Duplex Variations
Faye-Ellen1 Silverman
About this work:
The name “Duplex Variations” comes from the form of the composition. The work has two levels of ideas being varied. The introductory section (level A) comes back twice at the same tempo and with the same pitches, while its accompanying material is varied. The violin accompaniment becomes trills for the second statement; and violin and piano share the theme, surrounded by a newly created countermelody on the third appearance. The tempo and the piano material (stated four times as fast) also return at the start of the coda.
The second level (level B) follows each statement of level A. Level B varies a small element of the original A material to build new sections. Between the first and second appearances of A, there are five variations (B1), all based repeated notes. The first four variations have the same tempo -- one with a slightly slower metronome marking than that of level A. The last of these five variations increases the tension via a slightly faster tempo. These five variations pay tribute to traditional variation form by progressing from eighth notes to triplets to sixteenths. Large leaps in the violin are used to intensify the fifth variation.
Between the second and third appearances of A, there are three variations (B2) united by the use of pizzicato (also found in A -- in the violin accompaniment). As with B1, these variations are internally unified by tempo (except for a brief restatement of material at a faster tempo within the first of these variations) and an internal rhythmic acceleration. The rhythm progresses from a pattern with eighths and sixteenths, through straight sixteenths, and then to an arco-pizzicato mixture incorporating groups of six. The mixture of arco and pizzicato changes through the three subsections. The first variation is almost entirely pizzicato, while the second begins to introduce more arco elements. The third is mainly arco with pizzicato chords for emphasis. While all three A sections are identifiably the same material, the B sections are internally united, but B1, B2, and B3 bear little relation to each other. They function, instead, as fantasias on the opening material.
After the third statement of A, there are two virtuosic variations, one based on octaves (at the tempo of the slightly faster part of B2), and the other on thirds (shorter and faster -- at the tempo of B1). This is followed by a long coda. The coda opens with material from the opening theme, stated this time in sixteenths rather than quarter notes, and proceeds to use material from the variations (taken mainly in order) as a summary of the work. It ends with a flourish -- the fastest statement in the piece -- that leads back to a cadence on the opening chord. The piece is designed to show off both players. Ideas sometimes begin in one instrument, and sometimes in the other. At times, one instrument anticipates the variation of the next. Originally conceived after watching dancers and listening to a recording of Paganini, this is meant to be a high energy, high-spirited work.
Year composed: 1995
Duration: 00:11:00
Ensemble type: Chamber or Jazz Ensemble, Without Voice:Keyboard plus One Instrument
Instrumentation: 1 Piano, 1 Violin