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Richard Wilson Diablerie for Solo Violin

Richard Wilson was born in Cleveland in 1941, and much of his early musical study took place at the Cleveland Music School Settlement. He also studied piano privately with Leonard Shure, and cello with Ernst Silberstein. Later, Wilson attended Harvard; upon graduation he received the Frank Huntington Beebe Award, which allowed him to study piano in Munich with Friedrich Wührer, and composition in Rome with Robert Moevs, who had been his composition teacher in college. Wilson has composed some ninety works, ranging in medium from solo tuba to full orchestra, which have been played in major halls around the world. Soloists and ensembles who have performed his compositions include Dawn Upshaw, Amy Burton, Jan Opalach, Mary Nessinger, Rolf Schulte, Sophie Shao, Blanca Uribe, Ursula Oppens, Fred Sherry, Walter Trampler, the Chicago Quartet, the Muir Quartet, the Delmé Quartet, and the Composers Quartet. Orchestra performances include the San Francisco Symphony under Herbert Blomstedt, the Residentie Orkest of the Hague under Gerald Ostkamp, the Orquesta Sinfonica de Colombia under Luis Biava, and the London Philharmonic, the ProArte Chamber Orchestra of Boston, the Sao Paulo Symphony, and the American Symphony Orchestra, all conducted by Leon Botstein. Wilson has received numerous awards, including an Academy Award and the Walter Hinrichsen Award from the American Academy of Arts and Letters, the Creative Arts Award in Music from the City of Cleveland, the Stoeger Award from the Chamber Music Society of Lincoln Center, and a Guggenheim Fellowship under which he composed his opera Æthelred the Unready. He is composer-in-residence with the American Symphony Orchestra. A member of the Vassar College faculty since 1966, Wilson occupies the Mary Conover Mellon Chair in Music. Richard Wilson’s music is available on five Albany Records CDs.

DIABLERIE for Solo Violin was composed in summer 2004, and is dedicated to Rolf Schulte who gave its world première in Merkin Concert Hall, New York City, on September 9, 2004. The work acknowledges a longstanding association between the violin and the Devil (see for example Tartini’s “The Devil’s Trill” or Stravinsky’s “The Soldier’s Tale”) but also takes into account more mischievous connotations of “devilishness.” Rolf Schulte’s performance of Diablerie can be found on Albany Records (TROY 773).

for Rolf Schulte

Diablerie for Solo Violin

                  

Furioso (q = 92)

  

ff marcato

Richard Wilson

(2004)                         

                                                 



 

accel.

rit.

                                      dim.

A tempo (q = 92)

                                             mp

                                                

cresc.

                                                   f

  

   



cresc.

 

 

    



   p



                5

                       Civettuòlo (q = 72)

per h    19              

          

 







     



 

    

  





 





  

             5

poco cresc.

                            poco f 7 5



           

pp mf

                  3

    



        

 

        3 mp

                      3

,  3               



3                 



  



         3

 3                   mp mf



    3

   p

 pp

