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Electronic Theses, Treatises and Dissertations The Graduate School

2003 An Annotated Bibliography of Works by Pulitzer Prizewinning for Solo , Viola with Keyboard, and Viola with Michael Alan Weaver

Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY

SCHOOL OF

AN ANNOTATED BIBLIOGRAPHY OF WORKS

BY PULITZER PRIZEWINNING COMPOSERS FOR SOLO VIOLA, VIOLA

WITH KEYBOARD, AND VIOLA WITH ORCHESTRA

by

MICHAEL ALAN WEAVER

A Treatise submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Music

Degree Awarded: Spring Semester, 2003

Copyright © 2003 Michael Alan Weaver All Rights Reserved The members of the Committee approve the treatise of Michael Alan Weaver defended on April 1, 2003.

Pamela Ryan Professor Directing Treatise

Michael Allen Outside Committee Member

Phillip Spurgeon Committee Member

Karen Clarke Committee Member

The Office of Graduate Studies has verified and approved the above named committee members.

ii To Cathy.

iii ACKNOWLEDGMENTS

In a project this size, there are always several people and organizations to thank. First, I would like to thank my Doctoral Committee for their gracious encouragement, patience, and guidance, and for the valuable time and effort they freely gave: Pamela Ryan, Karen Clarke, Phillip Spurgeon and Michael Allen. I would like to extend my sincere appreciation to Christopher Rouse, Becky Starobin (on behalf of ), Ellen Bacon (widow of ), , Francise Crociata (president of the Foundation), David Dalton, Myron Rosenblum, Myrna Layton (Assistant Music Librarian, Primrose International Viola Archive), Geoffrey Block ( Scholar), Leslie Tomkins, and for their helpful e-mails; for his wonderful letters; Debby Bellmore, Secretary at Yale’s School of Music Oral History - American Music (OHAM); Suzanne Eggleston Lovejoy and Richard Boursy, Assistant Music Librarians, at , for their wonderful assistance, dedication, knowledge and kindness in providing access to their archives. Thanks are also due to Jim Miller, sound technician, and Natalia Rivera, pianist, who assisted in preparing and performing a lecture recital with me, using materials that became the basis for this treatise. Other acknowledgments include support from the Florida State University Interlibrary Loan Office and assistance from the Graduate School of Florida State University in the form of a research grant that helped me visit Yale University to peruse the OHAM holdings and the Irving S. Gilmore Music Library’s archives.

iv Finally, I would like to thank my wife, Cathy, for her never ending support as I pursued my dreams of becoming a professional musician and strings teacher. Cathy and I were married before I started my Bachelor’s degree and she has steadfastly supported me, without reservation, all the way. I hope you will find this bibliography of viola works by Pulitzer Prizewinning composers helpful.

v TABLE OF CONTENTS

List of Tables...... x List of Figures...... xi Abstract...... xii

Chapter

I. INTRODUCTION...... 1

Purpose, Goals, Scope and Limitations...... 2

Research Procedures...... 4

Format and Definition of Terms...... 4

Summary...... 6

II. THE HISTORY OF THE IN MUSIC...... 8

Joseph Pulitzer, His Last Will and Testament and Establishment of the Pulitzer Prizes...... 8

The Pulitzer Traveling Scholarship in Music from 1917 - 1942...... 9

Pulitzer Prize Categories...... 11

The Pulitzer Prize in Music Citation...... 12

Structure, Powers and Responsibilities of the Advisory Board and the Juries...... 12

Pulitzer Prizes in Music Withheld...... 14

Controversial Pulitzer Prizes in Music...... 15

Special Awards and Citations in Music...... 16

vi III. AN ANNOTATED BIBLIOGRAPHY OF WORKS BY PULITZER PRIZEWINNING COMPOSERS FOR SOLO VIOLA, VIOLA WITH KEYBOARD, AND VIOLA WITH ORCHESTRA...... 20

Babbitt, Milton...... 20 Composition for Viola and Play it Again Sam for Viola Solo Bacon, Ernst...... 25 Koschatiana Peterborough Sonata for Viola and Piano Bassett, Leslie...... 31 Sonata for Viola and Piano Carter, Elliott...... 32 Elegy for Viola and Piano Pastoral Colgrass, Michael...... 37 Chaconne for Viola and Orchestra Crumb, George...... 40 Sonata for Viola and Piano Dello Joio, Norman...... 41 Lyric Fantasies for Viola and Strings Druckman, Jacob...... 43 for Viola and Orchestra Finney, Ross Lee...... 45 Second Sonata for Viola and Piano Viola Sonata in A Minor Gould, Morton...... 49 Concertette Concerto for Viola and Orchestra Hanson, Howard...... 52 Lux aeterna. , Op. 24 Summer Seascape No. 2 Harbison, John...... 56 Concerto for Viola and Orchestra Sonata for Solo Viola Husa, Karel...... 60 Poème for Viola and Chamber Orchestra/Piano Suite, Op. 5, 1945 for Viola and Piano Ives, Charles...... 64 Sonata No. 2 for Piano, revised with viola 1940/47 Kernis, Aaron Jay...... 67 Passacaglia - Variations for Viola and Piano

vii Kubik, Gail...... 68 Concertante for Piano, , Viola and Orchestra La Montaine, John...... 72 Conversations, Op. 44 Maganini, Quinto...... 73 An Ancient Greek Melody Concert Album Night Piece Song of a Chinese Fisherman Martino, Donald...... 77 3 Dances, Op. 23 3 Sad Songs (Dantalian, 1997) Perle, George...... 79 Preludio, Invention and Ostinato, Op. 15, 1943 Serenade Nr. 1, for Viola and Chamber Orchestra Solo Partita for and Viola Sonata for Solo Viola Piston, Walter...... 83 Concerto for Viola and Orchestra Interlude Porter, Quincy...... 86 Blues Lointains for or Viola and for Viola and Orchestra Duo for Viola and Harp or Harpsichord Poem for Viola and Piano Speed Etude for Viola and Piano Suite for Solo Viola Rouse, Christopher...... 96 Subjectives X Schuller, Gunther...... 97 Concerto for Viola and Orchestra Schuman, William...... 100 Concerto on Old English Rounds Shapey, Ralph...... 103 Duo for Viola and Piano Evocation No. 3 Sowerby, Leo...... 106 Ballade for Viola and Organ Concerto for Viola and Orchestra Poem for Viola and Orchestra Poem for Viola and Organ Sonata for or Viola and Piano

viii Toch, Ernst...... 113 Impromptu, Op. 90b, 1963, for Solo Viola Walker, George...... 115 Sonata for Viola and Piano Ward, Robert...... 116 Arioso Tarantelle Wernick, Richard...... 119 Concerto for Viola and Orchestra, "Do not go gentle..."

CONCLUSION...... 121

APPENDICES

A. Addresses of Music Publishers...... 126 B. Music Publishers’ Procedures for Requesting “Out of Print” Compositions...... 129 C. Copyright Permission Letters...... 132

BIBLIOGRAPHY...... 138

BIOGRAPHICAL SKETCH...... 161

ix LIST OF TABLES

1. Year 2001 Advisory Board...... 13

2. Year 2001 Music Jury...... 14

3. Pulitzer Prizewinning Composers and Their Prizewinning Compositions...... 17

4. Composition for Viola and Piano: Major Sections...... 23

x LIST OF FIGURES

1. Speed Etude, measures 54 and 55...... 94

2. ’s Tarantelle, measures 121-130, Using Porter’s Thumb Stop Technique...... 118

xi ABSTRACT

Since its inception in 1917, first as a Traveling Scholarship, then as the Pulitzer Prize in Music since 1943, the Pulitzer awards in music have been representative of America’s best composers. Of the fifty two Pulitzer Prizewinning composers, twenty eight have written compositions for viola solo, viola with keyboard, and for viola with orchestra. Also, of the nineteen Pulitzer Traveling Scholarship recipients, three composed works for these instrumentations. “An Annotated Bibliography of Works by Pulitzer Prizewinning Composers for Viola Solo, Viola with Keyboard and Viola with Orchestra” attempts to catalog each Pulitzer Prizewinner’s compositions for these instrumentations. It is a collection of information concerning each composition’s premiere, publication details, dedication, commission, and availability. It also provides a brief description, a selective bibliography, and a selective discography for each entry. Pulitzer Prizewinning composers’ works lists in The New Groves Dictionary of Music and Musicians, Franz Zeyringer’s Literatur für viola, and Henry Barrett’s The Viola, along with and publisher web pages, recording catalogs, library holdings catalogs, and bibliographies of twentieth-century music were thoroughly searched. Only compositions originally for viola and orchestra, viola and keyboard, or viola solo are included. Some works included are for another instrument or viola, as indicated by the original composer. Transcriptions by someone other than the original composer and works written for another alto clef instrument, but not for the viola, are not included. Descriptions of the compositions included were provided by music critics, prominent viola performers, presidents of composer societies, with some by the composers themselves, or were gleaned from reviews in journals and newspapers, or from performance and recording program notes. Included is a brief history of the Pulitzer

xii Prize in music, from its inception as a traveling scholarship to 2002. A complete list of the Pulitzer Prize in Music winners, Pulitzer Special Award recipients, brief descriptions of some of the controversial awards, and years when no award was given, are all included. Publisher addresses and contact information, along with their instructions concerning the acquisition of out of print, archive, or made to order requests are included as appendices.

xiii CHAPTER I

INTRODUCTION Since its inception, the Pulitzer Prize in Music, first as a Traveling Scholarship from 1917-1942, then becoming the Pulitzer Prize in Music in 1943, has been representative of America’s best composers. Therefore, when considering American repertoire for a specific instrument, one should investigate works written by Pulitzer Prizewinning composers. With this in mind, research was conducted to find which Pulitzer Prizewinning composers wrote works for viola. The ensuing investigation resulted in a void of bibliographic materials specifically dealing with music by Pulitzer Prize recipients. This treatise is designed to help satisfy the need for such bibliographic materials. The Pulitzer Prize in Music is the highest American award available to an American composer of serious art music. However, due to its discreet nature, not many are aware of its existence, its significance and no less important, the identities of its recipients. This information is available in Brennan’s Who’s Who of Pulitzer Prize Winners.1 The missing link is finding which Pulitzer Prizewinning composers wrote literature for a specific instrument. Although Brennan provides works lists, they are similar to those found in The New Groves Dictionary of Music and Musicians. They are not all inclusive. No single source provides exhaustive bibliographic works lists of the Pulitzer Prizewinning composers. To that end, this treatise will attempt to partially fill the void by providing lists of works for viola and orchestra, viola and keyboard and viola solo by Pulitzer Prizewinning composers.

1Elizabeth A. Brennan and Elizabeth C. Clarage, Who’s Who of Pulitzer Prize Winners, (Phoenix, Arizona: Oryx Press, 1999).

1 Purpose, Goals, Scope and Limitations

This treatise provides an annotated bibliography of works for viola and orchestra, viola and keyboard and viola solo by Pulitzer Prizewinning composers. It expounds on what a Pulitzer Prize is and how a prize generally associated with journalism became a coveted prize in music. This bibliography is designed to make viola music of Pulitzer Prizewinning composers more available to performers, teachers, librarians, students and others interested in twentieth-century American viola music. It is designed to answer the questions: Which Pulitzer Prizewinning composers wrote for the viola? What did they write? What is it like? How can it be obtained? This bibliography includes only Pulitzer Prizewinning composers who have written works for viola and orchestra, viola and keyboard, or for viola solo (viola works). Although all Pulitzer Prizewinning composers and their prizewinning compositions are included in Table 3, not all of the Pulitzer Prizewinning composers have written viola works. If a Pulitzer Prizewinning composer did not write works for viola, the composer is not included in this bibliography. Two non-Pulitzer Prizewinning composers are included. , who won a Pulitzer Special Award for his lifetime achievements, and , whose 1992 Pulitzer Music Jury nomination was overturned by the 1992 Pulitzer Prize Advisory Board. This turnover resulted in quite a rousing stir between professionals and the Pulitzer Prize administrators, who were non-musician journalists. Also included is a discussion of the years Pulitzer Prizes in Music were withheld, 1953, 1964, 1965, and 1981. Each of these years also resulted in controversy for American classical music. Two Pulitzer Prizewinning composers who wrote works for viola, but request that these works not be performed, are also included. George Crumb and Christopher Rouse wrote works for viola during their student years and withdrew the manuscripts. However, they are listed in various sources as having viola works available

2 for performance. They are therefore included, along with an explanation as to where they are referenced and how it came about knowing their works are not for performance. The composers have been arranged in alphabetical order to better serve the purpose of providing a quick reference to the composers and their works for viola. Table 1 lists the Pulitzer Prizes in Music as they occurred chronologically from 1943 to 2002. Detailed biographical information is readily available from other sources and is not included. Following each composer’s name is an annotated listing of their works for viola in alphabetical order. Annotations for viola works included in this bibliography are limited to each work’s premiere, instrumentation, publisher/date, availability, duration, dedication/commission, introductory/program notes, selective bibliography, selective discography, and a general description of the work. In depth analysis of the works is beyond the scope of this bibliography. The selective bibliographies and discographies are by no means exhaustive, but are included as starting points. For a detailed discussion concerning the winning of the Pulitzer Prizes in Music between 1943 and 1999, one should direct his or her attention to Awards 1943-1999.2 This source provides detailed information regarding the nomination by the jury and decision reached by the Pulitzer Advisory Board. Musical Composition Awards 1943-1999 also provides detailed bibliographic information regarding the prizewinning works and their premieres, including the first page of each prizewinning score and a copy of each work’s premiere program.

2Heinz-Dietrich Fischer, ed., Musical Composition Awards 1943-1999: From and to Gian-Carlo Menotti and , vol. 15, The Pulitzer Prize Archive (München: K. G. Saur, 2001).

3 Research Procedures

The first step in the creation of this bibliography was to determine who the Pulitzer Prizewinning composers were. This was accomplished by visiting www.pulitzer.org, the official World Wide Web site for the Pulitzer Prizes. Once their names were compiled, attention was given to the question of which Pulitzer Prizewinning composers created works for viola and orchestra, viola and keyboard, and viola solo. Composers’ work lists in The New Groves Dictionary of Music and Musicians, Zeyringer’s Literatur für viola, Barrett’s The Viola, along with composer and publisher web pages, recording catalogs, library holdings catalogs, and bibliographies of twentieth- century music were thoroughly searched. Only compositions originally for viola and orchestra, viola and keyboard, or viola solo are included. Some works included are for another instrument or viola, as indicated by the original composer. Transcriptions by someone other than the original composer and works written for another alto clef instrument, but not for the viola, are not included. Each composition found was individually researched through electronic sources, and library catalogs. Those scores not in the author’s personal collection, or found in the Warren Allen Music Library at Florida State University, were requested through Inter- Library loan, or acquired from the publisher for perusal.

Format and Definition of Terms

Each entry includes the composer’s name, dates, the title of the Pulitzer Prizewinning composition, and the date the composer won the Pulitzer, followed by an annotated bibliography of each of the composer’s viola works. Each bibliography will include the work’s premiere, instrumentation, publisher/date, availability, duration, dedication/commission, introductory/program notes, selective bibliography, and a selective discography.

4 1. Premiere: If known, this details the work’s date of first performance, the performer(s) involved, and its location. If premiered for a special occasion, that detail is included. The date is first, followed by the viola soloist, the conductor or keyboardist, the name of the ensemble, and the location of the premiere.

2. Instrumentation: Details regarding the specific instruments the work was composed for are included here. If for full orchestra, the instrumentation will be listed in score order, ie., Michael Colgrass’s Chaconne for Viola and Orchestra requires: 3(2pic)- 2-2+bcl-1(cbn)/4-3-3-1/timp.4perc/cel.pf.hp/str. This would be interpreted as 3 (2 dbl. Picc.), 2 , 2 plus 1 , , 4 horns, 3 , 3 , 1 , timpanist and 4 percussion players, celesta, piano, and harp. Specifics regarding percussion instrumentation are included where available. Also included is if the work is available in other formats, such as ’s Lyric Fantasy, which is available for viola and piano, viola and small orchestra and for string quintet.

3. Publisher/date: Information regarding the specific publishing company, date of publication, or if the score is only a manuscript, is included here.

4. Availability: This entry is based on the time of the writing of this bibliography. It shows if a work is available for purchase, rental, as an archive or special request, from where, or unavailable. A catalog number for the particular publisher from which the score/parts are available is included if known.

5. Duration: If shown in the score, or on an available recording, the length of the piece in time is given here.

6. Dedication/commission: Details regarding the composer’s dedication or commissioning patron is included here.

5 7. Introductory/program notes: Prefatory notes and program notes from the score are summarized or reprinted by permission here.

8. Selective bibliography: Any pertinent articles or other documentation concerning the work under consideration is listed bibliographically, by author, here.

9. Selective discography: Recordings that include the work under consideration are listed here. This entry will be in standard bibliographic format for recordings. Recordings are included if known but out of print, as many of these are available through interlibrary loan. This list is not designed to be exhaustive, but as a starting point for those interested in obtaining a recording of the work in question. For each recording, the violist’s name is also given, along with the conductor’s name (if an orchestra) or the keyboardist’s name, the name of the orchestra or other ensemble. The names of the additional pieces are not included. The recordings Spars Code DDD, ADD or AAD is not included, nor is pricing information.

Summary

As of May 2002, the Pulitzer Prize has been awarded to fifty two composers. Research revealed forty seven viola compositions by twenty eight of the fifty two Pulitzer Prizewinning composers. These include thirteen , seven sonatas, four poems, four solo works, two suites, two duos, and seventeen other pieces. (A total of sixteen of the forty seven compositions are for viola and orchestra.) Further research revealed eight compositions and one album for viola by three of the nineteen Pulitzer Traveling Scholarship recipients. These include three sonatas, one suite and four other pieces. Only one work involving a solo viola has won the Pulitzer Prize, ’s Symphony Concertante for Trumpet, Viola and Piano. This work does not match the instrumentation established for inclusion in this treatise. However, it is the only work

6 that involves solo viola that has won the Pulitzer Prize, and therefore is included in this bibliography. At times, sources were misleading. Viola works by George Crumb and Christopher Rouse were found in bibliographies and on World Wide Web pages. After exhausting all available options in acquiring the scores, the composers were contacted through electronic mail. Both composers responded, indicating that the works in question had been student works and were withdrawn. Rouse stated further that, “In case you should come across a listing for a six-viola piece of mine, Dolus Apocatastasis, its fate has been the same.”3 It was very shocking to find an error in The New Groves Dictionary of Music and Musicians article for composer Robert Ward. According to the 2001 article, Robert Ward died in 1994.4 This was startling because, not only was he interviewed by another Florida State University Doctoral Candidate, Leslie Warlik, for her lecture recital in September 2000, but he was also chairman for the music jury. Robert Ward is still alive as of the writing of this treatise in 2002. One topic that is sure to stimulate debate in any gathering of violists is whether the compositions included in bibliographies such as this are originally for viola. Most of these works are originally viola works with some being for another instrument or viola. Leslie Bassett, for example, wrote a Sonata for Clarinet or Viola. Most works included in this bibliography are originally composed for viola. Some are for another instrument or viola. If this is the case, the viola part must have been written by the original composer. The instrumentation entry will indicate the other instrument for which the particular piece in question was written. If the composition was transcribed by someone other than the original composer, the composition is not included in this bibliography.

3Christopher Rouse, to author, 7 September 2001, electronic mail; and Becky Starobin, for George Crumb, to author, 21 September 2001, electronic mail.

4Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 2d ed., s.v. “Ward, Robert,” by Andrew Stiller, ( and : Macmillan, 2001), 27:86.

7 CHAPTER II

THE HISTORY OF THE PULITZER PRIZE IN MUSIC

The Pulitzer Prize is a highly coveted award, yet it is a quiet award. There is no celebration and no fantastic television coverage hosted by celebrities in front of millions of spectators. “Pulitzer winners receive their prizes from the president of at a modest luncheon in May, in the rotunda of the Low Library in the presence of family members, professional associates, board members, and the faculty of the School of Journalism.”5 It has been, at times, a very controversial award and at times has been withheld altogether because of the lack of nominations that met the standards of both the Jury and the Advisory Board. It is perhaps the most prestigious American award given to strictly American composers. Since 1943, every April and May, it has drawn the attention of Americans to American art music. Thereby not only serving the purpose of awarding American composers for their efforts, but also ensuring that American art music is perpetuated.

Joseph Pulitzer, His Last Will and Testament and Establishment of the Pulitzer Prizes

The Pulitzer Prize is a group of twenty one prizes that resulted from a provision in Joseph Pulitzer’s 1904 will, that established prizes as “incentives to excellence.”6

5The Pulitzer Prizes Page, Columbia University, 1998, internet, available from http://www.pulitzer.org, accessed 14 April 2001.

6Ibid.

8 Joseph Pulitzer (1847-1911) was the son of a wealthy grain merchant in Mako, Hungary. He moved to the as a direct result of his desire to be a soldier. While visiting Germany in 1864, he met recruiters for the American Union Army and enlisted to fight in the American Civil War. The war ended in 1865 and Pulitzer moved to St. Louis. He became a journalist in 1868 for the Westliche Post, a German language newspaper in which he later came to own a controlling interest. In 1878 he bought the St. Louis Dispatch and the Evening Post, combining them to make the Post-Dispatch. In 1883, Pulitzer also bought the New York World.7 In 1904 Pulitzer wrote his last will and testament and died in 1911. The first Pulitzer Prizes were awarded in 1917, using a portion of the two million dollars Pulitzer bequeathed to create a graduate school of journalism at Columbia University.8 At their inception in 1917, the Pulitzer Prizes were only four awards in journalism, four in letters and drama, one in education, and four traveling scholarships, of which music was one. The music scholarship was a bequest of five hundred thousand dollars to the Society.9

The Pulitzer Traveling Scholarship in Music from 1917 - 1942

The revised “Plan for the Award of the Pulitzer Prizes and Scholarships Established in Columbia University by the Will of the Late Joseph Pulitzer” established “An annual scholarship having a value of $1,500 to the student of music in America who may be deemed the most talented and deserving, in order that he may continue his studies abroad on the nomination of a jury composed of members of the teaching staff of the Department of Music in Columbia University and the teaching staff of the Institute of

7The Pulitzer Prize in Music: 1943-2000 Page, internet, available from http://www.american.edu/heintze/Pul1.htm, accessed 5 April 2001.

8Ibid.

9Ibid.

9 Musical Art.”10 Many of these scholarship recipients traveled to to study with . Pulitzer Traveling Scholarships in Music were awarded between 1917 and 1942, with apparently no award in 1919 and no awards between 1938 and 1942.11 According to Mahr, Traveling Scholarships were awarded to Meyer I. Silver, 1917; Samuel Gardner, 1918; , 1920; Foster Montgomery Hankins, 1921; Sandor Harmati, 1922; Wintter Watts, 1923; , 1924; Leopold Damrosch Mannes, 1925; Lucille Crews, 1926; Quinto E. Maganini, 1927; Lamar Stringfield, 1928; Carl Bricken, 1929; Mark Wessel, 1930; Elliott Griffis, 1931; Ernst Bacon, 1932; Robert Delaney, 1933; Percival Price, 1934; Samuel Barber, 1935 and 1936; , 1937. Most interestingly, the Scholarship was designated as an award for students, whereas the Pulitzer Prize in Music has been awarded exclusively to professional composers, most of whom were or have been well known as composers prior to their being a recipient of the award. Also interestingly, nine of the nineteen scholarship recipients do not have entries in the 1980 New Groves Dictionary of Music and Musicians, where only one Pulitzer Prizewinning composer is not found in the 2001 New Groves Dictionary of Music and Musicians. Of the scholarship recipients, only Bacon, Maganini and Finney wrote works for the viola. They and their viola works are included in this bibliography.

10Columbia University, Plan for the Award of the Pulitzer Prizes and Scholarships Established in Columbia University by the Will of the Late Joseph Pulitzer, rev. ed. (New York: Columbia University, 1941).

11Timothy Jon Mahr, “An Annotated Bibliography and Performance Commentary of the Works for and Wind Orchestra By Composers Awarded the Pulitzer Prize in Music 1943-1992, and a List of their Works for Chamber Wind Ensemble,” (D.M.A. diss., University of Iowa, 1995), 16, note. Mahr does not site his source for this information.

