Journal of the American Viola Society A publication of the American Viola Society

The Journal of the American Viola ociery Spring 2007 is published in Spring and Fall, and as an Volume 23 Number 1 online-only issue in Summer. The American Viola Sociery was founded for the promotion of viola performance and research. REGULAR DEPARTMENTS © 2007, American Viola Sociery President's Statement ...... 3 ISSN 0898-5987 Lerter from the TVS President ...... 5 Editor: Matthe\v Dane Announcements ...... 7 Alternative Sryles: Juliet White-Smith Adelaide Congress Information ...... 9 At the Grassroots: Louise Zeitlin In Memoriam: Thomas Heimberg ...... II AVS Retrospective: Dwight Pounds Sample Score: Puccini Humming Choms ...... 14 Fresh Faces: Lembi Veskimets AVS Retrospectives: 3 I Years Ago ...... 29 In the Srudio: Karen Ritsd1er Alternative Sryles: Music of the Middle East ...... 35 Meet the Section: Michael Strauss Sample Score: Lamma Badn Yatatbanna ...... 37 Modern Makers: Eric Chapman Fresh Faces: Jennifer Stumm ...... 39 New Music: Ken Martinson Modern Makers: Hiroshi Iizuka ...... 41 AVS National Board of Directors Orchestral Training Forum: Brahms Haydn VariAtions ...... 43 New PTVA Acquisitions ...... 46 Officers Helen Callus, president Revie\vs: The Terris Legacy in Print...... 49 Julier White- mith, president-elect New Music Reviews: Concerti ...... 51 Kenneth Martinson, secretary Educational Initiative: BRATS Project Interview ...... 57 Michelle Sayles, treasurer From the Grassroots ...... 59 Board Members FEATURES Claudine Bigelow (2006) Matthew Dane Arnold Bax Concm Pi(ct for Violn and Piano ( 1904) ...... 17 Kirsten Docter (2008) In the Studio: Martha Srrongin Katz ...... 25 Susan Dubois (2007) Reflections on the 1975 Ypsilanti Congress ...... 31 Barbara Hamilton (2007) Nokuthula ~venyama (2007) Michael Palumbo (2008) Dwight Pounds (2008) COVER ART Carol Rodland (2009) Kathryn Steely (2007) Viola Vista (1980} Lembi Veskimets (2008) by Ben Riley Bernard Zaslav (2009) Violn Vista was commissioned Louise Zeitlin (2009) by Riley's father, Maurice Riley, to appear as the fron­ AVS General Manager tispiece for Tlu His tory oftiJ( Madeleine Crouch Violn, Volumt I. Ben Riley also created Fivt Giants oftbt Violn, AVS National Office which was the frontispiece for 14070 Proron Road, Suite 100 Volumr 2. The original of Fivt Dallas, TX 75244 Giants now hangs at the (972) 233-91 07 exr. 204 Primrose Archive at Brigham Young University. The David Dalton Viola Research Competition Guidelines

The Journal of the American Viola Sociery welcomes submissions for the David Dalton Viola Research Competition for universiry and college student members of the American Viola Sociery.

Entries must be original contributions to the field of viola research and may address issues concerning viola lit­ erature, history, performers, and pedagogues. Entries must not have been published in any other publication or be summaries of other works. The body of the work should be 1500-3500 words in length and should include relevant footnotes and bibliographic information. Entries may include short musical examples. Entries must be submitted in hard copy along with the following entry form, as well as in electronic format for either PC or Mac. Word or WordPerfect format is preferred. All entries must be postmarked by 15 May 2007.

The American Viola Sociery wishes to thank AVS past president Thomas Tarron and his wife, Polly, for under­ writing first prize in the 2007 David Dalton Viola Research Competition.

Send entries to: AVS Office, 14070 Proton Road, Suire 100, Dallas, TX 75244. A panel of viola scholars will evaluate submissions and then select a maximum of three winning entries.

Prize categories: All winning entries will be featured in the Journal of the American Viola Sociery, with authors receiving a free one-year subscription to the Journal and accompanying membership to the American Viola Sociery. In addition: 1st Prize: $300, sponsored by Thomas and Polly Tarron 2nd Prize: Bartok's Viola Conc~rto by Donald Maurice and Facsimile edition of the Barr6k Viola Concerto 3rd Prize: An Anthology ofBritish Viola Playm by John White and Convmations with William Primrou by David Dalton

David Dalton Viola Research Competition Entry Form Please include the following information with your submission to the David Dalton Viola Research Competition. Be sure to include address and telephone information where you may be reached during summer. Name

Current Address Telephone------Email address, ______

PennanenrAddress ------Telephone------Email address, ______

UniversiryiCollege Academic Level: Fr I So I Jr I SrI Grad Topic ------Word Count ______

Current AVS member? Yes I No If you are nor a current AVS member, please join AVS by including $21 student membership dues with your submission, along with a membership enrollment form, which can be found in the current issue of JAVS.

JOURNAL OF THE AMERlCAN VIOLA SOCI ETY 2 effect a mini congress and my congrat­ tremendous facilities and we are ulations go out to you all! I was sur­ loolcing forward to hearing more prised at how many BRATS events abour it from the host, Nancy Buck had raken place and was energized in due course. We are accepting pro­ with their stories and sense of accom­ posals right now for the 2010 con­ plishment. These events couldn't have gress. If you or your place of work raken place without many other volun­ are interested, please write directly teers in the communiry and the viola ro me at [email protected]. chapters who supponed them and we send our a special thank-you to all for We have starred ro offer more continuing ro champion the cause! resources ar the AVS and if you visit Don't forger - ifyou wanr to have a the web sire be sure ro look around BRATS day in your area, the AVS can and rake a look. We have a new sec­ supply funding. Just go ro the web site tion on viola orchestra positions and I have just returned from a wonder­ for more information and an applica­ don't forger to visit Marketplace ro ful visir ro the ASTA national con­ tion form . lf you gave a BRAT event check our all those new viola record­ ference in Detroit. The AVS now has please write ro us and send a picrure so ings! You could also starr a student a regular annual booth at the evem we can include your story in our grass­ chapter and be eligible for a sran up and ir is one of the best ways for my roots section. We are so proud of your gram ro host a masrerclass or per­ colleagues and I ar the American accomplishments in the chapters! haps even a BRAT day! Viola Sociery ro meet new members and ralk with our currem affiliates. I wanr to also remind you of the We have had a number of prestigious There was a wonderful exchanging exciting viola congresses coming up. arrisrs join the viola sociery this year of ideas, which has inspired us ro Later this year ar the end ofJune , and some significant donations. Even create more resources for our reach­ the next International Viola Congress so, we are worlcing very hard ro ers and the entire event gave us a will be held in Adelaide, Australia ensure the financial future of the sense of camaraderie I would be and for those of you who have nor AV and if you feel you might be hard pressed ro find anywhere else. been, Adelaide is a wonderful ciry able ro contribute anything by dona­ with great weather and lots ro see tion we would guaranree ir will be The most exciting news was that I met and do! This might just be the year pur ro good use in any number of several members who had already pur ro rake that trip to Australia that you our new programs. Look our for a the BRATS program into use and had have always wanted and catch a little fundraising drive lerrer coming soon! held a BRATS Viola Day in their of the world's best at the viola con­ communiry. These events range from gress! For more information please Besr wishes for a wonderful spring 30 viola srudent registrants w over a go ro http://www.plevin.com.aulvio­ wherever you are! r hundred and have raken place all over lacongress2007 /welcome. h rm. the councry from South Carolina - Helen Callus with Constance Gee at the helm ro Just in case you want ro plan ahead, Presidenr, AVS illinois with Katherine Lewis to Los the next Nonh American International Angeles with Gina Coletti as the host. Viola Congress will take place at AU these hosts have put on what is in ASU in Phoenix, Arizona. ASU has

------'--='0"-'~l.JM.E: 2.2 NlJM~ER 3 ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• • • 1 rm®w [f®~®~~®~ g[f®[Jili) dJ®~®tl W®ollil[§)®[f@®[f • • • • • A Lionel Tertis Album • • Hailed as the " father of modern viola playing", Lionel Tertis' playing has been • • an inspiration to generations of players the world over . • • • • • • Josef Weinberger is proud to announce the publication of the Lionel Tertis • • Album, which has been edited by John White. This album contains Tertis' • • • • arrangements for viola and piano of the following works: • • • • • Skryabin - Kochanski: • Etude Op.42/4 • • Deli us: • Serenade from " Hassan" • Coates: • • First Meeting • Schumann: • • Romance in F major • Pi erne: • • Serenade • Trad: • Cherry Ripe Skryabin - Kochanski: Chant de Roxanne

Other recent viola publications from Josef Weinberger • • Four new publications by York Bowen: Allegro de Concert (viola & piano) Romance in A (viola & Piano) Fantasia (viola & organ) Poem (viola, harp & organ or viola, piano & organ)

Paul Patterson: Elegiac Blues op.97 (viola & piano)

Stephen Hough: Viola Sonata (viola & piano)

Josef Weinberger Umlted - 12-14 Mortimer Street, London, WlT 3JJ T: 020 7580 2827 F: 020 7436 9616 E: [email protected] W: www.josef-welnberger.com Rl••······················································································~ -----~JJ-,:.0=..=--UBN~ QF THE AMERICAN VIQLAc..::S::....::O:::::...::::C::l .::::E:..::T:....::Y:______4 FROM Tfl E PRESIDENT, f¥5

Dear Violisi:S, Jurra Puchhammer-Sedillor and it Society's Finnisb Ompter has established Greetings from all the rvs ream! was held at the Universire de a Ftnnish language web sire: Montreal. Congratulations co all www.suomenalrroviuluseura.com. Last year was a very busy year for the organisers and the Canadian the rvs with the completion of Viola Society. Negotiations are well underway with several important projeci:S and the several European countries regard­ welcoming of rwo more viola soci­ This year's Congress has been award­ ing IVS membership and hopefully eties co our organisation. ln just ed to the Australian & New ilakmd I will be able to report more in future over rwo years the rvs has doubled Viola Society and will be held June publications. Help from violists with ii:S national viola society sections 29 -July 3 at the University ofAdelaide, contactS in countries without a viola from four to eight. Last year the South Australia. The host will be society are always welcome. Latin Chinn. Viola Socuty, organized by Keith CreUin. Registration is presently America is the one region still with­ Wing Ho and the Nigerian Viola open and you can register and find our viola societies. Please contact Society, organised by Ogunyemi our more ar: www.plevin.com.aulvio­ me, if you can assist with conracts Titus Oladimeji were both accept­ lacongress2007. At the conclusion in any continent, thank you. ed as rvs members. rvs member of the Congress, Keith has organ­ viola societies now include: ised a tour to one of Australia's best Finally, Iacer this year the IVS will America; Australia & New known wine producing regions - be holding elections for 4 IV offices Zealand; Canada; China; McLaren Vale. This Congress is an (president, vice president, secretary Germany; Nigeria; Nordic evenr not to be missed. and treasurer). To find out who is (Denmark, Finland, Iceland, eligible to run for these offices (past Norway, & weden); South Africa. Future Congresses will be: 2008 in and present viola society officers, Tempe, Arizona, USA (American board members, etc) please see the A new 'glossy' IVS brochure was Viola Society), 2009 in Pretoria, IVS web sire at www.viola.com/ivs completed and printed last year. South Africa (South African Viola and click 'Bylaws' (see The Presidency This brochure explains who we are, Society) and 20 lO in North America. in B. section). AU viola society mem­ what we do, our goals and aims, bers are encouraged to make nomi­ and lisi:S our country sections and The TV presented the Silver Alto nations, which need co be senr co contact addresses. Two other docu­ Clefaward for 2005 to Dr. Pamela either your viola society President meni:S were also completed by the Goldsmith for her outstanding servic­ or ecrerary. Thank you for your NS lase year: Guirklines for Making es to both the viola and co viola soci­ support and input. a Bid ro Host an International Viola eties. The award was presented by the Congress and Fanning a Viola Society. lV Vice President's wire Polly Tarron, I wish everyone a Fantastic year and A personal thank you to all the rv last year at the Montreal Congress. hope to see many of you at this team and others who helped with year's International Viola Congress these publications. If anyone wishes The 2006 and 2007 TVS awards in Adelaide, Australia. r copies, please feel free to contact me. will be presented at the Adelaide Congress. Kind regards, A major event for many violisi:S is attending the annual International Other updates from IVS sections: Dr. Michael L. Vidulich Viola Congress and last year's con­ The new President/1st Chairperson of International Viola Society Presirknt gress was truly an oui:Standing and the German Viola. Society is Karin Wolf wonderful event. The host was - congratulations. The Nordic Viola.

OLUME 23 NUMBER ------5 II ENCORE SCHOOL FOR STRINGS

June 24 .. AUGUST 4, 2007 Western Reserve Academy, Hudson, OR

Facul ty: Violin Cello David Cerone De mond Hoebig Linda haron Cerone Zvi Ple er Victor Danchenko Eleonore choenfeld Nicholas DiEugenio Margo Targenhor t Drako Ro itza jekova,Goza Bruce Uchimura Robert Lip ett Chri topher von Baeyer Elizabeth Pitcairn Chamber Mu ic William Preucil Cavan i tring Quartet "" tephen Ro e Ivan Chan David Ru ell Markjackob David Updegraff tanley Konopka Viola Jun-Ching Lin Jeffrey Irvine Elie ha Nelson Markjackob Carol Ruzicka ranley Konopka Eleonore choenfe ld Elie ha Nelson Margo Targenhor t Drako Lynne Ramey Bruce Uchimura Robert Vernon Lemhi Ve kimet Lembi Ve kimet Chri topher von Baeyer Comprehensive Music Skills Marshall Griffith

ENCORE School for Strings C leveland In titute of Mu ic 11021 Eat Blvd., C leveland, O hio 44106 216-791-5000 cim.edu Call for NOMINATIONS for IVS Officers JAVS WELCOMES For the January 2008 to December 2010 term of office ARTICLES FROM ITS For the offices of: JVS President; IVS Vice President; JVS Secretary; READERS. SUBMISSION IVS Treasurer.

DEADLINES ARE Who um 7lominate: Any member of an JVS viola society section (American VS, Australian & NZ VS, Canadian VS, China VS, DECEMBER I 5 FOR German VS, Nigerian VS, Nordic VS, outh African VS) may sub­ THE SPRING ISSUE, mit nominations. Nominations from members MUST be sent to their viola society's President or Secretary. Each viola society with APRIL IS FOR THE nominations will forward them to the present JVS Secretary (Dr Pamela Goldsmith). Nou: Every effort should be made to have at SUMMER ONLINE ISSUE, least two highly qualified nominees on the ballot for each office .

AND AUGUST I 5 FOR W>ting: The JVS Secretary will ask each of the JVS sections Presidents to voce for one nominee for each office. A simple major­ THE FALL ISSUE. ity vote is required for each office. Note: Each individual IVS sec­ tion decides how they wish to conduct their own voting for JVS SEND SUBMISSIONS offices (e.g. Section president only vote, section officers only vote, section committee or board vote, section general membership vote). TO THE AVS

EDITORIAL OFFICE, WIJo can run for a11 WS office: 1.) Gmn-al midmct rtquimnmts - The residence of the IVS MATTHEW DANE, Presidency (the four elected officers and the three non-elected officers) must represent at least three different national sections. [email protected] Also, the JVS President and JVS Vice President may not be per­ manent residents of the same geographical area. The present ORTO JVS geographical areas are: Africa, Asia, Australia/New Zealand, Europe, North America. MADELEINE CROUCH, 2.) Gnural rtquirtmmts for all JVS officm - All IVS officers are expected to make every effort within reason to attend interna­ 14070 PROTON RD., tional viola congresses, scheduled and called meetings. 3.) JVS Pmidmt- Any person who has served as an IVS national SUITE I 00 section president or vice president or has served on the JVS DALLAS, TX 75244. Presidency. 4.) JVS Vtct Pmidmt, JVS Stcrttary. JVS Trtasurtr- Any person who has served as an officer or executive board member of an JVS national section or has served on the JVS Presidency.

------~0"-'L=l.,lME_ 2~ N\.,LM~E"==.;R"--"'.1 ______7 Duties of the four elected WS officers: VIOLAS Please refer to the IVS Constitution ByLaws- The Presidency (B. section). : $2.99 EACH _ See: www.viola.com/ivs (click: ·c.=:-:---.:-:--: ByLaws). ./'~~ -~ ~ $10 ~.--:c=:. ---.. _, __ .-- 4 FOR llC(l01n sas "1111ZH712 _ Remwzeratio1lS: All IVS positions are voluntary and unpaid and done for the 'love of the viola'. However, all IVS officers may receive up to half their travel costs to artend International Viola Congresses from IVS funds. They will also receive Nomjnations should include: 'basic' accommodation (usually 'bed and breakfast') 1) Nominee's name; 2) For which lVS office; 3) for the duration of each Congress from the Congress Person making the nomination {past or present host or the host viola society. Congress fees are also national viola society president or other officer or waived for IVS officers. Nou: Some viola society's IVS officer); 4) A short biography of the nominee; may also offer additional travel funds for IVS offi­ 5.) A short personal statement from the nominee cers who are members of their viola society. sighting how they might contribute to the IVS for the next term of office, etc. Deadline for WS Nomitzatiotzs from WS sectiotzs: 30 September 2007 (co Or Pamela Goldsmith, IVS Tentative date for W S officer electio11s: Secretary, [email protected]) Mid-October 2007.

OURNAL OF THE AMERICAN VIOLAS CIETY 8 351H INTERNATIONAL VIOLA CONGRESS ADELAIDE, SOUTH AUSTRALIA jUNE 29-jULY 3 2007

For only the second rime in 35 years, tradition of Masrerdasses for both performer, or a universicy scudenr, the Imernational Viola Congress is solo and orchestral excerptS will con­ you are constantly giving of yourself. being held in the Southern tinue giving insighcs imo imerpreta­ Come co the 35th Congress, steep Hemisphere, in Adelaide, South tion and technique. yourself in music for our beloved AusmJia. The Congress is based at instrument, the viola, and go home The Universicy of Adelaide right in It will be interesting co compare refreshed and inspired for the com­ the cenrre of the cicy and most of the teaching perspectives from Europe, ing year! accommodations are within ten min­ North America and Australia. A spe­ utes walking distance of the Congress cial feature of this Congress is an For registration or more informacion: venues. Surrounding Adelaide are the emphasis on pedagogy with lectures www.plevin.com.au/violacongress2007. £; renowned wine regions of South from Elizabeth Morgan - Australia, Australia and areas of great natural Jurca Puchammer-Sedilloc - Montreal - Anna Brook~r beaucy such as the Fleurieu Peninsula (lase year's Congress host) and and Kangaroo Island. Harcmut Lindemann - Germany.

