Journal · ofthe AMERICAN ViOLA SOCIETY

Section of THE INTERNATIONAL VIOlA SO<;IETY Association for the Promotion ofViola Performance and Research

Vol. 12 No.3 1996

FEATURES

11 Memories ofVadim Borissovsky By Karl Stierhof

15 Approaching New Music By Laura Kuennen-Poper

23 The Widening Gap Between Violist and Composer By Pamela Goldsmith

27 New Acquisitions in PNA OFFICERS Thomas Tatton President 2705 Rutledge Way Stockton, C4 95201 (209) 952-9367

Pamela Goldsmith Vice-President 11640 Amanda Drive Studio City, C4 91604

Donna Lively Clark Secretary JCFA, Butler University 4600Sumet Indianapolis, IN 46208

Mary l Arlin Treasurer School ofMusic Ithaca College Ithaca, NY 14850

Alan de Veritch Past President School ofMusic Indiana University Bloomington, IN 47405 BOARD

AtarArad Victoria Chiang Ralph Fielding john Graham Lisa Hirschmugl jerzy Kosmala jeffiry Irvine Patricia McCarty Paul Neubauer Karen Ritscher Christine Rutledge Pamela Ryan William Schoen EDITOR,JAVS 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}

cJ(fj;i Section ofthe Internationale Viola-Gesellschaft The journal ofthe American Viola Society is a peer-reviewed publication of that organization and is produced at Brigham Young University,© 1985, ISSN 0898-5987. ]AVS welcomes letters and articles from its readers.

Editorial Office: School of Music Harris Fine Arts Center Brigham Young University Provo, UT 84602 (801) 378-4953 Fax: (801) 378-5973 [email protected]

Editor: David Dalton Associate Editor: David Day Assistant Editor for Viola Pedagogy: Jeffrey Irvine Assistant Editor for Interviews: Thomas Tatton Production: Marcus Smith Advertising: Jeanette Anderson

Advertising Office: Crandall House West (CRWH) Brigham Young University Provo, UT 84602 (801) 378-4455 [email protected]

]AVS appears three times yearly. Deadlines for copy and artwork are March 1, July 1, and November 1; submissions should be sent to the editorial office.

Ad rates: $100 full page, $65 half page, $35 one-fourth page. Classifieds: $25 for 30 words including address; $40 for 31-60 words. Advertisers will be billed after the ad has appeared. Payment to the American Viola Society should be remitted to the advertising office. 3

FROM THE PRESIDENT

THEAVS IS ON THE MOVE:

• Our membership is growing. Thank you, Donna Lively Clark, for keeping us organized.

• Chapterization is gaining momentum. Thank you, Pamela Goldsmith.

• The Texas Congress, 3-7 June 1997, is falling into place beautifully. Thank you, Roger Myers.

• Our finances are being well managed. Thank you, Mary Arlin.

• Our journal looks better than ever. Thank you, David Dalton. Thomas Ttztton, AVS President • Working documents-our handbooks on AVS activities-are either completed or are being prepared. Thank you, Peter Slowik and Dwight Pounds.

• Local activities are being organized. Thank you, Mike Palumbo of the Utah Viola Society, Juliet White-Smith of the Rocky Mountain Viola Society, Eleanor Angel of the Northern California Viola Society, and Scott Rawls of the North Carolina Viola Society, for your work in behalf of our instrument and the AVS.

• AVS committees are organized and working well. My thanks go to each and every member.

Still, there remain some challenging issues for the AVS. Please be assured that your leader­ ship team continues to be engaged in solving those i~sues. One matter discussed at the Markneukirchen Congress last June was the relationship between the AVS and our parent organization, the lnternationale Viola-Gesellschaft (IVG). Let me briefly summarize. The AVS sends the IVG a certain percentage of its dues in even-numbered years (i.e. the years we do not host a North American Congress). In return, we receive copies of The Viola at inter­ mittent intervals, seven issues thus far (the first in 1979). We have experienced some frustration over irregularities associated with its distribution. We are also working with the IVG leadership to try to mitigate costs of both reproducing The Viola and delivering it to our membership and are optimistic that a better way can be found. The problems are not with The Viola alone. We are the largest section of the IVG, yet we have not found a way to make our voice heard in its governance. For logical historical and logistical reasons, of which we are fully aware, the guiding body of the IVG (the presidium) consists of representatives from central Europe, with relatively little turnover through the years. This situation has provided the stability needed for the international organization's steady growth, but the IVG lacks constituent representation. Now is an appropriate time to address seriously the revision of the IVG presidium to include on that governing board representation from the AVS and other sections as well. Past AVS presidents have pursued this possibility and have looked forward to a more representative IVG BIDDULPH RECORDINGS in cooperation with THE PRIMROSE INTERNATIONAL VIOLA ARCHIVE presents WILLIAM PRIMROSE

FIRST AND LAST VIOLA RECORDINGS

]. S. Bach: Solo Suites for Viola (Cello). New release, recorded in 1978.

Bach: Komm susser Tod. Brahms: Two Songs. Massenet: Elegie. Rachmaninoff: When Night Descends (with Marian Anderson). Dvorak: Humoresque. Nevin: The Rosary. Paganini: Caprices nos. 5, 13, 17; La Campanella. Kreisler: Liebesfreud. Schubert: Ave Maria; Litany for All-Soul's Day. Tchaikovsky: None but the Lonely Heart. Londonderry Air (traditional).

This two-CD set is a special limited offer to members ofthe American Viola Society. Proceeds willgo to PIVA and the new Primrose Room in the Harold B. Lee Library, Brigham Young University.

$29.95 (including packaging and mailing within the U.S.) Please make check payable to Primrose International Viola Archive (PIVA)

Total number ofsets Amount ofcheck: $ _ Mail to Dr. David Dalton Name _ BYU Music-HFAC Address _ Provo, UT 84602 City State ZIP _

Telephone ( __) _ (Please allow 60 days for delivery.) 5

presidium. We are not alone in this; John White (president, British Section), Henry Janzen (president, Canadian Section) and others have made similar requests. I was happy to attend the Markneukirchen Congress and to have personal contact with the IVG leadership. I have recommended in a detailed letter to the IVG what I hope are creative ideas and acceptable solutions to the matters I have outlined here. I am committed to finding solutions to the existing problems in order to create a positive, mutually beneficial relationship between the AVS and the IVG. We are, after all, the American Section of the International Viola Society: Association for the Promotion of Viola Performance and Research. As one AVS board member has suggested, "We are concerned that the international part of the title reaches its full potential and [we are] dedicated to updating the organization of the society to meet this goal." I look forward to working with the leaders of the IVG to attain mutually agreeable solutions. I take the trust of AVS members seriously. To me it is a matter of the soul and a unity of the heart.

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ANNOUNCEMENTS

THE AMERICAN VIOLA Socn:TY AND THE UNIVERSITY OF TEXAS AT AUSTJN ScHOOL OF Mus1c proudly announce the XXVIOLA CON(;Rt-:ss

ome to the heart of the Texas Hill Country and celebrate this sliver jubilee Congress with Incomparable performances ana workshops by the world's most eaccomplished violists. June .3- 7, 1997

For all inquiries and re~tsfration information, contact: PROFESSOR ROGER MYERS, HOST CHAIR SCHOOL OF MusiC U!>iiVERSITY or TEXAS AT AusnN AusTIN, TX 78712

Featured violists will be headed by the Norwegian virtuoso LARs ANDERS ToMTER, who will perform the opening gala recital. The Congress will feature appearances by the best of North American violists and teachers, such as:

HEIDI CASTLEMAN • VICTORIA CHIANG • JoNATHAN CRAIG JosEPH DE PASQUALE • KAREN DIRKS • IGoR FEDETOV JEFFREY IRVINE • ScoTT LEE PAuL NEUBAUER • JurrA PucHHAMMER LYNN RAMsEY • KAREN RITsCHER • MATTHEW RoMBAUM PAMELA RYAN • SABINA THATCHER • KAREN TuTTLE GERALDINE wALTHER • BERNARD ZASLAV

Also at the Congress: A fascinating examination of the Bartok viola concerto by internationally acclaimed Bartok scholars ELLIOT ANTOKOLETZ, MALcoM GILLIES and DoNALD MAuRicE. See and hear the stars of tomorrow in the Primrose Memorial Scholarship Competi­ tion and the concert of past and present winners. Be sure to visit our website at: http://www. utexas.edu/ co fa/ music/violacon

~ Your A VS officers (left to right) Bill Schoen, Chris Rutledge, Dwight Pounds, Roger Myers (host chair), Tom Tatton, Pam Goldsmith, Jerzy Kosmala & David Dalton are looking forward to meeting you in .front of the University of Texas Tower, Austin, on]uly3-7. 8

PRIMROSE INTERNATIONAL VIoLA ScHOLARSHIP CoMPETITION

3-7 jUNE 1997 AusTIN, TEXAS IN CONJUNCTION WITH THE XXV CoNGREss

See details in this issue of JAYS in the Competitions Department.

Special1993 issue from the l Friends ofthe Brigham Young University Library on the PRIMROSE INTERNATIONAL VIOLA ARCHIVE (PNA)

Copies still available from:

Friends of the 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'' 9

BE A CONTRIBUTOR TO OR BENEFACTOR OF THE AVS.

Your contributions are tax deductible and are greatly appreciated.

(SEE MEMBERSHIP ENROLLMENT FORM 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?

Surfing Pleasure

The Primrose International Viola Archive is now on the Internet. Enjoy a general description, Primrose biography, examples from the photo archive, sound bytes from his recordings, etc.:

http://www.lib.byu.edu/ ~music/PIVA/WP.html

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VADIM BORISSOVSKY (1900-1972)

by Karl Stierhof

he name Borissovsky first became familiar Vienna Philharmonic under Karl Bohm, the ques­ T to me through the Literaturverzeichnis for tion was raised during a lengthy discussion: "Why Viola und Viola d'Amore (Wolfenbiittel 1937), haven't the great Russian composers produced any which he edited together with the famous German original pieces for viola and piano?" In answer to music researcher Wilhelm Altmann (1862-1951). this challenge, Shostakovich composed his famous Borissovsky's role in preparing this index brought him into disfavor with Stalin's regime; his wife, Alexandra de Lasari-Borissovskaya, of Corsican patrician blood, was even sentenced to death by firing squad. Borissovsky was ready to die with his wife. Fortunately, Alexandra was pardoned-perhaps because of her hus­ band's fame at the Moscow Conservatory, where he enjoyed the high regard of his colleagues and students. Borissovsky, who lived in a modest ground-floor apartment, was a deeply reli­ gious man, alien to any politics. My first Vadim Borissovsky contact with this great master occurred while I was a member of the Vienna Phil­ Sonata opus 147 (1975). This "swan song" was to harmonic. In the spring of 1962, I traveled with be Shostakovich's last work, completed in the the Philharmonic (the first western European hospital shortly before his death. It was performed orchestra to visit the post-World War II Soviet for the first time in October 1975 by violist Union) to Moscow and St. Petersburg for several Fyodor Drushinin and Michael Muntyan. The concerts. Our director was Herbert von Karajan. sonata is dedicated to Drushinin, Borissovsky's The Soviet minister of culture, Mme. Furtseva, successor at the Moscow Conservatory. Boris­ hosted the Philharmonic at a large reception to sovsky's widow, Alexandra, presented me with a which significant Russian artists had also been recording of the premier performance. invited. There I got to know the members of the From my first meeting with Borissovsky until famous Beethoven Quartet, to which Professor his death, I actively corresponded with him in Borissovsky had belonged as a violist since its cre­ French, a language he commanded well. He sent ation around 1930. This quartet was famous for me a large number of his arrangements for viola its premier performances of the first string quar­ and piano (and of cello concerti as well), and I tets of Dmitri Shostakovich (1906-1975), whose sent him works of contemporary Austrian com­ Thirteenth Quartet is dedicated to Borissovsky. posers that interested him very much. Shostakovich was one of his best friends. On a second trip to Moscow with the Vienna At a later meeting with Borissovsky in October Philharmonic (October 1971), we stayed in the 1971, during an opera and concert tour with the Hotel Russiya, not far from the Kremlin. One 12

evening Borissovsky picked me up from the hotel, (Vienna), as well as with the native Viennese Paul drove me to his apartment, and introduced me to Doktor and his father Karl, are fully justified. his best pupils, among them Yuri Bashmet, who Borissovsky's death (2 July 1972) was noted in today has world renown. It was a great experience a Russian musical journal with these words of then to hear parts of Hindemith's Der Schwanen­ eulogy: "As long as music lives and the viola dreher and the concerto of Bela Bart6k. resounds, the memory of V. Borrissovsky will not Of Borissovsky's significant pupils I might be forgotten in the hearts of musicians. The future mention: Shebalin (Borodin Quartet), Tolpygo successes of the Russian viola school will be the (first-prize winner in Munich, 1968), Barshai, most fitting monument to its founder." and the aforementioned Drushinin and Yuri For me, meeting this great man and musician Bashment (the latter a first-prize winner at the was an unforgettable experience. Munich competition). Characteristic of all the Russian violists is their playing on particularly large violas. When I showed Borissovsky our Philharmonic violas, he said, "My, those are large violins you play!" I was intrigued to hear Borissovsky relate how he had studied during the First World War with a Viennese violin soloist by the name of Robert Pollak (born in 1880). Pollak, who had been a pupil of Henri Marteau, Hans Sitt, and Carl Flesch, was already well known at that time. During a 1914 concert tour of Russia, he had been surprised by the outbreak of the war, pre­ -Karl Stierhof, a native of Vienna, received his vented from returning to Vienna, arrested, but early training in violin and viola in that city. His then finally allowed to teach at the Moscow studies were interrupted by World Wilr II, after Conservatory. Pollak didn't return to Vienna until which he enrolled at the Akademie for Musik July 1919. und Darstellende Kunst, renewing his violin study In the meantime, he concentrated his efforts with Professor Gottfiied Feist (a former student on developing his style. Critics particularly praised and assistant to Ottokar SevCik). He later studied his musical gracefulness, his beauty of tone, and viola with Ernst Morawec, principal violist of his French-school delicacy. In 1924 he took the Vienna Philharmonic. The next two decades over the guidance of the Buxbaum Quartet, to saw Stierhof offering numerous premieres and which his beloved teacher, Ernst Morawec, also recording works, particularly by native Austrian belonged. In the fall of 1926, Pollak left Vienna composers such as Egon Wellesz and Alfred Uhl for America, where he took over a master class in He became a member ofthe Vienna Philhar­ San Francisco and founded a string quartet. monic viola section and in 1964 was appointed A pioneer on the viola, Borissovsky contributed head ofviola studies at the Akademie for Musik. much to the significance this instrument has This was unprecedented in Austrian conservato­ achieved. He also had a great influence on con­ ries, where violin professors had always given temporary composers and instrument makers. In viola instruction. Professor Stierhof also studied the West, he became known for his editing of the the viola d'amore with Karl Stumpf and later Sonata of Michael Glinka (1804-1857), whose offered instruction on this instrument at the unfinished second movement he completed. Akademie, reaching emeritus status in 1988. He Comparisons with Lionel Tertis, William recently contributed his private viola library to Primrose, and my beloved teacher, Ernst Morawec the Primrose International Viola Archive. ~k~~~ g'J~ ~ ~ ~¥Y'~?t£

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THE VIOLA

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

The Primrose International Viola Archive, the largest repository of materials related to the viola, is housed in the Harold B. Lee Library. BYU graduates find them­ selves in professional orchestras and as teachers at institutes of higher learning. B.M., BA., and M.M. degrees in performance are offered to viola students.

For information, write: Walter Birkedahl "BYU is the Best Buy in U.S. higher education" School of Music, C-550 HFAC -U.S. News & World Report Brigham Young University Provo, UT 84602 25 September 1995 Tel (801) 378-3294 at BRIGHAM Y 0 U N G UNIVERSITY 15

VIOLA PEDAGOGY

by Laura Kuennen-Poper

everal colleagues and I recently had the public. The ultimate result is a paucity of per­ Sunlikely privilege of performing the United formances of works written in more recent States premiere of a new work by Mozart­ decades. yes, that Mozart-a recently discovered man­ Concerns about how well a new work will uscript from the British Museum of a piano be received by audiences and critics often quartet believed to be Mozart's own transcrip­ prevent violists from programming contem­ tion of the Quintet in E-flat for piano and porary pieces. Similarly, some teachers avoid winds, K. 452. Few people upon hearing the newer repertoire because they feel they can­ term new music would think of Mozart. not teach pieces they do not know intimately Nonetheless, in simplest terms, new music or because they believe students with limited includes any work one has never before study time must concentrate on learning played, taught, or heard. By this definition, established repertoire. almost anything can be considered new This avoidance tends to doom performers, music. Curiously, some violists who would audiences, and auditioning committees to an not think twice about preparing a "new" unending cycle of "the big three" concerti work by Bach or Mozart would balk at the (Walton, Hindemith, and Bartok), sonatas of thought of preparing a new work by a living the Romantic era, an occasional suite by Bach, composer. Actually, preparing and presenting Bloch, or Reger, and an additional sprinkling a "new" older piece is much the same as learn­ of Hindemith. Not to disparage these com­ ing a composition so new its ink is barely dry. positions-for they are beloved by many and After performing a new work, I have often have endured the test of time-but perhaps been approached by colleagues with a varia­ it is time to break the cycle and confer the tion of the question "How did you learn to imprimatur of "major repertoire" on a host of play that piece?" My usual response is along newer masterpieces. the lines of "It's nothing you can't do your­ What follows are suggestions for the per­ self-just notes on paper," and we all laugh. former or teacher who wishes to approach Yet many musicians continue to view new new pieces but is not sure how or where to music as an insurmountable challenge. Why? begin.

Perpetuated Obstacles Preparation: Taking the First Steps

Some violists tend to teach only works Start by committing yourself to learn a they have studied with their mentors. Others, piece written for the viola within the last because of time constraints or fear engen­ thirty years-no transcriptions allowed. You dered by unfamiliarity, are hesitant to may wish to start with some etudes. Lillian add contemporary works to their repertoires. Fuchs's Sixteen Fantasy Etudes or Nancy Van As this pattern has spread across musical gen­ de Yare's Six Studies for Viola are good candi­ erations, it has created a small gulf between dates. In addition, Paolo Centurioni's La contemporary composers and performers, Viola can be helpful in preparing violists for which has in turn created an even larger gulf nontonal literature; the studies in his book between those composers and the listening demand that the player view the fingerboard 16

not as a series of positions and keys but rather Review the piece carefully without your as an unending flow of pitches. Another alter­ viola in hand. Most newer works will have a native would be to create etudes out of an key or guide to the symbols used throughout. existing contemporary piece. For example, If performance instructions appear in a lan­ Penderecki's Cadenza for Solo Viola can be guage you do not know, be certain to have divided into four reasonable, page-length them translated. These can be quite lengthy etudes. and detailed, perhaps because today's com­ Your next step should be to locate a good posers, unlike those of preceding generations, music library or sheet-music store and spend cannot be assured that future performers of a some time perusing the stacks of viola litera­ given work will have a common understand­ ture. If a good library is inaccessible to you, ing of performance practice: many works obtain a copy of the Shar catalog or other will be disseminated not only in one country commercial source and browse the listings. but throughout the entire world. (The further Write to the Primrose International Viola a composer expects his or her piece to go, Archive for a list of their holdings (or consult whether geographically or temporally, the "New Acquisitions in PIVA" in each ]AVS), or more detailed instructions seem to become!) use Zeyringer's Literatur for Viola. Go to con­ A careful reading of the instructions can certs of contemporary music and listen. Let save countless hours of frustrated practice, your colleagues know you are looking for an and you will be all the more secure that you interesting new piece. Talk to the composers are proceeding according to the composer's you know and inquire if they have anything wishes. If you are unfamiliar with some sym­ for the viola in their a:uvre. Eventually, you bols, several excellent resources, including will narrow your focus to one composer and Eckart Schloifer's Pro Musica Nova, contain one piece. (If you have trouble finding a score clear explanations in both English and locally, see the list titled "New Music Re­ German of many notational symbols used by sources" accompanying this article.) a broad spectrum of contemporary com­ When interpreting contemporary music, posers. Only when you are satisfied that you bear in mind that the performer should, first understand the notation should you begin to and foremost, serve the vision of the com­ play through the piece. poser. One of the great pleasures of playing The first play-through of a work new to new music is the wealth of available informa­ you is critically important. It must be slow tion about contemporary composers and their and careful. Imagine that your ears and eyes music. Take time to do basic research about are connected to a video recorder in your your composer and the work you are tackling. brain, and that your first read-through creates Buy or borrow scores and recordings of other a template against which all other subsequent pieces by the same composer. Learn what you performances are judged and corrected. The can about the composer's style and aesthetic. original template must be correct. Playing It is a rare twentieth-century composer who through the piece against a very slow metro­ has escaped writing about his or her art! nome setting will help you achieve an accu­ If your composer is still among the living, rate first reading. you may wish to contact him or her directly During this initial play-through, make with questions specific to the piece you are mental notes of the difficult passages; once working on. (I have never met a composer who you have finished playing, go back and mark declined talking to a performer interested in them. Then, as you practice, work on these his or her work.) Lack of research can result difficult passages first. Resolve to solve one in performances that, while aurally pleasing problem passage during each practice session. and technically proficient, may be considered When you have learned the problem spots, aesthetically or stylistically "wrong." go back and put the piece together. It is no 8787 Lackland • St. Louis, Missouri 63114 1-800-44EADGC • 314-427-7570 DEALERS AND MAKERS OF RARE AND CONTEMPORARY VIOLINS, VIOLAS, CELLOS AND BOWS Expert restorations, repairs and appraisals Established in and serving the U.S.A. since 1942

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Tel 301/530-7316 Viola Power Tote Bag- $8.95 Fax 301/493-4867 Latham Music Enterprises 1209 Gregory Street Greensboro, NC 27403 (800)645-7022 (US) or (910)273-1499 (FAX) 19 new observation that pieces learned slowly hear performers speak (as long as the com­ and thoroughly are better performed and far mentary is not too long), because a spoken longer retained than those learned quickly. introduction creates an instant personal bond. This is especially true if you are about to per­ Performing New Works form unfamiliar music. Your listeners will want to know why you have chosen such and vm. The greatest secret about performing new such a piece, what you enjoy about the piece, music is that there is no secret to performing and what it is you think they ought to listen new music. The requisite assets one must for. Even seemingly insurmountable barriers bring to the conscientious performance of can be overcome through this simple tech­ new pieces are an open mind, a willingness to nique. Experience has shown that a new spend the necessary time to explore a work piece, when performed well and listened to by thoroughly, and a commitment to the com­ an audience that has been prepared for the poser's vision. Musical compositions are a event, is almost always successful. form of communication, and the performer's My experiences in this arena are not a job is to transmit the composer's ideas to the few, but I will relate just one to illustrate audience. this point. In 1992 I was collaborating with When one performs an older work-music a composer at the Banff Centre on an experi­ familiar to the audience through its genre, or mental piece for MIDI viola. As the date for the music of a familiar composer, or even a our performance drew near, everything that well-known work-performer and audience could go wrong did. We worked twenty-four come to the performance with a shared base hours around the clock before the perfor­ of knowledge. Common ground has been mance, trying to iron out technical problems established before you set foot on the stage, (broken cables, computer program glitches, and all a performer need do is play well. sporadic difficulty with the electronic instru­ Audiences enjoy hearing music they already ment). The Banff Centre is an intimate place; know something about, and performers enjoy most of our colleagues who would attend the the responses of an informed audience. For concert were conversant with the technology reasons already given, audience members do involved and familiar with our woes. I was not come to the concert hall having already hoping this would moderate levels of expecta­ familiarized themselves with the works of tion and give us some slack at performance many living composers. Thus, if you wish to time. I was also counting on their knowledge be successful in the performance of works to provide the aforementioned common entirely new to your audience, you must find ground. We had prepared some written common ground before you perform. program notes but were too exhausted to con­ Many performers rely on written program sider preparing a speech; our goal was to notes to educate audiences and familiarize simply get through the performance without them with a composer's intended communi­ a major mechanical failure. cations. On occasion, composers' notes are Imagine our dismay when, five minutes published along with their works for inclu­ before curtain time, I observed two tour buses sion in the concert program. These are some­ full of "blue-haired ladies" disembarking at times so full of jargon that they can mystifY the theater doors! I spent those five frantic an audience that may not know "serial" from minutes jotting down key words to help me "cereal." Instead of hoping that your audience navigate a layman's explanation of MIDI, is musically literate and that the house lights computers, and synthesizers. stay bright long enough for program notes When we took the stage I could hear the to be read, give verbal "program notes"­ muttering of people who were not expecting speak to your audience. Audiences love to to like what they were about to hear, based on 20

their bird's-eye view of a jungle of monitors, contemporary music until the moment they cables, speakers, computers, foot pedals, and hear a performance of a new work they enjoy. t{wdi: ,.c,lrrnv i"'o,JGermany.

