doing so allow a performance practitioner of Western art music to explore a new musical language. The following three threads run through each of the works. Iranian identity in these works is examined with the use of Iranian ornamental and performance techniques such as tekieh and javab e avaz , improvisatory qualities in compositions of melodic components, singing or song like characteristics, and inspiration from poetry as well as the timbre of Iranian instruments such as kamancheh . The varying interpretations of identity are reflected both directly in conscious use of these elements in Kamalto and Veiled , and also within personal experience and perception in Song and Whispers . The concept of immigration, and its reflection in representation of Iranian art and culture is also a shared identity within these works. While all these works were created, Intersectionality in Iranian Viola Repertoire

Example 10. Gity Razaz, Song and Whispers, mm. 53–59. Melodies that resemble the qualities of a song. Note these qualities in the glissandi, arpeggio figures, vibrato, and rests that act as breath marks. © 2019. Used with permission.

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

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