These attractions will find it hard to Panel discussions such as Shou/Mr mt compete with the exciting Program or no shou/Mr mt?Thar is the ahead of you at the Congress, howev­ Question will take place, along with er! There will be new music co hear presentations on Cecil Aronowitz, the including the World premiere of the legendary English violisr who record­ Conurto for Viola and Orclmtra by ed the entire quintet repertoire with Charles Bodman Rae and the South the Amadeus Quartet, and TJg Art of Australian premiere of Elegy for Viola Primrou will be delivered by David and Strings by Peter Sculthorpe. 1ime Dalton. is planned for you co meet the com­ posers of these two concertos before Enjoy some history when you artend their first performance at the Gala the Conference Dinner at Ayers Orchestral Concert. Viola Viva (the House, one of the characteristic viola section ofThe New Zealand grand 19th century homes of Symphony) will perform the Adelaide. Pre-dinner drinks will be Australian Premiere of ustammt for served before a three-course dinner twelve violas by Bren Dean. (In with beverages-- including wines April 2005 Brett premiered his own from the local region- all included in Viola Concerto in London with the the ticket price of $75. BBC Symphony.) A post-Congress tour co McLaren If your taste is for more well-known Vale, a premier wine region is avail­ or familiar music, Brett Dean will able for July 4th. Adelaide and irs join The Australian String Quartet co surrounding area is a wonderful place play Bruckner's String Quinur. ro visit and also a grear stepping Tobias Lea and Terence Tam will per­ srone to other pares of Australia. form Mozart's Sinfoni~ Conurtantt. These are just two of the many Whether you are a professional chamber works you will hear. The reacher/ performer, a keen amateur

______V_x..=::O ~I:.VME 23 NUMBER 1 ------9 Best in class. Best in sh

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OURNAL OF THE AMERICAN VIOLA SOCI ETY=------10 ANOTHER STORY WORTH l=HE TELLING

by Patricia Heller Tom said, "leave it, I may play later." ln November of 2006 we learned of the death of a dear friend and col­ Tom was a valued league. Tom Heimberg was an active comrade in the San violist in the San Francisco Bay Area Francisco Opera for the past forty-five years, and our Orchestra's viola musical community has reaped section. The pleas­ many rewards from sharing Tom's ure he found in dis­ unique sense oflife. We all have rea­ covering a more son to thank him for lessons of one elegant fingering, or kind or another, among which were creating a more his absolute delight in being alive ergonomically bal­ and his penchant ro search for a bet­ anced shoulder rest ter solution, regardless of the prob­ touched everyone lem. These lessons were the threads around him. These woven throughout our experiences efforrs ar rimes with him, as a colleague, manager, seemed quixotic to teacher, and fair-minded negotiaror; those of us ourside as a friend, StOryteller, and champi­ the workings of his Photo by jill Niennan. Courtesy oftb e Estate ofTom on of our traditions. creative impulse, as Heimberg. when - more than 40 years inro a another of his passions, one for He loved the viola dearly, and his successful orchestral career - he words and language. He wrote an approach to his instrument was excitedly shared yet another way to article Puccini's Viola of Love along always infused with the joy he play the opening phrase ofThe with many other musical commen- found inherent in music. Tom Marriage of Figaro. His glee may taries. His writings were diverse, actively promoted anything relat­ have seemed inexplicable to his tired and included tributes tO colleagues, ed to die Bratschen, even extend­ colleagues, bur his own enjoyment musical reviews, rips on negotiating ing to practicing, a subject not of the new solution was genuine techniques, audition preparation, always embraced with open arms and infectious. and effective practice methods. He by all musicians. Many of us was inrellecrually gifted and enjoyed enjoyed his workshops on The Art Tom was the designated backstage focusing his philosophical micro­ of Practice, where he shared this driver at the San Francisco Opera scope on the complexities and positive approach. That he rel­ whenever a viola d'amore was marvels of the life of an orchestral ished every moment spent coax­ called for, and the Humming musician. His love of words shone ing sound from his beloved viola Chorus from Madama Butterfly in any chance encounter, where is reflected in a story his wife will always carry a special his pleasure with and mastery of Rosalyn tells of one of his last poignancy for those of us who the English language captivated days, when she was straightening heard Tom play it. As did so his audience on a variety of sub­ up the room. She reached to many of his explorations, these jeers, often prefaced with "that's move the viola from the bed, and beautiful performances inspired another story worth the telling."

______._""""' 0"-'I.,,lJM~ 2~ r·H.JM~~R 1 ------11 One ofTom's favorite challenges Our annual outdoor concerts in His quest "ro make playing easier was po ed by inconvenienc orches­ Golden Gate Park offered another and more informed" led him ro tra pares. If we were ro read a new opportunity for Tom ro cweak the endless experimentation. Many of work char had a clumsy page turn, equipment, and one particular us benefitted from his advice on we could be sure that by rhe next contraption would have elicited a how to customize our equipment, rehearsal there would be an ele­ chuckle from Rube Goldberg. as he often discovered new mate­ gant solution -- either a photo­ Tom encouraged us ro use a rial char solved a slippery shoulder copy of the relevant measures con­ device char allows for page turns pad, or an uncomfortable chin veniendy inserted, or a few meas­ on a windy stage wirhour che rest; or he would bring in a new ures handwritten and annotated. need for massive cloches-pinning. mute that would make us laugh. And Tom was never personally A description of che fishing line His viola wore a leather "falcon's invested in his ideas. If, as was hung with aluminum 0-rings hood" over the scroll as protection often che case, his solution didn't would leave the reader baffled, against pit collisions that was an meer another violist's personal bur anyone who has successfully example of the reverence in which preference, he wasn't offended if attached one to a stand on a he held the tools of his craft. He we reverted co rhe original, nor windy stage will arrest ro irs inge­ carefully cuscomized his Fiorini's was he hesicanr ro offer rhe next nuity. He wrote in Senza Sordino fingerboard, adding a piece of solution char occurred ro him. He about another solution ro chis ebony in front of the nut, thereby was always, humbly, one of our problem, crowing "rubber bands shortening the string length by fellow musicians, and referred to make great wind clips!" and going half an inch. This unusual experi­ the orchestras he played with as on ro describe in derail how best ment carne with a wirty defense: his "hometowns." ro pur these tools to work. "If I save l/64ch of an inch on

JOURNAL OF THE AMERI<::AN VIOl.,.A ~Q<::J~TY 12 every interval, by the end of the settling for lemons when lemon­ of the San Francisco Performing Arrs season I should be miles ahead." ade was available would never Library and Museum's oral history have occurred to him, and he was Legacy Project. To learn more about Beyond the realm of performing, determined to learn from whatev­ Tom Heimberg and other icons of Tom's agility as a diplomatic liaison er crossed his path. Although can­ Bay Area musical history please visit could defuse potentially combative cer was a sobering diagnosis, his their website at SFPALM.org. I encounters among high-strung musi­ forthright approach to sharing cians. I recall many tense pre-curtain new knowledge with friends and Patricia H~ller is a violist in tiJf San standoffs between pit musicians colleagues helped us transcend the Francisco Opera Ordmtra, and a jockeying for elbow room before set­ fear we all felt for his future. numb(r oftlu AFM Local 6 Board cling in for a four-hour operatic jour­ Through the progression of treat­ ofDirectors. She is cu"mtly work­ ney when it seemed that at least one ments, remission, and recurrence, ing with tlu Northern California of us was destined to be in a musical he was always willing to speak Viola Soci~ty preparing a massed­ srrairjacket for the rest of the about his experiences, particularly viola ftstiLI~ tribute to Tom evening. IfTom were anywhere about the spiritual path he was Hfimberg, platmfd for }mu 200-: around, he was often able to calm traveling. He willingly rook up jangled nerves with cl1e phrase "it's a the challenge of learning ro pass Editor's Note- String Lmer Publishing matter of inches," and help restruc­ from life with elegance, and we all has just released a book ofHeimb~rg's ture the insufficient space so that benefitted from his example. writings (including an artie/~ for everyone could feel, if not comfort­ }AVS): Tom Heimberg, Making a able, at least able to breathe. The an Francisco musical commu­ Musical Life (St. Anselmo, Califomia: nity came together to celebrate String Letur Publishing, 2007). Tom served the wider musical com­ Tom's 69th birthday with him eight munity as an ICSOM representa­ months before his tive, a union board member, and death, and while president of the Northern clearly physically California Viola Society. Through challenged, he gave The History of the Viola his active participation he reminded the impression he felt us of ilie necessity to nurture our himself the luckiest profession, and of our indebtedness man alive. We are Volume I and Volume II to prior generations of musicians fortunate indeed to who helped bring about the favor­ have had him in our by able conditions we now enjoy. His midst, and will cher­ Dr. Maurice W. Riley memory of earlier labor struggles ish his memory. His informed each new challenge our deep reverence for orchestra tackled, and his voice was music. his love for To order, contact: often heard in orchestra meetings. the viola, his utter joy Tom's deliberate, careful words car­ at being able to par- George Maurice Riley ried the weight of our collective his­ ticipate in the nuts 1230 1 Harbour Circle tory and helped us keep ilie most and bolts workings of Ft. Washington, MD 20744 important precepts at ilie forefront humanity's journey­ of our considerations. these threads woven Phone (30 1) 292-0177 through our lives When Tom learned of the make Tom Fax (30 1) 292-0280 melanoma iliat eventually was to Heimberg's story well [email protected] take his life, he approached this worth the telling. thorny problem with his trade­ 1 am grateful for the mark inquisitiveness. The idea of help ofBasya Pernick

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...... pp PPP ~ - p pp THE ENGLISHMAN AND HIS MISTRESS: A STUDY OF ARNOLD BAX'S CONCERT PIECE FOR VIOLA AND PIANO

By Christine Placilla with Ireland and for the while needed no mortal Arnold Bax was British composer mistress. J of me English school of composi­ tion during me first half of me The beginning of a life- rwentiem century. Concert Piece, long love affair, Concert was composed in 1904 while he Piece marks me beginning was sriU a srudent at me Royal of Bax's fascination with Academy of Music for me eminent aU things Irish and is his violist, Lionel Terris. Influenced first attempt at incorporat­ heavily by both me rime period he ing traditional Irish ele­ was living in and a sense of adopt­ ments in a Western Art ed Irish National identity, Bax piece. This article will begins to develop his composition­ explore me origin of the al style in this early work for viola piece- including its pam and piano. Bax wrote chat "Ireland ro publication and irs possesses me most varied and place in Bax's overaU viola Bax in 1906. Used with permission of beautiful folk music .... Here is output and me historical sig­ Colin Scott-Sutherland folk music in splendid barbaric nificance oflreland in his life- and is based on me sole surviving nudity.. .. This music derives from as weU as me concepcion of me copy of this work mat resides in the heart and core oflreland."' work by looking at Bax's use of tra­ me Arnold Bax Collection at me English-born and bred, Bax reveled ditional Irish elements including Boole Library at University in Ireland being a home to him: "I modality, pentatonic-like coUec­ College Cork in Cork, Ireland. feel delightedly that I have become cions, traditional ornamentation The copy cl1at exists is a publisher's a naturalized Gael!"2 This interest and Irish poetic influences ro cre­ proof and it is from chis evidence in Ireland and Irish music stems ate an overtly Celtic work. that it is thought that the work back to Bax's fust excursion to originally intended by Bax to be Ireland in 1902. In his autobiogra­ The Concert Piece is somewhat published in the early part of his phy, he wrote about his life as both new to me common repertoire of career by Chappell and Company, Englishman and Ireland: violists. It was only recently pub­ Limited- Bax's life-long publisher. lished by Corda Music Thereafur fled a double life, for Publications in 2002. This version Because the work is essentially new when !landed at Dtmleary or was edited by Simon Marlow and to violists, it deserves a thorough Ross/are I sloughed offthe Hugo van der Werff, who also study by performers at chis time as Englishman as a make its skin in the recorded me work on the Koch a key to the mind of me young spring; and my other existence as a label along with me Fantasy Bax. This work gives violists a musician - still much under foreign Sonata, Viola Sonata and me Starting point tO srudy me matura­ influence - as an ardent crickeur, Legend in 200 l . The edition is me tion of Bax's compositional style even as a lover ofwomen, became only authorized publication of the from 1904 through his last solo almost unreal For now I was in love work by me Sir Arnold Bax Estate, work for viola and piano, me

______J. V_,O= LUME 23 NUMBER 1 17 University of Florida School of Music

Kenneth Martinson Assistant Professor of Viola

University Symphony Orchestra- Viola Section, 2005-2006

String Faculty Janna Lower, Violin Kenneth Martinson, Viola Kevin Casseday, String Bass Barbara George, Cello

Degree Programs: Bachelor of Arts Bachelor of Music Bachelor of Music Education Master of Music Ph.D. in Music Ph.D. in Music Education

UNIVERSITY OF "FLORIDA . . www.arts.ufl.edu/music M USIC COLLEGE OF FINE ARTS ...,.,.,-,. Contact Information: [email protected] L~gmd of 1929. Arnold Bax wrote self with the Irish literati including important in the study of Bax's numerous works for the viola as a Padraig Pearse, who was the one of music as his personal life seemed soloist and in small chamber music the leaders of this group of revolu­ to revolve around the Emerald Isle serrings throughour his career, no tionaries who would arrempt ro throughout his early years, and he doubt influenced heavily by his rake over the General Post Office himself noted that his early works first experience in working with in Dublin on O 'Connell Street on developed Irish sound. Bax used a Lionel Terris on this his first work April 24, 1916 and made this variety of musical devices to for viola and piano in 1904. building the headquarters of the achieve this sound in his Conc~rt new Irish Republic for five days. Pi~ce such as the use modal writing In 1902, Arnold Bax made his first These men lasted inside the build­ common in Irish traditional music, trip to Ireland when he was nine­ ing amidst shelling by the British­ pentaronicism, use of Irish-inspired teen, and made yearly or bi-yearly led forces until their surrender on ornamentation and elements con­ visits throughout the early years of April 29. The men were than pur nected with Irish poetry. his life. These visits were undoubt­ to death by the British govern­ edly the inspiration for the Conc"t ment for insurrection on May 3, The compositional language that Pi~u. a work that was acknowl­ 1916. Bax only knew Pearse for a Bax employs throughout the edged by the composer ro have brief period, yet the man and his Concert Pita rends ro center on Celtic influences. This piece was act of heroism seemed to rouch modal scales. Throughout the wrirren in 1904 and premiered at the composer deeply; his compo­ Concert Pi~ce. the flat six chord is the Aeolian Hall on December 6th sitional outpur during this time explored in great derail by Bax. of that year. period includes numerous works The usage of this particular chord dedicated to Pearse, including rhe possibly refers to modal construc­ Two years after composing the Elegiac Trio. tions; in this case the Aeolian, Concert Pitct, Bax returns ro the which is one of the four common Irish idiom that he explored and Bax composed his only work for modes traditionally associated composes the Trio in Ont viola and orchestra, Phantasy, in with Irish music. The use of Movnnmt for violin, viola and 1920. This is a three movement modes was nor uncommon in piano. The next work of note, the work that contains numerous ele­ Western Art Music ar the rime of Elegiac Trio, was composed the ments inspired by Irish music. Bax; however, it is known that he year 1916- a very active year for About a year later, Bax composed intended this work ro reflect Irish his chamber music outpur and what is considered ro be one of the music and modal scales play a important hisrorically for Arnold greatest works of his output, his large role in traditional Irish Bax. It was in this year that Viola Sonara. A three movement, songs. Foreman writes: Ireland's political future would cyclic sonara, this works contains have a huge impact on him, insti­ many hidden Irish qualities- many In this Concert Pi~c~ Bax consciously gating a turning point in his cre­ of these ideas were previously atumpts to absorb th~ folk music lu ative energy. On the day after explored in his Concert Pi~ct. Two had mcount~r~d in lr~land, without Easter Sunday, Monday, April 24, more major works for the viola actually writing a folksong rhapsody. 1916, the Easter Uprising were composed in the 1920s- the Throughout th~ composition fru u.s~ occurred. The Easter Uprising was Fantasy Sonata (1927) for viola and is mad~ ofth~ Jlattm~d uventh, th~ a desperate arrempt by Irish harp and the Legend (1929) for foiling intervals ofth~ pentatonic Revolurionaries ro gain their inde­ viola and piano. There are some seal~, and oth" ftaturts charact"is­ pendence from Britain. Bax had Irish elements in both of these tic ofIrish folk music. Tlu jim mb­ become very interested in the sepa­ works as well , bur as Bax aged, his J~ct consists ofthru th~~s. tlu third ratist movement in Ireland in use of oven Irish idioms seems ro ofwh ich Bax hims~lfinmukd to b~ while living in Dublin, Ireland in have dissipated. an 'unmistakably Irish th~m~. 11 1911. He began ro associate him- The use of an Irish style becomes Not unlike other cultures, the Irish

