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Journal of the American Viola Society Volume 5 No. 3, Fall 1989

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Journal of the American Viola Society Volume 5 No. 3, Fall 1989 AL oiMe Chapter of T E ER 0 I Association forthe Promotion of iola Performanceand. R~ese~~ ~ o.S 0.3 989 The Journal of the American Viola Society is a publication of that organization, and is produced at Brigham Young University, " 1985, ISSN 0898-5987. The Journal welcomes letters and articles from its readers. / Editorial office: BYU Music, Harris Fine Arts Center, Provo, UT 84602 , (801) 378-3083 Editor: David Dalton Assistant Editor: David Day Advertising office: Harold Klatz, 1024 Maple Avenue, Evanston, IL 60202 , (312 ) 869­ 2972. Deadlines are March I, June I, and October 1 for the three annual issues. Inquiries can be made to Mr. Klatz. Copy and art work should be sent to the editorial office. Rates: $75 full page, $60 two-thirds page, $40 half page, $33 one-third page , $25 one­ fourth page. For classifieds: $10 for 30 words including address; $20 for 31 to 60 words. Payment to "American Viola Society" c/o Rosemary Glyde, treasurer, P.O. Box 558 Rt. 22, Golden's Bridge, NY 10526. OFFICERS David Dalton Presid ent Brigham Young University Provo, Utah 84602 (801) 378-3083 Louis Kievman Vice-Presid ent 1343 Amalfi Dr. Pacific Palisad es, CA 90272 Harold Klat z Secretary 1024 Maple Ave. Evan ston , IL 60202 Rosemary Cl yde Treasurer Po. Box 558, Rt. 22 C olden's Bridge, N Y 10526 Ma urice W Riley Past President 512 Roosevelt Blvd. Ypsilanti , M I 48197 EXECUTIVE BOARD Paul Doktor M ilton Katim s Donald M clrmes Robert O ppelt Joseph de Pasquale Dwight Pounds Thomas Tatton Ma rcus Thom pson Francis Tursi Karen Tuttle Ann Woodward COORD/NAroR WITH CANADIAN VIOLA SOCIETY A. Baird Knec htel FOUNDER Myron Rosenb lum HONORARY PRESIDENT _.. ~ e. Will iam Prim rose (deceased) cf('cr:J;f Chapterof the Internaiionale Viola -Gesellschaft THE AVS IN THE USSR A message from President David Dalton: The American Viola Society has been invited through U.S. EXCHANGES, a private company with offices in Grosse Pointe, Michigan, to undertake a concert tour of the Soviet Union in 1990. U.S. EXCHANGES, whose director is Dr. Robert C. Everett, specializes in sponsoring tours and cultural and scientific exchanges between the United States and the USSR and the People's Republic of China. This past spring, for instance, a group from the American Flute Association undertook a rewarding tour to the Soviet Union under the sponsorship of U.S. EXCHANGES where they enjoyed interaction with their Soviet counterparts. I have received a response to my inquires about such a tour from Mr. A. Kozachuk, First Deputy and Chairman of the Moscow Musical Society, who has relayed through Dr. Everett the word that his society would look favorably upon such a visit and make on-site arrangements as necessary. I have proposed a format of master classes, lectures, viola ensemble concerts, and solo viola concerts-­ where possible featuring repertoire by American composers--in three cities, including visits to the Leningrad, Moscow, and Kiev conservatories. The tour is to take place in the USSR 19-30 September 1990. Cost is about $2,550.00 per person, based on double occupancy. Included is round trip airfare from JFK in New York on KLM Royal Dutch Airlines, transfers, porterage, programs listed, and three meals each day within the Soviet Union. There will possibly be a stopover in Amsterdam en route and in Vienna on the return from the USSR. If desired by the AVS group, a concert may be arranged in Vienna plus a couple of days stay after which the group will disband and individuals will have the option to stay longer on their own in Europe before traveling to Amsterdam for return home. The maximum number of people our group can accommodate is about forty. If you are interested in participating in this tour, you must give notification of this by 10 January 1990. ---- I wish to apply to go on this AVS tour to the USSR. ____ My partner will come. As a violist I can offer the following to the tour: Name------------------- Address------------------ Telephone Number _ Send a copy of this form by 10 January 1990 to: David Dalton, AVS President, C-550 HFAC, Brigham Young University, Provo, UT 84602. His Musical Origins 3 KENNETH HARDING Harding comes from a musical family. The Viola is his Life His father was an accomplished pianist who taught him much by extemporizing on the by young Kenneth's tunes. He remembers making up tunes when he was five Philip Clark beginning violin at six, and soon after that learning how to notate. He began his A concert of viola ensemble music at professional career working in a cinema, the Royal Academy of Music in London and at seventeen went to University College on 13 March 1980 featured four