10 Pulitzer Prize Categories

In his wisdom and forethought, Pulitzer made provisions in his will that allowed for changes in the awards and scholarships. Pulitzer established an advisory board to the prizes, and gave the board “power in its discretion to suspend or to change any subject or subjects, substituting, however, others in their places, if in the judgement of the board such suspension or changes, or substitutions shall be conducive to the public good or rendered advisable by public necessities, or by reason of change of time. He also empowered the board to withhold any award where entries fell below its standards of excellence.” Since 1917, the board has increased the number of prizes to twenty one, and introduced poetry, music and photography as prize winning categories.12 The Prizes are:

JOURNALISM Public Service Breaking News Reporting Investigative Reporting Explanatory Reporting Beat Reporting National Reporting International Reporting Feature Writing Commentary Criticism Editorial Writing Editorial Cartooning Breaking News Photography Feature Photography

LETTERS, DRAMA & MUSIC Fiction Drama History Biography or Autobiography Poetry General Non-Fiction Music

12Pulitzer Prizes Page.

11 The Pulitzer Prize in Music Citation

The Pulitzer Prize Board created the Pulitzer Prize in Music in 1943, with the first award being presented to .13 There is no established criteria by which competing compositions are judged. The only established definition to assist composers and judges in determining a work’s eligibility is the Music Citation Definition provided by the Pulitzer Prize Advisory Board. The current citation reads:

“For a distinguished composition of significant dimension by an American that has had its first performance in the United States during the year.”14

The jury determines each composition’s musical merits and whether the work should be considered significant or distinguished. Along with recognition of the work as a significant addition to American music, comes a monetary prize. In 1943 the prize was $500. In 2001, the prize was $7,500.

Structure, Powers and Responsibilities of the Advisory Board and the Juries

More than two thousand entries compete for the twenty one Pulitzer Prizes annually. The competition lasts nearly a year, starting with the appointment of 102 judges, serving on twenty separate juries. Each of the twenty juries submits a final jury report to the nineteen member Pulitzer Prize Advisory Board (Table 1). In their report, the juries usually recommend three candidates from their respective fields, sometimes more, sometimes less.

13Pulitzer Prize in Music Page.

14Pulitzer Prizes Page.

12 Table 1. Year 2001 Advisory Board Board Member Title, Position, Organization Andrew Barnes Chairman and CEO, St. Petersburg Times Louis D. Boccardi Chairman and CEO, Joann Byrd Editor of the Editorial Page, Seattle Post-Intelligencer John S. Carroll Editor and Executive Vice President, Times Henry Louis Gates Jr. W.E.B. DuBois Professor of Humanities, Tom Goldstein Dean, Graduate School of Journalism, Columbia University Doris Kearns Goodwin Historian and Biographer Donald E. Graham Chairman, Company Jay T. Harris Former Publisher, San Jose Mercury News William B. Ketter Vice President and Assistant to the Publisher, Richard Oppel Editor, Austin American-Statesman Rena Pederson Editorial Page Editor/Vice President, The Dallas Morning News Mike Pride Editor, Concord (N.H.) Monitor Sandra Mims Rowe Editor, George Rupp President, Columbia University William Safire Columnist, Edward Seaton Editor in Chief, Manhattan (Kan.) Mercury Paul Steiger Managing Editor, Seymour Topping Administrator, The Pulitzer Prizes

The music jury is typically made up of four prominent American composers, and one newspaper critic (Table 2). The music jury meets in New York to listen to recordings and study scores. Once they determine the most significant contribution(s) to American music for that year, they make their nomination(s) for the prize, mailing their jury report in the form of a letter to the secretary of the Pulitzer Prizes.

13 Table 2. Year 2001 Music Jury Jury Member Title, Position, Organization *Robert Ward Composer, Professor Emeritus of Music, (Chairman) David N. Baker Distinguished Professor and Chair of Studies Department, University of Indiana * Institute Professor of Music, Massachusetts Institute of Technology *Tim Page Culture Critic, the Washington Post * Composer and Professor of Music, University of *past Pulitzer Prizewinner

The nominated composers are not in a specific order, but the jury does report their overall feelings as to who they believe is the best candidate for the prize and why. Once the Board selects the winner, jury reports are sealed for three years, after which they are opened as public records and maintained by the Pulitzer Prize Offices at Columbia University, New York.

Once nominations are submitted, a subcommittee from the nineteen member Board listens to the nominated works, and leads discussions during two days of deliberation. The board then chooses to award the Prize, usually to the composer considered by the jury as the best candidate. The board however may choose to not award the prize at all, or it may select a different finalist, or they may select a composer other than from the finalists nominated by the jury. The prize was not awarded in 1953, 1964, 1965, or in 1981.

Pulitzer Prizes in Music Withheld

The 1953 music jury was split and could not convince the board that any nominated work merited the award. It was the first year since 1943 that a Pulitzer in Music was withheld. In 1964, board members Irving Kolodin of the Saturday Evening Review and Miles Kastendieck of the New York Journal-American, were split on their

14 decision. Kolodin argued to withhold the award, but Kastendieck defended Menotti’s comic The Last Savage for the award. Kastendieck’s, argument, however, conceded that Menotti’s opera was “no masterpiece” but “good entertainment,” and the board withheld the prize for a second time.15

The Board again refused to grant an award in music in 1965. In response, William Schuman, then President of Lincoln Center, said, “For the past two years, the advisory board has done harm to the cause of American music by its failure to make an award in either year. If there were no , the world of music would be in a better state than it is in a year when no award is given. The negative effect of no- prize discourages public acceptance of new music and is a black eye for our composers.”16

Controversial Pulitzer Prizes in Music

The 1992 Board exercised its authority in a different way. The 1992 music jury recommended Ralph Shapey’s , but the board awarded the Pulitzer to ’s The Face of the Night, the Heart of the Dark for orchestra. “The music jury responded with a public statement stating that the jury had not been consulted in that decision and that the Board was not professionally qualified to make a decision.” The Board’s response. . . “Pulitzer’s are enhanced by having, in addition to the professional’s point of view, the layman’s or consumer’s point of view.” The decision stood and Peterson kept the award.17

15John Hohenberg, The Pulitzer Prizes, A History of the Awards in Books, Drama, Music, and Journalism, Based on the Private Files Over Six Decades, (Columbia University Press: New York and London, 1974), 284.

16Ibid., 287.

17The 1992 Music Jury was , and , Pulitzer Prize in Music.

15 There is no limit as to how many times a composer may win the award. The double winners are in bold type in Table 3. They include Gian-Carlo Menotti, Samuel Barber, and .18 To date, no composer has won more than twice. Technically, Samuel Barber has won the most Pulitzers, because, he was also awarded two Pulitzer Traveling Scholarships.19

Special Awards and Citations in Music

Over the years there has been an additional Pulitzer Award in Music, that being the Special Awards and Citations in Music. This special award has been given just six times. Each of these citations is for the composers’ “life’s work” and for significant “contributions to American music.” Recipients are: , 1974; , 1976; Milton Babbitt, 1982; William Schuman, 1985; , 1998; and , 1999.

18The Pulitzer Prize in Music Page.

19Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, s.v. “Barber, Samuel,” by Richard Jackson, (London and New York: Macmillan Publishers, 1980), 2:134; Mahr, 16, note.

16 Table 3. Pulitzer Prizewinning Composers and their Prizewinning Compositions. Year Composer Composition 1943 Schuman, William Secular Cantata No. 2: A Free Song for Full Chorus of Mixed Voices, with Accompaniment of Orchestra 1944 Hanson, Howard Symphony No. 4, Op. 34 1945 Copland, Aaron 1946 Sowerby, Leo The 1947 Ives, Charles Symphony No. 3 1948 Piston, Walter Symphony No. 3 1949 Thomson, Virgil 1950 Menotti, Gian-Carlo 1951 Moore, Douglas Giants in the Earth 1952 Kubik, Gail Symphony Concertante for Piano, Trumpet, Viola and Orchestra 1954 Porter, Quincy Concerto Concertante for Two with Orchestra 1955 Menotti, Gian-Carlo The Saint of Bleeker Street 1956 Toch, Ernst Symphony No. 3 1957 Dello Joio, Norman Meditations on Ecclesiastes 1958 Barber, Samuel 1959 La Montaine, John Concerto for Piano and Orchestra 1960 Carter, Elliott No. 2 1961 Piston, Walter Symphony No. 7 1962 Ward, Robert 1963 Barber, Samuel Piano Concerto No. 1, Op. 38 1966 Bassett, Leslie Variations for Orchestra 1967 Kirchner, Leon Quartet No. 3 for Strings and Electronic Tape 1968 Crumb, George Echoes of Time and the River 1969 Husa, Karel String Quartet No. 3 1970 Wuorinen, Charles Times Encomium 1971 Davidovsky, Mario Synchronisms No. 6

17 Table 3--continued. Year Composer Composition 1972 Druckman, Jacob 1973 Carter, Elliott String Quartet No. 3 1974 Martino, Donald Notturno 1975 Argento, Dominick From the Diary of Virginia Woolf 1976 Rorem, Ned 1977 Wernick, Richard Visions of Terror and Wonder 1978 Colgrass, Michael Deja Vu for Percussion and Orchestra 1979 Schwantner, Joseph 1980 Del Tredici, David In Memory of a Summer Day 1982 Sessions, Roger 1983 Zwilich, Ellen Symphony No. 1 1984 Rands, Bernard 1985 Albert, Stephen Symphony River Run 1986 Perle, George No. 4, for Flute, , Clarinet, Horn and 1987 Harbison, John The Flight into Egypt 1988 Bolcom, William 12 New Etudes for Piano 1989 Reynolds, Roger 1990 Powell, Mel D Duplicates: A Concerto 1991 Shulamit, Ran Symphony 1992 Peterson, Wayne The Face of the Night 1993 Rouse, Christopher Concerto 1994 Schuller, Gunther Of Reminiscences and Reflections 1995 Gould, Morton String Music 1996 Walker, George for and Orchestra 1997 Marsalis, Wynton 1998 Kernis, Aaron Jay String Quartet No. 2, Musica Instrumentalis 1999 Wagner, Melinda Concerto for Flute, Strings and Percussion 2000 Spratlan, Lewis

18 Table 3--continued. Year Composer Composition 2001 Corigliano, John Symphony No. 2 for String Orchestra 2002 Brant, Henry Ice Field

19 CHAPTER III

AN ANNOTATED BIBLIOGRAPHY OF WORKS

BY PULITZER PRIZEWINNING COMPOSERS FOR SOLO VIOLA, VIOLA

WITH KEYBOARD, AND VIOLA WITH ORCHESTRA

Babbitt, Milton

(b. 1916)

Pulitzer Special Award 1982

Composition for Viola and Piano (1950)

Premiere: November 1950, Abram Loft, viola and Alvin Bauman, piano.

Instrumentation: Viola and Piano.

Publisher/Date: New York: C. F. Peters, 1972.

Availability: Available in score format only, C. F. Peters, EP 66408.

Duration: 9' 30".

Dedication/Commission: None.

Introductory/Program Notes: None.

20 Selective Bibliography:

Borders, Barbara. “Formal Aspects in Selected Instrumental Works of Milton Babbitt.” Ph.D. diss., University of Kansas, 1979.

Glick, Jacob. “An Overview of Twentieth-Century Viola Works, Part I.” Journal of the American Viola Society. 17, no.1 (2001): 17.

Graham, John. “Notes on an Anthology.” Journal of the American Viola Society 6, no. 2 (1990): 7.

Hinson, Maurice. The Piano in Chamber Ensemble an Annotated Guide. Bloomington and Indianapolis, Indiana: Indiana University Press, 1978.

Mead, Andrew Washburn. An Introduction to the Music of Milton Babbitt. Princeton, N.J.: Press, 1994.

Selective Discography:

Babbitt, Milton. Composition for Four Instruments and Composition for Viola and Piano, Walter Trampler, viola; Alvin Bauman, piano. New York: Composers Recordings Inc., CRI 138, 1961. Long playing record.

American Contemporary Music for Viola. John Graham, viola; , piano. New York: Composers Recordings Inc., CRI SD 446, 1981. Long playing record.

Music for Viola, a Twentieth Century Anthology. Vol. 1. John Graham, viola; Robert Black, piano. New York: Composers Recordings Inc. CRI ACS 6016, 1988. Cassette.

This is a twelve-tone work that John Graham found exciting. “The first challenging aspect of Composition which attracted me was the rhythmic invention, its

21 sense of endless asymmetry and that ‘cool’ in the syncopation that recalled to me the ‘modern’ jazz of the 1950s.”20

According to the notes on Composers Recordings, CRI-138, “This is a one movement work in three large sections. The first and the last sections are characterized by muted viola. There are piano and viola cadenzas, but no repetitions or patterns that would yield a recognizable form.”21 In contrast to these notes, in Table 4, Mead shows that Composition for Viola and Piano is made up of seven sections, differentiated by tempo, ensemble, duration (number of measures per section), style, and muting. The twelve-tone attributes of this piece are clearly articulated by Mead, pages 76-89, along with helpful definitions and explanations of compositional practices associated with Babbitt’s system.

Barbara Border’s dissertation illustrates Babbitt’s use of form. “The vast majority of Babbitt’s works display a one-movement form divided into sections of varying number, which are differentiated by the deployment of the set structure of one or more musical parameters.”22 In contrast to Mead’s sectional analysis, Borders breaks Babbitt’s Composition for Viola into only five sections. The form is the same as that illustrated by Mead, but Border’s third section includes all of measures 118 to 179, making Mead’s sections 3, 4, and 5, one large section. Borders further shows that this form is not new, being seen in earlier compositions by Liszt and Scarlatti.23 Maurice Hinson describes this

20John Graham, “Notes on an Anthology,” Journal of the American Viola Society 6, no. 2 (1990): 7.

21Milton Babbitt, Composition for Four Instruments and Composition for Viola and Piano, and Bavicchi, Trio No. 4, Op.33 and Short Sonata for Violin and Harpsichord, Walter Trampler, viola and Alvin Bauman, piano, New York: Composers Recordings Inc., CRI-138, 1961, long playing record, notes.

22Barbara Borders, “Formal Aspects in Selected Instrumental Works of Milton Babbitt,” (Ph.D. diss., University of Kansas, 1979), 40.

23Borders, 40-41.

22 work as “fluid, rhythmic, forceful and compelling,” with the basic twelve tone row series most easily heard in the opening and closing sections.24

Table 4. Composition for Viola and Piano: Major Sections25 Section:12 34567 Tempo: =64 =96 =64 =96 =64 =96 =64 q q q q q q q Viola: con sord senza solo con sord tutti tutti Piano: una corda tutte le corde solo una corde Bars: 1-20 21-117 118-35 136-57 158-79 180-258 259-275

Mead, Andrew Washburn; An Introduction to the Music of Milton Babbitt, Copyright © 1994 by Princeton University Press Reprinted by permission of Princeton University Press

Play it Again, Sam (1989)

Premiere: 1 January 1991, Samuel Rhodes, viola.26

Instrumentation: Solo viola.

Publisher/Date: New York: C. F. Peters, 1994.

Availability: C. F. Peters, EP 67475.

Duration: ca. 8'00".

Dedication/Commission: To and for Samuel Rhodes, Juilliard Quartet.

24Maurice Hinson, The Piano in Chamber Ensemble an Annotated Guide (Bloomington and Indianapolis, Indiana: Indiana University Press, 1978), 96.

25Andrew Washburn Mead, An Introduction to the Music of Milton Babbitt (Princeton, N.J.: Princeton University Press, 1994), 79.

26“Composer Update,” Pan Pipes, 83, no. 2 (Winter 1991):18.

23 Introductory/Program Notes: None.

Selective Bibliography:

Glick, Jacob. “An Overview of Twentieth-Century Viola Works, Part I,” Journal of the American Viola Society, 17, no. 1 (2001): 17.

"New Works.” Journal of the American Viola Society 11, no. 3 (1995): 78.

Selective Discography:

Music of Babbitt: “Around The Horn/Four Cavalier Settings/None But The Lonely Flute/Whirled Series/Homily/Beaten Paths/Play It Again Sam.” Lois Martin, viola. Koch International Classics 7335, July 1996. Compact disc.

“This work is eight minutes of registrally dispersed, cerebrally determined gestures. It is mathematically demanding and technically challenging because of its (now seemingly dated) idiom. This piece would be interesting to a fan of set theory.”27

Andrew Mead describes Play it Again Sam as Babbitt using the same “array type [Babbitt’s structural entity] found in Melismata for one more pass through the webs of possible relations in that segment of Babbitt’s compositional world.” The title Play it Again Sam, continues Mead, is not only reflective of the re-use of this array type, but also in the “repetition of notes and dyads [sic] within short spans of time.” “Rhythmically, instrumentally and strategically, each piece sets out across the same terrain with a different set of both goals and means to achieve them.” For a complete description of Babbitt’s compositional technique, aggregates, blocks, lynes and arrays, pertinent to Play it Again Sam, see Mead’s description and analyses of some of Babbitt’s second period works, pages 162-171.28

27"New Works,” Journal of the American Viola Society 11, no. 3 (1995): 78.

28Mead, 162-171, 246.

24 Bacon, Ernst

(1898-1990)

Pulitzer Traveling Scholarship, 1932 for Symphony in D

Koschatiana (Date of composition unknown.)

Premiere: Unknown.29

Instrumentation: or Viola and Piano.30

Publisher/Date: Los Angeles: Delkas Music Publishing Co., 1945.

Availability: Out of print.31

Duration: Unknown.

Dedication/Commission: Believed to be written for his second wife, cellist, Analee Camp. Introductory/Program Notes: None.

Selective Bibliography: None found.

Selective Discography: None found.

29Ellen Bacon, to author, 14 September 2002, electronic mail. Ellen Bacon, the widow of Ernst Bacon, believes she remembers seeing Koschatiana on an old program from a concert in the late 1940's played by Bacon, piano and his second wife, Analee Camp, cello.

30Ellen Bacon, to author, 12 October 2002, electronic mail. The Austrian tune used for Koschatiana was also used by Bacon as a setting for Barry Corwall’s eighteenth- century poem Far Away. This setting is for male or female voices and piano, and was published in 1985 by Boosey and Hawkes.

31Delkas Music no longer exists. Its parent company was MCA Music Publishing, renamed Universal Music Publishing in 1999. Universal Music Publishing’s is distributed by Warner Brothers. Warner Brothers has no record of the existence of Koschatiana. Ellen Bacon plans to make it available through the Ernst Bacon Society in the next few years.

25 Bacon spent a good deal of time in Vienna as a child and for two years, in his 20's, he studied composition there. Bacon’s mother was Viennese (one-quarter Esterhazy), and the Bacons spent numerous summer vacations outside Vienna visiting her family. Bacon grew up listening to his mother sing American and Austrian folk songs, especially songs of Stephen Foster and Thomas Koschat. Koschat was an Austrian song writer, and is considered to be the Stephen Foster of Austria. Ellen Bacon, Bacon’s widow, describes the Koschat songs as gentle and lovely. She does not know which songs Bacon used as the basis for Koschatiana, but she believes “Ernie” made one or more settings of Koschat’s songs for his second wife, cellist, Analee Camp.32

Peterborough, N. H. (1952)33

Premiere: 1952, at the MacDowell Dinner, Temple Emanuel, New York.34

Instrumentation: Viola and Piano.

Publisher/Date: Unpublished.35

32Ellen Bacon, to author, electronic mails.

33Franz Zeyringer, Literatur für viola, new edition, (Hartberg, Austria: Julius Schönwetter, June, 1985), 143. Zeyringer refers to an unnamed and undated Suite by Bacon for viola and piano. The Ernst Bacon Society refers to Peterborough, N. H. as a suite for viola and piano. No other suite for viola and piano by Bacon exists.

34“AmerAllegro, Composers Update,” Pan Pipes 45, no. 2 (January 1953): 39, shows this piece as a suite for violin and piano. However, the composer’s World Wide Web site shows Peterborough as a suite for viola and piano. Both sources provide the same premiere information. Ellen Bacon confirmed this work as definitely written for viola and piano. The Ernst Bacon Society, internet, available from http://www.ernstbacon.org, accessed 13 September 2002.

35David Coppen, to author, 11 November 2002, electronic mail; and Zeyringer, 143. Zeyringer indicates that the manuscript rests in the Sibley Music Library at the , , New York. David Coppen, Special Collections Librarian, Sibley Music Library, writes that he could not “substantiate Franz Zeyringer’s citation.” “The SML holds neither any bibliographic record nor any accession record to either Peterborough or Suite...there is no evidence of the manuscript

26 Availability: Currently unavailable, however, Ellen Bacon plans to make Peterborough available in the “next few years” through the Ernst Bacon Society.

Duration: 19' 00".

Dedication/Commission: In Memory of Mrs. Edward MacDowell.

Introductory/Program Notes: There are two versions of Peterborough. Both include poetic quotes for each movement.

I. The Farm - “Men work together, I told him from the heart, wether [sic] they work together or apart.” - . II. The 11:38 Daily - “When I hear the iron horse making the hills echo with his snort like thunder, shaking the earth with his feet, and breathing fire and smoke from his nostrils, it seems as if the earth had got a race now worthy to inhabit it.” - Thoreau. III. The Rill - “A something in a summer’s noon, An azure depth, a wordless tune.” - . IV. Monadnock at Dusk - “Ages are thy days, - O Garren mound! Thy plenties fill.” - Emerson. V. Glad Day - “That glad, happy air, that winsome sky.” -

Ia. The Farm - Same as above. IIa. The 11:45 Daily* - “I Like to see it lap the miles, And lick the valleys up.” - Emily Dickinson. *Used to carry one passenger car, with singing conductor, Worchester, Mass. To Peterborough, a leisurely swamp-rabbit between towns. Now not even rails are left, nor most of the ties. [Ernst Bacon, notes] IIIa. Monadnock at Dusk* - same quote as IV above. *Visible from MacDowell’s work cabin, through the gap cut in the woods. [Ernst Bacon, note]36 IV. The Rill - “It flows along forever, With trees on either hand.” - R. L. Stevenson.

having been acquired.”

36Ellen Bacon, to author, electronic mails. Composers, such as Bacon, and visual artists worked in “work cabins” located on the MacDowell Farm.

27 V. Not New England - “An art that denies its forebears can hardly look forward to heirs.” - N. O. Cable.

Selective Bibliography:

Horgan, Paul. Ernst Bacon; a Contemporary Tribute. DeWitt, NY: Ellen Bacon, n.d.

Vargason, Gary Dale. “A Bibliography of the Works of Ernst Bacon.” M. A. thesis, State University of New York at Buffalo, 1999.

Selective Discography: None found.

As most of Bacon’s compositions do, Peterborough, draws upon folk song, nature and poetry. It is a suite for viola and piano, composed during one of Bacon’s visits to the MacDowell Colony in Peterborough, New Hampshire. The five movements depict Bacon’s picturesque impression of the town. There are two versions, one long and one short. Of the two versions, it is not known which came first, but it is suspected by Ellen Bacon that the longer version is a revision.

Sonata for Viola and Piano (1987)

Premiere: 24 October 1989, Nanci Severance, viola, and Robin Sutherland, piano, Veterans Building, Green Room, .37

Instrumentation: Viola and piano.

37 “Composers Update,” Pan Pipes 82, no. 2 (Winter 1990): 18; and 80 no. 2, (Winter, 1988): 18. These references show Bacon’s Sonata for Viola and Piano as being premiered in both 1989 and 1987, respectively. The date chosen for this bibliography is 1989. Allan Ulrich,“Nonagenarian Novelty: Ernst Bacon’s Lyric Sonata is a Boon for Violists,” San Francisco Examiner, 26 October 1989, F3. Ulrich writes that the intended premiere was 1987, but after an injury to the violist, the sonata was withdrawn until 1989.

28 Publisher/Date: Unpublished manuscript.

Availability: Ernst Bacon Society.

Duration: 24' 00".

Dedication/Commission: Commissioned by and dedicated to Markus Hawkins and the Contra Costa Performing Arts Society.

Introductory/Program Notes: None.

Selective Bibliography:

Ulrich, Allan. “Nonagenarian Novelty: Ernst Bacon’s Lyric Sonata is a Boon for Violists,” San Francisco Examiner (26 October 1989): F3.

Tucker, Marilyn. “Duo Brings Home Bacon Sonata,” San Francisco Chronicle (October 1989): G6.

Selective Discography: None found.