New Music Resources

For assistance in locating scores American Music Center Byron-Hoyt Sheet Music Service W. 26th St., Suite 1001 16th Street New York, NY 10010 San Francisco, CA 94103 Tel: (212) 366-5260 Tel: (415) 431-8055 Fax: (212) 366-5265 Fax: (415) 431-0166 e-mail: [email protected] website: http://www.amc.net/ arne/

The AMC is an organization dedicated to pre­ Joseph Patelson Music House serving and disseminating music by American W. 56th Street composers. The AMC has available for loan an New York, NY 10019 extensive library ofpublished and unpublished Tel: (212) 582-5840 works. Materials can be checked out either in Fax: (212) 246-5633 person or shipped worldwide. 21

Valuable reference books Selected Bibliography

Contemporary Music International Inform­ Centurioni, Paolo. La Viola. Ancona, Italy: ation Service. International Directory of Con­ Berben, 1989. temporary Music (1996-97), in two volumes. New York: CMIIS, 1996. (A comprehensive Fuchs, Lillian. Sixteen Fantasy Etudes. New listing of composers and their compositions, York: International, 1976. with instrumentation and publication infor­ mation, nationalities and addresses of all Penderecki, Krzysztof Cadenza per viola sola composers listed, and addresses of all pub­ (1984). Mainz: Schott, 1986 lishers oflisted works.) Schloifer, Eckart, ed. Pro Musica Nova: Zeyringer, Franz. Literatur fur Viola. Julius Studies for Playing Contemporary Music for Schonwetter Verlag, 1985. (A comprehensive Viola. Wiesbaden: Breitkopf & Hartel, 1991. listing of viola literature published until 1984, available from Professor Zeyringer for $35.00, Van de Vate, Nancy. Six Etudes for Solo Viola in a bank note for Austrian schillings, at Musik (1969). Washington DC: Sisra Publications, Hochschule, A-8225 Pollau 382, Austria. 1980.

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THE WIDENING GAP BETWEEN VIOLIST AND COMPOSER

by Pamela Goldsmith

n the course of my thirty-three years as a to write a composition using traditional I professional violist, I have performed many Japanese instruments together with a Western new works in the contemporary music genre, instrument. Intrigued by the combination often under unusual circumstances. I have and the chance to do something different yet something of a reputation as a champion of again, I agreed to participate. I have long new music and one who likes the challenge maintained that it is the duty of performing of difficult repertoire. musicians to lend their efforts to new music Some musicians would rather not spend and give composers the best possible oppor­ time learning music that is possibly ugly tunity to be heard; but after my experience (an aesthetic judgment), enormously time­ with this composition, I am rethinking my consuming, or extremely awkward on the attitudes. The following is my amazing but instrument (sometimes even impossible). true story of what happened. Most often, new music is a first performance, Week by week, as the the performance date a premiere, with all of the bugs desperately approached, I became increasingly uneasy needing to be worked out. because I had not heard from him or seen the As the founding violist of the Group for music, and so I called him. Contemporary Music at Columbia University "Oh, yes, I'm beginning to get a feeling for in 1962, I performed the first compositions what I'm going to do," he said. That made to combine live (now called "acoustic") me even more uneasy, because, in the years instruments and tapes, electronically syn­ I have been performing new works, I have thesized material, and other cutting-edge encountered all sorts of difficulties, including technologies. Over the years, I have partici­ notes written out of the viola's range, tempos pated in various compositions that call upon too fast to generate the notes written, ex­ the performer to sing, speak, play percussion panded techniques, and so forth. I have also instruments, run through the audience, performed new music that was simply excru­ simultaneously whistle, rub a foot on the ciatingly difficult, requiring hours of practice. floor, and play the viola, and so forth. I have (New music is never a terribly well-paying been instructed by composers on such things occupation, and in this case I understood it to as what to wear for a performance or how to be non-paying.) look longingly at another musician while A few weeks later I received a call: "We playing. In 1975, I played electric viola for cannot rehearse until the week of the perfor­ Frank Zappa in a memorable set of concerts mance, because the shakuhachi player will in which he asked me to use the wah-wah be in Japan." pedal (familiar to guitarists), play grotesquely, "I need to see the music anyway," I replied. and appear on the stage in formal black Two weeks before the performance, I ar­ orchestral attire-barefoot. ranged for one of my viola students to pick In the spring of 1994, I was contacted by a up the music and bring it to me at his lesson. composer who informed me he was writing The student informed me the composer was a new composition for viola, shakuhachi and nowhere to be found. I called again. sho. Would I be interested in premiering the "Oh yes, I haven't written anything down work? I was unacquainted with this com­ yet, but it's beginning to take shape in my poser. He explained that he had a doctorate mind. I will bring over the music as soon as in ethnomusicology and had long wanted it's ready." 24

It never appeared. One week before the "May I have an A?" I inquired. performance, we scheduled a rehearsal at the He played a B flat. composer's home. I arrived to find the com­ "What was that?" poser running out the door, wild-eyed. ''I'm "That is A on this instrument," he replied. going to the Xerox place so you will have a "It's a little sharp." score to read from." Uh-oh, I thought again. The sho player arrived, and I watched with The composer returned with some large, great interest as he plugged in a hot plate and unmanageable sheets of score; parts were proceeded to direct it at a bundle of pipes in scribbled out on a single score, but the staves a circle-the sho. were not lined up rhythmically. I had dealt "What are you doing?" with that sort of thing before. "I'm warming it up," he replied. I decided to broach the subject of pitch. "May I hear an A?" "You know," I said, "the sho is flat and the He played a G-sharp. shakuhachi is sharp." "No, I need an A." "Oh," he said in some surprise, "I didn't He said, "That is an A." think of that." Uh-oh, I thought, then asked, "Are you I remembered that this person had a doc­ going to transpose?" torate in ethnomusicology from one of the "No, the sho plays certain notes and cer­ most respected institutions in the country. tain chords, and that is what I am going to "So is intonation going to be an issue play." here?" I asked. The shakuhachi player arrived and un­ "Oh yes," he said. "You answer the shaku­ packed the bamboo vertical flute. hachi with the same material he plays, so it should sound the same." "Well, I suppose I can tune my strings sharp, but what about the supporting chords JOHN­ in the sho?" "I don't know." BRASIL We spent the rehearsal trying to achieve some common ground in the pitch arena, The NAME in correcting the numerous copy mistakes in the QUALITY PERNAMBUCO score and picking music off the floor where WOODS and BOWS it kept falling (the composer had neglected to provide chairs or stands for the rehearsal, 1993 so we were sitting on the sofa, and I had 45 LOBBY EXHIBITIONS the music propped up on my open viola INTERNATIONAL case). I also attempted to learn the style of the ON 5 CONTINENTS thirteenth-century gagaku (Japanese court music), as rendered in twentieth-century Horst John & Cia. Ltda notation, by imitating the turns and bends Box 606 - Rio de Janeiro of the shakuhachi player, who was in turn BRAZIL trying to play flat on his instrument to match the sho. Reference: The composer played a large drum "to Bischofberger Violins keep us all together," but his rhythm was irregular and he was distracted by the reality 1314 East John of his composition. That is, for the first time, Seattle, WA 98102 he was hearing what he had written. Tel: (206) 324-3119 UNIVERSITY OF SOUTHERN CALIFORNIA 25 ScHOOL oF Music

I VIOLA STUDY

DONALD MciNNES MILTON THOMAS PAMELA GOLDSMITH

For further information, please write or call School of Music University of Southern California Los Angeles, California 90089-0851 Outside California: (800) 872-2213 Inside California: (21 3) 740-8986

After three hours of struggling with this On the evening of the performance, I was ten-minute composition, we quit. The shaku­ hastily erasing and copying new notes at six­ hachi player informed us that the only other thirty to be performed at eight. Incidentally, scheduled rehearsal was impossible, because it was one of those rare days in May, raining he had a paying job. We agreed to meet at six like proverbial cats and dogs. At least by con­ o'clock the evening of the performance. cert time the country western band had quit, This concert was a function of one of the but the smell of barbecue lingered outside the universities at which I teach. Since the cam­ auditorium. pus had been heavily damaged in the 1994 Yes, we did complete the premiere perfor­ Los Angeles earthquake, our performance had mance, and I'm not sure what the audience been moved to the local two-year college, thought about it all, but when I arrived which for many years was the agricultural home, I had a big glass of wine and practiced school for the L.A. area. The day of the con­ saying "No! ... no! ... no!" cert coincided with a rodeo; when I arrived at the music building, an amplified country -Pamela Goldsmith, AVS vice-president, holds western band was playing at deafening levels a DMA from Stanford University; she also for the barbecue immediately outside the attended UCLA, Mannes, and George Peabody room we had reserved for our dress rehearsal. College. Her principal viola teachers were Paul The shakuhachi and the sho are both gen­ Doktor, William Kroll and William Primrose. erally quiet instruments, so in the course of Currently teaching viola and pedagogy on our rehearsal I never heard them at all. I was, the University of Southern California faculty, however, preoccupied, because-despite my she is well known in chamber music circles and having spent the week recopying the viola as a soloist, having participated in numerous part onto a few manageable pages-the com­ first performances of contemporary music. Her poser now rushed in with a completely articles on the application ofscholarly research new part. He had, in fact, rewritten the com­ to performance style have appeared in The position. American String Teacher, Strad, and JAYS. Bela Bartok's VIOLA CONCERTO

A facsimile edition of the autograph draft is available.

Bela Bartok's last composition was left in the form of sketches, as the composer died before he had the opportunity to prepare a full score. The work became known in Tibor Serly' s orchestration; a second variant by Nelson Dellamaggiore and Peter Bartok was recently produced. The facsimile edition shows what has been written by Bela Bartok and what was added or changed by others. The publication contains full size color reproductions of the sixteen manuscript pages (two are blank) of the sketch; an engraved easy-to-read fair copy, commentary by Laszlo Somfai and explanatory notes by Nelson Dellamaggiore, who prepared the fair copy. Texts are in English, Hungarian, German, Spanish and Japanese. Total 92 pages, 15 1 I 2 x 12 inches (39 x 30 em), hard cover.

u.s. $ 100.00 (including postage and handling) Published by:

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NEW ACQUISITIONS IN PIVA

Editor's Note: This continues the series of installments that will update the holdings of the Primrose International Viola Archive. (Pn!A is the official archive of music for the viola of both the International and the American Viola societies.) Viola scores in PWA up to 1985 are identified in Franz Zeyringer's Literatur fur Viola (Verlag julius Schonwetter jun., Hartberg, Austria, 1985), where they are marked with a +. This present series ofinstallments will eventually make the listing current, after which a new acquisitions list will be published annually in JAYS. The entries are listed according to the Zeyringer classification ofinstrumentation. A foture compilation under one cover of all the annual lists is planned as a sequel to the Zeyringer lexicon.

1991 Acquisitions Hindemith, Paul. Sonata: viola solo; op. 11, no. 5. New York: Associated Music Publishers, cl923.

Viola- Solo Hindemith, Paul. Sonate fur Bratsche allein; Bach, Johann Sebastian. Sonatas and partitas for Op. 11, Nr. 5. Mainz: B. Schott's Sohne; New solo viola; selected and transcribed from the solo York: Associated Music Publishers, c1951. violin sonatas and partitas by Watson Forbes = Sonaten und Partien fur Solo-Bratsche; aus­ Hindemith, Paul. Sonate fur Bratsche allein; gewahlt und von den Sonaten und Partien fur Op. 11, Nr. 5. Mainz: B. Schott's Sohne; New Solo-Violine transkribiert von Watson Forbes. York: Schott Music Corp., [1955?], cl951. Oxford [Oxfordshire]; New York: Oxford University Press, cl986. Hindemith, Paul. Sonate fur Bratsche allein; Op. 11, Nr. 5. Mainz: B. Schott's Sohne; New Bloch, Ernest. Suite for viola solo. New York: York: Schott Music Corp., [1966?], c1951. Broude Brothers, cl962. Hindemith, Paul. Sonate fur Bratsche allein; Bohnke, Emil. Sonate fur Bratsche Solo; Op. 13, Op. 25, Nr. 1. Mainz: B. Schott's Sohne, 1923. Nr. 2. Berlin: N. Simrock, c1924. Hindemith, Paul. Sonate fur Bratsche allein; Dinescu, Violeta. Din cirnpoju: fur Solo-Bratsche. Op. 25, Nr. 1. Mainz: B. Schott's Sohne; New Berlin: Astoria Verlag, cl986. York: Schott Music Corp. (Associated Music Publishers), [1952?], cl951. Doppelbauer, Josef Friedrich. Sonate [fur] Viola solo. Wien: Doblinger, c1988. Hindemith, Paul. Sonate fur Bratsche allein; Op. 25, Nr. 1. Mainz: B. Schott's Sohne; New Dorward, David Philip. Capriccio for viola. York: Schott Music Corp. (Associated Music Glasgow: Scottish Music Publishing, cl986. Publishers), [1955?], cl951.

Fuchs, Lillian. Sonata pastorale: for unaccompa­ Hindemith, Paul. Sonate fur Bratsche allein; nied viola. New York: Associated Music Op. 25, Nr. 1. Mainz: B. Schott's Sohne; New Publishers, cl956. York: Schott Music Corp., [1955?], cl951.

Fuchs, Lillian. Sonata pastorale: for unaccompa­ Hindemith, Paul. Sonate fur Bratsche allein; nied viola. New York: Associated Music Op. 25, Nr. 1. Mainz: B. Schott's Sohne; New Publishers, [1960?], cl956. York: Schott Music Corp., [1966?], cl951.

Geddes, John Maxwell. Apt for viola. Glasgow: ]olivet, Andre. Cinq Eglogues: pour alto seul. Scottish Music Publishing, cl986. Paris: G. Billaudot, cl968.

Hetu, Jacques. Variations: alto seul = solo viola = Kozinskii, Petr Borisovich. Sonata dlia al'ta solo = Bratsche Solo; op. 11. Saine-Nicolas, Quebec: Sonata for viola solo. Leningrad: Sovetskil Editions Yppan, cl984. Kompozitor, 1987. 28

Laderman, Ezra. Elegy for solo viola. New York: Tonband und Viola G. Schirmer, cl983. Musgrave, Thea. From one to another (no. 1): for viola and tape; [electronic tape made in collabora­ Mazas, F. (Fereol). 8 Melodien fiir Viola {Solo); tion with Daphne Oram]. London: Novello, Op. 80; ubertragen von Louis Pagels. Dresden: cl987. Bellmann & Thurner, [193-?]. Violine und Viola McGuire, Edward. Martyr: for solo viola. Eichner, Ernst. Sechs Duette fiir Violine und Glasgow: Scottish Music Publishers, cl986. Bratsche; Op. 10; neu hrsg. von Pro£ Dr. Wilhelm Altmann. Hannover: A Nagel, 1936. Nelson, Sheila M. Stringsongs: for viola. [London]: Boosey & Hawkes, cl985. Eichner, Ernst. Sechs Duette fiir Violine und Viola = Six duets for violin and viola; Op. 1 0; Orrego Salas, Juan. "A greeting cadenza for hrsg. von Wilhelm Altmann. Kassel: Nagels William Primrose": solo viola; op. 65. Bloom­ Verlag; New York: Baerenreiter Music, [1960]. ington, Ind.: Frangipani Press, cl984. Eggermann, Fritz. 6 Skizzen: fiir Giege und Radulescu, Michael. Sonata: Bratsche solo. Wien: Bratsche = 6 sketches: for violin and viola. Wien: Doblinger, cl987. Universal Edition, cl967.

Rosse, Fran<;:ois. Corpus alto: pour alto solo. Paris: Kurmainzer Musik und Trio von Fux; hrsg. von Durand, c1987. Dr. A Gottron. Wiirzburg: St. Rita-Verlag, 1926.

Schuback, Peter. Chant du vide: pour alto seul Mozart, Wolfgang Amadeus. Duos fiir Violine [ou pour violoncelle seul]; 1984. [Stockholm: und Viola; hrsg. von Friedrich Hermann. Leipzig: Stirn, 1988]. C. F. Peters, [1951].

Straumer, Fritz. Sonate fiir Viola solo. [Dresden: Ribaupierre, Emile de. Suites montagnardes: pour Carl Pilling, 195-?]. violon et alto. [Lausanne]: Foetisch, 1930.

Vycpalek, Ladislav. Suita pro solovou violu = Schoen, Moritz. Sechs leichte und melodische Suite fiir Bratsche Allein; op. 21. Praha: Hudebnf Duettinos: fiir Violine und Bratsche; Op. 37; rev. Matice Umelecke Besedy, 1930. von C. Nowothny. Neue Ausg. Leipzig: F.E.C. Leuckart, [189-?]. Wellesz, Egon. Rhapsody fiir Viola solo; Op. 87. Wien: Doblinger, cl963. Siegl, Otto. Duo-Sonatine: fiir Geige und Bratsche = Duet-sonatina: for violin and viola = Windsperger, Lothar. Ode (c-Moll): viola solo. Duo-sonatine: pour violon et alto; Op. 138. Mainz: B. Schott's Sohne, c1919. Zweite Aufl. Wien: Osterreichischer Bundes­ verlag, 1949. Zaninelli, Luigi. Two movements for unaccompa­ nied viola/violin: for one player. Delaware Water Skalkottas, Nikos. Duo per violino e viola. Gap, Pa.: Shawnee Press, cl986. London: Universal Edition, c1961.

Zeyringer, Franz. Variationen tiber das Erzherzog­ Werdin, Eberhard. Senioren-Duo: fur Violine J ohann-Lied: fiir Viola solo; 1982. [Zagreb]: und Viola. Wien: Doblinger, c1987. Edition Pax, c1988. Violine und Viola (arr.) Englische Hom und Viola Bach, Johann Sebastian. Duette nach den 15 Katzer, Georg. Miteinander-gegeneinander: duo zweistimm. Inventionen fur Klavier: fiir Violine concertante fiir Englische Horn und Bratsche; und Viola iibertragen. Leipzig: Breitkopf & 1982. Erste Auf1. Leipzig: Deutscher Verlag fiir Hartel, [195-?]. Musik, cl985. Mozart, Wolfgang Amadeus. 24 Duetti fiir Schlagzeug und Viola Violine und Viola: aus den Opern Die Zauberflote Carles, Marc. Woy: pour alto et percussion. Paris: und Don Giovanni = 24 duets for violin and viola: G. Billaudot, cl987. from The magic flute and Don Giovanni; revidiert

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Ph. (908} 322-4469 Fax: (908) 322~8613 31 und hrsg. von Yvonne Morgan. Winterthur! Contrabass und Viola Schweiz: Amadeus, 1990. Borghi, Giovanni Battista. Sonate fiir Viola d'Amore (Violino) und Contrabass. Leipzig: Paul Zwei Violen GUnther, [193-?]. Bach, Wilhelm Friedemann. 3 viola duos; [hrsg. von] Karl Haas. [London: Hinrichsen Edition, cl953]. Harfe und Viola Bax, Arnold. Fantasy sonata: for harp and viola. Bach, Wilhelm Friedemann. Three viola duos; London; New York: Chappell, c1943. [hrsg. von] Karl Haas. London; New York: Edition Peters/Hinrichsen Edition, [1975?], cl953. Porter, Quincy. Duo for viola and harp (or harpsi­ chord). New York: Associated Music Publishers, Bridge, Frank. Lament: for two violas; (ed. by c1960. Paul Hindmarsh). London: Thames Publishing; Trade distribution, Novello and Co., cl981. Cembalo und Viola (arr.) Martinn, Jacques Joseph Balthazar. Trois sonates Handel, George Frideric. Sonate flir Viola (Viola pour 1' alto. Paris: Costallat, [ 190-?]. da gamba oder Violoncello) und konzertierendes Cembalo (Klavier); hrsg. von Adolf Hoffmann. Nelson, Sheila M. Stringsongs: for viola. [London]: Mainz: B. Schott's Sohne; New York: Schott Boosey & Hawkes, cl985. Music Corp., c1955.

Weinrich, Justus. Drei Duetten (C-Dur, G-Dur, Handel, George Frideric. Sonate fur Viola (Viola d-Moll) fiir zwei Bratschen (2 Viole-Alti); Op. 5. da gamba oder Violoncello) und konzertierendes Offenbach aiM: Johann Andre, cl901. Cembalo (Klavier); hrsg. von Adolf Hoffmann. Mainz: B. Schott's Sohne; New York: Schott Yun, Isang. Contemplation: fi.ir 2 Violen, 1988. Music Corp., c1955. Berlin: Bote & Bock, cl989. Telemann, Georg Philipp. Sonata e-Moll fUr Zwei Violen (arr.) Viola di Gamba [oder Viola oder Violoncello] Bach, Johann Sebastian. Inventsiia; Malen'kaia und Continuo; hrsg. von Paul Rubardt. Halle: preliudiia. Ariia; dlia dvukh al'tov. Inventions, Mitteldeutscher Verlag, [ 1950]. harpsichord, BWV 779, arr. Moskva: Gos. muz. izd-vo, 1953. Orgel und Viola Baussnern, Waldemar von. Drei ernste StUcke: fur Reher, Sven. Christmas music for two violas: a Solo-Streicher und Orgel. Berlin: Chr. Friedrich collection of popular Christmas carols and music; Vieweg, [194-?]. transcribed and edited for two violas by Sven H. Reher. [U.S.: Sven H. Reher, cl987]. Glaser, Paul. Trostung: Andante religioso fur Violine (Viola oder Violincello) und Orgel. Sammlung von Fugen und Canons fi.ir zwei Leipzig: C. F. Kahnt, c1919. Bratschen; von Joh. Seb. Bach und L. Rotter; i.ibertragen von Ludwig Pagels. Leipzig: Aug. MUller, J. V. "Abend-Andacht": adagio fUr Viola Cranz, [193-?]. alta oder Violine und Orgel oder Harmonium oder Piano-Forte; Op. 9. Ausg. fiir Viola alta. Violoncello und Viola Mainz: B. Schott's Sohne, [188-?]. Gotskosik, Oleg. Sonata for viola and cello. Play­ score. [Stockholm: Svensk Musik, 1988]. Senn, Karl. Zwei Romanzen fUr Bratsche und Orgel oder Harmonium; Op. 27. Leipzig: Fr. Hamel, Peter Michael. "Kafka-Weiss-Dialoge": Kistner, [ 190-?]. fur Viola und Violoncello: Musik zum "Neuen Prozess" von Peter Weiss fi.ir die Mi.inchner Wermann, Oskar. Zwei Vortragsstiicke fur Viola Kammerspiele 1983. Spielpartitur. Kassel; New und Orgel oder Harmonium oder Pianoforte; York: Barenreiter, [1987], cl986. Op. 81. Leipzig: GebrUder Hug, cl893.