------'--=0=-L. UME 23 Nl]MBER 1 19 ~ ~' 1 /"" ~ -- 1 1]5 &, -- • . · I· ..I .. · I· -- I .:-:.b.. •- · ...___.,., == --. treatise was to influence future tra­ . . -:l ditional harpers and other tradi­ ~ • . ~ . • • tional instrumentalists whom Bax 1 ,J - II would have come into contact Exampft 1- An unmistakably Irish theme with on his travels. Harp orna­ culture developed songs that are ml08 imitates the others in how ments presented in the Concm based specifically upon the penta­ Bax notated it; however, this case is Pitct that correspond with the tonic collection, a collection of five even stranger in that it is missing treatise include chordal harp pitches. In Irish music, pentatonic the third. strums and Smith-mor. Bax writes collections rend to take on the many passages in this work where characteristics of one of the four This inclination towards all things the piano is playing several gra­ common or frequently used Irish does not stop with Bax's har­ cenotes in an arpeggiated pattern, modes-Ionian, Mixolydian, Dorian monic language. To further impan thus mimicking a chordal harp and Aeolian. Conurt Pitu does a Celtic flavor into this work, Bax serum. Numerous examples of this contain specific melodic passages draws upon the use of ornamenta­ technique occur in the piano part of penratonically-inspired melodic tion common to the harp, fiddle throughout the work. writing. The theme in example 1 is and certain traditional singing based upon the five-note set: E­ styles common in Ireland. The The other harp technique that is flat, F, A-flat, B-flar and C. ornamentations Bax applies can be present in the Concm Pitct is the Foreman wrote that Conurt Pitu traced to three specific Irish Smith-mor ornament, series of notes contains "the falling intervals of sources: traditional bardic harp moving by step (Example 2) that is the pentatonic scale."~ These pen­ ornaments, ornamentation used in essentially a scale of variable length. tatonic-like scales in a downward Stan-nos (a traditional Irish singing Bax most frequently uses the motion can be seen in m l 0 and style; though originally not an ascending version of this ornament. later in the work. Bax writes these instrumental form, Bax transfers This ornament occurs with less fre- passages as ornamentation and tex­ ture, nor as a main melodic/the­ matic or harmonic device. They J I 9 are all identifiable and unique in --­ function because they are intended by Bax to be a set of five notes, Exampft2 either as a quintuplet or as four­ note ornament leading to a fifth the properties of the style to the quency than the previous tech­ primary note. These scales are instruments) and ornamentation nique bur is still present. It occurs made up of five notes and Bax created by traditional Irish fiddlers. in both the piano and viola. One may have intended them as penta­ such example can be seen in viola tonic scales, however their make­ Harp Ornamentation used by Bax part in ml66 (Example 3): up is nor that of a true pentatonic can be found in a treatise on rhe Sean-n6s is a singing style preva- scale. A true pentatonic collection would be missing the fourth; only one of the examples in m I 04 is missing the fourth. The example in Exampk3 ml 0 as well as later examples are missing the fifth from their set. It Irish harp written by Edward lent in rural parts of Ireland. Bax 6 may be possible that Bax was inter­ Bunting in 1796 • It is not known considered a town called changing the missing fourth with whether Bax knew this work, how­ Glencolumcille in West Donegal, a the fifth. The final example in ever, the practice described in this rural part of Ireland on the

lQlJRJ'JAL OF THE AMERICAN VIOLA SOCIETY 20 Atlantic Coast, his second home. 6) is an example of this pitch-sur­ An account from the end ofthe sev­ Bax would definitely have been round ornamentation that 0 enteenth century tells us tbat the citi­ exposed to this type of folk song as Canainn describes. uns ofCork, evm whm tbry could it is along the Atlantic coast of afford nothing else, brought their Ireland that Sean-nos is most prominent. In 0 Canainn's articleS on this type of singing, "The Music of the Sean-nos," he delin- Example 6 eates rwo basic ornamentation children up to dance, ftnce and play types: melismatic ornamentation Intervallic ornamentation is by upon the fiddle. The instrument in and intervallic ornamentation. step; however, there are cases of question was undoubtedly the violin, this by third, filling out the chord. which had emerged in the middle of The first type, melismatic orna­ In the Concert Piece, it is easier to the previous century and which is mentation, is used to decorate a identify this particular ornament rifemd to invariably among tradi­ note through the use of a pitch­ than in his other viola and piano tional players as the fiddk. 11 surround (Example 4): pieces because, more often than not, Bax actually notates it as an Breathnach refers to use of the fid­ The other type of ornamentation appoggiatura; this ornament can dle in Ireland and irs acceptance inherent in this traditional singing also be thought of a as harp-strum imo Irish society: in the Irish harp tradition. This occurrs many rimes in the viola The new instrument was eminently suit­ line and example can be found in edfor the playing ofdance music. It had Example 4 m81 -82 (Example 7): an acceptable sound, and tl~ fingmng sryle is intervallic ornamentation (Example 5). 0 Canainn writes, IJ II "in intervallic ornamentation an Example 7 interval berween rwo notes may be was flexible to permit aUforms ofoma­ replaced by a different interval or, Bax often treats the viola parr in mmtatum. Its use had become universal perhaps, by a series of stepwise the Concert Piece like a fiddle. in tlx eight«nth century, as is evidenced notes to fill the interval. " 10 Many of these fiddle-like passages by tlx reftmzce to tlx instnmzmt in titles mimic Irish fiddle playing; and oftlx innumemble co!kr:tums ofcoun~ The Concert Piece uses both types because of the natural similarities dances publi.rhed in that century. u

Fiddlers used specific traditional orna­ mentations and figures while playing Example 5 the violin. Breathnach's research imo this subject has produced several of ornamentation from the ean­ berween viola and fiddle, the use examples of different rypes of orna­ nos tradition, with the viola part of the genre lies well within the mentation that are to be found within more commonly using these tradi­ technique of the violist. In the Irish fiddle genre (Example 8). tions. However, the intervallic Breandan Breathnach's book on ornamentation is also found in the traditional Irish music, Folk Music The Concert Piece'\ also makes much piano part. The melismatic orna­ and Dances ofIreland , he refers to imitation of the Irish fiddle tradition. mentation is seemingly used more the fiddle as a necessary part of The grace notes occur in the viola in sparingly then the intervallic orna­ Irish life from the seventeenth cen­ m 190 (Example 9) and throughout mentation. M252-253 (Example tury unril the present: the piece.

______._,O ::..cL_\lME 23 NlJMBE~R~I,______21 17 18 .- . • '•• Thuama." In Example 11 , note that in the second measure the . pitch G is repeated during the . "'...... "'.. word thuama. The representation of the syllabic formation of the word in the music - two quarter Example 8 notes for two syllables - is clear. This also occurs in measures 8, 10 and 16 on the words choiche, 'annsacht, and gaoithe.

Example 9 This technique is very characteris­ tic of Irish folk song and is found in many of the pieces in the O'Sullivan collection. Another example of this style of writing to Example 10 echo reiteration of pitches within the Irish language can be found in and the bardic tradition of sung a purely instrumental collection of In this work, Bax seems to use the poetry common in Ireland and pieces in the Bunting collection. roll more often than the grace folk song. The Irish language itself Originally for harp, 'Tts a Pity I note. Examples of this ornament requires that there be reiteration of Don't See My Love (Example 12)19 occur in both the piano and viola pitches in a rhythm; and, as the mimics the same idea of text set­ part. A prime example of this Irish language contains many ting, certain pitches reiterated to ornament is in the viola line in stressed vowels there is also a tradi­ represent their syllabic suucrure. m302 (Example 10). tion of an internal rhyme struc­ The downbeats in this piece often ture. In traditional Irish folk song, reiterate the same pitch, reminis­ Breathnach refers to the subtle the pitch recurrence sometimes cent of the same style of writing for transformation of thematic materi­ corresponds to a specific spoken or voice. It is important to remember al by an Irish fiddler as sung word, or meter of that word. that Bunting assembled the collec­ "Variation." According to One example of this occurs in the tion from the last generation of Breahrnach this type of ornamen­ folksong, "Tdim Sinte Ar Do tation, "when combined with superior powers of execution,

makes the supreme player, the vir­ t"W"'m ~an ·l'ar do_ thuam·a · do gheou wm do_ sh1or me. Da mbeadh barr do dim ruoso."16 The use of "Variation" is II present in the Concert Piece and ... occurs in measure 3 with a variant sgar- famn leal 1s "ann- sachl, 1s II based on the rhythm in rn272. M20 is a variant of m I 0, with the last beat of m20 changed from two am domh- sa...... lw lea~ Ta_ bol-a fuar no ere eighths to four sixteenth notes. Example 11

The themes Bax uses throughout are themselves are very Irish in their construction because of the components shared by the themes Example 12

JOURNAL OF THE AMI;.RI<:::AN VIOLA SOCIET'( 22 true bardic harpers. They would occurs, the consonant D plays a second bears with an A-flat. D-flat, have sung the text while playing. viral role, thus rhyming musically the lowered seventh degree, also those sections. The upbeat to the becomes rather important as an Internal rhyme is another Irish ele­ first measure is on the word do. Irish feature, not only because of ment that Bax uses within his The second occurrence is in m6 on the tonality it implies, bur because melodic structure. It was tradition­ the word d

------L-"'O~~Vlv1E 23 Nl}MI}l;R 23 in 1902 that "the Celt within me ' Foreman, Lewis. Bax: A Composu and "' June Skinner Sawyers, Ctltic Music: A srood revealed"zs and that in his His 7ima, 2nd td (Cambridge, Complru Guitk (New York: Da Capo England: Scolar Press, 1987), p. 28. Press, 2000) p. 113. own works he would create a new ' Foreman, p. 28. ll O'Sullivan, p. 44. heritage for the Irish people to call • Edward Bunring, Tht Ancimt Music of u Foreman, p. 28. their own. Irrlnnd (Dublin, Ireland: Waltons' Piano n Bax, p. 41. and Musical Instrument Galleries " Bax, p. 133. (Publications Dept.) Limited, 1969), " Bax, p. 36. - Dr. Christina Placilla i.s currently ' Bunting. p. 24. the Assistant Professor ofStrings at •Tomas 0 Canainn, "The Music of the Winston-Salem State University in Sean-nos," Traditional Music in Irrland (Cork, Ireland: Ossian Publications, North Carolina. She was a previous 1997. (Cited 4/28/2003), Works Cited: winner ofthe David Dalton www. webcom.com/liam/gaelsong/canalnn Bax, Arnold. "Concert Piece,~ score, 1904. Research Competition in 2000. Her .hrml). Special Collections, Boote Library, article on George Enescu and Stan ' Ibid. University College Cork. 10 Ibid. Golestan was subsequently published II Ibid. Bax, Arnold. Fa~U. My Youth and Orhu in the Spring 2001 ]AVS. Placii!A 12 Breathnach, p. 79. \'(/ritingr. Edited by Le\vis Foreman. has also served as Director of " Ibid, p. 80. Cambridge, England: Scolar Press, 1992. 14 Chamber Music for the Four Seasons Ibid, pp. 95-97. " Although many of the ornaments found Breathnach, Breandan. Folk Music and Youth Orchestra in Southern in this piece can also be ascribed to the Danm oflrt!lnnd. Cork, treland: Ossian California. Western Art tradition, Bax was specifi­ Publications, 1996. Reprinced from Cork, cally artempring to write in an Irish Ireland: Mercier Press, 1971. idiom in this early work and he used the Endnotes impression of what Irish music sounded Buncing, Edward. Tht Ancimr Music of 1 Bax, Arnold. Fore\vard to Music in like to his young ears. lrt!lnnd Dublin, Ireland : Walkrons' Piano Irrlnnd: Symposium, p. iii. Reprimed in " Ibid, p. 98. and Musical Instrument Galleries Bax, Arnold. Farewell, My Yo11th and 1 ' Editor Donal O'Sullivan, ongs of the (Publications Dept.) Limited, 1969. Orlur Wririn!J. Edited by Lewis Irish (Dublin, Ireland: Brown and Nolan Foreman. Cambridge, England: colar Limited, 1960) p. 43. Foreman, Lewis. Bax: A Composu and His Press, 1992, p. 133. " Ibid. 7ima, 2nd ed. Cambridge, England: Ibid. " Buming, p. 69. Scolar Press, 1987. 1 Bax, p. 4 I. 0 Canainn, Tomas. Traditional Music in lrrlnnd. Cork, Ireland: Ossian Publications, 1997. (Cited April 28, 2003.) Available from www.webcom.com/Liam/gaelsonglcanainn. html.

DE . \LERS~ \ lrsici \\S~ Cou . EcToRs~ \I.\ KERS ... 0 ' ullivan, Donal, ed. Songr ofrht Irish. Dublin, Ireland: Brown and Nolan Specialized Insurance Coverage for the Limired, 1960. Classical & Vmtage Musical Instrument 'Irade Sawyers, June Skinner. Ctltic Music: A Compku Guitk. New York: Da Capo • The most comprehensive ElliS W. HERSHMAN Press, 2000. protection at reasonable cost. Heritage Insurance Services, Inc. 826 Bustleton Pike, Suite 203 • Underwritten by a financially Feasterville, PA 19053 sound A-rated com~y. • ~II Toll Free today for 800-289-8837 information md quotation. FAX: 215-322-5854

------~-~-"J OURNAL QF THE AMERICAN VIOLA SOCI ETY 24 ''STEPPING IN THE G G EAN'' VVITH MARTHA STRONGIN KATZ

By Karen Ritscher

It is pouring rain as Martha Srrongin Katz and I jump into a taxi !Tom her Back Bay, Boston apartment ro rake my viola to the luthier, Ken Meyer in Newton, Massachuserrs. Ms. Katz has just finished a full day of reaching and coaching at the New England Conservatory of Music and has still kindly offered to accompany me ro have Mr. Meyer work his magic on my viola and serve as "ears" for the final sound adjust­ ment. I feel fortunate to have been one of Ms. Katz's fust students in the late 1970s and feel equally fortunate to be her friend today. Martha, as she is called by most of her students, is an inspiring mix of youthful innocence, occasional silliness, reassuring warmth and ageless insight. he is the daughter of a psychologist and an artist and the sister of Lynn Srrongin, the poet. She was raised on the Upper Wesr Side in New York Ciry and studied violin with Raphael Bronstein and Ivan Galamian. She remembers a vital childhood that was rich in exposure to all forms of art and interesting people.

While a student at Manhattan School, she played viola in the Debussy Quartet for chamber music class, and reali.zed that her musical voice was more attuned to the viola. She began her viola studies with Lillian Fuchs and then later worked with Wtlliam Primrose. She won Martha Strongin Katz. Photo by £/ana !Vttz. the top prize in the Geneva International Competition, as well the Max Reger Award. Martha and Paul Katz Brahms Quartets (the last of which has become a cult formed the Cleveland Quartet with colleagues Don classic among viola aficionados). When I spoke recently Weilerstein and Peter Salaff. Martha was a member of to Paul Katz about Martha, he said, "Listening to the the Cleveland Quarter for twelve years, playing over a early recordings of the Cleveland Quartet will give you thousand concertS with them. With the CQ she a sense of Martha's amazing presence and appeared at the White House, played on NBC's The charisma ... She was our driving force, our star, our Today Show, was nominated for six Grammy Awards, inspiration. We aU played better because of her!" and was the first classical group ever ro play on the Grammy Award's show. During the time Martha was After she left the quartet, she remained a dedicated the violist of the quarter they recorded rwenry-six teacher at the Eastman School of Music and then the works, including Schubert's Death and the Maiden Shepherd School of Rice University, and performed Quarter, the complete Beethoven Quartets, and the widely in many different venues. In recent years

______..L,....;:O ::;..I.::,VME 2~ NUMBER 1 25 Martha's performing career has one of her dear friends is a gem because that can lead to the possi­ expanded beyond classical playing collector, she is inspired to com­ bility of producing a pressed to include improvisation, and she pare the ideal viola sound to a sound." She has often mentioned has appeared in the U.S. and beautiful jewel with brilliance in to me that in a truly compelling Europe as pan of a free improvisa­ the center surrounded by radi­ sound there is both light and tion duo. Today, three members of ance. She describes viola sound as dark. I value these talks with the original Cleveland Quartet are similar to a Rembrandt painting­ Martha, and am always surprised faculty members of the New one area of stunning light sur­ and amused by the quick rurns England Conservatory and continue rounded by luminous dark areas. our conversations take. In an oth­ to work together closely (Martha, When we talk about how to pro­ erwise mundane conversation Weilersrein, and Paul Katz). duce that through the instrument, about what to wear or what food she comments, "In striving for a to buy, she often switches to a As Martha and I are waiting for Mr. fully resonant sound you must profound and poetic observation Meyer, Martha talks to me about realize that the viola is your col­ about teaching sound, or the lat­ her thoughts on sound production league and work equally together est author she is reading. She and projection. She observes that to produce a multi-layered sound. often speaks about the nature of perhaps in my interest in easing up Give the bow to the viola and time or pulse when she is teaching the viola and looking for more allow the instrument to support or coaching as a way of addressing responsiveness, the instrument the bow, utilizing the left side of other musical issues. might also lose some of irs depth the body equally ro produce the and darkness. Martha talks about resonant sound. You should not Martha's viola studio at NEC is sound in terms of irs luminosity. As rely solely on the right side approximately twelve students. She

GEOFFREY OVINGTON

MAKER OF VIOLINS, VIOLAS AND CELLI Instruments of Distinction Played Internationally

GEOFFREY 0VlNGTON VIOLINS STANTON ROAD SHUSHAN, NY 12873 U.S.A. 518-854-3648

VIENNA I'HILIW\I.40NIC (I'R. VLS.) Los ANoELES OiAMIIEII ORCHESll\A OrelA 01\CHESll\A OF LA 5c:At.A ( PR. Vv..) ALBAN lla.O STRINO QuAIITET BuFFALO PHtLHAJtMONIC OSLO PHII.HAilMONIC OW'rscHE I

j_OURNAL F THJ;__AM_ g_R,I_~ VIQI..A OCIETY~------26 has a weekly class that is not only a Kajioka, who now performs Baroque, from the outside," from cellist Gregor performance class for her students to modern, and Middle-Eastern music Piaragorsky. She reaches that even while gain experience, bur she also in Toronto, described how Martha being physically present in the includes guests from different disci­ leads one into a musical field larger demands of the music, one muse be plines such as dancers and actors than just one's "self" to help carry the spontaneous and open to what might who talk and perform. She has playing forward. In Martha's own occur in the moment or the future. coached and mentored such quartets view, playing viola and making music One way that she does this is through as the Ying, Kuss, the Parker, the are like "stepping into the ocean, dedicated technical arrencion and end­ Ariel and the Jupiter. Paul Katz without beginning or end, but rather less training on how to practice. She describes her work in the following total immersion in the process of likes to work with improvisacion and way: "Today, as a reacher, she seems learning and the spinning of viola will somecimes improvise with her stu­ somehow in rune with the cosmos. sound." Each person I spoke to dents or ask them to improvise while She is spiritual, often abstract. New emphasized that one of the mosr she creates a drone or plays counter England Conservatory thinks of her important lessons Martha communi­ voices. Tawnya Popoff related how she lovingly as a mystery woman, cates is to treasure the process of learned to be spontaneous through this unpredictable, quirky. She is adored working towards a goal as much as connection with herself, while Listening by her students for her nurturing, achieving a final triumphant perform­ from a larger source. To me, that is parr caring and Zen-like insights, bur she ance. And, that each moment of prac­ of MarthaS genius as a reacher and can­ can be demanding and rough as cice is significant so one must savor nor be easily expressed on paper. well, as she pushes them towards the the experience and not waste the same artistic ideals and instrumental opportunity to be connected ro a My viola is ready and we gather up standards that both torture and larger source of creacivity. our belongings to head back to motivate her." In the summer she Boston for dinner. We call the cab teaches and performs at the Heifetz Martha teaches specific tools to help and bundle back in. Our cabbie is International Music Institute and one achieve the larger aims of musical playing Middle-Eastern music and the Steans Institute for Young Artists surrender. Chloe Kline, who reaches Martha becomes immediately at the Ravinia Festival. Martha does in Boston and at the Community enchanted with the music and com­ not have a formulistic method of Music Works in Providence, is grate­ pliments his clothing. Improbably, reaching, and so in order ro gai n ful to Martha for her technical train­ he offers to give her his colorful more perspective on her reaching ing as well as for her personal guid­ shirt and we start ro giggle like and the almost magical influence of ance. Martha taught her how to teenagers. It is part of her unique­ Martha, I chatted with several of her practice, slowly and precisely. She ness that within a short span of time current and former students. learned "to value the plateaus as much she can be both wise beyond earthly as the thrilling creacive spurts." dimensions and decidedly humor­ Tawnya Popoff, former violist of the Michiko Oshima, the current violist ous. And now, where to eat? Cassatt Quartet, described each lesson of the Cassatt Quartet, said that as a "work of art" and could feel that Martha worked with her a great deal - Karen Ritscher is Associate Profo!sor Martha cared deeply about her and with breathing and learning how to oJViola at the Oberlin Comertlatory her development as a whole person. work with gravity. and artist-faculty at the Heifetz She remembered that Martha taught International Music Institute in her to approach problems from an When I have had the opportunity to Wolfeboro, New Hampshire. She is imaginative level, so one never gets teach with her, I have been impressed active as a chamber musician and per­ "stuck" in a lirruted way of rrunking. that her students do truly liSten to Jonns and records regularly with the She credits Martha as teaching her ro themselves as if from the outside, even Azure Emmzbk. truly Listen, as if from the outside, when executing difficult technical pas­ while being open to what might hap­ sages. Martha mencioned that she pen in performance. Kathleen learned this liStening skill, the "Listening

VOLUME 23 NUMBE=R,_,__,_l ------27 The Primrose International Viola Archive announces a generous gift by Peter Bartok of several hundred copies of the Facsimile of the Autograph Draft of the Viola Concerto by Bela Bartok

• Hardback in black, 12 by 16 inches, 84 pages including photo page. • Preface by Peter Barl6k & Commentary by I..dsz/6 Somfai (Text in English, Hungarian, German, japanese, and panish). • Fair transcription of the draft with note prepared by Nelson Dellamaggiore.