Ernst Bacon’s Sonata for Viola and Piano was his last major work, written when he was 88 years old and nearly blind. While writing the sonata, Bacon had one “good” eye that he used to see just three super-enlarged staves at a time. Violist Markus Hawkins intended to premiere the work, but he too was going blind and could not learn the piece. Ellen Bacon describes the work: “Like his other very late works, it has a great deal of substance and is profound, as well as vigorous.” The first movement’s main theme is based on Bacon’s art-song setting of ’s “The Divine Ship.” The second movement is a scherzo based on rural American country fiddling tunes. The third movement is elegaic, with a yearning and sorrowful character. Bacon derived thematic

29 material for the last movement from folk melodies in the minor mode, with the most prominent being from the spiritual “Hold On.”38

Allan Ulrich, staff critic for the San Francisco Examiner, wrote, “Violists everywhere will probably stand in line for Bacon’s sonata, so impoverished is their chamber repertoire and so resourcefully does he exploit the instrument’s capacity for subdued lyricism.” However, there is some criticism as to the length of the sonata, with Ulrich calling it “a most agreeable, sophisticated, conservatively constructed, if somewhat protracted effort.”39

The first movement is agitated at first, turning “unabashedly lyrical,” with a “feverishly syncopated” accompaniment. The piano dominates the dance-like second movement with “bluesy inflections.” The third movement’s cantalina style brings to the fore the viola’s singing qualities. The “folk-tinged” finale has “vibrancy and economy missing elsewhere.”40

38Ellen Bacon, Centennial Celebration of Ernst Bacon 1898-1990, Course College Auditorium, 4 and 6 October 1998, program notes; and Ellen Bacon to author, 14 September 2002, electronic mail.

39Ulrich.

40Ibid.

30 Bassett, Leslie

(b. 1923)

Pulitzer Prize, 1966 for Variations for Orchestra

Sonata for Viola and Piano (December, 1956)

Premiere: 13 December 1957, Robert Courte, viola and Lydia Courte, piano, Rackham Auditorium, University of , Ann Arbor, Michigan.41

Instrumentation: Viola and Piano.

Publisher/Date: American Composers Alliance, 1957.42

Availability: American Composers Alliance.

Duration: 18'00".

Dedication/Commission: Dedicated to Robert and Lydia Courte.43

Introductory/Program Notes: None.

Selective Bibliography:

Johnson, Ellen S. Leslie Bassett: a Bio-bibliography. Bio-Bibliographies in Music, series advisor Donald L. Hixon, no. 52. Westport, Conn: Greenwood Press, 1994.

41Ellen S. Johnson, Leslie Bassett a Bio-Bibliography, Bio-Bibliographies in Music, series advisor Donald L. Hixon, no. 52 (Westport, : Greenwood Press, 1994), 74.

42Ibid.

43"AmerAllegro - Composer Update,” Pan Pipes 51, no. 2 (January 1959): 50.

31 Selective Discography: None.44

Carter, Elliott

(b. 1908)

Pulitzer Prize, 1960 for String Quartet No. 2

Pulitzer Prize, 1973 for String Quartet No. 3

Elegy for Viola and Piano (1943 - Revised 1961)

Premiere: 16 April 1963, George Humphry, viola and Alice Canady, piano, The Radcliffe Institute for Independent Study.45

Instrumentation: Viola and Piano, or cello and piano, or string quartet, or string orchestra.46

Publisher/Date: Peer International, 1964.

Availability: Peer International, 60408-613+.47

Duration: 5'.

Dedication/Commission: None.

Introductory/Program Notes: None.

44Leslie Bassett, to author, 13 January 2003, electronic mail. According to Leslie Bassett, this work has not been commercially recorded. No other recordings of it were found by this author.

45William T. Doering, Elliott Carter: a Bio-bibliography, Bio-bibliographies in Music, series advisor Donald L. Hixon, no. 51 (Westport, Conn: Greenwood Press, 1993), 42.

46Ibid.

47Peer International is a publishers imprint of Theodore Presser.

32 Selective Bibliography:

Doering, William T. Elliott Carter: a Bio-bibliography. Bio-bibliographies in Music, series advisor Donald L. Hixon, no. 51. Westport, Conn: Greenwood Press, 1993.

Link, John F. Elliott Carter: a Guide to Research. Composer Resource Manuals. New York: Garland Publishing, Inc., 2000.

Rosen, Charles. The Musical Languages of Elliott Carter. Washington, DC: Music Division, Research Services, , 1984.

Selective Discography:

Carter, Elliott. Paul Cortese, viola; Jon Klibonoff, piano. CD 636, 1991. Compact disc.

Romances and Elegies for Viola and Piano. “Elegies,” ECM New Series, Kim Kashkashian, viola; Robert Levin, piano. ECM 4-25043, 1986. Cassette.48

American Music for Viola and Piano. L. Wheeler, viola; R. Thofohrde, piano. Albany Music Dist., ALBA 141, 1 January 1994. Compact disc.

The 2001 edition of The New Groves Dictionary of Music and Musicians lists Carter’s Elegy as a piece for cello and piano from 1943, transcribed for viola in 1961.49 However, Charles Rosen’s book, The Musical Languages of Elliott Carter, includes an exhaustive annotated bibliography of all of Carter’s manuscripts. Included are quotes from Elliott Carter which he had written on his Elegy manuscripts. Under Elegy for Cello and Piano we find in quotes “Adagio for Cello and Piano, arranged from Adagio

48Ibid, 60.

49Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 2d ed., s.v. “Carter, Elliott,” by David Schiff, (New York and London: Macmillan, 2001), 5:205.

33 for Viola and Piano.” Under Elegy for Viola and Piano we find in quotes “Adagio for Viola and Piano (1944), original version.” We also find “revision 1961.” There is a second entry for Elegy for Viola and Piano in Rosen’s bibliography. This second entry is described as a “holograph score on transparencies, 1943 revised 1961.”50 So, the date is either 1943, or 1944. The original version appears to be an adagio for viola and piano, yet in a 1998 conversation with John Link, Carter said he believes the cello and piano version was the original.51

Elegy, dating earlier than Carter’s first quartet, is in a neo-Classic style. Carter studied with Nadia Boulanger in the 1930's, resulting in his period of neo-classicism. Between the Piano Sonata of 1944/1945 and the first string quartet of 1950, Carter’s style changed, evolving into a “synthesis of European and American ultra- modernists.”52 Elegy, however, dates from 1943 or 1944, just before Carter’s change of style and sounds completely different from the two avant garde Pulitzer Prizewinning quartets.

Pastoral (1940)

Premiere: 1942, Ralph Hersh, viola, and Elliott Carter, piano, League of Composers Concert, New York, NY.53

Instrumentation: English Horn (or viola or clarinet) and Piano; English Horn, and String Orchestra; Brass Quintet.

50Charles Rosen, The Musical Languages of Elliott Carter (Washington, DC: Music Division, Research Services, Library of Congress, 1984), 55-7.

51John F. Link, Elliott Carter: a Guide to Research, Composer Resource Manuals (New York: Garland Publishing, Inc., 2000).

52Sadie, “Carter,” 202.

53Doering, 41.

34 Publisher/Date: Originally published in New Music, 18, no. 3 (April 1945), Merion Music, 1945, 1982;54 and New York: New Music, 1945, revised 1961.

Availability: Theodore Presser, 144-40005.

Duration: 12'.

Dedication/Commission: Adapted for viola at the request of .55

Introductory/Program Notes: None.

Selective Bibliography:

Doering, William T. Elliott Carter: a Bio-bibliography. Bio-bibliographies in Music, series advisor Donald L. Hixon, no. 51. Westport, Conn: Greenwood Press, 1993.

Glick, Jacob. “An Overview of Twentieth-Century Viola Works, Part I,” Journal of the American Viola Society, 17, no. 1 (2001): 17-23.

Link, John F. Elliott Carter: a Guide to Research. Composer Resource Manuals. New York: Garland Publishing, Inc., 2000.

Pollack, Howard. Harvard Composers: Walter Piston and His Students from Elliott Carter to Frederic Rzewski. New Jersey and London: The Scarecrow Press, Inc., 1992.

Rosen, Charles. The Musical Languages of Elliott Carter. Washington, DC: Music Division, Research Services, Library of Congress, 1984.

54Ibid.

55Link, 42.

35 Selective Discography:

Carter, Elliott. Pastoral. Library of Congress Music Division Concert, 1978-10-07, 8:00 p.m. Samuel Rhodes, viola; , piano. Coolidge Auditorium, Washington D.C.: Library of Congress, 7 October 1978. Two sound tape reels.

Elliott Carter, during the time he composed Pastoral, was highly influenced by Copland, Piston, Hindemith and Stravinsky. The influence of Piston and Copland are readily apparent in the “slightly nervous 5/8 rhythms, open intervals, and in the way vaguely modal melodies outline triads.” Delicate passage work, especially where the piano has both staves in the treble clef, displays a restraint specifically attributable to Piston. “Carter, in fact, referred to Pastoral as his ‘Walter Piston piece’.” Pastoral is also influenced by jazz, especially noticeable in the “ragtime-like “Giocoso” sections.”56 Jacob Glick writes that Pastoral “deserves to be heard more often. It’s a bouncy piece that could be equated with the Ragtime (third violin dance) in Stravinsky’s L’Histoire du Soldat.”57 The opening Allegretto unifies the work, with tempos that gradually accelerate, then return to the original tempo.58

56Howard Pollack, Harvard Composers: Walter Piston and His Students from Elliott Carter to Frederic Rzewski (New Jersey and London: The Scarecrow Press, Inc., 1992).

57Jacob Glick, “An Overview of Twentieth-Century Viola Works, Part I,” Journal of the American Viola Society, 17, no. 1 (2001): 18.

58Hinson, 100.

36 Colgrass, Michael

(b. 1932)

Pulitzer Prize, 1966 for Deja Vu for Percussion and Orchestra

Chaconne for Viola and Orchestra (August 1984, Toronto)

Premiere: 27 September 1984, Rivka Golani, viola and Andrew Davis, conductor, The Toronto Symphony Orchestra, Roy Thomson Hall, Toronto, Canada. The United States premiere was 2 April 1987, Rivka Golani, viola and Andrew Davis, conductor, The Boston Symphony.59

Instrumentation: Solo viola, 3(2 pic)2(+1bcl)21(cbn)/4331/pno/hrp/celesta/timp/4 perc. (Percussion needed: orchestra bells, , chimes, marimba, crotales, 2 triangles, ratchet, 3 wood blocks, 3 cowbells, 2 (mounted), bongos, , field drum, for jazz, large cymbal (24' recommended), , , 4 timp).

Publisher/Date: NY: Carl Fischer, 1984.

Availability: Carl Fischer, score, parts and piano reduction, rental only.60

Duration: ca. 30'.

Dedication/Commission: To Rivka Golani, commissioned by the Toronto Symphony.

Introductory/Program Notes:

CHACONNE for viola and orchestra was commissioned by the Toronto Symphony for violist Rivka Golani. Also, an outstanding painter, Golani

59Michael Colgrass, to author, 12 September, 2002, electronic mail.

60The piano reduction is for rehearsal only as Colgrass requests that it not be performed with viola and piano. Michael Colgrass, Chaconne for Viola and Orchestra, piano reduction, (Paoli, PA: Carl Fischer, Inc., Colgrass Music, 1984), introductory notes.

37 approached me with the idea of inspiring this new viola work through her painting. As I set to work, she arrived at my studio with numerous paintings, which she was turning out at the rate of six or seven per day. One of these, a powerful 3-canvas abstract that resembled a blood red whale thrashing to the surface of the water, sent a musical motif flashing through my mind. Although I made no conscious effort to model CHACONNE after this painting, I found this motif developing into a set of variations that seemed to traverse three centuries of musical styles. Only at the very end did I find the chaconne theme, a seven bar melody which sounded very much like J. S. Bach. I realized of course that the greatest chaconne ever written is from the famous Bach Partita, and that 1985 is Bach’s 300th birthday, so I consider this piece a celebration of that event. Amazingly, I seem to have written this piece backwards: variations first, theme last, going from a contemporary idea inspired by a modern painting to a 17th century idea inspired by a great baroque composer. Such are the mysterious workings of the creative process!61

Copyright © 1984 by Colgrass Music Reprinted with the permission of Carl Fischer, LLC.

Selective Bibliography:

Markow, Robert. “Toronto Symphony: Colgrass Chaconne for Viola and Orchestra.” High Fidelity (Musical America Edition) 35 (January 1985): MA17-MA18.

Neumann, Mark. “Five Canadian Viola Concertos of the 1980's: an Analytical Study and Performance Guide.” D.M.A. diss., The , 1995.

North, James. Review, . Quoted in Michael Colgrass, Compositions, Views and Reviews of a Few Works by Michael Colgrass. Internet. Available from http:// www.michaelcolgrass.com/4.html#ch. Accessed 10 September 2002.

61Michael Colgrass, Chaconne for Viola and Orchestra, (Paoli, PA: Carl Fischer, Inc., Colgrass Music, 1984), introductory notes.

38 Selective Discography:

Colgrass, Michael. “Chaconne” Music for Viola and Orchestra. Rivka Golani, viola, and Andrew Davis , The Toronto Symphony Orchestra. Canadian Broadcasting Corporation/Société Radio-Canada 2-5087, 1989. Compact disc.

Cassette tape available from Carl Fischer.

On its premiere, Robert Markow wrote that he hoped and expected Colgrass’s Chaconne to stand beside the concertos of Bartok, Walton and William Schuman “as one of the finest and most substantial viola works of the twentieth century.”62 This thirty minute work is somewhat mournful and dark with splashes of color from percussion instruments. At times ethereal, and at times using a “sort of Klangfarbenmelodie,” the work progresses skillfully without becoming long-winded. Although quite modern sounding, the music is accessible and the scoring is in traditional notation. Mixed meters, and sparse scoring make for somewhat tricky, but manageable reading. There are stretches of false harmonics, and sul ponticello (sounding much like whale song) that make the work transcend the traditional. Although it employs full orchestra, the scoring is transparent, allowing the easily overpowered voice of the solo viola to be clearly heard throughout. Colgrass’s Chaconne not only exhausts the rhythmic and melodic possibilities of its theme, but also stretches the orchestral pallet, expressing the melody in all sorts of orchestral timbre and texture.

62Robert Markow, “Toronto Symphony: Colgrass Chaconne for Viola and Orchestra,” High Fidelity (Musical America Edition) 35 (January 1985): MA17-MA18.

39 Crumb, George

(b. 1929)

Pulitzer Prize, 1968 for Echoes of Time and the River

Sonata for Viola and Piano (1953)

Premiere: Unknown.

Instrumentation: Viola and piano.

Publisher/Date: Manuscript.

Availability: Withdrawn by the composer.

Duration: Unknown.

Dedication/Commission: Unknown.

Introductory/Program Notes: Unknown.

Selective Bibliography:

Cohen, David. George Crumb: a Bio-bibliography. Bio-bibliographies in Music, series advisor Donald L. Hixon, no. 90. Westport, Conn: Greenwood Press, 2002.

Gillespie, Don C., comp. and ed. George Crumb. Profile of a Composer, no. 2. With an introduction by Gilbert Chase. New York: C.F. Peters, 1986.

The Official George Crumb Home Page. Internet. Available from http://www.georgecrumb.net/comp/son-va.html. Accessed 30 April 2001.

Selective Discography: None.

40 Crumb considers his Sonata for Viola and Piano a student work and requests that it not to be performed.63 It is included here because it exists and is listed on the composer’s web site.

Dello Joio, Norman

(b. 1913)

Pulitzer Prize, 1957 for Meditations on Ecclesiastes

Lyric Fantasies for Viola and String Orchestra (1975)

Premiere: 23 February 1975, Michael Tree, viola, New and Newer Music concert, Alice Tully Hall, New York.64

Instrumentation: Viola and string orchestra, or viola and string quartet, or chamber orchestra (no soloist).65

Publisher/Date: Milwaukee, WI: Associated Music Publishers Inc., Hal Leonard Corporation, 1975, 1976.

Availability: Viola and strings, rental only, Associated Music Publishers. Reduction for viola and piano for purchase, Associated Music Publishers, AMP-7422 and Hal Leonard, HL50226360. Score for purchase, G. Schirmer.

63Becky Starobin, for George Crumb, to author, 21 September 2001, electronic mail.

64Samuel Applebaum and Lois Applebaum Leibow, “Music in America,” The Strad 86 (May 1975): 75.

65Thomas A. Bumgardner, Norman Dello Joio, (Boston: Twayne Publishers, c1986.): 91. In 1978 Dello Joio reworked Lyric Fantasies for chamber orchestra re-titling it Concertante. The Concertante version does not use a solo viola, but is in the same format otherwise of the original work.

41 Duration: 17'00".

Dedication/Commission: Dedicated to Michael Tree.

Introductory/Program Notes: None.

Selective Bibliography:

Applebaum, Samuel and Lois Applebaum Leibow. “Music in America.” The Strad 86 (May 1975): 75.

Bumgardner, Thomas A. Norman Dello Joio. Boston: Twayne Publishers, c1986.

Selective Discography:

Modern Masters II. Karen Elaine, viola and David Amos, conductor, City of London Sinfonia, Los Angeles, CA: Harmonia Mundi, HMU 906011, 1990.

Lyric Fantasies is tonally organized using the close relationship between major and minor, together with quartal harmonies. The chord in measure 113, G-C-F-A-D, with G as its root, provides an example of Dello Joio’s distinct harmonic language. “The bottom three notes form a fourth chord, the middle three a major triad, and the top three a minor triad.” Throughout the two movements, Dello Joio alternates highly chromatic with nearly completely diatonic passages. The two movements are related by a common motif found in measures 87-89 of the first movement and measures 110-112 of the second.66 For a complete analysis, see Bumgardner’s Norman Dello Joio, pages 90 and 91.

66Ibid., 90-91.

42 Druckman, Jacob

(b. 1928)

Pulitzer Prize, 1972 for Windows

Concerto for Viola and Orchestra (1978)

Premiere: 2 November 1978, Sol Greitzer, viola, James Levine conducting, New York Philharmonic, Avery Fisher Hall, New York, NY.

Instrumentation: 2(afl)22(bcl)2/4331/4perc/str. Percussion needed: 1-small gong, vibraphone, small , 5 temple blocks, , 2-crotales, marimba, 2 bongos, 2 timbales, medium suspended cymbal, large tam-tam, triangle, ratchet, 3 , , large suspended cymbal, small tam-tam, large bass drum, 4 large , tubular bells, 4 tom-toms, sizzle cymbal, sleigh bells, 2 wood blocks, small bass drum.

Publisher/Date: Boosey & Hawkes, Inc., 1978, 1992.

Availability: Piano reduction for purchase, orchestral parts for rent, Boosey & Hawkes.

Duration: 22'00".

Dedication/Commission: Commissioned by the Philharmonic-Symphony Society of New York.

Introductory/Program Notes:

The theme of my is the transformation of the relationship between the soloist and the orchestra. The beautiful but slightly veiled voice of the viola is surrounded by the terrible power of the full orchestra. There is an insistent pattern: the viola initiates the activity, the orchestra at first following. The soloist gradually unleashes the force of the orchestra as the orchestra seizes upon moments in his discourse and imitates, underlines, elaborates and transforms them.

Three times the orchestra builds to overwhelming blocks of sound which are not related to the material of the soloist, but to each other. These

43 masses slowly rearrange their internal harmonies, repeatedly moving from impenetrable density to a more stable clarity. They also serve to define the larger form of the work, which is one movement of seven sections: solo viola, ORCH., solo viola, ORCH., solo viola, ORCH., solo viola.

-Jacob Druckman67

Selective Bibliography:

Graham, John. “Concertos for the Viola, Expanding the Repertoire.” Strings 4, no. 6 (May/June 1990): 27-29.

Hall, Thomas G. “New Works.” Journal of the American Viola Society 9, no. 1 and 2 “Double Issue” (1993): 56-57.

Jacob Druckman: a Complete Catalog of His Works. New York: Boosey & Hawkes, Inc., 1981.

Selective Discography:

Druckman, Jacob. Brangle/Counterpoise/Viola Concerto. Roberto Diaz, viola, Wolfgang Sawalisch, conductor, The Orchestra. New York: New World Records, 2001.

Druckman’s Viola Concerto includes modern notation with guidance as to what the composer means by the notation given. At the outset, no is given, but various time signatures appear throughout the work. “Duration is indicated by the length of the beams.”68 John Graham described Druckman’s concerto as “the dreaming viola awakens and arouses the orchestra into a series of frenzies, and is not at all abashed at

67Jacob Druckman, Viola Concerto, Reduction for Viola and Piano, (New York: Boosey and Hawkes, 1992), program notes.

68Ibid.

44 being overwhelmed, but stubbornly waits for the orchestral spasm to subside in order to dream into the next episode. . . .The concerto closes as the orchestra makes one last crescendo in unison to a final fortissimo chord that catapults the viola into its final solo, a very liberating fling.”69

Thomas Hall describes Druckman’s concerto as “an exciting, interesting, at times expressive, and demanding work.” There is left hand , jeté, and some arpeggio- like “as fast as possible” ascending passages that arrive at a long note or silence. Due to the concerto’s orchestral scoring, the piano reduction is quite limited in its realization of the orchestral fabric, and would not be a suitable medium for performance. The concerto itself is effective and would be appropriate for a “sophisticated audience.”70

Finney, Ross Lee

(b. 1906)

Pulitzer Traveling Scholarship, 1937 for String Quartet No. 1

Second Sonata for Viola and Piano (1953, revised, 1955)

Premiere: 1 September 1954, Robert Courte, viola and Lydia Courte, piano; Rackham Lecture Hall, , Ann Arbor, Michigan.71

Instrumentation: Viola and Piano.

69John Graham, “Concertos for the Viola, Expanding the Repertoire,” Strings 4, no. 6 (May/June 1990): 28.

70Thomas G. Hall, “New Works,” Journal of the American Viola Society 9, nos. 1 and 2 “Double Issue” (1993): 56-57.

71“AmerAllegro,” Pan Pipes 69, no. 2 (January, 1957): 47. Second Sonata for Viola and Piano, revised edition, premiered April 1956, Robert Courte, viola and Lydia Courte, piano.

45 Publisher/Date: NY: Henmar Press, C. F. Peters, 1971.

Availability: Peters, EP 66253.

Duration: 15' 00".

Dedication/Commission: To Robert and Lydia Courte.

Introductory/Program Notes: None.

Selective Bibliography:

Chew, Geoffrey. “Recitals; Ann Woodward.” Musical Times 121, no. 1648 (June 1980): 393.

Clements, Andrew. “Wigmore Hall Recitals: Ann Woodward.” Financial Times (London), 28 April 1980.

Goodwin, Noel. “London Debuts.” Times (London), 30 April 1980: 15.

Hill, Jackson. Review of Viola Sonata in A Minor and Second Sonata for Viola and Piano, by Ross Lee Finney. Notes 29, no. 3 (March 1973): 554.

Hitchens, Susan Hayes. Ross Lee Finney: a Bio-bibliography. Bio-bibliographies in Music, no. 63. West Port, Conn.: Greenwood Press, 1996.

Ward, Charles. “Crouse Program is Bright with Polished Playing.” Houston Chronicle, 29 September, 1982: 14, 2.

Selective Discography: None found.

Both of Finney’s viola sonatas are described by Jackson Hill in a review published in Notes. According to Hill, the sonatas share many of the same qualities. They both exhibit traditional form and structure, they are both in a “mildly dissonant romantic idiom. . .there are no real technical difficulties for either performer.” Both sonatas provide the opportunity for the violist to “display the sonorous lyric qualities” of

46 the instrument. There are no “special sound effects, gymnastics or special bowing techniques;” and the piano and viola are equal partners throughout the works in a “predominantly contrapuntal fabric.”

Hill describes Finney’s Second Sonata for Viola and Piano as a “more expansive work [than the Sonata in A Minor] conceived in larger gestures at all levels and cast in four movements.” The first movement is characterized by its contrast of tempo between two main themes. “The second [movement] is a somewhat intellectual set of variations (“permutations”) on specific note groups.” The third movement provides the opportunity to soar in a “broadly lyrical Largo.” Hill calls the fourth movement an “effective caprice,” made up of melodic materials “reminiscent” of the rest of the sonata.72 Hinson simply states, “Clear textures, freely tonal, natural development of ideas.”73

Viola Sonata in A Minor (1937, revised 1950)

Premiere: 1938, Louise Rood, viola and Irene Jacobi, piano, Smith College, Northampton, Massachusetts.

Instrumentation: Viola and Piano, or E-flat alto and piano, transcribed by Laura Hunter (1981).

Publisher/Date: New York, NY: Henmar Press Inc., 1971.74

Availability: C. F. Peters, EP 66254.

