Aria and Scherzo, for violin and viola
(1994) | Duration 12′

Premiered by Wendy Sharp, violin, Robin Sharp, viola

To purchase score and parts, contact Gerald Cohen.

Program Notes

I had written a string quartet in 1991 (String Quartet No. 2, OUP 2003) for the Franciscan String Quartet, a splendid ensemble in which Wendy Sharp was the first violinist, and so I was delighted when she and her sister Robin Sharp asked me to write a composition for violin and viola. The resulting piece, Aria and Scherzo, is in two movements: mostly lyrical and tender in the first movement, playful and jazzy in the second (a movement which gives both violin and viola the chance to play a walking bass).

I want to thank Yaddo and the MacDowell Colony, two artist’s colonies at which I worked on this piece during residencies in 1994. Aria and Scherzo was given its premiere by Wendy and Robin Sharp at the San Francisco Conservatory of Music in March 1995. —Gerald Cohen

Preludes and Debka for trombone and string quartet was composed in 2001 for Haim Avitsur and the Degas String Quartet, and was given its premiere by them in Syracuse and New York City. Writing for this unusual combination was a pleasurable challenge—that of working out ways for the trombone and strings to make real chamber music together. A “debka” is a Middle Eastern dance, used in both Arab and Israeli communities—the dance and its music is, as in the last section of this piece, normally in the form of a theme and variations. I found this melody in an anthology of Sephardic music when I was beginning the composition of the piece, and it jumped out as being a wonderful theme for the trombone and strings to play with.

The piece grows from a quiet mysterious opening, highlighting an echoing, moody statement, and then a related idea in sharper, repeated notes; this leads to a scherzo-like section where the melody is traded between the trombone and strings; then a slow, tender duet between the trombone and first violin, which after a trombone cadenza, leads to the variations on the debka melody–mostly lively and playful, eventually becoming rather wild as it brings back the opening material in a new character, and then ending with a reprise of the debka theme.

Preludes and Debka will be featured on an album of Gerald Cohen’s music, entitled Voyagers, on innova Recordings, to be released in Spring 2023.

I have made arrangements of this piece for

Trombone and Orchestra (2009)

Clarinet and String Quartet (2009)

See the links for these pages for score samples and information on purchasing scores and parts.

Trombone and Orchestra (2009)

Clarinet and String Quartet (2009)

See the links for these pages for score samples and information on purchasing scores and parts

Selected Performances

• May 24, 2022, The Jewish Theological Seminary, New York, NY. Haim Avitsur, trombone and the Cassatt String Quartet.
• Premiere: February 2001: Haim Avitsur, trombone, and the Degas String Quartet, Syracuse University, Syracuse, NY
• March 2001: Haim Avitsur, trombone, and the Degas String Quartet, Music Under Construction, New York, NY
• May 2004: Lisa Albrecht, trombone, Florence String Quartet, American Society for Jewish Music, New York, NY
• April 2019: David Binder, trombone, String Quartet, Detroit, MI

Score Sample

Preludes and Debka (Trombone & String Quartet) Score sample

To purchase score and parts, contact Gerald Cohen: gerald@nullgeraldcohenmusic.com

PDF version of score and parts: $25
Printed version of score and parts: $40 + postage

I composed Variously Blue for the Verdehr Trio, who gave the premiere performances of the piece in 2010 in New York City and Washington, D.C. Another wonderful trio— Vasko Dukovski, Jennifer Choi, and Alexandra Joan—have recorded the piece on the 2014 album of my chamber music, Sea of Reeds (Navona Records).

In terms of the piece’s origins: When I began sketching the piece, I happened to improvise a lively, angular theme based on a 12-bar blues progression, and thought it would be a fun and interesting challenge to write a set of variations based on that progression, thinking about the many colors available for these three instruments. I have always been interested in exploring the idea that the variation form, in essence, is often used in jazz and blues; and that I might be able to explore the connections between jazz and concert music through such  a set of variations. While some of the sections sound specifically “bluesy”, in general the piece uses the theme and its underlying harmonic pattern as a taking-off point for a varied range of moods and textures: playful, lyrical, mysterious, boisterous.

Selected Performances

• Premiere: February 2010: Verdehr Trio, Kosciuszko Foundation, New York, NY
• March 2010: Verdehr Trio, Phillips Collection, Washington, DC
• November 2014: Vasko Dukovski, Jennifer Choi, Alexandra Joan, Le Poisson Rouge, New York, NY (Album release concert for Sea of Reeds)
• May 2015: Vasko Dukovski, Jennifer Choi, Alexandra Joan, Tribeca New Music, New York, NY
  2015-present: Featured on PRI’s Performance Today many times

Score Sample

Variously Blue score sample (pdf)

To purchase score and parts, contact Gerald Cohen: gerald@nullgeraldcohenmusic.com

PDF version of score and parts: $20
Printed version of score and parts: $35 + postage

Press

“Another set of variations which appears on the album is “Variously Blue,” which features a sprightly theme using the 12-bar blues progression. The piece, composed for the Verdehr Trio, combines elements of jazz with concert music while exploring the unique timbral possibilities of clarinet, violin, and piano. Cohen’s trademark lyricism shines through the expertly interwoven clarinet and violin melodies dancing above sparkling piano backdrops.”