Any donor, past or future, contributing $150 or more to the Primrose Endowment will receive this handsome book as a gift from Brigham Young University.

Send your donation to: Primrose Account BYU Development Office C-389 ASB Brigham Young University Provo, UT 84602 AVS RETROSPECTIVES: 31 YEARS AGO

Excerpts from Viola Research Society RECENT D OCTORAL DIS­ Library, Eastman School of Music, Newsutter 10, April1976, Myron SERTATIONS OF INTEREST: has kindly offered to assist me in Rosenblum, editor. ' Compiud by 1. "English Viola Music" by some of the administrative aspects of Dwight Pounds. Thomas James Tarton. running the VRS. We gratefully 2. "Contributions to the History acknowledge and appreciate her help. VIDEO TAPES OF THE 1975 and Literature of the Viola CONGRESS: The following d' am ore: A Translation and BRUCH CONCERTO FOR video tapes made at the Ypsilanti Expansion ofWerner Eginhard CLARINET AND VIOLA: The Viola Congress are available as Kohler's Beitriige zur Geschichte response to our special price for follows: und Literatur der Viola d'amore" the Bruch Concerto was so excel­ by Myron Rosenblum. lent that I have arranged with the #448 (in color): The Future for publisher for another shipment. Violists Professionally. Panel: Dr. BOARD OF DIRECTORS: A The work sells at retail music shops William Primrose; Ralph Aldrich, Board of Directors will soon be at $7.50. Members of the VRS will Universiry of Western Ontario; formed to guide the growth and be able ro purchase it at $4.50. Harold Coletta, Yale Universiry; direction of the Viola Research Burton Fine, Principal Viola, Sociery. Dr. William Primrose has SHOSTAKOVICH VIOLA Boston Symphony; Nannie graciously accepted to be the SONATA: The viola world Jamieson, Guildhall School of Honorary Chairman. awaits the publication of Music, London; Robert Slaughter, Shostakovich's last work, Sonata Ball State Universiry. (1 hour, 30 AMERICAN STRING for Viola and Piano, completed minutes; 2 reels) TEACHER: A limited number of one month before his death. I copies of the Autumn 1975 would like to share an excerpt of a #449 (in color): Lecture by Dr. American String Teacher featuring letter received from Madame William Primrose (50 minutes; 1 three pages of articles and photos Borissowsky, widow of the late reel) of the International Viola con­ Vadim Borissowskt, who writes: gress in Ypsilanti are still available. #450 (black and white): To obtain a copy, send $1.00 to Dearest Mr. Rosenblum, Problems Related to Recruitment [the] Viola Research Sociery. and Training of Young Violists. I have no words to express my grati­ Panel: Laura Sias, President, MUSIC ARCHIVE: Efforts are tude for your kindness toward me in Michigan ASTA; Henry Barrett, still underway to establish a per­ sending the most valuabu material Universiry of Alabama; Dietrich manent library of viola music in about the [1975] Viola Congress. Bauer, Secretary-Treasurer, Viola the USA for use by members of All the Moscow violists are getting Forschungsgmllscha[f, Kassel; the VRS. Two major educational acquainted with it with a keen Louis Kievman, violist/reacher, institutions have expressed interest interest. What a great event for the Los Angeles; A. Baird Knechtel, in housing such an archive. violists ofthe world! What a strik­ Weston Collegiate, Canada; Dr. ing demonstration ofthe violists' sol­ Robert Oppelt, Ciry Universiry of ELECTIONS: Until formal elec­ idarity and acknowledgement ofthe Y.Y. and Past President of ASTA. tions are held, Dr. Louise importance ofth e viola in music! (55 minutes; 1 reel) Goldberg, violist and research How happy would be my late hus­ librarian at the Sibley Music band! All his lift was devoted to

VOLUME 23 NUMBER 1 29 th~ populariZiltion ofth~ viola, consickr~d by him as Research Society and first editor of irs Newsletter, th~ most b~autifol and nobk ofall ocisting instrummts. and was programming chairman for both the 1975 Ypsilanti and 1977 Rochester International Photographs by Richard Schwaru. Viola Congresses. 2. For readers unfamiliar with the organizational Th~r~ is an ~vmt ofsuprem~ importanu in our viola names and acronyms of this period, the Viola world too. On~ month bifor~ his d~ath D. Forschungsgesellschaft (VFG), was founded in Shostakovich had cr~at~d his last work- onata for 1968 in Kassel, Germany, and eventually became Viola and Piano. It is a masurpi~u. th~ gr~at compos­ the International Viola Society. Viola Research ~r's swan song and an honour to th~ instrummt chosm Society (VRS), the English translation of this tide, by him to ull tlu world his last thoughts andft~lings. was the original name of the American Viola Society, changed in 1978. Notes (by Dwight Pounds): 3. Vadim Borissowsky (1900-1972) died in Moscow, USSR. 1. Dr. Myron Rosenblum was a founding member of the original Viola Forschungsgesellschaft (VFG), founder and first president of the Viola

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jOURNAL OF THE AMERJCAN VI LA CIETY 30 THIRD INTERNATIONAL VIOLA €:ONGRESS, THE fiRST IN AMERICA -jUNE, I 975

by Myron Rosenblum nor present at either or both. reasons. Franz asked if I would be Photographs by Richard Schwarze Here is some background to the interested in creating an American very first International Viola chapter of such an international Recencly, while doing some major Congress on American soil: society, something which interested house cleaning, I came upon an During my year on a Fulbright me greatly and which 1 immediate­ envelope with an astounding pack­ Grant in Vienna in 1964-65, I had ly agreed to. Both societies soon et of photographs, photos that I the opportunity to pay a visit to came ro fruition, with other chap­ knew I had bur had filed away the Austrian violist and reacher, ters coming later, such as those nicely a while back and over the Franz Zeyringer in his charming formed in Canada, England, years lost track of The photo­ town of Pollau, Austria. Franz had Australia initially and then in other graphs were taken by professional compiled an extraordinary cata­ parts of the world. photographers at the 3rd and 5th logue of moscly original viola International Viola Congresses, works, old and new and his mam­ The international society, then held in 1975 and 1977 at moth research resulted in the called Viola ForschungsgeseUschafr Ypsilanti, Michigan and Rochester, Lit~ratur fiir Viola, published in (VFG), or Viola Research Society New York respectively. Looking at 1963 - a milestone of catalogued (VRS), held two International these marvelous photos, I was viola music in all settings. Viola Congresses in Europe, small­ drawn back to these two extraordi­ ish bur enthusiastic affairs. After nary viola events and thought how Zeyringer spoke of his wish to the American chapter was realized valuable it would be to step back form an international viola society, in the early 1970s, I was in time a bit and share these viola tried before by Paul Hindemith approached by Dr. Maurice Riley, congress experiences with other and Vadim Borissovsky in 1927 one of the first to join the new violists, especially those who were but which failed for a number of American chapter and a professor of viola and violin at Eastern Michigan University in Ypsilanti, Michigan. He was eager to host the 3rd International Viola Congress at his uni­ versity which would be the first such viola congress on American soil. Maurice promised good facilities, fine assiscing musicians Th~ ojficm ofth~ VFG (Viola Forsclmng.sgmllschafi) and tJu Amtrican Chapttr, VRS (Viola Rmarch Soci~ty) with William Primrou. (I tor) Di~trich Bau~r, Myron Rosmblum, William and also the use of Primros~. Mauriu Rilry. Franz Zryring~r, and Wolfgang Sawodny. the United States

YOLUME 2.? NUMBER I 31 Air Force Orchestra, a highly com­ peren t string orchestra from the American military.

Maurice and his wife Leila came to New York City where I mer them in a modest motel in the 1imes Square area. We mulled over the details of a congress at his universi­ ty for a few hours and came up with a pretty impressive roster of people for recitals, master classes, panels, and lectures, many of them from the Michigan area. And so for three days in June, 1975, violistS, srudenrs, reachers, viola soloists and William Primrose acknowledging the applause ofthe Congress audience after receiving an honorary doctorate bestowed by Eastern Michigan University. others descended on Ypsilanti ro rake in an extraordinary array of dren. Primrose was also invited to for placing the viola on an equal viola happenings, unique in many have some space there bur he plane with the more established ways. Zeyringer flew in from Styria declined, writing that he was the stringed instruments. and two other officers of the VFG "world's worst house guest." came from Germany. They were J1Jur presence at the jim International amazed ar the turnout and the vari­ During the congress, Primrose was Viola. Congress in America makes ety and quality of eventS. The offi­ given an honorary doctorate, pre­ this a very special occasion in the his­ cial total number of attendees was sented with a scroll by this writer tory ofmusic. It is a great honor for 423. They were from Australia- l , to honor his outstanding achieve­ us to present this citation to you in Austria, 1, Canada, 26, Germany, mentS, moderated a panel discus­ appreciation ofyour unique contri­ 2, England, 3, Italy, 2, Ukraine, 1, sion -"The Future ofViolisrs butions to the viola and to music. USA, 387. Professionally," and responded to an informal session - "Questions This citation now is on prominent Many notable viola soloistS came to and Answers Concerning the display with other Primrose mem­ this congress, but without question Viola" (1 still have all those scrap­ orabilia at the Primrose Archives at the most electrifying and important paper questions, bur, alas, his Brigham Young University. person robe there was William answers are lost in time). My pres­ Primrose. I had ro negotiate some entation of the Viola Research Space does nor permit a detailed special arrangements for Primrose Society scroll to Primrose was pref­ critique of the congress bur here ro be able ro come and so travel aced with: are the major highlighrs: expenses from Keiraville, Australia I think I speak for all ofus here Violists who performed in various and comfortable accommodations (()day - the fanner students who were capacities were Ralph Aldrich, for him at the congress had to be fortunate enough to have been Henry Barrett, Lyman Bodman, made. The Rileys were purring a touched by you, and the many young Francis Bundra, Harold Coletta, whole bunch of us up from the people for whom your superb artistry Robert Courte, Burton Fine, VFG and VRS at their home has been an unending source of Nathan Gordon, Nannie Jamieson, {Wolfgang Sawodny, Dietrich inspiration. As a perfonner, a Louis Kievman, Uri Mayer, Bauer, and myself), as well as his teacher. and editor ofmany editions Patricia McCarty, Donald children who were in the US Air ofviola. music, you, more than any Mcinnes, Salvatore Nania, Robert Force Orchestra, and their chil- living violist, have been responsible Slaughter, Ernst Wallfisch, and

JOURNAL OF THE AMERICAN VIOLA SOCIETY 32 "Problems Related co Recruitment and Training Young Violists." Wallfisch gave a lecture, "General Aspects of the Viola for Performers and Teachers."

Nathan Gordon, principal viola of the Detroit Symphony, performed as soloist with the US Air Force rring Orchestra (complemented with some winds), including a pre­ miere of a viola concerto written for him and for the congress by EMU composer Clark Eastham.

Three lecture-demonstrations revealed the variety of viola music chat was available chen and still today: Uri Mayer - "The Viola Compositions of Odeon Partos"; Louis Kievman- "Teaching a Basic

Fmnz Zryringn; viola and Myron Rosmblum, viola d'amo" after th~ir per­ ound Viola Technique; and fonnanu ofAu"Lio Arcidiacono's Due Movimenti per Viola d' am ore e Viola. Wolfgang awodny- "String Quartets with 2 Violas." The Franz Zeyringer. An amusing and workshop for high school students. Sawodny lecture was fascinating couching moment occurred right In addition ro the aforementioned with some fine musical examples after Zeyringer's recital. I had the panel, another panel was of music by Stamirz, Hoffmeister, pleasure of performing the Aurelio Arcidiacono Due Movimenci for viola d'amore and viola with Franz at his recital and was standing with him backstage when Mr. Primrose approached us ro congratulate Zeyringer. Franz had no idea who he was, looked at him and asked rather seemly- "Die Name?" When Mr. Primrose told him his name, Zeyringer flushed greatly and immediately goc on one knee and bowed ro him with the great­ esc respect. Primrose seemed quite amused by this.

Solo recitals were given by Nania, William Primrou pr~smting an award to tlu whmer ofTiu lnurnationa/ McCarey, Mcinnes, Wallfisch and Viola Maker's Comp~tition - David Wi~b~. sponsor~d by Tlu American Zeyringer. Nathan Gordon held a Soci~ty forth~ Advanummt of Violin Making and th~ Third lnurnationa/ Viola Congr~ss. (I tor) David Wi~b~. Eric Chapman, William Primrou.

LUME 23 NUMBER l 33 Cambini, Gassmann, Giardini, the Bartok Concerto and Bach's humility came through as he min­ Gugel, Baumgarten, and Amon Suite No. 6) and a full recital. gled freely and comfortably with performed by a quartet from the Burton Fine, principal viola of the violisrs there and those present US Air Force Orchestra. There the Boston Symphony, per­ showered him with great applause was an exhibit of new violas and a formed with Mcinnes (in place and adulation. This congress was viola making competition with of Primrose) in a viola duet by an extraordinary event and unique awards given that rook place dur­ Carl Stamirz. in the world of strings. ing the congress, overseen by the American Society for the This stellar event was a most My next overview in a subsequent Advancement ofViolin Making important one for violists- the AVS Journal will focus on the 5th International Viola Congress with other notable violists present in addition to Primrose - Paul Doktor, Walter Trampler, Francis Tursi, Martha Srrongin Katz, Heidi Castleman, the Cleveland Quartet and others. Again, these fine photos that I have will com­ plement this next extraordinary viola event in America.

- Myron Rosenblum, violist/viola d'amore player, was the creator and founder ofthe Viola Research Society. the predecessor ofthe American Viola Society and the first president ofthe AVS. His viola studies were with Lillian Fuchs, Walter Trampler and William Primrose. He has appeared hrformance ofBach's Brandmburg Concerto No. 6 by c. 125 violists, Francis Bundra and Ermt Waf/fisch, viola so/()ists, assisted by Lory at many International Viola Wallfoch, harpsichordist and Edward Szabo, conductor. Congresses as speaker and perfonner and was intimately involved in the programming ofthe first two con­ (ASAV), Eric Chapman presiding. first viola congress in America, a gresses on American soil, at Eastern The second night concluded with testament to one of the greatest Michigan University. Ypsilanti a mass playing of the Bach violists of all time - William Michigan in 1975 and the Eastman Brandenburg Concerto No, 6 Primrose, a demonstration of the School ofMusic, Rochester. New with Wallfisch and Bundra as the high degree of viola playing that York in 1977 viola soloists. One hundred and was quickly growing at that time twenty-five violists parricipared and the greater value rhat was and it was a most impressive being put on the viola in sound indeed. America.

Donald Mcinnes gave two major Mr. Primrose was quite pleased events - a Master Class (focusing with it all - the attention, the on Schumann's Marchenbilder, accolades and the honors. Yet his

------~J-0=-=U::.....::..;RN= AL OF THE AMERICAN VIOLA SOCIETY 34 THE VIOLA IN MIDDLE EASTERN MUSIC -A FITTING SONORITY

includes an oud (a lute-like instru­ ment) a qamm (zither), a ney (Arabic flute) and hand percussion such as the riq (tamborine) or the darabukka (goblet drum).