72Jackson Hill, review of Viola Sonata in A Minor and Second Sonata for Viola and Piano, by Ross Lee Finney, Notes 29, no. 3 (March 1973): 554.

73Hinson, 103.

74Susan Hayes Hitchens, Ross Lee Finney: a Bio-bibliography, Bio-bibliographies in Music, series advisor Donald L. Hixon, no. 63 (West Port, CT.: Greenwood Press, 1996), 39. Finney’s Sonata in A Minor 1937 is unpublished. The published version is the 1950 revision, with a different second movement written for Paul Doktor. Doktor premiered the revised version with Ryan Edwards, piano, 17 November 1968, at the Dayton Art Museum.

47 Duration: 13' 30".

Dedication/Commission: Dedicated to Louise Rood.

Introductory/Program Notes: None.

Selective Bibliography:

Finney, Ross Lee. Ross Lee Finney Profile of a Lifetime a Musical Autobiography. Composer profiles, ed. Don Gillespie. New York, NY: C.F. Peters, 1992.

Hitchens, Susan Hayes. Ross Lee Finney: a Bio-bibliography. Bio-bibliographies in Music, no. 63. West Port, CT.: Greenwood Press, 1996.

Selective Discography:

Rood, Louise, viola, Johansen, Gunnar, piano, Yaddo D-11-12, 1938. 78 rpm record, two discs.

In April 1937, Finney was awarded both the Pulitzer Traveling Scholarship and a Guggenheim Fellowship. The traveling scholarship offered fifteen hundred dollars and the Guggenheim, five thousand, providing Finney the opportunity to spend 1937 in Europe composing.75 With his Sonata in A Minor for Viola and Piano completed, and being in Europe, Finney arranged to show his sonata to Nadia Boulanger. By the end of their meeting, Finney was convinced that his slow movement “was all wrong and completely rewrote it.”76 Finney wrote his sonata using melody to express the function of its form with hopes that it would not destroy what the French called “la ligne.” He felt

75Ross Lee Finney, Ross Lee Finney Profile of a Lifetime a Musical Autobiography, Composer Profiles, ed. Don Gillespie (New York, NY: C.F. Peters, 1992), 92-93.

76Ibid., 101.

48 that “tonality was not a matter of triadic harmony but a matter of how the musical material functioned to give spacial shape to time.”77

Hill describes the Sonata in A Minor as traditional in form, consisting of three movements, an Allegro moderato that is characterized by an “eighth-note idea against a jazzy, syncopated one; an extremely lush Largo sostenuto, and a highly imaginative Allegretto con spirito.”78

Maurice Hinson offers a very succinct description of each movement. “Allegro moderato con moto: octatonic, chromatic, free dissonant , thin textures. Largo sostenuto: imitation, moving harmonic thirds, [with a] more rhythmic Tranquillo section. Allegretto con spirito: vigorous rhythms contrasted with broad and sustained chords; strong traditional forms throughout.”79

Gould, Morton

(1913-1996)

Pulitzer Prize, 1995 for String Music

Concertette for Viola and Band (1943)

Premiere: Unknown.

Instrumentation: Solo Viola; 2(pic)2(ca)2(+bcl)2/4331/timp/perc/hp/vc/db.

Publisher/Date: G&C Music Corporation.

Availability: Rental only, G. Schirmer.

77Ibid.

78Hill, 554.

79Hinson, 103.

49 Duration: 15'00".

Dedication/Commission: None.

Introductory/Program Notes: None.

Selective Bibliography:

Newlin, Dika. Review of Concertette for Viola and Band by . Pan Pipes 52, no. 2 (January 1960): 30.

Evans, Lee. “Morton Gould: His Life and Music.” Ph.D. diss., Columbia University Teachers College, 1978.

Selective Discography:

Gould, Morton. Concertette for Viola and Band. Emanual Vardi, viola, Arthur Winograd Conductor, MGM Orchestra, MGM E-3714, 1959. Long playing record.80

Dika Newlin did not consider Gould’s Concertette a major contribution to the viola repertoire, but described it as an “indicator of the growing concerns with the solo possibilities of the instrument.” Newlin described Concertette as one of Gould’s “typically ‘slick’ pieces, smartly orchestrated and stressing popular rhythmic elements.”81 Concertette’s movements are Brisk, Blues, Dance, and Finale.

80Lee Evans, “Morton Gould: His Life and Music,” (Ph.D. diss., Columbia University Teachers College, 1978): 358. Concertette for Viola and Band is listed by Evans as Concertette for Viola and Brass Band in his discography, but there are no other references, even to its existence, anywhere else in his dissertation.

81Dika Newlin, “Discs,” Pan Pipes 52, no. 2 (January 1960): 30.

50 Concerto for Viola and Orchestra (1943)

Premiere: 29 July 1945, , viola and conductor, NBC Symphony Orchestra.

Instrumentation: Viola solo; 2333/4331/timp.perc.finger cymb. Bells. Xyl/hp/str.

Publisher/Date: Rockville Centre, New York: Belwin Mills Publishing Corp., 1955, 1971. EMI.

Availability: Solo, orchestral parts, score for rent, G. Schirmer.

Duration: Total: 25' 30".

Dedication/Commission: To Milton Katims.

Introductory/Program Notes: None.

Selective Bibliography:

Evans, Lee. “Morton Gould: His Life and Music.” Ph.D. diss., Columbia University Teachers College, 1978.

Page, Tim. Morton Gould. New York: G. Schirmer; Associated Music Publishers, 1992.

Selective Discography:

Gould, Morton. Orchestral Music. R. Glazer, viola, conductor, Louisville Orchestra. Louisville, KY: Louisville Orchestra, Albany 2, ALBA-2-13. 1987. Compact disc.

In a letter to Morton Gould, conveys that Gould’s Concerto for Viola and Orchestra does not reflect Gould’s best writing, saying “you let yourself go to your first impulses without always controlling them.” Bloch found a lack of continuity stating that the viola “did not always seem. . .to belong

51 organically.” Bloch recommended to Gould that he “reject any beautiful detail which does not absolutely belong to the ensemble.”82

Hanson, Howard

(1896-1981)

Pulitzer Prize, 1944 for Symphony No. 4, Op. 34

Lux Aeterna, Op. 24 (1923)

Premiere: 27 May 1924, , conductor, Rome ; Augusteo Symphony Orchestra.83

Instrumentation: Viola Obligato and orchestra [with solo violin] 2(pic)222(cb)/4331/timp/perc/hp(2)/cel/str; Also arranged for viola and string quartet.

Publisher/Date: New York, NY: G. Schirmer, Society for the Publication of American Music, 1927.

82Ernest Bloch, to Morton Gould, 31 July 1945; quoted in Evans, 62-63.

83Howard Hanson, Howard Hanson, Vol. V, “The Mystic Trumpeter,” with notes by Jim Svejda, Susan Gulkis, viola, , , conductor, (, : Delos International Inc., 1994): DE 3160, notes, 10; James E. Perone, Howard Hanson: a Bio-bibliography, Bio-bibliographies in Music, no. 47 (Westport, Conn: Greenwood Press, 1993); and Marilyn V. Plain, comp. Howard Hanson: a Comprehensive Catalog of the Manuscripts, with a forward by Ruth T. Watanabe (Rochester, NY: Published for the Howard Hanson Memorial Institute for American Music by Eastman School of Music Press, University of Rochester, 1997), 53. Svejda does not provide the premiering violist, nor does Perone. Perone indicates the first performance was 26 December 1923, but this is not likely because, according to Plain, the score indicates it was completed that day.

52 Availability: G. Schirmer, archive request.84

Duration: 16' 50".

Dedication/Commission: Originally inscribed to Lionel Tertis, but Tertis apparently chose to not play the work. Hanson revised the work and removed the dedication to Tertis.85 The final version says “To Peter.”

Introductory/Program Notes: None.

Selective Bibliography:

Patterson, Charles D. “A Guide to Research on Howard Hanson.” Ph.D. diss., University of , 1954.

Perone, James E. Howard Hanson: a Bio-bibliography. Bio-bibliographies in Music, no. 47. Westport, Conn: Greenwood Press, 1993.

Plain, Marilyn V., comp., Howard Hanson: a Comprehensive Catalog of the Manuscripts. With a forward by Ruth T. Watanabe. Rochester, NY: Published for the Howard Hanson Memorial Institute for American Music by Eastman School of Music Press, University of Rochester, 1997.

Selective Discography:

Hanson, Howard. Howard Hanson, Vol. V: The Mystic Trumpeter. With notes by Jim Svejda. Susan Gulkis, viola, Gerard Schwartz, conductor, Seattle Symphony Chorale, Seattle Symphony Orchestra, Hollywood, CA: Delos Records, DE 3167, 6-7 June 1994. Compact disc.

Lux Aeterna marks the end of Hanson’s three year stay in Italy as the first American recipient of the Prix de Rome. Going to Rome in 1921, Hanson was taken by

84Copies can be obtained from G. Schirmer archives. See Appendix B.

85Svejda, 9; and Plain, 53.

53 the works of Palestrina and credits the studying of how Palestrina’s musical lines flow through the harmonies as “probably the biggest single influence” in his life. Hanson was very much influenced by Palestrina’s use of modes and a great deal of Hanson’s music is in the Dorian mode. Hanson states “I’m very fond of the D-E-F-G-A-B natural [Dorian] line” and describes the use of the Dorian mode as “simply a part of my vocabulary.” Svejda describes Lux Aeterna as “as much a free rhapsody for viola and orchestra as a symphonic poem.” After a pizzicato introduction, the viola announces Hanson’s modal principal theme, described by Svejda as “another one of Hanson’s Gregorian melodies.” The entrance of the horns and a canonic-like motif in the strings leads to the Allegro non troppo, beginning with the principal theme restated by solo violin. A lively dance section of “increased contrapuntal complexity” leads to the quieter coda.86

Summer Seascape No. 2 (1965)

Premiere: 20 April 1966; Benjamin Swalin, conductor, North Carolina Symphony, North Carolina.87

Instrumentation: Viola and string orchestra or viola and string quartet.88

Publisher/Date: Carl Fischer Inc., 1966.

Availability: Score and parts for rent; score for purchase, Carl Fischer.89

Duration: Unknown.

86Svejda, 9-10.

87Perone, 87; Plain, 95-96.

88Plain. The viola and string quartet version is the original, premiered 7 April 1966 by Walter Trampler, viola, and the at the Library of Congress, Washington D. C.

89Amy Kashetta, Carl Fischer Rental Library, to author, 13 January 2003, electronic mail. Masters of the score must be sent to the printer to have copies made. The process takes approximately two weeks.

54 Dedication/Commission: To the memory of Edwin Hughes, commissioned by Edward B. Benjamin.90

Introductory/Program Notes: None.

Selective Bibliography:

Southgate, Harvey. “New Music Winds Up Festival.” Rochester Democrat and Chronicle, (May 8, 1966): 9B.

Selective Discography:

Hanson, Howard. Summer Seascape No. 2. Library of Congress Music Division Concert, 1966-04-08. Walter Trampler, viola with the Juilliard String Quartet. Coolidge Auditorium, Washington D.C.: Library of Congress, 8 April 1966. Two sound tape reels.

Harvey Southgate considered Summer Seascape No. 2 the most appealing music of the final concert, and perhaps for the whole festival, during a new music festival at the Eastman School of Music, May 7, 1966. Southgate described the work as “serene and introspective.” Its tempo suggests the “wash of the sea” and its “shifting colors reflecting the long view of sea and land.”91

90“Eastman School Gives New Award,” New York Times, (11 May 1953): 24. Edward B. Benjamin established the Edward B. Benjamin Composition Award at the Eastman School of Music for works generally calming and uplifting in nature.

91Harvey Southgate, “New Music Winds Up Festival,” Rochester Democrat and Chronicle, (8 May 1966): 9B.

55 Harbison, John

(b. 1938)

Pulitzer Prize, 1987 for The Flight into Egypt

Concerto for Viola and Orchestra (1990)

Premiere: 17 May 1990, Jaime Loredo, viola, and Hugh Wolff, conductor, the New Jersey Symphony Orchestra.

Instrumentation: Solo Viola, 221(bcl)2(cbn)/2200/timp/perc/hp/cel/str. (Percussion needed: Vibraphone, Crash Cymbals, Gong. Unusual strings section: 6 vlns one section, 5 vla, 4 vc, 2 db)

Publisher/Date: New York: Associated Music Publishers, 1990.

Availability: Viola and Piano reduction for purchase, Hal Leonard/G. Schirmer/Associated Music Publishers, 50482041. Performance materials for rent, G. Schirmer.

Duration: ca. 20'.

Dedication/Commission: “Commissioned by the St. Paul Chamber Orchestra, the Los Angeles Chamber Orchestra, and the New Jersey Symphony with funds provided by Meet the Composer/Reader’s Digest.”92

Introductory/Program Notes:

. . .I wrote a piece for the violist I never was, and for the instrumental timbres I felt to be most typical of the instrument - its and alto voice rather than its unnatural treble. I also accompanied the soloist with partners from among my favorite instruments, often in duet or trio with the viola. The orchestral passages make use of this concept - they continue these conversations without the kind of bombast that could make the wonderful

92John Harbison, Viola Concerto, Reduction for Piano and Viola, (New York: Associated Music Publishers, 1990), introductory material.

56 voice of the viola seem out manned when it reenters. The piece moves from an introspective nature to ebullience and from ambiguous and shifting harmonic language to a kind of tonality. Within this broad scenario, there was room for the kind of paradoxes I enjoy. The first movement is filled with ideas that seem incapable of repetition. In contrast, the second movement has literal repeats throughout. The third movement is simple in both formal and metrical aspects, while the finale is replete with intricate metrical modulations.93

Viola Concerto By John Harbison Copyright © 1980 by Associated Music Publishers, Inc. (BMI) International Copyright Secured. All Rights Reserved. Used by Permission.

Selective Bibliography:

Hall, Thomas G. “New Works.” Journal of the American Viola Society 10, no. 2 (1994): 46-47.

Selective Discography:

Works by John Harbison and Ezra Laderman. Jaime Loredo, viola, Hugh Wolff, Conductor, the New Jersey Symphony Orchestra. New York: New World Records 80404-2, February 1991. Compact disc.

Thomas Hall writes that Harbison’s concerto is “an absolutely first-class addition to the viola repertoire.” Harbison’s writing style is late twentieth-century, yet quite idiomatic. “The shifts come where they should, the bow bounces to the written rhythms, the viola can sing or whisper in its natural registers, or be loud in the right range. There is even a cadenza-like section of flashy double-stops, all in first position (with one small exception).” Harbison is familiar with the capabilities and limitations of the viola and

93Ibid., program notes.

57 wrote his concerto in such a way that it takes advantage of the best the instrument has to offer, making the “music sound wonderful, and playing it is satisfying and rewarding.”

The concerto consists of four movements. The first is aria-like, with an orchestral introduction. The brief second movement is based on rhythmic interest and its structure is similar to a “baroque dance suite, complete with double bar repetitions, and modulation to the dominant and back.” The third movement, marked Andante, is sensitive, but not sentimental. The viola, according to Hall, “is allowed to do what it does best.” The final movement is Molto allegro giocoso, with “lots of meter changes and jagged rhythmical content, makes some real technical demands, has three short viola cadenza sections, and makes an upbeat impression for an ending.”94

Sonata for Viola Alone (1961)

Premiere: May 1962, Scott Nickrenz, viola.

Instrumentation: Solo viola.

Publisher/Date: Unpublished manuscript. The last movement, Adagio, was printed in Strings magazine.95

Availability: Manuscript, available for sale from the composer, Highway 19 #4037, Deforest, WI 53532.

Duration: Unknown.

Dedication/Commission: None, this piece was the last string piece Harbison says he wrote for himself.

Introductory/Program Notes: None.

94Thomas G. Hall, “New Works,” Journal of the American Viola Society 10, no. 2 (1994): 46-47.

95David M. Brin, “Music by John Harbison, Adagio from Sonata for Viola Alone,” Strings Magazine 5, no. 2 (Sept/October, 1990): 29.

58 Selective Bibliography:

Brin, David M. “Music by John Harbison, Adagio from Sonata for Viola Alone.” Strings Magazine 5, no. 2 (Sept/October, 1990): 29.

Glick, Jacob. “An Overview of Twentieth-Century Viola Works, Part I,” Journal of the American Viola Society 17 no.1 (2001), 19.

St. George, David. John Harbison. New York: G. Schirmer: Associated Music Publishers, 1994.

Selective Discography: None found.

Sonata for Viola Alone uses the complete range of the viola. Kim Kashkashian, as quoted in Brin’s article, said, “It fully engages listener and performer with fantasy, color and storytelling.”96 The sonata is constructed using two themes. The first theme is played followed by the second, after which Harbison combines the themes “to be played simultaneously and it works beautifully.”97

96Brin, 29.

97Glick, 19.

59 Husa, Karel

(b. 1921)

Pulitzer Prize, 1969 for String Quartet No. 3

Poème (1959)

Premiere: 12 June 1960, Ulrich Koch, viola, , conductor, South West German Radio Orchestra, World Music Festival of the International Society for Contemporary Music, Cologne, West Germany.98 American premiere, 6 June 1968, Guillermo Perich, viola, Karel Husa, conductor, Baltimore Symphony Orchestra, Goucher College, Towson, Maryland.99

Instrumentation: Solo Viola, 0100/1000/pf/str.

Publisher/Date: Schott, 1963.

Availability: Viola and Piano reduction, Orchestral score and parts, rental only, Schott.100

Duration: 13'.

Dedication/Commission: None.

Introductory/Program Notes:

Composed in 1959 in Ithaca, N.Y. (Ob, hrn, pf, str) Schott, 13 min. First performance: World Music Festival of the International Society for Contemporary Music, Cologne, Germany, 12 June 1960. Ulrich Koch, viola solo, and the South West German Radio Orchestra conducted by Hans Rosbaud.101

98Susan Hayes Hitchens, Karel Husa, a Bio-Bibliography, Bio-bibliographies in Music, no. 31 (New York, NY: Greenwood Press, 1991).

99"The Composer - AmerAllegro,” Pan Pipes 61, no. 2 (January, 1969): 59.

100Schott is represented in the United States by European American Music.

101Karel Husa, Ponce Inlet, Florida to author, Tallahassee, Florida, 22 February 2003.

60 Selective Bibliography:

“Karel Husa: Poème for Viola and Orchestra,” ASUC Journal of Musical Scores, 14:39-73. 102

Schuh, Willi. “Das 34. Weltmusikfest in Koln.” Schweizekische Musikzeitung 100, no. 5 (1960): 314. 103

McLaurin, David Malcomb. “The Life and Works of Karel Husa with an Emphasis on the Significance of His Contribution to the Wind Band.” Ph.D. diss., Florida State University, 1985.

Selective Discography:

Husa, Karel. Poème. Ulrich Koch, viola, Hans Rosbaud, conductor, South West German Radio Orchestra, World Music Festival of the International Society for Contemporary Music, Cologne, West Germany, 1960.104

Husa’s Poème combines the influences of those he studied with, and Nadia Boulanger, creating an “individual style with lyric and dramatic elements.” Hinson further describes this piece as, “chromatic, harmonics, much rhythmic freedom, tremolo.”105

102Hitchens, 91. A full score of Husa’s composition Poème for Viola and Orchestra, with a brief background of the work.

103Ibid., 127. This article is in German presenting the 34th World Music Festival in Cologne, and includes the world premier of Husa’s Poème .

104Husa. This recording is of the premiere performance and is available from the Karel Husa Archive, School of Music, , Ithaca, NY, 14850.

105Hinson, 108.

61 Poème is a twelve-tone piece in three movements, yet it is described by critics as very expressive, dramatic, romantic, delicate and rhapsodic. Heinrich Lindlar, in anticipation of its performance in Cologne wrote, “His tonal fantasy seems to be guided by folklore in remote control. In its disciplining by a 12-tone row of uncommon melodic sensativity, in its articulation, in its lucid sonorities, Husa’s Poème . . .will very probably prove to be one of the bright spots in this year’s world music festival.”106 Willi Schuh stated that Poème was indeed a work of special note at the 1960 World Music Festival, saying that the viola “maintains a moderately contemplative and delicate expression.”107

Suite, Op. 5, (1945)

Premiere: 26 November 1946, Antonin Hyksa, viola and JiÍí Berkovec, piano, , .108

Instrumentation: Viola and Piano.

Publisher/Date: Associated Music Publishers/G. Schirmer, 1998.

Availability: Manuscript copies are available from Associated Music Publishers and G. Schirmer. It will be published by them soon, possibly within a year, as Mr. Husa has signed the contract for publication. 109

Duration: 15'.

Dedication/Commission: None.

106Heinrich Lindlar, Deutsche Zeitung, (15-17 June 1960), as quoted in Husa, letter to author.

107Willi Schuh, “Das 34. Weltmusikfest in Koln,” Schweizekische Musikzeitung 100, no. 5 (1960): 314.

108Hitchens, 21.

109David Malcomb McLaurin, “The Life and Works of Karel Husa with an Emphasis on the Significance of His Contribution to the Wind Band,” (Ph.D. diss., Florida State University, 1985), 149. Husa.

62 Introductory/Program Notes:

Composed in 1945 in Prague, while I was still a student at the . Although I was a violinist, I have admired the sounds and colors of the viola and featured this instrument in numerous chamber music compositions.110

Selective Bibliography:

Hitchens, Susan Hayes. Karel Husa: a Bio-bibliography. Bio-bibliographies in Music, no. 31. New York: Greenwood Press, 1991.

McLaurin, David Malcomb. “The Life and Works of Karel Husa with an Emphasis on the Significance of His Contribution to the Wind Band.” Ph.D. diss., Florida State University, 1985.

Selective Discography:

Husa, Karel. Pragensia. Vladimír Buka…, viola, Jaromír Klepá…, piano. Czech Republic: Clarton CQ 0049-2131, 2001. Compact disc.111

Husa’s recording, Pragensia, includes four of his earliest works: Sonatina for Piano, Op. 1, Overture for Large Orchestra, Op. 3, Suite for Viola and Piano, Op. 5, and Sonatina for Violin and Piano, Op. 6. Regarding these works, Husa states, “I don’t want to forget what I composed in my youth, even if at times I was resting on masters of the past or also on contemporary masters. . . . [these works] remind me of my youth. They are a part of my life and a rememberance of Professor Jaraslov Ìidký, who revealed to me how to write music.” Suite for Viola and Piano is derived from “Husa’s full-blooded

110Husa. This paragraph was included in Husa’s letter as the program notes for his Suite.

111Ibid. This recording is not yet available in the United States.

63 musicianship, given direction of great technical skill. . .” and it is a piece that is “truly significant.”112

Ives, Charles

(1874-1954)

Pulitzer Prize, 1947 for Symphony No. 3

Piano Sonata No. 2 “Concord, Mass., 1840-1860" (1909-1915 revised with viola 1940- 1947)

Premiere: Movement I, “Emerson,” 5 March 1928, Katherine Heyman, piano, Sorbonne Station of the Radio Institute of , Paris, France. First U.S. Performance, 19 September 1928, Arthur Hardcastle, piano, recital sponsored by the New Music Society of California, Rudolph Schaeffer Studios, San Francisco, California. First performance of the entire sonata, 28 Nov 1938, John Kirkpatrick, piano, The Old House, Cos Cob, Connecticut.113

Instrumentation: Viola, Flute and Piano.

112Husa, Karel. Pragensia. Vladimír Buka…, viola, Jaromír Klepá…, piano. Clarton CQ 0049-2131, Czech Republic, 2001. Compact disc. Notes by Jan Lede….

113James B. Sinclair, A Descriptive Catalogue of the Music of Charles Ives, (New Haven, Connecticut: Yale University Press, 1999), 191-197. Geoffrey Holden Block, Charles Ives: a Bio-bibliography, Bio-bibliographies in Music, no. 14 (New York; London: Greenwood Press, 1989), 27-9. The first edition of Ives’s Concord Sonata does not include viola. The second edition was written after the 20 January 1939 performance of the entire work by John Kirkpatrick. In the second edition, Ives includes viola only in the first movement, “Emerson.” Ives was inspired to write the revised edition based on the reviews of Kirkpatrick’s concert. No premiere information is available concerning the second edition. Likewise, this author was unable to locate any information regarding violists for any performances listed by Sinclair or Block. There may be evidence concerning the second edition’s premiere, and as to who the violist was, in Ives’s personal papers at Yale University’s Irving S. Gilmore Music Library.

