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JOURNAL a/the AMERICAN VIOLA SOCIETY

Section of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion ofViola Performance and Research

Vol. 10 No.3 1994

FEATURES

7 Conversations with Donald McInnes By Thomas umon

11 New Acquisitions in PNA

19 Letter from the Isle ofMan By Thomas Hall

38 AVS Membership Roster Thejournal ofthe American Viola Society is a peer-reviewed publication ofthat organization and is produced ar Btigham Young University, © 1985, ISSN 0898-5987, JAVS welcomes letters and articles from its readers,

Editorial Office: Department ofMusic Harris Fine Arts Center Btigham Young University Provo, UT 84602 (801) 378-4953 Fax: (801) 378-5973

Editor: David Dalron Associate Editor: David Day Assistant Editorftr Viola Pedagogy: James Irvine Assistant Editorfor Interl1iews: Thomas Tartan Production & Advertising: Jane Clayson

Advertising Office: Crandall House West Brigham Young University Provo, UT 84602 (80l) 378-4455

JAYS appears rhree times yearly, Deadlines for copy and artWork are March 1, July 1, and November 1; submissions should be sent ro me editorial office,

Ad rates: $100 full page, $65 half page, $50 one-mird page, $35 one-fourth page, Classifieds: $25 for 30 words including address; $40 for 31--60 words, Advertisers will be billed after rhe ad has appeared, Payment to "American Viola Society" should be remitted to the advertising office, OFFICERS Thomas Tatton President 2705 Rutledge Way Stockton, CA 95207 (209) 952-9367 Pamela Goldsmith Vice-President 11640 Amanda Drive Studio City, CA 91604 Donna Lively Clark Secretary 4820 Buttonwood Crescent Indianapolis, IN 46208 Mary I. Arlin Treasurer School ofMusic Ithaca College Ithaca, NY 14850 Alan de Veritch Past President School ofMusic Indiana University Bloomington, IN 47405

BOARD Atar Arad John Graham Jeffery Irvine Jerzy Kosmala Patricia McCarty Donald McInnes Paul Neubauer Dwight Pounds Karen Ritscher Pamela Ryan William Schoen Peter Slowik

EDITOR, ]AVS David Dalton Brigham Young University Provo, UT 84602

PAST PRESIDENTS Myron Rosenblum (1971-81) Maurice W. Riley (1981-86) David Dalton (1986-1991) -----_._------~------

HONORARY PRESIDENT William Primrose (deceased)

~Cf!§!Section of the Internationale Viola-Gesellschaft For Collectors and Violists .

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FROM THE PRESIDENCY

The viola-an affair ofthe soul: The American Viola Society-a unity of the heart.

Let me share with you a little story I found some time ago. I don't know who wrote it but I've kept a copy and read it on occasion. I believe the author is the type of person who would not mind if I took some liberty with the text to make a point or two.

The Sense ofa Goose In the fall when you see geese heading south for the winter flying along a "V" formation, you might be interested in Thomas Tatton, AVS President knowing what science has discovered about why they fly that way. It has been learned that as each bird flaps its wings it creates an uplift for the bird immediately following. By flying in a "¥" formation, the whole flock adds at least 71 percent greater flying range than ifeach bird flew on its own. People who share a common direction and sense ofcommunity can get where they are going quicker and easier ifthey are traveling on the thrust ofone another. ~ are such a community-we have a common goal anda common purpose. Whenever a goose falls out offormation it suddenly feels the drag and resistance oftrying to go it alone and quickly gets back into formation to take advantage of the lifting power of the bird immediately in front. Ifwe have the sense ofa goose, we will stay in formation with those who are headed the same direction. When the lead goose gets tired it rotates back in the wing and another goose flies point. It pays to take turns doing the hardjobs-with geese flying south or with people. I'll take the lead fora while. The geese honk from behind to encourage those up front to keep up their speed. I need to hear from you to keep up my speed-drop me a briefnote or give me a call-let me know your ideas, thoughts, or suggestions. I promise, ifyou honk, I'll listen. Finally, when a goose gets sick or is wounded by gun shot and falls out, two geese fallout of formation and follow it down to protect it. They stay with the goose until it is either able to fly or until it is dead, and then they launch out with another formation or catch up with their own group. Ifwe have the sense ofa goose, we will stand by each other. 4

ANNOUNCEMENTS

XXIII International Viola Congress

University ofIndiana Bloomington, Indiana 14-18 June 1995

Primrose International Scholarship Competition will be held in conjunction with the congress

AtarArad&Alan de Veritch, Co-Host Chairs

For information, write professors de Veritch and Arad at the School ofMusic, University ofIndiana, Bloomington, Indiana 47405. Further details are forthcoming in the next issue of]AVS.

BE A CONTRIBUTOR OR BENEFACTOR OF THE AVS.

Your contributions are tax-deductible and would be greatly appreciated.

(SEE MEMBERSHIP ENROLLMENTFORM IN THIS ISSUE.)

IF You LOVE THE VIOLA AND FEEL WARMLY TOWARD THE SOCIETY OF VIOLISTS, WHO WOULD You NAME AS A BENEFICIARY OF YOUR ESTATE?

The AVS Endowment? or The Primrose International Viola Archive? or The Primrose Memorial Scholarship Fund?

\ 5

SOLICITATION OF ARTICLES

JAVS is a peer-reviewed publication. For scholars, teachers, college students, and others who have unpublished articles, papers, documents, and dissertations, JAVS and the Viola Yearbook offer the possibility for publication. Submit any of your writing on the broad subject of "viola" to the editor:

Dr. David Dalton BYU Music-HFAC Provo, UT 84602

NEW POLICY REGARDING JAVS

1.]AVS mailing will commence at the beginning ofenrollment. 2. Persons who apply for new membership the last trimester will be granted mem­ bership for that trimester and for the next calendar year. 3. Members who are now in the second trimester will be charged $20 for regular membership and $10 for student membership for 1995 only. 4. The trimester system ofdues will be replaced with annual dues, which will be due and payable January 1 (late by March 1) or on application for new membership.

Special 1993 issue from the Friends ofthe Brigham roung University Library on the PRIMROSE INTERNATIONAL VIOLA ARCHIVE (PIVA)

Copies still available from:

Friends ofthe BYU Library HBLL-BYU Provo, UT 84602 Tel: (801) 378-4301 Fax: (801) 378-6347 $8.00 each prepaid; $10.00 each by invoice; checks to "Friends ofBYU Library" The History of the Viola Volume I (with Supplement) Revised 1993 (out of print since 1987) and dampite Pat No 3 407 700 Volume II, 1991 the sensational humidifier for Both available NOW VIOLIN. VIOLA. CELLO. BASS

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by Thomas Tatton Several dozen students and music over, McInnes took time with everyone who enthusiasts gathered in Santa Barbara on a wanted time; he never rushed but was always comfortable July afternoon to enjoy a viola kind, comfortable and gentle, taking a gen­ master class. The elegant room was lit with a uine interest in comments and questions. chandelier that reflected light off the polished Donald McInnes, educated in the oak walls; the stage was backed by a wall of California public school system, began private opened windows, framing an aromatic gar­ violin studies with Stefan KJayk while in the den. Before the first violist was to perform, seventh grade. In high school he participated in the master teacher, Donald McInnes com­ the California All-State Orchestra, as did many mented on the literature to be heard and gra­ now-famous artists, and attended the Music ciously introduced some audience members. Academy of the West during summer breaks. When the first student, from Utah, He went on to the University of California at walked confidently and purposely onto the Santa Barbara, where he made the momentous stage, an air of anticipation and heightened move to the viola. Today he is a world-class per­ interest came over the audience. She played former, a major recording artist, and a master the first movement of the Brahms E-flat teacher sought by the world's most gifted stu­ Sonata flawlessly and beautifully. Mr. McInnes dents. Students and music enthusiasts consider began his comments, as is his wont, with that McInnes is carrying on in the heritage of statements of affirmation. Selecting an awk­ Ysaye to Primrose-and his legend grows. ward passage, he made a technical suggestion, played the passage in imitation of the student, then, with the technical correction, demon­ The following questions and answers are strated what he wanted. The student repeated from casual conversations I had with Donald the passage; the audience experienced an McInnes during a two-day visit in July 1994. immediate artistic improvement. More sug­ gestions followed about mood, the joy of the What were some ofyour early influences or music, and technical comments about tempo memorable musical experiences? and bow. The second student, from Taiwan, McInnes: When I attended the Music performed the Bach G Major Suite. He Academy of the West I was privileged to sit played with a deep, rich tone, beautiful flow, in on the lieder and opera classes of Lotte and technical mastery. McInnes worked the Lehmann. I didn't know German or French, final cadence of the Gigue and, in various but I was totally fascinated; there is a great movements, talked about vibrato, phrase, beauty and intimacy in lieder and song, and line, color and contrasts versus consistent this ultimately had an influence on my play­ musical expression. The final performer, ing. I learned a great deal being around and from Australia, shared the first and second listening to great artists. Later I was drafted movements of the Walton Viola Concerto. and eventually spent three years at West Point McInnes likened the motion of the violist's Military Academy with a small string contin­ bow while shifting to that of a kangaroo and gent that played receptions. This gave me then suggested that the student slide as a run­ time to work with the viola and, because it ner does in American baseball. Somehow a was only 45 minutes from Manhattan, I little white poodle got into the room, where­ could study and attend concerts. When my upon the student improvised the first line of military tour was up, Joseph de Pasquale, then "How Much Is That Doggie in the Window?" principal violist with the Boston Symphony, McInnes made a humorous comment, every­ advised me to study with William Primrose. body laughed and enjoyed the moment, then This was January 1965 at the University of back to Walton. When the master class was Southern California. I had to be the weakest 8