Schenker, Friedrich. Foglio 1: per viola e violoncello; Weyrauch, Johannes. "Herzliebster Jesu, was hast 1982; per l'esposizione RolfMi.inzner. [ErsteAufl..]. du verbrochen": Sonate fur Bratsche und Orgel. Leipzig: Deutscher Verlag flir Musik, c1986. Stuttgart: Hanssler, [1963?]. 32

Zwei Violinen und Viola Bresgen, Cesar. Sonate fur Bratsche und Klavier. Manns, Ferdinand. Trio fur zwei Violinen und Heidelberg: Musikverlag Willy MUller, c1939. Viola = Trio for two violins and viola; Op. 15; hrsg. von Bernhard Pauler. Winterthur, Schweiz: Bunin, Revol' Samo!lovich. Sonata dlia al'ta i Amadeus, 1987. fortep'iano; [soch. 26]; redaktsiia partii al'ta Rudolfa Barshaia. Moskva: Sovetskir kompozitor, Klavier und Viola 1957. Bach, Heinrich von, Freiherr. "Reverie": fur Viola und Klavier; Op. 55; componirt von H. Molbe Busser, Henri. "Rhapsodie armenienne": (sur des [pseud.]. Wien: F. Rorich, [190-?]. themes populaires): pour alto et piano; [op. 81]. Paris: Costallat, c1930. Belyl, Viktor Arkad'evich. Poema; dlia al'ta i fortep'iano = Poeme: pour alto et piano. Moskva: Casadesus, Francis. Deux pieces pour alto. Paris: Gos. izd-vo muz. sektor; Wien: Universal Edition, Henry Lemoine, c1947. 1929. Casadesus, Robert. Sonata for viola and piano; Bliss, Arthur, Sir. Sonata dlia al'ta i fortepiano. op.12. New York: International Music, cl989. Moskva: Muzyka, 1975. Chailley, Jacques. Sonate pour alto et piano. Paris; Bloch, Ernest. Suite for viola and piano or orches­ A. Leduc, cl942. tra. New York: G. Schirmer, c1948. Chailley, Jacques. Sonate pour alto et piano. Paris: Bloch, Ernest. Suite for viola and piano or orches­ A. Leduc, c1950. tra. New York; London: G. Schirmer, [1960?], c1948. Charpentier, Raymond (Louis Marie). Sonate en trois parties enchainees: pour alto et piano. [S.l.: Bloch, Ernest. Suite for viola and piano or orches­ s.n., 193-?]. tra. New York: G. Schirmer, [1980?], cl948. Chemberdzhi, Nikolai Karpovich. Siuita dlia al'ra Bloch, Ernest. Suite hebraique: for viola (or violin) s fortep'iano = Suite pour viola et piano; op. 4. and piano. New York: G. Schirmer, [196-?], Moskva: Muzsektor Gosizdata; Wien: Universal­ c1953. Edition, [1930?].

Bowen, York. Sonata II, F-Dur: fur viola und Cowell, Henry. Hymn and fuguing tune no. 7: piano; [bezeichnet von] (Lionel Terris). Mainz: B. for viola and piano. New York: Peer International, Schott's Sohne, cl911. cl953.

Brahms, Johannes. Zwei Sonaten fur Klarinette Cox, Kenneth. Sonata for viola and piano; [oder Bratsche] und Klavier; Op. 120; mit einer (op. 31). London: B. Brunton, cl986. Violin-und Violastimme hrsg. von Carl Herrmann; Klarinettenstimme von Heinrich Cramer, J. B. (Johann Baptist). Walzer; bearb. Bading. Leipzig: C. F. Peters, [1942?]. von H. Dessauer. Einzel ausg. Klavierbegleitung. Mainz: B. Schott's Sohne, c1914. Brahms, Johannes. Zwei Sonaten fur Klarinette und Klavier; Op. 120; ausg. fur Klarinette und Cutter, Benjamin. Eine Liebes-Novelle = A love Klavier von Heinrich Bading; ausg. fur Viola und story: 5 Bagatellen fur Viola und Pianoforte; Klavier von Carl Herrmann. Frankfurt; New Op. 20. Boston: Arthur P. Schmidt, c1895. York: C. F. Peters, [197-?]. Dahl, lngolf. Divertimento: for viola and piano. Brahms, Johannes. Clarinet sonara in f minor; op. New York: G. Schirmer, cl951. 120, no. 1: for clarinet and piano or viola and piano; [edited by Lionel Terris]. London: Dale, Benjamin. Phantasy for viola and piano­ Augener, cl951. forte; op. 4. London: Schott; New York: Associated Music Publishers, c1912. Brahms, Johannes. Sonatensatz (Scherzo): for violin (or viola) and piano; op. posth. New York: Dittersdorf, Karl, Ditters von. Sonate fur Viola und G. Schirmer, [cl95-?]. Klavier in Es-Dur = Sonate pour alto et piano en THOMASTIK DOMINANT THE NEW STANDARD OF EXCELLENCE

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(847)491-9550 13 20 Sherman Avenue Evanston. IL Viola Faculty

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

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 the Oberlin Conservatory, his M.M. from the Manhattan School of Music and his D.M.A. from the University of Michigan.

Leonid Gesin is a member of the San Francisco Symphony and several chamber music groups, including the San Francisco Chamber Orchestra. He studied with A. G. Sosin at the Leningrad State Conservatory, then performed with the Leningrad State Philharmonic and taught before emigrating to the United States.

Paul Hersh, former violist and pianist of the Lenox Quartet, studied viola with William Primrose and Geraldine Walther, principal violist of the San attended Yale University. He has performed with the Francisco Symphony, is former assistant principal of the San Francisco Symphony, the San Francisco Chamber Pittsburgh Symphony and a participant in the Santa Fe Orchestra and many other groups. He has also made a Chamber Music Festival. She studied at the Curtis Institute number of recordings and has been artist-in-residence of Music with Michael Tree and at the Manhattan School of at universities and music festivals in the United States Music with Lillian Fuchs, and won first prize in the and Europe. William Primrose Viola Competition in 19 7 0

Students from around the world come to the San Francisco Conservatory of Music for several reasons: • A student-teacher ratio of 6 to l. • The opportunity to study with an exceptional faculty in one of the worlds most diverse and exciting cultural centers. • Extensive performance opportunities both on campus and around the city. Concerts and recitals are presented at the Conservatory's Hellman Hall nearly every day of the school year.

Offering the Master of Music, Bachelor of Music and Music Diploma. Founded 1917. Colin Murdoch, President. Deborah Berman, Dean. Affinnalivc 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 Tel415/759-3431 Fax 415/759-3499 http://'A'WW.sfcm.edu e-mail: jgordon @sirius. com

San Francisco Conservatory of Music 35 mi (flat) majeur = Sonata for viola and piano in E­ Hindemith, Paul. Sonate fur Bratsche und flat major; bearb. und hrsg. von Hans Mlynarczyk, Klavier. Mainz: B. Schott's Sohne; New York: Ludwig Lurman. Leipzig: F. Hofineister, [192-?]. Associated Music Publishers, c1940.

Flackton, William. Sonata in C for viola and Honegger, Arthur. Sonate pour alto et piano. piano (or harpsichord); op. 2, no. 4; [edited from Paris: M. Eschig, [1978?], c1921. the figured bass edition by Walter Bergmann]. London: Schott; New York: Associated Music Huhn, Ernst Joachim. Sonatine fur Viola und Publishers, c1954. Klavier; Op. 50. Leipzig: Selbstverlag, [193-?].

Flackton, William. Sonata in C for viola and Inghelbrecht, D. E. (Desire Emile). Prelude et piano (or harpsichord); op. 2, no. 4; [edited from saltarelle: pour alto et piano. Paris: A. Z. Mathot, the figured bass edition by Walter Bergmann]. [1907?]. London: Schott, [1960?], c1954. Jacoby, Hanoch. King David's lyre: violin or viola Flackton, William. Sonata in G for viola and and piano. Tel-Aviv: Israeli Music Pub.; New piano (or harpsichord); [edited and continuo by York: Leeds Music Corp. (sole representative for W. G. Bergmann; viola part rev. and edited by the Western Hemisphere), c1953. Keith Cummings]. London: Schott; New York: Associated Music Publishers, c1942. Joubert, Claude-Henry. Menuet de l'argyronere: pour alto et piano. Macon Cedex, France: Flackton, William. Sonata in G for viola and Editions Robert Martin, c1985. piano (or harpsichord); [edited and continuo by W. G. Bergmann; viola part rev. and edited by J uon, Paul. So nate fur Bratsche und Klavier; Keith Cummings]. London: Schott; New York: Op. 15. Berlin: Verlag der Schlesinger'schen Buch Associated Music Publishers, [1950?], c1942. & Musikhandlung, [191-?].

Gamburg, Grigorii. Napev: dlia al'ta s fortep'iano; Karaev, Kara. 5 p'es: skripka iakhud alt ila ochim op. 5, no. 1; aus dem "Hohen Lied". Vena: Universal­ kochtirma. Baky: Azerbaijan Dovlar Musigi noe Izd-vo; Moskva: Muzsektor Gosizdata, 1928. Nashriiaty, 1952.

Gamburg, Grigoril. Dva napeva; dlia al'ta s forte­ Khitsunov, Serhii Ipolytovych. Sonatas dlia al'ta i p'iano = Zwei Fragmente: fiir Viola und Klavier; fortep'iano. Kiiv: Sovetskii Kompozitor, 1961. op. 5, no. 2; a us dem "Hohen Lied". Moskva: Muzsektor Gosizdata; Vena: Universalnoe Izd-vo, Kirkor, Georgi! Vasil' evich. Kontsertnaia fantaziia 1928. dlia al'ta i fortep'iano; [soch. 26]. Moskva: Muzyka, 1967. Hahn, Reynaldo. Soliloque et forlane: pour alto et piano. Paris: Editions Max Eschig; New York: Klengel, Paul. Sechs Stucke fur Bratsche und Associated Music Publishers, c1937. Klavier = Six pieces for viola and pianoforte = Six pieces pour alto et piano; Op. 39. Leipzig: Hamilton, lain. Sonata for viola and piano; op. 9. Breitkopf & Hartel, c1910. London: Schott, c1954. Klengel, Paul. Drei Romanzen fur Viola und Harris, Roy. Soliloquy and dance: for viola and Klavier; Op. 46. Leipzig: Fr. Kistner, c1912. piano. New York: G. Schirmer, c1941. Kolb, Barbara. "Related characters": for viola and Hedges, Anthony. Sonatina for viola and piano; piano. [New York?]: Boosey & Hawkes, cl985. [op. 91]. Beverley: Westfield Music, c1982. Krein, Aleksandr Abramovich. Prolog; redaktsiia Hennessy, Swan. Quatre morceaux pour saxo­ V. Borisovskogo. Moskva: Sovetskii Kompozitor, phone alto ou alto et piano; op. 71. Paris: Editions 1962. Max Eschig, c1929. Kruez, Emil. Der Violaspieler: Sammlung von Hindemith, Paul. Sonate fur Bratsche und progressiv geordneten Stucken fur Viola Klavier; Op. 11, Nr. 4. Mainz: B. Schott's Sohne; und Klavier; Op. 13. Mainz: B. Schott's Sohne, New York: Schott Music Corp., c1949. [194-?]. Mayer, Rudolf. Kleine Suite: fur Bratsche und Klavier. Wien: Ludwig Doblinger, cl939.

Medins, Jekabs. Tri miniatiury: dlia al'ta i fortepi­ ano. [Leningrad: Sovetskii Kompositor, 1969?].

Mihalovici, Marcel. Sonate pour alto et piano. Paris: Heugel, cl948.

Milhaud, Darius. "4 visages": pour alto et piano. Paris: Heugel, cl946.

Milhaud, Darius. "4 visages": pour alto et piano. Paris: Heugel, 1983-84 printing, c1946.

Milosevic, Vlado. Sonata za violu i klavir; pri­ jatelju Miroslavu Mileticu, kompozitoru i violisti autor; redakciju notnog teksta izvrsio Miroslav Miletic. [Zagreb]: Udruzenje Kompozitora Bosne i Hercegovine, [1967].

Musik fur Viola = Music for viola = Musique pour alto: Originalkompositionen der Gamba- und Viola-Literatur; redigiert und hrsg. von Gustav Szeredi-Saupe. Budapest: Editio Musica, c1986.

Napoli, Carlo. Ouverture per viola e pianoforte. Milano: G. Ricordi, 1975.

Kuhn, Siegfried. Sonate (h-Moll) fur Bratsche und Norton, Christopher. Microjazz for viola. Klavier; Op. 7. Berlin: Ries & Erler, [190-?]. London; New York: Boosey & Hawkes, c1989.

Lesieur, Emile. Automne: pour alto avec accompa­ Pesy, sovetskikh kompozitorov: dlia al'ta i forte­ gnement de piano. Paris: M. Combre, c1985. p'iano; [sostavlenie, obrabotka i perelozheniia V. N. Skibina]. Moskva: Sovetskii Kompozitor, Lessle, Adolf. Capriccioso. Stettin: Baltischer 1987. Musikverlag; Mainz: Eigentumer der Verlags- und Auffiihrungsrechte, B. Schott's Sohne, [191-?]. , Radnai, Miklos. Sonate fur Bratsche und Piano­ forte. Leipzig: N. Simrock, cl913. Limbert, Frank L. Sonate (c-Moll) fur Pianoforte und Viola; Op. 7. Frankfurt a/Main: Steyl & Raphael, Gunter. Sonate in Es-dur fiir Bratsche Thomas; New York: G. Schirmer, [190-?]. und Klavier; Op. 13. Leipzig: Breitkopf & Hartel, cl926. Liszt, Franz. Romance oubliee = (Vergessene Romanze): pour viola et piano. Hannover: Chr. Ratez, Emile Pierre. Sonate pour alto et piano; Bachmann, [c189-?]. (op. 48). Paris: Rouart, Lerolle, [1907?].

Longo, Alessandro. Suite per viola e pianoforte, Reutter, Hermann. Musik fur Bratsche und op. 53. Milano; New York: G. Ricordi, cl911. Klavier; (1951). Mainz: B. Schott's Sohne; New York: Associated Music Publishers, cl952. Mack, Dieter. Aneh: fur Viola und Klavier. [Freiburg: Mack, 1987]. Ribollet, Albert. Suite pour alto et piano. Paris: A. Leduc, cl924. Magdic, J osip. 5 satiricnih anekdot: za violo in klavir = 5 anecdotes satiriques: pour alto e piano. Ricci Signorini, A. (Antonio). Tre espressioni Ljubljana: Drustvo Slovenskih Skladateljev, 1967. liriche. Milano: A. & G. Carisch, cl925. 37

Ritter, Alexander. Tonstiick: fur Viola und Siegl, Otto. Sonate fur Viola und Klavier; Op. 41. Klavier; hrsg. und Bezeichnet von Pro£ Hermann Wien: Doblinger, c1925. Ritter. Leipzig: ]. Aibl; Wien: Universal-Edition, [1913?], cl901. Sitt, Hans. "Albumblatter": fur Bratsche (Viola) mit Begleitung des Pianoforte; Op. 39. Leipzig: C. Ritter, Hermann. "Jagdstuck"; Op. 17. Berlin: N. F. Peters, [193-?]. Simrock, 1883. Sitt, Hans. Elegie; Op. 75, Nr. 1. Leipzig: Ritter, Hermann. Pastorale und Gavotte; Op. 32, Bosworth, cl90 1. Nr. 1. Leipzig: Fr. Kistner, [191-?]. Sitt, Hans. Gavotte und Mazurka: fur Bratsche Ritter, Hermann. "Im Traume"; Op. 32, Nr. 2. (Viola) und Klavier; Op. 132 IIII. Leipzig: Leipzig: Fr. Kistner, [191-?]. Steingraber-Verlag, cl919.

Ritter, Hermann. Introduktion und Mazurka; Stein, Richard H. (Heinrich). Zwei Fantasiestucke Op. 33, Nr. 2. Leipzig: Fr. Kistner, [191-?]. fur Viola und Klavier; Op. 27. Berlin-Tempelhof Eisoldt & Rohkramer, [191-?]. Ritter, Hermann. ltalienische Suite; Op. 37. Leipzig: Fr. Kistner, [1886?]. Steiner, Hugo von. Sonate ut mineur pour alto et piano; op. 53. Bruxelles: A. Cranz, [193-?]. Ritter, Hermann. Allegretto scherzando; Op. 65, Nr. 2. Leipzig: Fr. Kistner, [1898?]. Stepanova, Vera Aleksandrovna. Sonata dlia al'ta i fortepiano. Moskva: Sovetskir Kompozitor, 1963. Ritter, Hermann. "Standchen"; Op. 70. Leipzig: Fr. Kistner, cl905. Sturmer, Bruno. Kleine Hausmusik: Viola und Klavier. Mainz: B. Schott's Sohne; New York: Ritter, Hermann. "Rokoko": zwei Vortragsstiicke; Associated Music Publishers, c1938. Op. 73. Leipzig: Fr. Kistner, cl907. Tsintsadze, Sulkhan. Khorumi: Gruzinskir tanets dlia Samama, Leo. Caged memories II: for viola and al'ta s fortepiano. Moskva: Gos. muz. izd-vo, 1950. piano; op. 11 b; 1981, revision 1982. Amsterdam: Donemus, [1984], cl981. Vierne, Louis. Deux pieces pour alto avec accom­ pagnement de piano. Paris: A. Leduc, [191-?]. Scharwenka, Ludwig Philipp. Sonate fur Viola mit Begleitung des Pianoforte; Op. 106. Leipzig; New Viola, 1-; hrsg. von Alfred Lipka. Zweite Aufl. York: Breitkopf & Hartel, cl899. (Stucke fur Viola und Klavier (vol. 1); includes works by various composers.) Berlin: Verlag Neue Schumann, Robert. Marchenbilder = Contes fob­ Musik, c1984. uleux = Fairytale pictures: vier Stucke fur Viola (oder Violine) und Piano; Op. 113; revidiert von Vitachek, Favil. Tema s variatsiiami dlia al'ta i Th. Laforge. Wien: Universal Edition, [1922?]. fortepiano; soch. 7. Moskva: Gos. muz. izd-vo, 1938. Schumann, Robert. Marchenbilder = Fairy tales = Contes de fles: vier Stucke fur Viola (Violine) und V1tols, Jazeps. Recit: pour alto ou violoncelle avec Klavier; Op. 113. Leipzig: Breitkopf & Hartel, accompagnement de piano; op. 14. Leipzig: M. P. [193-?]. Belaieff, 1894. Sekles, Bernhard. Chaconne tiber ein achttaktiges Winkler, Alexandre. Sonate pour piano et alto (ou Marschthema: fur Bratsche und Klavier; Op. 38. violon); op. 10. Leipzig: M. P. Belaieff, 1902. Leipzig: C. F. Peters, cl931.

Shirinski!, Vasili! Petrovich. Sonata dlia al'ta s Klavier und Viola (arr.) fortep'iano; soch. 4 = Sonate pour viola et piano; Album of classical pieces; transcribed for viola and op. 4. Moskva: Gos. lzd-vo Muzykal'nyi Sektor, piano by Paul Klengel. New York: International 1926. Music, [1978-1984?]. Aspen Music Festival Album of classical pieces: for viola and piano; transcribed by Paul Klengel. Melville, NY: Belwin and School Mills, [ 198-?].

Antiufeev, B. {Boris lvanovich). Kontserr dlia al'ta Forty-Ninth Season s orkestrom; soch. 45; perelozhenie autora dlia al'ta i forrep'iano. Moskva: Gos. muz. izd-vo, 1952. june II-August 17, 1997 Antiufeev, B. (Boris Ivanovich). Kontsert. Moskva: Gos. muz. izd-vo, 1953.

Arends, H. Concerrino pour alto-viola avec accom­ pagnement de piano ou d'orchestre. Partition de piano. Moscou: P. Jurgenson, [192-?].

Beck, Conrad. Konzert fiir Viola und Orchester. Klavierauszug. Mainz: B. Schott's Sohne; New York: Schott Music, cl952.

Beethoven, Ludwig van. Romanzen fur Violine und Orchester; Op. 40 und 50; fur Viola und Pianoforte arrangiert von Friedr. Hermann. Leipzig: C. F. Peters, [192-?].

Bortnianskil, Dmitri! Stepanovich. Sonata, do mazhor, chast'l; obrabotka dlia al'ta i fortep'iano G. Bezrukova; redaktsiia partii fortep'iano M. David Zinman Kuss. Moskva: Gos. muz. izd-vo, 1954. MUSIC DIRECTOR-DESIGNATE Butsko, !Uri! Markovich. Sonata dlia al'ta i W. Harold laster fortepiano = Sonata for viola and piano; [redaktsiia partii al'ta M. Tolpygo = viola part ed. by M. DEAN T olpygo ]. Moskva: Sovetski! Kompozitor, 1986.

Chopin, Frederic. Nocturne in c-sharp minor; Orchestral String Program (op. posthumous). New York: Joseph Patelson Music House, 1942. Center for Advanced Quartet Studies Corelli, Arcangelo. Sonate XII d-Moll fur Viola und Klavier: (La follia); bearb. von Delphin Alard. Neuausg. von Fritz Meyer. Mainz: B. Application must be received Schott's Sohne; New York: Schott Music Corp., [196-?]. by March I st, 1997 Creuzburg, Heinrich. Concertina fur Bratsche und Streichorchester. Klavierauszug. Berlin: 2 Music School Road Astoria Verlag, cl986. Aspen, Colorado 81611 Debussy, Claude. Dve pesy; V. obrabotke dlia 970/925-3254 • 970/925-5708 FAX al'ta i fortepiano E. Strakhova. Moskva: Gos. muz. e-mail: [email protected] izd-vo, 1947. Debussy, Claude. Clair de lune: extrait de Suite TIME WARNER is the official sponsor bergamasque; arr. by Norman Cazden. Ft. of the Aspen Music School. Lauderdale: J. Spratt Music, cl976. Fricker, Peter Racine. Concerto for viola and Carleen Mo Hutchin§ orchestra; [op. 18]. S.l.: s.n., [1953?].

Gliere, Reinhold Moritsevich. Preliud [soch. 45, DOYENNE OF AMERICAN VJrOJLJIN MAKERS no. 1]; Romans [soch. 45, no. 4]; Rndo [soch. 43, -NewYorkTimes,June 14,1994 no. 6]; perelozhenie G. Bezrukova, D. Lepidova. Moskva: Gos. muz. izd-vo, 1953.

Glinka, Mikhail Ivanovich. Noktiurn: (Razluka); v obrabotke dlia al'ta i fortep'iano V. V. Borisovskogo. Moskva: Gos. muz. izd-vo, 1948.

Glinka, Mikhail Ivanovich. Noktiurn; Mazurka; VIOLAS played in the Cleveland, Julliard, Kroll, Lau­ [obrabotka V. Borisovskogo]. Moskva: Gos. muz. izd-vo, 1958. rentian, Shanghai, and Vanbrugh Quartets, and in the symphony orchestras of Boston, Columbus (Principal), Handel, George Frideric. Sonata in G; op. 1, no. Detroit, Edinburgh (Principal) Hamilton Ontario (Prin­ 13; arr. for viola and piano by Watson Forbes. cipal), Israel, New Jersey, New York, Newcastle (Principal Oxford: Oxford University Press, c1986. and second), Northern Illinois (Principal), Portland Handel, George Frideric. IV sonara per viola e Oregon {Principal), among others. pianoforte: (dall' originale per violino e basso); transcrizione ed elaborazione di Luigi d'Ambrosio. Milano: Ricordi, 1988, c1941. M Haydn, Joseph. Menuet; b obrabotka dlia al'ta i fortep'iano [V. Borisovskogo]. Moskva: Gos. muz. izd-vo, 1950. Hedges, Anthony. Simons Samba: for viola and c H piano. Beverley: Westfield Music, c1985.