64 Publisher/Date: New York: Arrow Press, 1947; second revised edition by Ives. Assigned 1957 to Associated Music Publishers, which has reprinted the second edition without alteration.114

Availability: G. Schirmer and Associated Music Publishers; AMP1518.

Duration: ca 35' 00".

Dedication/Commission: None.

Introductory/Program Notes: Extensive.115

Selective Bibliography:

Block, Geoffrey Holden. Charles Ives: a Bio-bibliography. Bio-bibliographies in Music, no. 14. New York; London: Greenwood Press, 1989.

Clarke, Sondra Rae. “The Evolving Concord Sonata: a Study of Choices and Variants in the Music of Charles Ives.” Ph.D. diss., , 1972.

Sinclair, James B. A Descriptive Catalogue of the Music of Charles Ives. New Haven, Conn: Yale University Press, 1999.

Selective Discography:

Ives, Charles. Charles Ives: Concord Sonata, Kontrapunkt, Sonata No. 2,Concord Mass. For Piano (and optional viola, flute), Jesper Grove Jorgensen, viola; Per Salo, piano. S. 88 (K. 3A2), 1 January 1990. Compact disc.

Graham, John, viola; Kalish, Gilbert, piano; Baron, Samuel, flute; Nonesuch H- 71337, 1977. Long playing record.

114Zeyringer, 169. Zeyringer lists this piece as a manuscript.

115Geoffrey Block, to author, 1 December 2002, electronic mail. Twenty one pages of performance notes are unpublished, but printed in Sondra Rae Clarke “The Evolving Concord Sonata: a Study of Choices and Variants in the Music of Charles Ives,” (Ph.D. diss., Stanford University 1972), 356-375.

65 Plumacher, Theo, viola; Kontarsky, Aloys, piano; Schwegler, Willy, flute; Mainstream MS-5013, 1970. Long playing record.

Stangl, Walter, viola; Szidon, Robert, piano; Sonntag, Dieter, flute; Deutsche Gramophone 2530.215; 1972. Long playing record.

Charles Ive’s Piano Sonata No. 2 was first composed in 1909-1915, then revised 1940-1947. The revised edition includes viola in the first movement, “Emerson.” Ives marked this movement “slowly and quietly.” The other three movements of the sonata do not include the viola. The final movement, “Thoreau,” is for piano and flute.

Before Ives composed his Concord Sonata, he had considered writing a set of overtures representing literary figures. The incomplete manuscript still exists for his Emerson Overture. A line in the Emerson Overture, assigned to the bassoon, but given to the when the bassoon was not available, is the same melodic line used by Ives in his Concord Sonata. In the sonata, Ives specifically designates that this same melodic idea is to be played by the viola. The solo viola part is found on page nineteen of the sonata and is extremely short, lasting only two measures. According to Geoffrey Block, “Some recordings use the viola to great effect in this passage, and it is clear that Ives wanted it there.” Block, also a pianist, states, “When I used to play the work, I tried to find a page turner who was also a violist. I enjoyed the idea and the sound of a page turner suddenly playing the viola for a few seconds.”116

116Ibid.

66 Kernis, Aaron Jay

(b. 1960)

Pulitzer Prize, 1998 for String Quartet No. 2, Musica Instrumentalis

Passacaglia - Variations for Viola and Piano (1985)

Premiere: 1985, Boston.117

Instrumentation: Viola and Piano.

Publisher/Date: New York, NY: Nortlight Music/Edition Wilhelm Hansen, 1987.

Availability: Possibly available through G. Schirmer Archives.118

Duration: 19'.

Dedication/Commission: For Leslie and Michael.119

Introductory/Program Notes: None.

Selective Bibliography:

Swed, Mark. . New York, NY: G. Schirmer: Associated Music Publishers, 1995.

117Leslie Tomkins, to author, 1 November 2002, electronic mail and Elizabeth Dworkin, Dworkin and Associates, publicist for Mr. Kernis, telephone interview by author, 14 January 2003. Kernis’s Passacaglia - Variations premiered during a competition that it won. The details of this competition and the musicians’ names were not known by Tomkins, or Dworkin.

118Nortlight Music is a publisher’s imprint handled by G. Schirmer, but Passacaglia-Variations for Viola and Piano is not found in the G. Schirmer catalog. See Appendix B.

119Tomkins. “Leslie and Michael” are Leslie Tomkins, violist and her husband Michael Barrett, pianist, who played Passacaglia-Variations for the 1987 Bang on a Can Festival in New York and in San Francisco at a contemporary music program. Kernis dedicated Passacaglia-Variations to them on the occasion of their wedding.

67 Selective Discography: None found.

Leslie Tomkins describes Kernis’s Passacaglia - Variations as a “very complex, virtuosic work of rage and beauty.”120 It is a multi-movement work that begins with a muted viola introduction, flowing into an accompanied adagio. There are many drastic tempo changes, and meter changes, using traditional and mixed meters (i.e. 7+5/16) throughout the piece. There are performance directions provided throughout the work, such as, pressing forward slightly, in measure 34; Wait!, in measure 46; moving forward very gradually, in measure 56. Kernis uses traditional notation, fingered and natural harmonics, and no key signatures.

Kubik, Gail

(1914-1984)

Pulitzer Prize, 1952 for

Symphony Concertante for Piano, Trumpet, Viola and Orchestra

Symphony Concertante for Piano, Trumpet, Viola and Orchestra (1952, revised 1953)

Premiere: 7 January 1952, Theodore , viola, Frank Glazer, piano, and Robert Nagel, trumpet, the Little Orchestra Society, Thomas Scherman, conductor, Town Hall, New York, NY.

Instrumentation: Solo Trumpet, Solo Viola, Solo Piano, 2(pic)22(bcl)2(cb)/2110/perc/str. (Percussion needed: one player, susp. Cymbal, Side Drum, High and Low Wood Block, Xylophone, Tambourine, Glockenspiel, Timpani, Clashed Cymbals.)

Publisher/Date: New York: G. Ricordi and Co., 1956.

120Leslie Tomkins, to author, 19 November 2002, electronic mail.

68 Availability: Unknown.121

Duration: 25'.

Dedication/Commission: Dedicated “To Mary.” Commissioned by The Little Orchestra Society of New York.

Introductory/Program Notes:

The Symphony Concertante for Trumpet, Viola, Piano and Orchestra represents an effort to reconcile the large-scale expressive demands of a symphony with the exhibitionist demands of the concerto form. As defined by Mozart and Haydn this is a Symphony Concertante in the sense only that many textural and dramatic devices found in the seventeenth and eighteenth- century form are utilized. The first movement follows a modified sonata form; the second is a very long, increasingly dramatic song with a reflective epilogue at the end of it. The last movement is a fairly clear-cut rondo, with, however, many “development techniques” superimposed.122 The third movement finale, states Kubik, “is a splendid example of the lithe, sinewy writing of the contemporary American school.”123

Selective Bibliography:

Helm, Everett, “Gail Kubik’s Score for C-Man: the Sequel.” Quarterly of Film, Radio and Television (Spring, 1955): 263-82.

121Music Publisher’s Association Home Page, internet, available from http://www.mpa.org/agency/imprn.html, accesssed 17 November 2001; and Hinson, xxi- xxx. According to the Music Publisher’s Association (MPA), G. Ricordi is a publisher’s imprint handled by Boosey and Hawkes or Hal Leonard Corporation. According to Hinson, G. Ricordi’s parent company was Belwin Mills. If the parent company was Belwin Mills, it is likely this piece is no longer available, as Warner Brothers now owns Belwin Mills and does not maintain archives of out of print materials.

122Gail Kubik, “About the Music,” Symphony Concertante, (New York, NY: G. Ricordi and Co., 1956), notes.

123Gail Kubik, Symphony Concertante,Composers Recordings, Inc., CRI SD 267. Long playing record, notes.

69 Jankins, Newell. Review of Symphony Concertante for Trumpet, Viola, Piano, and Orchestra by Gail Kubik. Musical America 72 (May, 1952): 5.

Kubik, Gail. “From to Concert Hall: The Functional Difference Between Film and Abstract Music.” Lecture written for station WKVR, , 1967.

Lyall, Max Dail. “The Piano Music of Gail Kubik.” D.M.A. diss., of the Johns Hopkins University, 1980.

Mitchell, Donald. Review of Symphony Concertante for Trumpet, Viola, Piano, and Orchestra by Gail Kubik. The Musical Times 98 (April, 1957): 203.

Powell, Mel. Review of Symphony Concertante for Trumpet, Viola, Piano, and Orchestra by Gail Kubik. Notes 15 (March 1958): 254-255.

Sadin, Robert. Review of Symphony Concertante for Trumpet, Viola, Piano, and Orchestra by Gail Kubik. Musical America 72 (January 15, 1952): 20.

Selective Discography:

Josten, Werner. Jungle; Canzona Seria and Gail Kubik, Symphony Concertante. Arthur Hanneuse, trumpet, Marie-Thérèse Chailley, viola, Frank Glazer, piano. French Radio Orchestra, Gail Kubik conductor. New York, NY: Composers Recordings, Inc., CRI SD 267, 1972. Long playing record.

Kubik, Gail. Symphony Concertante, Arthur Hanneuse, trumpet, Marie-Thérèse Chailley, viola, Frank Glazer, piano, French Radio Orchestra, Gail Kubik, conductor. RCA LM-2426, 1960. Long playing record.

Kubik’s Symphony Concertante for Trumpet, Viola, Piano and Orchestra is a reworking of his music for film, “C-Man,” for Laurel Film Productions, 1949.124

124Max Dail Lyall, “The Piano Music of Gail Kubik,” (D.M.A. diss., Peabody Institute of the Johns Hopkins University, 1980), 14.

70 Premiere reviews of Kubik’s Symphony Concertante were not favorable. The first complaint from critics was Kubik’s mixing of languages for its title, which Sadin considered indicative of the music’s style as well. Sadin states that Symphony Concertante was “interesting because it was so bad.” The beginning is highly chromatic and rhythmically driving, “reminding one of the bold, bad music of the 1920's.” Sadin describes the lengthy piano solo as “a small child enjoying a work-out with its fists at the keyboard.” To Sadin, the first movement followed “no clear or persuasive line of development.” He describes the second movement as “a long, monotonous crescendo with an ostinato figure in the piano that becomes as insistent as an aching tooth. Thematically it is of the utmost simplicity and banality.” Sadin continues, describing the third movement as starting like a rondo, but constantly wandering off course. “At times it is as terse as the later Stravinsky; then it turns sweet, and sounds like background music for a sentimental Western.” Sadin concludes by stating that Symphony Concertante sounds “crude, chaotic and curiously old-fashioned in performance.”125

In a less condemning, yet still critical review, Donald Mitchell states that Kubik’s Symphony Concertante “is commendable as an exercise, but it was not born from the irresistible command of imagination.” Mitchell provides few positive remarks, but one that stands out is “the composer shows himself to be an expert musician both in his clear ripieno scoring and in the neat, indeed clever, textures of his concertino.”126

In 1953, Kubik revised the version reviewed by Sadin and Mitchell, resulting in the published version of the work. ’s review of the published version is much more objective and describes the work appreciatively. Powell was especially taken by the second movement being almost entirely played by the solo instruments alone, calling

125Robert Sadin, “Review of Symphony Concertante for Trumpet, Viola, Piano, and Orchestra by Gail Kubik,” Musical America 72 (January 15, 1952): 20.

126Donald Mitchell, “Review of Symphony Concertante for Trumpet, Viola, Piano, and Orchestra by Gail Kubik,” The Musical Times 98 (April, 1957): 203.

71 this a “very astute touch.” Powell described it as “an unusual coloristic scheme well suited in its place in the work.”127

La Montaine, John

(b. 1920)

Pulitzer Prize, 1959 for Concerto for Piano and Orchestra

Conversations, Op. 44 (1977)

Premiere: Unknown.

Instrumentation: Solos arranged for clarinet, flute, violin, trombone, marimba, or viola with piano.

Publisher/Date: Hollywood, CA: Fredonia Press-Discs, 1977.

Availability: Fredonia Press-Discs.

Duration: Unknown.

Dedication/Commission: Commissioned by the National Federation of Music Clubs. Dedication: For Merle Montgomery and Walter Kramer.

Introductory/Program Notes: None.

Selective Bibliography:

La Montaine, John. Catalog of Works by . Hollywood, CA: Fredonia Press - Discs, 1989.

127Mel Powell, “Review of Symphony Concertante for Trumpet, Viola, Piano, and Orchestra by Gail Kubik,” Notes 15 (March 1958): 254-255.

72 Selective Discography:

La Montaine, John. Coversations for Viola and Piano. Tatton, viola, John La Montaine, piano, Hollywood, CA: Fredonia Press-Discs, FD-8, 1979. Long playing record.

Maganini, Quinto E.

(1897-1974)

Pulitzer Traveling Scholarship, 1927 for The Argonauts

An Ancient Greek Melody (1945)

Premiere: Unknown.

Instrumentation: Flute, or oboe, or bassoon, or viola, or cello and piano. Also orchestrated for any solo instrument and small orchestra or full orchestra.

Publisher/Date: New York: Edition Musicus, 1945.128

Availability: Edition Musicus.

Duration: Unknown.

Dedication/Commission: None.

128“MPJ New Music List,” a publication of Music Publishers Journal, 1 (January 1946): 39. Also known as Music Journal - Index to New Music.

73 Introductory/Program Notes:

This melody has been sung for hundreds of years by the Greek shepherds, and is still sung by them at night in the cemeteries as a lament for their dead.

Vassos Kanellos of the Greek Academy, Athens, Greece has proved that the meter of this melody is exactly the same as the meter of the lament for death of Agamemnon in Aeschylus’s “The House of Atreus,” and believes that it may well have been the original music for the scene.

An Ancient Greek Melody By Quinto Maganini Copyright © 1946 by Quinto Maganini International Copyright Secured. All Rights Reserved. Reprinted by Permission of Edition Musicus.

Selective Bibliography: None found.

Selective Discography: None found.

An Ancient Greek Melody for viola and piano is included in Maganini’s Concert Album for Viola and Piano. It is a simple melody, completely composed using quarter notes, half notes and dotted-quarter notes. Its range is limited from F3 to A=4, both attributes making it quite accessible to less experienced, younger students.

Concert Album (1946)

Premiere: Unknown.

Instrumentation: Viola and Piano.

Publisher/Date: New York: Edition Musicus, 1954.

Availability: Edition Musicus.

Duration: Unknown.

Dedication/Commission: None.

74 Introductory/Program Notes: None.

Selective Bibliography:

Maganini, Quinto. Concert Album: for Viola and Piano. Arr; Simon, L.G. New York, NY: Edition Musicus, 1956.

Maganini, Quinto. The Town Hall: Quinto Maganini. New York, NY: Alfred Scott, 1935.

Selective Discography: None found.

Maganini edited and combined several works for viola and piano, creating his Concert Album for Viola and Piano. Contents include Maganini’s own An Ancient Greek Melody. Other works included are: “Le colibri” by Chausson; “Gigue” by Corelli; “Adagietto from l’Arlesienne” by Bizet; “Plaisir d’amour” by Martini; “Air from Orpheus” by Gluck; “Siciliano” by Bach; “Bouree” by Handel; “Berceuse from Firebird” by Stravinsky; “Menuet” by Beethoven; “Song of the East” by Rimsky Korsakoff; “Rigaudon” by Rameau; “Etude” by Concone and “Veni Creator” by Meyerbeer.129

Night Piece (1946)

Premiere: Unknown.

Instrumentation: Viola or other solo instruments and piano.

Publisher/Date: New York: Edition Musicus, 1946.

Availability: Edition Musicus.

Duration: Unknown.

129Primrose International Viola Archive, online catalog, internet, available from http://www.lib.byu.edu/hbll/, accessed 17 January 2003.

75 Dedication/Commission: None.

Introductory/Program Notes: None.

Selective Bibliography: None found.

Selective Discography: None found.

Song of a Chinese Fisherman

Premiere: Unknown.

Instrumentation: Viola and Piano.

Publisher/Date: New York: Edition Musicus, 1944.

Availability: Edition Musicus.

Duration: Unknown.

Dedication/Commission: None.

Introductory/Program Notes: None.

Selective Bibliography: None found.

Selective Discography: None found.

Song of a Chinese Fisherman’s qualities lend it for use by teachers to introduce students to tonalities not generally found in student repertoire at this level. J. W. Pepper lists Song of a Chinese Fisherman as a grade 2 piece.130 Its meter changes between four and three beats to the measure with the quarter note equal to between metronome markings 54 and 58. The smallest note value is eighth notes, always preceded by a dotted quarter. It is 40 measures long.

130J. W. Pepper and Sons, Inc., internet, available from http://www.jwpepper.com/catalog/welcome.jsp, accessed 17 January 2003.

76 Martino, Donald

(b. 1931)

Pulitzer Prize, 1974 for Notturno

3 Dances, Op. 23 (1954)

Premiere: May or June, 1955, Mimi Benton, viola and Mari Martino, piano, Princeton University, Cleo Hall.

Instrumentation: Viola and Piano.

Publisher/Date: Pioneer, 1954; Newton, Mass: Dantalian Inc.

Availability: Dantalian Inc., DSE 514M.131

Duration: 10' 00".

Dedication/Commission: None.

Introductory/Program Notes: None.

Selective Bibliography: None found.

Selective Discography: None found.

Mr. Martino describes 3 Dances as a somewhat “grammatic” work, with jazz references, particularly in the last movement. At the time he composed 3 Dances, Mr. Martino was under the influence of Bela Bartok. Bartok’s influence is found particularly in the slow movement which Mr. Martino describes as a “derivation” of Bartok.132

131Dantalian Inc., internet, available from http://www.dantalian.com/chamber_viola.htm, accessed 30 July 2002, “not printed in quantity, allow one month for delivery.”

132Donald Martino, Newton, Massachusetts, telephone interview by author, Tallahassee, Florida, 6 November, 2002.

77 3 Sad Songs (1993)

Premiere: 16-17 April 1998, Samuel Rhodes, viola and Thomas Sauer, piano, Library of Congress. Also, May 1998, New York Viola Society, London Gallery, New York.133

Instrumentation: Viola and Piano.

Publisher/Date: Newton, Massachusetts: Dantalian, Inc., 1997.

Availability: Available from Dantalian Inc., DSE 509.

Duration: 14' 00".

Dedication/Commission: To Samuel Rhodes, commissioned by the Elizabeth Sprague Coolidge Foundation.

Introductory/Program Notes: None.

Selective Bibliography:

Ruhe, Pierre. “Sad Songs Say so Much in Premiere with Juilliard,” The Washington Post, (April 8, 1998): B3.

Selective Discography:

Martino, Donald. Three Sad Songs. Library of Congress Music Division Concert, 1998-04-16 and 1998-04-17. Samuel Rhodes, viola, Thomas Sauer, piano. Coolidge Auditorium, Washington D.C.: Library of Congress, 16-17 April 1998. Four sound tape reels, four cassettes, four sound discs.

Donald Martino states that, “There are two works with piano, separated by 40 years: The 1954 THREE DANCES -- much performed in it's day, retired and now revived --- recall the works of Bartok; the recent THREE SAD SONGS, composed for Samuel Rhodes through the generosity of the Coolidge Foundation, recall the music of

133“Composers Update,” Pan Pipes, 91, no. 2 (Winter 1999): 15.

78 .”134 Pierre Ruhe, in the Washington Post, observed: "the first piece, 'Processional,' conveys the viola's yearning over chords in the piano. 'Reflections' begins with the piano line both whimsically and touchingly set against the plaintive viola. As the assertiveness of their statements grows, so does the interplay between the parts. The viola solo that starts 'Soliloquy and Cavatina' dies away but soon is joined by the distant lambent chimes from the piano."135

Perle, George

(b. 1915)

Pulitzer Prize, 1986 for

Wind Quintet No. 4 for Flute, Oboe, Clarinet, Horn and Bassoon

Preludio, Invention and Ostinato Op. 15 (1943)136

Premiere: Unknown.

Instrumentation: Viola and Piano.

Publisher/Date: American Composers Alliance; Instituto Interamericano de Musicologia, Montevideo, Uruguay, South America., 1943.

Availability: Unknown.

Duration: Unknown.

Dedication/Commission: Unknown.

134Dantalian Inc., internet.

135Pierre Ruhe, “Sad Songs Say So Much In Premiere With Juilliard,” The Washington Post, 18 April 1998, B3.

136Zeyringer, 187. No other reference provides information that this work exists, including George Perle’s Catalog of Works.

79 Introductory/Program Notes: Unknown.

Selective Bibliography: None found.

Selective Discography: None found.

Serenade No. 1, for Viola and Chamber Orchestra (1962)

Premiere: 10 May 1962, Walter Trampler, viola, , conductor, New York.

Instrumentation: Solo viola; 1111/1110/0100; alto sax; .

Publisher/Date: Galaxy, 1962.

Availability: Score and solo part for purchase, instrument parts rental only, E. C. Schirmer Music Company; Galaxy Music Corporation; Arsis Audio Galaxy, 1.2555.

Duration: 13'.

Dedication/Commission: None.

Introductory/Program Notes: None.

Selective Bibliography:

George Perle: a Catalog of Works. Boston: E.C. Schirmer, 1991.

Selective Discography: None found.

Solo Partita for Violin and Viola (1965)

Premiere: 23 April 1965, Chicago, Irving Ilmer, viola and violin.

Instrumentation: Violin and Viola. (One soloist alternates between instruments.)

80 Publisher/Date: Bryn Mawr, PA: Theodore Presser, 1967.137

Availability: E. C. Schirmer Music Company; Galaxy Music Corporation; Arsis Audio: Galaxy, 1.3294; made to order.138

Duration: 12'.

Dedication/Commission: For Irving Ilmer.

Introductory/Program Notes: None.

Selective Bibliography:

Carson, Josephine. “A Talk with George Perle.” Strings Magazine 4, no. 2 (September/October, 1989): 40-44.

Glick, Jacob. “An Overview of Twentieth-Century Viola Works, Part I.” Journal of the American Viola Society 17 no. 1 (2001), 21.

Selective Discography: None found.

The first movement (Prelude) and third movement (Courante) are for viola, with the second (Allemande), fourth (Sarabande) and fifth (Finale) for violin.139

Sonata for Solo Viola (1942)

Premiere: Unknown.

Instrumentation: Solo Viola.

137Theodore Presser is now located in King of Prussia, . See Appendix A.

138See Appendix B.

139Glick, 17.

81 Publisher/Date: Montevideo, Uruguay: Instituto Interamericano de Musicologia, 1944. Peer-Southern.

Availability: Peer-Southern 61163612, through .140

Duration: 9'.

Dedication/Commission: To Isadore Zverow.

Introductory/Program Notes: None.

Selective Bibliography:

Glick, Jacob. “An Overview of Twentieth-Century Viola Works, Part I.” Journal of the American Viola Society 17, no. 1 (2001): 21.

Selective Discography: None found.

Written in Chicago in 1942, Perle’s sonata is a twelve-tone piece. There are no bar lines, allowing for flexible interpretation and phrasing by the performer.141

140Brett Rosenau, Copyright Department, Theodore Presser Co., to author, 13 January 2003, electronic mail. Peer-Southern is a publisher’s imprint of Theodore Presser Company.

141Glick, 21.

82 Piston, Walter

(1894-1976)

Pulitzer Prize, 1948 for Symphony No. 3

Pulitzer Prize, 1961 for Symphony No. 7

Concerto for Viola and Orchestra (1957)

Premiere: 7 March 1958, Joseph de Pasquale, viola, Charles Munch, conductor, Boston Symphony Orchestra.

Instrumentation: Viola solo; 3333/4231/timp/hp/str.

Publisher/Date: New York: Associated Music Publishers Inc., 1959.

Availability: Score and parts for rent from G. Schirmer.

Duration: 23'.

Dedication/Commission: Commissioned by and dedicated to Joseph de Pasquale.

Introductory/Program Notes: None.

Selective Bibliography:

Archibald, Bruce. “Reviews of Five Works Issued or Reissued by the Louisville Orchestra.” Musical Quarterly 64 (1978): 263-68.

Cho, Choongki. “The Concerto for Viola and Orchestra by Walter Piston: an Analysis for Performance.” D.M. diss., Florida State University, 1987.

Ewin, David. The World of Twentieth-Century Music. Englewood Cliffs, New Jersey: Prentice-Hall, 1968.

Kolodin, Irving. “Music to My Ears.” Saturday Review 41 (5 April 1958): 22.