pieces by of Wales at Aberystwyth to study with Sir one composer: a duet, a quartet, a quintet Walford Davies. He believed his and a dodectet. An esoteric offering to be compositions for piano called "minuet," sure, and one that may not have attracted "Study on White Keys," and "Concert a black market in tickets, but as a 77th Waltz," dating from 1923--his twentieth ?irthday tribute by friends and colleagues, year--were the best of a large collection It demonstrated Kenneth Harding's life­ of early work. Davies strongly encouraged long love affair with the viola. him in a study of the classics. Harding tells of being caught carrying the "modern" Many readers will know of the Idyll for scores of Vaughan Williams and Holst from Twelve Violas, subtitled "June Sunrise­ the library. However, Davies told him to Blue Sky," performed at this year's put them back and instead take out the International Viola Conference at the Brahms Fourth. Harding returned to the University of Redlands. However, they may library, obstinately removing another not be aware that Kenneth Harding is the modern score he wanted to study. Davies composer of a large amount of music-­ and he eventually became good friends. symphonic poems, concertos, chamber music, songs--which include an almost At the outbreak of the Second World completed series of works for violas in War, Harding was drafted for service in the ensemble, numbering from one to twelve. Army, but narrowly escaped going to £1 Alemein when the BBC Symphony The fact that his music is not widely Orchestra needed someone with experience known may be largely due to Harding's to lead the viola section while the others philosophy that music should not be a were gone. Before joining the BBC he had business for entrepreneurs. Instead it is, he taught in Wales, and had written a number says the "musical endeavor" that is of large-scale works, including a tone important. He is fiercely possessive of his poem, a symphonic poem, and a double own music, perhaps a characteristic of his concerto for violin and cello. In the twenty stub~orn Welsh heritage. Besides, there are years before 1949, however, a choral certainly many lesser known composers symphonic poem entitled "The Sun Des­ whose music cannot be judged on its cending" was his only major composition. popularity. It is not played because it is not Of course, it was during this time, thanks known, and it is not known because it is not to the tireless efforts of Lionel Tertis, that played. the viola made enormous strides as a solo instrument. Harding joined the new BBC Symphony Orchestra in 1930, and has lived in London Thus, inspired by the viola's enfran­ ever since. I was therefore pleasantly chisement, Harding began his own crusade. surprised by his Welsh accent when I met First came a divertimento for quartet him at his home this past summer. I had dedicated to Harry Danks and his colleagues assumed he would have lost all trace of that in the orchestra. Lionel Tertis was lovely lilting Celtic manner of speech. More responsible for arranging performances of evidence of his resolute character and the Divertimento for the BBC. During a persistent individuality perhaps? His music rehearsal, Tertis suggested transposing a is also refreshingly free of the usual solo down the octave so that it could be "twentieth century" influences. Intensely played on the C string; exploiting the personal, charmingly direct and persuasive, viola's rich, lower register was a Tertis it is blatant in its romantic impressionism. hobbyhorse. Harding obligingly complied, ~----.. ~~---t---=---~~~---4.!--:-.' ~ p ?,1-7-. _ ~ ~A" h, -r ~ ~r(.,o , '1J.-,f • - -, " r / L, .. J r .f'IV , ./ / f I-J I ( ~ I / .,/ .., \~ 'I t' • ·t .. lh f '"I J ,. \ V \J h~ J I 'ttl / ~ y V v ~ • ~ ~ f ::::::-­ > ~p =::=---. p V~ -C\ tA...t-GD - ~ h .. r " l.... I / TP V'r' 1 I I Vf' -", ,.., r -:;; 6 1\'1 I• I 1 ~ 7 f , v I I \ ~ -- ~ , I ~\ -L- ~ ~ p , \ f fJrz:z.•• p Sonora. ----------------'~~"----------r--:.~~~Q_f_---------- ViOla. ~ PlA.C\O{t;>rte k.~ ~ ..... /\.... /h!1,~~ )l.t'~. ..L- .."..-/ .,... I L- -er ". -e: ", ..... .... __ A ~. ow lIlT .............. / '~ J- - - ./ .­ tr - ./ Y "-Y .." v / ) ---- - l porf. ( .' <. »e PI' I'0fr f.>v J) I.G7 t'P I { "~'1 slo~) t-.e. »to Ie. r: \.O·\t1touf o..c.ceM..t". I J I , ~ .---. J """ ,/" -J"" ........... ~ .- -"J ./........--.... ~W" ~ ....I. / u ./ II ....­ /-1 ~ D-W J i.Dll '-­ <; ~! ~ 9) ------ 0 ~ BM (/1 If PI'P / I ~h ...---..... /, / -c ~ ., .,. .,­ .­ ~ "' ~./ . .­ - ... .. ~ I r '" -- bt '-'('I oI'\­~ _l. ~f~ ~ ~. , ~-;f- ~ , ./"'.. ./ ~ " J. ... "... ~ ./ .,..,. I"" Ia • - - ,­ " ~ ­ .-' - ­ '1' Vl I ~\. :I '-"'" ~I '--J / v-f re.~s port. ~Drr. p .e.$P . ~ ~ ,.---­ "'­ , I I J .+ ./ T'" .. 61 . ; .r -_ A 'J ~ ~ . '" .. .JIr " - v • -L°2­ '-'" l?~ ;ft' l ..............
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