Maggie Molloy, Second Inversion

“Variously Blue more than lives up to its name. Beginning with jazzy, arid lines where only the clarinet (Vasko Dukovski) can’t quite manage the same degree of shortness as pianist Alexandra Joan and violinist Jennifer Choi. Still, the three combine with an energy that will keep all listeners on the edge of their seats.

From there the ear is rewarded with agitated conversations and bell tolls heralding an oily clarinet slinking about the soundscape as well as an infusion of repetitive notes and snippets adding significantly to the overall allure.

Some of the variations are decidedly blue and a few “blue” notes provide still more variety…This set is ideally balanced (both performers and engineer Ryan Streber). Witness the finely rendered busyness in the Rite of Spring-echoing sections soon followed by the tonic of solemn, menacing variants: in the first of these, the piano pushes while the violin and clarinet provide needed balm. After a decidedly wild ride, roles are reversed and it’s the piano that cools off the heat.

Choi singlehandedly infuses the atmosphere with nervous tremolo before a beautiful hymn of acceptance—pushed forward by dollops of syncopation—reassures all, paving the way for the violinist’s absolutely stunning changes of register, their apparent effortlessness belieing the skill required.

One last hurrah—peppered by a series of slides where Dukovski is at his slippery best—leads to the tension-filled closing measures. It’s only appropriate that the final statement is almost entirely in unison: just as is the mindset of composer Gerald Cohen with this intrepid ensemble.”

James Wegg, James Wegg Review

Program Notes

I had heard Vasko Dukovski and Ismail Lumanovski perform both classical pieces and the folk music of their Macedonian heritage—the latter involving much improvisation—and I wanted to write a composition that would allow expression of these various elements of their characters. I also knew that all three players were incredible musicians and virtuosi, and so as a composer I could enjoy writing very challenging music that they would relish exploring. The Grneta Ensemble’s particular skills and artistry presented a wonderful inspiration – after all, being able to write for two clarinets together is like writing for a “super-clarinet” that plays duets with itself.

The theme of Grneta Variations has a Jewish folk character, but with syncopations and phrase shifts that are not typically found in a normal folk tune. The variations that follow have a wide variety of moods and textures, in which the many possibilities of having two clarinets, and the wide variety of sonority and registers possible with those instruments are explored. The tempo is generally lively, except for two slow sections—one a romantic version of the melody introduced in the piano, and the other a more mysterious and extended meditation. The coda of the piece begins with a murmuring figure that grows to a climactic short cadenza in the clarinets, and a quick, rather humorous return to the opening theme.

Selected performances:

Premiere: May 2010: Grneta Ensemble, (Vasko Dukovski, Ismail Lumanovski, Alexandra Joan), Bechstein Piano Center, New York, NY
November 2010: Grneta Ensemble, WMP Concert Hall, New York, NY
April 2011: Grneta Ensemble, Shaarei Tikvah, Scarsdale, NY
April 2012: Grneta Ensemble, Ankara Music Festival, Ankara, Turkey
June 2013: Grneta Ensemble, Center for Jewish History, New York, NY
November 2014: Grneta Ensemble, Le Poisson Rouge, New York, NY (Album release concert for Sea of Reeds)

Sample Score from Grneta Variations

To purchase score and parts, contact Gerald Cohen: gerald@nullgeraldcohenmusic.com

PDF version of score and parts: $20
Printed version of score and parts: $35 + postage

Press for Grneta Variations

“Grneta Variations continues to demonstrate just how good Cohen is at taking a germ of an idea and expanding it into a varied, logical journey into fine art and personal meaning. The three amigos are at the top of their form, delivering a largely conversational set that never becomes argumentative. Moments of “catch me if you can” and full-cry clarion calls (a touch saucy no less) give way to wonderfully poetic section where hints of Brahms 4th symphony and vrai “Feelings” soothe the soul and captivate the ear…The coda’s look back while still moving forward, sums up the music to a T with a conclusion that perfectly reinforces the aura of positivity that is as welcome as spring  rain.” — James Wegg, James Wegg Review

“The Grneta Ensemble is also featured in Cohen’s Grneta Variations. In fact, Cohen wrote both Sea of Reeds and Grneta Variations with the ensemble in mind. Having worked closely with the trio over the past five years, Cohen was inspired by their virtuosic playing in both classical and folk music realms. ‘To have developed the musical and personal relationship with [the Grneta Ensemble] and for them to have performed these pieces many times and to really have taken them into their musical hearts and souls very fully, that has been very meaningful,’ Cohen said. ‘For me, writing music for wonderful performers who enjoy playing the music is one of the key motivating elements for me as a composer. I love working with great performers and writing music that they’ll love playing.’

Grneta Variations” is written in the character of a Jewish folk melody, with vivid lyricism and rich rhythmic diversity. The lively melodies and spirited performances from all members of the trio highlight the folk elements of the composition while also showcasing each performer’s virtuosity and individual musical personality.” — Maggie Molloy, Second Inversion