83 Piston, Walter. “Viola and Orchestra,” Boston Symphony Orchestra Programmes, 77 (1957-58): 1136-1142.

Selective Discography:

Piston, Walter. The Louisville Orchestra. Louisville First Edition Records, no. 3. Paul Doktor, viola, Jorge Mester, music director, Louisville Orchestra, Louisville, KY: LOU-633/LS-63-3, 1963/1965. Long playing record.142

According to Pollack, many prominent violists considered Piston’s viola concerto to be of importance. In 1958, after much debate and numerous balloting, Piston’s Viola Concerto received the New York Music Critics Circle Award.143 Irving Kolodin described Pasquale’s performance as unable to answer the question regarding Piston’s ability to write a melody that could “blossom or merely bud.”144 Piston experimented with scoring throughout the work due to his concern for the problems associated with writing for the viola and orchestra combination. Piston’s goal was to ensure the viola would always be heard, but he also wanted to make the orchestra more a participating partner than accompanimental. Rudolph Elie wrote:

Piston has, in one giant step, provided the world with a viola concerto worthy of the instrument. . .The concerto displays the instrument in all of its marvelous capacities, but at the same time makes its mark as a unified and deeply felt composition in which the viola does not merely contend with the orchestra, but rises out of it as an integral part of the communication.145

142Pollack, Piston, 196.

143Choongki Cho, “The Concerto for Viola and Orchestra by Walter Piston: An Analysis for Performance,” (D.M. diss., Florida State University, 1987): 2.

144Pollack, Piston, 123.

145Rudolph Elie, Boston Herald, quoted in David Ewin, The World of Twentieth- Century Music (Englewood Cliffs, New Jersey: Prentice-Hall, 1968), 556.

84 Interlude (1942)

Premiere: 4 September, 1943, Louise Rood, viola and Irene Jacobi, piano.

Instrumentation: Viola and Piano.

Publisher/Date: Boosey and Hawkes, 1952.

Availability: Boosey and Hawkes, special order as an archive request.146

Duration: 5' 00".

Dedication/Commission: Unknown.

Introductory/Program Notes: Unknown.

Selective Bibliography:

Keys, Ivor. “Reviews of Music,” Music and Letters 34 (1953): 175.

Pollack, Howard. Harvard Composers: Walter Piston and His Students from Elliott Carter to Frederic Rzewski. New Jersey and London: The Scarecrow Press, Inc., 1992.

. Walter Piston. Studies in Musicology, 50. Ann Arbor, Mich.: UMI Research Press, 1982. (Concerto: 123, 125, 127, 158, 160; Interlude: 76- 77)

Selective Discography: None found.

According to Pollack, Piston’s Interlude for viola and piano, along with his Passacaglia (1943) and Improvisation (1945), both for piano, reflect Piston’s sorrowful feelings regarding World War II. Pollack writes that Interlude is “lyrical and elegiac,” comparing it to Stravinsky’s Elegy for solo viola of 1944. Interlude, is a single movement, ternary work, reaching its climax in F-sharp, after a minor cycle of fifths in

146See Appendix B.

85 the B section. Piston never again used this style of introspective, sorrowful, and mournful, writing after 1945.147

Ivor Keys described Interlude as being of a “chromatic Rubbra,” with a “homogeneous and slowly unfolding lyrical style. . .somewhat featureless at first, but summoning its energies to a full climax. Viola players should find that it accords well with their instrument and will hold its head up in any group of pieces.”148

Porter, Quincy

(1897-1966)

Pulitzer Prize, 1954 for Concerto Concertante for Two Pianos and Orchestra

Blues Lointains (1928)

Premiere: Unknown.

Instrumentation: Flute or Viola and Piano.

Publisher/Date: New York: American Composers Alliance, 1952.

Availability: American Composers Alliance.

Duration: 7' 00".

Dedication/Commission: None.

Introductory/Program Notes: None.

Selective Bibliography: None found.

147Pollack, Piston, 76-77.

148Ivor Keys, “Reviews of Music,” Music and Letters 34 (1953):175.

86 Selective Discography:

Still, Alexa. Alexa Still, Flute. Alexa Still, flute, Susan Smith, piano. Port Washington, NY: Koch International Classics, KIC-CD-7144, February, 1993. Compact disc.

Blues Lointains was written by Porter while in Paris on a Guggenheim Fellowship. It reflects Porters interest in jazz, exhibiting subtle jazz and blues influences with a “touch of nostalgia.”149

Concerto for Viola and Orchestra (1948)

Premiere: , Paul Doktor, viola, , conductor, Columbia Broadcasting System Orchestra, Columbia University Festival of American Music.

Instrumentation: Solo Viola, 3322/4331/perc/str.

Publisher/Date: Associated Music Publishers, 1951. (Viola and Piano reduction)

Availability: Piano reduction for purchase, orchestral parts and score for rent, G. Schirmer.

Duration: 20'00".

Dedication/Commission: To , written at the request of the Alice W. Dixon Foundation.

Introductory/Program Notes: None.

149Quincy Porter, to Professor Jonathan Elkas, Lehigh University, 29 January 1959, as quoted in Willard Kent Hall, “Quincy Porter: His Life and Contributions as a Composer and Educator (1897-1966),” D.M.A. diss., (University of Missouri-Kansas City, 1970): 6.

87 Selective Bibliography:

Boatwright, H. “Quincy Porter (1897-1966),” Perspectives of New Music 5, no. 2 (Spring/Summer, 1967): 162-165.

Doktor, Paul. “Review of Concerto for Viola and Orchestra by Quincy Porter,” and Violinists. 15 (July, 1954): 178-181.

Elwell, H. “Quincy Porter,” Modern Music 23 (Winter, 1946): 20-26.

Hall, Willard Kent. “Quincy Porter: His Life and Contributions as a Composer and Educator (1897-1966).” D.M.A. diss., University of Missouri-Kansas City, 1970.

Schuller, Gunther. “Review of Concerto for Viola and Orchestra by Quincy Porter,” Notes. 10 (March, 1953): 331.

Selective Discography:

Porter, Quincy. Concerto for Viola and Orchestra. Angerer, Paul, violist, Schönherr, conducting, American Recording Society Orchestra, American Recording Society, ARS-36, 1953. Long playing record.

. Concerto for Viola and Orchestra. Angerer, Paul, viola, Schönherr, conducting, Vienna Symphony, New York: American Composers Series, Desto Records D-410/DST-6410, 1965. Long playing record.

Quincy Porter describes his viola concerto:

The first movement is in simple song form. Many of the musical ideas are entrusted to the orchestra, but the viola -- playing often in a quasi-recitative- like manner -- provides a number of thematic ideas used considerably in the Allegro which follows. This second movement is in fast 6/8 time throughout. The viola is entrusted with a number of long melodic lines, the only cadenza- like passage forming an accompaniment to melodic lines in the orchestral part. The Largo, in slow 4/4 time, is somewhat like a dirge. It contains the only solo cadenza in the Concerto, just before the main thematic material

88 returns for the last time. The last movement is in 2/2 time, and is lively and gay for the most part, with some traces of the rhythms of the dance. In it, there are few references to material from the first three movements.150

Paul Doktor reviewed Porter’s Concerto for Viola and Orchestra saying it should be “of special interest” to violists.

“It is doubly interesting and valuable because it is written by a man who is not only a well known composer but also an excellent violist. Porter used the orchestra to its fullest advantage exploiting the different colors and shadings of various instruments, creating a plastic and wide spaced orchestration which produces a transparency and yet a well-rounded sound quality which is not often equaled in other contemporary works for viola and orchestra. . .in my opinion this work is one of the most important additions to the literature for this medium and will certainly rank high among the viola concerti by Hindemith, Tansman, Walton and Bartok.”151

Primrose wrote to Porter and said he would like to perform the work often and considered it significant in his repertoire.152

Gunther Schuller wrote:

The concerto boasts an extremely effective and brilliant viola part, which, while conventional in its over-all conception, is nevertheless advanced enough to attract the player looking for a major ‘modern’ work to perform. It is extremely grateful viola writing, and the clear and transparent orchestration would seem to assure the soloist of being in the spotlight almost all the time. . . .The music itself is a free and natural mixture of horizontal and vertical writing, and while it is often harmonically reminiscent of Bloch and some of the pentatonic writing of Vaughan-Williams, the material is so

150Quincy Porter, Concerto for Viola and Orchestra, quoted in untitled notes, Desto Records DST-6410, New York: American Composers Series.

151Paul Doktor, “Review of Concerto for Viola and Orchestra, by Quincy Porter” Violins and Violinists, 15 (July, 1954): 178-181; quoted in Hall, 33.

152William Primrose, to Quincy Porter, Suisse, Switzerland, 19 July 1951; referred to by Hall, 33.

89 consistently and logically developed that the result is a work of considerable unity and attraction.153

Duo for Viola and Harp or Harpsichord (1957)

Premiere: Unknown.

Instrumentation: Viola and harp, or harpsichord.

Publisher/Date: New York: Associated Music Publishers, Inc., 1960.

Availability: Out of print. Possibly available as an archive request from G. Schirmer.154

Duration: 10'.

Dedication/Commission: To Lillian Fuchs and Laura Newell.

Introductory/Program Notes: None.

Selective Bibliography:

Hoxie, Jonathan David. “Music for Viola and Harpsichord Written After 1945 by American Composers: A Lecture Recital (Quincy Porter, Henry Cowell, Alvin Etler, Mark Jewens Corwin, Claudio Spies).” D.M.A. diss., , 1997.

Selective Discography:

Porter, Quincy. Hommage à Martine Geliot (1948-1988). Jean Dupouy, viola, Martin Geliot, harp. 1991. Quantum, QM 6898; QM 1993. Compact disc.

Quincy Porter’s Duo is a somewhat free rondo consisting of two primary thematic ideas. Duo opens with a recurring slow theme that is separated by the faster contrasting

153Gunther Schuller, “Review of Concerto for Viola, by Quincy Porter,” Notes 10 (March, 1953):331; quoted in Hall, 34.

154See Appendix B.

90 sections marked Doppio Movimento, or double time. The faster sections are described by Hoxie as more virtuosic, but Hoxie states that “the slower sections are quite challenging, since the lines are very long and occassionally lack distinct musical direction.”155

As all of Porter’s viola music, Duo is quite idiomatic for the viola, but some of the writing is awkward for the harpsichord. Although the accompaniment includes pedal markings for the harp and registeration markings for harpsichord, some of the pitches must be played down an octave on the harpsichord due to its smaller range. Hoxie, therefore, believes that this suggests that Porter preferred the harp for this accompaniment.156

Poem for Viola and Piano (1958)

Premiere: Unknown.

Instrumentation: Viola (or cello) and Piano.157

Publisher/Date: The Valley Music Press: 1958.

Availability: Out of Print.158

155 Jonathan David Hoxie, “Music for Viola and Harpsichord Written After 1945 by American Composers: A Lecture Recital (Quincy Porter, Henry Cowell, Alvin Etler, Mark Jewens Corwin, Claudio Spies)” (D.M.A. diss., Arizona State University, 1997), 23-24.

156Ibid., 22.

157Poem for viola and piano was originally for cello and piano, written as part of the same commission by the Juilliard Musical Foundation that resulted in Porter’s Speed Etude.

158Linda Shaughnessy of Smith College Department of Music, Northampton, Massachusetts, telephone interview by author, Tallahassee, Florida, 31 October 2002. New Valley Press was part of Smith College’s Department of Music and disbanded in 1996. At the time of the disbanding, and at the request of William Porter, Quincy Porter’s son, Smith College mailed all of Quincy Porter’s New Valley Press published

91 Duration: Unknown.

Dedication/Commission: Commissioned by the Juilliard Musical Foundation. To Oliver Edel.

Introductory/Program Notes: None.

Selective Bibliography: None found.

Selective Discography:

Paul Doktor viola, Tape at Yale University, n.d.

Speed Etude (1958)

Premiere: Unknown.

Instrumentation: Viola and Piano.

Publisher/Date: New Valley Press, 1950.

Availability: Out of print. The original manuscript is located in Porter’s personal papers at Yale University Music Library. Original copies are maintained at the Smith College Department of Music.159

Duration: 2' 21".

Dedication/Commission: Commissioned by the Juilliard Musical Foundation and dedicated to Paul Doktor.

Introductory/Program Notes: None.

compositions to Music Matters, Boise, Idaho. The mailed materials were subsequently lost, with Music Matters never receiving the materials. Smith College’s Department of Music maintains a copy of each of Quincy Porter’s compositions published by New Valley Press. All copyrights are held by Quincy Porter’s heirs.

159See Poem for Viola and Piano, availability, footnote.

92 Selective Bibliography:

Hall, Willard Kent. “Quincy Porter: His Life and Contributions as a Composer and Educator (1897-1966).” D.M.A. diss., University of Missouri-Kansas City, 1970.

Selective Discography:

American Viola Works. Cathy Basrak, viola, William Koehler and Robert Koenig, piano. Cedille Records, CDR 90000 053, 2000. Compact disc.

Paul Doktor, viola, Tape at Yale University, n.d..

Speed Etude is a spirited perpetual motion for viola that is sure to interest violists looking for virtuosic flash. It is quite idiomatic, incorporating a technique not typically required. Figure 1 shows two arpeggiated chords where Porter calls on the violist to use the thumb to stop the pitch on the C string while the fingers are free to maneuver.

In 1947, William Schuman, then President of the Juilliard School, wrote to Porter to ask him to fulfill a commission for Juilliard. The letter outlined details of the commission, asking Porter for five compositions, one for violin, one for viola, one for cello, one for double bass and one for a string quintet. The four solo works were to be “of moderate difficulty, with accompaniment” and written to provide teachers works that are “appropriate in their technical demands and written with the artistry and craftsmanship of an accomplished composer.” The compositions that resulted from this commission include Improvisation for Violin and Piano, Speed Etude for Viola and Piano, Poem for Cello and Piano, Lyric Piece for and Piano, and Bagatelle for String Quintet.160

160Letter to Quincy Porter, from William Schuman, Juilliard School of Music, New York, 2 July 1947; quoted in Hall, 81.

93 Use the thumb where indicated by this symbol. Figure 1. Quincy Porter Speed Etude, measures 54 and 55.

Suite for Viola Alone (1930)

Premiere: 18 February 1931, Quincy Porter, viola, Salle Chopin, Paris.161 United States Premiere, 6 December 1931, Museum of Art, Cleveland, Ohio.

Instrumentation: Viola Solo.

Publisher/Date: South Hadley, Massachusetts: Mount Holyoke College; Northampton, Massachusetts: Smith College, The New Valley Press, 1946, c.1937.

Availability: Out of Print. Copies located in the PIVA.162

Duration: Unknown.

Dedication/Commission: None.

161Hall, 7-8. This was the first significant concert for Porter. It included chamber music by him only and was attended by Nadia Boulanger, Robert Delaney, and Virgil Thompson. Boulanger wrote to Porter the day after stating, “Everything was so perfect,-- peacefully, beautifully, charmingly prepared and presented, and so good in itself.” Nadia Boulanger, letter to Quincy Porter, Paris, 19 February 1931, as quoted in Hall, 8.

162See Poem for Viola and Piano availability and footnote.

94 Introductory/Program Notes: None.

Selective Bibliography:

Engel, Lehman. “Yaddo Festival of Contemporary American Music.” The Saratogian, Saratoga Springs, New York, 5 October 1933.

Selective Discography:

Porter, Quincy. Suite for Viola Alone. Quincy Porter, viola, New Music Quarterly Recordings 1512, 1939. 78 rpm record.

. Suite for Viola Alone. Modern Music Recording 1512, 1940.

. Suite for Viola Alone. CRI SRD-390E, 1978. Long playing record.

Suite for Viola Alone was one of Porter’s personal favorites. He performed it regularly and recorded it. In September 1932, Porter took a teaching position at Vasser College where he performed Suite for Viola Alone in November and then in October 1933 he performed it at a Yaddo Festival of American Music, Sarasota Springs, New York where it was reviewed. Lehman Engel wrote that “Suite for Viola Alone was an excellent and intriguing composition. It is well written for the instrument, employing it to its last feasible technical limits.”163

163Lehman Engel, “Yaddo Festival of Contemporary American Music,” The Saratogian, Saratoga Springs, New York, 5 October 1933; quoted in Hall, 12.

95 Rouse, Christopher

(b. 1949)

Pulitzer Prize, 1993 for Trombone Concerto

Subjectives X (12 December 1973, manuscript, Ithaca, New York)

Premiere: Unknown.

Instrumentation: Solo Viola.

Publisher/Date: Manuscript student work, American Composers Edition, Composer’s Facsimile Edition, 1975.

Availability: Withdrawn by composer.

Duration: 6'.

Dedication/Commission: Dedicated to Jennie Hansen.

Introductory/Program Notes: “Completed in Ithaca, New York, December 12, 1973. It is one short movement subdivided into several shorter sections. All unusual directions are explained in the score.”164

Selective Bibliography: None found.

Selective Discography: None found.

Dr. Rouse states that Subjectives X was a student work and requests that this piece not be performed. It is included in this bibliography because it exists and it is listed

164Christopher Rouse, Subjectives X, American Composers Edition, Composer’s Facsimile Edition, 1975. Manuscript score.

96 in prominent viola literature resources. For example, it is listed in Zeyringer’s Literatur für viola, and on Patricia McCarty’s World Wide Web Site Favorite American Repertoire for Solo Viola.165

Schuller, Gunther

(b. 1925)

Pulitzer Prize, 1994 for Of Reminiscences and Reflections

Concerto for Viola and Orchestra (1985)

Premiere: 17 and 18 December 1985, Thomas Riebl, viola, , conductor, New Orleans Symphony, Orpheum Theater, New Orleans.166

Instrumentation: Solo Viola, 3(pic, afl)3(ca)2+bcl.3(cbn)/4331/timp.5-6perc/cel.hp.pf/str

Publisher/Date: Associated Music Publishers.

Availability: Solo part, score and orchestral parts for rent through G. Schirmer.

Duration: 18'.

Dedication/Commission: Commissioned by the Walter W. Naumburg Foundation for Thomas Riebl, 1982 Naumburg International Viola Competition winner.

Introductory/Program Notes: None.

165Rouse, electronic mail; Zeyringer, 96; and Patricia McCarty, Favorite American Repertoire for Solo Viola, internet, available from http://members.aol.com/pmcarty/repamer.html, accessed 17 September 2002.

166Norbert Carnovale, Gunther Schuller, A Bio-bibliography, Bio-bibliographies in Music, no. 6 (New York: Greenwood Press, 1987), 72-73.

97 Selective Bibliography:

Carnovale, Norbert. Gunther Schuller: a Bio-bibliography. Bio-bibliographies in Music, series advisor Donald L. Hixon, no. 6. New York: Greenwood Press, 1987.

Gagnard, Frank. “On the Scene: A Workout for the Viola.” Times Picayune, New Orleans, LA: 20 December 1985, Lagniappe section, 2.167

Schuller, Gunther. “On the Scene: Third Stream Still Flowing, Schuller Finds.” Interview by Frank Gagnard (New Orleans, December 1985). New Orleans, Times Picayune, 15 December 1985, C22.

Selective Discography: None found.

In the publicity article advertising the upcoming world premiere, Schuller described his viola concerto as a piece that he believes has popular appeal. He further stated that, “All my concertos seem to. In the concerto - and one other category in music, opera - you really can’t write an incredibly abstract piece of music. No soloist will take the piece up and it will never be played. With a concerto, you have to have a protagonist for your piece. He has to love it, he has to fight for it (on programs). If you don’t have a soloist committed to your work, it just lies on the shelf.”168 In the world premiere review of Schuller’s concerto, Frank Gagnard wrote, “It is a seriously committed musician indeed who will take the viola concerto and appreciate its differences and daring.” Instead of exploiting the best attributes of the viola, Schuller explores all of its

167Ibid., 206. This article is a review which includes a description of the concerto.

168Gunther Schuller, “On the Scene: Third Stream Still Flowing, Schuller Finds,” interview by Frank Gagnard (New Orleans, December 1985), New Orleans, Times Picayune, 15 December 1985, C22.

98 possibilities, showing everything of which an accomplished violist and the viola are capable.169

Schuller’s Concerto for Viola and Orchestra begins with an orchestral introduction followed by the soloist strolling on stage while playing. The first movement, says Gagnard, provides “reverie and revelry in equal measure.” The second movement is a Fantasia “on the enchanted level of Ravel’s ‘nature music’.” The third movement “has the rhythmic brio and freedom of Stravinsky and its own explosive surprises.”170

The soloist in Schuller’s concerto is expected to be part of the orchestral fabric at times, and a virtuoso at others, but at no time is the composition fully dependent on the solo viola. Even during the virtuoso passages the orchestral writing is so strong that the piece could nearly stand alone as an orchestral composition. The viola writing is highly virtuosic, and as for its popularity, “the last movement cadenza abounds in difficulties, but it is too gawky to be considered a crowd-pleaser.”171

169Frank Gagnard, “On the Scene: A Workout for the Viola,” Times Picayune, (New Orleans, LA: December 20, 1985): Lagniappe section, 2.

170Ibid.

171Ibid.

99 Schuman, William

(1910-1992)

Pulitzer Prize, 1943 for

Secular Cantata No. 2:

A Free Song for Full Chorus of Mixed Voices, with Accompaniment of Orchestra

Pulitzer Special Award, 1985

Concerto on Old English Rounds (1973)

Premiere: 29 November 1974, Donald McInnes, viola, Michael Tilson Thomas, conductor, Boston Symphony Orchestra, and the Radcliffe Choral Society, Boston Massachusetts.

Instrumentation: Solo Viola, Women’s Chorus (SSAA), 3(pic)2(e.h.)2(bcl)2(cbsn)/4331/ perc/chimes/str.

Publisher/Date: Bryn Mawr, PA: Merion Music Inc., Theodore Presser Co.: 1975.

Availability: Score for rent, viola and piano reduction for purchase, Theodore Presser. Score: 446-41021, Viola and piano reduction: 410-41227.

Duration: 40'.

Dedication/Commission: Commissioned by the Ford Foundation for Donald McInnes.

Introductory/Program Notes: None.

Selective Bibliography:

Adams, Gary K. William Schuman: a Bio-bibliography. Bio-bibliographies in Music, no. 67. Westport, Conn.: Greenwood Press, 1998.

100 Domville, Eric. “Rare Beauty and Imagination.” 3 (October, 1978): 50-51, 54.172

Hall, David. “Bio-Discography of William Schuman.” Ovation 6 (August/September, 1985): 8-14, 18-22.

Keats, Sheila. William Schuman: Biographical and Professional Data: Including Chronological Listing of Works With Background Data, Listing of Works by Performance Medium. 1970.

Rouse, Christopher. William Schuman, Documentary: Biographical Essay, Catalogue of Works, Discography and Bibliography. With an introductory note by . Bryn Mawr, PA: Theodore Presser; New York, NY: G. Schirmer, 1980.

“Symphonic Highlights: Premieres.” International Musician 73 (December 1974): 15.173

“World Premieres.” Symphony News 25, No. 6 (1974): 27. 174

Selective Discography:

Schuman, William. Concerto on Old English Rounds. Donald McInnis, viola, Leonard Bernstein, conductor, New York Philharmonic Orchestra; the Camerata Singers, Columbia M 35101, 1978. Long playing record.175

When first asked by Donald McInnis to write a viola concerto, William Schuman declined with no desire to write for the instrument. Schuman told McInnis his schedule would not permit it. McInnis replied, saying he would be willing to wait for Schuman to

172Ibid., 156. Includes a record review of CBS M 35101, analysis, observations, and comments on each of the five sections of the concerto.

173Gary K. Adams, William Schuman: a Bio-bibliography, Bio-bibliographies in Music, no. 67 (Westport, Conn.: Greenwood Press, 1998): 139. Briefly mentions the world premiere.

174Adams, 144. A short announcement of world premiere.

175Adams, 68.