ofthe four students in that Primrose class, with although I play a lot of varied contemporary so much to learn. The others were Alan de literature, I love the color of French music. I Veritch, Martha Strongin Katz, and Yizhak transcribe and perform a lot of song literature Schotten. Gentlemen wore coat and tie to each for viola, especially Debussy, Ravel, Faure, lesson, which was three hours in length; every­ Duparc. Some pieces just don't work on the thing we played had to be performance-ready, viola. My criterion is if it's musical and it and no literature was repeated. I worked very works, I'll consider it. hard and, needless to say, learned a great deal. What changes do you see in the music world What do you look for in potential students? aroundyou? McInnes: One, ambition-a keen inten­ McInnes: That's a very difficult question. sity that drives the student to practice; two, Let me say something about students. There intelligence, which enables the student to is an ever-increasing number of outstanding accomplish and overcome the difficulties in the young violists. They are much more pragmatic; practice time; and three, talent-talent is they are smarter, brighter and more serious. important but always third. They want to study with a teacher who has a track record of producing award-winning, suc­ lOu teach with great flair, using words brilliantly cessful students. Having said that, there is an and can act out what you want in sound. Talk enormous rise in the quality of viola teaching aboutyour teaching style. in this country. There are a handful of teachers McInnes: Structure and discipline are who always seem to have students that are win­ important in order to achieve solid musicianship ning the competitions and professional posi­ and technique. I try to teach my students about tions, yet a number ofbright, talented and gifted the profession, the areas in which the student younger teachers are coming on the scene. will be most successful. My basic premise is to spend your student years becoming the best vio­ Tell me about the William Schuman Concerto list possible; the better you are, the more choices on Old English Rounds. Didyou enjoy the col­ you'll have as a professional. I teach the scales by laborative process? What other works have been Mogill, Primrose, and finally by Carl Flesch. written for you? Every student does all the Kreutzer etudes. McInnes: In 1971, I auditioned for, and There are certain instrumental techniques and was fortunate enough to be among the winners principles ofposture that every student must fol­ of, a Ford Foundation grant. It paid $10,000­ low. In turn, there are other common faults $5,000 for the artist and $5,000 to commis­ which no student ofmine is allowed. In between sion an American work. William Schuman there are all the variables: personality, imagina­ wrote so well for strings, was incredibly musi­ tive musicianship, and individuality. With these cal, and had such an outstanding reputation I allow the student to make choices. that I asked him to compose a work for me. It was a wonderful process and it is wonderful What instruments do you own or use? music. I premiered the work in 1974 and have McInnes: I have a 1580 17Vs inch since performed it 57 times. Gasparo da Salo on loan to me by a very gener­ Some of the other pieces that have been ous benefactor. It was previously owned by written for me include- Nathan Gordon, Irving Illmer, and Germain Vincent Persichetti - Parable for Solo Viola Prevost of the Pro Arte Quartet. I also own a William Bergsma - Variations and a Fantasy for bench copy of the da Salo viola made by Viola and Orchestra Curtin and Alf of Ann Arbor, with every Robert Suderberg - Ritual Lyrics and Dances scratch and mark copied exactly. I was asked for Solo Viola what happens if the real Gasparo gets a new Paul Tufts - Sonata for Viola and Piano scratch-do I take the copy back to Curtin and John Verrall - Concerto for Viola and Alffor a new scratch? [laughter] Orchestra Thomas Pasatieri - Sonata for Viola and Piano. Many violists are sensitive about transcriptions. How do you feel about them? I was in the audience at the 1978 London McInnes: I love transcriptions and have Congress where you substitutedfor Max Rostal at many in my repertoire. I'm a romantic and, the very last moment, performing the Bartok. 9 fOur performance was magnificent. Can you tell Journal-so much is new; what one learns is me about that experience? almost overwhelming. The Society broadens us; McInnes: Well, Max became ill and we hear different styles of playing, new litera­ couldn't play. Nannie Jamieson knew I was per­ ture, recordings, new artists and teachers, mak­ forming the Bartok and, when she called, said ers and instruments. This is a very special orga­ that I was the only person who could replace nization and very important for the future of Max on short notice. I was already scheduled the instrument. I'm excited about the local to play the opening concert at 9:30 A.M.-a chapters that are now forming. The potential is chamber music concert with Yehudi Menuhin enormous and the future is very bright. and others. The Bartok was scheduled for 11:45. I commented to Nannie that I had at What does the immediate future holdfor Donald least an hour between-she replied that that's McInnes? when I was to rehearse with the orchestra. The McInnes: I'm very excited about two new orchestra was the Royal Academy ofMusic stu­ CD's that will be released soon. The first is a dent Orchestra under the direction of Maurice recording of the Brahms Songs with Florence Handford. They were magnificent. I finished Quiver and Armen Guzelimian on the Delos the opening concert, had a spot of tea with label. The second is a CD of the 12 violas Sir Anthony Lewis, Principal of the RAM, exhibited at Bein & Fushi in Chicago for the rehearsed, and performed. XXI Congress at Northwestern. I recorded the opening to "Harold" unaccompanied on Talk to me aboutyour performing career. each instrument and then did a series ofencore McInnes: It is a joy and a privilege to pieces, one on each instrument. What a differ­ share my music. I learned this from Primrose­ ence in the instruments! A truly magnificent it is an honor to play Bach, Mozart, Schubert; it experience. Also, I look forward with great is an extraordinary honor to play on stage. I anticipation to the world premier of the don't take the performing experience lightly or Pasatieri Viola Sonata in Apri11995. for granted. I have an immense respect for the elements of performance: composer, performer, teacher, audience. When I perform I don't look Donald McInnes plays with power, con­ to play a technically perfect performance each summate musicianship and virtuosity, using a and every time; I want to offer through my color palette as broad as any visual artist. playing and recording something different, Through his instrument he sings the complete something unique and exciting; something range of human emotions. He teaches with memorable. I hope that my musical message is equal ability and dedication, always with a enjoyed and understood by the audience. twinkle in his eye, capturing just the right word, I hope to do more performing in the phrase, or action to immediately improve future, more chamber music. I used to play the performance of even the most gifted everywhere and at any time. I'm much more student. He has what he looks for in potential selective now, and I'm enjoying a balance in my students-ambition and a keen intensity, teaching and performing. Today, I take three intelligence, and an immense talent. Thank conditions under consideration before I agree you, Mr. McInnes! to perform: the location of the performance, the literature, and whom I'm playing with. If one or more don't interest me, I decline the invitation. That eliminates performances that Thomas Tatton is the president ofthe American would often turn out less than satisfying. Viola Society and director oforchestras at Lincoln High School in Stockton, California. He holds the fOu're involved with the American Viola Society D.M.A. degree from the University ofIllinois. He and have been for a long time. How has the soci­ is past president ofthe California Chapter of ety changed the world ofthe violist? What has the ASTA and is president ofthe California Orchestra AVS meant to you? Directors Association. Tatton has published McInnes: I have been actively involved numerous articles on viola literature and perfor­ since 1975, since the Ypsilanti Congress. mance, string pedagogy, and orchestral conduct­ Primrose was actively involved and interested ing. He has editedfor publication works for viola almost from the beginning. The congresses, the ensemble, on which he is an authority. "Strings to my Bow" -amemOlr-• Watson Forbes is one ofthis century's most eminent players of the viola. Here is chronicled a long and fascinating career which spans four decades ofthe most radical development in British music-making. Personal anecdotes ofgiants like Edward Elgar,_ Thomas Beecham and a host ofothers sparkle from these pages as we follow the author through student life, orchestral playing and his main love - chamber music with the Aeolian String Quartet, one ofEurope's most successful ensembles. Dr. Forbes is perhaps even better known for his many transcriptions and arrangements with which scarcely any student or professional string player can be unaquainted. These works have greatly enlarged the viola repertoire and receive world-wide acclaim. Of special value and interest to teachers ofthe instrument will be the substantial appendices which include an in-depth analysis ofthe repertoire and a comprehensive catalogue ofarrangements and transcriptions that complete this high quality 200 page paperback. M~-i-I-t~;-St~~-Ni~-;-D~;i~-~-p-;i~t------~ PO Box 100, Shipston on Stour, Warwickshire, CV36 5ZZ, United Kingdom.

Please send my copy of 'Strings to my Bow' PAYMENT OPTIONS $25.00 inclusive of packing and postage, to: D CHECK 'enclose my check for $25 YOUR DETAILS payable to StarNine Design Print , Name...... D VISA D MASTERCARD !Address...... Card Number : . : . ! City . iState Zip Signature...... Card expiry date . 1------______J 11

NEW ACQUISITIONS IN PIVA

Editor's Note: This continues the series ofinstallments that will update the holdings ofthe Primrose International Viola Archive. (PIVA is the official archive ofmusic fOr the viola ofboth the International and the American Viola Societies.) Viola scores in PIVA up to 1985 are identified in Franz Zeyringer's Literatur flir Viola (Verlag Julius Schonwetter Jun., Hartberg, Austria, 1985), where they are identified with a +. This present series ofintallments will eventually make the listing current, after which a new acquisitions list will be published annually in JAVS. The entries are list­ ed according to the Zeyringer classification ofinstrumentation. A future compilation under one cover ofall the annual lists is planned as a sequel to the Zeyringer lexicon.

1986 Acquistions Aubin, Tony. Passacaglia del'addio: pour alto et piano. Paris: A. Leduc, 1977. (continued) Bassett, Leslie. Sonata for viola and piano. New Violoncello und Viola York: American Composers Alliance, c1957. Lebic, Lojze. Meditacije za dva: za violo in violon­ cello = Meditations for two: for viola and Bates, David S. Suefia: gestures and interludes for violoncello. [Ljubljana]: DruStva Slovenskih viola and piano. Fresno, CA: APR Publishers, Skladateljev, 1972. c1975.

Klavier und Viola Beale, James. Ballade: for viola and piano; Ope 23. Adolphus, Milton. Bouncettino [for] viola and [New York: American Composers Alliance, piano; Ope 78. New York: American Com­ c1958]. posers Alliance, [197-?]. Bottje, Will Gay. Fantasy sonata. New York: Adolphus, Milton. Improvisation for viola and American Composers Alliance, [1959?]. piano; Ope 61. New York: American Com­ posers Alliance, 1957. Bowen, York. Sonata no. 1 in C minor, for viola and piano. Melville, NY: Belwin Mills, Ameller, Andre. Petit nuage: pour alto avec [19-?]. accompagnement de piano. Paris: Alphonse Leduc, 1984. Bozza, Eugene. Improvisation burlesque: pour alto et piano. Paris: A. Leduc, c1968. Ameller, Andre. Sourire: pour alto avec accompag­ nement de piano. Paris: Alphonse Leduc, Bracsamuzsika = Musik fiir Viola = Music for 1984. viola. Szerkesztette es kozreadja Szeredi S. Gusztav. Budapest: Editio Musica, 1984. Ames, William Thayer. Sonata for viola and piano. New York: American Composers Bunin, Revol Samoilovich. Sonate fiir Viola und Alliance, 1953. Klavier; Ope 26; Bezeichnung der Viol4­ stimme von Rudolf Barschai. Leipzig: Edition Ancelin, Pierre. Lyriques: 3 pieces pour l'alto avec Peters, [1972]. accompagnement de piano. Paris: Gerard Billaudot, c1984. Busser, Henri. Catalane: sur des airs populaires, pour alto avec accompagnement de piano. Anderson, T. J. (Thomas Jefferson). Variations on Paris: Henry Lemoine, 1926. a theme by Alban Berg: for viola and piano. New York: American Composers Alliance, Busser, Henri. Rhapsodie armenienne: (sur des c1977. themes populaires): pour alto et piano; [Ope 81]. Paris: Costallat, 1946, c1930. Arends, Andrei (Genrikh) Fedorovich. Ballad: for viola and piano; Ope 4. Moscow: Muzyka, Carles, Marc. Intensites: pour alto et piano. Paris: 1985. A. Leduc, 1964. 12