Hindemith, Paul. "Meditation" aus dem Tanz­ spiel Nobilissima visione. Mainz: B. Schott's Sohne; New York: Associated Music Publishers, c1938.

Husa, Karel. Poem: fur Viola und Kammer­ COMMENTS: orchester. Ausg. Viola und Klavier. Mainz: B. Schott's Sohne; New York: Schott Music "My Hutchins viola creates a sensation wherever I play it. People Corp., c1963. want to know how to get that tone quality. At the Spoleto Festival they wouldn't believe it." . Husa, Karel. Poem: fi.ir Viola und Kammer­ David Mankovitz, 1962, Kroll Quartet orchester. Ausg. Viola und Klavier. Mainz: B. Schott's Sohne; New York: Schott Music "Thank you for my marvelous viola." Corp., cl963. Simon Asp ell, 1992, V anbrugh Quartet Karaev, Kara. Adazhio; KitaiskiT tanets: iz baiera "Perhaps the most beautiful sounding viola I ever played. I would be "Sem' krasavits"; Konrserrnaia obrabotka dlia al'ta i fortep'iano V. Borisovskogo. Moskva: SovetskiT proud to own it ifl needed one on a regular basis." Kompozitor, 1962. Paul Zukofsky, 1994, Concert Violist

Klazunov, Aleksandr Konstantinovich. Kontsert dlia saksofona s orkestrom; obrabotka dlia al'ta i fortep'iano i kadentsiia I. V. Safonova. Moskva: 112 Essex Avenue (201) 744-4029 Gos. Mus. Izd-vo, 1948. Montclair, NJ 07042 Fax (201) 744-9197 40

Marcello, Benedetto. Sonata in sol mineur; op. 11 Sitt, Hans. Konzertstuck (g-Moll), fur Bratsche [sic] n. 4; elaborazione per violoncello e pianoforte (Viola) mit Begleitung des Orchesters oder di Alfredo Piatti; transcrizione per viola di Luigi Pianoforte; Op. 46. Ausg. fur Bratsche mit D'Ambrosio. Milano: G. Ricordi, 1984. Pianoforte-Begleitung. Leipzig: Ernst Eulenburg, [194-?]. MiletiC, Miroslav. Monolog: za violu (iii violinu) i klavir = fur Viola (oder Violine) und Klavier. Sitt, Hans. Romance pour alto (Bratsche) avec Zagreb: Edition Pax, cl988. accompagnement d' orchestre ou de piano; op. 72. Leipzig: Otto Forberg, cl900. Nardini, Pietro. Sonata fa minor dlia al'ta i fortep'iano; redaktsiia E. Strakhova. Moskva: Gos. Smorgonskaia, Dina Mikhallovna. Kontsert dlia Muz. Izd-vo, 1960. al'ta i kamernogo orkestra = Concerto for viola and chamber orchestra. Leningrad: Sovetski'i Nemerovski1, Aleksandr Sergeevich. Meditation; Kompozitor, 1986. op. 8; arr. pour alto par I. Baratynsky. Moscou: P. Jurgenson, [191-?]. Sosen, Otto Ebel von. Arioso im alten Stil: fur Paganini, Nicolo. Sonata per Ia grand' viola e Klarinette und Streichorchester; Op. 15. Ausg. fur orchestra; hrsg. von Ulrich Driiner. Klavierauszug. Klarinette (Viola) und Klavier. Leipzig: Edition Mainz: B. Schott's Sohne; New York: Schott Peters, Collection Litolff, [1958]. Music Corp., c1974. Stamitz, Anton. Konzert Nr. 4 D-Dur fur Viola Pleyel, Ignaz. Concerto: fur Viola und Orchester; und Streicher = Concerto no. 4 in D major for Op. 31; nach der Erstausg. hrsg. von Carl viola and strings; hrsg. mit Kadenzen von Walter Herrmann. Frankfurt/Main: H. L. Grahl, c1951. Lebermann; Klavierauszug, Ulrich Haverkampf. Wiesbaden: Breitkopf & Hartel; Kassel: Reher, Sven. Essay: for solo viola and string Barenreiter, c1973. orchestra; [piano part adapted from score by Philip Young]. Madrid: Union Musical Espanola, Stamitz, Anton. Konzen Nr. 4 D-Dur fur Viola c1986. und Streicher = Concerto no. 4 in D major for viola and strings; hrsg. und mit Kadenzen verse­ Rolla, Alessandro. Concerto in fa maggiore per hen von Walter Lebermann; Ausgabe fur Viola viola e orchestra; revisione e cadenze di Paolo und Klavier von Ulrich Haverkamp£ Wiesbaden: Centurioni; elaborazione e riduzione per viola e Breitkopf & Hartel; Kassel: Barenreiter, cl973. pianoforte di Ornella Ferri Mercatali. Riduzione per viola e pianoforte. Roma: Edizioni De Santis, 1970. Stamitz, Anton. Konzert fur Viola und Streich­ orchester Nr. 4, D-Dur; hrsg. und mit Kadenzen Ruygrok, Leo. Poeme: Fantasiestuck fur Bratsche versehen von Walter Lebermann; Ausgabe fur und Orchester; Op. 20; fur Bratsche und Klavier. Viola und Klavier von Ulrich Haverkampf. Leipzig: Breitkopf & Hartel, cl933. Wiesbaden: Breitkopf & Hartel, [1983?], c1973.

Seiber, Matyas. Elegy for solo viola and small Stamitz, Karl. Konzen in D-Dur fiir Viola und orchestra; piano reduction by Don Banks. Orchester; Op. 1; fur Viola und Klavier bearb. London: Schott, c1954. von Paul Klengel. Leipzig: Breitkopf & Hartel, cl950, cl932. Seiber, Matyas. Elegy for solo viola and small orchestra; piano reduction by Don Banks. Stamitz, Karl. Koncert A-dur nr. 2 na altowk~; i London: Schott, [1979?], cl954. orkiestr~: = per viola e orchestra = for viola and orchestra = fiir Viola und Orchester; riduzione, Shulman, Alan. Theme and variations: for viola Janusz Zathey; edito da parte di viola, Jerzy and orchestra. New York: Chappell, c1953. Kosmala; cadenze, Joel Hoffman. [Krakow]: Polskie Wydawn. Muzyczne, c1975. Sitt, Hans. Konzertstuck (g-Moll), fur Bratsche (Viola) mit Begleitung des Orchesters oder Stamitz, Karl. 3te Sonate fur Viola d'Amore und Pianoforte; Op. 46. Ausg. fur Bratsche mit Klavier; bearb. von Cor. Kint. Leipzig: Paul Pianoforte-Begleitung. Leipzig: Ernst Eulenburg, Gunther, [191-?]. [195-?]. Pat No 3 407 roo the sensational humidifier for VIOLIN • VIOLA e CELLO e BASS Donna Lively Clark Profossor ofViola GUARNERI QUARTET ~t\le recommend the D;:,mprr enrhusiastically.

dampit provides perfect protection against damage from a dry atmosphere. dampit proved itself 100% effective in sc1entific sensor measurements. FREE Room Humidity Indicator w1th each dampit. Violin $8.95 e Viola $9.50 Jordan College of Fine Arts LiMie Violin $7.95 e Cello $11.50 Indianapolis, Indiana For more information, call Bass $12.50 800/368-6852, ext. 9637 AVOID FAKES, AVOID MISTAKES A genuine Dampit has the Dam pit name on the black top.

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• Classical DutJI\.:t, • Pree Beethoven, Ludwig van. Trio in D major: for vio­ lin, viola and violoncello; op. 9, no. 2; edited, and with foreword, by Wilh. Altmann. London; New York: Eulenburg, [1938?].

Boccherini, Luigi. Sechs Trios fur Violine, Viola und Violoncello; Op. 47 (nach Boccherinis autographem Werkverzeichnis; Op. 47, "Opera piccola", von 1793); hrsg. von Bernhard Pauler. Winterthur: Amadeus, cl978.

Fortner, Wolfgang. Zweite Trio fur Violine, Viola ... mak!-r of und Violoncello = for violin, viola, and violoncel­ fine string instruments lo; (1983). Mainz; New York: Schott, c1987. Giordani, Tommaso. Trio in G-Dur fur Flote (Violine, Oboe), Viola und Violoncello = Trio in G major for flute (violin, oboe), viola and violon­ 'By appointment cello; [Op. 12, Nr. 4]; hrsg. von Bernhard Pauler. {980} 356-3712 Winterthur: Amadeus, 1990.

Koffier, J6ze£ Trio fur Geige, Bratsche und Violon­ cell; Op. 10 = pour violon, alto et violoncelle. 15-JJ. :A{prtli 1?.9ati Stimmen. Wien: Universal-Edition, cl929.

Warren, c;{gw Jersey 07059 Pone, Miroslav. Trio pro housle, violu a violoncel­ lo; (1937). Partitura e parti. Praha: Panton, 1974.

Storp, Sigmund Hans. Trio fur Violine, Bratsche, Steiner, Hugo von. Konzert fur die Viola mit Violoncello. Wolfenbtittel: Moseler, cl962. Begleitung des Pianoforte; Op. 43 (d-Moll). Leipzig: Aug. Cranz, [191-?]. Webern, Anton von. Streichtrio = String trio = Trio a cordes; Op. 20. Wien: Universal Edition, Tartini, Giuseppe-Sarabanda. B. Marchello­ cl955. Skertsando. A Vivaldi-Largo i Allegro; [perelozhe­ nie D. Lepilova]. Moskva: Gos. muz. izd-vo, 1957. Webern, Anton von. Satz fur streichtrio; Op. postumum. Wien: Universal Edition, cl966. Telemann, Georg Philipp. Konzert in G-Dur fur Viola und Orchester; fur den praktischen Violine, Viola und Harfe Gebrauch eingerichtet sowie fur Viola und Klavier Balassa, Sandor. Trio per violino, viola e arpa; bearb. von Franz Beyer. Berg a[m] I[rchel]: op. 19. Budapest: Editio Musica; [New York]: Amadeus; New York: Edition Eulenburg, 1974. exclusive distributor in the U.S.A, Belwin-Mills, cl971. Valle, Francisco Magalhaes do. Ao pe da fogueira: (preludio XV): for viola and piano; Jascha Heifetz; Jolivet, Andre. "Pastorales de noel": pour flute {ou [arr. for viola by William Primrose]. New York: violin), basson (ou alto, ou violoncelle) et harpe. Carl Fischer, 1945. Paris: Heugel, cl949. Zeiter, Carl Friedrich. Kontsert mi bemol' Jolivet, Andre. "Pastorales de noel": pour flute, mazhor dlia al'ta s orkestrom K. F. Tsel'ter; svo­ basson, et harpe. Paris: Heugel, [1975], c1949. bodnaia obrabotka dlia al'ta i fortep'iano V. Borisovskogo. Moskva: Gos. muz. izd-vo, 1959. Maros, Rudol£ Trio per violino, viola e arpa: par­ titura. Budapest: Editio Musica, 1974.5 Violine, Viola und Violoncello Albrechtsberger, Johann Georg. Sonata I per violino, viola e violoncello; Kozreadja = hrsg. von Violine, Viola und Klavier = edited by Brodszky Ferenc. Erstdruck. Budapest: Fasch, Johann Friedrich. Trio in D-Dur fur Zenemlikiad6, 1968. Violine, Viola und Basso continuo: (Kanon); 43 bearb. und hrsg. von Prof. Dr. Hugo Riemann. Flote, Violine und Viola Leipzig; New York: Breitkopf & Hartel, [193-?]. Jensen, Walther. Trio for fl0jte, violin, og bratch; [op. 34]. Partitur. K0benhavn: Samfundet til Lachner, Ignaz. Trio in Es-Dur fur Violine, Viola Udgivelse afDansk Musik, [1985?]. und Klavier= Trio in E-flat major for violin, viola and piano; Op. 102; hrsg. von Bernhard Pauler. Flote, Viola und Violoncello Winterthur, Schweik: Amadeus, 1985. Giordani, Tommaso. Trio in G-Dur fur Flote (Violine, Oboe), Viola und Violoncello = Trio in Mendelssohn-Bartholdy, Felix. Trio c-Moll fiir G major for flute (violin, oboe), viola and violon­ Violine, Viola und Klavier; hrsg. von Reiner cello; [Op. 12, Nr. 4]; hrsg. von Bernhard Pauler. Zimmermann. Erste Aufl. Leipzig: VEB Winterthur: Amadeus, 1990. Deutscher Verlag fur Musik, c1986.

Flote, Viola und Gitarre Violine, Viola und Klavier (arr.) Dodgson, Stephen. Sonata for three: for flute, Mozart, Wolfgang Amadeus. Symphonie concer­ viola and guitar; edited by Matanya Ophee. tante fiir Violine, Viola und Orchester; mit Columbus, Ohio: Editions Orphee, cl987. Klavierbegleitung hrsg. von Carl Herrmann. Neu rev. Ausg. FrankfUrt; New York: C. F. Peters, Piitz, Friedrich. Trio fur Flote, Viola und Gitarre. [1934?]. Koln: Pycrus Edition, [1985?]. Mozart, Wolfgang Amadeus. Konzertante Symphonie fur Violine, Viola und Orchester, Es­ Flote, Viola und Harfe Dur, KV 364; Ausg. fiir Violine, Viola und Adler, Samuel. Triolet: flute, viola and harp. New Klavier von RudolfTillmetz. Leipzig: Breitkopf & York: C. F. Peters, c1990. Hartel, [1955]. Frank, Andrew. Sonata da camera II: for flute, Mozart, Wolfgang Amadeus. Sinfonia concertante viola, and harp (1984). Hillsdale, NY: Mobart in Es-Dur fur Violine, Viola und Orchester, KV Music Publications, c1985. 364 (320d) = Sinfonia concertante in E-flat major for violin, viola, and orchestra; Klavierauszug von }olivet, Andre. "Pastorales de noel": pour flute (ou Michael Topel. Kassel; New York: Barenreiter, violon), basson (ou alto, ou violoncelle) et harpe. c1990. Paris: Heugel, c1949.

Zwei Violen und Contrabass }olivet, Andre. "Pastorales de noel": pour flute, lrman, Regina. "Hiigel bei Ceret": fur zwei basson, et harpe. Paris: Heugel, [1975], c1949. Bratschen und Kontrabass; 1983. Rupperswil: Nepomuk, c1987. lloyd, Jonathan. Like fallen angels: for flute, viola and harp. Full score. London; New York: Boosey Zwei Violen und Cembalo & Hawkes, c1986. Fux, Johann Joseph. Sonate (Kanon) fiir zwei Viola da Gamba (Bratschen) und Basso continuo; Rosse, Fran<;:ois. Mod'son 5: pour flute, alto et hrsg. von Hellmuth Christian Wolff. Kassel: harpe. Paris: Gerard Billaudot, cl985. Barenreiter, [1949?]. Flote, Viola und Cembalo Viola, Violoncello und Cembalo Graun, Johann Gottlieb. Sonate F-Dur fur Binder, Christlieb Siegmund. Sonate D-Dur fiir Querflote (Violine), Viola und Basso continuo = Viola und Cembalo obligato (Pianoforte) mit Sonata in F major for flute (violin), viola and Violoncello ad lib.; hrsg. von Hugo Ruf. Mainz: basso continuo; hrsg. von Herbert Kolbel. Kassel; B. Schott's Sohne; New York: Schott Music New York: Barenreiter, c1986. Corp., c1965. Heinichen, Johann David. Trio-sonate, F-Dur, Viola, Contrabass und Gitarre Flote oder Oboe-Violine, Oboe oder Violine-Viola Bredemeyer, Reiner. Triostucke 3: in funf Satzen: d'amore-Flote, und Cembalo (B. c.) (Viola da fiir Viola, Gitarre und Kontrabass. Erste Aufl. garnba oder Violoncello oder Fagott); hrsg. von Karl Partitur. Leipzig: Deutscher Verlag fiir Musik, Janetzky. Partitur. Heidelberg: W. Muller: New c1986. York: C. F. Peters, sole agents for USA, c1972. 44

Oboe, Viola und Violoncello Handel, George Frideric. Concerto en si mineur Giordani, Tommaso. Trio in G-Dur fur Flote pour alto avec accompagnement d' orchestre; reali­ (Violine, Oboe), Viola und Violoncello =Trio in sation de la basse et orchestration par Henri G major for flute (violin, oboe), viola and violon­ Casadesus. Parition. Paris: M. Eschig; New York: cello; [Op. 12, Nr. 4]; hrsg. von Bernhard Pauler. Associated Music Publishers, cl925. Winterthur: Amadeus, 1990. Holst, Gustav. Lyric movement: for viola and Klarinette, Viola und Violoncello small orchestra = Lyrischer Satz: fiir Bratsche und Binkerd, Gordon. Trio, for clarinet in B-flat, viola kleines Orchester. Rev. ed. Full score. Oxford and cello. [New York?]: Boosey & Hawkes, [England]: Oxford University Press, cl986. cl970. Kurtag, Gyorgy. Bracsaverseny: Konzert fiir Viola Klarinette, Viola und Klavier und Orchester = Concert for viola and orchestra. Hummel, Bertold. Trio fur Klarinette, Viola und Budapest: Zenemukiado V allalat, 1961. Klavier; Op. 76a. Hamburg: J. Schuberth, cl986. Rolla, Alessandro. Concerto in fa maggior per viola Rehm, P. Otto. Divertimento in G fiir Clarinette, e orchestra; revisione e cadenze di Paolo Centurioni. Viola und Klavier. Einsiedeln: Meinrad Ochsner, Partitura. Roma: Edizioni De Santis, 1970. [195-?]. Ruygrok, Leo. Poeme: Fantasiestiick fiir Bratsche Saxophon, Viola und Klavier und Orchester; Op. 20. Partitur. Leipzig: Rudinger, Gottfried. Divertimento, g-Moll, fiir Breitkopf & Hartel, cl933. Viola (oder Klarinette in B), Tenorsaxophon (oder Bassklarinette in B, oder Cello) und Klavier; Vivaldi, Antonio. Concerto in la min. per viola Op. 75. Augsburg: Benno Filser Verlag, [195-?]. d'amore, archie cembalo, F. II, no. 6; riduzione per viola d'amore e pianoforte e revisione violistica di Viola - Solo, mit Orchester Bruno Giuranna. Milano: G. Ricordi, 1983, cl971. Arnold, Alan H. Cadenzas for T elemann Viola concerto in G. Huntington Station, NY: Viola Wooldridge, David. Concerto for viola and World, cl986. orchestra; (1949). Full score. Bridgewater, Conn.: Hinchinbroke Music, cl981. Berlioz, Hector. Harold en ltalie = Harold in ltalien = Harold in Italy; Op. 16. Leipzig: E. Viola - Solo mit verschiedenen lnstrumenten Eulenburg, [ 190-?]. Korchmar, Grigorii'. Kontsert-diptikh: dlia al'ta (vio­ loncheli), orkestra udarnykh, chelesty i arfy = Brahms, Johannes. [Sonata]: fiir Klarinette (oder Concerto-diptych: for viola (cello), percussion orches­ Viola) und Orchester; Op. 120 Nr. 1; instrumen­ tra, celesta, and harp. Partitura. Leningrad: "Sove­ tiert von Luciano Berio. Partitur. Wien: Universal tskii' kompozitor," Leningradskoe otd-nie, 1986. Edition, cl986. Schlagzeug und Viola - Solo, mit Orchester Creuzburg, Heinrich. Concertina fur Bratsche Callhoff, Herbert. Concerto in 5 Metamorphosen: und Streichorchester. Partitur. Berlin: Astoria fur Viola, Schlagzeug und Kammerorchester = for Verlag, cl986. viola, percussion and chamber orchestra (1987). Partitur. Bad Schwalbach: Edition Gravis, c1988. Fricker, Peter Racine. Concerto for viola and orchestra; op. 18. [London?]: Schott, [1953?]. Violoncello und Viola - Solo, mit Orchester Drigo, Riccardo. Meditazione: per viola e violon­ Gerster, Ottmar. Konzertino fiir eine solo Bratsche cello con accomp. d'orchestra d'archi. Padova: und Kammerorchester; [op. 16]. Partitur. Edizione Carturan, [195-?]. Augsburg: Dr. Benno Filser Verlag; Mainz: B. Schott's Sohne, [193-?]. Orgel und Viola - Solo, mit Orchester Haydn, Michael. Konzert in C-Dur fur Orgel Gurkov, V. (Vladimir Nestorovich). Muzyka dlia (Cembalo), Viola und Streicher; [hrsg. von] (Paul al'ta i orkestra. Partitura. Leningrad: Muzyka, Angerer). Erstdruck. Partitur. Wien: Verlag 1978. Doblinger, cl970. Haydn, Michael. Konzert in C-Dur fur Orgel (Cembalo), Viola und Streicher; [hrsg. von] (Paul GEOFFREY J. SEITZ Angerer). Erstdruck. Partitur. Wien: Doblinger, cl970.

Klavier und Viola - Solo, mit Orchester VIOLINMAKER Bach, Johann Christoph Friedrich. Concerto per il piano forte e viola obbligata; als Erst­ veroffentlichung nach dem Original hrsg. von New • Used • Rare Emil Seiler; Klavierauszug von Fritz Kubart und Konrad Roetscher. Klavierauszug mit Solostimme. VIOLINS, VIOLAS, CELLI & Bows Berlin: Bote & Bock, cl966. Appraisals Eine Singstimme und Viola Gerster, Ottmar. Vier alte Lieder: von unbekannten Dichtern: fur eine Altstimme und Bratsche. Beautiful Handmade Mainz: B. Schott's Sohne, cl943. Violins and Violas Knab, Armin. Rosa mystica: sechs Sinnspruche des Angelus Silesius fur eine Altstimme und Viola. 4175 Loughborough Ave. Mainz: B. Schott's Sohne, c1949. St. Louis, Missouri, 63116 314-353-1312 Lafite, Carl. Drei mystische Gesange: (Deutsche geiscliche Volksdichtungen): fur eine Frauenstimme und Bratsche. Wien: Ludwig Doblinger, cl930.

Gesang, Viola und Orgel Pfanner, Adolf Der schonste Friihling: Geiscliche Koschingsky, Fritz. Zwei Gesange nach Texten Gesange fur Alt, Bratsche und Orgel; Op. 18; aus von Richard Dehmel: fur eine Mannerstimme, dem "Cherubinischen Wandersmann" von Angelius obligate Bratsche und Klavier. Leipzig: W. Ehrler, Silesius. Gladbach: Volksvereinverlag, [193-?]. c1924.

