Journal of the American Viola Society Volume 26 Online, Summer ...

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The movvie 8 1/2 is an n Italian filmm from the early 19660s. At that time t an artist living in a Catholic society migh ht wish to seeek the imprimattur, or appro oval, from auuthorities of the churcch for a publ lished work. There is a dream seequence in which w Guido descends a staircase with many people p into a steam bathh and meetts with a card dinal of the Catholic Church inn an attempt t to secure hiis imprimattur; paradoxi ically this seeems to be a meeting iin hell. I bas sed the fourthh movementt on a juxtaposition of f major chordds separated by majorr thirds that I was able too produce with harmmonics on th he banjo (ex. . 7). The resulting progression n of major triiads Example 7. Elwood, Capricious AApparitions, movt. IV, Stteambath wiith the Cardiinal, mm. 1– 11. VOLUMEE 26 SUMMMER 2010 31 (B–GG–B–D) remminded me oof the exquisite “Good Music” poortion of Geoorge Crumb’s strinng quartet Bl lack Angels ( (1969). In Crummb’s compoosition the chhord progresssion is peerformed witth bowed wiine glasses. IIn my mmovement, tthe banjo setts up a conttinuous cyclee of glassy hharmonics onn the majoor chords whhile the violaas state a shoort non--tonal meloddy. (This connnection to Crummb led, in paart, to a perfformance of the piecce at the Geoorge Crumb FFestival in Bouulder, Coloraado, with Juliet White-Smmith and Erika Eckerrt, Associate Professor of Violla at the Uniiversity of Colorado, Bouulder.) ONLINE IISSUE
Later in tthe movement, to evoke a religious aatmosphere, the violas accompany thhe banjo, whhich is playingg a short quo ote/paraphraase of the Pange Lingua, a Gregoriann chant that I grew up singing inn an Episcop pal church boys’ choir, aand which wwas used by mmany Renaisssance composers as the bas sis for mass ssettings (ex. 8). Example 8. Elwood, Capricious AApparitions, movt. IV, Stteambath wiith the Cardiinal, mm. 24– –28. The overrall form of the t piece in ffive movemeents, with coorrespondingg tempi and colors, may be diagrammmed in the fo ollowing maanner (Table 2): Table 2: Overall form m of Capricious Apparitiions. a. fast I b. rhythmmic, driving, polyrhythhmic c. sul ponnt., tremolo d. melodic II a. a slow b. b harmonicss c. c chordal a. fasst III b. rhyythmic, driviing c. treemolo, pizz. . d. meelodic VOLUMEE 26 SUMMMER 2010 32 IVV a. slow b. harmoonics c. chordaal texturees d. meloddic ONLINE IISSUE aa. fast V bb. rhythmic, ddriving cc. sul ppont./trem./ppizz ( (the only mvvt. wwhere the baanjo iis plucked, bbriefly)
Page 2 and 3: Journal of the American Viola Socie
Page 4 and 5: One day in the 1980s, while walking
Page 6 and 7: Lionel Tertis International Viola C
Page 8 and 9: Benedicte Royer (France), Vitali’
Page 10 and 11: International Viola Competition, th
Page 12 and 13: Any concerns were quickly allayed
Page 14 and 15: Milena Pajaro-van de Stadt was sele
Page 16 and 17: y Rolfe Boswell Quick, Watson, the
Page 18 and 19: Grove’s dictionary provides a lea
Page 20 and 21: y David M. Bynog The Joan Spencer M
Page 22 and 23: SHF: While writing for money and pl
Page 24 and 25: Composing for Bowed Banjo and Two V
Page 26 and 27: The entirre composition is an archh
Page 28 and 29: The violaas, when pla aying tremolo
Page 30 and 31: Example 5. Elwood, Capricious AAppa
Page 34 and 35: From left to right: Juliet White‐

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