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 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 and the USSR and the People's Republic of . 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 --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 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 : a duet, a quartet, a quintet Walford Davies. He believed his and a dodectet. An esoteric offering to be compositions for 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 , 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 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 . 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 , 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.!--:-.' ~

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s but midway through trying the passage, doesn't have as much energy as he used to, 7 Tertis stopped, saying that he could tell but he would still like to write for eight from the composer's face that he didn't like and eleven violas to complete the cycle. it! Harding says that Tertis was most Given the medium, opportunities to gracious and never mentioned it again. perform the ensemble works are infrequent; however, the real problem might lie in Next came a string quartet, which he finding the score and parts. Their extremely scrapped after a poor first performance (ltit limited marketability puts publication by never had a chance!") and a Concertante for any major company out of the question. Viola Quintet, dedicated to Tertis. A Your music dealer does not stock them, Sonatina for Two Violas dates from 1951, neither will you find them in your music and a Kammersymphonie for Nine Violas, library. A few photo copies are owned by now called Nonet, from 1956, which colleagues in the U.K. and U.S.A. who have Harding refers to as Ita difficult piece." taken part in performances, and the viola world is small enough for you to track them None of Harding's viola works are easy down with a little persistence. to play. He writes for the full range of the modern viola, and in some of the larger Perhaps this is a case for a project ensemble pieces, there are difficult funded by one or more of the string "corners" to be negotiated, much rubato and organizations such as the AVS? A private intricate nuances of dynamics. An ensemble edition, made from the photographed unused to playing together--after all, there original scores, or printed by a computer, are not too many full-time viola ensembles could be made available to libraries and in the world--might save a lot of time by interested parties. Making this beautiful employing a conductor to help with music accessible to future generations of rehearsals. violists would be an admirable aim and an attractive project for someone with time, Hiatus and. Production initiative and expertise. Any takers? It was another twenty-two years before Harding composed the Idyll for Twelve Solo Philip Clark is Assistant Professor ofViola Violas, dedicated to Thomas Tatton. The and Violin at Ithaca College, New York. His inspiration for this piece came rather principal studies were with Nannie Jamieson surprisingly from a blackbird's song. at the Guildhall School of Music in London Harding got up one morning before dawn and with the late Peter Schidlof of the and went into the garden, "just as the birds Amadeus Quartet.• were getting busy." Inspired by the blackbird's singing, he began to whistle along. The blackbird was evidently surprised, for it got half way through its A STUDY IN CONTRASTS next song and suddenly stopped. Harding Stokowski and Barbirolli then decided to tell the bird that "if it didn't mind, he'd go back into the house by for pencil and paper and that the bird should stay right there." He happily copied Wayne Crouse a dozen or so tunes and used two of them in the Idy11. When I arrived in Houston, Texas in October of 1951 to assume my new position After the Idyll came a spate of viola as assistant principal violist of the Houston works--three solo pieces with piano, a Symphony, I was quickly introduced to the Sonata, based on a quotation from a poem world of Texas hyperbole. Texans loved by Charles Kingsley, a Legend, which could to brag about anything to do with their also be played by a horn, and "moonlit state: the fact that it was larger than the Apples," inspired by a poem of John entire country of France, the vast number Drinkwater. Three ensemble pieces of oil wells, cattle, cowboys, the Cadillacs, followed, a Sextet, "Rondo Capricioso," a and nearly anything any other state might Septet, "Sunset Paradise," from 1986, and aspire to glorify, Texas had, except bigger "Renata da Capa" for Ten Violas from 1987. and better. Pretty much anything, that is, Harding confesses that at eighty-six he except cultural events, until the Van Oxford~~~~ New in paperback! TOP PROFESSIONALS Playing the Viola SUBSCRIBE TO THE BEST Conversations with DAVID DALTON, Brigham Young THE VIOLEXCHANGE University A quarterly review of string literature and repertoire featuring: • reviews • music inserts • interviews and more Price per issue: 8.00