Challen, Henri. Diptyque: pour alto et piano. Paris: Fuchs, Robert. Sonate flir Viola und Klavier; Alphonse Leduc, 1961. Ope 86; D-Moll; nach der Erstausg. von 1909; hrsg. von Bernhard Pauler. Winterthur: Chaynes, Charles. Alternances: pour alto et piano. Amadeus, 1978. Paris: Alphonse Leduc, 1966. Fuleihan, Anis. Recitative and sicilienne: for violon­ Clarke, Henry Leland. Nocturne for viola and cello (or viola) and piano. New York: Southern piano. New York: American Composers Music Pub. Co., 1945. Alliance, 1956. FUrst, Paul Walter. Sonatine fur Viola und Klavier; Cooper, Paul. Variants II: for viola and piano. Ope 13. Wien: Verlag Doblinger, 1966. [London]: Chester Music, [cI975]. Gange, Kenneth. Homage to the baroque: sonata in Denhoff, Michael. Champs de mars: Inventionen G major for viola and keyboard. Stone, nach March Chagall, fUr Viola und Klavier = England: Piper Publications, c1985. Inventions based on Marc Chagall for viola and piano. Wiesbaden: Breitkopf & Hartel, Garcin, Jules Auguste. Concertino pour alto ou 1982. violoncelle: avec accompagnement de piano; Ope 19. Paris: Henry Lemoine, [190-?]. Dionisi, Renato. Sonatina: per viola e pianoforte. Milano: Edizioni Suvini Zerboni, 1984. Ghent, Emmanuel. Entelechy: a concert-piece for viola and piano. New York: Oxford, 1963. Draeseke, Felix. Sonate Nr. 1 flir Viola und Klavier. Neuausg. nach dem Autograph. MUnchen­ Godfrey, Daniel S. Five character pieces: for viola Grafelfing: W. Wollenweber, c1985. and piano. New York: American Composers Alliance, c1976. Driessler, Johannes. FUnf StUcke fUr Viola und Klavier; Ope 24/3b. Kassel: Barenreiter, 1953. Goeb, Roger. Concertant IIIe for solo viola and piano. New York: American Composers Durbin, Jean. In memoriam; Melodie-impressions: Alliance, 1952. pour alto (viola) et piano. [Odenthal, Ger­ many?]: Centraton Musikverlag, 1983. Gow, David. Nocturne and capriccio; Ope 31: for viola and piano; the viola part edited by Dydo, John Stephen. Fantasy and variations for Watson Forbes. London: Augener, 1957. viola and piano. New York: American Com­ posers Alliance, 1971. Grosser, Alfons. Notturno flir Englisch Horn (oder Viola) mit Klavier (Grch.) Begleitung; Ope 52. Evett, Robert. Viola sonata. New York: American [S.l.: s.n., 194-?]. Composers Alliance, 1959. Guillou, Rene. Elegie: pour alto (ou cor anglais) et Feld, Jindfich. Mala sonatina pro violu a klavir = piano. Paris: Henry Lemoine, 1927. Kleine Sonatine flir Viola und Klavier. And Zdena Prusiva. Praha: Supraphon, 1976. Haag, Hanno. 12 Miniaturen: flir Viola und Klavier; Ope 24. Wolfenblittel: Moseler, Fletcher, Grant. Zortzicos VI: viola and piano. 1984. [U.S.: s.n., 197-?]. Harris, Russell G. Variations for viola and piano; Fongaard, Bj0rn. Sonatina for viola and piano; Ope 30. New York: American Composers Ope 126, nr. 28. [Oslo]: Norsk Musikkin­ Alliance, 1948. formajson, [197-?]. Hauta-aho, Teppo. Tuokioita alttoviululle ja Frid, Geza. Vice versa II; Ope 96: voor altviool en pianolle = Moments for viola and piano; om. piano, 1984. Amsterdam: Donemus, 1984. Viekolle ja Marketalle. Helsinki: Suomalaisen Musiikin Tiedotuskeskus, [1975?]. Fuchs, Robert. Phantasiestlicke: fUr Viola und Klavier; Ope 117. Mlinchen-Grafelfing: W. Herzogenberg, Heinrich von. Legends: for viola and Wollenweber, 1977. piano. London: Musica Rara, 1975. THE VIOLA

AT BRIGHAM YOUNG UNIVERSITY CLYN BARRUS is a graduate of the Curtis Institute, the Vienna Academy, DAVID DALTON studied at the Vicrma Academy, the Munich Hochschule, and the University ofMichigan where he earned his doctorate in viola. He was and took degrees at the Eastman School and Indiana University where he principal of the Vienna Symphony and for thirtccn years occupied that same earned his doctorate in viola under William Primrose. He collaborated with position in the Minnesota Orchestra. He has been heard frequently as asoloist his teacher in producing the Primrose memoirs Walk on the North Side and and recording artist, and is now director of orchestras at BYU. Playing the Viola. He served as president of the American Viola Society.

The Primrose International Viola Archive, the largest repository of materials related to the viola, is housed in the BYU Library. BYU graduates find themselves in professional orcheslras and as teachers at institutes of higher learning. B.M., B.A., and M.M. degrees in performance-pedagogy are offered viola students.

BYU is one of the best buys in college education. For infonnation, write: Walter Birkedahl -Edward B. Fiske Department of Music, C-550 'HFAC The New York Times Brigham Young University Provo, UT 84602 TEL 801.378.3294 THOMASTIK DOMINANT THE NEW STANDARD OF EXCELLENCE

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Herzogenberg, Heinrich von. Legenden: fur Viola and piano; hrsg. von Bernhard Pauler. und Klavier; Ope 62; hrsg. von Bernhard Winterthur: Amadeus, c1985. Pauler. Winterthur: Amadeus; New York: Edition Eulenburg, 1976. Nowak, Lionel. Duo for viola and piano. New York: American Composers Alliance, 1985. Hill, Anthony Herschel. Two pieces for viola and piano. London: Stainer & Bell, c1982. Overton, Hall. Sonata for viola and piano. New York: American Composers Alliance, c1960. Inghelbrecht, D. E. (Desire Emile). Impromptu pour alto et piano. Paris: A. Leduc, 1922. Papandopulo, Boris. Sonata za violu i klavir = Sonata pour alto et piano. [Zagreb]: Saveza Jacob, Gordon. Air and dance: for viola and piano. kompozitora Jugoslavije, [1963]. London: Oxford University Press, 1957. Parris, Robert. Sonata for viola and piano. New Keldorfer, Robert. Sonate fur Viola und Klavier, York: American Composers Alliance, 1957. 1964. Wien: Doblinger, 1966. Pergolesi, Giovanni Battista. Sinfonia for viola and Kiel, Friedrich. Sonate in G-moll; Ope 67: fUr Viola piano; edited by Franco Sciannameo. [Rocky und Klavier. Adliswil-Zurich: Amadeus, zu Hill, Conn.]: Rarities for Strings, 1977. beziehen durch Edition Eulenburg, 1972. Poser, Hans. Sonatina for viola and piano Kiel, Friedrich. Three romances; Ope 69: for viola Sonatine fur Bratsche und Klavier. Hamburg: and pianoforte. London: Musica Rara, 1972. H. Sikorski, 1973.

Kiel, Friedrich. Drei Romanzen; Ope 69: fur Viola Purcell, Henry. Suite for viola and piano; [edited by und Klavier. Adliswil-Zurich: Amadeus, 1972. Joseph] Vieland. New York: International Music Co., 1973. Klaas, Julius. Sonate; Ope 40: fur Viola und Klavier. Wilhelmshaven: Heinrichshofen, 1965. Read, Thomas Lawrence. Rondo fantasy: for viola and piano, 1967. New York: American Lampe, K. Erinnerungen eines Greises: fur Viola Composers Alliance, 1977. und Klavier. [S.l.: s.n., 195-?]. Reinicke, Carl. Drei Phantasiestucke fur Leighton, Kenneth. Fantasia on the name Bach: for Viola (Violine) und Klavier; Ope 43 = Three viola and piano; Ope 29. [London]: Novello, c1957. fantasy pieces for viola (violin) and piano; hrsg. von Bernhard Pauler. Winterthur: Amadeus, Luedeke, Raymond. Sonata for viola and piano. New 1985. York: American Composers Alliance, 1975. Rosen, Jerome. Five pieces for viola and piano. New MacBride, David. Fourth way: for viola and piano. York: American Composers Alliance, 1969. New York: American Composers Alliance, 1971. Rougnon, Paul Louis. Fantaisie-caprice: pour Martincek, Dusan. Hudba pre violu a klavir. alto avec accompagnement de piano. Paris: Bratislava: Slovensk}r Hudobny Fond, 1978. Alphonse Leduc, 1946, c1922.

Mourant, Walter. Fantasy for viola and piano. New Roussel, Albert. Aria pour alto (ou viola alto) et York: American Composers Alliance, 1952. piano. Paris: Alphonse Leduc, 1930.

Murray, Eleanor. The new viola books: easy original Rueff, Jeanine. Dialogues: pour alto et piano. Paris: pieces. With Phyllis Tate. London: Oxford Alphonse Leduc, c1970. University Press, 1962. Sapp, Allen. First viola sonata (1948). [New York: Noe, Artur. Trauermarsch fur Viola und Klavier. American Composers Alliance]' 1982. [S.l.: s.n., 197-?]. Saroun, Jaroslav. Sonata, ballata e passacaglia: per Norman, Ludvig. Sonate in G-moll fur Viola und viola e piano [1969]. Praha: Cesky Hudebni Klavier; Ope 32 = Sonata in G minor for viola Fond, 1982. 16

Schibler, Armin. Ballade fur Viola und Klavier; Tomc, Matija. Caprice za violo in klavir. Ljubljana: Ope 54 (1957). Adliswil-Zurich: Edition DruStvo Slovenskih Skladateljev, 1964. Kunzelmann, c1984. Tomc? Matija. Elegija za violo in klavir. Ljubljana: DruStvo Slovenskih Skladateljev, 1964. Schiff, Helmut. Sonate fur Viola und Klavier; hrsg. von Kulturamt der Stadt Linz. Wien: Trevani, Francesco. Sonate: fur Viola und Klavier Doblinger, 1960. (Clavicembalo); no. 1, E-flat major; [revidiert und hrsg. von] Karl Stierhof. Wien: Doblinger, Schollum, Robert. Sonate fur Viola und Klavier; 1967. Ope 42 no. 2. Wien: Doblinger, 1963. Ultan, Lloyd. Sonata for viola and piano. [New Schonzeler, Hans Hubert. Sonate; Ope 5: fur York: American Composers Alliance, 1976?]. Bratsche und Klavier = Sonata; Ope 5: for viola and piano. Adliswil-Zurich: Eulenburg, 1975. Vanhal, Johann Baptist. Sonate: Es-Dur fUr Viola und Klavier. Verb. Aufl. Wien: Doblinger, Schwartz, Elliott. Suite, for viola and piano. New 1976. York: American Composers Alliance, 1964. Vanhal, Johann Baptist. Sonate Es-Dur: fur Viola Siegl, Otto. Sonata Viola und Klavier; Ope 41. und Klavier. Munchen-Grafelfing: W. Wollen­ Wien: Doblinger, 1925. weber, 1971.