It is the violin, however, that has become the most prevalent bowed instrument in the Middle East. At the time the violin was introduced via trade through the Mediterranean in the nineteenth century, it was the most prominent bowed stringed instrument in the west, and the most portable. Middle Eastern culture embraced MagJmbi Orchestra performing in Marrakech, 2004. Photo courtesy oftlu its fulJer, more vocal timbre and Naqshbandi-Haqqani Sufi Order ofAmerica. graduaJJy it replaced the rebab and kemanche in most styles. The violin By Leanne Darling The Middle East (including was retuned to better suit and Turkey, the Gulf States, and North reAect the register of the preexisting When I first started investigating Africa) has the longest known tra­ bowed instruments, changing the world music on the viola, I immedi­ dition of bowed string playing in open strings from E, A, D, G to 0, ately was drawn to Middle Eastern the world. Bowed stick fiddles and G, 0, G and other runings of fifths music. I heard for the fim time a bowed lyres such as the rebab, and fourths, thus making the tim­ string sound that sat predominandy kmzanche, and jouh have existed in bre darker and richer. During the in the middle register, taking full the Middle East thousands of years, early twentieth cenrury Arabic advantage of a dark, rich, lyrical tim­ dating back to the early civiliza­ music went through a popular ren­ bre. The scales I heard were mosdy tions of Iraq and Iran. All of these aissance through the introduction in C, G, and 0, which fir very com­ instruments have two to four of radio and film, and the presence fortably on the viola. Middle Eastern strings, tuned in fifths or fourths. of leading composers such as music is homophonic, with each Although the timbre of these Mohammad Abdul Wahab and instrument embellishing upon the instruments is quieter and more singers such as Egyptian diva Umm melody, creating its own idiomatic nasal than a viola, the range is Kulthum. These composers were voice. This leaves room for an instru­ often very similar; for example, the gready influenced by western music ment like the viola to have a promi­ rebab runes to the viola's G and D. and attitudes, forming large orches­ nent role. Little did I know that the A bowed instrument typically fills tras with many violins, cellos, and Middle East has a long tradition of our a small ensemble, called a basses, bur few (if any) violas. In viola-like instruments! tahkt, which otherwise usually the Middle East today the violin is

Ql.,lJ M~ 2~ Nl.IM~ER I 35 a featured insrrument in every Although many in the Middle East oldest distributor of Middle Eastern small ensemble, making it the most consider the violin the more tradi­ music in the U.S. Many titles avail­ well-adapted foreign instrument of tional instrument, artirudes are able online, including all of the the group. beginning to change. Violinisrs recorded examples. such as Nidaa Abou www.salaamband.com -Arabic music Mrad of Lebanon group led by violist Dena El-Saffar and Hakki Obadia www.brianprunka.com -- Site for of Iraq also play the Near East River ensemble, fea­ viola. The viola is turing the author on viola f3 making irs way into Middle Eastern - uann~ Darling has b~m studying orchestras as well. and playing Arabic music for th~ past Rena El-Saffar, an fiv~ y~ars with mtJStn- musicians Iraqi-American clas­ Simon Shahun and Ba.ssam Saba. sically trained vio­ Sh~ has pn-Jorm~d with th~ N~ar East list, plays Arabic Music Ensanbk in N~ Yt1rk and and Iraqi music on Philadelphia. As w~IL as music ofth~ both the viola and Middk East, Darling plays rock, Amirali (lift) in Makn~s with Haj Houssain Toulali the in her compos~ th~attr dane~. (cmttr), 1983. Uud with p~i.ssion. jo:uh jazz, for and group Salaam. In my and uach~ StringPiay clasus, hn­ In this part of the world, the viola own experience as violist playing in own m~thod ofimprovisation for has caught on like irs smaller sib­ various Middle Eastern ensembles in strings in N~ Yt1rk City. ling only in Morocco. There, the New York City, I have always been Discography viola has come into irs own as a met with support and encourage­ Eumpks ofArabic viola playing: traditional instrument in many ment &om my colleagues and teach­ Hakki Obadia Hakki Obadia: Classical styles of folk and classical music. In ers. With its well-suited sonority Music OfTh~ Middk East Global Village the orchestras of the Andalusian and traditions of string playing, any Music CD 808 style (a form of classical Moroccan violist interested in world music Nidaa Abou Mrad, Musia~ tk Ia Nahda music), violas as well as violins are should be sure to investigate the Edidons Byblos BL CD I000 always present, usually one viola to music of the Middle Ease. N'Kiaa Abou Mrad 77x An ofrJx Maqtm1 on rJx Viola and r~ Violin (2) - Music masrer ­ every rwo violins. In the Melhoun mmcd-141 style (a folk style based on poerry), To learn more about Middle Eumpks ofArabic violin and Arabic the viola is the main instrument Eastern Music online: string uctio11: along with the oud. The viola has www.simonshaheen.com - ami hawa, Masur ofArabic Violin Global Vtllage Music CD 824 also become the main traditional Informacion on the Arabic Music Mohamed Abdd Wahab &Uy Dana instrument in the popular Chaabi Retreat in Mr.Holyoke Massachusetts Cairophon CXG CD 610 folk style, although increasingly the every August. Open to musicians of &mnpks qfMorrx:mn 1ndinlviola plnyiny; violin is used as the style has all levels. Also access to retreat mailing Orchestre Fathi Orrbestrt Fnthi Fassifone become more electronic. In most list, a newsgroup on Arabic music. CD FES 11 7 cases, playing position for the viola www.maqam.com- All about the Omar Metoui AI .Ala AI-Andalusiyya in the Middle East is similar to that theory of Arabic music, informacion Pneuma PN-150 used for the r~bab, The viola is on instruments, and many links Eumpk ofrt!bab playing: held vertically on a player's lap, www.middleeastcamp.com -A Upper Egypr Ensemble Egypt -a Musical Voyag~ HoUywood Music Center with string crossings accomplished Middle Eastern music camp for by turning the instrument rather musicians of all levels every August Sourres for rt!cordings: www.rashid.com- Wide sdection, ifyou than moving the bow. in Mendocino, California don'r see something on the websire, call them. www.rashid.com -The largest and www.aramusic.com

OURNAL OF THE AMERICAN VIOLA ClETY 36 C SAMPLE ScoRE:

Lamma Bada Yatathana is an Andalusian Muwashshah (song) that is centuries old and commonly played throughout the Middle East. Although you can easily transpose it up an octave, it is often heard played by the oud as printed, in a very "viola-friendly" octave. -LD

Lamma Bada Yatathanna Muwa hshah Andalusi

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4 liB , ,~ -w

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12 liB &~ F p J· :J {j ;;_a J :[0 IMJ

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------~Y~O~UM£23 N~M~B~E=R~l ______37

jENNIFER STUMM: A PLAYER IN PURSUIT OF THE PERFECT PHRASE

By Lembi Veskimets

American violist Jennifer Srumm's search for musical utopia has taken her ro Europe and back home, bur the winner of the 2005 Primrose International Competition is a pas­ sionate proponent of the viola in all musical worlds.

Hailing from Aclanra, Georgia, she arrived at the Curtis lnstirure and "was totally blown away by the place and irs traditions." Continuing her srudies at Juilliard and in Amsterdam, it was ar the International Musicians eminar at Prussia Cove, however, where she found her musical home. Founded by Sandor Vegh in 1972 as twice­ yearly courses, they are recognized worldwide for excellence in teach­ ing and performance. Irs current Photo by AngtiA Mo"is. artistic director is cellist Steven as BBC New Generation Artisrs, Ar the same rime, Stumm is enjoy­ lsserlis, whom Stumm mer there Stumm says "the idea behind the ing the advantages of being the and who has become a mentor to group is ro present pieces that aren't winner of the 2006 Concert Arrisrs her. He inspires her in that he often rehearsed and performed with Guild Competition, wruch include "manages robe both scrupulously the same commjrment as piano a New York debut recital and a Faithful to the score and also urrerly trios and string quarrers, which management contract. While oth­ imaginative and communicative as leaves an expansive range of possi­ ers may lament the slow death of a performer ... He demands that bilities! The performing forces are the classical music indusrry, Srumm you have a reason for everyclUng so always changing with each piece so sees it being reinvented, with less that nothing is conventional or one feels a freshness of approach." emphasis on traditional "rules" as without meaning." IMS is also Though their concern are sched­ fur as marketing to audiences goes. where she met her colleagues in the uled in intensive blocks of time ro "If someone has an authentic artis­ Aronowitz Ensemble, a string sextet accommodate the individual mem­ tic voice, I don't really care what's plus piano in various formations, bers' careers, the ensemble provides done ro get people in the door to which has been performing rogeth­ Stumm with a consistent outlet for hear them. Ir's the audience's gain," er in the United Kingdom since playing chamber music on a more she contends. She devises programs 2004. In residence for rwo seasons than casual level. rhar highlight "unexpected connec-

NlJ:MBI;R_l ensemble L'archibutklli, which concentrates on music of rhe 18ch century. In rhat setting, Stumm tries to follow che nuances of hisrorical style by using gut strings, treat­ ing vibraro as an ornament and keeping in mind rhe importance of proportion in che works of Bach especial­ ly. ln preparing works of chat period, she will practice wich a Baroque bow and recommends trying rhe original bowings to understand rhe phrasing che composer might have had in mind. But, she admits che question of how ro apply che knowledge we have about rhe Baroque era to be a difficult one. And chough performing Bach in a modern context involves compromise in rhe area of equipment among ocher choices, chese artistic decisions do not diminish as we approach repertoire written closer to che present age. The composer Barr6k also left vio­ lists wich little choice but ro compromise in performing one of several versions of his incomplete Viola Concerto. In chis case, Stumm performs "a viola part rhat is a fusion of che two [Seely and Neubauer] but wich rhe Seely orchestrarion [because] rhe orchestration of rhe new version is a bit sparse for my lilcing."

When it comes to rhe question of rising to che challenge of performing in che ranks of virtuoso suing players, Stumm is adamantly unequivocal. "It's che responsibility of every musician ro aspire to che highest standard of performance on rheir instrument ... My technique, espe­ cially as relates to sound, is very viola-specific. It's never Photo by Angela Morris. once crossed my mind chat I couldn't or shouldn't play tions" between pieces. Her program of music wich song just as well as a violinist plays cl1e violin. I'm desperate relation hips includes Beerhoven's Variations on the for che viola to rise above its 'stepchild' idenciry issues Magic Flute, a set of Faure songs she transcribed, and rhat process definitely starts wirh violists (and chubert's Arpeggione Sonata, Bright Sheng's The Stream maybe a few conductors!)." And what of famous violin­ Flows based on a Chinese love song, Britten's l.Achrymae ists flircing wirh che viola for a piece or two in concert? on a song of Dowland and rhe hostakovich Sonata. "It makes my slcin crawl," proclaims Stumm, "when ( he calls che last piece Shostakovich's "swansong" ro fit chere are brilliant violists who deserve robe heard!" rhe rheme- eirher polcing fun at her own rules or, more Hear, hear! likely, a definition acceptable roan avid crossword puzzle solver, which she is.) As ro rhe comparacive dearth of And so, chough she may admit to dropping her usual solo repertoire for che viola, Stumm asserts rhat we are in Souchern "R" worlcing in the UK, it seems rhat what a "renaissance era for viola music" wich more excellent Jennifer Stumm will nor compromise on is continuing pieces being written rhan she has time to learn. ro strive for her ideal musical experiences onstage.

As enchusiastic as she is about contemporary music, - Lembi Veskimets is a violist in the Ckveland Orchestra rumm also delves deeply into che world of Baroque and an American Viola Society National Board Member. performance practice. She has performed wich preemi­ nent Baroque specialist Anner Bylsma and his chamber

JOURNAL F THE AMERICAN VlQl.A _ Q<;:;;IETY'------40 IIZUKA

By Eric Chapman Inspiration struck in 1971 when fizuka has created 280 instruments Iizuka visited Soroku Murata, a ro dare. Violas, which account for Hiroshi lizuka, born in Maebashi, well-known luthier in Tokyo. 170, dominate the landscape. The Japan in 1945, is a maker whose Murata reluctantly accepted him as distribution of various models seems instruments would appear at the an apprentice despite his to indicate distinct player preferences. top of virtually every violist's wish "advanced" age of 26. At first the lbirty are what lizuka refers to as his list. If you were to commission a concentration was on guitars, bur "Rubenesque" form, a model based viola from lizuka you would be in like many before him the lure of on the traditional designs, bur with the company of many of the finest the classical violin world prevailed. shorter corners, some asymmetry to contemporary musicians including After two additional years with enhance playability and a "buns" Michael Tree of the Guarneri Murata, Iizuka was on his way to bonom which indents the lower Quarter; Jeffrey Irvine, Viola Mirrenwald, Germany, the sire of bout and thereby shortens the body Professor at Cleveland Institute of one of the leading schools of violin length for the player. Conventional Music; and the great Emanuel making in the world and the resi­ model violas, which account for Vardi, the only violist ro record all dence of Joseph Kanruscher, one of forty-two of the maker's total pro­ 24 Paganini Caprices. Europe's leading teachers. It was duction, made in a wide range of body lengths, rend to be popular with ord1estra players. They blend in with the landscape and keep "uninformed" conductors happy.

Clearly however, rhe name lizuka has become nearly synonymous wirh the viola d'amore style viola. Ninery-eighr of these instruments are now in use and according ro the maker, there is a distinct pref­ erence for this configuration among chamber music players and soloists.

The evolution of this model is per­ haps a story in itself Like so many Michael Tree with his lizuka. creative lumiers, Iizuka has devot­ under the tutelage of Kanruscher ed countless hours of thought ro Like so many fine luthiers, lizuka's that Tschu Ho Lee, the subject of creating viola models that would roure to viola heaven was some­ an earlier article in this Journal, be user friendly and tonally dis­ what unusual. Would one ever received his Masters diploma. The tinctive. The original idea of cur­ suspect that such a maker had opportunity ro work with such an away shoulders evolved from early been a gymnast and a former pro­ exacting taskmaster paved the road training in guitarmaking, which gram director of a YMCA? ro success for Iizuka as well. required easy access to the upper

______..x....:::O :...L.llME 2:2 Nl.lMBER 1 4 1 workmanship and became one of only three makers to receive higher scores in workmanship than David Burgess in competition. (In 1983, at the German competition at Kassel, Iizuka finished fourth and Burgess returned the favor with the Gold Medal.)

Instrument inspiration has often come during walks in the Japanese gardens surrounding his home in Narbeth, PA. In such peaceful surroundings Iizuka contemplates the harmony of nature, transfer­ ring his ideas and thoughts to the lizuka at work. needs of the violist who must derive the equivalent balance from positions. fizuka searched for a closer together to increase power an msrrument. viola model that incorporated the and response. With the f holes clos­ lessons already learned in guitar­ er, the bass bar and post placement With so much success and a wait­ making and happened upon an would be favorably altered. ing list of one to rwo years, where original, ornate viola d'amore. He will the next challenge come from? then altered the model to meet the By 1986, limka turned his atten­ Iizuka says it "is now on the draw­ needs for a modern set up and a tion to weight reduction, redesigned ing board-a 15" viola that really conventional neck set. The next the scroll and removed the center sounds." Stay tuned. step was to create "buns" on the area of the volute. Even a slight lower lobe similar to those on the decrease in scroll weight would -A founder and current Board mmz­ great Linerollira da braccio made increase player comfort, and also ber ofth~ Violin Soci~ty ofAmerica, at Venice in 1563 and now in resi­ has some perceptible impact on Eric Chapman owns Eric Chapman dence at the hrine to Music sound production as weight is Violins, Inc. in Chicago and serves as Museum in Vermillion, outh removed for a vibrating surface. Vu~ Pmidmt ofth~ Chicago School Dakota. Creating small "humps" ofViolin Making. H~ has bun com­ or shoulders on both sides of the lizuka's credentials go beyond his mended for distinguish~d s~rvice by neck simulated the reference point blue ribbon training. At the both th~ A VS and th~ VSA. for 4th position and above. The Violin ociery of resultant loss of air volume was America international compensated for by increasing the competition at lower bout width. Philadelphia in 1976, he was awarded both a So far, so good. Next step? Go Gold Medal and a after the dark, rich timbre of sound Certificate of Merit. that he thought would be most Two years later he desirable. To accomplish this, won another Iizuka again slightly altered the Certificate, and in the design. The lower bout was recon­ 1982 VSA in Salt figured to further increase air vol­ Lake City, he received ume and the f holes were brought rwo certificates for

]Ql.!R.Nf\L QF TH~ AM .~RJCAN VIQ~ ~Q~IJ;TY 42 BRAHMS HAYDN VARIATIONS

By Mark Jackobs

The Brahms Variations on a Than~ by jos~ph Haydn, Variation 5 presents the task of mastering a conrroUed Op. 56a presents a variety of challenges for the audi­ spiccato and, ar the same time, shaping phrases using tioning violist. Precluding h.is First Symphony by sforzandos and accents. rroke, articulation, and three years, this piece is the first orchestral work com­ tempo are the most important elements in this excerpt. pleted by Brahms and, incidentally, his only career symphonic variation work. Excerpts from Variations Sraning this excerpt with the slurred-separate bowing 5, 7, and 8- as well as Symphonies #2 and #4- are is difficult because of the forte/piano on the b Aatla frequently requested for auditions because they dearly slur, foUowed by a fast spiccato. Th.is figure should be demonstrate the musicality and technique of the vio­ played with equal eighth note emphasis in the slur, list. In an audition the player must convey the musi­ only coming ofF the string after the third, short eighth cal style of each Brahms excerpt, and exhibit an note. This ensures thar the spiccato stroke starts dose understanding of phrasing, tempo, and articulation. to the string. This specific articulation should be used every time the two, slurred eighth note figure appears.

From the beginning one has to have a clear idea of the tempo, which must remain consistent between forte and subito pianos. I like to think of the sforzandos as merely soft accents as opposed to hard attacked strokes, so thar the phrase is nor interrupted by harsh articula­ tion. I use the sforzandos char Brahms wrote to guide the phrases, arriving at the fortes in a proportionately longer line rather than a series of short accents.

Another difficult aspect of this variation is to hold the same tempo between the 6/8 and 3/4 groupings. The 3/4, double eighth note passage (m212- 215), should be played effortlessly without accenting the quartet note bears. Brahms wrote dots over the eighth notes, not accents, so we must be keenly aware of making seamless transitions between measures.

At the end of the excerpt, floating between F-sharps (rn252- 253) on the C, G, and A strings should be done without changing the dynamics or articulation. This is one of the most difficult aspects of this excerpt and must be practiced slowly, in the middle of the bow, to match the srroke and intonation on each string.