Gesang, Viola und Kl.avier Lassen, Eduard. Die Waldbruder: (mit Bratsche Brahms, Johannes. Zwei Gesange fur Altstimme Begleitung); [Op. 46, Nr. 4]. Breslau: Julius mit Klavier und Bratsche; Op. 91. Leipzig: Hainauer; New York: G. Schirmer, [189-?]. Breitkopf & Hattel, 1948. Malipiero, Gian Francesco. De profundis: per una Durra, Hermann. "Stimme im Dunkeln": fur eine voce, viola, gran cassa e pianoforte. Milano: tiefere Singstimme mit Bratsche und Klavier; G. Ricordi, 1937. [words by] Rich. Dehmel. Berlin: Albert Stahl; New York: G. Schirmer, [191-?]. Reutter, Hermann. Solokantate nach Worten des Foerster, Josef Bohuslav. Dve pfsne s violu a klavfrem Matthias Claudius, fur eine Altstimme, Bratsche = Zwei Lieder mit Bratsche und Klavier; op. 91. und Klavier (oder Orgel); Op. 45. Mainz: Praha: Hudebne Marice Urnelecke Besedy, 1923. B. Schott's Sohne; New York: Associated Music, cl948. Grabner, Hermann. Zweigesprach; Op. 16; Text von Ernst Stadler. Leipzig: C. F. Kahnt, c1924. Reutter, Hermann. Funf antike Oden: fur eine mittlere Frauenstimme, Bratsche und Klavier; Hausegger, Siegmund von. Drei Gesange nach Op. 57; nach Gedichten der Sappho ubertragen mittelhochdeutschen Dichtungen: fur eine von Rudolf Bach. Mainz: B. Schott's Sohne; New mittlere Frauenstimme, Bratsche und Klavier. York: Associated Music Publishers, cl948. Berlin: Ries & Erler, [192-?]. Roselius, Ludwig Wilhelm. Geistliche Gesange: Hay, Fred. Vier Lieder fur Sopran, obligate (nach Gedichten von Eichendorf): fiir eine teife Bratsche und Klavier; Op. 20 [sic] [21]. Bern: Singstimme, Bratsche, und Klavier; Op. 11. Mueller & Schade, [192-?]. Berlin: Ries & Erler, [193-?]. 46

Rosse!, Willy. Drei Lieder fur eine mittlere Quintette mit Zwei Violen Singstimme, Viola und Klavier; Op. 12. Leipzig: Telemann, Georg Philipp. Darmstadter Konzert: Breirkopf & Hartel, [ 1934?]. fur zwei Violinen, zwei Violen, Violoncello und Basso continuo = Darmstadt concerto: for two vio­ Schreiber, Fritz. Drei Lieder nach Christian lins, two violas, violoncello, and basso continuo; Morgenstern: fur Altstimme, Bratsche und Klavier; Continuo-Aussetzung von Willy Hess. Winter­ Op. 10. Wien: Universal Edition, [1920?]. thur/Schweiz: Amadeus, 1987.

Siegl, Otto. Gesange fur Sopran, Bratsche und Verschiedene Besetzungen Klavier; Op. 112; Dichtungen von Ina Seidel. Walter, Caspar Johannes. "Der Geist aus der Augsburg: Anton Bohm, [197-?]. Plastikflasche": fur Bratsche, Bandoneon, Stahlrohre, drei grosse Trommeln und Tonband. Siegl, Otto. Volkslieder fur Sopran, Bratsche und Koln: Thurmchen Verlag, 1985. Klavier; Op. 113. Augsburg: Anton Bohm, [197-?].

Zoephel, Klaus. "La truren varn" = (Lass Trubsal Schulen und Methoden fahren): Mittelhochdeutsche Minnelieder fur eine Applebaum, Samuel. The university string builder: Singstimme, Viola (Violine) und Klavier. Leipzig: viola. Rockville Centre, Long Island, NY: Belwin, Edition Peters: Collection Litolff, cl959. c1968.

Gesang, Oboe, Viola und Violoncello Bruni, Antonio Bartolomeo. Bratschenschule = Hindemith, Paul. Die Serenaden: kleine Kantate Methode d'alto = Viola method; neue revidirte nach romantischen Texten fur Sopran, Oboe, Ausg. von A. Schulz. Braunschweig: H. Litolff s Bratsche und Violoncello; Op. 35. Partitur mit Verlag; Boston: Arthur P. Schmidt, [193-?]. unterlegter Klavierubertragung. Mainz: B. Schott's Sohne, cl925. Rolland, Paul. Prelude to string playing: basic materials and motion techniques for individual or Gesang, Violine, Viola und Klavier class instruction; Margaret Rowell, co-author dou­ Wellesz, Egon. Geistliches Lied: aus den "Gebeten ble bass book; with a foreword by Ivan Galamian. der Demur" von Francis Jammes; Op. 23. [Wien]: New York: Boosey & Hawkes, c1971. Universal Edition, c1919.

Rezitation, Viola und Orchester Etiiden, Capricen, Studien, Obungen Brahmig, Bernhard. Practische Bratschenschule: Ramsier, Paul. Road to Hamelin= Die Strasse nach Hameln: for narrator, solo double bass {or clarinet enthaltend eine progressiv geordnete Auswahl in A or viola) and orchestra; narrative based on a technischer Elementarstudien fur die wichtigsten scenario by Ruth Ramsay; German translation by Lagen des Bratschenspiels nebst den entsprechen­ Ursula Smith; [solo viola edited by Robert den Uebungs- und Tonstucken; bearb. und hrsg. Wharton]. Reduction for solo instrument and von Bernhard Brahmig. Leipzig: Carl Merse­ burger, [188-?]. piano. New York, NY: Boosey & Hawkes, c1986.

Quartette mit zwei Violen Cavallini, Eugenio. 24 studi per viola. Milano: Eyser, Eberhard. Tonadas. for french horn, violin, G. Ricordi, [191-?). two violas and violoncello. Stockholm: Swed. Mus. I. C., c1986. Dont, Jacob. Viola-Schule (Bratschen-Schule) auf Grundlage der Studienwerke; bearb., erganzt und Fusz, Janos. Notturno en quatuor: fur Klarinette, hrsg. von Heinrich Dessauer. Leipzig: F.E.C. zwei Violen und Violoncello (oder Drei Violen Leuckart, [ 190-? ]. und Violoncello); Op. 3; nach dem Erstdruck neu hrsg. von Wolfgang Sawodny. Munchen: Flesch, Carl. Urstudien: Grundstudien fur Viola= W. Wollenweber, c1986. Etudes de base pour alto = Basic studies for viola; nach der Originalfassung fur Violine, tibertragen Rolla, Alessandro. Serenata fur zwei Violinen und von Max Rostal. Berlin: Ries & Erler, c1990. zwei Violen = Serenata for two violins and two vio­ las; hrsg. von Ulrich Driiner. Winterthur/Schweiz: Hofinann, Richard. Die ersten Studien fur Viola in Amadeus, 1987. der ersten Lage; Op. 86. Leipzig: C. F. Peters, [197-?). 47

Kolar, Augustin. Dennf cvieenf pro violu: (system Schwierige Stellen aus Kammermusikwerken, kvintoveho kruhu) = Tagliche Studien fur Bratsche = Difficult passages from chamber music Bratsche: (das Quintenzirkel-system). Praha: Statnf works, viola; ausgewahlt und hrsg. von Professor Hudebnf Vydavatelstvf: export, Artia, 1964. Dr. Wilhelm Altmann. Leipzig: Carl Merseburger; ~ New York: Carl Fischer, c1929. I Mazas, F. (Fereol). [Etudes] for the viola; op. 36; transcribed by Louis Pagels. New York: Belwin Schreiber, Arthur. Tonleiterstudien fur Viola. I Mills, [197-?]. Leipzig: Fr. Kistner, [1912?].

Mazas, F. (Fereol). [Etuden]; Op. 36, fur Bratsche Schradieck, Henry. Die Schule der Violintechnik (Viola); [ ubertragen von] (Ludwig Pagels). = Ecole de la technique du Violon; Ia meme tran­ Bruxelles: A. Cranz, [193-?]. scrite pour alto par Louis Pagels. Leipzig: Aug. Crans, [192-?]. Mayseder, Joseph. Sechs Etuden fur Bratsche (Viola); Op. 29; ubertragen von Louis Pagels. Strauss, Richard. Orchesterstudien aus den sym­ Dresden: Bellmann und Thurner, [193-?]. phonischen Werken fur Viola; ausgewahlt und bezeichnet von Hugo von Steiner. Leipzig: C. F. Palaschko, Johannes. Veinticinque studi facili e Peters, c1938. melodici per viola: (la e 3a posizione); op. 87. Milano; New York: G. Ricordi, 1928. This concludes the 1991 P1VA acquisitions. The Palaschko, Johannes. 25 melodische Studien fur 1992 acquisitions will begin next issue. viola; Op. 96. Leipzig: Carl Merseburger; New Inquiries about loaning procedures from PIVA ' York: Carl Fischer, c1930. should be addressed to

Rode, P. (Pierre). 24 Capricen in Form von David Day, Music Librarian PIVA Etuden: fur Viola Solo; bearb. von Ernst HBLL5222 Hoenisch. Frankfurt/Main; New York: C. F. Brigham Young University Peters, cl958. Provo, UT 84602 Tel (801) 378-6119; fax 378-6708 Rode, P. (Pierre). 24 Capricen in Form von e-mail: [email protected] Etuden: fur Viola Solo; bearb. von Ernst Hoenisch. Frankfurt/Main; New York: C. F. visit the PIVA website at Peters, c1958. http://www.lib.byu.edu/ ~musidPNAIWP .html -

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am, you're asking me if I'll play first stand hardly believe how lucky I am. What a great Sin a concert with William Primrose? He chance to get to know him better-a once­ only happens to be the world's greatest violist in-a-lifetime opportunity!" and my idol. What a question! I'm honored William Steinberg, distinguished conduc­ to be chosen. I shouldn't tell you, but I'd do tor of the Pittsburg Symphony, is going to this one for free." conduct the orchestra at the benefit. Two Sam laughs. "Good thing I'm not taping rehearsals and a concert are all planned for this, Dave. Otherwise I'd hold you to it!" the same day. Many of the players will have It's 1967, ten years after the death of travelled from distant cities to be part of this Arturo Toscanini. I'm talking to Sam Levitan, historic benefit event. contractor for the Toscanini Memorial Or­ I arrive early. When Primrose walks in, I'm chestra, who is organizing a benefit concert sitting at the first desk practicing Verdi's for Carnegie Hall. The orchestra for the con­ Overture to La Forza del Destino. He greets cert will consist of musicians who were once me with a pleasant, somewhat detached hello. members of the Toscanini NBC Orchestra, His appearance hasn't changed much in the America's premier symphony from 1937 to fifteen years since I last saw him in Detroit. 1954. (The orchestra was disbanded after Now in his early sixties, he's still sandy-haired Toscanini's resignation at age eighty-seven.) and mustachioed, and wears horn-rimmed William Primrose joined the NBC Orches­ glasses. I look at his broad hands; he can play tra in 1937, its inaugural year. After four octaves and even tenths on the viola. These, years playing under Toscanini, Primrose left of course, would be enormous stretches even to pursue his internationally acclaimed solo on a violin. career. I joined the NBC Orchestra in 1953, Maestro Steinberg reminds us, "We're here, after leaving the Detroit Symphony. honored to have been chosen to represent the "Jane, Jane-" I cry. "I'm going to be best of the Toscanini tradition. In a single day playing on the same stand with William we will blend to sound like an orchestra that Primrose." has played together forever. Let's make this a "How wonderful," Jane replies. "I know memorable concert." I watch Primrose tune how much you admire him. You've practically his viola. Even the open strings sound rich worn out his RCA recordings." and full. I'm not sure she knows just how I feel, so I The maestro gives the downbeat and the offer a list of Primrose's many remarkable rehearsal starts. I notice that Primrose leans accomplishments, telling her that there's his ear close to his viola and plucks the first never been a violist to equal him; that his note to be played with his left hand many impeccable technique is equalled only by times before he makes an entrance. To my Heifetz; that his tone is deep and rich like dismay, his intonation is not perfect. I had Gregor Piatigorsky's cello; that his solo work heard that his ear was beginning to fail conveys a unique personality; that he plays him and that he could no longer be sure of the Solfeggietto of C.P.E. Bach with incredible the pitch of the notes. His face Hushes. What speed ... a tragedy that this artist should be losing his Finally, I ask her, "Do you remember in sensitive hearing! my Detroit Symphony days-his marvelous The job of the section leader is to alert the performance of the Harold in Italy solo? I can viola section when to enter. He is hesitant so

about signalling entrances. Several times he I take a deep breath. I want to be diplo­ lifts his viola and is about to make a false matic and not insult him. "Mr. Primrose, entrance. Do I have the nerve to tell him he's allow me to count the rest bars, and I'll lift about to make a mistake? Should I stop him my viola one bar in advance of our entrances. from making an obvious, audible blunder? Then you won't have to concern yourself" Lightly, I touch his bow-arm with my bow. He leans toward me. "That will he a great He turns to me and whispers, "How many help." bars' rest before we start? I've lost count." The concert is a triumph. The audience With my fingers, I indicate the number of goes wild with applause. Maestro Steinberg

.i/1 ' bars before our entrance, keeping my viola in signals the orchestra to take bow after bow. i my lap. Just before the entrance, I raise my After the concert, Primrose beams as he l viola as a signal. shakes my hand. "Mr. Schwartz, thank you ' I I I During the next rehearsal break, Primrose for your help." A few days later I receive from ~i turns to me and says, "It's been a long time William Primrose a letter that I cherish to since I've played in an orchestra, and I find this day. myself somewhat ill at ease. And what's more, In 1982, a few months before Primrose I've lost my wallet with all my credit cards­ died, he gave a master class in Los Angeles. As I'm afraid I'm not concentrating as well as I'd I entered the room where he was teaching, he like." spied me and cried, "David Schwartz, you I feel for this great artist. He's losing his saved my life! Remember the Toscanini hearing and his face is bright red, which gives Memorial concert?" the appearance that he is suffering from I was so touched, I moved toward him as if hypertension. Then I suddenly remember the to embrace him. A fleeting look of alarm rumor that he has already suffered a heart crossed his face and he took a step backward. attack. I also moved a step back. With outstretched How difficult it must be, especially with arms we shook hands warmly. We then had a his British reserve, to confide in me. If he pleasant chat before the class began. It was an doesn't feel comfortable playing in an orches­ encounter I'll never forget. tra, he must be doubly worried about making an audible mistake as soloist. -David Schwartz, Studio City, California

he first article I turned to when ]AVS further viola music by Bridge. In London I T volume 12 number 2 arrived was "The was introduced to him at a social gathering. Viola Music of Frank Bridge" by William A. He was an impressively tall man and, natur­ Everett. I found the piece well written and ally, spoke with a strong British accent. most interesting. It brought up from the lower Excited to meet him, I told him how much recesses of my memory the one fragile en­ I enjoyed playing and conducting his music. counter I had with Frank Bridge almost sixty Since I had just performed those two short years ago in London. works, I asked him if he was planning, as I At that time, I was playing an hour-long hoped, to write a full sonata or a concerto for program of viola/piano works every Sunday the viola. He looked down at me from his on WOR (Mutual Broadcasting Company in full height and said disdainfully (I thought), New York). Just before flying to England, I "That's quite enough for that instrument!" included in my Sunday program Bridge's Needless to say, I was crushed. "Pensiero" and its companion piece, "Allegro appassionato." I had searched in vain for -Milton Katims, Seattle, Washington ""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

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We must humanize the viola . ... It has to The seven-days' camp entailed daily early­ become a part ofyou, an extension ofyour morning technique classes, three orchestral personality. repertoire sessions, five master classes, fre­ quent viola ensemble coachings and re­ Practicing a piece at half-tempo in its entirety hearsals, and two formal recitals. Every violist wiU enable you to focus on the many details of played in one of Alan's four master classes; I performing the work. As with a photographic conducted an additional class for the younger negative, once details are in place, it is a simple players so they could have yet another chance matter to reduce or enlarge the finished product. to perform. -Alan de Veritch We covered a tremendous amount of liter­ ature, from Telemann to Bartok. Instructors ntrigued by these quotes? Then you should supervised part of each student's daily practice I consider attending Alan de Veritch's Viola and the most advanced students had private Camp, now held every August at Pepperdine lessons with Alan. Recitals featured solo University in Malibu, California. works, small viola ensembles, and a grand As the only one of its kind, de Veritch's finale of mass ensemble performances of the camp provides an opportunity to meet, share two Brahms Songs and the York Bowen ideas with, and learn from a broad cross­ Fantasie Quartet. section of violists of varied ages, levels, and We also took time out for two trips to experience. The students, assistants, and Malibu Beach and an evening barbecue on a leader of the camp are firmly united by their hill overlooking magnificent Malibu Bay, intense love of the viola! where we enjoyed some viola storytelling. The inaugural camp (1996) proved to be a Camp participants had other extracurricular celebration of talents and abilities. Yet, par­ opportunities available to them, including the ticipants were encouraged to work away at university's Olympic-sized pool, running weaknesses-assisted by specific instruction, track, and weight room. positive reinforcement, and lots of hands-on When first invited to be one of the instruc­ training, all of which was complemented by tors at the camp, I felt the scheduled dates Alan's "glass-half-full mentality" and his in­ were a little late in the summer. However, at fectious, joyful approach to life and music. the workshop I realized at least two important The thirty participants (including four advantages to the late season: most of the big assistants) at Viola Camp '96 ranged in age summer festivals are over, and participants from thirteen to forty-eight. Included were receive an excellent "jump-start" on the principal and section players from such upcoming concert/audition season and aca­ orchestras as the San Francisco Symphony, demic year. San Jose Symphony, Oregon Symphony, I would be remiss if I didn't mention the Anchorage Symphony, and Indianapolis extreme beauty of the location. Pepperdine is Chamber Orchestra. The ranks of partici­ situated on a mountainside overlooking pants also included a college professor, several Malibu Bay. Each building at the university professional free-lancers and teachers, DMA, seems to have been designed so that one can MM, and BM students from as far as Korea, see the ocean from any location. The archi­ fine players from other fields of study, ex­ tecture is pleasing and compatible with the ceptional high school students, new graduates surroundings. Landscaping is subtropical, just launching their careers, and even a middle dense, and well cared for, giving the univer­ school student. sity the appearance of a resort. 54

For an independent workshop or camp included in the camp's mailing list you may such as this, student opinion is the most write to: important indicator of success and effective­ ness. I have rarely heard such positive feed­ The de Veritch Institute ofViola Studies back after such an event. Students valued 2711 Brigs Bend highly the content and comraderie of this Bloomington, IN 47401 program. Housing facilities and food received excellent marks. The only negative comment or call the institute at (812) 855-3043. was that the camp had been far too short! I certainly will look forward all year to As a result, VIOLA CAMP '97 has been going back to Pepperdine! increased from seven to ten days, August 4 through 14, 1997. If you would like more information about -Donna Lively Clark, Professor of Viola, this great viola experience or wish to be Butler University, Indianapolis, Indiana

new publication from Erickson Editions Beethoven's late quartet writing in the well­ A brings the Sixty-Seven Etudes for Solo known viola passages of the later nineteenth Cello on the Beethoven Quartets by William century-especially in the music of Berlioz, Van den Burg to the viola world. The Etudes Schumann, Brahms, and Wagner, probably are now available in a transcription for solo the four composers most influential in the viola, fulfilling the dream of the composer to development of viola style. put them to a wider use than for his instru­ ment only. -Ron Erickson, Berkeley, California Van den Burg served from 1927 to 1960 as ronerick@earthlink. net principal cellist for three major orchestras in http:!! home.earthlink.net! "ronerick" succession: the Philly, San Francisco, and the Los Angeles Philharmonic, under Stokowski, Monteux, and Wallenstein. A highly regarded protege of Casals and Alexanian, Van den Burg incorporated the modern technique of that school in what are essentially caprices on each movement of the Quartets, drawing on material from all voices and developing it with internal study passages in each etude. Willy's brother Herbert, a retired violist with the St. Louis Symphony, has encouraged this transcription and has given it his blessing. The viola version of the Etudes approaches the spirit of the Quartets even more closely than does the original version for cello. As the middle instrument of the Quartets, the viola shares material drawn from the voices both above and below, assuming their respective characteristics in each instance. Moreover, the writing here evokes the reincarnation of Rare instruments and bows Expert appraisals

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iolists are invited to attend the 1997 Brown University and the Charleston Quar­ V VIOLA DAY at the University of Rhode tet, lectured. To participate in the 1997 event, Island in Kingston this coming spring. Forty contact Nora Spencer at the URI Music violists from beginners to professionals Department Fine Arts Center, Kingston, attended the 1996 event. The Boston Viola Rhode Island, telephone: ( 401) 874-2431; Quartet performed, and Consuela Sherba, of e-mail: nspe3 366@uriacc. uri. ed u

n southern California's concert atmosphere in the program's biographical note. Among I of recent months, the viola has appeared many other awards, Mr. Lubbock won a most prominently as an ensemble instrument. Grammy in 1993 for "best arrangement Viola recitals have been unusually scarce. But accompanying vocals," with a song called 1996 has been a banner year for premieres of "When I Fall in Love." Without these clues works for viola and orchestra by composers from the program notes, the audience might well known in the area. In January, we heard never have guessed Lubbock's connection to Cary Belling's Concerto for Viola, with the popular music industry, because his Karen Elaine as soloist. In February, Dan Dialogue betrayed no hint of pop style, jazz, Thomason gave the first performance of commercialism, or easy derivative imitation. Terry McQuilkin's Viola Concerto, and Evan The only exception to this assertion might be Wilson premiered Jeremy Lubbock's Dialogue that the Dialogue is well scored for the instru­ for Viola and Strings on 6 November 1996. ments used, so that good-sounding string Mr. Wilson is the principal violist of the writing prevails. Los Angeles Philharmonic Orchestra and pro­ In his performance of Lubbock's Dialogue, fessor of viola at UCLA. The string section Mr. Wilson took advantage of the ample of the UCLA Philharmonia Orchestra, under opportunity this piece affords for beautiful the direction of Jon Robertson, performed solo viola sound. He plays the Peregrina di this last-mentioned work in Schoenberg Hall Zanetto viola, made available to the principal on the Westwood campus. With many stu­ violist of the Philharmonic; it has a huge, dent players of the Philharmonia not neces­ even luscious, personality. Its distinctive sarily preparing for professional careers in shape, size, and proportions identify it as music, the evening's program (which also coming from the era before Amati and included a premiere of Jay Flood's Symphony Stradivari. No. 2) demonstrated an unexpected willing­ The Dialogue for Viola and Strings is about ness to explore the newest of twentieth-century twenty minutes in length, consisting of a repertory. series of episodes resembling a conversation. Mr. Lubbock, who has lived in Los Angeles The episodes, replete with rhythmic motives, since the late 1970s, is a prominent and suc­ are delineated by tempo changes. Sometimes cessful member of the commercial music the solo viola and the ensemble of accom­ community. He has established himself as panying strings "talk'' at the same time, but a composer and arranger for films and popu­ in this premiere performance the soloist still lar recording artists, with a wide range of projected easily. The piece contains some styles-"from Kiri Te Kanawa to Andy cadenza-like sections and some double­ Williams, to Tremaine Hawkins," as printed stopping, but "extended techniques" are not a Manhattan Sehool of Mosie

Rrform with internationally acclaimed Master of Mosie conductors, recently including:

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Study the Art of Orchestral Performance with M S M faculty Work with program faculty and some members, the Principal and Associate Principal Violists of the of the world's finest symphonic instru­ New York Philharmonic, mentalists in: • Mock Orchestral Auditions Cynthia Phelps and Rebecca Young • Excerpt Master Classes • Symphonic Repertoire Coaching • Side by Side Rehearsals and Sectionals with professionals • Chamber music coaching with members of St. Lukes Ensemble

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prominent feature. Even though the harmonic lilting British accent, that his piece "is not in vocabulary is definitely twentieth-century, at any key." It would be a pleasure to hear the . . first hearing, tonal centers seemed to be ptece agam. lurking. However, in a brief intermission conversation, Mr. Lubbock maintained, in a -Thomas G. Hall, Chapman University

Ulrich Koch Tokyo, Japan lrich Koch, eminent German violist and teacher, died at his Tokyo home on 7 June 1996 U at the age of seventy-five. He was an honorary professor of viola at the Musashino Academia Musicae. Koch had been a longtime faculty member of the Musikhochschule in Freiburg. Counted among his most prominent students are Tabea Zimmermann and Wolfram Christ. He also served as principal of the Southwestern Radio Orchestra at Baden-Baden. He enjoyed a personal acquaintance with Paul Hindemith and he championed the com­ poser's Solo Sonata (1937) long before it was published, playing it from a copy of Hindemith's manuscript. Koch featured this work at the Stuttgart International Viola Competition in 1982. He can be heard on record in the Sancho Panza role in Don Quixote with Rostropovitch and the Berlin Philharmonic under von Karajan. Earlier recordings include the Milhaud First Concerto.