THE STRAD 12 monthly issues for the well-rounded string player featuring .articles on: • competitions, openings and auditions "The instrument's supreme • famous instruments and their makers spokesman and his ideal • new music and more collaborator-together they have Price per issue: 4.50 brought us a work of rare insight and commitment. My special thanks For latest issue, see your dealer or to Mr. David Dalton for his unique request information from Dept. VX contribution to the viola world:'­ at the address below. Michael Tree, Guarneri Quartet. "A testament to the great artistry of William Primrose. This book should be read by all string playerst-s-josef THEODORE PRESSER COMPANY Gingold, Indiana University. BRYN MAWR, PA. 19010 "1found Dalton to be the consummate interviewer... and marveled at Primrose's style, wit and wisdom. This effort was not merely a technical expose, but also a labour of love:' TheStrad "Dalton's [book] is a loving and brilliant composite of the man, his ~"'i:'J".M"'.~~~."""~."""~"W'.M"'.~ art, and his humanity, and a meticulously detailed analysis of his technique....A tremendous contribution and a much-needed ~ ~·fff~ ~ affirmation of our own best ~ ~ instincts.t-i-Karen Tuttle, [ulliard Violin Maker and Restorer School ofMusic and Curtis School of ~ WE BUY AND SELL ~ Music. ~ ~ "Dalton's book is a profound , VIOLAS, exploration of William Primrose the ~ , DOUBLE ~ man, the artist, and the violist. His narrative forms a galaxy of obser­ ~ BASSES AND BOWS. ~ vations by a gentleman whose erudition is an enlightening, ~ aJJ instruments setup properly to ~ inspiring force for all string players." -The vioiexchangc. ~ ~:S~::=~ ;'~~:~1Ws ~ ~ ~ 1988 (paper November 1989) On Repairs, Instnunents ~ 264 pp.; numerous music examples $ paper $19.95 cloth $49.95 ~ and A8Accessories ~ ~ • Strings • In-Stock selection ~ Price and publication dates aresubject to ~ change andgood only in U.S. d · Bow Re-Hairing of cases, shoulder To order, sendcheck ormoneyorder to: ~ • Appraisals rests, chin rests, ~ Department MG. To order by phone ~ ~ using major creditcards, please call bows, rosin, etc. (212) 679-7300 ext. 7106 ~ ~ Oxford University Press BY APPOINTMENT ONLY ~ 2151779-0665 ~ 200 Madison Avenue ~ . ~ New York, N.Y. 10016 ~ 400 West Thirty-seventh Street Reading, PA 19606 ~ ~"'~~.~~"'i:'J".~~...~~....~...~"'~4~ Cliburn International Piano Competition STOKOWSKI 9 began in that upstart city, Fort Worth. At the time of Stokowski's announce­ Suddenly, the major Texan cities had a ment, I was "conducting" in Europe, and bigger and better challenge on their hands, was anxious to return to audition for the and Houston was no exception. recently vacated position of principal violist. The Maestro, however, had already A few years before my arrival, the filled the position in New York City, and Houston Symphony had become a profes­ it wasn't until the next season when, along sional orchestra. This to Houstonians meant with thirty-two other positions, the job that salaries were raised, the players were opened up again and I was hired. actually given a contract, and were expected to make a living at orchestra without The press had a field day when "Stokie" resorting to other employment--at least in (our nickname for Stokowski, used liberally the winter months! and carefully behind his back) arrived in Houston. He must have felt he was back The first reorganization of this new with M. Mouse in Hollywood, because he cultural oil spout was initiated by Efrem was made an honorary member of the Kurtz, who relied heavily on the advice of sheriff's posse and was photographed teachers at conservatories such as Juilliard wearing a huge, ten-gallon Stetson cowboy and the Curtis Institute of Music to provide hat! And it must have seemed only natural him with new players (such as the fresh­ for him to assume that he was taking over faced new assistant principal violist). Kurtz an orchestra of native-born Texans who was followed by a brilliant young Hungari­ operated best, perhaps, rasslin' cows or an conductor named Ferenc Fricsay whose pumpin' oil. The truth was that most of the "misunderstanding" with the Board of orchestra were from elsewhere, and were Directors unfortunately led to his departure as baffled by Texas as was Stokie. after only half a season. The remaining six weeks of the season were filled by the Stokie, however, was sure that any lack venerable Sir , whose of ability to communicate to the orchestra disdain for "barbarous" Texas caused owed to the fact that we were all Texans. enough hilarity among orchestra members "Now, how do you say slower (or faster, or to fill a Texas-sized book! louder, or softer, etc.) in Texan!" he would say to the orchestra. "I don't speak this The management, being Texans, needed strange dialect, but I see that I must soon a "big name" to pull the public (also, of learn it." All of this was delivered in his course, being Texans) into the concert and own puzzling accent, the mysterious result convince them to support this new and of an English birth and a German-speaking expensive "cultural" orchestra. Who better nanny. Some days words sounded more then, than the co-star of that famous actor, Slavic than others, and when he referred Mr. Mickey Mouse, in the box office to the first violins as "dose yolins" and the Disney success, Fantasia, Leopold second violins as "dese yolins" there was Stokowski? Why Mr. Stokowski was a speculation that the nanny might have been household name (although many born in Brooklyn! Houstonians bragged about the fact that "Tchaikovsky" was coming to Houston!). The Maestro didn't hesitate to use The Board of Directors convinced various tactics to "size up" this Texas Stokowski (with a lot of money, of course) orchestra. One of his favorite tricks was to assume the title of Music Director of the to remain seated on his stool during breaks Houston Symphony. This meant that he and scrutinize those who had the courage would bring along a few of his many to remain in his sight. He had, either in his recording contracts and make infrequent late seventies or early eighties, sired two visits to the orchestra; but, agree he did, and boys by the young Gloria Vanderbilt (who the Houston Symphony acquired the big never chose to visit her husband's Texas name it wanted. connection) and welcomed any parent who would come up and share stories about their offspring. Those of us who had no offspring considered swapping stories about our nieces, nephews or even our pets, as this seemed to be one of the few genuine of mutes to create the "distinctive sound" 11 ways of conversing with the Maestro. envisioned by each composer. Thus the string players were required to buy three Early on we learned that the Maestro different kinds of mutes: one made of liked to test the alertness of his players. aluminum, one of wood, and one of leather. While rehearsing a piece he might stop to We were unable to guess which composition change something and then begin again in required which mute, but Stokie had an entirely different place from where he definite ideas about each piece. For had stopped. Our only clue as to where he'd example, it might be that Wagner required begin was the fact that while giving the wood, Brahms was, of course, a leather­ downbeat he'd simultaneously callout the mute sort of composer, and a French letter of the new starting place. This was composer might be aluminum. quite a test indeed, and we suspected that many other had had the same Logistically, these mutes became a Stokie alertness tests practiced on them, nightmare! How could we store them so because many of his scores were marked that they were accessible and how could with enormous letters in the margins of the we use the right one without dropping it? music! (This merited an ominous glare from the podium!) The local music store was owned He travelled with an extensive library by an enterprising symphony violinist who of his own music, all carefully stamped quickly put in a supply of every conceiv­ with the inscription "PROPERTY OF able mute that might be used, and we LEOPOLD STOKOWSKI" in the right hand armed ourselves to the teeth (or the strings, corner. My favorite piece was the one as the case might be), for we were where the "principal stampist" had missed constantly dropping and losing them in the the first four letters, leaving only "OLD dimly lit backstage areas. There were mutes STOKOWSKI" on the page! I wondered how everywhere that year, and every conceiv­ many other principal violists had gotten a able method for storing them was used. We grin out of that one and how truly finally worked out some methods that accidental the stamping had been. seemed plausible and by the beginning of the third season felt prepared for any "mute The Maestro was an ardent supporter possibility!" The first passage where a mute of a technique known as "free bowing," -was required came up in a new composition which he believed gave the orchestra a we were performing early in the season, "seemless sound . . . more powerful and and the concertmaster dutifully asked the unstructured." This caused problems, Maestro which mute we were to use. Stokie however, amongst his conservatory schooled looked at him rather blankly and said in a orchestra members, who were trained in the tone that implied the barbarous nature of traditional discipline of bowing together. Texan musicians that it really didn't matter We had to concentrate on not bowing at all to him which mute we used! Ah well! together and began to develop an "after They're all made of plastic today anyway! you, my dear Alphonse" attitude with our bowing patterns. If we lost our concentra­ It was during an intermission of a tion and began (heaven forbid!) to bow rehearsal, shortly before the end of that together, we would feel the Maestro's glare season, when Stokie overheard me and hear his shout from the podium, "Don't discussing my summer plans with our be machines! You and your canned soup and principal cellist, a most attractive young your social security!" We were never quite woman. He often seemed to involve himself sure what soup and social security had to in conversations if beautiful women were do with free bowing techniques, but the around. (Let us not forget this is the man Maestro left no doubt in our minds that it who sired two boys well into the last was an insult. quarter of his life!) He had heard me mention that I would be conducting in Saga of Mutes Scandinavia and looked at me with a very It was during Stokowski's second season different gaze than had been directed with the orchestra that the "Saga of the toward me previously. "And what orchestras Mutes" occurred. The Maestro decided that do you conduct in Scandinavia, Maestro?" certain compositions required specific types he said. "Oh, I don't conduct orchestras, THOMASTIK DOMINANT THE NEW STANDARD OF EXCELLENCE

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DISTINGUISHED VIOLA FACULTY

Sidney Curtiss Leonard Mogill Michelle LaCourse Emanuel Vardi Evelyn Jacobs Luise Ira Weller

DEPA RTMENT OF INST RUMENTAL ENSEM BLE ST UDIES Tnz N EW S CIIOOI. I NSTI TUTE Richard Brodhead, Chair, Executive Director Helen Kwalwasser, Artistic Advisor for Strings Luis Biava, Artistic Director and Conductor, Temple University Symphony Orchestra

FOR INFORMATION, PLEASE CONTACT: PROGRAMS Doctor of Philosophy Walter Weidenbacher Temple University, Box VLA Bachelor of Music Undergraduate Diploma (215) 787-8328 Esther Boyer College of Music Master of Music Graduate Professional Studies Philadelphia, PA 19122 Doctor of Musical Arts in Performance Maestro," I said. "I conduct tours." "Oh. performed enough new works, one of them 13 Tours!" said the Maestro with a decidedly would surely be a "hit," and he would have relieved look. "Will you be in Norway?" he added to his achievement the kudos of asked. I replied that I would. "Then you having "discovered" it. Houston, of course, must go and see the 'Veeking' ships in the was a city that loved the pot boilers of museum, in Bergen, Norway. They are , and the patrons were ter­ magnificent and have been encased in mud ribly confused by his erratic programming for hundreds of years." of some of these new composers. But as long as there were enough 1812 Overtures That summer I saw those ships. Not in and Beethoven 5th Symphonies in the Bergen, however, but vividly displayed at program, they would accept these strange the "Veeking" museum in Oslo. At a social contemporary pieces. gathering in the fall (given by several lovely young ladies in the Maestro's honor) One of these works was written by a I mentioned to him that I had seen the percussionist for (what else?) percussion "Veeking" museum when I was in Oslo. and strings. It was, to say the least, "You mean in Bergen," said the Maestro. extremely complex and involved a lot of That ended that conversation, for he was, diving, throttling, banging, pounding, after all, the Maestro, and he conducted plucking, and hitting of an amazing orchestras, not tours! assortment of esoteric percussion instru­ ments strung across the entire back row of The Day Shirley Smiled the stage. The strings kept abreast of the Stokie was a man of many moods. situation by skill, prayer and the use of a There were the days bright with humor, big fermata (a place indicated in the score and he might remark to a player, who had where the conductor stops the proceedings pleased him with his playing, to "Do again and waits a while before starting again). tonight, Mr. X., whatever it was you did The young composer attended the dress last night!" Such slightly risque remarks rehearsal, and Stokie asked him, basically were designed to make everyone smile and as a formality, if he had any comments. enjoy the good mood of the Maestro. The This brash fellow had the temerity to come dark moods were a terrible contrast, forward with a very long list of particularly if one of his own works was "suggestions," which were not well received being rehearsed. On one occasion such a by the Maestro. As a matter of fact, these mood occurred while rehearsing his suggestions so unsettled him that during the transcription of the Bach Toccata and concert he turned two pages of the score Fugue in D minor, a work originally written rather than one and completely missed our for organ, the instrument Stokie played as fermata, or regrouping spot! a youth in London. The rehearsal was not to his satisfaction at all, and his mood was Surely the chaos at the beginning of the growing darker and darker. Unfortunately, world was mild compared to what happened Shirley, one of the first violinists, chose on stage during the rest of that composition. that moment to smile at a little secret joke The Maestro finished the piece long before with her stand partner, and Stokie saw it. we did, and we finally stopped playing Incensed, he told her to leave the stage and wherever we were! He was not a maestro "go to a funny movie where you can smile for nothing, however, and so motioned with all you wish." great dignity to the young composer to rise and take his applause. The composer simply Shirley was asked by the management slumped in his seat and surely would have not to return the next season. A smile at the crawled under it if he could have! wrong time could be costly when Stokowski was maestro! With great aplomb, the Maestro turned back to the orchestra and gave the Stokowski was renowned for champion­ downbeat for the next number on the ing the works of living composers and program. Unfortunately, it was a composi­ continued his cause in Houston, even tion for the whole orchestra, many of founding a Contemporary Music Society whom were not on the stage. It went fairly (which lasted exactly as long as his tenure well· for a few moments until we reached in Houston). Perhaps he felt that if he a passage solely for winds and brass Viola Faculty and Orchestra Conductor At the San Francisco Conservatory, we have a faculty for great music.