sivic, Pavel. N arodna: za violo in klavir = 1m Vieuxtemps, Henri. Sonate pour piano et alto ou Volkston fur Viola und Klavier. Ljubljana: violoncelle; Ope 36; B-flat major. Leipzig: Edicije Drustva Slovenskih Sjkadatekhev, J. Schuberth & Co., [190-?]. 1975. Volkonskii, AndreI MikhaUovich. Sonate: fur Viola Smith, Leland C. Sonata for heckelphon (or viola) und Klavier. Frankfurt: M. P. Belaieff, c1976. and piano. [New York: American Composers Alliance?], 1954. Vrana, Frantisek. Sonatina pro violu a klavir: (1940). Praha: Panton, 1971. Sollberger, Harvey. Composition for viola and piano: in nine sections. [New York: American Vremsak, Sarno. Suita za violo in klavir; part Viole Composers Alliance, 197-?] redigiral Srecko Zalokar. Ljubljana: Drustvo Slovenskih Skladateljev, 1964. Sprong!, Norbert. Sonate fur Bratsche und Klavier; Ope 115. Wien: Doblinger, 1958. Walzel, Leopold Matthias. Sonata ariosa: fUr Viola und Klavier; op. 30. Wien: Doblinger, 1962. Stamitz, Karl. Sonate: B-Dur, fUr Viola und Klavier; hrsg. von Walter Lebermann. Mainz: Wood, Joseph. Sonata for viola and piano. New B. Schott's Sohne; New York: Schott Music York: American Composers Alliance, 1942. Corp., 1969. To be continued next issue. Inquiries about loaning Steptoe, Roger. Three pieces for viola and piano. procedures from PIVA should be addressed to London: Stainer & Bell, 1983. David Day, Music Librarian, PNA HBLL5222 Tillis, Frederick. Capriccio for viola and piano. Brigham Young University New York: American Composers Alliance, Provo, UT 84602 [197-?]. Tel (801) 378-6119 Viola Faculty and Orchestra Conductor

At the San Francisco Conservatory, we have a faculty for great Inusic.

Don Ehrlich, assistant principal viola of the San Francisco Symphony, has been a frequent soloist and chamber musician in the Bay Area and around the world. He received his B.M. from Oberlin Conservatory, his M.M. from the Manhattan School of Music and his D.M.A. from the University of Michigan. Geraldin.e Walther, principal violist of the San Fran­ Leonid Gesin is a member of the San Francisco cisco Symphony, is former assistant principal of the Symphony and several chamber music groups including Pittsburgh Symphony and a participant in the Santa Fe the San Francisco Chamber Orchestra. He studied with Chamber Music Festival. She studied at the Curtis A.G. Sosin at the Leningrad State Conservato~ then Institute of Music with Michael Tree and at the Manhattan performed with the Leningrad State Philharmonic and School of Music with Lillian Fuchs, and won first prize in taught before emigrating to the United States. the William Primrose Viola Competition in 1979. Paul Hersh, former violist and pianist of the Lenox Denis de Coteau, music director and conductor for the Quartet, studied viola with William Primrose and San Francisco Ballet 'Orchestra, has conducted dance attended Yale University He has performed with the San companies, youth orchestras and major symphonies Francisco Symphony, the San Francisco Chamber throughout the world. He has received a variety of awards Orchestra and many other groups. He has also made a and commendations, earned his B.A. and M.A. in music number of recordings and has been artist-in-residence at from New York Universi~ and holds a D.M.A. from universities and music festivals in the U.S. and Europe. Stanford University

Students from around the world come to the San Francisco Conservatory of Music for several reasons: •A student-teacher ratio of 6 to 1. • Extensive performance opportunities • The opportunity to study with an both on campus and around the city exceptional faculty in one of the Concerts and recitals are presented world's most diverse and exciting at the Conservatory's Hellman Hall cultural centers. nearly every day of the school year Offering the Master ofMusic, Bachelor ofMusic, and Music Diploma. Founded 1917. Colin Murdoch, President. Deborah Berman, Dean. Affirmative Action/Equal Opportunity Employer For more information contact the Office of Student Services, San Francisco Conservatory of Music, 1201 Ortega Street, San Francisco, CA 94122-4498 415/759-3431 Fax 415/759-3499

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In Appreciation

I regret to inform friends ofthe AVS that my dear wife, Jean, passed away on July 27th from the ravages ofdiabetes over the past 38 years. It was she who introduced me to the world ofthe viola, inspired in me the desire to write nearly a dozen works for the instrument, and proved to be the catalyst which brought Paul Doktor and myself together for the creation ofmy concerto. She was unendingly loyal to the viola and its music and to the American Viola Society. I would also like to express my gratitude for the efforts made toward presenting Roberto Diaz's excellent performance ofmy concerto at the Redlands Viola Congress. It was an event, especially when performed on the same program with a concerto by myoid teacher, Wayne Bohrnstedt, which proved a highlight ofmy career and one ofmy most memorable occasions­ marred only by the death during the same days ofPaul Doktor. Although I will very likely attend no more congresses, nor will I be kept abreast ofthe activities ofthe AVS, I shall never forsake the viola as a medium ofexpression, thanks entirely to Jean's enthusiasm in guiding me through the experience oflearning to write for the instrument. Ironically, and happily, her last act as a musician was the edition ofa set ofmy viola duets, Airs and Fancies, for publication by Latham Enterprises. A month after her death I received my copies ofthe publication, bearing her name as editor. Thanks to all who contribute so much to the world ofthe viola.

Robert W Jones San Diego

Letter from the Isle ofMan

Lionel Tertis International Viola Competition and Workshop and the XXII International Viola Congress

5 September 1994 Port Erin, Isle ofMan, British Isles

The week between Saturday, August 27, few days); and for an American, the ambiance and Saturday, September 3, 1994, in Port Erin was exotic enough to provide fascinating and was filled with a ,glorious celebration of the enticing aspects. viola-playing of the most elevated and expert Still, I kept thinking of Sir Winston kind (both viola and piano), plus fascinating Churchill's Their Finest Hour, 1 book two of information-sharing and viola lore in general. The Second World mtr, which describes the The functions at the Tertis Competition were triumph of the British in the face of the enor­ beautifully organized, carefully prepared, and mous difficulties of 1940 (the Battle of skillfully carried out. The countryside was Britain, The Blitz, Dunkirk, etc.). Perhaps it handsome, the weather glorious (except for a is an exaggeration to compare the musical 20

facilities in Port Erin to the battle ground of 1,800, and the scenery, necessary businesses, Dunkirk, but the meeting was certainly differ­ and creature-comfort facilities to take excel­ ent from viola congresses in the u.s. It seems lent care of a considerable number of visitors. to be a national trait that the British do aston­ A fine curving street above the harbor, called ishingly well under less than ideal conditions. "Promenade," is lined with Edwardian hotels, The Isle of Man lies in the Irish Sea, some open for business, some not, all of 31 miles from England, 16 miles from which look as if they have come to life from Scotland and about 30 miles from Northern the pages of a Le Carre novel. The Port Erin Ireland. A little more than 30 miles long and Royal Hotel served as the headquarters and 12 miles wide, it is a bit larger than Catalina central residence for the Lionel Tertis Island off the Southern California coast. International Viola Competition, and "offi­ There are about 73,000 inhabitants; 24,000 cial" parties were held there. of them live in the principal city, Douglas, Fletcher Christian, of lvlutiny on the which lies in the middle of the east coastline. Bounty fame, came from Port Erin,3 and John The landscape of the island is pastoral-sheep Wesley spent over 10 years on the Isle ofMan, and cows grazing on gently rolling hills, some successfully stippling the landscape with forested sections (the highest hill is just over small, grey-stone Methodist churches. Four of 2,000 feet). Narrow, but well-maintained, these, either active as churches or put to some roads connect numerous little towns; the gor­ other use (or abandoned), are in the immedi­ geous coastline is ubiquitous. The principal ate Port Erin area. One of these has been industry is tourism.2 turned into the Erin Arts Center, where the The island is interesting politically. Its concerts and lectures of the competition and independent lawmaking began in the 10th workshop were held. Purchased in 1971 by a century, the Manx people believe. Since the group of Port Erin citizens, the building has 18th century, the British crown has been sov­ been subjected to changes and improvements ereign, and the government is headed by a and is used by the Mananan International lieutenant governor, currently appointed by Festival of Music and the Arts, as well as for the Queen. Being part of the Commonwealth local and traveling arts events. The Arts but not the United Kingdom has led to Centre is definitely a project ofwhich the citi­ son1e peculiar laws. The Isle of Man prints its zens can be proud, being supported by civic own stamps and money, both of which are groups, businesses, and the Isle of Man Arts equivalent to British counterparts, but are not Council. accepted off the island. The Manx have their The modification from church to theater own banking and tax laws; high interest rates reversed the layout of the building: what you and low taxes cause business people to com­ would expect to be the main entrance of the pare the place to Bermuda and tax havens in church building actually leads to "backstage." the Caribbean. Fishing does not seem to be a The entrance to the theater itself is through commercial interest, which is unexpected, an addition to the side, called the Art Gallery. given the coastline and fine small harbors. This leads to what was the area behind the Perhaps the 40-foot tides have something to altar, now a box office and adjacent coffee bar. do with that. The audience then enters from the front of Tourism, banking, agriculture, and motor­ the old sanctuary and faces toward the former cycles are the engines ofprosperity for the Isle foyer, now the stage. The exterior of the of Man. Each August sees motorcyclists in building suffered cosmetically from the partial great number from all over Europe, and even removal of its belfry, dismantled because of from Japan, cruising roads and towns in usu­ safety concerns. ally well-disciplined order, often in flamboy­ The auditorium is about 75 x 45 feet, antly colored costumes, looking like exten­ including the stage area on the floor level. The sions ofStar ~rs. seating is mobile, steep, and rather like the The village of Port Erin lies in the south­ steel bleachers found in school "multipurpose" west, and when the weather is right, the hills rooms, except that these have upholstered of Northern Ireland can easily be seen. Port benches and arms, which delineate the space Erin has a permanent population of about for each seat. There are 134 regular seats, plus 21