101 have time, and asked if he might send Schuman a tape of his playing. Schuman was impressed. “I became converted to the special qualities of the solo viola - so like a violin, so like a cello, so unlike a violin, so unlike a cello.”176 Schuman decided to write for the viola, but had the sounds of the viola with women’s chorus in his mind’s ear. Schuman used the English round Amaryllis as the basis for his Concerto on Old English Rounds. He used this same song in 1964 for his Amaryllis: Variations for . The concerto is in five movements and includes three other rounds, Great Tom is Cast, Who’ll Buy Mi [sic] Roses, and Come Follow Me. The rounds are only the melodic material by which Schuman built his concerto. Treating the melodies as if he had composed them, Schuman used the rounds in their original version, and “transformed them into other versions that are far from their original simplicity and transformed them by musical concepts, that on first hearing, may seem to have little direct bearing on the rounds at all.”177 Hall describes Schuman’s concerto as a “blend of Jacobean and twentieth-century harmonic textures and rhythms. . .a wholly intriguing tonal web and tapestry.”178 In an interview concerning his Concerto on Old English Rounds, Schuman states that “I went as far afield as I could and still be true to the nature of the materials from which the work sprang - that is, the rounds. When the rounds appear alone in the chorus they are quite tonal. . .However, when the rounds are in the orchestra, especially during some of the fast music, they are changed a lot.” Schuman used these same four rounds in his 1973 To Thy Love, a choral fantasy for unaccompanied women’s chorus.179

176Phillip Ramey, “A Talk with William Schuman,” Concerto on Old English Rounds, Donald McInnis, viola; Leonard Bernstein, conductor, New York Philharmonic Orchestra, the Camerata Singers, New York, NY: Columbia Masterworks, Columbia M 35101, 1978. Long playing record, notes.

177Ibid.

178David Hall, “Bio-Discography of William Schuman,” Ovation 6 (August/ September, 1985):22.

179Adams, 21.

102 Shapey, Ralph

(1921 - 2002)

Nominated for the Pulitzer Prize, 1992, for Concerto Fantastique

Duo for Viola and Piano (1957)

Premiere: 26 March 1958, Walter Trampler, viola and Lalon Parrott, piano, Third Street Settlement, New York, NY.180

Instrumentation: Viola and Piano.

Publisher/Date: New York, NY: American Composers Alliance, 1957.

Availability: Theodore Presser. Published by special order, Custom Print Edition. 1144 0559S, one score; 1144 05590, two scores.181

Duration: 9' 20".

Dedication/Commission: To Winterry.

Introductory/Program Notes: None.

Selective Bibliography:

Hinson, Maurice. The Piano in Chamber Ensemble an Annotated Guide. Bloomington and Indianapolis, Indiana: Indiana University Press, 1978.

Selective Discography: None found.

180Patrick D. Finley, A Catalogue of the Works of Ralph Shapey, Dimension and Diversity, no. 1 (Stuyvesant, NY: Pendragon Press, 1997), 28.

181It is not bound. It will be copied, bound and sold by request. See Appendix B.

103 Duo for Viola and Piano is a single movement work in five sections. Hinson states that Shapey’s Duo should be undertaken only by the “most adventurous and highly qualified performers.” The Andante con expressivo contains several mixed meters, i.e. 2/4+3/16, 1/8+1/4 (3/8), 2/4+3/16, etc, is “highly expressionistic, with complex harmonies and rhythms and a quasi cadenza for viola with piano participating.” “The segue to Leggiero section is pointillistic, while the segue to Andante con espressivo section accelerates to a Maestoso conclusion.”182

Evocation No. 3 (1981)

Premiere: 18 October 1982, Thomas Riebl, viola and Susan Tomes, piano, Alice Tully Hall, Lincoln Center for the Performing Arts, New York, NY.183

Instrumentation: Viola and Piano.

Publisher/Date: Bryn Mawr, Pennsylvania: Theodore Presser Co., 1985.

Availability: Theodore Presser, 414-41162.

Duration: ca. 16' 30".

Dedication/Commission: Commissioned by the Naumburg Foundation for its International Viola Competition.

Introductory/Program Notes: Viola plays from the score.

Selective Bibliography:

Finley, Patrick D., A Catalogue of the Works of Ralph Shapey. Dimension and Diversity, no. 1. Stuyvesant, NY: Pendragon Press, 1997.

Holland, Bernard. “Music: Debuts in Review.” The New York Times, 24 October 1982, sec. 1, p. 61.

182Hinson, 117.

183Finley, 45.

104 Rhein, John van. “Shapey Has a Winning Way With Fromm Program.” ,. 24 April 1994, sec. 5, p. 7.

Marty, Martin E. “The Standouts. Pulitzer Board Overrules Music Jury’s Nomination of R. Shapey Composition.” The Christian Century, 109, (May 13, 1992): 527.

Selective Discography:

Music for Viola, a Twentieth Century Anthology. John Graham, viola, Robert Black, piano. Composers Recordings, Inc., CRI ACS 6016, 1988. Cassette.

Shapey, Ralph. Evocation No. 3. Library of Congress Music Division Concert, 1982-10-23. Thomas Riebl, viola, Susan Tomes, piano. Coolidge Auditorium, Washington D.C.: Library of Congress, 23 October 1982. Two sound tape reels.

According to Bernard Holland, Music Critic for the New York Times, Shapey’s Evocation No. 3 is as “evocative as its name” and “features long expanses of melodic line.” He continued saying, “The piano part is filled with shimmering chordal accompaniments, all carefully calculated by Mr. Shapey to allow the muted sonorities of the viola part to shine through.”184 John van Rhein of the Chicago Tribune writes that Shapey’s Evocation No. 3 “begins with a boldly varied Passacaglia, continuing through a harsh Scherzo and ending with a song of Shapeyesque . The music is filled with some of Shapey’s most personal lyricism.”185

Evocation No. 3 is constructed using an organized pitch collection Shapey devised and called “The Mother Lode,” with the 12-tone row presented in the first three measures of the viola part. This is the first composition to receive this treatment of pitch materials. Shapey has used “The Mother Lode” in nearly every composition since then.

184Bernard Holland, “Music: Debuts in Review,” The New York Times, 24 October 1982, sec. 1, p. 61.

185John van Rhein, “Shapey Has a Winning Way With Fromm Program,” Chicago Tribune, 24 April 1994, sec. 5, p. 7.

105 Only three works between 1981 and 1997 are not based on “The Mother Lode,” and each of these are written for unpitched percussion. For a full discussion of Shapey’s “The Mother Lode” and a complete analysis of Evocation No. 3, see Finley’s A Catalogue of the Works of Ralph Shapey.186

Sowerby, Leo

(1895-1968)

Pulitzer Prize, 1946 for The Canticle of the Sun

Ballade for Viola and Organ (H. 300) (6 May 1949)

Premiere: 12 June 1949, Louis Speyer, english horn and E. Power Biggs, organ, broadcast over the Columbia Broadcasting System from the Germanic Museum, Harvard University.187

Instrumentation: English Horn and organ, with alternate parts for Viola, Violin or Clarinet.

Publisher/Date: H. W. Gray, 1950; Fred Bock Music Publishers.

Availability: Fred Bock Music Publishers, BG0881. Original sketch and score are located in the Library of Congress.

Duration: 11'30".

186Finley, 65-69 and 75-77.

187Jones states that at this first performance, Ballade for English Horn and Organ had no name. It was named later. Raymond D. Jones, “Leo Sowerby, His Life and His Choral Music,” (Ph.D. diss., University of Iowa, 1972): 187. Francise Crociata stated that Biggs had a regular 9:30 a.m. Sunday morning radio program over the NBC Blue Network, that was later split off from NBC, becoming the Columbia Broadcasting System. Biggs kept copies of these recordings and they can be found at Boston University in the E. Power Biggs Collection. Francise Crociata, President of the Leo Sowerby Foundation, telephone interview by author, 10 January 2003.

106 Dedication/Commission: Written for and dedicated to Louis Speyer.188

Introductory/Program Notes: None.

Selective Bibliography:

“New Work by Leo Sowerby Played by E. Power Biggs.” The Diapason 40 (July, 1949): 1.

Selective Discography:189

Sowerby, Leo. Ballade for Viola and Organ. Paul Doktor, viola; Marilyn Mason, organ. Mirrosonic RM-1013/RS-1013, 1961. Long playing record.

Sowerby’s Ballade is considered a companion piece to his Poem, both for viola and organ. Ballade begins with a seventeen measure solo for organ that provides the foundation from which the whole work unfolds. Sowerby’s “rhythmic subtlety and highly knowledgeable chromaticism” lend great expression and poignancy to this somber piece. There are a series of climaxes, eventually leading to an inevitable resolution. “The effect is of compelling seriousness which grows with repeated hearings.”190 According to Francis Crociata, president of the Leo Sowerby foundation, “Leo’s favorite combination was the edition for clarinet and organ. It was the last one created, but the

188Jones, 187; and Crociata interview. Louis Speyer was the english horn player for the Boston Symphony.

189Crociata interview. William Primrose, viola, recorded Ballade with Vernon de Tar, organ, at the Episcopal Church of Ascention in New York City in 1954. The recording was never released.

190Leo Sowerby, Ballade for Viola and Organ, with notes by Milton Halpern, Paul Doktor, viola; Mason, Marilyn, organ, Mirrosonic RM-1013/RS-1013, 1961, long playing record.

107 one he felt was most successful.” Sowerby was not pleased with writing a composition for more than one combination, but he was more or less forced to by the publishers.191

Concerto for Viola and Orchestra192

Premiere: None.

Instrumentation: None.

Publisher/Date: None.

Availability: None.

Duration: None.

Dedication/Commission: None.

Introductory/Program Notes: None.

Selective Bibliography:

Zeyringer, Franz. Literatur für viola. New edition. Hartberg, Austria: Julius Schönwetter, June, 1985.

Selective Discography: None.

191Crociata, interview.

192Zeyringer, 306. Francis Crociata, to author, 4 December 2002, electronic mail. Although Zeyringer lists a concerto, Crociata states, “there never was a Concerto for Viola and Orchestra--only the Poem [Poem for Viola and Orchestra H. 258]--which was of course a Gray publication. Only string concerti (One for Violin--original and revised versions; and two for cello.)”

108 Poem for Viola and Orchestra (H. 258) (Orchestrated Spring, 1947)193

Premiere: Unknown.

Instrumentation: Viola solo; 1122/3100/timp/perc/str.

Publisher/Date: H. W. Gray, 1947; Bryn Mawr, PA: Theodore Presser, 1996.

Availability: Theodore Presser.194

Duration: 19'00"+.

Dedication/Commission: To William Primrose.

Introductory/Program Notes: None.

Selective Bibliography: None found.

Selective Discography: None found.

Sowerby’s Poem for Viola and Orchestra, 1947, is his orchestration of his Poem for Viola and Organ, 1941. For a complete description, see Poem for Viola and Organ.

193Francis Crociata, to the author, 3 December 2002, electronic mail. "The orchestration [from Poem for Viola and Organ] was made for William Primrose--who so far as I know played it twice in August 1949--with & the at Ravinia, IL; and with and the . The next performance, ever, took place in Richmond, VA in 1995 [Peter Slowik, viola; Richmond Symphony] at an all-Sowerby centennial concert...we do have a recording of this.”

194Permission to reprint given to the Leo Sowerby Foundation. Theodore Presser Company, sole selling agent. The Presser score and part are reprinted from the 1947 H. W. Gray edition and are part of the Collected Works of Leo Sowerby Series.

109 Poem for Viola or Violin and Organ H.258 (1941)

Premiere: Easter Sunday, 1942, William Primrose, viola and E. Power Biggs, organ, National Broadcasting Company network broadcast of premiere performance from the home of John Hays Hammond.195

Instrumentation: Viola or Violin and Organ.

Publisher/Date: H. W. Gray Co., 1947. Bryn Mawr, PA: Theodore Presser, 1996.

Availability: Theodore Presser, 494-020070.196

Duration: 19'00"+.

Dedication/Commission: To William Primrose.

Introductory/Program Notes: None.

Selective Bibliography:

Diggle, Roland. “Some New Organ and Other Music.” The American Organist 30 (August, 1947): 248.

Jones, Raymond D. “Leo Sowerby, His Life and His Choral Music.” Ph.D. diss., University of Iowa, 1972.

Katims, Milton. “Organ Music.” Notes 5 (December, 1947): 130.

Mills, Charles. “Over the Air.” Modern Music 19 (May/June, 1942): 282.

Showell, Jeffrey. Review of Poem for Viola and Orchestra (va/organ) by Leo Sowerby. American String Teacher 48, no. 1 (Winter, 1998): 102.

. Review of Poem for Viola and Orchestra (va/organ) by Leo Sowerby. Journal of the American Viola Society 14, no. 3 (1998): 69.

195B. Wayne Hinds, “Leo Sowerby: A Biography and Descriptive Listing of Anthems” (Ed.D. diss., George Peabody College for Teachers of Vanderbilt University, 1972), 111.

196Permission to reprint given to the Leo Sowerby Foundation. Theodore Presser Company, sole selling agent. The Presser score and part are reprinted from the 1947 H. W. Gray edition and are part of the Collected Works of Leo Sowerby Series.

110 Selective Discography:

Sowerby, Leo. Poem for Viola and Organ. Samuel Lifschey, viola, Bronson Ragan, organ. Washington, D.C.: Library of Congress Magnetic Recording Laboratory, 1968. Long playing record.197

Roland Diggle wrote that Sowerby’s Poem for Viola and Organ is one of the finest compositions written by Sowerby. Charles Mills wrote, Poem for Viola and Organ is a ‘reflective reverie. . .romantic in spirit. . .plush and mellow.”198 Mills criticized the work however saying, “it probably comes off with too much nostalgia and slushiness for contemporary taste.”199 Milton Katims, also critical, wrote that Poem for Viola and Organ is “overly long” and offers “little contrast.”200

Peter Slowik was more optimistic, writing, “I have performed the Sowerby Poem both with organ and with orchestra. I feel that the version with organ is perhaps the more compelling of the two because of the clarity/balance that can be achieved in that version. The Poem is a beautiful lyrical work that explores the ENTIRE viola range. There are rather extensive melodic sections in both the low (C-string) range, and a very high A-string range (in really HIGH octaves!) Perhaps the difficulty in making this upper register sound compelling is one of the things which limits performances. It is certainly worthy of more attention from viola performers.”201

197Copy made by the Library of Congress Recording Laboratory in 1949 from discs loaned to the library from Samuel Lifschey. Library of Congress Online Catalog, internet, available from http://catalog.loc.gov/, accessed 1 March 2003.

198Diggle, Roland. “Some New Organ and Other Music,” The American Organist 30 (August, 1947):248.

199Mills, Charles. “Over the Air,” Modern Music 19 (May/June, 1942): 282.

200Katims, Milton. “Organ Music,” Notes 5 (December, 1947): 130.

201Peter Slowik, to author, 22 January 2003, electronic mail.

111 Jeffrey Showell reviewed Sowerby’s Poem, somewhat optimistically, stating that it is “an eclectic, solid work, quite typical of that period of American musical composition. . . .Moderately difficult.”202

Sonata for Clarinet or Viola and Piano, H.240 (15 October - 19 November 1938)

Premiere: October 1941, Burnet C. Tuthill, clarinet.

Instrumentation: Clarinet and piano with alternate part for viola.

Publisher/Date: G. Schirmer, for the Society for the Publication of American Music, No. 5, 1944; Bryn Mawr, PA: Theodore Presser, 1996.

Availability: Theodore Presser, 494-02184.203

Duration: 24'00".

Dedication/Commission: For Burnet C. Tuthill.204

Introductory/Program Notes: None.

Selective Bibliography:

Hinds, Wayne B. “Leo Sowerby: a Biography and Descriptive Listing of Anthems.” Ed.D. diss., Peabody College for Teachers of Vanderbilt University, 1972.

202Jeffrey Showell, review of Poem for Viola and Orchestra (va/organ), by Leo Sowerby, American String Teacher 48, no. 1 (Winter, 1998): 102. This review was reprinted verbatim in Journal of the American Viola Society 14, no. 3 (1998): 69.

203The sonata is listed in the clarinet section of the Presser catalog, with parts for clarinet and viola. It is not listed in the viola section of the catalog. Permission to reprint given to the Leo Sowerby Foundation. Theodore Presser Company, sole selling agent.

204Francis Crociata, to author, 4 December 2002, electronic mail. “Burnet Tuthill was a clarinetist and former editor of Musical Quarterly--and author of an important Musical Quarterly essay on Leo Sowerby.”

112 Huntington, Ronald M. The Compositions of Leo Sowerby. Rochester, NY: Leo Sowerby Foundation, 1993, rev. 1994.

Jones, Raymond D. “Leo Sowerby, His Life and His Choral Music.” Ph.D. diss., University of Iowa, 1972.

Music of Leo Sowerby, The. Leo Sowerby Foundation, 1993.

Selective Discography: None found.

Sowerby’s Sonata for Clarinet or Viola and Piano is in four movements: Slow and somber 84 measures; Exuberantly, but not too fast, 290 measures; Quietly flowing, 132 measures; and Bright and merry, 233 measures.

Toch, Ernst

(1887-1964)

Pulitzer Prize, 1956 for Symphony No. 3, Op. 75

Three Impromptus for Unaccompanied String Instruments, Op. 90 (Impromptu for Solo Viola, Op. 90b) (18 August 1963)205

205Diane Jezic, “ (1887-1964) Composer, Teacher, Philosopher, a Study of Selected Compositions and Writings,” ( D.M.A. diss., Peabody Institute of the John Hopkins University, 1974), 376; Zeyringer, 98; David Dalton, to author, 16 December 2002, electronic mail; and David Dalton, “The William Primrose Viola Library,” Journal of the Violin Society of America 4, no. 2 (Spring, 1978): 120. Zeyringer lists two works by Ernst Toch, Impromptu Op. 90b, and Improvisation. Both are dated 1963. Jezic’s dissertation includes a copy of a letter to Mr. Jackson of Mills Music, London, from Toch, 1964, requesting that Three Improvisations for String Solos be retitled Impromptus and given the opus number 90. Dr. Dalton’s article tells of a “. . .trenchant piece for solo viola by the eminent composer, the late Ernst Toch. . . .It is dated 1963, one year before the composer’s death, and bears the whimsical inscription ‘To William Primrose, master of his art, to please his somewhat capricious heart.’” No title was provided in the article. Dr. Dalton’s electronic mail stated that the piece he wrote about in the article was titled Improvisation for Solo Viola and that the Primrose

113 Premiere: Unknown.

Instrumentation: Solo Viola.

Publisher/Date: New York, NY: Mills Music, Inc., 1965.

Availability: Permanently out of print.206

Duration: 8'.

Dedication/Commission: To William Primrose.

Introductory/Program Notes: None.

Selective Bibliography:

Dalton, David. “The William Primrose Viola Library,” Journal of the Violin Society of America 4, no. 2 (Spring, 1978): 120.

Helm, Everett Burton. Ernst Toch: Catalogue of Works. New York: Associated Music Publishers, 1967.

Jezic, Diane. “Ernst Toch (1887-1964) Composer, Teacher, Philosopher, a Study of Selected Compositions and Writings.” D.M.A. diss., Peabody Institute of the John Hopkins University, 1974.

Selective Discography: None found.

International Viola Archive holds the original manuscript. A comparison of the Improvisation for Solo Viola manuscript to the published Impromptu confirmed that they are the exact same composition, but there are notation differences in the published version.

206Note Service Music, a division of Warner Brothers Publications, telephone interview by author, 9 January 2003. Copyright, all rights reserved by Warner Brothers Publishing. Not available from Warner Brothers Publishing archives. Not found in the Library of Congress On Line Catalog. Mills Music became Belwin Mills, then CPP/Belwin Music. Mills is currently owned by Warner Brothers Publications. There are no archives at Warner Brothers that would allow for copying of an archive score. PIVA holds the original manuscript titled Improvisation for Solo Viola.

114 Walker, George

(b. 1922)

Pulitzer Prize, 1996 for Lilacs for Soprano and Orchestra

Sonata for Viola and Piano (1989)

Premiere: Paul Neubauer, viola, pianist and other details unknown.

Instrumentation: Viola and Piano.

Publisher/Date: St. Louis Missouri: MMB Music, Inc., 1989.

Availability: MMB Music, S521002.

Duration: ca 14'00".

Dedication/Commission: In memory of ’s father.

Introductory/Program Notes: None.

Selective Bibliography:

"New Works.” Journal of the American Viola Society 8, no. 2 (1992): 43-44.

Sills, David. “George Walker, Viola Sonata for Viola and Piano.” Notes 50, no. 2 (December 1993): 763.

Selective Discography: None found.

Walker’s Viola Sonata is in two movements and is cast in a “mood [that is] forbidding, dark, ominous.” There are substantial technical challenges for both performers, written in an atonal style that is contrapuntal, but not serial, with meter changes nearly every measure that destroy any sense of pulse. In measures 89-101, “the following meters are found in successive measures: 2/4, 2/4, 8/16, 2/8, 3/8, 9/16, 4/8,

115 7/16, 9/16, and 3/8.”207 Walker’s writing, however, states David Sills, is cohesive, with both movements rhythmically connected by eighth-note pulsed thirty-second notes.

There is constant dialogue between the viola and piano, trading off musical materials. The appearance of “L’Homme armé,” quoted in final measures of the work, may be attributable to the works dedication, “in memory of my father.” Even though it is rhythmically disguised and divided between the instruments, Sills writes, “the famous cantus firmus is unmistakable.” The viola writing has quite high passages, frequent double stops, and some inconsistent notation. Sometimes Walker writes the harmonics at their sounding pitch, while at other times uses nodes. Sills writes that some errors exist in the published edition, giving the example from the piano score, “in measure 14, the g sixteenth note in the right hand should not have a dot, while in the following measure, the a should.”208

Ward, Robert

(b. 1917)

Pulitzer Prize, 1962 for The Crucible

Arioso and Tarantelle (1954)

Premiere: 10 January 1955; Raya Garbousova, cello and Theodore Saidenburg, piano, Textile Museum, Washington.209

Instrumentation: Cello (or viola) and Piano.

207"New Works,” Journal of the American Viola Society 8, no. 2 (1992): 43-44.

208David Sills, “George Walker, Viola Sonata for Viola and Piano,” Notes 50, no.2 (December 1993): 763.

209Kenneth Kreitner, Robert Ward A Bio-Bibliography, Bio-Bibliographies in Music, no. 17 (Westport, Connecticut: Greenwood Press, 1988), 34.

116 Publisher/Date: New York, NY: Galaxy Music Corporation, Highgate Press, 1960.

Availability: E.C. Schirmer Music Company; Galaxy Music Corporation; Arsis Audio: Arioso, 7.0152; Tarantelle, 7.0018.

Duration: Arioso 5', Tarantelle, 6' 30".

Dedication/Commission: In memory of for the Kindler Foundation.210

Introductory/Program Notes: None.

Selective Bibliography:

Campbell, Frank C. “Kindler Foundation Concert Presents New Ward Work.” Washington Evening Star. 11 January 1955.211

Kreitner, Kenneth. Robert Ward: a Bio-bibliography. Bio-bibliographies in Music, no. 17. New York: Greenwood Press, 1988.

. Robert Ward: a Bio-bibliography 1990 Supplement. Durham, NC: Duke University, 1990.

Selective Discography:

Ward, Robert. Chamber Music. Mark Ward, cello. Margo Garrett, piano. Albany, NY: Albany Recordings, ALBA 204, 1886. Compact disc.

. Robert Ward Chamber Music. Musical Heritage Society, MHS-4138, 1979. Long playing record.

210Kindler (1892-1949) founded the National Symphony Orchestra in 1931 and worked as their music director and conductor. He was an eminent Dutch-American cellist, premiering many works, such as those by Ravel and Schoenberg. Library of Congress Special Collections, Music, Theater and Dance, internet, available from http://www.Loc.gov/rr/perfoprm/guide/ fndmus.html, accessed 4 November 2001; and Library of Congress News, internet, available from http://www.loc.gov/today/pr/2001/01-120.html, accessed 4 November 2001.

211Kreitner, 87. Review of the premiere.

117 Ward describes Arioso and Tarantelle as “virtuoso display pieces written with the hope that they might soothe and then dazzle the listener.”212

Ward’s Tarantelle, although it lies fairly well on the viola, includes a succession of chords that is difficult to play in a conventional manner. Applying Quincy Porter’s technique of applying the thumb, however (see Porter’s Speed Etude), makes this progression more manageable. Note how the C string pitch remains constant, while the other notes move (Figure 2). This makes it possible to keep one’s thumb in place on the C string while the fingers are free to maneuver, playing the changing notes. This section is clearly identifiable in Ward’s piece. It is the only place with piano solo, accompanied by chords played pizzicato in the viola.

Figure 2. Robert Ward’s Tarantelle mm121-130 Using Porter’s Thumb Stop Technique

212Robert Ward, Robert Ward Chamber Music, Musical Heritage Society, MHS Stereo 4138, 1969, long playing record, notes.