Paul Hersh, form er violist and pianist of the Len ox Quartet, st udied viola with William Primrose and attende d Yale Unive rsity . He has performed with th e San Francisco Symphony , the San Francisco Chambe r Orchestra and man y othe r gro ups. He has also mad e a number of recordings and has been artist-in-residen ce at universities and music festivals in the U.S. and Europe .

Isadore Tinkleman studied with Kortschak and Weinstock at the Manha ttan Schoo l of Music and with Raphael Bron stein in private lessons. He head ed the Violin Department at th e Portland Schoo l of Music before becoming direct or of th e Portl and Community Music Center.

Geraldine Walther, princip al violist of the San Francisco Sympho ny , is former assistant Don Ehrlich, form er princip al viola of the princip al of the Pittsburgh Sympho ny and a Toled o Sympho ny and a former mem ber of the participant in the Santa Fe Chambe r Music Stanford String Quartet, curre ntly serves as Festival. She st udied at th e Curtis Institute of ass istant princip al viola of the San Francisco Music with Michael Tree and at the Manhat­ Symphony. He received his B.M. from Obe rlin tan School of Music with Lillian Fuch s, and Conservatory, his M.M. from the Manhattan won first prize in the William Primrose Viola Schoo l of Music and his D.M.A. from th e Competit ion in 1979. University of Michi gan. Denis de Coteau, music director and con­ Leonid Gesin is a member of the San du ctor for the San Francisco Ballet Orchestra, Francisco Symphony and several cha mbe r has conducte d dance compa nies , youth music groups including the San Francisco orchestras and major sympho nies throughout Chamber Orchestra . He st udied with A.G. the world. He has receiv ed a variety of awards Sosin at the Leningrad State Conse rvato ry , and comme ndations , earned his B.A. and M.A. the n performed with th e Leningrad State in music from New York Unive rsity, and holds Philharmonic and taught before emigrating to a D.M.A. from Stanford Unive rsity . th e United State s. Newly appointed .

Stude nts from aro und the wo rld come to the San Fra ncisco Conse rvatory of Music forsevera l reason s:

• A st ude nt -teache r ra tio smaller t ha n 5 to I . • Th e oppo rtunity to study with an exce ptional faculty in one of th e world's mos t. di verse an d exciting cu ltural cente rs. • Ex tensive performance op po rt unities both on campus and around th e city. Concerts an d recitals arc pr esented at th e Conse rvatory 's Hellman Hall nearl y eve ry day of the sc hool year. Offcriny the Mast er ofMusic, BachelorofMils ic, and Music Diploma. Founded 191 7. Milt on Sa lkind, President . For more in formation co ntac t th e Office of Stu de nt Se rvices . San Francisco Conservatory of Music 4 15-665-9220 120 I Ortega Street , Sa n Francisco , CA 94 122 instruments. Stokie was vastly irritated that the only reason for someone to be "up 15 when his conducting was met by silence for on the box" (the English expression for lack of players and their instruments on podium) was because they were more stage. He crossed his arms in indignation knowledgeable than the others. When while the entire stage had to be rearranged! someone asked him if he taught conducting, He remained in this position for what he'd answer, "I suggest you go play in an seemed like an hour after we were all orchestra for twenty years and then think seated, glaring at the orchestra for its about conducting!" impudence until he finally decided to raise those famous hands and begin the piece And so this wonderful man from again. Manchester found a group of admiring musicians absolutely "ripe" to be shaped Three Houston newspaper critics into a real orchestra. And shape us he did. covered the orchestra at that time, and none Unlike Stokowski's free bowing techniques, of them mentioned the incident the next Sir John was absolutely precise about day. When it came to Maestro Stokowski, bowings, and every stroke had a reason. He the emperor wore fine robes indeed! brought his own music from Manchester and insisted that no one change or erase a BARBIROLLI single mark unless, after a discussion with It was in 1963 when a ray of sunshine, some of his principals, he decided to in the shape of Sir John Barbirolli, swept change a bowing. This was always a through Houston. Stokowski had departed momentous occasion, and he was adamant and Sir John was on an invitational that it be put in every part! conducting tour of the U.S. In his hand, as though it were an extension of his fingers, Sir John loved to "demonstrate" to the he wielded a lovely long slim stick--a strings how he wanted (or didn't want) a baton! Something we hadn't seen much of particular passage to sound. He would during those six seasons with Maestro borrow the cello from the principal player Stokie! and show us just how he wanted a pizzicato or a particular bow stroke to go. He left no The orchestra played with a genuine doubt in the minds or the spirits of the enthusiasm and love of music for the first players as to the sound he wanted. time in a long, tense history. It was magical, and it marked the beginning of a love affair One of my favorite memories of Sir between orchestra and conductor that lasted John took place during a rehearsal of an all until Sir John's death seven years later. Viennese concert--Iots of Strauss waltzes, After a concert was over, the entire polkas, etc. The viola parts to these pieces orchestra would wait to speak to Sir John were written to torture the violists, for the or even to shake his hand. He gave us back parts don't allow you to play the melody our music, or at the very least, our love of for more than a few notes. It is a violist's playing it together. concept of Hades, and surely, where a viola player will be sent if he or she isn't He must have sensed our euphoric deserving in the afterlife! Evidently my response, even in the short time he worked face registered the extreme discomfort I felt with us, for he signed a contract to return during the rehearsal, for Sir John leaned the next season as Conductor-in-Chief. We down and said to me, "For God's sake were overjoyed and didn't even mind the Wayne, play the tune!" It was if I had been fact that he divided his time between us granted a pass to heaven, and for the rest and his beloved Halle Orchestra in of Sir John's tenure I felt authorized to play Manchester, England. the tunes in the Strauss waltzes! It was a true indication of the sensitivity of the man Sir John was a cellist, trained at the on the podium. Royal Academy of Music in London, and had played in cafes and theaters as well as pit and symphony orchestras. Unlike his "We," Strings predecessor in Houston, he had "come up As a string player himself, Sir John en­ through the ranks." He knew what it was joyed the rehearsals that involved only the like to sit in an orchestra, and he also knew strings. When speaking to the other sections ~-:;:q:=iJ=~~~~ .?-- :l Shar Violin Shop