The rhythm after the tricky F-sharps seems to be a major issue with most players; the off-bear, two eighth

------_ _.L-=.L.llME 23 NUM ~E_R,_ l 43 note slur is a difficult rhythm ro The 7rh Variation is a Siciliano; it phrases forward. This can happen perform alone in an audition. I combines rhe tender, stylistic ele­ by coordinating rhe motion of rhe suggest practicing by playing ments of a lyrical 6/8 rhythm wirh left hand exactly wirh each bow straight eight notes rhrough rhe a beautiful melody in rhe flutes and change. The main rheme is slightly whole passage, repeating rhe first violas. The difficulty of rhis rheme awkward, one must create a breath­ note of each slur. Then, ro imitate is lilcing rhe dotted eighrh, six­ less, moving phrase, retaining rhe rhythm of the wind section, ser teenrh rhythm while still creacing a rhythmic integrity and not drawing rhe metronome on steady eighrh long line. Shifts become an issue attention ro rhe technical chal­ notes and play as written. because rhey must be srealrhfuUy lenges. I highly recommend setcing executed while scill moving rhe a metronome on rhe sixteenrh note subdivision and playing rhe passage wirh a beauciful, round vibrato wirh a lifted, condensed stroke in rhe middle on rhe bow.

Variation 8 is uniquely difficult because ir must be played seam­ lessly, in a ghost-like manner, muted, wirh clean imonacion and in a piano dynamic. That's about it! Projecting rhe underlying ten­ sion of B Minor is complex, main­ ly because of the concentration ir takes to play rhis variation in rune and still "rhread" rogerher very long phrases. The right intervallic wricing makes intonation rhe prin­ cipal concern. I suggest practicing rhis variation by playing rhe dou­ ble stops created by each string crossing; do rhis in rhythm, bur in slightly slower tempo.

Even rhough Brahms does not give any dynamic indication orher rhan pianissimo and piano, rhe phrases have to be shaped by giving a slight emphasis to rhe middle of rhe slurs (m322- 324, m346- 349). It is important ro notice rhe way Brahms uses rhe long phrase arcs ro indicate phrase lengrh. In rhe case of rhe first rhree measures rhis is also rhe bowing, bur in rhe case of m353- 359, ir is a very long phrase indication rhar must be followed by shaping rhe two

Ot}~AL QF THE: AME:R1~AN VI LA SOCIETY ------44 eighth note, slurred figure. It is dynamic of eleven (twelve, if you end of his life, even if they were important to remember that each are lucky) violists will then create written for the clarinet first. The time a new phrase begins, it must the right atmosphere. In an audi­ variations, as well as the two be approached in the same way as tion, the dynamic must be raised sonatas and the four symphonies, the opening of the variation: in slightly so the solo violist can proj­ highlight the viola as a lyrical, piano, sul tasto, and with a phan­ ect his/her sound, displaying an melodic, and expressive instru­ tom-like character. understanding of the srroke and ment, crucial to the musical the way it relates to a particular impact of these works. This brings up the discussion of sryle. For example, in the fifth Enjoy working on the excerpts and audition performance dynamics. variation the spiccato stroke must listening ro these variations; I hope The piano marking of this varia­ be played in piano, yet loud that you will always discover new tion must be given careful consid­ enough to project clear articula­ insights and meanings by studying eration, both because this is a solo tion. The eighth variation must and performing the music of performance and because of the also be played loud enough so that Johannes Brahms. And ... good venue in which it will be per­ all of the intervals are clearly heard luck at your next audition! formed. In an orchestral section, a as well as the C string half-steps at movement like this variation the end of the excerpt. -Mark jackobs is 4th chair oftht would be played with an exnemely Brahms's love of the viola is con­ Ckvtland Orchestra and teaches at light bow weight over the finger­ firmed as he wrote two sonatas tht Clrotland Institute ofMusi c. board, because the combined dedicated to our instrument at the

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------_ __._-=-L_l.J_ME_ 23__ N\IM~ER 1 ------45 NEW PLYA AQl)ISITIONS FOR PIVA by David D alton •

If William Primrose's gift in 1974 of his viola library, photos, memorabilia, and lerrers formed the tiara of the Primrose Inrernational Viola Archive (PIVA)-­ with added gems and jewels along the way-the latest acquisition might be seen as the crown jewel. The Oll Brigham Young Universi£)1 Library entered inro con­ tract near Chrisonas, 2006, ro purchase the Ulrich r·.v VIOLO.V PR.LYCIP. 1L Drliner Viola Music Collection, the most important • !IJt'c' ~ ft·coll'l'~'f"~lllt'llf private viola library in the world. Dr. Driiner, an ])e deuxVio1ons active violist in the Stuttgart State Orchestra, is one of the preeminent collectors and music antiquarian deal­ 1\l £o Viola e l B a f Ce ers in Europe. Violists will be acquainted with many lYJ.'J-Tl'OSJ•: P.-1 R of his rediscoveries, and over fifty published editions, of earlier viola music. Dri.iner and his wife Elyane vis­ ired PIVA earlier in the fall where he lectured and per­ ~lfotizccf/anu/ _:__, , II 1 formed for BYU srudenrs. In the company of his p 1' 1 + · .:r · friend David Day, curator of PIVA, myself and wife as A Pi\Rl" tour guides, the couple was introduced ro southern IF /), /.. t"AtY ,.a{~,. ruL' ,/,, .H,,uk .i /,,(,;.,.,;, . .l~tr . Utah's brilliant Landscapes and fell under the spell of .I/.'-'"'' .'lf.l ;-,.,;,w.lt•w a vw /.n :vnr;;,;.. red rock euphoria. They made the decision that Utah /A,.,., d6v. ,If, (j,,,~cy;."V "UI" .~ la..IIU.I.-,{,;,,. I./),.,.;...... •Jf. ,I'.JH6u.v: /},.,.,//,., i'l. v,,.C/.-1 • and PIVA were the right place for the significant ( A :r,.J,,..,. , . lf./JriUtrl. Drliner collection to have irs permanent home. f." ,I',_,;,.,. CA.V ;.._. l.v m :ktk nw• UfUt' • A.P. JJ • .n . The acquisition will rake place as portions of the collec­ tion are sene incrementally to BYU, until 2009. The only print extant ofan Anton Stamitz viola concerto in the Contained in the Driiner Collection are over 5,000 sin­ Ulrich Driiner Viola Music Coluction. gle works for solo viola, viola chamber music, viola con­ certos and other related documents from the early 17th cians Pierre Boulez., Carlo Maria Giulini, Hans Werner cenrury to the present. Among these items are many Henze, Carlos Kleiber, Yehudi Menuhin, Krysrof Urtexte and first editions, and autographs found on Penderecki, Wolfgang Rihm, Max Rostal, er al. It is dif­ music or in letters. The collection is particularly com­ ficult ro express adequately the gratitude due ro the prehensive of"rypical" viola composers, such as F. A. administration of the BYU Library and donors for this Hoffmeister, Carl and Anton Stamit:z, Hermann Ritter, acquisition, something I had furtively hoped for and Paul Hindemirh. Of the 160 known works by decades. Following the 1982 Srurrgart International Alessandro Rolla, 140 are contained in the collection. Viola Congress, Ulrich opened cabinet doors in his Of the few pieces for viola by Berlioz., Beethoven, and home and allowed me a glimpse of his collection of Mozart, these are present in first editions. Nearly all viola music-while my salivary glands sprang inro action. known viola methods of the 19th century and over I ,200 crudes originally wrirren for viola are included. Of D avid 0. Brown Sound Recordings Collection added interest are personal letters from notable musi- I wish to mention other recent "gems and jewels" that

------J.J..:::O::.....:URNAL OF TH~.AMERJ~.AJ'T VIQLA SOCIET~Y______46 have been generously donated to PNA. The late three musician sons gathered up their father's written David 0. Brown of Brentwood, New York, a gentle legacy and had it shipped in thirty boxes ro BYU. By friend, and one of the foremost Primrose and viola this year the collection will be fully organized and cod­ sound recording sleuths, vouchsafed his promise to ified in electronic format by a BYU viola master's stu­ me by bequeathing to PNA in 2004 his entire collec­ dent, Tally Oldroyd Taylor. Her effon represents tion of recordings and materials, namely about five-hundred hours of exacting archival work supported by a College of Fine Arts scholarship. 225 COs {single discs and multiple sets), 48 78 RPM records, A profile of what is contained are papers, notes, rare 3450 LP recordings {single discs), 566 LP record­ books and music {as early as 1848), Riley's arrange­ ings sets totaling 2044 LP discs, ments of works for viola, and lecture materials. 27 45RPM records, 113 Reel-ro-reel 7 _ IPA tape Further, there are over five-hundred biographical recordings, files of notable violists {resumes, concert programs, 411 Cassette recordings (many representing his­ publicity materials, and historically significant viola torical and one-of-a-kind performances by events). Information can also be found on nearly notable performers), one-hundred instruments by such makers as 22 VHS video recordings {commercial and spe­ Stradivarius, Amari, and da Sal6, including the cial recordings), and accounts of performers who played them and rare 23 miniature scores, 15 historical magazines and appraisal certificates and photos. Over a thousand journals, 7 books. letters of correspondence are summarized in the database, many of these from legendary violists and Readers ofJAVS may recognize his name as having conductors. Several hundred photos document Dr. been the magazine's recordings reviewer. By profes­ Riley's travels and encounters with celebrated figures sion Brown was a music reacher, though he was quick of the viola world. And ro all who knew Leila Riley, ro remind he had never played the viola. By avocation there are two prized T-shirrs imprinted with her per­ he was a fencer and radio classical "disc jockey," and sonalized manifesto: "Viola Groupy." by passion a record collector. He seemed to have a special fondness for the viola and Primrose, bur admired many other violists as well. Brown stated, for Harold Coletta Collection instance, that he had ninety-six different recordings of In my experience, Coletta was a very good correspon­ Mozart's Sinfonia Concerranre. In a letter to me dent. I looked forward to his usually succinct mis­ toward the end of his life, David said that his collect­ sives written on a big and bold letterhead. His ener­ ing since his youth had been a "labor of love, bur I getic cursive was generous and broad, reflective, I am getting old and tired. Who will be my successor?" thought, of his personality as I knew him. Harold was tall and straight with Burt Lancaster like good looks. I never heard him except on recordings, but Maurice W. Riley Collection what I heard from those who personally knew his The pioneering historian and author of the two-vol­ playing, his ample rone was complementary ro his ume Th~ History ofth~ Vwla was another "indentured physical stature. He played in the Srokowski AU­ servant of the viola" (paa Dr. Dwight Pounds) whose American Youth Orchestra, the Sr. Louis Symphony, contributions to our instrument are well known and New York Philharmonic, nine years in the NBC respected. Maurice had assured me thar the extensive Orchestra under Toscanini, as a member of the results of his research would eventually repose in American String Quarter, and taught at Yale. In the PNA. Riley and his wife Leila formed a long and latter part of their performing careers, Heifetz, admirably strong marital partnership. After Maurice's Piatigorsky and Friends performed a Carnegie Hall death in 2000, Leila wished ro leave his effects undis­ concen; Coletta was one of those friends. (See}AVS turbed. Ir was at her passing two years later that their Vol. 3 No. 1, April, 1987 for his interview.)

______._ Y....::O=L=U'-!..M.I; 23__ NtiM~I;R _ 1 47 The Coletta Collection includes eleven archival boxes Zeyringer, first president of the International Viola of his papers, organized and electronically preserved Society, with a matching donation from the by Caroline Maxwell, an undergraduate viola major Summerhays Music Company of Utah. Hermann supported through a grant from the Office of Ritter, principal violist for a time in Wagner's Research and Creative Srudies. Contained are concert Bayreuth orchestra, knew of the composer's general programs from 1932-2001, career and pedagogical disdain for violists, roo many who were former, and materials used in his reaching; over 300 photographs, infirm, violinists. Hoping to offset this opprobrious and six boxes of reel-to-reel and cassette recordings of assessment of violists and their instrument, Rirrer pur­ his performances. Appreciation goes to his widow, sued the construction of a viola that would contain Mary, for guiding Colerra's materials to a growing the brilliance of the violin and a cello-like sonority in resource in the pantheon of notable violists in PIVA. the lower range. The PIVA viola alta was made by Philip Keller, the label carrying the date 1904, Wiirzburg. Hermann Rirrer's signarure is inscribed The Ritter Viola Alta in PfVA on the back of the instrument. I reflect on the illuminating article on the viola alta in JAYS, Vol. 21 No. 2 by Linda Shaver-Gleason. This seventeen-inch, five-string viola alta, encompassing the ranges of rhe viola and violin, was a gift to PIVA on the occasion of the opening of the new Primrose & PIVA Rooms in 2002. The donor was Prof Franz

David Dalton admires the PIVA viola alta. Photo courtesy Tom Wells, BYU Library.

The collections described above, either by way of acquisi­ tion or donation, are for the purposes of preservation and enrichment of the literature for viola. They preserve rhe legacies of historians and violists, all meant for the benefit of performers and researchers of our instrument. We look forward to future gems in the PIVA tiara.

David Dalton, former president ofthe AVS and IVS, is Professor mzeritus ofViola, Brigham Young University.

Prof Hennann Ritter, 1849-1926

JOURNAL OF THE AMERICAN VIOLA SOCIETY 48 THE TERTIS l.:EG ~G~ by Thomas Tatton musician, ord1estral player, record­ ing pioneer and artist, arranger, If we are to keep our tree healthy THE FIRST GREAT VIRI1JOSO composer, designer of instruments, and growing we violists should rec­ OF THE VIOLA: LIONEL TER­ teacher at every level, and head ognize, value and celebrate our roots TIS. John White. Boydell Press, cheerleader for the viola. He was a - our past. Tht Firrt Great Virtuoso 2006 - 668 Mount Hope Ave. man of considerable longevity (29 oftht Viola: Lionel Terris is a "must Rochester, NY 14620..2731. $47.95 December 1876- 22 February read" for every serious student of 1975) who possessed an enormous our magical instrument. By adding Professor of Viola at the Royal personality. Through various stories this book to cl1e standard violists' Academy of Music John White has and anecdotes, White describes library- including My Viola and I been dose to the Terris f.unily since Terns' enormous personality on the by Lionel Terris, Playing tht Viola: rus youth, when he srudied with one hand as kind, thoughtful, gen­ Conversations with William Primrose Terris student Watson Forbes. He has erous, humorous, supportive and by David Dalton, Walk On the North since made himself the preeminent attentive; yet he did not hold those Side by William Primrose, and The scholar of English violists and viola back that show him also to be at History ofthe Viola in two volumes by music, and therefore is the only per­ times combative, obstinate, fiery, Maurice Riley- we have a more com­ son who could weave so tightly all self-absorbed, and demanding. plete picture of our heritage. Violists the mulri-colored threads and then would value (him for those searching illuminate this enormous tapestry we Terris did not create his vast legacy for a project!) a coUective, annotated so humbly and inadequately describe in a vacuum. Bernard Shore (17 concordance cross-referencing d1e as the Life and work of Lionel Terris. March 1896- 2 April 1985) described published activities, anecdotes, and White brings rogether prodigious Tercis on stage" ... as a rugged oak srories of all insrrumenralists and con­ resources including articles, reviews, tree ... " (p.74). Permit me to take ductors, plus composers and their and letters to the editor !Tom every this analogy a bit deeper. Think of viola compositions, centered around conceivably concerned newspaper, Terris as the taproot and the center the Life and work ofLiond Terris. magazine and journal; books and trunk of our "rugged oak tree ... " articles, as well as speeches, testimoni­ He set himself deep into English Included in our book are thirty­ als, interviews, srories, and anecdotes soil that was rich in European three pages of some fifty-two price­ from Terris and about Terris !Tom musical history and nourished by less photos, wonderfully annotated famous (e.g., William Primrose, Fritz the powerful nutrients of the English footnotes and remarkable appen­ Kreisler, Pablo Casals, Eugene Ysaye Renaissance. William Primrose (23 dices. This is not an armchair read and Anur Rubinstein) and nor-so­ August 1904 -1 May 1982) and by any means nor is it designed for Famous contemporaries; program Paul Hindemith (16 November the non-string playing musician. notices and notes, information from 1895 - 28 December 1963) were (My wife, who normally enjoys a record sleeves, diary entries and pri­ arguably the other main roots pro­ good biography, would not go far vate conversations. Tills remarkable viding balance, breadth and strength here - it is altogether too tightly story contains a seemingly infinite to our "rugged oak tree." From the knit.) On the other hand, if a seri­ number of threads to the musical great expanse of its limbs to the ous violist does nor read this work world for a span of almost a century. very top of irs glorious arch every and have it close at hand for refer­ twig and budding leaf owes the ence then he/she chances to Terns was involved in some way in quality of its existence and suste­ become a Cinderella without a every aspect of the viola world of nance to the life and work of coach to attend tl1e ball. his day: he was a soloist, chamber Lionel Terris. OLUMJ;, 2.? NUMJ?.ER, I 49 Lionel Terris The Early Years, of all is that John White perused the seven selections are each expertly edit­ bks. 1 and 2 for viola and piano. personal, unpublished manuscripts ed with Terris's fingerings and other Compiled and edited by John that Terris himself used in perform­ notations printed above the viola parr White. Comus Edition, 2006. ance and incorporated many of the in the piano score. The music is www.comusedition.com fingerings and bowings- in the viola handsomely laid out with measure part found in the piano score! This numbers and many suggested This two book album includes many gives the violist an uncluttered viola metronome marks. Welcome are d1e of the salon-rype pieces performed part with access to the inner ear of authoritatively written notes about by uonel Terris, the 20th century's uonel Terris. As one might expect the uonel Terris, his rranscriptions and first viola virtuoso. Like many of his fingerings are considerably different arrangemeniS, the sources and connec­ contemporaries (Fritz Kreisler and than those a violist might use roday ­ tions for each piece and two very fine Mischa Elman) a Terris recital might a remarkable stylistic window inro photographs of Lionel Terris. consisr of a sonata or two with the our past and what a joy ro play! program filled in by these ljghr, The pieces, none longer cl1an six enrerraining gems that continue ro The music itself certainly has use­ minutes twenty seconds, are varied astonish and delight audiences. fulness way beyond its historical sig­ and unique. They include: Etutk nificance. The 2006 Naumburg Op. 42, No.4 by Alexander criabin; The sixteen pieces (eight in each Competition winner, violist David S~r~natk from the drama "Hassan" book) fir inro one of three cate­ Aaron Carpenrer, recently gave a by Frederick Delius; First Muting gories: those that Terris arranged, well-received San Francisco recital by Eric Coates - originally for viola those that he composed, and those but was taken to task by the review­ and written for Terris; Romanc~ in F. thar he had his composer friends er for including " ....dust-covered Op.28, No.2 by Robert chumann; and colleagues write for him. relics ... " like Paganini's La S&enatk, Op.l by Gabriel Pierne; Included in the arrangements are Campan~lla and Dinicu's Hora Chmy Ri~ by Cyril Scott, and 01ant the Elegie by Faure, Liebesrraum Staccato. There are a multitude of D~ Roxan~ from the opera "Le Roi by Liszr and a couple of short reasons to program these pieces not Roger" by Karol Szymanowski. pieces by Mendelssohn (Sweet the least of which is that the audi­ &membrana Op 1911 from "Song ence enjoys them. Like the Paganini There is a precious li rcle secret locked Without Words" and Spring Song. and the Dinicu, these Terris pieces within these Terris touched pieces. Original compositions include Th~ will play well sprinkled inro a recital Don't tell anyone now, but the secret Blackbirds, Th~ Riva; A Tun~, and or as encore selections (perhaps not is the historical, musical magic hid­ Sunstt - each fun to play and well­ in S.F.). Churchgoers will enjoy den within these notes. Pick any piece: crafted ro fir the viola. Finally these pieces as "special music." massage it, caress it, and stroke its there are four pieces by William These are terrific pieces for a young notes. To unlock and share the pre­ Wolstenholme -a blind English persons concert or a viola demon­ cious secret, simply learn and per­ organist, composer and friend of stration. And, they would surely fit form this music for your auruence. Lionel Terris - that are cleverly nicely as pedagogical material for wrinen and highlight well rhe var­ any advanced srudenr of the viola. This volume, in the tradition of John ied qualities of the viola. White as well as Josef Weinberger There are many remarkable qualities A Lio11el Tertis Album, Co11cert Limited, is yet another outstanding ro recommend these books as com­ Pieces for Viola. a11d Pia11o. addition to the violists' repertoire. piled and edited by John White. He Compiled and edited by John has included annotations regarding White. Joseph Weinberger - Dr. Thomas Totton is Past sources, as might any good scholar. llnllted, London, 2006. Pr~sidmt ofth~ A VS and currmtly In addition, he has included infor­ serv~s as Viu Presitknt ofth~ JVS. macion about the original recordings This is another superb collection of and informacion about the Biddulph Terris arranged literature for the re-recordings. Bur, most remarkable advanced and artist level violist. The J OURNAL OF THE AMERICAN VlOLA SOCIE:TY 50 This column ftaturts recently com­ with solo viola with a C-major There seems to be heavy roman­ posed works for Viola and Piano. chord much like the Hindemith ticism in this movement, perhaps Der Schwanmdreher, except with­ a romantic encounter is being Viola Concerto (Tre aspetti di our the rop "E" on the a-string. remembered here. The Elgar Roma) (1990) The opening cadenza then ends influence is even stronger in this I. Campo dei Fiori on a C, also like the Hindemith, movement, and in contour, the II. II Pincio with the orchestra entering in a opening of this movement 1[1. II Trastevere strict 4/4 time, but here the reminded me slightly of Bach's music is faster and played by the Air on the G-String with the Difficulty: Level 5 strings in a texture that reminded eighth-note rhythm and the Duration: 27 minutes me of Dvorak's Sermadt for downward bass movemenr. He Dedication and Premiere: Strings. There are additional sec­ beautifully exploits the viola in Patricia Pollett with the tions where the viola is featured the lower register in the lyrical Queensland Symphony with solo cadenzas, and are fol­ lines, but also does not shy away Orchestra lowed with strict 4/4 metered from the upper register, going up tutti sections. The viola is always to a high "D " at one point. The By Colin Brumby (b. 1933) heard very well in the recording r music phrase repeats itself several have, even in the more contra­ times with the solo viola line tak­ I have really enjoyed listening to puntal sections that reminded me ing melismatic accompanying this concerto; there isn't a a little bit of moment in ir rhar isn't beautiful. Elgar's Cello Ir is written in a comparatively Concerto. The traditional romantic sryle, and it MUSIC AT RUTGERS overall form is in Mason Gross School of the Arts certainly helps ro fill one of the a traditional hugest voids we have in our liter­ sonata form, and ature- a major concerto in the the flavor of the STRING FACULTY romantic sryle (nor counting the music and the Arnold Steinhardt, violin, Chair of Strings Berlioz Harold in Italy, which inspiration of rhe Todd Phillips, violin Lenuta Ciulei, violin most violists don't even consider nature and the Toby Appel, viola to be a concerto). This work flower field are Kathryn Lockwood. viola draws inspiration from "aspects" successfully cap­ Jonathan Spitz, cello of 3 favorite locations in Rome, tured. Tim Cobb, bass where the composer spent tjme with his advanced music compo­ The second Instruction on major instrument, and in musicianship, sition studies in 1972. This movement "II theory, and history. Performance in the Rutgers Symphony Orchestra, Rutgers Sinfonia, early music work doesn't sound Italian by any Pincio" is an ensembles, chamber groups, and solo recitals. Degree means; however it does sound extended aria­ programs: BM, MM. AD, DMA. Merit based scholarships. very European-influenced, espe­ form movement, cially by composers like Dvorak and is the name Audition/application information and Elgar. of the exquisite at www.masongross.rutgers.edu gardens found The first movement "Campo dei above the Piazza rvlason Gross School of the MJ Fiori" (Field of Flowers) opens del Popolo.