The Erin Arts Centre at Port Erin, Isle ofMan, where most ofthe events surrounding the Lionel Tertis International Viola Competition and the XXII International Viola Congress took place in August 1994. space for e}::tra chairs to be placed in aisles and quality of the pianists performing, only the at the sides ofthe stage. The ceiling is perhaps finest instrument would have been appropri­ about 25 feet high, but it gives the impression ate. The major problem of the piano, its of being lower because of an exposed steel inability to stay reasonably in tune even for framework that holds equally exposed stage one day, created quite a bit of work for the and house lights. The overall effect is dark. Of diligent tuner. The acoustic properties of course, there were once windows in this little the Erin Arts Centre are basically good, but sanctuary, but they are now covered. There is not flattering, with a tendency to be dull. no ventilating system, but there is heating, No one is more aware of the difficulties though not used in early September. The lack at the Erin Arts Centre than those in charge. of ventilation is a major problem, even in a Part of their problem is that the Centre is so mild climate; with 150 persons in a room so successful: accommodating all the persons small, it doesn't take long to notice you have who want to attend is not easy, and the quality close companions. The stage was decorated of those who want to use the Centre as a per­ with a banner, showing a staff with an alto formance venue seems to indicate that better clef having the three-legged symbol of the Isle facilities are needed. As with most arts centers, of Man integrated into the lower swirl of the finances are a concern, and I am confident clef-sign. Two big floral displays (which that when money is available, it will be used remained quite decorative throughout the wisely. week, in spite of some drooping) were com­ Those who chose the location for the panions to a relatively large, stagey, white Tertis Competition and Congress were also Ionic column, whose significance never well aware of the shortcomings of the Erin became clear. The performance space was fin­ Arts Center but felt that the virtues of Port ished off with some small potted pine trees Erin outweighed the inconveniences. The and a Steinway grand of indeterminate age, Competition enjoyed the invaluable support model "A," about six feet long. It was not ofthe local population and businesses, even to a bad-sounding piano, but considering the the extent that competitors were put up in The ENCORE dream is based on the belief that with serious, dedicated students, a faculty of exceptional strength and an ideal facility and setting, there is no lin1it to personal and artistic potential. ENCORE is a community of optimum resources operating in concert to produce a climate of excellence that is intensive, yet supportive. The faculty functions both individually and as a team, making its collective expertise available to all. The focus is on mastery of the instrument through performance of solo and chamber music repertoire. Lectures in musical style and analysis and access to superb recreational facilities provide enhancement of the student's artistic and general well being. Master classes by illustrious guest artists, Cleveland Orchestra concerts at nearby Blosson1 Music Center, and proximity to Northeast Ohids wealth of cultural institutions complement the ENCORE environment. ENCORE will make a definitive, positive educational impact on the student's musical growth, the kind that continues to sustain and inform individual development well beyond summer's end. David Cerone Director

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local residents' homes. Port Erin is charming Methodist church, a few blocks out of town, and easy to get around in; it is an informal, and listened to all 52 auditions, one after the rural setting, and the Arts Center has an other, for two very full days. Unless they improvisatory, rustic personality. The airport brought their own accompanist, the players is not more than a 15-minute drive away. had 30 minutes with an official accompanist There are few urban problems on the Isle of (of which there were four) for preparation. Man; congestion, traffic jams, city crimes, This first audition was limited to 20 minutes, etc., are not an obvious part of everyday life. and the works had to be selected from reper­ Stress and strain are minimal, and the country­ tory lists, which fairly well covered the stan­ side is idyllic. (I was told that it is not neces­ dard viola repertory. The exception was "Odd sary or customary for residents to lock their Man Out" for solo viola, by Michael Berkeley, homes or cars.) Maybe a stuffy, cramped audi­ who was in attendance. This work, commis­ torium, with a funny little piano, is not a bad sioned by the Mananan Festival Trust, was price to pay for all the obvious advantages. written for this fifth Lionel Tertis Inter­ Perhaps another good reason to choose this national Viola Competition (published by location is that the viola event is the center of Oxford in 1994) and was required of all con­ attraction, for the whole island, while it is testants. Fortunately, it is a very agreeable going on. Everybody knows that the violists piece, well suited to the instrument. are present. This gives a warm feeling to a The survivors of the first round were group that ordinarily is not used to such publicly announced after the evening concert attention. by the Maggini String Quartet on Tuesday, Viola congresses in the u.S. have been August 30. The chairman of the jury was preceded by a day or two by the Primrose Philip Jones, a well-known trumpeter and International Scholarship Competition, and English music administrator, who is well expe­ the contests have not been a dominant focus rienced with competitions. His announcement of the congresses. However, in Port Erin the was full of thanks, explanations, acknowledg­ main event was the Lionel Tertis International ments, politeness, fairness, dignity, and wit, Viola Competition; the workshop was less but it seemed interminable, coming at the end emphasized, and the XXII International Viola of a long concert when all the audience really Congress was announced in yet smaller print. wanted to know were the names of the semifi­ This was a competition, with a congress nalists. For some of these young players, the attached, not the other way around. results were professionally important. The The competition and workshop partici­ jury was charged to choose eight, but they pants numbered 119 persons from 23 coun­ selected nine semifinalists: Sarah Jane Bradley tries. Truly an international gathering in many (England), Alexandra Moellmann (U.S.A.), ways, it was hard to tell the nationality ofpar­ Simonide Braconi (Italy), Gilad Karni (Israel), ticipants by the country of residence shown Kenta Matsumi (Japan), Pierre Lenert on the official roster. For instance, Mikhail (France), Scott Lee (Taiwan), Tatjana Zemtsov is probably not Mexican by inheri­ Masurenko (Russia), Karen Opgenorth tance, and Soo Kyong Kim probably is not of (Canada). The semifinal phase of the compe­ Spanish descent. Claudia Lasareff-Mironoff is tition took place in front of an audience on American by birth, but lives in South Mrica. Thursday at 10:30 A.M. Each contestant had The country with the most participants was 30 minutes, and each played literature from England, with 35; Sweden was second at 18. three different sections of the repertory lists: (Two persons listed Scotland as home, and Bach unaccompanied, concerto, sonata. With two more said they were from the U.K.) appropriate breaks, this lasted until 5:30 P.M. There were people from the Czech Repub­ The jury also selected seven violists lic, Hong Kong, Armenia, Bulgaria, and to play an afternoon concert on Friday, Sep­ Lithuania. Sixteen said they were from the tember 2. These were named "nonfinalists" U.S.A. but were players who deserved recogni­ Fifty-two violists (limited to those not tion: Karin Dolman (the Netherlands), more than 30 years old) actually played for Heather Wallington (England), Mikhail the competition. The jury selected another Iakovlev (Russia), Genevieve Strosser (France), New Viola Power T-Shirt! High quality, pre-shrunk 100% cotton white shirts with navy Kenneth or teal printing, Bach's Brandenburg Concerto #6 on front STE IN Music for Viola Two Waltzes for Viola and Piano by Katrina Wreede •• New from. Robert W. 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DOYENNE OF AMER][CAN VIOlLIN MAKERS

New York Times. June 14, 1994

~ I~ ft% ~ I . ~ ~ ~ VIOLAS played in th~ and, Julliard, Kroll, ~ian, Shanghai, and Vanbrugh Quartets, and in the-s~~y orchestras of B lumbus (Principal), Detroit, Edinburgh (Principal), Ontario, (Prin srael, New Jersey, New York, Newcastle (Principal and se orthern Illino· pal), Portland Oregon, (Principal) among others. CRH ~ ~~ ~ V'~~ COMMENTS:

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Nokuthula Ngwenyama (U.S.A.), Tomomi Other Prizes (three bows and cash), Publishers Shinozaki (Japan), Ashan Pillai (England). Prizes (£50 gift certificates), Special Prizes From what I heard, all 16 were virtuosos of (£250 to £50 in cash from banks and other high caliber, and the semifinalist and non­ businesses). The evening was prolix, but it did finalist groups easily could have substituted end, eventually, at 10:35.4 for each other; the semifinalists being only There was little or no grumbling or cries somewhat more consistent. of prejudice or unfairness to be heard at this The three finalists, Gilad Karni, Scott contest. Of course, there were noticeably Lee, and Kenta Matsumi, were announced on fewer attendees at the congress after the semi­ Friday, then on Saturday afternoon and finalists were announced, so perhaps the truly evening, the they competed by each playing a disgruntled had left Port Erin. One American one-hour program. It started at 4:00 P.M. with groused that there were no women on the Gilad Karni, followed at 5:00 by Kenta jury, and there were no female finalists. A Port Matsumi. At 8:00, after a two-hour break, Erin matron was overheard expressing dismay Scott Lee played. The jury conferred while the at the intemperate behavior of her house audience, which considerably exceeded the guest, who was a contestant. But, all in all, capacity of the hall, waited. The awarding of John Bethel and his helpers deserve high prizes was to be the final event of the compe­ praise for the smooth running of this multi­ tition, workshop and congress. The jury national, complex, potentially problem-filled returned at 9:50, and speeches were given by event. Mrs. Tertis (who would actually present the The jury for the competition consisted prizes) and Yuri Bashmet, honorary president of Yuri Bashmet (Russia), Kazuhide Isomura ofthe Lionel Terris International Viola Compe­ (Japan), Philip Jones (England), Michael tition, who was part of the jury. Mrs. Tertis Kugel (Israel), Paul Neubauer (U.S.A.), and gave much acknowledgment and thanks to John White (U.K.). Bashmet, Isomura, Kugel, the officers, workers, and colleagues who and Neubauer all gave recitals and master made the competition possible, and Bashmet classes. In addition to the jury members, gave advice to violists, in his somewhat bro­ Roger Chase and Martin Outram gave the ken but witty English. Having just spent a late morning recitals, and Paul Silverthorn good part offive days listening to young play­ gave the Monday evening recital. All these ers, his advice came from a well-informed violists are acknowledged virtuosos, and hear­ unquestionable source, and deserves repetition ing this many artists in so short a span oftime in paraphrase: (1) don't try to be too original, was a privilege probably not to be repeated. or to constantly search for something unique; Such a concentration of magnificent viola (2) play what the composer wrote; don't playing left an unexpected and indelible change or invent things; (3) play in tune, it impression. will help the beauty ofyour sound. The official accompanists were no less a At 10:25, John Bethel, the Port Erin distinguished group, all from the U.K.: Tim spirit behind the whole event, functioning as Carey, Helen Davies, Michael Freyhan, and chief operations officer and guiding light, Sophia Rahman. A few of the recitalists announced the prize winners. Gilad Karni brought their own pianists, but most did not, took first prize, which was £2500 (ca. and so these four did a great deal of playing, $3,865), plus a Kai-Thomas Roth viola. The often music not in the standard repertory. My 26-year-old Karni is a member of the New respect and pleasure grew as the week pro­ York Philharmonic Orchestra. The second gressed. It's not possible to review every event prize of £1500 (ca. $2,318) went to Kenta in the workshop, so only those that stand out Matsumi, a 24-year-old Japanese student at in my memory will be mentioned. Sincere the Royal Academy of Music, London. Scott apology is offered for unjust omissions. Lee took third prize of £1000 (ca. $1,545). The workshop part of the Port Erin He is Taiwanese, is just 16 years old, and lives Viola Congress used a format similar to that in Los Angeles, studying viola with Donald of the U.S. congresses, but smaller, because of McInnes and violin with Alice Shoenfield. facilities and the number of participants. Nineteen additional prizes were awarded: Activities did not start before 10:00 A.M., and 28

Left to right: Participants Lillian Tertis {widow ofLionel Tertis}, Yuri Bashmet, Paul Neubauer, andJohn White.