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L.F.S. PUblications. Inc. P.O. Box 6046 • Ann Arbor. MI 48106 313/971-5744 of the orchestra he would frequently refer outstretched. When I tiptoed into the room 17 to the strings as "we," saying, for example, to see if I could be of any assistance, Sir "we" must not be covered or "we" must be John looked up at me and said, "Wayne, able to play very softly. He knew exactly don't you think I rather resemble a how to make an entire string section play primitive crucifix? Mahler would be so the dynamic he wanted by telling them pleased!" precisely the part of the bow he wanted used. If there was a very soft tremolo Harold passage he would insist that every player I had the privilege of being a soloist with use an inch of the bow at the tip, the very Sir John on numerous occasions. During his tip of the bow! He said that "only those with second year in Houston I appeared on the advanced cases of serious arthritis might be opening subscription concerts performing excused from this procedure!" At this time Berlioz' Harold in Italy, and the same work in his career he was conducting the Berlin again on Sir John's seventieth birthday Philharmonic as a regular guest conductor, concerts five years later. I spent hours with and he loved to tell us that he was referred the Maestro, not just playing and to by that orchestra as "Herr Spitze"--Mr. rehearsing, but talking and listening to his Tip-of-the-Bow! ideas about the work we were doing together. He could never understand why Whereas Stokowski was reluctant to Berlioz wrote so little for the solo viola in tour with our orchestra, and his wife never the last movement of "Harold" and appeared in Houston, the Barbirollis were suggested that a chair be placed on stage very amenable. The orchestra was so that I might sit down during the three­ "marketable" with Sir John's name as hundred or so measures during which the director, and we made our first New York violist doesn't play a note. "If you stand appearance with him, returning in triumph there the audience will keep wondering to the city where he had conducted before when you're going to play again," he said. World War II. Lady Barbirolli always "But if you sit down, they won't!" traveled with us, sometimes as an excellent soloist oboist. We worked very hard on a section of the movement called "The Pilgrim's March," In the early 1960s composers such as in which the solo viola has accompanying Mahler, Nielsen, Vaughan Williams and arpeggios which are to be played ponticello. Elgar were not played in America as they He felt that Berlioz wanted a contrasting are today. Sir John frequently included "eerie" sound in the solo instrument against these composers' works on the program, and the muted sound of the strings playing the we played them on many tours to splendid chant of the pilgrims. It was with great critical acclaim. It was a challenge to the surprise when we read in one of the papers orchestra to perform a huge work like the the next morning the words of the critic Fifth Symphony of Mahler night after night who said, "An otherwise beautiful on the road, and Sir John spent a lot of time performance of the Pilgrim's March in the encouraging us. Before a dress rehearsal Berlioz was marred by the soloist's lack of he would say, "Now we are about to embark control of his bow to prevent it from on a long musical journey. Get your making a scraping sound against the backsides in a nice comfortable position and bridge." off we go!" Another work that was a great favorite It was after a performance of Mahler's of Sir John's was the tone poem Don Second Symphony ("The Resurrection") that Quixote of Richard Strauss. The principal the Barbirollis came for supper at my cellist, Shirley Trepel, and I spent many house. Late in the evening Sir John had a wonderful evenings (usually followed by coughing spell which stopped only with a meal of Sir John's famous linguini di great difficulty and alarmed us enough that vongole bianco) playing for the Maestro. I called a doctor friend who had attended The viola, of course, takes the part of the concert. The doctor came over Sancho Panza, the servant of the Don, and immediately, bearing with him a portable there was one particular passage that I EKG machine which required that Sir couldn't quite play the way the Maestro John lie on the bed, arms and legs wanted. Finally he said, "My dear Wayne, The Northwest School A COLLEGE PREPARATORY SCHOOL grades 6 through 12 Announces a Full Scholarship Program Beginning Fall 1989 for its HIGH SCHOOL STRING ORCHESTRA

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795 Foxhurst Road, Baldwin, New York 11510 Phone (516) 546-9300 Fax # 516 546-9309 I'm sure you'd much rather be following Sir John's approach was so entirely 19 'The Don' in the backseat of a Rolls Royce, different that it makes comparisons but I rather want it to sound like you're on difficult--I can only reach for the the back of a jackass!" The passage has been contrasts. He treated his players like crystal clear to me ever since! Sir John colleagues, with respect and admiration, always knew exactly what he wanted and always insisting that we "get things right." was willing to work until that sound was And we would do everything in our power communicated to the player and he could to do just that. His abilities to teach, achieve it. inspire, lead and control an orchestra made him the finest conductor I have ever Our first performance of Don Quixote known. was postponed because of the assassination of President Kennedy. When we finally Wayne Crouse graduated from the Juilliard performed the work, Sir John came out and School ofMusic, where he studied with Ivan gave an eloquent tribute to the late Galamian, Dorothy DeLay and Milton president before the performance. The Katims. He became principal violist of the entire orchestra and the soloists performed Houston Symphony and was soloist under with an eloquence and majesty that is rarely such conductors as Barbirolli, Sir William achieved. Many of those in the room, both Walton (performing his viola concerto), performers and audience, were moved to Andre Previn, and Jorge Mester at the tears. Casals Festival in . Crouse has been associated with the Marlboro and A few years after Sir John's death, a Aspen Festivals and is currently principal European guest conductor programmed Don violist ofthe Sante Fe Orchestra. He Quixote in Houston. It was the first work is professor of viola and chamber music nd that we'd originally done with Barbirolli violist of the Quartet Wuartet Oklahoma at and we were now performing under another the University of Oklahoma.• conductor; and of course our memories rushed back to our memorable Barbirolli performances. At the obligatory party afterwards, the guest conductor was overheard telling a group of people that he THE BACH SUITES felt he had made a tremendous impression A Narrative on the Houston Orchestra, because there were tears in the eyes of so many of the by players during the performance! Leonard Davis But a handful of us players are left who played under the direction of these two men One day when I was very young, my in Houston. Certainly we experienced two extremelydifferent approaches to handling teacher announced to my parents, "I think the members of a symphony orchestra. he's ready for Bach." Since she was strict True, neither was in his youth when they and serious, I could foresee more troubling were in Houston, but both had had brilliant pages on my stand, along with the careers conducting world famous orchestras. problematical etudes of Jacques Dont and Hans Sitt. Side by side their yellow covers Stokowski knew how to strike terror to proclaimed commands from my teacher: the very depths of a player's soul. "Dont Sitt!" For years to follow, I felt a Sometimes one played with an incredible pang of guilt when I sat to practice. intensity simply, it seemed, because it might be God himself up there on the At first, the new minuet seemed hardly podium! Certainly, with his waxen different from any others. Not at all! This outstretched hands and the halo of snow­ was Bach, where the slightest errors became white hair, Stokowski created an almost mortal sins! religious atmosphere on stage. However, it was at his altar, not the composer's, that That was my inauspicious introduction you worshipped. to Bach and I could never have known that his music would one day become such a magnetic force in my life. ERIC CHAPMAN VIOLINS,INC.

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604 Halstead Avenue Mamaroneck NY 10543 914-381-4616 Following high school I was granted a Although I had covered almost all of the 21 fellowship for four years of study at the known viola repertoire, of which (regard­ Juilliard Graduate School, and left home less of some popular opinions) there is for New York. Juilliard was astonishing! plenty, my appetite for the Suites was The small student body exuded an never satisfied. atmosphere electric with musical and philosophical thought. Raw ideas and Kellner Manuscript instinctive decisions were rampant, For some years after Juilliard, having particularly during chamber music performed, taught and analyzed the Suites, rehearsals, spilling over into on-going I realized that I had, in fact, created my discussions which lasted for days. We had own edition. My major source of reference opinions on everything: loving this had been the manuscript of Anna Magda­ composer, hating that one, Strad against del lena Bach. I needed more authentication Gesu, Baldwin versus Steinway. Not until from another source, that of Bach's years later did we realize that it had been contemporary, Johann Peter Kellner. a dress rehearsal for life and we had left Searching for it had the air of an inter­ such an environment to discover a different national intrigue. world. During one of three summers spent I worked assiduously on the standard teaching at Indiana University, I requested repertoire, including the Sonatas and from their music librarian any information Partitas. Many of their movements created that might be had on the location of the no great problems. The difficult ones with Kellner manuscript. Within an hour I was the finger and bow-twisting fugues were given the address and file card number of simply played into submission. Occasionally, a library in East Berlin. Wearing many rising from a festering sea of black notes, hats, (Professor at I.-U., New Y?rk I would discover a world I had never Philharmonic, Manhattan School of MUSIC), dreamed existed. How deeply touched I was I wrote to the library, but there was no upon first hearing the haunting ostinato in reply. A month later, at a huge banquet the second movement of the E Major for the peripatetic Philharmonic by the Concerto! As though a switch had been Ministry of Culture in Moscow, I gingerly thrown, I was immediately beguiled by this approached the dour Minister himself, composer. asking, through an interpreter, if someho~, someone might nudge the library people In Although my teacher was admirable in East Berlin on my behalf. The man, many respects, he never hinted at the fact suddenly more pugilistic than ministerial, that the works of Bach were so remarkable became irate. I had struck an exposed that they required a performer's under­ political nerve by even hinting at any standing before they could be properly influence with the East Germans! However, transmitted to the listener. That germ of when I arrived home two weeks later, the discovery, so epidemic at the School, twenty-three beautiful pages of music brought the realization that my labors were awaited me. making me an expert on the tip of the iceberg. Because I cannot play and speak simultaneously while demonstrating for The allure of the School's two fine students, I purchased from a colleague one violas was irresistible, and I decided to of the older monstrous tape deck models specialize on that instrument. I returned complet with microphone, believing this to to Juilliard, carrying a chubbier case. I was be a solution. It would allow me to play fortunate to study with Milton Katims, the tape and make comments at the same who, for the next four years, guided me time. But the machine had its own through the repertoire, including some of thoughts on the matter by simply recording, the Cello Suites. We began with the Second. deleting or playing back whatever it What a revelation! The bogey-man of my wished. It eventually died of its own childhood had grown into a most congenial, recalcitrance. At least I thought it did. even romantic fellow, with no intention The father of a student, an "electronics whatever to frighten or destroy! expert," volunteered to "take a look." He promised to bring some tools to his son's INTRODUCING: EDITION PAX