Abraham Skemick Bloomington, Indiana ur colleague Abraham Skernick died in Bloomington, Indiana, 13 December 1997. O Skemick was principal violist of the Cleveland Orchestra under George Szell before joining the faculty of Indiana University. He will be eulogized in the next issue of ]A VS. 60

Chicago Symphony Orchestra was, but the fact that we were in the Chicago Viola Section Symphony convinced them we were legiti­ ;#' Scores at 1986 White Sox Ball Game mate. We were assigned a game at the end of 4~ July 1986 against the Boston Red Sox. While ~ shortly after I joined the viola section of we neither requested nor received money, the Chicago Symphony, I discovered the the White Sox were more than gracious in old Comiskey Park, home of the White Sox. giving each of us tickets for ourselves and one While the Cubs' Wrigley Field has always guest, and in securing a safe room in which to enjoyed more cachet, I found the South Side stow our instruments during the game. ambience of Comiskey more congenial and As luck had it, we played for one of the American League baseball more compelling, largest crowds of the season. Roger Clemens, having grown up with the Tigers in Detroit. far and away the best pitcher in baseball in Sadly, Comiskey Park has since been torn 1986, started for the Red Sox, who were on down and replaced with an utterly charmless their way to a division championship (and a monstrosity. tragic debacle against the Mets in the World I soon determined to step onto the field at Series). A near-capacity crowd was on hand Comiskey to play the "Star Spangled Banner" that night to boo Roger Clemens-and cheer before a game. I envisioned an arrangement for the violas of the Chicago Symphony! a choir of many violas and enlisted my col­ We were resplendent in T-shirts made leagues in the cso viola section to join me. especially for the occasion, featuring an alto The public relations department for the clef on the front and our names, surrounded White Sox was agreeable to my proposal. by five asterisks, on the back. (This was an They weren't exactly clear on what a viola inside-joke: in cso viola parts, we pencil-in

Participants in the 1986 appearance and Comiskey Park, pictured left to right: Bill Schoen (assistant princi­ pal), Richard Ferrin, Dan Strba, Tina Bartholomew, Max Raimi, john Bartholomew, Bob Swan, Tom Wright, Diane Mues, and Izadore Zwerof Bernard Zaslav chooses:

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Fine Quality Instruments and Bows I Repairs I Rentals I Accessories I Sheet Music FOR ALL YOUR BOWED INSTRUMENT NEEDS established 1971 Mail Orders Processed Promptly (505) 889-2999 • (800) 284-6546 3201 Carlisle, NE Albuquerque, New Mexico 87110 63 a circle of five asterisks when a loud brass pas­ spired a rather mediocre White Sox team to sage is coming up. When we see the asterisks, defeat Roger Clemens that night in one of we know it's time to insert ear plugs to pro­ only four losses he suffered all season. tect our hearing.) -Maxwell Raimi, contributor of this piece, Since a few of my colleagues could not was born in Detroit and studied viola at the attend, our ranks were reinforced by the wife University of Michigan with Francis Bundra of one violist and two of our regular substi­ and at the juilliard School with Lillian Fuchs. tutes. One of those subs, Diane Mues, won He has been a member ofthe viola section ofthe the next cso viola audition and is now our Chicago Symphony Orchestra since 1984 and colleague-and my wife. has been active in chamber music in Chicago I made the arrangement of the national and in festivals throughout the United States. anthem as rich and florid as I could, with Raimi is also known as a composer; his com­ elaborate counterpoint and virtuoso passage positions have been performed at the Library work. I knew my colleagues would handle of Congress, at the Paris Opera, and by the beautifully any challenge I gave them. I also Chicago Symphony. Recently, he was heard in a knew that nearly 40,000 people would be broadcast, performing an arrangement of his hearing violas, many for perhaps the only own, in a group with Daniel Barenboim and time in their lives, and I was eager to ensure a colleagues in the Chicago Symphony. good impression. The crowd was uncharac­ teristically quiet as the amplification carried Please submit, for inclusion in future issues of our sound throughout the big old ball park, ]AVS, your informative photos of license plates, then roared with approval as we concluded. commercial products, or other unusual associa­ I'd like to think that our performance in- tions that keep our name before the public.

JAVS Special Offer to AVS Members! A good gift to students and friends. $3.00 for any of the following back issues of the Journal ofthe American Viola Society. April1987, Vol. 3 No.1 __ Vol. 10 No.1, 1994 __ Nov. 1987, Vol. 3 No.3 __ Vol. 10 No. 2, 1994 __ Spring 1989, Vol. 5 No.1 __ Vol. 10 No. 3, 1994 __ Summer 1989, Vol. 5 No.2 __ Vol. 11 No.1, 1995 __ Fall1989, Vol. 5 No.3 __ Vol. 11 No. 2, 1995 __ Summer 1990, Vol. 6 No. 2 __ Vol. 11 No. 3, 1995 __ Fall1990, Vol. 6 No.3 __ Vol. 12 No.1, 1996 __ Fall1991, Vol. 7 No.2 __ Vol. 12 No.2, 1996 __ Winter 1991, Vol. 7 No.3 __ Die Viola, Vol. 6 __ Vol. 8 No.2, 1992 __ Die Viola, Vol. 7 __ Vol. 9 No.1, 1993 __ Die Viola, 1985/86 __

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Make check payable to the American Viola Society and submit to: David Dalton, Editor JAYS, BYU Music HFAC, Provo, UT 84602 65

CHAPTERS

he Rocky Mountain Viola Society's Primrose," his former teacher. Other high­ Tnext major event will be held at the lights will include a guest-artist master class Metropolitan State College of Denver and the on Saturday, February 15, from 9:00A.M. to University of Denver, 13-15 February 1997. noon, with winners of the 1997 RMVS Guest artist for the event will be former Student Competition. Ms. McCarty will per­ assistant principal violist of the Boston form in a joint recital with members of the ' Symphony and former president of the AVS RMVS board at 4:00 P.M. in Foote Hall, Patricia McCarty, who is now active as a Lamont School of Music. Exhibitors will soloist and chamber musician and is a mem­ show instruments and bows. A clinic for ber of the faculty at the Boston Conservatory. younger students on technique is also David Dalton, professor of viola at Brigham planned. For more information, please con­ Young University and also a former AVS presi­ tact Dr. Barbara Hamilton, newly elected (® dent, will lecture on "The Art of William president of the RMVS, at (303) 355-2224.

0 Soft Vlola• ,, J 'v•edium 0 Strong .\t.ld.,,lll~r~

he Utah Viola Society will hold its Master classes and clinic sessions by profes­ TSecond Annual Viola Festival in Salt sional violists from Utah, plus a master class Lake City on Friday and Saturday, 21-22 by McCarty, will be featured. In addition, February 1997 (exact location TBA). Last some of the many fine luthiers resident in the year's festival was the official inaugural for the state will give sessions. chapter and was so successful that we have The festival is partially funded by a grant decided to continue the format. from the American Viola Society and the This year's guest artist will be Patricia Browning Charitable Lead Trust at Weber McCarty, well-known viola soloist and AVS State University. Violists are welcomed and board member. She will perform the Walton encouraged to attend the festival. For more Viola Concerto, assisted by the Brigham information, please contact Dr. Michael A. Young University Chamber Orchestra under Palumbo, UVS president, Weber State the direction of Clyn Barrus, former principal University, 1905 University Circle, Ogden, violist of the Minnesota Orchestra and faculty UT 84408-1905; phone: (801) 626-6991; member of the BYU School of Music. e-mail: [email protected]

Margin graphics from The Stringed Instruments of the Middle Ages: Their Evolution and Development from the Danish of Hortense Panum, edited by Jeffrey Pulver. William Reeves, Bookseller Ltd., London 65

CHAPTERS

he Rocky Mountain Viola Society's Primrose," his former teacher. Other high­ Tnext major event will be held at the lights will include a guest-artist master class Metropolitan State College of Denver and the on Saturday, February 15, from 9:00A.M. to UniversityofDenver, 13-15 February 1997. noon, with winners of the 1997 RMVS Guest artist for the event will be former Student Competition. Ms. McCarty will per­ ass is tan t principal violist of the Boston form in a joint recital with members of the Symphony and former president of the AVS RMVS board at 4:00 P.M. in Foote Hall, Patricia McCarty, who is now active as a Lamont School of Music. Exhibitors will soloist and chamber musician and is a mem­ show instruments and bows. A clinic for ber of the faculty at the Boston Conservatory. younger students on technique is also David Dalton, professor of viola at Brigham planned. For more information, please con­ Young University and also a former AVS presi­ tact Dr. Barbara Hamilton, newly elected dent, will lecture on "The Art of William president of the RMVS, at (303) 355-2224.

he Utah Viola Society will hold its Master classes and clinic sessions by profes­ TSecond Annual Viola Festival in Salt sional violists from Utah, plus a master class Lake City on Friday and Saturday, 21-22 by McCarty, will be featured. In addition, February 1997 (exact location TBA). Last some of the many fine luthiers resident in the year's festival was the official inaugural for the state will give sessions. chapter and was so successful that we have The festival is partially funded by a grant decided to continue the format. from the American Viola Society and the This year's guest artist will be Patricia Browning Charitable Lead Trust at Weber McCarty, well-known viola soloist and AVS State University. Violists are welcomed and board member. She will perform the Walton encouraged to attend the festival. For more Viola Concerto, assisted by the Brigham information, please contact Dr. Michael A. Young University Chamber Orchestra under Palumbo, UVS president, Weber State the direction of Clyn Barrus, former principal University, 1905 University Circle, Ogden, violist of the Minnesota Orchestra and faculty UT 84408-1905; phone: (801) 626-6991; member of the BYU School of Music. e-mail: [email protected]

Margin graphics from The Stringed Instruments of the Middle Ages: Their Evolution and Development from the Danish of Hortense Pan urn, edited by Jeffrey Pulver. William Reeves, Bookseller Ltd., London 67

NEW WORKS

eeping abreast of new viola literature can siciliano also appears in this cantata as an aria Kyield some surprises. Who would have for alto voice, strings, continuo, and organ predicted that Barenreiter-Verlag, venerated obligato.2 Gerhard Herz3 dates this cantata to German publisher of the Neue Bach-Ausgabe, 1726, a time when Bach had ceased regular would-among other heroic tasks-bless the cantata composition, so it is possible that late twentieth century with a new concerto for Bach borrowed a couple of movements from viola by Johann Sebastian Bach? among his earlier compositions. The third This publication, available through the movement, the sinfonia to Cantata BWV 49 Primrose International Viola Archive, consists "Ich geh und suche mit Verlangen," in E of a solo part (labeled "Viola concertato") and major, is scored for oboe d' am ore, strings, and a "pianoforte" accompaniment. The work is continuo with organ obligato.4 in three movements: the outer two are fast All three movements of the "new" viola movements in E-flat major; the middle one is concerto are listed in the Schmieder catalog5 a siciliano in C minor, in twelve-eight meter. as constituting Cembalo Concerto II, BWV The first movement is in standard da capo 1053. This work has the outer movements in form, in common time. The last is also a da E-major, and the siciliano in c-sharp minor. capo (an impressive 395 measures long) but in The New Grove Dictionary indicates that it three-eight meter. Altogether, the work takes was originally a harpsichord concerto, but about twenty minutes to perform. possibly taken in part from a lost oboe con­ Both the viola and piano parts are clean of certo. Also noted is that some movements editorial performance help. There are no fig­ from this group of fourteen harpsichord con­ ured bass numbers, the sparsest of dynamic certos are original or transcriptions of cantata markings, and only sporadic phrase marks. movements.6 The viola part has no fingerings or bowings. The Neue Bach-Ausgabe series VII, vol. 7 is Occasionally there is a suggested ornament, a supplement containing five reconstructed properly in parentheses. Tutti and solo pas­ concertos edited by Wilfried Fischer (profes­ sages are clearly indicated, and there are even sor at the Seminar for Music Education at the convenient rests for the violist at page-turns. University School of Paderborn, Germany), The paper quality is up to standard, and mea­ who is responsible for the E-flat viola concerto. sure numbers are provided at the beginning He spoke about its reconstruction at the of each staff. In short, this is a crisp, clean Viola Congress in Markneukirchen, Ger­ edition, ready for the markings needed to many, in June of 1996. Exactly how he make it a performance edition. arrived at the key of E-flat for the present Of course, the overriding question is edition, or how he selected these movements "Where did this concerto come from?" As to be combined into a viola concerto is not stated on the cover, this is a reconstruction of clear. Professor Fischer clearly has much expe­ movements from other works, a practice Bach rience in the reconstruction process; what he indulged in frequently. The first movement is has come up with represents a most welcome the sinfonia of the Cantata in D major "Gott addition to our literature. soli allein Herze haben," BWV 169, scored Although stylistic authenticity is not in for two oboes d'amore, English horn, strings, question, violistic appropriateness may be an and continuo with organ obligato. 1 The issue. Lacking are those typical string concerto 67

NEW WORKS

eeping abreast of new viola literature can siciliano also appears in this cantata as an aria Kyield some surprises. Who would have for alto voice, strings, continuo, and organ predicted that Barenreiter-Verlag, venerated obligato.2 Gerhard Herz3 dates this cantata to German publisher of the Neue Bach-Ausgabe, 1726, a time when Bach had ceased regular would-among other heroic tasks-bless the cantata composition, so it is possible that late twentieth century with a new concerto for Bach borrowed a couple of movements from viola by Johann Sebastian Bach? among his earlier compositions. The third This publication, available through the movement, the sinfonia to Cantata BWV 49 Primrose International Viola Archive, consists "lch geh und suche mit Verlangen," in E of a solo part (labeled "Viola concertato") and major, is scored for oboe d' am ore, strings, and a "pianoforte" accompaniment. The work is continuo with organ obligato.4 in three movements: the outer two are fast All three movements of the "new" viola movements in E-flat major; the middle one is concerto are listed in the Schmieder catalog5 a siciliano in c minor, in twelve-eight meter. as constituting Cembalo Concerto II, BWV The first movement is in standard da capo 1053. This work has the outer movements in form, in common time. The last is also a da E-major, and the siciliano in c-sharp minor. capo (an impressive 395 measures long) but in The New Grove Dictionary indicates that it three-eight meter. Altogether, the work takes was originally a harpsichord concerto, but about twenty minutes to perform. possibly taken in part from a lost oboe con­ Both the viola and piano parts are clean of certo. Also noted is that some movements editorial performance help. There are no fig­ from this group of fourteen harpsichord con­ ured bass numbers, the sparsest of dynamic certos are original or transcriptions of cantata markings, and only sporadic phrase marks. movements." The viola part has no fingerings or bowings. The Neue Bach-Ausgabe series VII, vol. 7 is Occasionally there is a suggested ornament, a supplement containing five reconstructed properly in parentheses. Tutti and solo pas­ concertos edited by Wilfried Fischer (profes­ sages are clearly indicated, and there are even sor at the Seminar for Music Education at the convenient rests for the violist at page-turns. University School of Paderborn, Germany), The paper quality is up to standard, and mea­ who is responsible for the E-fl.at viola concerto. sure numbers are provided at the beginning He spoke about its reconstruction at the of each staff. In short, this is a crisp, clean Viola Congress in Markneukirchen, Ger­ edition, ready for the markings needed to many, in June of 1996. Exactly how he make it a performance edition. arrived at the key of E-flat for the present Of course, the overriding question is edition, or how he selected these movements "Where did this concerto come from?" As to be combined into a viola concerto is not stated on the cover, this is a reconstruction of clear. Professor Fischer clearly has much expe­ movements from other works, a practice Bach rience in the reconstruction process; what he indulged in frequently. The first movement is has come up with represents a most welcome the sinfonia of the Cantata in D major "Gott addition to our literature. soll allein Herze haben," BWV 169, scored Although stylistic authenticity is not in for two oboes d' am ore, English horn, strings, question, violistic appropriateness may be an and continuo with organ obligato. 1 The issue. Lacking are those typical string concerto 68

idioms found in the viola writing of both the JVG; Wesley Morgan, professor emeritus, third and sixth "Brandenburg" Concertos, i.e. University of Kentucky; Dwight Pounds, Wes­ bariolage or arpeggio figures. Nothing appears tern Kentucky University; and Thomas Tatton, here that couldn't be f~und in an oboe con­ A VS president. certo or an obligato organ part. Yet the work Notes sounds like a Bach concerto, and if we cannot 1 Neue Bach-Ausgabe, series I, vol. 24 (Kassel: be completely sure that Bach had the viola in Barenreiter-Verlag), p. 61. mind specifically, this is only a small matter 2Ibid p. 97. and nothing like the spurious viola concertos 3Herz, G., ed., Bach, Cantata No. 140, "Wachet auf, that have appeared previously with famous ruft uns die Stimme," (New York: W. W. Norton & Co., 1972), p. 35. names attached. 4J S. Bach: Werke, vol. 10 (Leipzig: Bach-Gesellschaft, This edition has been issued with the 1851-99), p. 301. cooperation of the International Viola 5Schmieder, Wolfgang von, Thematisch-Systematisches Society. We owe all concerned our thanks. Verzeichnis der Musickalishen Werke von johann Sebastian Bach (Leipzig: Breitkopf & Hartel, 1966), -Thomas Hall Chapman University, ( thall@ p. 587-88. nexus.chapman.edu) with thanks to all those 6Sadie, Stanley, ed., The New Grove Dictionary of who helped with information for this review: Music and Musiciansvol. 1 (London: Macmillan, 1980), Mrs. Uta Lenkewitz, chair, German Section of p. 835.

his well-researched volume provides a T solid introduction to the lira da braccio, a sixteenth-century bowed string instrument thought to be the missing link between the medieval fiddle and the modern violin. The author provides a brief history of the lira da braccio, descriptions of extant sixteenth century instruments, a discussion of depic­ tions of the instrument in the visual arts, fingering charts, and a brief anthology of repertoire by such composers as Marco Cra and Jacob Arcadelt. Most of the eight pieces in the anthology were arranged by the author. Fingering charts and repertoire are notated both in staff notation and in tablature. t last! An authoritative edition, based -Courtesy of American String Teacher A solely on Schubert's autograph, to replace previous mistake-ridden and aggres­ sively edited versions. As with other Henle Urtext editions, comprehensive notes explain ambiguities. All octave registration changes in the viola part are clearly indicated. This edition is a necessity for any serious violist playing this piece. -Courtesy of American String Teacher &~n STRINGED INSTRUMENTS Maf&rs, !l{estorers ana rneafers of o/iofins, o/iofas, Ce[fos ana r:Bows

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For more information, contact: ENCORE School for Strings, The Cleveland Institute of Music, 11021 East Boulevard, Cleveland, Ohio 44106, 216-791-5000. 71

RECORDINGS

Bax: Elegiac Trio for Flute, Viola and Harp; Hindemith: The Complete Works for Viola, Nonet for Flute, Oboe, Clarinet, String vol. 2: Sonatas for Solo Viola op. 25 no. 1; Quartet, Bass, and Harp; Sonata for Clarinet op. 31 no. 4; op. 11 no. 5, and from 1937. and Piano; Quintet for Harp and Strings; Paul Cortese ASV CD DCA 947 (Koch Roger Chase, viola, Nash Ensemble. International). Hyperion CDA 66807 (Harmonia Mundi USA). Aaron Jay Kernis: Still Movement with Hymn; Colored Field-Concerto for English Brahms: Sonata for Viola and Piano op. 120 Horn and Orchestra. Paul Neubauer, et al. no. 1; Dvohik: Sonatina for Violin and Piano; Argo 448 174-2. Hindemith: Trauermusik, Duett. Wilfried Strehle, viola, Wolfgang Boettcher, cello, Forsyth: Viola Concerto; Vaughan Williams: Karina Wisniewska, piano. Nimbus N15473. Flos Campi; Hindemith: Trauermusik; Lubomir Maly, viola, Prague Symphony Brahms: Sonatas for Viola and Piano op. 120 Orchestra and Radio Chorus, Vaclav nos. 1, 2; Laurent Verney, viola, Nicholas Smetacek, Milos Konvolinka, conductors. Angelich, Piano. Harmonia Mundi France Panton 81 130602. HMN 911565 (Harmonia Mundi USA). Review: Although this recording was made many years ago, it was put on CD only three Britten: "Lachrymae"; Sinfonietta; "Sword in years ago and came into my hands only re­ the Stone," Movement for Wind Sextet & cently. Violists: the concerto by Cecil Forsyth Nightfall; Roger Chase, viola, Nash En­ (1870-1941) is a major composition, twenty­ semble et al. Hyperion CDA 66845. seven minutes in length, that deserves to be Clarke: Viola Sonata; Prelude, Allegro & played as much as any other viola concerto in Pastorale for Viola and Clarinet; Two Pieces the repertoire. Looking through some old cata­ for Viola and Cello; Passacaglia on an English logs, I could not find a single composition by Tune; Patricia McCarty, viola, et al. North­ Forsyth. A violist himself, he has written a eastern Ner 212. composition of extraordinary beauty. Mr. Maly has written a cadenza that does excellent ser­ Dohnanyi: Serenade for String Trio; Piano vice to the work, and his playing, overall, is Quintet; Douglas Paterson, viola, Schubert impeccable. I wonder how many other concer­ Ensemble of London. Hyperion CDA 66786 tos are hidden in the mothballs? Can the con­ (Harmonia Mundi USA). certo written by Fricker and much admired by William Primrose be far behind? Fuchs: Fantasiestucke for Viola and Piano; Sonata for Viola and Piano; Trio for Michael Kurik: Sonata for Viola and Harp; Viola and Piano; Jonathan Bagg, viola, Jane String Quartet no. 2; Matisse Impressions; Hawkins, piano. Centaur CRC 2278 Concerto for Harp and Orchestra; John (Qualiton). Kochanowski, viola, Blair Woodwind Hindemith: Trio for Heckelpone, Viola and Quintet, Blair String Quartet, Mario Falcoa, Piano; Die Serenaden; Sonata for Oboe and harp, Nashville Orchestra, Kenneth Piano; Gunter Teufel, viola, et al., CPO Schermerhorn, conductor. New World 999332-2 (Naxos). Records 80497. 72

Jean Rogister; Concerto in A for Viola and Bloch: Music for Viola & Piano including Orchestra; Fantasie Concertante for Viola Suite (1919), Suite Hebraique (1950), Suite and Orchestra; Concerto for Violin and for viola Solo (1958), Meditation & Orchestra: Therese-Marie Gilissen, viola, Processional (1951); and Five Sketches in Philippe Koch, violin, Marc Tratumann, con­ Sepia, & "In the Night" for Piano Solo. ductor. Pees Symphony Orchestra. Koch­ Bernard Zaslav, viola, and Naomi Zaslav, Schwann Musique Wallonie 3-1718-2. piano. Music & Arts CD 902.

