For solo Violoncello, piano and percussion, includes score and parts.
Published in 2006, Variations on "Obiter Dictum" was written for the cellist Joel Krosnick who says that, "There are no extra effects in Karlins's music; it is forthright, expressive and uniquely his." Karlins, who died in 2005, wrote a number of solo and ensemble works for the cello. This one was originally recorded on CRI 329 by Joel Krosnick, Elizabeth Buccheri and Thomas Siwe. It is based on the composer's Obiter Dictum, an earlier work for organ. The percussion part calls for vibraphone, xylophone, hi-hat, suspended cymbal, tam tam, snare drum, tom-toms, timbales, bass with pedal, wood block and five temple blocks. Duration: ca. 11'
Print size: Score- 10 x 14", Parts- Letter- 8.5 x 11"
Review from Percussive Notes (2021);
Variations on “Obiter Dictum”
M. William Karlins
M. William Karlins is best known for his works for saxophone, but that should not stop a modern chamber group from checking out his other compositions. This particular atonal trio for cello, percussion, and piano is reminiscent of the percussion and piano writing of Ralph Shapey, with both composers sharing the mutual influence of Stefan Wolpe. The 11-minute theme-and-variation style composition fixates on dissonant intervallic relations, like major sevenths and tri-tones, as well as shifting timbral variances between the various instruments.
Written in 1965 as a portion of Karlins’ doctoral thesis at the University of Iowa, this set of variations published in 2006 takes its theme from an earlier work by the composer for solo organ, with the opening statement copied directly from the original and rearranged for vibraphone and piano. The cello enters in the first variation and is a featured voice from there to the end. Each movement, apart from the 4-minute solo cello cadenza variation, only lasts around a minute, creating a slow and steady build to the aforementioned cello climax. One final, relaxed variation resolves the rhythmic and timbral conflict of the previous variations, sending the piece off with a calm and reflective aura.
Looking specifically at the percussion part, there are challenges for the performer that require some maturity and skill on multiple instruments. Karlins alternates between featuring mallet instruments and multiple-percussion instruments in sequential variations, but there are several quick instrument changes within variations that cause trouble (like a snare drum roll and rimshot into a xylophone passage two beats later).
Overall, the percussion part is minimal compared to the cello and balances with the piano to create a textural background for the featured string instrument.
—Matthew Geiger