(with one exception) ended by 2:30 in the Tully Potter did a lot of things at the afternoon. There were lectures, master classes, workshops. Not a player himself: he is accu­ two 11 :30 A.M. recitals, viola ensemble ses­ rately described as the ultimate viola groupie. sions, and a formal recital every evening A journalist by trade, he is on the editorial except Saturday. staff of the Daily Mail, but not primarily as a The workshop was populated by interest­ music editor. His knowledge of the viola, its ing and strong personalities. At 3:00 RM. John literature, and its players (worldwide) is ency­ Bethel, director of the competition and chair­ clopedic and astonishing. His wit was com­ man of the Mananan Trust (the local organiza­ pletely engaging. tion promoting and sponsoring the congress) Yuri Bashmet gave the first evening welcomed all and opened the week-long meet­ recital on Saturday, August 27. He and Mikhail ing. Next came the host chairman, John White Muntian played the Shostakovich Sonata, (chairman of the British branch of the Inter­ which Muntian had premiered with Feodor national Viola Society), distinguished violist, Druzhinin, for whom the sonata was written. educator, editor, who assured us that this con­ Bashmet is a superb artist-sensitive, inti­ gress would have emphasis on the viola "with a mate, flashy, stunning, impeccable. As an British theme." Shortly after, Tully Potter was encore, he played the "Russian Song" from introduced, and he gave a talk about Watson the opera Mavra by Stravinsky. Forbes's career, illustrated with historical Sunday, August 28, Roger Chase and recordings of Forbes's playing. I was impressed Sophia Rahman presented a late morning by the simplicity of the sound equipment recital that gave new meaning to the term viola used throughout the congress for musical virtuoso. Mr. Chase teaches at the Guildhall illustrations-it looked and sounded like a typ­ School of Music and Drama in London, but ical "ghetto blaster." Apparently easy to oper­ his resume shows that he has done a great ate, the problem of finding the right spot on a deal of recording. He played two of the most cassette tape was not completely solved by challenging pieces in the viola literature, the every lecturer. The talk about Forbes, who is Bach Fantasia Chromatica in the Kodaly tran­ now 85, was shared by Tully Potter and John scription and the Sonata per Grand Viola by White, a former Forbes student. Paganini, plus two 20th-century works. His

..... \ 29 virtuosity was breathtaking. He played on the in 1909, studied with Lionel Tertis. He has a 17+ inch Montagnana that belonged to Lionel remarkable memory for details, such as bus Tertis; the sound was mellow, unchanging in routes, prices, and wages. He was articulate, quality from one tessitura to another, and funny, and self-deprecating-absolutely humongous. Mr. Chase is also a master of the remarkable and charming. master class. His first pupil was a mature ama­ Tuesday afternoon, two Asian gentle­ teur violist, to whom he said just the right men, Man Sing Chan, from Singapore (now things in a most ingratiating way. Second living in London), and Hai-Bin Jiao, a visitor came a young and lovely French lady, so this from Beijing, teamed to present a session on portion of the lesson was delivered in French. bow making. Man Sing Chan, a London­ The master class was so successful that based bow maker, showed an electronic instru­ another unscheduled session was given later in ment that allows him to test wood before it is the week. carved into a bow to see if the raw material is Harry Danks, champion of the viola suitable. He and Mr. Jiao, a violin maker in d'amore, was for 32 years the principal violist China, have recently traveled to the Mon­ of the BBC Symphony Orchestra. Now in golian region where bow hair is produced and his eighties, he handled the viola ensemble processed to see firsthand how it is done. We sessions, which were enthusiastically well learned that the tail hair of a male horse "is attended. Danks's economical conducting style whiter and stronger; ... the female horse pees reminded me of that of Pierre Monteux. The from behind, [and] ... it gets yellow and weak. participants at these reading sessions num­ Male horses don't do that." This knowledge did bered between 26 and 41, and the resulting much to justify the trip to the Isle ofMan. sound in the small confines of the Erin Arts The Wednesday evening recital was Center was quite like propeller-driven aircraft. presented by Michael Kugel and Tatyana Some of the literature for viola ensemble was Stepanova, both from the former Soviet memorable also: The Ride ofthe Valkyries, for Union, who immigrated to Israel in 1990. 10 violas (26 performed), J. Strauss's Kaiser Mr. Kugel played two of his own works, Suite Walzer, Gordon Jacob's Suite for Eight Violas in Memory of Shostakovich, and Poem for (32 performed), and Divertimento for 20 Violas Viola Solo, both of which seem promising (41 performed) by the Scottish composer additions to the viola literature. He finished Edward McGuire, who was in attendance. with the Carmen Fantasie by Franz Waxman; Sunday evening's recital was presented the performance showed the same kind of by Kazuhide Isomura, violist of the Tokyo technical elan with which Jascha Heifitz Quartet, with Bernard Rose, the well-known dazzled audiences when playing the same American chamber music pianist and teacher. piece. Kugel has absolute command of seem­ Monday afternoon, John Vallery, violist, and ingly endless up- and down-bow staccato. Mary Vallery, pianist, presented a program of During an encore performance of Hora attractive contemporary music by living Irish Staccato, while doing 25 or more down-bow composers. Paul Silverthorn, principal violist staccato notes in a row, he turned and made a of the London Symphony Orchestra, gave the face at the audience, who chortled in Monday evening recital with Sophia Rahman. response. His Friday morning master class on His informal concert attire, the fluid perfor­ the Bartok Concerto showed high skill and mance of the Bliss Sonata, and his arrange­ sensitivity as a teacher. ment of Suite Italienne by Stravinsky are held Paul Neubauer and Helen Davies pre­ in memory. He closed his program with stuffy sented the Friday evening recital. Mr. Neu­ arrangements of two Cole Porter tunes by bauer showed this listener once again that he Gary Carpenter, perhaps the low point of the has complete command of the instrument, workshop for me. from the "heavenly and perfect" approach in Tuesday morning, Tully Potter and Harry the Schubert '~peggione" Sonata to the brutal Danks had a public conversation about Danks's "Wild" movement of Hindemith's Opus 25, career, which amounted to a firsthand history No.1. He played the Romance, Opus 2, by lesson. Lillian Tertis was present, and partici­ Benjamin Dale, a fine example of early 20th­ pated by responding to questions. Danks, born century British romanticism. The Canary, 30

Hungarian restaurant bird noises, delighted next event will be in 1997. That should give and amazed as an encore. me time to recover and perhaps plan to spend The final recital of the Congress was more time in old-fashioned sight-seeing on presented Saturday morning by Martin the Isle of Man. At any rate, the trip is surely Outram, violist of the Maggini Quartet, recommended. which performed Tuesday evening. Michael Freyhan, his piano collaborator, prefers to - Thomas Hall, Chapman University accompany with the piano lid open. This cer­ tainly does improve "presence" for the piano, and in this case never presented a balance problem. He has wonderful control, showing 1 Winston S. Churchill, Their Finest Hour, book again what fine pianists were at work in Port two of The Second World War (Boston: Houghton Erin. Outram opened the program with an Mifflin, 1949). elegant performance of Sonata for Viola and 2 Baedeker's Great Britain and Northern Ireland Piano (1922) by Edgar Bainton. This is a (Englewood Cliffs, N]:Prentice Hall Press, 1994), lovely work, in which the piano is quite p.384. important; the style might be described as 3 Ibid., p. 387. "British impressionist." 4 Thanks are due to Martin Norbury, administra­ The week was exhausting, but vastly tor of the Mananan Festival Trust, for facts in this rewarding. John White proclaimed that the article.

Lawrence Foster· Music Director Lee Warren . Dean

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Members ofthe AVS board atJune meeting, Sundance, Utah. Front row: Alan de Veritch, Tom Tatton, John Graham, David Dalton. Second row: Mary Arlin, Karen Ritscher, Donna Clark, Evelyn de Veritch, and Pam Goldsmith. Back row: Maurice and Leila Riley, Don McInnes, JeffIrvine, and Dwight Pounds.

AVS board members examine the bindery in the Primrose International Viola Archive, Harold B. Lee Library, at Brigham }Oung University, Provo, Utah. 34

Barenreiter Series

Barenreiter-Verlag ofKassel is publishing a series ofcontem­ porary music for the viola in cooperation with the International Viola Society. This was brought about through Gunter Ojstersek, IVS president, and Mr. Michael Topel, representing Barenreiter. Composers who are members ofthe IVS (also AVS) may present their works for the viola to Barenreiter for possible publication.

Happy Birthday

Maurice Gardner, well known to members ofthe AVS for his sizable output ofviola reper­ toire, celebrated his 85th birthday this year. He has most recently finished a newly commissioned piano quartet anq also reached an agreement Use this genuine Hungarian detergent for clean shifts and bowings. with the Ying, Miami, and Submitted by Veronica Jacobs, New York, NY. Muir string quartets on a joint commmission for a new string quartet.

Academia Boston Viola Quartet

The School ofMusic at the The newly organized Boston Viola Quartet, consisting of University ofIllinois, Nancy Call, Harold Lieberman, Dorcas McCall, and Jenny Champagne-Urbana Shallenberger were recently heard at King's Chapel in announces the appointment of Boston. The program included works by Telemann, York Emanuel Vardi to their faculty. Bowen, and Guido Papini and arrangements by Harold Lieberman ofCharpentier and anonymous 16th-century Cynthia Phelps, principal of musIc. the New York Philharmonic, has joined the viola faculty of the Manhattan School of Music. Margin graphics courtesy ofIe Violon: Historie, esthetique, facture et acoustique, by Emile Leipp (Hermann, 115, boulevard Saint Germain. Paris 6). RECORDINGS

Gerard Causse Thomas Crawford. ECM New Series 1450 Concertos by Hoffmeister and Hummel, plus 78118-21450-2. Schubert. EMI CDC 7 548172 William Primrose Steven Dann Mozart Sinfonia Concertante, K.364 with Angle des Bax Legend, Clarke Sonata, Stravinsky Elegie, Isaac Stern and the Perpignan Festival cordes Vaughan Williams Romance, Reutter Five Orchestra, Pablo Casals, conductor. Sony Caprices, Coulthard Sonata Rhapsody. Classical CD, SMK 58983. CBC Records MVCD 1072. Eckart Schloifer Die Viola New works by Johannes Kalitzke, Theo Dominique Huybrechts, Therese-Maria BrandmUller, Aseon Han, Ulrich Gilissen, Stanley Weiner & Georg Schmidt Leyendecker, Christoph Staude, and Hans (violists) in individual works as follows: Zender. ProViva ISPV 163 CD. Antoine Mahauts Sinfonia Ope 2, no. 6 for strings, obligato viola and continuo; Joseph Yizhak Schotten Jongens Suite, Ope 48 for viola and orchestra; Viola 1919. Clarke, Sonata for Viola and Weiner Viola Concerto, Ope 78; Hindemith Piano. Bloch: Suite for Viola and Piano. Kammermusik No.5, Ope 36/4. Hindemith: Sonata for Viola and Piano, Koch/Schwann 3-1337-2. Ope 11, no. 4. With Katherine Collier, piano. Crystal CD637 DDD. Franziska Diirr Wolfgang Rihm Viola Concerto, with the Ernst WaUfisch Badischen Staatskapelle, GUnter Neuhold, (In memoriam) Vanhal Concerto in C, condo Dager Records, CAD 800 886. Paganini Sonata for Grand Viola, von Weber Variations on an Austrian Folksong, Malipiero Lillian Fuchs Dialogo No.5 for viola and orchestra. Bayer Mozart Sinfonie Concertante, K. 364 with Dacapo, LC 8498. Joseph Fuchs and the Prades Festival Orchestra, Pablo Casals, conductor. Mozart Pinchas Zukerman Divertimento in Eb, K. 563 with Joseph Mozart Duo No.1, K.423, in G and Duo Fuchs, violin, and Paul Tortelier, cello. Koch No.2, K.424, in B-flat for violin and viola. International Classics, Legacy 3.78004-2. Also Jean-Marie Leclair Sonata, Ope 3, no. 4 in F for two violins. With Itzhak Perlman, violin. Rivka Golani RCA Victor/BMG Music 60735-2-RC. New works by David Jaeger, Steve Tittle, Marjan Mozetich, Jean Papineau-Couture, and Ann Southam. Centrdiscs WRC8-6622.