Rosza: Concerto for Viola and Orchestra; Brahms: Sonata for Viola and Piano, op. 120 Sinfonia Concertante for Violin, Cello and no. 1 (orchestrated by Luciano Berio); Bruch: Orchestra; Paul Silverthorne, viola, Igor Romance in F, op. 85; Schubert: Sonata for Gruppman, violin, Richard Bach, cello, New Viola & Piano ''Arpeggione" (orchestrated by Zealand Symphony Orchestra, James Sedares, Robert Davidson); Nigel Sabin: New York conductor. Koch lnternational3-7304-2 HI. Souvenirs. Patricia Pollett, viola, with Queensland Philharmonic Orchestra, Werner N. Rubenstein: Sonata for Viola; Glinka: Andreas Albert, conductor. Tall Poppies Sonata for Viola; Svetlana Stepchenko, viola, TP 084. Zoya Abolitz, piano. Russian Disc 10035 (Albany). Paganini: Music for Strings and Guitar. Quartetto 15 (Trio and Guitar); Cantabile Schumann: Marchenbilder, and six other (Violin and Guitar); Sonata Concertata compositions; Nabuko Imai, viola, et al., EMI (Violin and Guitar); Terzetto Concertante 7243 5 55484 29, two disks. (Viola, Guitar, Cello). The Diaz, Trio (Roberto Dfaz, viola, David Kim, violin, Schumann: Miirchenerziihlungen for Clarinet, Andres Dfaz, cello, with Julian Gray, guitar). Viola, & Piano, and five other compositions. Dorian DOR 90237. This is music and play­ Dorian Renee, viola, et al. Elysium GRK 709 ing that elicited a spontaneous ovation at (Qualiton). the 1995 International Viola Congress in Bloomington. Schnittke: Viola Concerto: Lutoslawski: Chain 11; Isobelle van Keulen, viola and vio­ Walton: Concerto for Viola and Orchestra; lin, Philharmonia Orchestra, Heinrich Schiff, Symphony no. 2; Johannesburg Festival conductor. Koch-Schwinn 3-1523-2 HI. Overture. Lars Anders Tomter, viola; English Northern Philharmonic, Paul Daniel, con­ William Lloyd Webber: Sonatina for Viola ductor. Naxos 8 553402. and Piano; and other short works. Philip Live from Austin, featuring Will Taylor, Dukes, viola, et al. ASV CD DCA 961 (Koch viola, and the Jazz Menagerie, Cymekob International). CYK805.

lonosphers, with Ian Dogole and Global -The aforementioned recordings compiled by fusion, and Eric Golab, viola, Cymekob David 0. Brown, Brentwood, New York CYK807. 73

COMPETITIONS

• • THE 1997 PRIMROSE MEMORIAL SCHOLARSHIP COMPETITION ~o/Mot'ed' ~ tAe MmericoA q}Jofa cfoae& ------To Be Held In Conjunction With The XXV International Viola Congress June 3-6, 1997 at the University of Texas at Austin

America's Most Prestigious Competition Exclusively for Violists

Prizes: $2000.00, $1000.00, $500.00 and Performances at the Congress

Eligibility: Open to violists of all nationalities who: ~have not reached their 28th birthday by June 3,1997 and ~are members of or are currently studying with a member of any of the branches of the International Viola Society (AVS, CVS, etc.) at the time of application and competition Application deadline: March 15,1997 For further information, including repertoire requirements, applications for the Competition or for Membership in the AVS, please send a self-addressed envelope to: Laura Kuennen-Poper, Chair 1997 Primrose Memorial Scholarship Competition 6255 Honolulu Avenue #6 Tujunga, CA 91042 USA • • 74

1997 PRIMROSE MEMORIAL SCHOLARSHIP COMPETITION RULES AND REPERTOIRE

ELIGIBILITY: Applicants must meet the following criteria:

• Have not yet reached their 28th birthday by June 3. 1997, and • Must be a current member. or presently studying with a current member of any of the branches of the International Viola Society (AVS. CVS. etc.)

N.B.: If you are not currently a member of the AVS and wish to join. please see application form for details.

PRIZES: 1st Prize: $2000.00. a Mini Recital at the XXV Congress & an invitation to make a featured appearance at the XXVII International Viola Congress 2nd Prize: $1000.00 and a Performance in a Master Class at the Congress 3rd Prize: $500.00 and a Performance in a Master Class at the Congress

THE COMPETITION

REPERTOIRE: General Information

There are four categories of repertoire: Concerto. Sonata. Unaccompanied Work. and Virtuosic Primrose Transcriptions. Candidates must prepare one complete work from each category, within the following guidelines: One of the works prepared must be selected from the three Contemporary Selections: Harbison. Rochberg. or Suderberg.

• Concerto: A work of difficulty comparable to that of Bartok. Walton. or Hindemith. Contemporary selection: John Harbison Concerto for Viola and Orchestra.

• Suite. Sonata or Piece with Plano Accompaniment: A selection of the candidate's choice. accompanied by piano. Contemporary selection: George Rochberg Sonata for Viola and Piano

• Unaccompanied Work: A work of difficulty comparable to those of the Bach (Suites or Sonatas & Partitas). Reger. and Hindemith. Contemporary selection: Robert Suderberg: Solo Music II C"Ritual Lyrics and Dances for Solo Viola")

• Virtuosic Primrose Transcriptions: Candidate's choice. selected from among the following: Benjamin: Jamaican Rhumba: Borodin: Scherzo; Benjamin: Le Topmbeau de Ravel: Paganini: La Campanella: Paganini: 24th Caorice CViola and Piano); Sarasate-Zimbalist: Tango. Polo. Maleguena. or Zapteado (from ·sarasateana") 75

First Round

• The first round is recorded and submitted on audio cassette tape, which will then be auditioned by a jury. Candidates chosen from the taped round to compete in the final round(s) on June 3, 1997 in Austin will be notified by April 15, 1997. • In order to assure anonymity, the applicant's name and address should appear QD.]y_on the applicant's outer package. There should be no personal identification on the tape or its container. Tapes will be coded before being sent to the adjudicating committee. Tapes will not be returned. • Applicants should understand that the quality of the recording may influence the judges, therefore, a new tape of a high quality should be used.

Repertoire for the First Round: The cassette tape must include the applicant performing the following, in accordance with the Repertoire Genera/Information above:

• The first movement of a Concerto ; • An excerpt (c. 5 minutes) from the Sonata, Suite, or Piece with piano accompaniment • An excerpt (c. 5 minutes) of an Unaccompanied Work.

NB: One of the selections must be from the list of Contemporary Selections; and candidates may not change repertoire between the Fjrst qnd Final Round(s).

Final Round

The Final Round(s) will take place in Austin, Texas in conjunction with the X'XV International Viola Congress, June 3-6, 1997 at the University of Texas- Austin.

Each of the finalists will be asked to perform (from memory, unless noted) • The entire Concerto or piece with orchestra from the first round • The entire Unaccompanied Work from the first round • The entire Sonata, Suite, or Piece with piano accompaniment from the first round (need not be memorized) • A complete Primrose Virtuosic Transcription from the list above.

Finalists will receive free lodging and a waiver of the registration fees during the Congress. An accompanist will be provided if requested. The Jury for the Final Round(s) will be selected from those artists participating in the 1997 Congress who do not have a student invited to the Final Round(s). No screens will be used. Finalists are responsible for their own transportation expenses, 76

1997 PRIMROSE MEMORIAL VIOLA SCHOLARSHIP COMPETITION

APPLICATION FORM ~~b~~~~~~~~~~~~b~b

Name: ______,Birthdate: ____

Address: ______Telephone. ______

Current Teacher, if any------

Please check the appropriate boxes: 01 am or Omy teacher is currently a member of the

0 American Viola Society 0 Canadian Viola Society 0 International Viola Society OR 0 I am not currently a member and wish to join the A VS.

If you wish to join the AVS, please enclose a SEPARATE check (made payable to the AVS), in the amount of $15.00 (student member) or $30.00 (regular member), along with your filled-out entry form, tape, and competition application fee.)

Enclosed is my non-refundable application fee of $25.00, in the form of a check made out to the Primrose Memorial Scholarship Competition-AVS and my unmarked audition tape. I have read the Competition Rules and Repertoire Lists and certify that I am eligible to participate in this year's Primrose Memorial Scholarship Competition. I am enclosing a photocopy of proof of my age (passport, driver's license) and proof of my or my teacher's membership in one of the branches of 'the International Viola Society.

(signature required)

SEND COMPLETED APPLICATION, TAPE, AND APPLICATION FEE TO: Laura Kuennen-Peper Primrose Competition 6255 Honolulu Avenue #6 Tujunga, CA 91042 USA

APPLICATION AND SUPPORTING MATERIALS MUST BE POSTMARKED NO LATER THAN MARCH 15, 1997 77

The 1997 Kingsville International Young 46th International Music Competition of Performers Competitions will be held 3-5 the ARD, Munich, 2-19 September 1997. April 1997, on the campus of Texas A&M Prizes in viola section from $6,000 to University. At the precollege level, string play­ $13,000. Contact: lnternationaler Musik­ ers may enter the Orchestral Instrument wettbewerb, Bayerischer Rundfunk, D-80300 Concerto Competition; at the college level, Munich, Germany; tel. (089) 5900-2471, fax string players may enter the Bowed Instru­ (089) 5900-3573. ment Concerto Competition. Prizes are $1,000, $500, and $200 in each competition, The Kennedy Center offers over twenty-five with special prizes that may add up to internships in arts management and arts $5,000. Entry deadline is 15 January 1997; education to upper-level undergraduate and entry fee is $30. Contact: Young Performers graduate students and to those who have not Competitions, P.O. Box 2873, Station 1, been out of college for more than two years. Kingsville, TX 78363; tel. (512) 592-2374. Deadline for the winter/spring session Qanuary through April) is 1 November; dead­ Stulberg International String Competition, line for the summer session (June through 8 March 1997, for applicants nineteen or August) is 1 March. Contact: the internship younger as of 1 January 1997. Prizes from program coordinator at (202) 416-8807. $100 to $3,000. Contact: Stulberg Com­ petition, Inc., Box 50107, Kalamazoo, MI 49005; tel. (616) 372-6237. Lionel Tertis International Viola Competi­ tion and Workshop, 23-30 August 1997, Isle Irving M. Klein String Competition, 24-15 of Man, U.K. Contact: Lionel Tertis Secre­ June 1997, ages 15-23. Prizes from $250 to tariat, Erin Arts Centre, Victoria Square, Port $8,000. Contact: IMK Competition, San Erin, Isle of Man IM9 6LD, British Isles; tel Francisco State Music Dept., 1600 Holloway +44 (0) 1624 832662; web page: http://www. Ave., San Francisco, CA 94132. enterprise. net! arts/ tertis.htm

Steven McCann Maker of Violas • Violins • Cellos

Available at Guarneri House 221 John Street NE Grand Rapids, Ml 49503 (616) 451-4960 CLAIRE GIVENS VIOLINS, INC.

VIOLAS VIOLA BOWS A NEW WORK Gaetano Pollastri, Bologna 1959 Jean Bouvin for VIOLA and PIANO Jago Peternella, Venice 1957 R. Dotschkail Lothar Meisel, Owatonna 1987 Emil Dupree Michael Scoggins, Salt Lake City 1995 Richard Grunke . G. Garvaglia, Chicago 1986 Lothar Hermann Vasile Valtchev, Sofia 1995 K. Gerhard Penzel John Tartaglia, Minneapolis 1995 Herbert Wanka Gottfried Raabs, Bubenreuth 1987 Richard Weichold performance score & part EARLY VIOLAS & BOWS Widhalm Schoo~ Numbe~g c. 1790 $21.00 Edward Dodd transitional bow (not including postage or tax for New York State residents) 1004 MARQUETTE AVENUE MINNEAPOLIS, MINNESOTA 55403 USA Chenango Valley Music Press, (612) 375-0708 OR (800) 279-4323 Box 251, Hamilton, NY 13346

Entrance of the Queen Of Sheba T...... -...u..lViolml.-ii'A- from SOLOMON Presenting ... JoyAI•n "-**.ASCAr Ceorse fril'lirkh Hiillldl'l I! • I! • f. . .l'• I!"'"' ,... Vlohl , =- A new addition to our ensemble .,.., ~ .to .e • . t.! .I Vicalall f ==- -==:: , ENTRANCE OF THE Publications: IV v ..VIjt Pi•no I'•= ""' i• -r~· IJ~ ~ QUEEN OF SHEBA from "SOLOMON" by .... JAJ. G.F. Handel. ., OO:::..f.,_ -=- ~«. jf "' .., Arranged for two Violas and Piano. - =·' - ::>' f-=..:::"'~ .... ., IV I'"'' II'... .., ...... 'T~".; :£1: - ~· v Price $6.60 . . A -

Available from: VIOLA WoRLD PUBLICATIONS 2 INLANDER RoAD SARATOGA SPRINGS, NY 12866 PHONE & FAX: (518) 583,7177 e m~il: [email protected]

- - SEND FOR OUR COMPLETE CATOLGUE f<-___..f 79

AMERICAN VIOLA SOCIETY DIRECTORY

~--- -·--·-!

; Membership of the American Viola Society December 6, 1996

Regular members 525 Student members 185 International members 55 Complimentary members 18 Total members 783

Total members as of12-1-96· 696

A Message from Your Secretary

Please check your address as listed here to be sure it is correct. Be sure to notifY us of any errors. If you move, let me know immediately, or your journal may be lost forever. Welcome to all the new members who have joined this year! If you paid your membership during the last trimester of 1996, you are in good standing through January 1, 1998. (If you receive a dues notice in error, just ignore it.) See you in Austin, Texas, in June!

-Donna Lively Clark, ]CPA, Butler University, 4600 Sunset Avenue, Indianapolis, IN 46208

AAG-BET

Kathie J Aagaard Ralph Aldrich Ronn Andrusco Mary Arlin 4611 W Kensington Ave 1602-695 Richmond St 28 Barbara Crescent 623 Utica St Tampa, FL 33629 London, ON N6A 5M8 Toronto, ON M4C 3B2 Ithaca, NY 14850 Canada Canada

Julia F Adams Gregg T Alf Eleanor Angel Melissa Aronchick 15 Seeley Ave 1221 Prospect St 3454 Ashton Crt 4816 Clark Portland, ME 04103 Ann Arbor, MI 48104 Palo Alto, CA 94306 Montreal, PQH2T 2T5 Canada

Loretta Adkins William H Altmiller John Antonik Nathan M Artley 1981 St Rt 571, W 280 North & South Rd 1060 Oldstone Rd 150 Homeplace Dr Greenville, OH 45331 Sullivan, MO 63080 Allentown, PA 18103 Fayetteville, NC 28311

Betty L Agent Rebecca Andersen Toby Appel Fatima Ast 11024- 27th Ave NE 8049 S 1475 E 164 W 79th St Apt 1215 SE Riverside Dr A Seattle, W A 98125 Sandy, UT 84093 New York, NY 10024 Evansville, IN 47713

Cigale Ahlquist Christopher T Anderson Laura Apperson 217 -C Presidential Dr 4807 Enchanted Rock Ln 15420 S 38th St A LISTING OF ORGANIZATIONS Greenville, DE 19807 Spring, TX 77388 Phoenix, AZ 85044 AND INSTITUTIONS FOLWWS THE

ALPHABETICAL LISTINGS OF INDI- Kathleen Akkerman Stella N Anderson Atar Arad 17303 Herrnhut Dr 4744 Lyndale Ave S 1657 Bellemeade Ave VIDUAL MEMBERS Webster, TX 77598 Minneapolis, MN 55409 Bloomington, IN 47401 80

"GQ Aus-BET ~

John H M Austin Lena F Barker Karen E Bea Wilma Benson 329 W 108th St Apt SA 2411 Johnstone Cir 5526 Wilkins Ave 2nd Fl 6610 St Mary's Rd New York, NY 10025 Huntsville, AL 35803 Pittsburgh, PA 15217 Floyds Knobs, IN 47119

Lisa Axelrod Virginia Barron Eileen Beaudette Diana J Benti 2288 E Sunset Dr 820 S Humphrey 732 Centre St 858 Milwaukee Rd Layton, UT 84040-8165 Oak Park, IL 60304 Kingston, ON K7M 5E4 Beloit, WI 53511 Canada Carol Ayres Clyn Barrus Lou Beauregard Madeline Frank Berger Rt 1 Box 812 1669 Oak Ln P.O. Box 271370 2 Mac Irvin Dr Newton, TX 75966 Provo, UT 84604 Salt Lake City, UT 84127 Newport News, VA 23606

Bill Bailey Emmanuelle Barthe Wanda Beck Claire Bergman 355 Staten Ave #301 124 Rue de Turenne P.O. Box 3652 854 W 181 St Apt 6B Oakland, CA 94610 75003 Paris Evergreen, CO 80439 New York, NY 10033 France Marilyn H Baker George T Bartow Christine Beckstrom Sam Bergman 1630 S Garth Ave 2320 Cherrybrook Ln #170 817 E Orangeburg #4 7 4 Groveland St Los Angeles, CA 90035 Pasadena, TX 77502 Modesto, CA 95350 Oberlin, OH 44074

Jennifer Baker William Bartruff Nathem Bell Annabel Berk 446 Conradi St #A-114 3329 1st Ave S 7211 Foothill Dr 6971 E Calle Cavalier Tallahassee, FL 32304 Minneapolis, MN 55408 Anchorage, AK 99504 Tucson, AZ 85715

Maria Baldwin Yuri Bashmet Gail Beltzner Lori Berkowitz 4873 E Half Moon c/o 26 Wadham Rd P.O. Box 4427 170 Second Ave Apt 10 Flagstaff, AZ 86004 London, SW1S 2LR Allentown, PA 18105 New York, NY 10003 England Brett Banducci Cathy Basrak Adria Benjamin Nicholas W Heston 912 Haverhill Dr 1331 North Vail Ave 393 West End Ave Apt 7F 944 Riverside Dr Modesto, CA 95356 Arlington Heights, IL 60004 New York, NY 10024 South Bend, IN 46619

Robert E Barela LeRoy Bauer Jimmie R Benoit Marcia Bettigole 5711 Simpson Ave 242 Circle Dr 906 Kim Dr 53 Wiltshire Rd North Hollywood, CA 91607 Moscow, D 83843 Lafayette, LA 70503 Williamsville, NY 14221

"GQ B1n-Buc ~

Molly A Bidwell Maren J Blanchard Lynda Bradley Rebecca Brown 196 Jerusalem Rd 525 N 600 E 1502 Madison St NE #1 8527 Rhoads Cir Bristol, VT 05443 Payson, UT 84657 Minneapolis, MN 55413 Fountain Valley, CA 92708

Claudine Bigelow Jose Blankleder Marjorie Bram-MacPhillamy Richard Brown 815 S 18th St #408 1240 Ala Kapuna, #409 3614 22nd Ave W BYU, 1109 Merrill Hall Arlington, VA 22202 Honolulu, HI 96819 Bradenton, FL 34205 Provo, UT 84604

Susan B Bill Rebecca Blom Marcia Bramble Monica M Brown 10 Clive St 1072 North Creek Rd 235 "A" St 3939 W Windmills Blvd N Qyincy, MA 02171 Porter Corners, NY 12859 Salt Lake City, UT 84103 Chandler, AZ 85226

Keith R Bilyeu Kevin L Boden Amy Brandfonbrener Sheila A Browne 308 E College Ave 5018 N Evergreen 1606 S Julian Blvd 844 Y oungsford Rd Appleton, WI 54911 Spokane, WA 99216 Amarillo, TX 79102 Gladwyne, PA 19035

Sharon D Bingham Alan Bodman Mark Braunstein Laurel Browne 7112 Tolliver St 338 Castle Blvd 450 W Briar Place #11M 2130 Ridge Dr #31 Alexandria, VA 22306-3501 Akron, OH 44313-6504 Chicago, IL 60657 Minneapolis, MN 55416

Meghan Birmingham Hugo Bollschweiler Mimi D Bravar Conrad D Bruderer 9403 W 116th Terr Klainmattstrasse 6 252 Joppa Hill Rd 8147 Fairview Ave Overland Park, KS 66210 CH-6003 Bedford, NH 03110 LaMesa, CA 91941

Norma Lee Bisha Melinda Scherer Bootz Emily Barrett Brown Nancy N Buck 823 Temperance St 1001 N Alvord Blvd 553 N 750 E 321 Martindale Rd Saskatoon, SK 57N OMS Evansville, IN 47711-4801 Provo, UT 84606 Bowling Green, OH 43402 Canada Katherine Black Karen M Bottge David 0 Brown Christopher J Buckley P.O. Box 25089 3508 12th Ave SE 9 Grouse Dr 12 Kent St Tempe, AZ 85285-5089 St Cloud, MN 56304 Brentwood, NY 11717 Fairvale, NB E2E 3L6 Canada Harold L Blair Lawrence F Bradford Karin Brown Diedre L Buckley 80 Hunters Ln 426 18th St NW 308 Trevethan Ave 1429 E Johnson St #7 Morehead, KY 40351 Canton, OH 44703 Santa Cruz, CA 95062 Madison, WI 53703-172 81 ~ BuF-CoP ~

Denyse Nadeau Buffum Donna Wolff Cain Q!ng Chen Everett W Cluxton 8823 Shoshone Ave 755 Vanessa Ln 1316 W Medlock Dr 408 S Oak Park Ave #3 Northridge, CA 91325 Neshanic Station, NJ 08853 Phoenix, AZ 85013 Oak Park, IL 60302

Katherine Bukstein Janette S Caputo Ko-Ting Jack Chen Mary Cobb 790 Clydesdale Dr 5651 N Luce Rd 28009 Ridgebrook Barnes Ln Hillsborough, CA 94010 Alma, MI 48801 Rancho Palos Verdes, CA 90274 Plymouth, MA 02360

Dennis E Burke Martha S Carapetyan Y ouming J Chen Richard Colburn R.R. 1, Box 43D 2005 Bowman Ave P.O. Box 1703 1120 La Collina Bayfield, WI 54814 Austin, TX 78703 Bloomington, IN 47402 Beverly Hills, CA 90210

Polly Burkholder Alexis M Careen Victoria Chiang Paul Coletti 222 3rd Ave 6163 Case Ave 6 Hawick Ct 103 E 86th St Apt 8D Santa Cruz, CA 95062 North Hollywood, CA 91606 Owings Mills, MD 21117 New York, NY 10028

Cynthia Busch Marcia Cassidy Zara Christopher Paul Collin 8209 Thompson Run Rd P.O. Box 711 736 N 700 E 9 Rue Rameau Pittsburgh, PA 15237 Norwich, VT 05055 Provo, UT 84606 Le Barcares, 66420 France Margaret Pardee Butterly Heidi Castleman Donna Lively Clark W Ovid Collins Jr 268 Parkway Dr 3330 Warrensville Ctr Rd 4480 Manning Rd 4400 Belmont Pk Terr N Westbury, NY 11590 Shaker Heights, OH 44122 Indianapolis, IN 46208 Nashville, TN 37215

Gertrude Buttrey Burke Jeron Chamberlain Jennifer Clark Joseph F Conrad 6100 W Friendly Ave 910 N 900 E #205 373 Meng Rd 15 A North Rd Greensboro, NC 27410 Provo, UT 84604 Bowling Green, KY 42104 Warren, NJ 07059

Michael Bynog Eric Chapman Mary Clarke Emily Karr Cook 422 Monroe Dr 604 Halstead Ave 13535-83 St 16703 Glenburn Ave Natchitoches, LA 71457 Mamaroneck, NY 10543 Edmonton, AB T5E 2X4 Torrance, CA 90504 Canada Clifford Cabansag Valentina Charl ap-Evans Jean A Clarke Dorian Coppenhaver 1525 W Avon Blvd 114 Prospect St 9 Phillips Trail 1309 Plantation Dr Avon Park, FL 33825 Newburgh, NY 12550 Greenville, SC 29609 Dickinson, TX 77539