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Support our work for the viola by purchasing PAX editions. A 33% reduction is offered with an order of 10 or more copies. next lesson. It became a weekly exercise: hundred and twenty eight takes of the Sixth 23 three of us carrying the behemoth to the Prelude. Intensive sessions sometimes kitchen table, where he worked and started after a Philharmonic concert and groaned, while I taught his son, thus trading ended at daylight. I constantly felt a our services. His timing was perfect. On compulsion to continue. Frieda was the their ninth visit, the day of his son's last final judge of the playbacks, patiently lesson of the semester, he installed a home­ listening, to hours of tape. made cluster of colored globules vaguely resembling a model of the endocrine The Suites were released as cassettes, system. He assured me that all systems making them affordable, portable and were now "go," leaving with a musically consequently a bit less formal than other advanced son and my profuse thanks. I formats. International published the printed rushed from the door, eagerly plugged in edition. the machine, and began to play. However the regenerated evil spirit within waited With the completion of this project has gleefully for my first notes. From its come the end of my narrative. I have bowels came a loud pop, a lightning blue resisted the temptation to make it scholarly flash, and a puff of acrid smoke. Instead or educational. It is anecdotal, nothing of a genie appearing, I heard the laconic more. announcement, "Okay, Pan Am 235, you're cleared for takeoff." The new components As one who has been enriched by had picked up the control tower at traveling that road, I take the liberty to Laguardia Airport! suggest that the violist spend hours in isolation with the clear and uncluttered Recording the Suites music of these beautiful Suites, concen­ My wife, Frieda (we met as violinists trating not so much on the instrument or at Juilliard), performed a gigantic research upon one's own abilities, but delving project and bought for me a state-of-the­ earnestly and objectively into the notes art tape deck and microphones. In our themselves in order to appreciate fully their stolid building we set up a recording studio, remarkable use as constructive and and after three months of experimentation, expressive media. I began to record. Early in the process we were delighted to have as an overnight The violist may find, as did I, that at guest our dear friend, Josef Gingold. He some magical point a door opens, which wondered why we had the recording leads to the very mind and heart of Johann equipment, and insisted upon hearing some Sebastian Bach. of the tape. Joe, with his sweet disposition, paid me an embarrassing number of com­ Leonard Davis studied at Juilliard under pliments. The true effect of any perfor­ Milton Katims. Mr. Davis is on the viola mance being the length of time it lingers and orchestral studies faculty 0/ the in the memory, I was particularly pleased Manhattan School 0/ Music. He is principal when, before leaving the following violist 0/ the and morning, he asked if I would mind playing has enjoyed an international career as a some of it for him again, later insisting, by soloist, chamber musician, and teacher 0/ mail, that I record the complete Suites and master classes.• make them available to the public.

With this major incentive, and a broader view of what I had originally intended in Graphics from Die Kunst des recording these works, I set out with new Geigenbaues by Otto Mackel; vigor upon the project I would devote most Bernhard Friedrich Voigt, Verlag of my free time to for the next five years. Handwerk und Technik, My lone companion was our blond cocker Hamburg. spaniel, who slept blissfully on my foot. Early on, I created a game to be played out, the goal being to record a movement in one complete take. It meant da Capo if there was any flaw, resulting, for example, in one SCHOOL OF Phyllis Curtin,Dean, School for the Arts MUSIC Robert Sirota, Director

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For descripllve circulars or lurther Inl ormallon write to: dampit s, Inc. Box 493, Radio City Station, Violinmakers New YOrk, NY 10101 U.S.A. MUSICAL MALADIES here, but with stiff shoulders, neck or 25 A Discussion of their Prevention and Cure !r~pe~ius, or with improper technique, ~nJurIes here are common, for the joint is by Inherently unstable. Many tendons in the shoulder area also must pass through a Steven Ansell narrow passage that connects with the neck: inflammation or pinching of nerve is ~ painful problem. As students with many passages to practice and much technique to learn Proper Technique violists and violinists must practice man; hours a day with rather large, ungainly I routinely teach and see many students objects under their chins. When youth is who have chronic tension from raised on your side, practicing six to eight hours shoulders, bow arms twisted at almost a day or playing ten or more hours is not impossible angles, left hands' bent at the unreasonable. Getting older and operating wrist as if with rigor mortis, etc. Often, at the same level of intensity can cause however, a much more subtle tension which problems. Tennis elbow, golfer's elbow will predispose one to tendinitis. In the (lateral and medial epicondylitis), carpal prevention of injury, it is first and tunnel syndrome, rotator cuff tears, foremost important to use proper technique! arthritis, bursitis, and all manner of This means that the head, neck and shoulder and back injuries are feared, and shoulder area should be balanced the they are rampant among professional instrument should not be clutched' onto musicians. How can we prevent some of for dear life, and the fingers and arms these "overuse syndrome" disorders? should move as freely as possible. The left wrist and hand should be balanced and in First of all, we must accept the fact that li~e with the forearm, and not held rigidly. playing the viola (or violin) is a task that Fingers should not clutch the strin~s, but involves the repeated use and overuse of exert Just enough pressure or weight to some very small and specialized tendons depress the strings and vibrate freely, not and muscles. In the elbow, the insertions mechanically, as is so often the case. of the pronator, supinator and flexor Vibrato should "roll" from the fingers. The tendons all bunch together in the same _bow arm should be balanced and free on place, the medial side of the elbow, which one plane without a death grip on the bow which should also be balanced in the hand' contains the passage for the ulnar nerve. If th~ you extend your palm upwards, away from to facilitate feeling. If you restrict your body, this area is on the inside of your movement of one area or joint by holding arm. You use the flexors to hold the bow that area, nothing will really be able to and depress the strings (left hand); the move freely, and stiffness will manifest pronator and supinator are used to get in itself in other areas as well. (For example and out of the string and apply pressure, bend either wrist twenty degrees or more: or support weight from the arm while you and notice the reduction of strength and drag the bow across the string. Holding mobility in the fingers.) your arms in a position that permits proper technique does not promote good circulation Although many injuries occur because to the arm and hand. In addition, these tiny of improper technique, the viola is an muscles and tendons are used almost awkward task for even the most naturally exclusively and repeatedly; such use also gifted player; just plain overuse can cause promotes oxygen depletion of areas without tears in the tendons or their sheaths. good circulation in the first place. Blood Prevention of these injuries is paramount. vessels that carry oxygen throughout the To this end a regular program of stretching, body are much more prevalent in muscle as an athlete does, is very helpful, espe­ tissue than connective tissue. As we get cially for those who like to do physical older, we become less resilient and flexible, things away from the profession, whether and for all these reasons there is a built­ it be golf or handiwork around the house. in preponderance for some sort of injury. It is important to stretch gradually and slowly, without pain of any kind. If you The same applies to the shoulder area hold your hand out in front of you at as well. Typically there is less pressure shoulder level, elbow straight and fingers INDIANA UNIVERSITY SCHOOL OF MUSIC Charles H. Webb, Dean

VIOLA DEPARTMENT

Csaba Erdelyi Abraham Skernick Professor of Music, Viola Professor of Music, Viola

