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American Viola Society Newsletter No. 17, November 1979

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American Viola Society Newsletter No. 17, November 1979 AMERICAN VIOLA SOCIETY (formerly Viola Research Society) American Chapter of the INTERNATIONALE VIOLA FORSCI.IUNGSGESELLSCIIAFT ------------ __-,l-_lll_--II_ ..s-- November NEWSLETTER 17 1979 ----- - -- ----I- "YOU'VE COME A LONG WAY, BABY! " A REPCRT ON TH3 SEVZKTE INTERXATIC'NAL VIOLA CONGRESS PROTJO, UTAH The Seventh International Viola Congress, which took place July 12, 13, and 14 on the canipus of Eriehan; Young University, was a very epecial event on several counts. Sponsored by the American Viola Society and Brieham Youne University, the congress was held in t.he Frenklln S, Harris Fine Arts Center--& superb ccmplex that offered first-class concert halls, lecture roous, and exhibition galleries. Two celebrations, important to violists, took place durine the congress. The first was an anticipatory musics1 and biographical celebration of the 100th birthday of Ernest Bloch (born 1880), manifested by performances of all his worke for viola and a talk on his life and music by Suzanne Bloch, his dsuehter. The second was the 75th birthday of William Primrose. The viclists heard during the three days represented a stunning and consi~tentlyhigh level of performance--so~ethM that has become more and more the norm for viola playing today and synonymous with American strine playing in eeneral. Dr. David Dalton, the hoet chairperson of the congress and a mezber of BYU's ffiusic faculty, did an outstanding Job of oreanizinfr and oversaeing the congress, aided by the university 'a Music Department faculty and staff. No large meetine can be without flaws, but this caneress was one of the smocthest and least-blemished ever witnessed by this writer. After brief, Introductory remarks by representatives of Brigham Y Our@ University, the American Violz Society, the Internationale Viola Forschun~s~esellschaft,and the Vlolln Society of American (which had an impressive exhibit of recent violas by luthiere in conjunction with the congress), the ccneress got under way with Suzanne Bloch's lecture, "Ernest Bloch and the Viola. Me, Bloch'a informal, rhapsodic talk dealt - AMEEICEN VIOLA SOCIZTY, INC, : Dr. Myron Rosenblum, President, 59-27 47th St. 1 Sunny side, N.Y. 11104; Dr. Maurice Riley, Vice-President, 512 Roosevelt Blvd., Ypsilanti, MI. 48197; Marna Street, Secretary, 3 Allegheny Center, Pittsburgh, PA. 15212; Dr. Ann Woodward, Treasurer, PO BOX 1134, Chapel Iiill, N.C. 27514 Editor cf the American Chapter Newsletter: Myron Rosenblum. Internetionale Viola Forschun~s~esellschaft (IVE1 : A-5020 Salzburg , c/o Hochschule "Mozart e urn," A us t ria. with her father's early violin studies, his predilection for the viola (which she said Bloch considered "the voice of maturity and wisdom" in music), and his contacts with ~sayeand other musical fipurss of i~por- tance. The orieins of Bloch's viola works were mentioned es 1.rell as the details of the first performance of the famous Suite for Viola and Piano es performed by violist Louis Bailly and pianist Harold Bauer. A few words were spoken about the unaccompanied viola suite, composed shortly before the composer died in 1959. Viole recitals (listed here in chronolo~icalorder) were eiven by YPZHAK SCHGTTEI (Boccherini Soneta in A, Schumann's Mgrchenbilder, Bloch's Suite Hebralaue, and Roy Harrist Solllocu~and ganceEmmTLLY~R ~l~unacco~paniedconcert con?rr~~of~~oc~'8~uite,Thea Musgrave ' s --From One to Another for viola and tape, Feodor Druzhinin'a Sonata, and ~imdemith5Sonata, ope 11, no. 5); KAREN TUTTLE (Blochts Meditation-- and Processional--the performance of which was dedfczted to the memory of the late ~rn;iirqallfisch,Bach'a Suite No 3 in C, Alan ~chulman'8Theme and Variations, and Vaughan Williams' Suite No. 1); and JOSEPH DE PASGUALE (sonatas for viola and piano by Shostakovich and George Rochberg, and Bloch's Suite for Viola and Piano). The sonata by Druzhinin (the violist to whom Shostakovich dedicated his Sonata for Viola and Piano) was given its first American performance by Hillyer and proved to be a well-written, quasi-playful, intense work which gives the performer ample opportunity for virtuosic display with plentiful double stops, harmonics, and left-hand pizzicato. The Rochberg sonata, dedicated to William Primrose, was commissioned expressly for the coneress by Brigham Young University, the American Viola Society, and Friends of Primrose and was given its world premiere by Mr. de Pasqualee On first hearing, it struck this listener as a major work containing fugal and rhythmic sections, pervaded by an overall introspective mood. Lecture-recitals were eiven by MARCUS THOFZSGN and GUILLi3m0 PZRICH. Thompson's "~usicfor Viola by American ~omposers"was fascinatirq in its diversity and i~pressivein hiehlif~htingthe American contributions to the viola repertoire. Mr. Thompson's most interesting program consisted of Michael Colgrasa' -Variations --- for Four Drums and ~iola,-~.J. ~nderson'a - -- -- 7- Variations--- on