~CoR-DuB~

Barbara Corbato Monica Cuneo Kristin Darrow Joseph De Pasquale 808 Northlawn NE via Mazzini 10 1908 University #301 532 Lafayette Rd Grand Rapids, MI 49505 Valano Cremasco CR, 26010 Austin, TX 78705 Merion Station, P A 19066 Italy Krista Cordell Sidney Curtiss Benjamin Travis Dastrup Connie Dee 1412 Cardiff Ln 618 Spruce St 362 s 950 w 15492 Hitchcock High Point, NC 27409 Philadelphia, PA 19106 Orem, UT 84058 Chesterfield, MO 63017

Merryn L Corsat Chriataine D'Alexander Joshua Davidowitz Diantha V Degraw 3970 San Bernado Dr 954 S Kent 29-50 137 St 7902 Lantern Rd Jacksonville, FL 32217-4611 Elmhurst, IL 60126 Flushing, NY 11354 Indianapolis, IN 46256

Jann Cosart Daria D'Andrea Brannon Davies Joan DerHovsepian 1915 E Maxwell Ln 724 Brunswick St 1543 W Griffith 5101 NAve A, 200 Bloomington, IN 47401 San Francisco, CA 94112 Fresno, CA 93705 Midland, TX 79705

Elizabeth Council-Phelan Deborah Dakin Leonard Davis Noemie Dharamraj 875 Ludlow Ave #2 206 2nd Ave N 185 West End Ave Apt 7C 2850 Renatta Dr Cincinnati, OH 45220 Mt Vernon, lA 52314 New York, NY 10023 Largo, FL 34640

Cynthia M Covington David Dalton Allyson Dawkins Roberto Diaz 669 E 800 N N-103 BYU Music- HFAC 107 Eaton St 7500 Kirby Dr Apt 4 Provo, UT 84606 Provo, UT 84602 San Antonio, TX 78209 Houston, TX 77030

Patricia A Crane Ann Danis Frits de Jonge Valerie Dimond 9827 Meadow Valley Dr 138 Lyndon Rd 817 Gregg St 222 S Figueroa #1415 Vienna, VA 22181 Cranston, RI 02905 Columbia, SC 29201 Los Angeles, CA 90012

Nathalie Cruden Harry Danks Thomas de Luca Christian Dott 1638 Morningside Dr 12 Beverly Gardens, Wembley Pk 5275 Ormond Rd 15 Rue du Faubourg St Iowa City, lA 52245 Middlesex, HA9 3QZ Davisburg, MI 48350 Paris, F-75010 UK France Sarah E Crumine Sarah Darling Harkaitz Mendia Ramirez de Olano Joseph R Dube 1621 Sunvale Dr 6 West St Herriko Plaza 2,2 A 8 W Main St Olathe, KS 66062 Carlisle, MA 01741 48160 Derio Shortsville, NY 14548 Spain 82 ~ DuB-Fis GJ-

Susan L Dubois Don A Ehrlich CarolE Erlandson Keanen W Farr 2188 Balfour Ct 806 Shrader St RD #1 Box 98 1547 N 4700 W San Diego, CA 92109 San Francisco, CA 94117 Walton, NY 13856 Plain City, UT 84404

Christine M Due Susan Ekholm Stanley R Evans Igor Fedotov 7319 N Bell Ave 8415-105 St 188 Lois Ln 4613 W 4th St #3 Chicago, IL 60645-2005 Edmonton, AB T6E4116 Palo Alto, CA 94303 Hattiesburg, MS 39402 Canada James Dunham Karen Elaine Carole G Evans David Feltner 260 Bonnie Brae Ave 208 Welling Way 6710 McVey Blvd 263 Commonwealth Ave Rochester, NY 14618-2133 San Diego, CA 92114 West Worthington, OH 43235 Boston, MA 02116

Hank Dutt Louise Elder William Everett Sonia Feres 377 Mangels Ave 308 Halsey Rd 1271 SW Wayne Ave 3101 Highland Rd #102 San Francisco, CA 94127 Annapolis, MD 21401 Topeka, KS 66604 Baton Rouge, LA 70802

Harry R Dutton Elisabeth Ellenwood Chip Everts Nicholette Fetsch P.O. Box 229 5602 Weslo Willow Cr #213 4199 Anderson Mill Rd 7557 Andrea Ave Deer Lodge, MT 59722 Greensboro, NC 27409 Spartanburg, SC 29301 Stockton, CA 95207

Glynn A Eastham Joan Eller sick Nancy Ewing-Wood Ralph Fielding 10555 Ridgeview Ct 21 Pequossette St 16754 Brewer Rd 222 S Figueroa #1415 Cupertino, CA 95014 Watertown, MA 02172 Grass Valley, CA 95949 Los Angeles, CA 90012

Karen Eberle Marilyn Emmons Suzanne Falck Marshall J Fine 114 Bradley Blvd 1408 W Oak St 2881 Blue Spruce Dr 38 N Highland St Travis AFB, CA 94535 Fort Collins, CO 80521 Salt Lake City, UT 84117 Memphis, TN 38111

Erika Eckert Herbert Epstein Albert Falkove Michelle Walker Fine U of Colorado, Campus Box 301 199 Coolidge Ave #103 2 Franklin Town Blvd #2101 38 N Highland St Boulder, CO 80309 Watertown, MA 02172-1521 Philadelphia, PA 19103 Memphis, TN 38111

Stephen P Edwards Csaba Erdelyi Helen F Fall Burt Fisch 800 Ethel St 2420 Boston Rd 4318 Argonne Dr 5030 Mycenae Way Austin, TX 78704 Bloomington, IN 47401 Fairfax, VA 22032 Oceanside, CA 92056

~ F1s-Goo GJ-

Marlow Fisher Daniel H Foster John Gallent Marylene Gingras-Roy 831 Pacific St Unit #6 3945 Connecticut Ave, NW #210 125 Comanche Dr 301 S 19th St #4C Santa Monica, CA 90405 Washington, DC 20008 Pineville, LA 71360 Philadelphia, PA 19103

Gunnar Foerstel Kathryn E Fouse Andrei Ganea Suzanna Giordano 6-718 Churchhill Ave N 4967 E Fair Dr 358 W California Blvd 1323 Berkeley St #B Ottawa, ON KlZ T3AOB6 Littleton, CO 80121 Pasedena, CA 91105 Santa Monica, CA 90404 Canada Watson Forbes Theresa Fox Alan J Garber Robert Glazer Great Wolford, Shipston-on-Stoke P.O. Box 5522 1240 N Lake Shore Dr #24A 16 Moos Ln Warwickshire CV, 36 5NQ Greensboro, NC 27406 thicago, IL 60610-2358 Bergenfield, NJ 07621 UK Leona Forbes Marta M Franson Maurice Gardner Isabella Z Goldenberg 336 Vincent St R.R. 3, Box 3184 5640 Collins Ave #7D 56-32 Bell Blvd Syracuse, NY 13210 Farmington, ME 04938 Miami Beach, FL 33140 Bayside, NY 11364

Cathy Horn Forbes Ann Frederking Gerald Gaul Pamela Goldsmith 1128 Woodland Dr 2030 Woodglen Cres 702 Reeves Dr 11640 Amanda Dr Arlington, TX 76012 Ottawa, ON K1J 6G4 Grand Forks, ND 58201 Studio City, CA 91604 Canada Georgia Forsythe Phyllis E Freeman Mary Gerard Alvaro A Gomez 5840 O'Malley Rd 11 East Second St 1414 Galveston St 17 Tymber Cove Anchorage, AK 99516 Frederick, MD 21701 San Diego, CA 92110 Deland, FL 32724

Abili Fort Manero Pamela Freund-Striplen Jennifer Gerhard Jody M Good Diputacio, 327-3er. la u 2455 Frances St 1140 Nineteen North Dr #15 438 Long Ln Barcelona, 08009 Oakland, CA 94601 Pittsburgh, PA 15237 East Earl, PA 17519 Spain William Foster Nora R Frisk Joseph Gianotti Lauren Goodman 7717 14th St NW 1286 Lake Charles Ave 1701 Thuja Ave 7437 Stony River Ct Washington, DC 20012 Porter, IN 46304 Anchorage, AK 99507 Bloomfield Hills, MI 48301

Daniel Foster Keiko Furness Craig Gibson William Goodwin Music Dept 3315 Sweetwater Dr 305 17th St 1225 College St #B103 Eastern Michigan Univ Cumming, GA 30131 Seal Beach, CA 90740 Bowling Green, KY 42101 Ypsilanti, MI 48197 83 ~ GoR-HAR GJ"

Nathan Gordon Keith A Green Douglas E Gunderson Lawrence N Halverson 24 Del Rio Blvd 4209 Jackson Ave 760 Dodge Dr 2441 S New York St N Boca Raton, FL 33432 Culver City, CA 90232 La Jolla, CA 92037 Denver, CO 80210

Marion E Goward Kenneth Greene John J Gurzymki James R Hanna P.O. Box 22 1532 South Ridge P.O. Box 271370 523 W Taft St Melstone, MT 59054-0022 Beloit, WI 53511 Salt Lake City, UT 84127 Lafayette, LA 70503

John Graham Myra M Gregory Marka R Gustavsson James F Hanna 291 Barrington St 1139 Lincoln Place 523 W 112th St Apt 2 963 Catlin St Rochester, NY 14607 Brooklyn, NY 11213-0001 New York, NY 10025 Simi Valley, CA 93065

Miriam M Granat Karen Griebling Carla Hager Jo Plum Hansen 11708 Moorpark St Unit E Hendrix College Music Dept 913 Sailor's Reef P.O. Box 5358 Studio City, CA 91604 Conway, AR 72032 Ft Collins, CO 80525 Greensboro, NC 27435

J Wolfgang Granat Carol Grohs Walter J Halen Dennis T Hansen 4738 Osage Ave 222 Linn St 410 Mill Cir, SW 279 E 300 N #24-3 Philadelphia, PA 19143 Ithaca, NY 14850 Lee's Summit, MO 64081 Ephraim, UT 84627

Louis Grand Colette Grossman Abel Thomas G Hall Sharon L Huen 202 Plutarch Rd 3227 N Pennsylvania St 3843 East Kirkwood Ave 3331 Green Meadows Ln Highland, NY 12528 Indianapolis, IN 46205 Orange, CA 92669 Racine, WI 53405

Sherri Greeman Monica Guenter Susan Marie Hall Wallace Hard 53 Granburg Cir 33 Waterford Bay P.O. Box 162594 6514 Sorrento Ct San Antonio, TX 78218 Winnipeg, MB R3T 1H6 Sacramento, CA 95816 Dayton, OH 45459 Canada David Green Lois E Gullenid Micheal Lawrence Hall Barbara G Hardin 344 Stewart Dr 1208 W Daniel 5646 W Market St Apt 4 3780 Peak View Blvd El Paso, TX 79915 Champaign, IL 618214514 Greensboro, NC 27409 Monument, CO 80132

Linda Green Bjarke Gundersen Manion Halleck Burton Hardin 1950 Calumet Ave 300 W Royal Palm Rd #C305 910 Lakeridge Ave 3780 Peak View Blvd Toledo, OH 43607 Boca Raton, FL 33432 Stillwater, OK 74075 Monument, CO 80132

~ HAR-Hus GJ"

Leslie Harlow Alex D Hemsath Lisa L Hirschmugl Carolyn M Hoolihan 1420 West Meadowloop Rd 518 June St 1306 Oak Ave 16310 Dahi Rd Park City, UT 84060 Endicott, NY 13760 Evanston, IL 60201 Laurel, MD 20707

Charles E Harman David Long Hendeson Robert L Hirtzel Rafael Horcasitas P.O. Box 4031 87 40 Potts Ct 123 W 37th St 2489 Whipporwill Ln Brookings, OR 97415 Orangevale, CA 95662 Vancouver, W A 98660 Las Vegas, NV 89121

L Alexander Harper Rebecca E Henry Wing Ho John & CiaHorst 144 Gillies Ln 3107 Shannon Dr College of Charleston, Music Caixa Postal #606 Norwalk, CT 06854-1009 Baltimore, MD 21213 Charleston, SC 29424 Rio de Janeiro, 20001 Brasil Mary E M Harris Rebecca Henry Kevin Hoeschen Wilma Hos 5846 K-Bell St 1317 Lockhill Selma Rd 3515 E 3rd St 4 Varbow Pl NW Oxford, OH 45056 San Antonio, TX 78213 Duluth, MN 55804 Calgary, AB T3A OB6 Canada Lucretia M Harrison Teresa Hernandez Katie Hoffinan Sarah E Howard 99 Bayview Ave P.O. Box 31481 30 Elm St P.O. Box 160184 Port Washington, NY 11050 El Paso, TX 79931 Glenview, IL 60025 Austin, TX 78716-0184

Lawerce Haussler Jennifer Herrick Michael Holian Louise R Howsmon 3357 South Ct 1367 E 3090 N 1825 N 78th Ct 39 N Cedar St Palo Alto, CA 94306 North Ogden, UT 84414 Elmwood Park, IL 60635 Oberlin, OH 44074

Margaret Haviland Ellen C Higham Marsha Holmes David Hult 1698 Minnehaha Ave W #2 7203 Dartmouth Ave #2E 2360 Kearney St 20 S Landing Rd St Paul, MN 55104 St Louis, MO 63130 Denver, CO 80207 Rochester, NY 14610

Helene G Hayman J eneen Hildwein Martha Holvik Megan Humphreys 146 Lakeside-Pine Lakes 332 Eastgrove Rd 1723A W 18th St 4050 Morgan Rd 200 Prescott, AZ 86301 Riverside, IL 60546 Cedar Falls, lA 50613 Union City, GA 30291

Keith A Hedin Christine B Hinson Sandra Homb Barbara S Hustis 13 Old Town Rd 1316 Grand Ave 1453 Greenock Ln 345 6 Mockingbird Ln Newtown, CT 06470-2521 Edwardsville, IL 62025 Ventura, CA 93001 Dallas, TX 75205 84 ..-;, Hus-KAT Gl"

Valerie E Huston ldalynn Besser Jacobs Henry P Janzen Liz Jones 1020 Jasmine St 3103-A Woodlawn Ave R.R. #2 10232 Dodge Ln Denver, CO 80220 Nashville, TN 37215 Guelph, ON N1H 6H8 Louisville, KY 40272 Canada Carleen M Hutchins Les Jacobson Marc J eanneret Gladys S Kalal 112 Essex Ave 2202 Lincolnwood Dr 61 Babcock St 111 Marinette Trail Montclair, NJ 07042 Evanston, IL 60201 Brookline, MA 02146 Madison, WI 53705

Janet Ievins Thomas A Jacobson Janet L Jensen Shane Kalbach 704 Powderhouse Rd 1196 Magnolia Ave 1 Langdon St #401 7616 Alexandria PI Vestal, NY 13850 Carlsbad, CA 92008 Madison, WI 53703 Stockton, CA 95207

Christine lms Elizabeth Jaffe Anna Jesaitis David A Kaplan 740 W 187 St 3D 328 S 17 St 27 Annette Park Dr 1819 Old Maple Ln New York, NY 10033 San Jose, CA 95112 Bozeman, MT 59715 Savoy, IL 61874

Jeffrey Irvine Kevin D J agoe Kevin Jim Hilary J o Karp 402 Morgan St P.O. Box 4008 155 Bright St 835 Island Meadow Ct Oberlin, OH 44074 Lubbock, TX 79409 San Francisco, CA 94132 Houston, TX 77062

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Sergio Parotti Jane Petersen Jay-Martin Pinner Barbara Poularikas Av Federico Lacroze 2560,1' H 1345 Wilton Way 11 Tassel Trail 208 Bel-Air Rd 1426 Buenos Aires, Salt Lake City, UT 84108 Greenville, SC 29609 Huntsville, AL 35802 Argentina Greg Paskaruk Edward H Pettengill Meme Pittman Dwight Pounds 11-604 Edward Ave 3639 Saddlemire Rd 2264 Sweetbrier Rd 1713 Karen St Richmond Hill, ON L4C 9Y5 Binghamton, NY 13903 Schenechtady, NY 12309 Bowling Green, KY 421 Canada Ann Patterson Rachel Pettit Byron K Plexico Elizabeth E Power 311 Ashmount Ln BYU, Deseret Towers, T-420 6449 Park Central Dr W 320 W 84th St Apt 2 Arlington, TX 76017 Provo, UT 84604 Indianapolis, IN 46260 New York, NY 10024

Warren Pattison Jean M Phelan Kathryn Plummer Cynthia S Prentice 425 Bernard St Apt 416 3750 Rosemeade Pkwy Apt 625 3416 Benham Ave 77 Dogwood Ln Denton, TX 76201 Dallas, TX 75287 Nashville, TN 37215 Trumbull, CT 06611

Jill Pellett Joanna Pieters Patricia Pollett Karie L Prescott 8 Homer Clark Ln 7 StJohn's Rd, Harrow U of Qy.eensland Music Dept 9038 1/2 Hubbard St Sandy Hook, CT 06482 Middlesex, HAl 2EE Brisbane, Q!d 4072 Culver City, CA 90232 United Kingdom Australia Petula Perdikis Charles R Pikler Cindy Pollsen William Preucil 6 Withers Ln 1255 Fairfield Rd RD1 Box 262D Greycourt Rd 317 Windsor Dr Hockessin, DE 19707 Glencoe, IL 60022 Chester, NY 10918 Iowa City, IA 52245

Jane Perkins Hans-Karl Piltz Kara Poorbaugh Milton Preves 108 Sudden Valley 4523 W 1st Ave 5817 Old Forge Cir 721 Raleigh Rd Beffingham, WA 98226 Vancouver, BC V6R 1H7 Raleigh, NC 27609 Glenview, IL 60025 Canada Leslie Perna H David Pimentel-Cedre Gloria M Popke Hiroko Primrose 2221 Concordia Dr P.O. Box 40674 N3299 Ebert Rd 1013 Prospect St #1112 Columbia, MO 65203 Philadelphia, PA 19107 New London, Wl54961 Honolulu, HI 96822 87 ~ Puc-Ros GJ"

Jutta Puchhammer-Sedillot Stephanie K Reiher Sue C Richman Oliver E Rodgers 380 Lebaudy 6519 Greenfield Ct 444 Ashwood PI Kendal-at-Longwood #17 Gatineau, PQ J8V 2H2 Lanham/Seabrook, MD 20706 Boca Raton, FL 33431-8217 Kennett Square, PA Canada Janet Maney Quttiroz Erica A Reiter Claude B Richter Carol Rodland 1712 W Roma Ave 627 1/2 N Forgeus Ave P.O. Box 6822 57 Chris Terrace Phoenix, AZ 85015 Tuscon, AZ 85716 Malibu, CA 90264 Ringwood, NJ 07456

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Galen K Reed Catherine A Richards Karen Billeter Rockney Myron Rosenblum 451 Delp Rd 37 Durham St 7150 Wharfside Ln #2B 39-23 47th St Lancaster, PA 17601 Hampden, N Otago 8950 Indianapolis, IN 46214 Sunnyside, NY 11104 New Zealand

~ Ros-SEL GJ"

Thomas Rosenthal Pamela Ryan Fabrizio Scalabrin Norman Schaer 46 Rustic Gate Ln 3231 Fawn Hill Trail via Bariero 75 2825 W 99th PI Dix Hills, NY 11746 Tallahassee, FL 32312 31021 Magliano Vto, Treviso Evergreen Park, IL 60805 Italy Jacqueline Rosky Carolyn Sacchi Terry Schade Yizhak Schotten 2304 Speed Ave 3768 Rice Blvd 1727 W Stroud 3970 Ridgmaar Sq Dr Louisville, KY 40205 Houston, TX 77005 Caruthers, CA 93609 Ann Arbor, MI 48105

Sharon Fugate Roush Cynthia Sanchez Kathleen M Schicker Sally Schroeter 55 Old Stagecoach Rd 7610 Cameron Rd #1108 24 Oak Hill Manor 1919 B 19th AveS West Redding, CT 06896 Austin, TX 78752 'Glen Carbon, IL 62034 Nashville, TN 37212

Sarah Rubin Donald Sandford Stan Schmidt Jacquelyn Schwandt 13 Hollowglen 205 Alco Ave 112 Evergreen 12301 N Mac Arthur #18 Irvine, CA 92714 Maryville, MO 64468 Elmhurst, IL 60126 Oklahoma City, OK 73142

Leslie K Rudoy Myron Sandler Margery M Schmitz David Schwartz 3150 Lake Shore Dr 3756 Hayvenhurst Ave 3612 Kerry Ct 12230 Iredell St Chicago, IL 60657 Encino, CA 91436 Denair, CA 95316 Studio City, CA 91604

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Yvette J Servoss Eva Silver Chalmers Smith Somkiat Spikham 2589 E 2750 N 250 S Canyon View Dr 2020 Byron St 118/302 Soi 10/7 Bangrap Layton, UT 84040 Los Angeles, CA 90049 Palo Alto, CA 94301 Bangouthong, Nonthabur Thailand Jennifer Shallenberger Janet Sims Matthew T Smith Richard Spittel 17 Easton St #2 10190 N Foothill Blvd #F9 1301 Church St 5506 Rockleigh Dr Allston, MA 02134 Cupertino, CA 95014 Galveston, TX 77550 Arbutus, MD 21227

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"{Q WHI-ZIN Gl"

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INDEX TO ADVERTISERS

Aspen Music Festival ...... 38 Anthony Lane ...... 61 Bartok Records ...... 26 Latham Music Enterprises ...... 18 Bearden Violin Shop ...... 17 William Harris Lee ...... 10 Bein & Fushi ...... 55 Manhattan School of Music Biddulph Recordings ...... 4 Orchestral Performance ...... 58 Boston University ...... 21 Viola ...... 29 Brigham Young University ...... 14 Zukerman Performance Program ...... 52 Butler University...... 41 Steve McCann ...... 77 Eric Chapman Violins, Inc...... 56 Miller & Fein ...... 69 Chenango Valley Music Press ...... 78 Moes & Moes ...... 14 Claire Givens Violins, Inc...... 78 Music City Strings ...... 22 Clarion Associates, Inc...... 66 Ernest Nussbaum ...... 18 Classics Unlimited ...... 13 Geoffrey Ovington Violins ...... 5 Cleveland I Encore School ...... 70 Theodore Presser ...... 61 John M. Connolly & Co., Inc...... 33 RBP Music Publishers ...... 62 Joseph Conrad ...... 42 Resort Publications ...... 6 Curtin & Alf...... 51 T erenzio Riegel ...... 22 D'Addario ...... 48 Dr. Maurice W. Riley ...... 14 Dampit ...... 41 Robertson & Sons Violin Shop ...... 62 Lawrence Furse Violins ...... 22 San Francisco Conservatory ...... 34 Todd Goldenberg, Violin Maker ...... 48 William Robert Scott ...... 48 Heritage Insurance Services, Inc...... 33 Geoffrey J. Seitz, Violinmaker ...... 45 Byron Hoyt Sheet Music Service ...... 30 Shar Products Company ...... 41 Ideal Musical Merchandise Co...... 64 Southwest Strings ...... 6 Samuel Kolstein & Son Ltd ...... 6 Kenneth Stein Violins ...... 33 Ira B. Kraemer & Co...... 30 Super-Sensitive Musical String Co...... 18 Mark Anton Hollinger ...... 62 University of Southern California ...... 25 Carleen Hutchins ...... 39 Vidulich ...... 61 John-Brasil ...... 24 Viola World Publications ...... 78 Lee Jon Associates ...... 36 Philip H. Weinkrantz ...... 30