118 Wernick, Richard

(b. 1934)

Pulitzer Prize, 1977 for Visions of Terror and Wonder

Concerto for Viola and Orchestra, "Do not go gentle..." (1986) (Based on a text by Dylan Thomas)

Premiere: 8 and 9 May, 1987, Walter Trampler, Hudson Valley Philharmonic, Leo Botstein, conductor, Bard and Vassar Colleges.

Instrumentation: Solo viola; string quintet; 1111/2211/timp/perc/hp/str.

Publisher/Date: Bryn Mawr, PA: Theodore Presser, 1987.

Availability: Score and solo part for purchase, orchestral parts rental only, Theodore Presser.

Duration: 20'00".

Dedication/Commission: Commissioned by the ANL Foundation for Leo Botstein, Walter Trampler and the Hudson Valley Philharmonic.

Introductory/Program Notes: None.

Selective Bibliography:

Johns, Donald. “Instrumental Solo and Ensemble Music by , .” Notes 46, no. 4 (June 1990): 1073.

Selective Discography:

Wernick, Richard. Viola Concerto. Walter Trampler, viola. , conductor, Pro Arte Chamber Orchestra of Boston. Composers Recordings Inc., CRI 618, 7 October 1989. Compact disc.

Richard Wernick provides a description of his concerto in CRI 618 notes. The concerto is in two movements, I “Do not go gentle. . .”, and II “. . .into that good night.” These lines, from Dylan Thomas’s poem, are the basis for Wernick’s inspiration. Where

119 the poem speaks of blindness however, Wernick depicts a “considerably deeper” darkness. The solo viola requires virtuosity, but does not draw attention to itself as in other concertos. Wernick describes the piece as “closer in spirit to the Baroque concerto grosso,” with the orchestra divided into three: one group consisting of some of the strings, with the winds and brass; the solo viola; and another group consisting of the percussion, harp and remaining strings.

There are no literary or programmatic connections. There is however, a short “allusion” to “This Old Man,” occurring at the concerto’s conclusion. Wernick does not consider the music abstract either, but as a “concert piece for viola and orchestra that reveals its own sense of logic and musical narrative.” 213

213Richard Wernick, Viola Concerto, Walter Trampler, viola, Leon Botstein, conductor, Pro Arte Chamber Orchestra of Boston, Composers Recordings Inc., CRI 618, 7 October 1989. Compact disc, notes, 6.

120 CONCLUSION

The composers included in this bibliography are representative of the mid-to-late twentieth-century styles of composition in America. They include composers of neo- classical, neo-romantic, dodecaphonic, serial, modal, thematic cycle, expressionistic, and pointillistic music. There are those considered eclectic and others considered avante garde. The composers have used and been influenced by electronics, jazz, folk, twentieth, nineteenth, eighteenth and seventeenth-century themes, sounds of nature, medieval music, rock and roll, and gregorian chant. Only a few of these composers can be said to be composers of just one style of music. Milton Babbitt has dedicated his life to , George Perle to dodecaphonic music. Howard Hanson described himself as a neo-romantic. All have experimented and explored. Some settled within the confines of previously established forms and styles, while others drew from personal experiences to create new, personal styles.

These composers are also representative of the many different paths one may take to make music a profession. Many were and some still are conservatory, college and university teachers. Some were and are composers in residence for major symphony , staff composers of radio stations, composers of music for films, and even one composer is known to have written jingles. They are violists, percussionists, hornists, pianists, vaudeville performers, conductors, publishers and record producers. One was even an insurance salesman, which allowed him to not be swayed by what would sell, but to compose what he considered to be true art. They have each composed music worthy of our attention and appreciation.

Of the works included, few are considered core or standard repertoire for violists. The most closely associated with standard viola literature are Carter’s Elegy and Pastoral,

121 Harbison’s Concerto, and Dello Joio’s Lyric Fantasies. None of these, however, enjoy the prominence and degree of programming as Bartok, Walton, Hindemith, Clarke, Shostakovich, or some other twentieth-century composers. Perhaps, at a later time, some of the works included herein will be re-discovered and will become part of violists’ standard repertoire. Only time will tell. There is currently renewed interest in Quincy Porter’s music, that during the late twentieth century was considered “tonal,” in a derogatory sense. Perhaps through the perspective of twenty-first-century taste, his viola works, and others’ viola works will gain popularity and support. It is therefore worth the effort to ensure the works included in this bibliography are not lost, no matter how they were received at their premieres, or how they are currently perceived.

During the research phase of this project, it was quickly discovered that little has been written about many of these compositions and that few of them have been recorded. Their titles and lists of movements may exist in places, but as for in-depth analysis and study, few of these compositions have had this attention. Of the fifty five works included, thirty two are without published recordings. Of the twenty three recorded, only two have been recorded after the year 2000. Eight had their latest recordings made in the 1990's, two in the 1980's, four in the 1970's, three in the 1960's, one in the 1950's and one in 1939. Many of these compositions could be used as research projects, performance analysis, or other writing projects. Recording these works again, or many of them for the first time, affords ample repertoire and opportunity for recording projects. In fact, Ellen Bacon plans to have a violist record her husband’s viola sonata in the next few years for the Ernst Bacon Society.

This bibliography’s primary purpose though, was to help performers, teachers, librarians, students and others interested in twentieth-century American viola music, find works for viola, written by Pulitzer Prizewinning composers. It was discovered that much of the music listed herein is available from sheet music dealers. Some works, however, are not. Some works are available as archive requests from publishers such as G. Schirmer, while other publishers, such as Warner Brothers, have no archives available from which to make copies of previously published, but currently out of print materials.

122 It is of great concern that large publishing establishments buy up smaller publishers and “lose” previously published works. Some works sell too few copies to make it worthwhile for the larger publishing firms to maintain them. It is hoped that with the advent of digital archives and desktop publishing, that previously published and copyrighted works from smaller publishers will be maintained and made available by the larger publishing companies.

The purchase of smaller publishing firms by larger ones brings up a second concern. The smaller publishing firm’s works may not be available, but the copyrights are still in effect, being held by the larger publishing company that bought them. This brings up the concern that some may believe that “out of print” is synonymous to “public domain.” This misconception causes librarians, teachers and students making copies of currently unavailable works to unwittingly, or possibly even knowingly, violate copyright laws in order to acquire worthwhile viola music that is not currently available by lawful means. Again, the creation and maintenance of digital archives will ensure the copyrights are honored and that the works are available, regardless as to their current publishing status.

A ray of hope does exist, however, in the creation of societies designed to promote the compositions of given composers. The Leo Sowerby Foundation and the Ernst Bacon Society have been instrumental in the promotion and preservation of these composers’ works. Without these societies, several pieces listed herein would not be available. One composer worthy of such a society, but has none, is Quincy Porter. It was discovered that many of his published works have been permanently lost. Copies of these works still exist and are not difficult to acquire. The time then to establish a “Quincy Porter Society” is now, while the pieces are still relatively easy to acquire, either through purchase of works currently available, from copies of out of print works maintained by Smith College in Northampton, Massachusettes, or through Quincy Porter’s papers at Yale University.

123 As always, with a project of this size, one feels there are possibly items, unknown to the author, that have been left out. Some of the requested interlibrary loan materials were not available over a two year period and questionnaires sent out to living composers whose works are represented herein, and some electronic mailings to publishers, were not returned. Some works listed in other bibliographies were not found during the search process for this bibliography. This does not signify that the works do not exist, or that at one time they did not. It indicates that the works were unknown to the publishers listed in the bibliographies, the publishers could no longer be found, the composers were not available for comment, or some other reason that caused the loss of available information concerning these works.

This bibliography was concerned only with those works for viola written by Pulitzer Prize and Pulitzer Traveling Scholarship recipients. It was therefore a very limited scope, resulting in a relatively small number of compositions to be cataloged. Other projects are required to assist in the cataloging and the making of extant, but difficult to find, viola music available for performers, researchers, teachers, and librarians. These projects could be to catalog the works of Guggenheim Fellowship recipients, Prix de Rome winners, or recipients of other prominent composer awards. The projects would not have to be limited to prizewinning composers, but could also be used to catalog works by other groups, such as students of prominent composers/teachers, such as Roger Sessions, Nadia Boulanger, or Walter Piston. This bibliography is by no means inclusive of all of the viola music written by American composers, but it could be used as a format to launch other small projects that could eventually result in an extensive collection of annotated bibliographies of viola music written by composers worldwide.

The interesting aspect of a project such as this, is that it is a process that will be outdated as soon as the next Pulitzer Prizes are announced in April 2003. This project, as others like it, should be considered encyclopedic in nature and that point should always be remembered during research. Information, once cataloged is always dated and subject to change. The new edition of Franz Zeyringer’s Literatur für viola, published nearly

124 twenty years ago, was a valuable resource for this project. It is evidently time, however, that a new project to update Zeyringer’s bibliography be undertaken. Perhaps a series of projects could replace the Zeyringer bibliography. Thereby making smaller bibliographies available sooner, with the information being closer to “real time” at time of publication, and less formidable in scope. A smaller scope enables others more inclined to work on smaller projects to be enthused to take part in the process of cataloging. Therefore, a series, coordinated and published by the American Viola Society, or another central entity, could be initiated that would eventually replace the Zeyringer bibliography.

125 APPENDIX A

ADDRESSES OF MUSIC PUBLISHERS

American Composers Alliance C. F. Peters 170 West 74th St. 70-30 80th Street NY, NY 10023 Glendale, NY 11385 (212) 362-8900 (718) 416-7800 www.composers.com [email protected] Associated Music Publishers [email protected] see G. Schirmer. www.edition-peters.com Fred Bock Music Publishers Dantalian Inc. PO Box 570567 11 Pembroke Street Tarzana, CA 91357 Newton, MA 02458-2122 (818) 996-6181 (617) 244-7230 [email protected] [email protected] www.fredbockmusiccompany.com www.dantalian.com Edition Musicus 25 Walls Drive Boosey and Hawkes, Inc. Fairfield, CT 06824 35 East 21st Street (203) 319-9900 NY, NY 10010-6212 (212) 358-5300 Ernst Bacon Society, Inc. [email protected] 8 Drovers Lane www.boosey.com DeWitt, NY 13214 [email protected] Carl Fischer www.ernstbacon.org 65 Bleecker Street NY, NY 10012 European American Music (800) 762-2328 P.O. Box 4340 (212) 777-0900 15800 48th Ave. [email protected] Miami, FL 33014 www.carlfischer.com

126 Fredonia Press-Discs Schott Musik International Gmbh & Co 3947 Fredonia Drive KG Hollywood, CA 90068 Weihergarten 5 (213) 851-3043 D-55116 Mainz Hal Leonard Germany P.O. Box 13819 +49 6131 246-0 7777 West Bluemound Road (Schott, represented in the United States Milwaukee, WI 53213 by European American Music.) (414) 774-3259 (fax) www.halleonard.com E. C. Schirmer MMB Music ECS Publishing Contemporary Arts Building 138 Ipswich Street 3526 Washington Avenue Boston, MA 02215-3534 St. Louis, Missouri 63103-1019 (800) 777-1919 (800) 543-3771 (617) 236-1935 (314) 531-9635 Fax: (617) 236 - 0261 [email protected] [email protected] www.mmbmusic.com www.ecspub.com G. Schirmer, Inc. and Associated Music Peer International Publishers, Inc. (Place orders through Theodore Presser.) 257 Park Ave South, 20th floor 810 Seventh Avenue New York, NY 10010 NY, NY 10019 Fax: 212 254-2013 (212) 265-3910 Phone: 212 254-2100 [email protected] E-mail: [email protected] www.peermusic.com/classical For rental and performance information, Theodore Presser Co. please contact: 588 North Gulph Road G. Schirmer Rental and King of Prussia, PA 19406 Performance Department (610) 525-3636 445 Bellvale Road Fax (610) 527-7841 P.O. Box 572 (800) 854-6764 Chester, NY 10918 Order fax: (888) 525-3636 Phone: 845 469-2271 www.presser.com Fax: 845 469-7544 John Harbison Highway 19 #4037, Deforest, WI 53532

127 Universal Music Publishing Group 1755 Broadway, 8th Floor NY, NY 10019 (212) 841-8000 www.universalmusicpublishing.com (Other North American locations available in Los Angeles, Miami, Nashville, and Toronto Canada.)

128 APPENDIX B

MUSIC PUBLISHERS PROCEDURES FOR REQUESTING “OUT OF PRINT” COMPOSITIONS

Below are procedures for requesting custom print jobs from publishers. These have been copied directly from the publishers’ World Wide Web Sites, catalogs, or electronic mails and are reproduced here.

According to , director of publications, Theodore Presser Company, “Custom Print publications are works that are not possible to print in a standard print run due to limited sales potential that would make it unviable to invest in printing. As a result, single print-on-demand copies are a way to make the music available. This applies to new publications, never produced as a standard publication and also to certain old publications that have run out of stock and can’t be reprinted”214

Associated Music Publishers: See G. Schirmer.

Boosey and Hawkes:

If available, the materials supplied will be photocopies in plain covers and will be either stapled or spiral bound as appropriate. Some titles are engraved/computer set; others may be a facsimile of a composer’s manuscript. Your custom print request will be processed by: Boosey and Hawkes Music Publishers, Ltd., Custom Print, 295 Regent Street, London, W1B 2JH, UK. Custom Print Phone: +44 (0) 20 7580 2060; Fax: +44 (0) 20 7580 2060 5815.

214Daniel Dorff, Director of Publications, Theodore Presser Company, King of Prussia, Pennsylvania, to author, 5 March 2003, electronic mail.

129 Theodore Presser:

Custom Print orders can be placed directly through the Theodore Presser retail store at 610-527-4242; or fax 610-527-7841 with all of the information; or phone the sales department at 610-525-3636, ext. 41; or e-mail [email protected] with all the information concerning the publication and contact information of the person requesting the Custom Print order. If time is essential, the direct telephone methods work best. Custom Print editions take from one to six weeks, or possibly longer, before they are in the hands of the person requesting them. If it is an emergency for an upcoming concert on short notice, it is essential that Theodore Presser be made aware of it and the order will receive priority. Due to Theodore Presser’s willingness to accommodate every rush order, non-emergencies may be slow.

E.C. Schirmer:

Our new 2001 catalog lists every piece by all composers available from ECS Publishing, including works not yet in print, works available only in facsimile edition (frequently copies of a composer’s manuscript) and works once actively in print but are now available as made to order reprints. Instead of a listed price, these types of works are identified by the three letters “MTO” – made to order. Whether you need to ask a question or place an order, the ECS staff is available to take your call Monday through Friday, 8:30–4:30, Eastern time. You may also contact ECS by fax or e-mail 24 hours a day. For all ECS catalogs, as well as links to composers’ web sites, visit the ECS web site, www.ecspub.com.

G. Schirmer and Associated Music Publishers:

All music previously printed by Associated Music Publishers and by G. Schirmer is likely available through the G. Schirmer Archive Department. According to the G. Schirmer web site, “If you are fairly sure that the music you need was published by G. Schirmer or AMP and that it is out of print, please make your request for archival photocopies in writing, by letter or fax (no phone calls or E-mail messages, please), to: Archive Dept., G. Schirmer, Inc. 257 Park Ave. South New York, NY 10010 fax (212) 254-2013 Please include as much identifying detail as possible: composer, title, publisher(s), instrumentation, date, plate numbers, catalog numbers, etc. If you are not certain that the music was published by G. Schirmer or AMP, please indicate your reasons for thinking that it might have been (this will help us locate the

130 music). In your request, please include your mailing address, an e-mail address and/or fax number if possible, and the number of copies you require. If a copy can be located, a confirmation will be sent to you with a price quote for the music. Shorter items will typically cost $5.00 to $12.00 per copy; longer items will be more expensive. In addition, there will be copying & shipping charges usually between $3.50 and $5.00 (more for overseas shipping or heavier packages). Any additional questions about pricing should be addressed to the Archives Department in your written request. Once you have responded to the confirmation, photocopies will be shipped to you along with an invoice. You may then pay by check or credit card (Visa/MasterCard only).” World Wide Web Site, http://www.schirmer.com/mail/html#06.

131 APPENDIX C

COPYRIGHT PERMISSION LETTERS

132 133 134 135

136 137 BIBLIOGRAPHY

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. The Writings of Elliott Carter: an American Composer Looks at Modern Music. Compiled, edited and annotated by Else Stone and Kurt Stone. Bloomington: Indiana University Press, c1997.

Catalog of Works by John La Montaine. Hollywood, CA: Fredonia Press - Discs, 1989.

“Charles Ives, Symphony No. 3, ed. Kenneth Singleton.” Notes 48 no. 4 (June 1992): 1436-7.

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Chew, Geoffrey. “Recitals; Ann Woodward.” Musical Times 121, no. 1648 (June 1980): 393.

Cho, Choongki. “The Concerto for Viola and Orchestra by Walter Piston: an Analysis for Performance.” D.M. diss., Florida State University, 1987.

141 Clarke, Sondra Rae. “The Evolving Concord Sonata: a Study of Choices and Variants in the Music of Charles Ives.” Ph.D. diss., Stanford University, 1972.

Clements, Andrew. “Wigmore Hall Recitals: Ann Woodward.” Financial Times (London), 28 April 1980.

Cohen, Allen Laurence. “Theory and Practice in the Works of Howard Hanson.” D.M.A. diss., City University of New York, 1996.

Cohen, David. George Crumb: a Bio-bibliography. Bio-bibliographies in Music, series advisor Donald L. Hixon, no. 90. Westport, CT: Greenwood Press, 2002.

Colgrass, Michael. Chaconne for Viola and Orchestra. Paoli, PA: Carl Fischer, Inc., Colgrass Music, 1984.

. “Chaconne” Music for Viola and Orchestra. Rivka Golani, viola, and Andrew Davis conducting, The Toronto Symphony. Canadian Broadcasting Corporation/Société Radio-Canada 2-5087, 1989. Compact disc.

. Compositions, Views and Reviews of a Few Works by Michael Colgrass. Internet. Available from http://www.michaelcolgrass.com/4.html#ch. Accessed 10 September 2002.

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Columbia University. Plan for the Award of the Pulitzer Prizes and Scholarships Established in Columbia University by the Will of the Late Joseph Pulitzer. Revised edition. New York: Columbia University, 1941.

Contemporary Etudes and Solos for the Viola. Bloomington, IL: American String Teachers Association, 1995.

Coppen, David, to author, 11 November 2002, electronic mail.

142 Cowell, Henry, ed. American Composers on American Music: a Symposium. Stanford University Press, 1933. Reprint, Ann Arbor: Out of Print Books on Demand, 1990.

Crociata, Francise, President of the Leo Sowerby Foundation. Telephone interview by author, 10 January 2003.

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Dantalian Inc., Homepage. Internet. Available from http://www.dantalian.com/chamber_viola.htm. Accessed 30 July 2002.

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143 Elie, Rudolph. Boston Herald. Quoted in David Ewin. The World of Twentieth-Century Music. Englewood Cliffs, New Jersey: Prentice-Hall, 1968.

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144 Gagnard, Frank. “On the Scene: A Workout for the Viola.” Times Picayune, New Orleans, LA: 20 December 1985, Lagniappe section, 2.

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. Concertette for Viola and Band. Emanual Vardi, viola, Arthur Winograd, conductor, MGM Orchestra, MGM E-3714, 1959. Long playing record.

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145 Hampton, Edwin Kevin. “George Theophilus Walker as Composer and Pianist: a Biography and Discussion of His Stylistic Evolution as Seen in Selected Works for Solo Piano.” D.M.A. diss., University of Maryland at College Park, 1994.

Hanson, Howard. Howard Hanson, Vol. V, “The Mystic Trumpeter.” With notes by Jim Svejda. Susan Gulkis, viola, Seattle Symphony, Gerard Schwarz, conductor. Hollywood, California: Delos International Inc., DE 3160, 1994.

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146 . Ross Lee Finney: a Bio-bibliography. Bio-bibliographies in Music, no. 63. West Port, CT.: Greenwood Press, 1996.

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Husa, Karel. Pragensia. Vladimír Buka…, viola, Jaromír Klepá…, piano. Clarton CQ 0049-2131, Czech Republic, 2001. Compact disc. Notes by Jan Lede….

147 Ives, Charles. Charles Ives: Concord Sonata, Kontrapunkt, Sonata No. 2, Concord Mass. For Piano (and optional viola, flute). Jesper Grove Jorgensen, viola; Per Salo, piano. S. 88 (K. 3A2), 1 January 1990. Compact disc.

. Piano Sonata No. 2. John Graham, viola; Gilbert Kalish, piano; Samuel Baron, flute; Nonesuch H-71337, 1977. Long playing record.

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. Piano Sonata No. 2. Walter Stangl, viola; Robert Szidon, piano; Dieter Sonntag, flute; Deutsche Gramophone 2530.215; 1972. Long playing record.

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148 Josten, Werner. Jungle; Canzona Seria and Gail Kubik, Symphony Concertante. Arthur Hanneuse, trumpet, Marie-Thérèse Chailley, viola, Frank Glazer, piano. French Radio Orchestra, Gail Kubik conductor. New York, NY: Composers Recordings, Inc., CRI SD 267, 1972. Long playing record.

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149 La Montaine, John. Conversations. Tatton, viola, John La Montaine, piano, Hollywood, CA: Fredonia Press-Discs, FD-8; 1979. Long playing record.

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150 Mahr, Timothy Jon. “An Annotated Bibliography and Performance Commentary of the Works for Concert Band and Wind Orchestra By Composers Awarded the Pulitzer Prize in Music 1943-1992, and a List of their Works for Chamber Wind Ensemble.” D.M.A. diss., University of Iowa, 1995.

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Martin, Thad. “George T. Walker: Classical Composer With a Touch of Soul.” Ebony 40 (March 1985): 124.

Martino, Donald. Newton, Massachusetts. Telephone interview by author, 6 November 2002.

. Three Sad Songs for Viola and Piano. Library of Congress, Elizabeth Sprague Coolidge Foundation: Donald Martino, 1993.

Marty, Martin E. “The Standouts. Pulitzer Board Overrules Music Jury’s Nomination of R. Shapey Composition.” The Christian Century, 109, (May 13, 1992): 527.

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McLaurin, David Malcomb. “The Life and Works of Karel Husa with an Emphasis on the Significance of His Contribution to the Wind Band.” Ph.D. diss., Florida State University, 1985.

Mead, Andrew Washburn. An Introduction to the Music of Milton Babbitt. Princeton, N.J.: Princeton University Press, 1994.

151 Meier, A. “An Interview With Norman Dello Joio.” Music Educator’s Journal 74/2 (1989), 14-16.

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160 BIOGRAPHICAL SKETCH

Michael Weaver (b West Chester, Pennsylvania, 11 October 1962)

Michael Weaver is a violist, violinist, and teacher. He started violin studies at the age of seven with Michael Kostik, and later studied with Julie Buglio. After ten years service in the United States Marine Corps, and not playing for seven years, he took up the violin again, studying with Nancy McAllister. He entered East Carolina University for a Bachelor of Music degree in Music Education in 1993 and Fritz Gearhart suggested that he play the viola. Viola became his primary instrument and he continued studies with Gearhart. Along with his viola studies, he maintained his violin playing. East Carolina University awarded him a Master of Music degree in Performance (viola) under Ira Gregorian and in Suzuki Pedagogy (violin) under Suzuki Teacher Trainer Joanne Bath. He studied viola further with Scott Rawls and later studied at Florida State University under Pamela Ryan, receiving a Doctor of Music degree in Performance in 2003. He has received numerous academic awards and is a member of several honors societies. His awards include a Gravely Foundation Scholarship, the All American Scholar Collegiate Award, and being named to The National Deans List for three consecutive years. Florida State University awarded him a University Fellowship for three of his four years there. He is a lifetime member of Omicron Delta Kappa National Leadership Honors Society, Pi Kappa Lambda National Music Honors Society and the Golden Key National Honors Society. He is an active performer, having played with over thirty regional orchestras as violist and violinist. He played section viola as an intern with the North Carolina Symphony under Gearhart Zimmerman, and was principal violist for the Pensacola Symphony Orchestra and the Albany Symphony Orchestra. He was a substitute violinist and violist for the Tallahassee Symphony Orchestra, and later a section violist. As a teacher he was a teaching assistant to Pamela Ryan at Florida State University and maintains a private studio, teaching violin and viola from beginners through advanced students. He is registered with the Suzuki Association of the Americas as a Suzuki Teacher of violin and viola, and is a member of the American String Teachers Association, the American Viola Society, and the Violin Society of America.

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