a --Theme 2TbanBert, Barry Vercoe 8 Synapse for Viola and Coaputer, Hall Overton'a Sonata for Viola and Piano, and David ~mram's --The Wind and the Rain. ~mermorrich7a "Nusic for Viola by Spanish and Latin-American ~omposers"afforded those in the audience a rare opportunity to hear viola music that most were completely unfamiliar with. Alternating be- tween live performances and taped concerts, works by Ponce, Orrego-Salas, Pelleer1 , Fleta-Polo, de la Veea , and Corder0 reflected an intrieuing variety of styles and moods. The playing by all these artists in recitals and lecture-recitals was little short of sensational. Those attendine the congress were thrilled and somewhat overwhelmed by hearing such consistently great plagi~.As In past congresses, 0r.e of the more fascinatinf aspects of hearine so many great artists was the ereat variety of sounds and colors produced on old and new violas. Contributing grzatly to the success of these recitals were the fine, pianistic talents of Seth Carlin, Katherine Collier, Eric Dalheim, and Vladimir Sokoloff. In addition to the ~olorecitals, two interestine concerts of the viola in chamber music were heard: "Music for Soprano, Viola, and Piano" and "Music for Viola, Clarinet, and Piano." DONNA DALTON, scprano; DAVID DALTON, viola; and CHRISTCPmR GILES, piano performed Bliss' Two Songs, Robert ~anookin'sHeflections on a H mn (written for the congress), Loeffler's Quatre --,Poems and Janace 8 Nurserx Rh mes. Donna ~alton's stroq, lyrmoprano voice brought--+ out the best-9T n ~anookin'stuneful Reflections and highlighted the impressionistic quality of the lovely Loeffler songs. The Zeyrineer Trio--FRAIZ ZEYRINGER, viola; JOSGF P~TTLER, clarinet ; and lNGE ERTEL, piano--fresh from Austria for the coneress, played works for this combination by two Austrian composers (Franz Koringer's Sonata Profana 2 and Alfred Uhl's Kleines ~onzert)and one American (Richard Lane's Trio). This strikingCombination, eo beloeved by violists (thanks to Y.A. ~ozart),continues to impress as a successful chamber muaic medium, An unexpected encore, "The First Viola Fox Trott' (we suspect from the pen of the enseir:blels violist) proved great fun with its amusine mixture of Austrian and American folk flavors. The Southern California 'Jiola Ensemble, Thomas Tatton, director, gave a concert of rcusic written specifically for multiple violas, Two composi- tions for four violas and two for eight violas resulted in a most inter- estine musical experience. The ouartete by Guido Papini (late-19th-- early- 20th centuries) and Richard Lane (contemporary) showed the singular sound possibilities of this medium as well as the balance and dynarriics hurdles th~tmust be dealt with. David sargentts Interlude- for eieht violas, corn- missioned by BYU, was an interesting work of great tension, The last work, Gordon Jacob's Suite for Zipht Violas is a rich, sonorous piece with a strone folk element that succesm shows the potential of the viola ensemble medium. The only panel durine the congress toqk place on the first day. RALPH ALDRICH (panel chtlirpe rs on) , DCNA1,D KCIRNES , 'WILLIAM PREUCIL, and ALAN DE VZRITCH had intarestine thine8 to say as performers and teachers on such topics as the adva ntapes and disadvantages of conservatory vs. university or collepe music education, the options for the 128s-talentsd instrumental- ist, and the value of cultursl visits to Xuropean countries as one factor in helpinc to fora the coaplete musician and artist, Master Clasoss by MILTON THCMAS and JCS3PH DT PASCUAI.3 gave thosa pressnt the chance to hear perceptive comrrents by these two fine performers and teachers and also to witness the excellent playing by some of the many talented viola students in America today. Two concerts fgaturine works for viola and orchestra, as well as music for string orchestra, took place on the second and third evenines and featured tne United States Air Force Symphony Orchestra, conducted by Captain Lowell Graham, MILTCN THCW.S and THEODORS 'sRIGHT, flutist, per- formed Bloch's seldom-played Concertina for Flute, Viola, and rrchestra. Violist JERZY KOSMALA gave thrpGsre of Maurice Gardner's RhapsoQ--- - for Viola and Crchestra (commissioned by the T*illiam Primross Library at BYU and dedicated to Mr. Primrose)--a large work that eives the soloist plenty to do. Both viola soloists performed vary impressively. The second orchestra concert featured Kerrill Bradshaw's HomaEfes for Viola and Crcheatra, another comrciesion by BYU, and Tibor 5e~y7s?oncerto for Viola and Orchestra with Emanuel Vardi as aoloiet, Vardi performed this difficult and irnprssaiva work vith virtuosic ease, and for those violists at the conerzss, it was a not-too-frsqusnt opportunity to hear Mr. Vardi, one of the early pioneers to concertize on the viola. The evening was made mora memorable by the presence of MFS. Serly, ths late composer's wife. The night, however, went to Jun Takahira and his brilliant performance of the Bradshaw work. Takahira, a 19-year old student of Mr. Primrose, ie a stasgering talent who undoubtedly has a big fugure.
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