______V...... ,O =L'-"'U~M=E=-=23 NUMBER 1 51 VIOLA RECORDINGS Ylzhak Schotten, "one of America's lines above rhe rexrure. The score for chis work is finest viola players• (STRAD), was for­ merly with the Boston Symphony He also successfully available at: and principal violist with Cincinnati embraces the romanric Australian Music Cenrre & Houston Symphonies. Internation­ al soloist, he has five COs on Crystal. spirit in his mood e-mail: C0635: Britten Lachrymae; Shul­ changes, flowing seam­ [email protected] man,Theme and Variations; Schuber, lessly from gushy lyrical Arpeggione Sonata; Marais, Five Old French Dances. •extremely expressive lines ro anxious and more musician"Toronto Whig-Standard excited material. The Viola Concerto (1995) C0637: Viola 1919. Hindemith &Clarke movemenr is firmly root­ I. Moderaro-Presrissimo Sonatas; Bloch, Suite."Sppendid sonar~ ootinglyplayed. "TurolJuilliard School percussion colors he uses, work through the record­ and since 2002 has been on the faculty of especially the accompany­ ing of it that I bought the New England Conservatory. This new CD features first recordings of stellar new works ing tambourine he adds [SMCD 5206 CBC along with Gershwin and Porter favontes. as a splash of color. The Records] featuring Rivka CD834: Viola Swirl. Bunch, Suite; Coleman, ending coda is consider­ Golani and rhe Toronro Summer; Theofan1dis, Flow My Tears; Gersh­ win &Porter arranged for viola and p1ano. able faster, making for an Symphony Orchestra. James Dunham was violist of the famed exciting ending, bur the The opening movement Geveland Quartet. He has performed inter­ very end seemed a little begins very slowly and nationally as soloist & chamber musician, modest in volume and darkly, with mysterious and taught at Eastman, New England Con­ servatory, and, currently, Rice University. orchestration, I would be harmonies that reminded CD647: Viola and the Winds. James Dun­ curious to see how an me of Maninu's Symphony ham with the Westwood Wind Quintet. audience would react. All No. 3. This mood quickly Sapieyevski, Concerto forVlola and Winds; Plog, Four Miniatures; Holst. Terzetto. Also in all, the work as a changed into a more aggres­ Kohn. Colla Voce (w/guitar). "Dunharrfs whole is wonderful, and I sive one with the percus­ cone is rich, gutsy, and expressive." Fanfare highly recommend that sion crescendo that leads COs $16 95 each Add $2/ocdef US sh1ppmg, $6 foreign (menbon ad) Order by phone, fax, mall, email, oc on the web U S Check, VISA, MC violists rake a look at the into the opening viola solo FREE Compact Disc with each purchase of three. romanric sounding gem entrance. There are Send for free catalog featuring instrumental solos & ensembles. of a concerto Brumby has extended viola cadenza­ CRYSTAL • RECORDS written for us. like sections in the begin­ 28818 NE Hancock, Camas, WA 98607 USA phone 360-834-7022; fax 360-834-9680, order@crystalrecords com ning of the work that have See ltSbn b co r & new releases on web-site www 1alrecords com

lQURNAL QF TH~ AM~RI<::AN VIQI,.A ~Q<::;:_I ~TY 52 a dark C in the cellos and basses and the Kabelevsky Violin Viola Concerto No. 1, Op. 108 being held during the cadenza. Concerto. His percussion usage, (1929) The Prestissimo section remind­ especially that of the xylophone I. Anime ed me of the ending of Colgrass's and gong is very intriguing and II. Lent Variations for Viola and 4 adds colors not often heard in III. ouple et anime Drums, the sixteenth note pas­ viola concerti. The double-stop IV.Vif sage at the end. The ending of trills and ricochet also were very Difficulty: Level 6 this work was incredibly spooky! unusual effects in the solo part. Duration: 12 minutes The ending in this concerto goes Premiere: Paul Hindemith with This darkness of the ending of the out with a bit more of a bang with the Concertgebouw Amsterdam first movement transitioned very more Colgrass-like fast sixteenth nicely into the second movement, notes at the end, and an uproar in Viola Concerto No. 2, Op. 340 Andante, which kept a somber the percussion which will certainly (1959) character throughout the move­ bring the audience to an ovation. I. Avec entrain ment. The accompaniment was II. Avec charme very thin, sort of like the minimal­ This concerro received the Jean III. Avec esprit ist accompaniment Shostakovitch A. Chalmers National Music IV. Avec ga_te uses for his Viola Sonata. The Award in 1997, and in 2002 it third movement, Presto, begins in received a JUNO nomination. Difficulty: Level 6 a fast 3 meter, and brings to mind This work is available directly Duration: 21 minutes the Penderecki Viola Concerto, through the composer at: Premiere: William Primrose with the Shostakovitch Cello Concerto, e-mail: [email protected]. German Radio Orchestra lE DoMAINE FORGEr: MUSIC IDANCE ACADEMY VIOLA 2007 STRING SESSION/ """ ~... Y 15 TO AUGU

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------_ _._-=-I,.lJ M~ 2 ~ l.[M ~E""'Rc.:...._l,______53 Concertina d'ete, Op. 311 about them. It seems like the Hindemith actually suggested to (1951) Concerto No. 1 is at best vaguely his friend Milhaud that he come familiar to a handful of violists up with a smaller version so the Difficulry: Level 6 and just about no one I have spo­ viola could be heard better, but as Duration: 14 minutes ken with in our communiry Madeline Milhaud pointed out Premiere: Robert Courte with know about the Concerto No. 2 (in my 1998 interview with her) Charleston Chamber Music Players or the Concertina d'ete. I enjoy Hindemith never performed this all of these works, but I will say revised orchestration. The first "Air" from the 1ere Sonate for that his works for viola and piano movement has many interesting Viola and Orchestra (1944) are superior on rhe whole, in fact moments and it is very joyous in Difficulry: Level 5 I consider those pieces [Sonara character, often times reminding Duration: 4.5 minutes No. l , Sonate No. 2, and 4 me of a circus. The second move­ Premiere: Germain Prevost with Visages] to be among his best ment, Lent (in a 5/8 meter), is the Universiry ofWisconsin works that he ever wrote. very sentimental, and lyrical, and Symphony Orchestra then ending poses an interesting T he Conurto No. 1 being only 12 challenge, where the violist "bars" by Darius MiJhaud (1892-1974) minutes total in length is easily a chord and arpeggiares under a one of the most difficult pieces in slur going up the fingerboard. At These works for viola and orches­ our lirerarure, and having per­ the end of this passage, the rra have been around for a while, formed it with orchestra myself, "barred chord" is so high up, it but I am continually surprised at with all of the gymnastics can be a very challenge to get how little most violists know required for this work (or should these notes to be played smoothly, I say "workout") it especially if your action of the will certainly feel string is high. The third move­ much longer than ment, Souple et anime, is again c "fvt:iVY"L~Y" OOW¥EV that. The opening joyous and swaying in triple chords in the 1sr meter. The fourth movement, Int~~~ movement, Vif, begins similar in contour to Anime, are not the the 3rd movement of Hindemirh's M~f~IM~ most flattering Der Schwanendreher, and I have chord on the always wondered if this move­ llt"- 8tfliA~2 instrument, bur I ment provided any inspiration for Artistic Director SUSan Milan have found that in the opening of his Variationen __... ..P'*r vcotuv order for these to movement. The ending of this .....,._vema. be pulled off suc­ movement is one of the most dif­ Aleunclilr..,_...,C.UO. cessfully, they need ficult pam of the piece with the S.... MIIM ftA,aa. Devld Theodore Obo. lots of gusto to get quick double-stops and string ...nv.. deWiel~ rhe full effect. crossing. Careful planning needs ,....GIItt~ T here are rwo ver­ ro be done with this section as far Mlcfwel Thorrtp 1 an Hon\1 sions of the as a playable tempo and how that Yonty 5o'-- ~ ...,.,.,_.HN'p orchestration, and relates to the opening, which con­ the revised version ductor tend to want ro take faster. MAAer~CU'\.dt for a chamber Overall, it is a very charming ~w~Worl,d, orchestra of 15 work, bur for the average listener, 'Ren.ow n.e.d.- T ea.che¥~ soloists is the more it would probably take some time ~ Per(orm£f"~ commonly used to get used ro the harmonies. www.cimf.~ukt version. Paul The Conurto No. 2 has no com-

------JOURNAL OF THE AMERIC AN VIOLA SO..:::C~l~E=-TY~------54 mercia( recording available, but I provide a piano reduction that Difficulty level chart: was able to get a recording of the does also appear in this score. I Very Easy premiere that was recorded with The fact that this piece isn't read­ 2 Somewhat Easy a German Radio Orchestra and ily available in a viola-piano for­ 3 Intermediate premiered on a radio broadcast. mar may have something to do 4 Somewhat Difficult This work hands down is the with irs obscurity. The scoring is 5 Difficult most difficult viola concerto ever for viola and 9 solo players [I 6 Very Difficult written. Milhaud wrote this for flute, I oboe, l clarinet, 1 bas­ Primrose while they were both soon, 1 horn, 1 trumpet, 2 cel­ Please send all viola scores for colleagues at the Aspen Music los, and 1 bass]. The work review consideration ro: Festival. Milhaud probably fig­ begins in a swaying 6/8, and later ured since Primrose was known rhe music rakes on a march like Kenneth Martinson, Viola Professor to be the best violist of his rime, tempo in a 4/4 rime. The end­ University of Florida that there would be no limit on ing returns to the relaxed 6/8 School of Music, 3008 AUD how far he could stretch the vio­ material and end very softly. P.O. Box 117900 list's technique in this piece. Gainesville, FL 32611-7900 Unfortunately, the result was so The "Air"frorn th( Ur( Sonau difficult that Primrose only ven­ also has no commercial recording tured to perform it the one rime available. I was able to locate the for the radio broadcast. My score in the Library of Congress. favorite movement is actually the I researched the University of final movement, written in 12/8 Wisconsin library to see if there rime, and has sections that are was a recording obviously influenced by South made of the pre­ American music, as he spent a miere, and they considerable amount of time in were not able to Brazil. There are also many pas­ find one. I did sages with double-stops through­ input the score our the concerto, sometimes into Finale so I however they are written to be would be able to dam pi~ Pat No 3 407 700 played to quickly, and are nor hear it, and the the sensational very practical in real life. This playback sounds humidifier for work has traditionally been much very beautiful, and VIOLIN e VIOLA e CELLO e BASS less played than the Concerto I very much look No. l , probably because of the forward to hearing We recommend the Damp1t enthusiastK:al/y. difficulty issue, bur probably also it realized some­ d•mplt provides perfect protection because of the huge price tag it day. It is orches­ against damage from a dry atmosphere. carries, when I last checked it trated for 2 flute, ftmplt proved itself 100% effective in was sel ling for $130! 1 oboe, 2 clarinet, scientific sensor measurements. FREE Room Humidity indicator with l bassoon, 2 each d•mplt. The Conurtino d'ltl is another horns, 1 trumpet, Violin $8.95 • Viola $9.50 very pleasant piece that is also timpani, and Little Violin $7.95 • Cello $11.50 quire difficult. However, this smngs. Bass $12.50 work is much more playable than These works are all AVOID FAKES, AVOID MISTAKES. the Concertos No. l and 2. This published by A genuine Dampit hM lh4> Dampit name on lh4> black top. work is currently only available Huegel. Nr--...-.-USA-~$1.00--. In USA-~ P'--$.M--. in score form, bur Milhaud does Key to the llox-,-City- NY, NY 10101.

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As educators and performers, we all understand that the future of our field- be it Classical music in general or viola playing in particular- lies in the hands of the young. While many of our members organize educa­ tional events as part of their reaching, AVS Presidem Helen Callus iniciared a program in Seattle that has now been made available to the general AVS membership for disseminacion and use. Below is the result of a short interview with Callus on the background and goals of BRATS, conducted by JAYS Editor Matthew Dane.

MD: What is the most fundamental goal of BRATS?

HC: When I first joined the Faculty at the University of Washington, it was made clear to me that a significant part of my work load was outreach of some capacity. I decided to go into the high school system to see if I could help and be a resource for the reachers in the community. After visiting about ten schools it became quite apparent that there was much more of a need for viola resources than I had originally thought and I felt that my visits (where I would meet 2 or 3 violists at a rime) was not the best way for me to reach out to the majority of young viola players in the community. Ir was obviousthar the violists in these music programs were not able co be looked after like the other instru­ where they would organize and reach the classes and mentalists in their classes and they seemed very uncon­ events. o nor only would the young viola students fidem and a bit demoralized by being choosen to play benefit bur my viola program at the university would the viola. So I decided the create the BRATS program. also be offering practical training to our viola students.