Nobuko Imai Hindemith: three viola sonatas; Meditation with Roland Pontinen, piano. BIS CD-651 Editor's Note: Patricia McCarty is acknowl­ ODD. edgedfor her contributions to this column on new recordings. She advises that the mail order Patricia McCarty service provided through Tower Records by Keith Jarrett Bridge ofLight for viola and phoning 1-800-648-4844 can be a helpful ser- orchestra with Fairfield Orchestra under vice to those who make special orders. JOHN­ IRA B. KRAEMER & CO. Fine Violins, Violas, Cellos and Bows BRASIL Expert Repairs, Restorations, Appraisals and Accessories The NAME it1 QUALITY!)ERNAMBUCO Est. 1967 WOODS and BOWS A selection of Violas for the well 1993 advanced student and professional 45 LOBBY EXHIBITIONS player. Hand made from the finest INTERNATIONAL matierials and expertly adjusted in our ON 5 CONTINENTS shop. Horst J01111 & Cia. Ltda Box 606 - Rio de Jal1eiro AlSO featuring the violas of the BRAZIL master viola maker Otto Erdesz which are available in limited quantities. Reference: Bischofberger Violins 1314 East John Seattle, WA 98102 467 Grant Avenue Tel: (206) 324-3119 Scotch Plains, New Jersey 07076 Ph. (908) 322-4469 Fax: (908) 322-8613

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$3,000 scholarship to Tanglewood Music Center Contact: flllll Eleanor Valley Several scholarships available for young (ages Tanglewood Music Center Scholarship 12-18) instrumentalists: 32 Meadow Wood Road Branford, CT 06405 Wendell Irish Viola Award ($700) (203)488-8445. Contact: Virginia Casabona 1516 Coursin St. McKeesport, PA 15132. String Competition for violin, viola, cello & Two Scholarships to Interlochen Arts Camp bass, ages 15-23. 10-11 June 1995, San Contact: Francisco. Over $15,000 in prizes. Entries by Evangeline Mills 15 February 1995. Contact IMK Competition, 2710 Leland Dr. S.F. State Music Dept., 1600 Holloway Jackson, MI 49203. Avenue, San Francisco, CA 94132.

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Regular members 463 Student members 103 International members 44 Complimentary members 18

TOTAL MEMBERS 628

A Message From Your Secretary: Please check that your address is correct in this listing. And, ifyou move, please let me know immediately, or yourjournal may be lostforever. Thank you.

Donna Lively Clark 4820 Buttonwood Crescent Indianapolis, IN 46208

JAVS Special Offer to AVS Members! A good gift to stu.dents and friends. $3.00 for any ofthe following back issues ofthe Journal ofthe American Viola Society.

April 1987, Vol. 3 No.1 __ Winter 1991, Vol. 7 No.3 __ Fall 1987, Vol. 3 No.3 __ Vol. 8 No.2, 1992 __ Summer 1988, Vol. 4 No.2 __ Vol. 8 No.3, 1992 __ Spring 1989, Vol. 5 No.1 __ Vol. 9 No.1, 1993 __ Summer 1989, Vol. 5 No. 2 __ Vol. 9 Nos 2 & 3,1993 __ Fall 1989, Vol. 5 No.3 __ Vol. 10 No.1, 1994 __ Summer 1990, Vol. 6 No.2 __ Viola Yearbook, 1985/86 __ Fall 1990, Vol. 6 No.3 __ Viola Yearbook, Vol. 6 __ Fall 1991, Vol. 7 No. 2 __

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FACULTY Leslie Parnas, Cello Steven Ansell, Violat Dana Pomerants-Mazurkevich, Violifl Edwin Barker, Bass* Michael Reynolds, CcUot Andres Diaz, Cello Todd Seeber, Bass* Bayla Keyes, Vit,lillt Roman Totenberg, Violi" I t Malcom Lowe, Violill* Lawrence Wolfe, Bass* SCHOOL FOR. THE Yuri Mazurkevich, Violin Michael Zaretsky, Viola* Ikuko Mizuno, Violin Peter Zazofsky,Violint Goerge Neikrug, Cello tMuir Quartet Member ARTS James Orleans, Bass* * Boston Symphony Orchestra Member MUSIC DIVISION

FOR. MORE INFORMATION contact For information on summer programs for high school Bruce MacCombie Halley Shefler, Director ofAdmissions students at Tanglewood in conjunction with the Boston DCt/II, Sc!wol{<'r the Arts School for the Arts, Music Division Symphony Orchestra, call 800/643-4796 or 617/353-3386. 855 Commonwealth Avenue, Boston, MA 02215 Christopher Kendall 800/(,43-4796, 617/353-4241 An equal opportu"ity iflStitUfio" Director, l\.1usir Dil'isio" Cluxton. Everett W. Covington, Cynthia M. De Pasquale. Joseph Dunetz. Nancy S. 1111 Ontario St. Apt. 618 669 E. 800 N. N-103 532 Lafayette Road 750 Kappock St. #210 Oak Park. IL 60302 Provo, UT 84606 Merion Station. PA 19066 Bronx, NY 10463

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String 1\?naissance Eight generations ofstring making gives us the experience. Computer technology and advanced winding techniques give us the advantage. The result is a rebirth ofthe Viola string. for a FREE catalog write to: J. D'Addario & Co., I nc POBox] E. Farmi'ngdale, NY I I73'i USA Halen, Walter J Harper, l. Alexander Hirtzel, Robert L. Hung, Hsin 410 Mill Cir., SW 144 Gillies Lane 123 W. 37th Street 17 Cheng-yi Road 7F Lee's Summit, MO 64081 Norwalk, cr 06854-1009 Vancouver. WA 98660 Kao-Hsiung, Taiwan R.O.C. Hall, Richard M. Harrison, Lucretia M. Hoeschen, Kevin Hustis, Barbara S. 3244 Chestnut St. N.W. 99 Bayview Avenue 3515 E. 3rd St. 3456 Mockingbird Lane Washington, D.C. 20015 Port Washington, NY 11050 Duluth. MN 55804 Dallas. TX 75205 USA Hall. Susan Marie Haviland, Margaret Hoffmann. Mary Kay Hutchens. Stacy 5327 Jerome Way 1698 Minnehaha Ave. W. #2 30 Elm St 13 Fairway Blvd. Sacramento. CA 95816 St. Paul. MN 55104 Glenview. IL 60025 Gansevoort. NY 12831

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MOES&MOES

~SIC PUBLISHERS

IlBP IS pleased to announce a unique new line of exceptional arrangements for Viola, transcribed and edited by ROBERT BRIDGES This collection has been thoughtfully New Inslrulnenls crafted to fully exploit the special strengths and sonorities of the Viola We're confident these arrangements will be effective and useful additions to any VioliSt's recital library Made by

1001 Biber Passacaglia (violin) ., 5 575 1002 Beethoven Sonata op 5 #2 (cello) 5 925 1003 Debussy Rhapsody (saxophone) 51425 Peter & Wendela Moes 1004 Fronek Sonata (violin) ... .. 510 75 1005 Telemann Solo Suite (gamba) 5 675 1006 Stravinsky Suite for Via and plano 52800 1007 Prokofiev "Cinderella" Suite for Viola and Harp .. ' 52500 Also Gasparo DaSalo Viola Include 51 50/,tem for shipping and handling 'To order, send your check or money order to,

send for IlBP Music Publishers our FREE 2615 Waugh Dr, SUite 198 cataloguel Houston, Texas 77006 New Address: 416 Valley Road Cos Cob (Greenwich), CT 06807

P{ease Patronize our J.91o/S aavertisers who he(p ma~ this pu6rication possi6{e. ~ 'J..&w worRJ sfiou[a be submittedto tfie eaitor by composers andpub[isfiers for possib[e reviews in JYl.o/S anaaeposit in PIo/Yl. little. Carrie Holzman Maclaine. Margot Matthews, Ann C Michelic. Matthew 1424 N. Chester Ave. 5903 Gleam Ct 7542 E. Minnezona Ave. 835 E. Winnebago St. Pasadena. CA 91104 Agoura. CA 91301 Scottsdale, AZ. 85251 Appleton. WI 54911

little. Jean Maclean. John T. Mattis, Kathleen Miller. George P. 752 E.Valley View Ave. #B 146 Woodhaven St. 127 Jefferson Rd 22700 Cass Ave. Monrovia. CA 91016 Spartanburg, SC 29302 St Louis. MO 63119 Woodland Hills. CA 9131

Liu. Brenda MacPhillamy. Marjorie Bram McCann, Darrin E. Miller, Margaret J. 16140 SW Lindsay Court 3614 22nd Ave. West 1309 Amethyst St. #C P.O. Box 818 Lake Oswego. OR 97035 Bradenton. FL 34205 Redondo Beach, CA 90277-2- Florissant, CO 80816

Lo. Adrian H. Magers, William D. McCarty. Patricia Mil/ett. Maxanne 418 North Third St 5305 S Palm Dr 25 Carruth St 5222 N. Cliffside Dr. St Peter. M'.I 56082 Tempe. AZ. 85283-1918 Boston. MA 02124 Phoenix, AZ. 85018

Locketz, Seymour Manning, Irving McClelland, Michael R. Miloradovitch. Hazelle J 2613 Inglewood Ave. 665 Via Santa Ynez 4561 NW 67 Terrace 2190 Monterey Ave Minneapolis, M'.I 55416 Pacific Palisades, CA 90272 Lauderhill, FL 33319 Menlo Park. CA 94025

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Loughran. Hugh S. Martin. Joanne F. McDonald. Marjorie Molleson, Nancy Hiragishi 1-Jo, 6 Chome 3-56-2 266 Waterloo St. 35 Potter Pond 117 Jones Ave. Toyohira-Ku,. Sapporo 062 Winnipeg, MB R3N oSS Lexington, MA 02173 Greenville, SC 29601 JAPAN CANADA Luce. Joan Martin, Spencer L. Mcinnes, Donald Moore, Stephen A. 415 Hazel St. 4046 Byram Ave. 3375 Foothill Road No. 1112 7713 N. Sheridan Rd. Apt Oshkosh. WI 54901 Indianapolis. IN 46208 Carpinteria, CA 93013 Chicago, Il 60626-135E

lugovier. Busya Martz, Dee McKee. Rebecca Ann Morgan. leeAnn 719 1/2 West Ave., S. 2108 Ellis St. 29 E. 2nd St. 1280 East 530 North LaCrosse, WI 54601 Stevens Point, WI 54481 Tucson, AZ. 85705 Orem, ur 84057

lundy, Shari Maslowski, Henryka Merritt. Dale Morgan. Sally Anne 18 Bromley Cres. 3002 Lansbury 4119 W. Eva St. P. O. Box 3112 Etobicoke. ONT M9A 3X3 Claremont, CA 91711 Phoenix, AZ. 85051 Ogden, ur 84409-1112 CANADA