Mimi Zweig Associate Professor of Music, Viola

INDIANA UNIVERSITY SCHOOL OF MUSIC OFFERS YOU: • Internationally recognized faculty • Over 900 performances annually by students, faculty, ensembles • Four symphony orchestras, chamber orchestra, new music ensemble, chamber For more information music contact: Dr. John Nagosky • Complete programs of study leading to Director of Bachelor's, Master's, Doctoral and Artist Admissions Assistant Dean Diploma School of Music • Scholarships, associate instructorships, Indiana University Bloomington, IN graduate assistantships,' and other 47405 financial aid available (812) 855-7998 extended upward while very slowly and therapist. Recovery time from even a 27 gradually pulling back on the fingers with seemingly minor injury can take some time, your other hand, you will stretch the flexor so be patient with yourself and use common muscles and tendon group. If you assume sense in the use of the injured area. Take the same position and instead start to extend breaks in your work, and don't paint half your fingers downwards, pointing them of the house just after or before you toward the ground and taking your hand practice two hours! just below the wrist with the other, you will stretch the extensor, the tennis elbow side The last and most debilitating part of of the forearm. For stretching the pronator these types of injuries is the psychological and supinator, extend either arm out to the drain, the depression, anxiety, uncertainty side at shoulder height, then, palm rotating and anguish over the inability to play or either downwards or upwards, try to make play with the same abandon as before. Now a circle with the forearm. Each of these restricted somewhat, you must use caution, stretches should be held at a point at which which can certainly put a damper on you meet resistance, but do not feel pain, enjoyment! These are legitimate concerns, for fifteen to thirty seconds before playing but it is most helpful to have a positive, or or warming up. These elementary stretches at least determined, attitude. Most people can be shown you by any good sports recover fully in time, and doubt can prey medicine physical therapist, especially one on the psyche like a plague. You may not who has experience with or specializes in be able to practice as much as you would musicians. Shoulder stretches are more like, but this cloud also have a silver lining commonly known. These simple exercises, and can be used to advantage. Study the done just before a session with the instru­ scores! ment, can help prevent pain and anxiety of injury, as well as possible loss of money. Steven Ansell is violist 0/ the Muir String Imagine what would happen to Carl Lewis Quartet, in residence at Boston University.• if he didn't stretch regularly, especially just before a sprint! All athletes go through extensive stretching and conditioning programs as a matter of course: what makes musicians think they are any different? PREVENTING ULNAR Sports Therapist PROBLEMS If you have an injury caused by playing, or one that is caused by other by activities but affects performance on the instrument, treatment with a good sports Don Ehrlich medicine physical therapist will get you back on your feet. You may be put on a Editor's Note: This is the second article in general conditioning program, or a specific JAVS by the author on players' maladies. one, depending on your needs. Icing of the effected area at various intervals is almost In last issue's article on preventing universally prescribed. The first task in injuries to violists, I failed to mention the clearing up the injury is to control the ulnar nerve, the problems it gives, and inflammation. Icing does this and increases some ways to prevent injury to it. blood flow at the same time. Taking aspirin or ibuprofin after meals can also help, A colleague of mine, a violinist, has an because these are anti-inflammatory agents. ulnar nerve injury that wasn't diagnosed After the inflammation has subsided, you for a long time. Before she could get may begin to exercise with caution, usually treatment for the problem, she lost control icing after each workout or playing session. of the ring fingers and little fingers of her It is generally not a good idea to stop left hand to the extent that she couldn't playing if you have tendinitis, because the play in tune with velocity, or adjust muscles and tendons involved need exercise; intonation. It took almost two years for and with disuse, they atrophy and make the nerve to return to normal after one even more prone to further injury. treatment. Injuries to the ulnar nerve can Discuss this with your physician or be serious; thus, it is useful to know SVEN HELGE REHER

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AR RA NGEMENTS AND TRANSCRIPTIONS

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39 Pieces For Viola (ln T he First Position) with Piano Accomp an iment

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At better music stores or wnte for information to: SUPER-SENSITIVE MUSICAL STRING CO. 6121 Porter Rd., Sarasota, FL 34240-9542 " Over Haff-a·Century of Musical Produc t Excellence " something about this nerve and to practice some stress on the ulnar nerve when we 29 preventive measures regarding it. play, but we should try to keep the arms somewhat straighter when not playing. This The ulnar nerve leaves the spinal also includes when we drive, eat, talk on column in the neck, travels through the the phone, jog, and so forth. The more armpit and down the inside of the upper time we spend thinking about keeping the arm to the elbow. There is a little hole in arm straight, the better it is for the nerve. the elbow, called the cubital tunnel (remember the Biblical unit of measure, the While sleeping, we can also put tension cubit, from the elbow to the finger tip?), on the ulnar nerve. Therefore, we should which is lined by a little sheath through try to change our sleeping habits to sleep which the ulnar nerve travels. The nerve with our arms extended, and not tucked continues along the lower part of the under the pillow. This can be very forearm, through the wrist and into the difficult to accomplish, since we are not hand. The ulnar nerve is the path for nerve aware of our arms when we sleep. As you impulses from the ring and little finger to fall asleep, try to think of your arm the-brain and from the brain to the ring and positions, making sure they are straight little finger. enough. When you awakenduring the night and in the morning, try to think at once of Every time you bend your arm past a your arm positions in order to monitor right angle, you put a great deal of stress them. It will take quite a long time to on the ulnar nerve as it goes through the develop new sleeping patterns, but it is cubital tunnel. In case you hadn't noticed, worth it to reduce stress on the ulnar nerve. both arms are frequently bent to a greater If the ulnar nerve becomes stressed during degree than a right angle when we play. sleep, you can force your arms to remain In this case, it is better to be a violist than extended by putting them through a pillow a violinist, because even in first position, sewn in the form of a cylinder. Medical most violinists' left arms are bent smaller supply houses have splints for arms which than ninety degrees, while many violists' accomplish the same thing. arms remain wider than ninety degrees. Several Exercises If you ever have had any tingling or Several exercises, designed for the numbness in the ring or little fingers, you shoulders, were recommended to me by my likely have had a little too much stress on physical therapist. Since the ulnar nerve the ulnar nerve. Things are complicated comes through the arm pit, one's posture by the fact that when a nerve is injured it may pull against the nerve, increasing the tends to expand a little. The cubital tunnel potential for a problem at the cubital is normally large enough, but after an tunnel. This is especially true if one has injury to the ulnar nerve, the tunnel can a posture that includes a sunken chest, with become too small. shoulders pulled forward. These exercises are intended to increase the strength of the Two Effected Areas upper back to help pull one more upright. There are a number of things we can They were shown to me while on a small do to prevent ulnar problems. They fall into table in a doctor's office. They can be two areas: one around the cubital tunnel, done on a bed as you lie diagonally across and one around the shoulders. on your back, your head in a corner, and the arms over the sides. The most important way to prevent ulnar nerve problems is to keep our arms First, with some small weights (two cans straight. It seems that it should be easy to of soup are sufficient), extend your hands change our habits and keep our arms out to the side, arms straight, thumbs straighter than a right angle, but it is pointing up, while lifting several times. surprisingly difficult to keep this in mind. Second, with your arms bent at ninety The position we have when we rest the degrees, hands near your head, thumbs viola between movements or during long pointing toward your head, lift your arms rests will often bend the elbow past the again several times, keeping the forearm right angle. We should try to extend our level. Then, with your arms extended over arms at such times. Obviously, we must put your head, lift the weights again. Finally, with your arms down along your body by 31 your legs, lift the weights once more. Following this it is often good to do the "corner stretch." Put your hands on the wall in a cornerat about shoulder height, elbows pointing down. Lean into the corner for at least twenty seconds before coming back to normal position. This can also strengthen the shoulder muscles.

When unusual stress is felt or an injury is sustained, remember not to delay getting medical help. It should be no embarrass­ ment to get injured, and you can prevent problems from worsening with therapy.