MD: How did this develop into a plan? MD: How was this plan executed to address the par­ ticular needs in eatde? HC: I felt that young violists would benefit greatly from being involved in a group, meeting other violists, HC: I think that there was no special effort to make the professional performers and reachers. I thought we program fir the needs of Seattle but more to suit the needs could bring many different high school viola programs of the high school system and music programs, which is together to work in groups and as one ensemble and probably very similar around the counoy at this rime. There we would offer classes, creative events and have awards was always a lade of money for the music programs and some and prizes and r-shirrs so they effeccively felt like they were being cur. We tried to appeal to all types of pro­ had joined a club or organizacion for students just like grams and all types of levels - all types of music pro­ them. I felt the university was the best and most grams. The idea wasn't to create a competitive envi­ inspiring place to do this and that my studio would be ronment, but a nurturing one where the one thing we trained and prepared to run the day like a congress all shared was playing the viola! NUMBER 1 MD: How did BRATS fir in with prizes and performers, recordings. MD: So a university doesn't need school orchestra programs? With We were able ro utilize almost to be involved? Youth Orchestra programs? every possible resource in the viola field in our area and nationally. HC: No - but it can provide excel­ HC: The biggest resource we were lent resources and usually has some able to offer was a hands on training MD: How did this specific pro­ kind of funding, advertising budget for young viola students. Sometimes gram starred by you make the and other resources at its disposal. in the classroom we noticed that transition to become something Plus it has lots of students to help reachers had a wind background or that others could run? staff the event! some other specialty and although they had done some basic training HC: I felt that the AYS reaUy need­ MD: How has the experience in string reaching - they were nor ed a strong educational initiative. I effected the futures of the student always able to help and address spe­ had heard from chapter presidents assistants involved? cific viola issues, like sound, size, and AVS members and coUeagues clef ere. We created a folder/book all around the country that the quality HC: I believe that the events we hast­ of tips and practical information and nwnbers of good viola students ed at the UW from the Day of Viola that would be left in the classroom at the coUege level were dropping and to the International Viola Congress for the reachers and students alike that we were Facing issues within shaped and informed their careers. to use as a resource (I am currently classical music of a drop in live They became responsible and cre­ making this avaliable to the AVS for concert attendance. I felt that the ative performers and teachers and the chapter Brats events). Youth one way I could help was through realized that with some effort and Orchestras have their own form of the viola and reaching our ro both creative thinking, great strides for club bur through my reaching and those young players who just enjoyed our field were possible. playing and that of my coUeagues in playing and to those who were inspired the area we were able ro reach our ro ro do more and go funher with their MD:Did you observe long-term almost every organization in the area studies. There was nor much that effects on the school students? to participate in some manner. needed ro be done to re-package the program for national use and the HC: The most important thing to MD: In the beginning, was there a oucline is being used all around the me was that the attitude and spirit need for funding? country now for mini viola fests and of the viola students involved improved viola days. Everything you need to so dramatically. No longer feeling HC: Nor really. I raised about $10,000 get started is on the AVS web sire. overlooked or second choice, they in grants from UW ro help pay for began ro take pride in being volists the cost of printing r-shirts, compil­ MD: What sorts of modifications and wore their Brats T-Shirts with ing the notebooks, and for providing ro the program might need ro be pride! The viola days grew each year scholarships for my students ro go made ro suit a specific city or town? and we had more requests than we our into the schools and give BRATS HC: The person organising the event could manage for the Brats team clinics. The funding was used ro has ro be in touch with the commu­ to visit ro give a clinic. advertise and make postm and rent or nity's needs and resources. Universities hire anything additional for our annual are wonderful places to host sud1 events MD: How many events have been viola days. but also youth orcl1estra venues or put on in Seattle? Elsewhere? Saturday schools of music. Even the MD: Were there early financial local symphony can get involved. You HC: We had 3 annual days of the supporters of BRATS besides the just need ro reach our to a few of the viola in Seattle. One was recencly University of Washington? local reachers and the word spreads pur on in LA based on the from there. Having a viola chapter in BRATS outline, as well as another HC: Local businesses really jumped the area would be a tremendous center by Kate Lewis in Illinois. on the idea and bought advertising for the organization bur you can easily or had luthier tables on sire. run it through a ream oflocal reachers Companies like SHAR donated or perfOrmers or ~ry viola studio.

OUR!:"f\L OF THg AMERI~ VIOLA SO~IETY=---=------58 Pkast smd ittm.S ofintertst rtgarding LocaJ Viola Societies Ariwna Viola Society viola activity at tht grassroots to: Jacquelyn Schwandt, president Louist Ztitlin, A VS Stcrttary. [email protected] LouistZtitlin @obtrlin. ntt. Central Texas Viola Society Ames Asbell, president [email protected] Chicago Viola Society Michael Hall, president New York mhalll @iwu.edu The first event of the New York Viola Idaho Viola Society Society's fifteenth season was on Linda Kline l..:umlr, president [email protected] October 8th, when we heard an excit- Tht I"tlroants in action. Iowa Viola Society ing concert of viola ensemble works Christine Rutledge, pres1dent featuring NYVS's long-time friend The lrrelevanrs, playing music for [email protected] Paul Silverthorne with London viola and saxophone. Mr. Minnesota Viola Society J. David Arnott, president Symphony Orchestra colleagues and Avshalomov, with pianist Joanne [email protected] New York City friends. Mr. Polk, offered superb renderings of Nonh Carolina Viola Society Scott Rawls, president Silverthorne and Edward Vanderspar, Haydn's Sonata in F Major (based on [email protected] who are joint principals of the LSO, the String Quartet, Op. 77, No.2), Nonhem California Viola Society gave a stirring performance of George Robert Sirota's Dark Dances for Viola Tom Heimberg, president [email protected] Benjamin's Viola, Viola, a work they and Piano, and the Sonatine by his Ohio Viola Society have performed frequently. Mr. father, Jacob Avshalomov. The JdTrey Irvine, president Silverthorne also presented two beau­ lrrelevanrs gave virtuosic performanc­ [email protected] Oklahoma Viola Society tiful late romantic works by British es of works by three violist com­ Matthew Dane, president composers: the York Bowen Fantasit posers: Michael Kimber's Dialog; [email protected] Quarttt, with Gillianne Haddow, co­ Russell Podgorsek's Duo Concertante Oregon Viola Society Adrienne Brown, president principal of the LSO, and local vio­ (a world premier); and Paul Seitz's [email protected] listS Nardo Poy and Mark Holloway; Relevant Dialogues. They also per­ Palmetto Viola Society and Benjamin Dale's Introduction and formed a viola and saxophone version Constance Gee, president [email protected] Andantt, Op. 5, in which the quartet of composer Libby Larsen's Bid Call. The Philadelphia Viola Society was joined by Shmuel Katz and Together, Messrs. Avshalomov and David Yang. president [email protected] NYVS President Christine Ims. Also Deighron gave the world premiere of Rocky Mountain Viola Society on the program was an arrangement Michael Kimber's Three Canons for Margaret Miller, president of the Bach Chaconn~ lchico Two Violas. marg:[email protected] Nodaira's Transformation 1. This was Southern California Viola Society Jennie Hansen, president performed by an exceptional group of [email protected] local players: Craig Mumm, Jonathan Utah Viola Society Claudine Bigelow, president Vinocour, Danielle Farina and NYVS [email protected] Vice-President Ann Roggen. Viola. Qub of MD/DC & VA Louise Hildrcth-Grasso, president [email protected] December 4th was "Mixed Doubles", V u-ginia Viola Society with Daniel Avshalomov in works for Johanna Beaver, president viola and piano and Tim Deighron Seatde Viola Society l..ecAnn Morgan, president and saxophonist Carrie Carrie [email protected] Koffman, his partner in the group Afur tht January 21st NYVS rtcital.

______._ Y...::O~L~U~ME 23 NUMBER_ l_ ------59 On January 21st, at the New York pianist in the Clarke Sonata. This the OKVS, hosted a truly great Public Library's Donnell Library helped the violist become more artist, Roger Chase. The day start­ Center, we were privileged to hear aware of the intricacies and rhyth­ ed with registration and we were an inspiring afternoon featuring mic flow of the piano part. The so happy to see so many old and five wonderfully talented younger master class performers were Adam new members for our "viola day" players. John Pickford Richards McCardle, student of Louise activities After all the "loot" was played Dennis DeSantis' The Walls Zeitlin; Georgina McKay Lodge, taken in, we all gathered in the Get Painted Overnight; Tania Susi, student of Peter Slowik; Stephanie beautiful auditorium for the mas­ with Mark Evans, piano, offered Price, student of Deborayh Price; ter class with Mr. Chase. There Gershwin's Three Pieces (tran­ and Amanda Verner, student of were four brave souls who offered scribed by Alan Arnold); heila Jeffrey Irvine. up tl1eir playing abilities for Chase Browne and pianist David Brunell Other master classes were taught to listen and comment. Comment performed the second movement he did, as we all of Kenneth Jacobs' viola concerto were enthralled with Approaching Northern Darkness; his fine tuned cri­ and Edward Klarman, with pianist tique of the stu­ Yi-Fang Huang, played the Robert dents. All of us Fuchs Sonata in D minor, Op. 86. learned new aspects Also performing was Jonathan of the viola that Vinocour, first-prize winner in maybe WE did not December of the 2006 Holland realize! After much­ America Music ociety needed snacks and Competition. He presented two drinks (innocuous works, David Liptak's The Play of ones), we all headed Heidi Cast~man zuorks with Stephanie Price at the Winds and Srratis Minakakis' for the class in Yoga Ohio VS Masterclass. onara for Viola Sola. with a wondrous by Lisa Boyko, Kirsten Docter, and tireless teacher, Martha For more information about these Jeffrey Irvine, Deborah Price, McQuaid. That almost crippled and our other activities, visit the Laura Shuster, Peter Slowik, and some of us in our next adventure, New York Viola ociety's website: Amber Smithson. At the end of the reading session. Our reading www. nyvs.org. the day, Peter Slowik led the class has been devoted to new assembled violists in Brandenburg compositions by our students in - Kmtuth johnson Concerto No. 6. A great time was recent years and seems to be work­ had by all! ing, although the main composi­ tion was written by a percussion Ohio Many thanks to our sponsors, major! We always love to see new The Ohio Viola ociety held irs Terry Carlin Viola (and violin) violas/bows and we all had the Fall Master Class Day, OHH Viola Shop, Goronok String opportunity to do so with all the 2006, on November 5th at the Instruments, and Reese Williams fine instruments presented and John Knox Church in North String Shop. supplied by Wayne Burak, a fine Olmstead, Ohio. Our special guest cellist and dealer in Texas. The was Heidi Castleman, Professor of - Jeffrey Irvine much anticipated final recital with Viola at the Juilliard School of Roger Chase and Michito Otaki Music. Ms. Castleman gave a won­ Oklahoma followed, and what a recital it was! derful class that was beneficial for On January 28, 2007 at The British repertoire was by all of us. I especially liked her idea Oklahoma Christian University in Arnold Bax, ir Arthur, and of having the violist conduct her Edmond, our Oklahoma Chapter, Benjamin Dale- none that familiar

JOURNAL F TI IE AMERICAN VIOLA SOCI ETY 60 but the playing was "Four Hymns" for Viola absolutely supreme. Each Choir, on ren Womack vio­ listened in awe as Roger's las. The sound of this playing rook hold of his/her robust and moving work inner soul- everything this was warm and inregrared, man did, his body lan­ and the maker was moved guage, vibrato and non­ ro tears. Violists were Maria vibraro, rhe sheer rone Newman, Andrew Ducldes, using rhar great viola that Jennie Hansen, Pamela was the instrument ofTerris Goldsmith, Dan Neufeld, his whole life, and tech­ Denyse Buffum, Renita nique.... well, it's all there Koven, Kim Wilkins, and more if you want! And Marda Todd, and Margot what a pleasant man ro talk Aldcroft. The ensemble was with, so gentle and gracious expertly conducted by corr and very interested in what Hosfeld. you have to say or con­ tribute. Truly, it was a The concert also featured a memorable day in performance of Sramirz's Edmond. Thanks ro all Duet for Two Violas in C, who contributed their time rasrily executed by Pamela ro this evenr, Bravo! Goldsmith and Marlow Fisher; Ernest Bloch's Suire -Phil Lowry Hebraique, gorgeously ren­ dered by Victoria Miskolczy with Daniel Lewin on Southern piano; and A Two for One California Trio, a captivating work for flute, viola, and harp writ­ On October 29th, the ten by David Walther and Southern California Viola performed engagingly by Society celebrated the work the Debussy Trio. of master viola maker Mark Womack with a perform­ - jmni~ Hansen ance of Maria Newman's

SCVS afur th~ conurt. -----"'--"'"'-l.. l}MI;. 2~ Nl}M~~R 1 61 Ad Index

Alan de Veri tch ...... 6 Primrose International Viola Archive ...... 28 ASV Sancruary Classics ...... 1 RB P Music Publishers ...... 62 Charterhouse International Music Festival . .. 54 Robertson & Sons ...... IBC Cleveland Institute of Music ...... 6 Roosevelt Uni\lersiry ...... 61 Connolly & Co., Inc ...... BC Rutgers State University ...... 51 Crystal Records ...... 52 San Francisco Conservatory of M usic ...... 38 Dampits, Inc ...... 55 U ni\lersiry of Florida ...... 18 David Dalton Competition ad ...... 2 Weaver's Violin Shop ...... 8 Domain Forget ...... 53 Yamaha Corp. of America ...... 10 Eroica Classical ...... IFC Geoffrey Ovington ...... 26 Heritage Insurance Services ...... 24 H istory of the Viola ...... 13 Interlochen Center for the Ans ...... 56 JosefWeinberger Limited ...... 4 North Carolina School of the Arts ...... 45

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JOURNAL OF T HE AMERICAN VIOLA SOC I ETY - 62 cl'j~ American Viola Society

The American Viola Society (A VS) wa founded for the promotion of viola performance and re earch. A VS member hip include two print i ue of the Journal of the American Viola Society, publi hed in November and March, and an online­ only i ue relea ed in July. Your personal and financial upport through AVS member hlp is appreciated! Personal Information (students, please use your permanent address) o New Member o Renewal o Change of Addre s (the Journal ofAVS cannot be forwarded!) o My addres /telephone number/email have not changed ince Ia t year. Do you wi h to be included in the online and print teacher directorie ? o Ye o No Do you offer AVS members a one-time di count ( ugge ted 50% off) on your private le on fee? o Ye o No How did you learn about the American Viola Society? ______

Fir t Name______La t Name------Addre City/State/Zip or Po tal Code ______Country______Home Phone ______WorkPhone F~------Email Web ite ______

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0 Univer ity Profe or 0 Studio Teacher 0 Profes ional Orchestra 0 Student D Profe ional Chamber D Library/In titution 0 Freelance/Independent 0 Amateur/Hobbyi t 0 School Teacher 0 Retired 0 Mu ic Bu ine 0 Other ( pecify) ------0 From time to time, the A VS make it mailing list available for other viola/mu ic-related mailing . If you do not wi h to receive the e mailing , check thls box. National Teacher Directory Information (teachers, please complete the following)

The A VS National Teacher Directory i publi hed each year in both print and online formats a a re ource for parents and tudents. The online ver ion include only the teacher' name, telephone number, and email addre , a well a teaching and affiliation information.

Levels of instruction (check all that apply): 0 Beginner 0 Advanced 0 Profe ional 0 Intermediate 0 College/Univer ity

Specia/ization(s) (check all that apply): 0 Suzuki In truction 0 Orche tral Audition Preparation 0 Profes ional Tune-Up 0 Popular/Jazz/Folk Styles 0 Chamber Mu ic 0 Other(plea e pecify) ______

Affiliation(s) (check all that apply): 0 Private Studio 0 Community Mu ic School ------0 Public School Teacher 0 College or Univer ity ------0 School Website ______Membership Dues

D Referred by (print name of AVS member.) D $48 Regular Member hip D $53 International Member hip D $21 Student Member hip D (Re idi ng out ide the U.S.) D $58 Joint A VS/Canadjan Member hip D $30 International Student Member hip D (includes both JA VS and CVS newslerter) D (Re iding outside the U.S.) D $27 Emeritu Member hip* D $48 Institutional Membership *(those age 65-p/us who have been a regular member for a minimum of 8 years) D Group Member hip Rate (jive or more applications submitted together, no online registration) D __$42 Regular Member. hip __$ 18 Student Member hip D Additional Gift Member hip: Halfprice regular membership ($24 ), must be accompanied by your regular membership renewal. We will acknowledge your gift to the person you List below: Fir t Name La t Name ______Company ------Addre Ci~ffl~~aiporPo~C~e------~ Country______Home Phone ______Work Phone Fax ------Emrul ______Web ite ______

AVS Local Chapter Dues: Membership in A VS local chapters is optional and must be accompanied by membership in the A VS National organization. Please check all that apply. All dues sent with this application payable to the A VS.

Arizona Viola ociety Iowa Viola ociety Oregon Viola Society outhern CA Viola Society o $1 0 Regular o $10 Regular o $10 Regular o $10 Regular o $ 5 Student o $ 5 Student o $ 5 Student o $ 5 Student Central TX Viola ociety Minnesota Viola Society Rocky Mt. Viola ociety Utah Viola Society o $10 Regular o $ 8 Regular o $15 Regular o $10 Regular o $ 5 Student o $ 4 Student o $10 Student o $ 7 Senior Florida Viola ociety NC Viola ociety cattle Viola ociety o $ 5 Student o $15 Regular o $20 Regular o $15 Regular Viola Club of DC/MD & VA o $ 5 Student o $10 Student o $ 5 Student o $10 Regular Idaho Viola Society Ohio Viola ociety outh Carolina Viola ociety o $ 5 Student o $10 Regular o $10 Regular o $10 Regular Virginia Viola ociety o 5 Student o $ 5 Student o 5 Student o $10 Regular Ok.Jahoma Viola ociety o $ 5 Student o $10 Regular o 5 Student

Payment Enclosed $ ___ AVS National Due $ _ __ Chapter Due $ I wi h to make a donation to the Primro e Memorial Scholar hip Fund* $ I wi h to make a donation to the A VS Endowment Fund* $ TOTAL (*Donations to the AVS are tax-deductible as allowed by law.) D Check or money order in U.S. fund payable to the American Viola Society enclo ed D Ma terCard D Vi a D American Expre : Credit Card#______Expire ~----- Name on Card ______

Send application and payment to: American Viola Society 14070 Proton Rd. Suite 100, LB 9 Dalla , Texa 75244 USA (972)233-91 07 ext. 204 Fax (972)490-4219 Join online at www.americanviolasociety.org! ROBERTSON AND SONS VIOLIN SHOP I N C 0 R P 0 R A T E D

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