MacGibbon. JUdy Matchett, Nancy Meyer, Katie Moser, Jeff 4880 County Rd. 6 327 N. 24th St. 3368 S. Lucille Ln. 0197 Ocotillo Hall ASU Maple Plain, M'.I 55359 La Crosse, WI 54601 Lafayette. CA 94549 Tempe. AZ. 85281-6799

Mackler, Robert D. Matson, Kimberly Meyer-Granat. Miriam Mount, Liana 157 Mesa Ct. 1300 North Dearborn Parkway I 11708 Moorpark St. Unit E 460 W. 57th S1. Apt. 2-S Hercules, CA 94547 Chicago, Il 60610-2098 Studio City, CA 91604 New York, NY 10019 ""Curtin & Alf wentfar beyond anything I expected. My viola is spectacular in every way - the look, thefee4 the sound.J.J Donald McInnes, Los Angeles 1992

Curtin&Alf 1221 Prospect Street· Ann Arbor, MI 48104· (313) 665-20]4· Call or write for a free color brochure Mukogawa. Carole S Nielson. Carol Ouzounian, Michael Phillips, Matthew P.O. Box 27819 PO Box 456 170 West End Ave #30-S 281 Waldman Rd Los Angeles, CA 90027 Los Alamos, NM 87544 New York City, NY 10023 Kenmore, NY 14217

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Myers, Roger E. Nordstrom, Harry Papich, George Piltz, Hans-Karl 9617 Great Hills Trail No. 1522 611 E. 5th St. 714 Kiowa Drive West 4523 W. 1st Ave Austin, 1)( 78759 Northfield, MIl 55057 Lake Kiowa, 1)( 76240 Vancouver, BC V6R 1H" CANADA Neaveill, Heather Nowak, Michael Parotti, Sergio Pinner, Jay-Martin 3033 July St. #208 P.O. Box 6929 Av. Federico Lacroze 2560, l' • P.O. Box 283 Baton Rouge, LA 70808 Los Osos, CA 93412 1426 Buenos Aires Greenville, SC 29602 ARGENTINA Nelson, Suzanne O'Brien, James B. Pas, Peter W. Pittman, Meme 5 Ivy Trail 4711 W. Metaline #45 330 S. Dunn #3 2264 Sweetbriar Road Greenville, SC 29615 Kennewick, WA 99336 Bloomington, IN 47401 Schenechtady, NY 1231

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604 Halstead Avenue Mamaroneck NY 10543 914-381-4616 Selden, William Sloan, Michael Steely, Kathryn Schmidt Straka, Leslie 5 Riverfield Dr 619 Oneida St NE 111 B Romana Circle SChool of Music, U. O. Westport. cr 06880 Washington. ex:; 20011 Hewitt. TX 76643 Eugene, OR 97403

Sengstack, Lynn Siosser, Ann Perry Stein, Kenneth Strong. Martha E. 265 Secaucus Rd 4602 Browndale Avenue S. 1320 Sherman Ave. 2 Peabody Terr 1702 Secaucus. NJ 07096-2037 Minneapolis, MN 55424 Evanston, IL 60201 Cambridge, MA 02138

Seube, Olivier Siosser, Margit Stenzen, Adrian Subotnick, Linn 26 rue de Rimbach Lerchengasse 13/6 3102 Diablo View Rd 11750 Moorpark St No.G 67100 Strasbourg Vienna A-1080 Lafayette, CA 94549 Studio City, CA 91604 FRANCE AUSTRIA Shallenberger, Jennifer Smith, Chalmers Stern, Paula Sudman, Ruthann 17 Easton St #2 2020 Byron St. 3150 N. Sheridan Rd. Apt. 110 2345 N. Clifton Ave. Apt. Allston, MA 02134 Palo Alto, CA 94301 Chicago, IL 60657 Chicago, IL 60614

Shanks, Marion Smith Cindy Betancourt Stevenson, Bertha E Summers, Carol 4110 S. W. Charming Way 301 W. Charter Dr. 3258 Austin Dr 1131 Church St Portland, OR 97225 Muncie, IN 47303 Colorado Springs, CO 80909 Pasadena, CA 91105

Shaughnessy, Christopher Smith, David W. Stewart, Danny Sunderman Jr.• F. Willia P.O. Box 14 1411 Silva Street 5 Flint Ct. 13 Mountain Rd. Sagaponack, NY 11962 Long Beach, CA 90807 Rohnert Park, CA 94928 Farmington, cr 06032

Shumway, Sally Smith, Jennifer Stierhof, Karl Swanson, Christina 6038 Fieldston Rd 1612 5th Ave. N. Linzerstr.352/1V/1 2222 Fuller Rd. Apt. 702-. Riverdale, NY 10471 Great Falls, Mf 59401 A-1140 Vienna Ann Arbor. MI 48105 AUSTRIA Silberman, Daryl Smolensky, Marcus Stitt, Virgina K. Szoke, Heidi 10915 Rose Ave. #4 278 Market St. 995 Three Fountains 127 Lincoln St. #9 Los Angeles, CA 90034 Mifflinburg, PA 17844 Cedar City, Lrr 84720 Salt Lake City, Lrr 841 0

Simon, Melissa Gregory Solomon, Stanley Stohs, Joanne Taft, Bradford 719A Hinman 290 Berkeley St 1155 Crested View Dr. 306 E. Seven Oaks Evanston, IL 60202 Toronto, Ont M5A2X5 St. Louis, Me 63146 Greenville, SC 29605 CANADA Skerlong, Richard Solomonow, Rami Stoicescu, Ciprian Tatton, Thomas Q 2236 137th Pl., SE 9442 Springfield Ave. ct. Sagunto 160, B, 3 , 5 2705 RUtledge Way Bellevue, WA 98005-4032 Evanston, IL 60203 Valencia 46009 Stockton, CA 95207 SPAIN Skernick, Abraham Spittel, Richard Stoll, Barrett Temple, Suzanne 126 Hampton Ct. 5506 Rockleigh Drive 999 31 Oth St. 1812 Essex Drive Bloomington, IN 47408 Arbutus, MD 21227 Atalissa, IA 52720 Ft. Collins, CO 80526

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Atlanta. GA 30316 Sioux City, IA 51106 Saginaw I MN 55779 Terre Haute. IN 47803 MEMBERSHIP ENROLLMENT FORM

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Hilary Tann DUO (385848-7) $8.95 For oboe and viola Duration: 10 minutes " ...a forum for a dialogue between the similar timbres of the viola and the oboe. The instrumental lines are not set in contrast to each other; rather, they intertwine" --- Note from the composer

Marjan Mozetich BAROQUE DIVERSION (380371-2) $8.50 For solo viola Duration: 16 minutes As a homage to Bach and his era, Mozetich composed four pieces for viola solo in the form of a suite: Sinfonia, Capriccio, Lamento, and Giga. Each piece embodies the characteristic style of that period with additional musical thoughts from Antonio Vivaldi and Anton Bruckner.

Michael Berkeley ODD MAN OUT (355490-9) $11.95 For solo viola Duration: 6 minutes Odd Man Out belongs to a group of pieces by Michael Berkeley all of which refer to children's games, and in particular the often cruel form which they can take. Odd Man Out was commissioned as the test piece for the 1994 Lionel Tertis International Viola Competition.

David Fanshawe THE AWAKENING (356414-9) $17.95 For viola and piano Duration: 8 minutes "The Awakening, inspired by Solomon Island pan-pipes develops an extended song for viola or cello, supported by a gentle, yet rhythmical piano accompaniment. The cadenza reminds me of Frigate birds soaring in the heavens against a deep blue Pacific sky." Note from the composer

Music is available at all fine music stores. Special Offerl Good through December 31, 1994! Buy any of the titles listed above and we will send as a free gift Handel Sonata in G, Ope 1, No. 13 edited by Watson Forbes for viola and piano. Send check and this advertisement to Music Department JAVS

------'Music Department OXFORD UNIVERSITY PRESS, INC. 200 MADISON AVENUE, NEW YORK, NY 10016 Williams, A. Daryl Young, Timothy P. Eastman School Sibley Mus. li NTSU Library, North Tex, 300 College Hill Rd. 1213 Colorado Ave. 27 Gibbs Street P.O. Box 5188 NT Statio! Clinton, NY 13323 San Angelo, 1)( 76901 Rochester, NY 14604 Denton, 1)( 76203-0188

Willis I William E. Zaslav, Bernard Free library of Philadelphia Oberlin College 3114 Muensterman Ave. 32 Peter Coutts Circle 1901 Vine St. Main library Mudd Centel

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Winrich, Christina Zeyringer I Franz Friedheim lib. Peabody Inst. Periodicals Dept. U. libr~ 5265 N. Shoreland Ave. Musik Hochschule 1 E. Mount Vernon PI Memphis State U. Milwaukee, WI 53217 A-8225 Poellau Baltimore, MJ 21202-2397 Memphis, IN 38152-00( AUSTRIA

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Woodward, Ann Baker library-Serials Library of Congress Serial Dept. Library 209 W. University Dr. Dartmouth College Gift Sect/Exchange & Gift Div Northwestern University Chapel Hill, NC 27516-2920 Hanover, 11I-I 03755 Washington, DC 20549 Evanston, IL 60208

Woolf, Stephanie Bayerische Staatsbibliothek Library Serials Dept. Serials Dept. Indiana U. 3615 Hood's Hili DFGIZS Biblio. Ludwigstr.16 U. of Connecticut University libraries Nashville, IN 37215 80539 Muenchen Storrs, cr 06268 Bloomington, IN 47405 GERMANY

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Wright, Carla F. Central Serials Records Murray State U. Library Serials Rec .. Central Libf< 302 Normandy U. Kentucky library Periodicals Dept. U. of Cincinnati San Antonio, 1)( 78209 Lexington, KY 40506 Murray, KY 42071-3330 Cincinnati, OH 45221

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Yamada, Teruaki Chicago Public Library, Music Music Library, U. of Illinois The Harid Conservatory 23 Ishizaka, Hiroji-cho 400 S. State St. 1114 W Nevada St 2285 Potomac Road Showa-ku, Nagoya 466 Chicago, IL 60605 Urbana, IL 61801 Boca Raton, FL 33431 JAPAN

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Univ of Iowa Library Univof Michigan U of Nev Las Vegas Library Yale Univ. Music library Serials Dept Music Lib.3239 Moore Bldg 4505 South Maryland Pkwy 98 Wall St.Box 208320 Iowa City, IA 52242 Ann Arbor, MI 48109 Las Vegas, NV 89154 New Haven, cr 06520-8320 INDEX TO ADVERTISERS

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