Don Ehrlich is the assistant principal violist of the San Francisco Symphony. He has made frequent chamber music appearances and was a founding member of the Stanford String Quartet. He currently instructs viola at the San Francisco Conservatory. Ehrlich took degrees at Oberlin. the Manhattan School of Music. and the University of Michigan. where among his major teachers were William Lincer and Francis Bundra.•

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Send to: Rosemary Glyde, Treasurer P.O. Box 558, Rt. 22 Golden's Bridge, NY 10526 past year I finished my thirtieth year in 33 music teaching in Brentwood, New York Forum Public School System. I don't want to give the impression CONFESSIONS OF A that Primrose is the only violist that I like. I have collected records of many NONVIOLIST violists, including Emanuel Vardi, Georg Schmid, Cecil Aronowitz, Lionel Tertis What is a non violist doing as a and the latest, Kim Kashkashian. For member of the American Viola Society? the past eight years I have been a I love the viola and I'm a record classical "disc jockey" at the radio station collector. What a pleasure it was to be in of the State University of New York at touch with Dr. David Dalton and be able Stony Brook, where I playas much viola to send him tapes of William Primrose music as I can. Having access to the o performing, which Dr. Dalton didn't library's 19,000 recordings has meant a I even know existed (they were taken great deal to me because I can add taped from radio broadcasts). Surely someone record copies to my collection. who has six different recordings of Primrose playing Harold in Italy (two Recently at a summer music camp, a with Munch, two with Toscanini, one fellow teacher was working with the CD I with Koussevitsky, and one with string students. After hours she would Beecham) and four copies of Symphonie relax by playing some viola quartet Concertante with Primrose playing with music with other teachers and advanced 6 Heifetz, Spalding, Stern, and Grumiaux, students. Later I asked if she was still has more than just a casual interest in studying, and she said she was, with a the viola. well known violist and teacher in New York City. When I asked her if she had I don't want it to seem that my love any records of her teacher, she said, "I of the viola came out of thin air. My don't collect records." I didn't say brother Arnold graduated from Juilliard anything but I was really shocked. I in 1949, majoring in the viola, and is consider that collecting records and still playing professionally in the comparing musical styles and techniques Houston area. From the time of his days has made me a better musician and at the High School of Music and Art in teacher. How could I talk to her about Manhattan through his Juilliard days, he great pianists like Backhaus, Casadesus would take me along with him to and Gilels, or other musical greats like chamber music and orchestra practices. Kipnis, Milstein, de los Angeles, He would also ask my opinion on Fischer-Dieskau, Ma, Rampal, etc.? She phrasing and fingering during his didn't listen! She was too busy to spend practices. What an exposure for a time with them. Shame, Shame! teenager. A few months ago, after giving a When I started my formal music lesson to a young man on my fencing training at Brooklyn College Evening team at Brentwood H. S., I mentioned to Session and studied Theory and him I had just learned that he was the Harmony with Miriam Gideon and principal violist in the school orchestra. George Kleinsinger and Chorus with I asked him who was his favorite violist. Elie Siegmeister in 1950, I had already He could not name a single one because been collecting records for several years he was not being exposed to the rich and listening every chance I got to heritage of the viola. WQXR and WNYC, the classical radio stations in New York City. When my As far as my own collecting is brother went to the University of Illinois concerned, I need just about a dozen 78 for his graduate work, he invited me to R.P.M. records and two L.P.S (Bartok come there for a visit. I wound up Concerto and Brahms Viola Sonata with staying four years and earning two Gerald Moore are available in England), degrees, majoring in voice. Just this and I will have every solo recording ever Order a gift membership at the rate of $25.00 for three AVS Journals and the annual Die Viola o YES, I want to give a year's membership in the AVS to the individuals named below. o In addition to gifts, D or in place of gifts, please renew my own for 1990 at the regular rate of $25.00.

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P.o.Box 558, Rt. 22 Golden's Bridge, N.Y. 10526 made by Mr. Primrose. I almost bought Section 35 the 24 Paganini Caprices by Mr. Vardi, Chicago Symphony Orchestra but someone beat me to them. I shall c/o Julie A. Griffen, Auditions continue to persevere in my quest for Coord., Chicago Symphony Orchestra additions to my collection. 220 South Michigan Avenue Chicago, IL 60604, USA Again, I love the viola. Maybe it's the timbre, so close to my baritone voice Pacific Symphony Orchestra with the slightly nasal quality. Its warm c/o Paul Zibits, Personnel Manager, tone speaks directly to my heart, and PSO, 115 E. Santa Blvd, PO Box 569 that's from someone who has never Santa Ana, CA 92702, USA drawn a bow across its strings. I'm trying to be a preserver of viola performances Boston Symphony Orchestra of the past, the present and hopefully c/o Mr. Lynn Larsen, Tanglewood many years into the future. If any Shed, Lenox, MA 01240, USA collectors are reading these words, I certainly would like to hear from you. I'm in the AVS directory. Happy listening!

David O. Brown About Violists 9 Grouse Drive Brentwood, NY 11717 SOL GREITZER DIES

Sol Greitzer, a member of the AVS, and a prominent violist and the New York Philharmoic's longtime pricipal OfInterest player until he resigned in 1985, died of a stroke in Manhattan on 31 August 1989. He was 63 years old. 1990 CONGRESS Mr. Greitzer played with the NBC The XVIII International Viola Symphony under Toscanini in the early Congress will be held 21 May-4 June 1950's and joined the Philharmonic in 1990 in Lille, France. It will be 1954. He was named principal violist by sponsored by Les amis de l'alto, the Pierre Boulez, then the music director, French chapter of the International Viola in 1972. Society. For information write: Prof. Paul Hadjaje Mr. Greitzer was also a distinguished 11 bis, rue Neuve-Saint Germain soloist and gave the premieres of F-92100 Boulonge Bellancourt concertos by Jacob Druckman and France William Thomas McKinley. He also played as soloist under such conductors Watch for further details in the next as , Daniel Barenboim, issue of JA VS. James Levine, Rafael Kubelik, Zubin Mehta and . Since leaving the Philharmonic, Mr. Greitzer had been an active performer and was VIOLA ORCHESTRAL on the faculties of the Mannes School VACANCIES oand the State University of New York at Purchase. He collapsed while Assistant Principal telephoning a student and was taken to Atlanta Symphony Orchestra St. Luke's Hospital where he died. Joseph Wathall, Personnel Manager Atlanta Symphony Orchestra Mr. Greitzer was born in New York 1293 Peachtree Street, T.E. in 1925, the son of a shoe designer. He Atlanta, GA 30309 began as a violinist, in which capacity he appeared as a soloist with the City 36 Symphony Orchestra at the age of twelve important to the composer here, since and again at sixteen. He entered the the rhythms and even the melodic Juilliard School at seventeen and studied inflections seem derived from the the violin with Louis Persinger and the poetry. The starting point for the text is viola with Milton Katims. Mr. Greitzer Psalm 130. Thomas Campion, who is was drafted In World War II, saw action credited for the words, was an and was decorated in the Battle of the Elizabethan poet and lute-song composer Bulge. On his return to civilian life, he (also a physician) who either retranslated decided to concentrate on the viola. or, more likely, paraphrased freely most of the well-known psalm. Mr. Greitzer is survived by his wife, Shirley Greitzer, a pianist and teacher. The solo viola functions somewhat like a protagonist, stating motivic material used later by the choir, DOKTOR HONORED embellishing, commenting, restating, and emphasizing. Mr. Pinkham writes for the instrument so masterfully that he might Memorial Tribute was given on 2 A be suspected of being a closet violist; at October 1989 for Paul Doktor who died the very least he is getting first-rate in June of this year. It was held at the C. advice. There are no pyrotechnics here, Michael Paul Recital Hall at the Juilliard just good melodic writing that allows the School, Lincoln Center. Works by instrument to sound its best. Gordon Jacob, Brahms, Marais, and Bach were presented by violists Paul The harmonic style is dissonant, Neubauer, Samuel Rhodes, Walter basically triadic, elusively modal, with Trampler, Emile Simonel, Meredith tonal centers shifting, eventually landing Snow, David Harding, Daniel Thomason, on A. Straightforward four-four time Kristen Linfante, Heidi Castleman, and provides the singers logical rhythms and other assisting artists. ample opportunity to pronounce the words. De Profundis is a just-right five­ minute anthem for a church that takes its music seriously and likes a little New Works variety. Albumblatt (Album leaves) by Bertold Hummel is a forty-three measure De Profundis for four-part mixed voices morceau for viola and piano. Its limited and viola with optional organ. By Daniel technical demands and mildly dissonant Pinkham. lone Press, Inc., 1989. Sole harmonic style would make it a good Selling Agent: E.C. Schirmer Music vehicle for introducing a young violist to Company, Inc., Boston. 20th century music. The viola meanders pleasantly, if morosely, in a song-like Albumblatt for viola and piano. By melody (vaguely reminiscent of Hugo Bertold Hummel. N. Simrock, Hamburg­ Wolf or Max Reger), while the piano London, 1989. Selling agent: Theodore provides harmony with lots of open Presser Co., Bryn Mawr. fourth and fifths. The piece is written with no key signature, although it seems Basic -Bach for the Young Violist. Edited clearly in G-minor. It's rhythmically and arranged by Alan Arnold. Viola traditional, in three-four time. Since World Publications, 1989. Huntington relatively easy 20th century teaching Station, New York. material is in such short supply, this work could fill a real need. Three ·small, useful, but distinctly different publications of music for viola Basic Bach for the Young Violist, an have made their debuts this year. De album of ten short works arranged for Profundis by Daniel Pinkham is for solo viola with piano accompaniment, should viola and S.A.T.B. choir, with organ fill a need also. They range in difficulty optional and certainly not necessary, as from that which could be played after it doubles the voices. The text is mastering "Tune a Day, Book II" to the This omission is disturbing on two 37 Air from the Third Orchestral Suite in D grounds: first, if the bowings are of (the "Air for the G-String"). The Air historical interest, so are the fingerings. presents some real challenges, both Presumably they are from 1809, when rhythmic and interpretive, and this the first edition of these works was edition calls for the use of positions one published by Sieber in Paris; it is always through four; but most of the other illuminiating to know how a composition o selections should be accessible to the might have been performed originally. person who has studied privately for a Secondly, the difficulty of the year and a half or so. They are tuneful, passagework is such that new, editorially carefully edited, and fun to play-­ added fingerings would be an enhancing musically rewarding. feature. It might be argued that since only advanced players are going to Three of the pieces are extracted attempt this material, they might prefer from vocal music in the Peasant Cantata. to create their own fingerings, but I There is the Air and the Bouree from the personally am always interested in the C-Major Cello Suite. The remaining five suggestions of my colleagues. We thank are taken from the Anna Magdalena the Internationale Viola-Forschung­ Bach Book. Perhaps it would be Gesellschaft, Salzburg, for their appropriate to mention somewhere in a cooperation in this issue. Pamela footnote that the authorship of the Anna Goldsmith. (Courtesy American String Magdalena pieces is in double. J.S., after Teacher) all, did not use the gallant style, and most editors these days refer to these pieces as "anonymous." But that is probably quibbling when such fine music is made available to students in Recordings such an agreeable and carefully thought­ out edition. At an advertised cost of ELGAR/TERTIS: VIOLA $6.60, the price is also right. --Thomas G. Hall CONCERTO IN E MINOR, Chapman College OP.85; BAX: PHANTASY FOR VIOLA AND ORCHESTRA; ELGAR: THREE Three Airs Varies for Solo Viola. By Jean Baptiste Cartier. Newly edited by CHARACTERISTIC PIECES, Wolfgang Sawodny. Verlag Walter OP.l0 Wollen-weber/Foreign Mus. Dist., 1986. $14.40 Rivka Golani (viola)/RPO/ Vernon Handley These three compositions for solo Conifer CFC 171, TAPE MCFC 171, viola by Jean Baptiste Cartier (1765­ CD CDCF 171 1841) are musically very interesting although technically difficult, both For years I have been trying to because of the double stopping and the persuade record companies to record the extreme range of the fingerboard Bax Phantasy and Lionel Tertis's viola covered. They are essentially virtuoso version of the Elgar Cello Concerto-­ violin material translated directly to the and/ now here they are, from a totally viola. unexpected source. Rivka Golani's success in recording Martinu's Rhapsody Professor Dr. W. Sawodny retains the Concerto led Conifer to ask her to do original bowings in this edition "as a the Elgar, and she studied the work document of the then prevailing taste," carefully before accepting. She now feels as he states in his informative postscript that the viola version is a valid work on (printed in both German and English), its own--and having heard her but he omits the original fingerings performance, I agree. Tertis won Elgar's because they "depend too much on the approval for the transcription by tuning violin technique of his (Cartier's) time." his C-string down to B-flat and playing 38 the composer the Adagio as written. enjoyable makeweights. This Elgar recommended Novello to print the enterprising programme is urgently revised solo part and he himself recommended to all who love the viola. conducted the premiere of the Tully Potter. (Courtesy The Strad) transcribed version. For this recording, Golani did not tune down, as she wanted to play the work exactly as she would in concert (Tertis always managed to retune before the finale, but there is very little time available for the soloist to do this); Competitions I hardly noticed that she had taken the higher option. Indeed, the only time the Brazos Valley Young transcription bothered me was in the first movement, as the undulating solo Artist Competition line undulated up when I was expecting The Brazos Valley Young Artist it to go down! One or two Tertis touches Competition for string concerto will be in the various flourishes and cadenzas held March 3-4, 1990, in Bryan, TX. struck me as well suited to the lighter The competition is open to students 14 weight of the viola. The performance is through 27 years of age who are magnificent, with Handley controlling permanent residents of the State of the orchestra well; the more virtuostic Texas or who reside there for passages of the second and fourth educational purposes. Up to 20 movements hold no terrors for Golani applicants will be accepted in the Strings and she creates a rapt atmosphere in the Division, based upon date of mailed Adagio, holding a slow tempo with great entry. Deadline is January 26. Cash and concentration. Does the viola bring performance awards will be given. anything to the work thatthe cello Contact: Brazos Valley Artist cannot supply? Yes, if it is played as Competition, c/o Brazos Valley well as this! Symphony Society, PO Box 3524, Bryan, TX 77805, (409) 776-2877. Bax was inspired by Oskar Nedbal's viola virtuosity as early as the 1980s, and East It West Artists Prize in Tertis he found an ideal interpreter for New York Debut for a number of works for the The annual international auditions for instrument (he also wrote the Fantasy "East & West Artists Prize for New York Sonata for viola and harp for Raymond Debut" will take place in New York City Jeremy). The one-movement Phantasy, from March 17-25, 1990. It is open to originally called a Concerto, comes from classical instrumentalists and ensemble his greatest period, like the Sonata for players born after January 1, 1954 and viola and piano; Tertis gave the who have not given a formal New York premiere, with Eric Coates conducting, debut. The prize is a fully sponsored in 1921. Golani seems to empathise with debut at Weill Recital Hall at Carnegie its Celtic inspiration--the slow central Hall. Tape and application deadline is section is actually based on an Irish January 24. Contact: Ms. Adolovni folksong--and give a most affecting Acosta, Director, East & West Artists, account of it, though some of the 310 Riverside Dr., #313, New York, NY writin-g takes her into the highest 10024, (212) 222-2433. Please send a reaches of the viola's range, not the self-addressed, stamped envelope for best-sounding aspect of her Erdesz application forms. cutaway instrument. Handley is a strong, sympathetic partner. Conifer gives a Corpus Christi Young Artists' timing for the performance of 16.22, which would be disastrously fast, but it Competition actually times out at 23.28, considerably The 1990 Corpus Christi Young Artists' more expansive than the 19 to 21t­ Competition will be held February 16-18 minute parameters listed in Lewis at Del Mar College in Corpus Christi, Foreman's book on the composer. The TX. Applications and tapes will be three early Elgar orchestral pieces are accepted until December 15. The competition is open to musicians under ASTA National Solo 39 the age of 26. Awards range from $150­ $1,500 plus a performance with the Competition Corpus Christi Symphony Orchestra. The 6th ASTA National Solo Contact: Mary Mayhew, PO Box 81243, Competition will be held Thursday and Corpus Christi, TX 78468-1243, (512) Friday, March 29-30, 1990 at College 852-5829. Park, Maryland. All inquiries should be directed to: Professor Lawrence P. Hurst, Chairman, 1990 ASTA National Emerson String Quartet Solo Competition, Indiana University, Residency Program School of Music, Bloomington, IN Auditions for the Emerson String 47405, (0) 812/335-3328, (H) 812/333­ Quartet Residency Program will be held 9715. from January through April. Winners of the audition will study exclusively with members of the Emerson String Quartet, resident quartet of the Hartt School of New works should be submitted Music, in a two-year program. They will to the editor by composers and recieve full-tuition scholarship, annual publishers for possible review stipends, and an ensemble debut recital in JAVS and deposit in PIVA. in New York City. Contact: James Jacobs, Director of Admissions, Hartt School of Music, University of Hartford, West Hartford, CT 06117, (203) 243­ 4465.

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