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1001 Biber Passacaglia (violin) 5 5 75 1002 Beethoven Sonata op 5 #2 (cello) 5 9 25 1003 Debussy Rhapsody (saxophone) . 514 25 1004 Franck Sonata (violin) 510 75 1005 Telemann Solo Suite (gamba) 5 6.75 1006 Stravinsky Suite for Via and plano 52800 1007 Prokofiev "Cinderella" Suite for Viola and Harp 525 00

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~ I 13

The end of the transition (Ex. 2) has a distinct impressionistic flavor because of the blurred harmony and the exotic violin line with the recurring augmented second E flat-Fl. Two con­ flicts of a minor second-D-E flat and F-F#-shown in circles, contribute to blur the D domi­ nant chord implied in the excerpt. This chord resolves deceptively to E flat major in m. 23, launching the second theme (the key of the second theme is the typical III in a minor key sonata form).

~ -======-­ V 3 tr~ ...

====-­

Example 2. Mov. L mm. 18-23

In contrast to the previous sections, the second theme (Ex. 3) starts with a limpid harmony free of unresolved dissonances. The quiet and lyrical character of this theme, with its delicate Spanish musical flavor, is a pleasant relief from the agitated and dissonant quality of the first theme.

Example3. Mov. L mm. 23-27

The end of the exposition (Ex. 4) shows a more avant-garde harmonic approach. The non­ serial use of the chromatic scale (eleven notes present by m. 41, all twelve notes by m. 43) results in a quasi-atonal passage. Complete atonality is prevented, among other things, by the strong presence of the note G presented as a pedal. 14

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Example 4. Mov. I, mm. 38-44

The second movement features clear tonal centers and fewer dissonances. It combines both modal and tonal harmonic languages. The modal harmonies often evoke a Renaissance-like sound. In Example 5, modal interchanges through mm. 1-3 (from mixolydian to lydian to aeolian) allow a greater variety of chords while keeping G as tonal center. Parallel fifths lend a rustic, folk­ like quality to this theme. The dominant of G, in m. 4, serves as pivot chord to switch from modal to tonal harmony-the dominant major chord, although foreign to the aeolian mode, is commonly used in modal writing. This chord is resolved deceptively to E Bat major in m. 5, which is reinterpreted as a Neapolitan chord, starting a modulation that resolves to D minor in m. 8. Some nonchord tones are used in the viola part in mm. 5-7 for harmonic interest.

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Example5. Mov. II, mm. 1-9 Bela Bart6k's VIOLA CONCERTO

A facsim.ile edition of the autograph draft is available.

Bela Bart6k'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 Bart6k was recently produced. The facsimile edition shows what has been written by Bela Bart6k 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 1/2 x 12 inches (39 x 30 em), hard cover.

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

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Ponce's fondness for chromatic mediant relationships was manifested in such early works as the Piano Concerto (1911), the Trio Rornantico (1911) for violin, cello and piano, and the suite Estampas Nocturnas (1912) for string orchestra. Mature works--especially the Sonata III (1927) for guitar and the Violin Concerto (1943)-make extensive use of them. In m. 9 (Ex. 5) a doubly chromatic mediant relationship between the chords of C minor and A major the passage a forward-looking sound that is enhanced by the use of parallel fifths. last movement is in rondo form. It has six statements of the refrain, five different episodes, and a small coda. Harmonically, the refrains are treated traditionally while the episodes show a more contemporary approach. The movement begins with the theme pre­ sented in fugato style (Ex. 6). The violin solo introduces the subject (rnm, 1-8) in the key of C major. Following standard procedures, the viola proceeds with a real answer in the key of the dominant while the violin provides the countersubject (mrn. 9-14). Melodic mode mixture (VI. m. 2, VIa. m. 10) and the use of Neapolitan harmonies (mm.5-6 and mm. 13-14) give the subject a characteristic Spanish flair.

Allegro j,: 1212 fJ n v n v ... ­ '-­ .. '. ~ v.____...... ,­ = <:» ------eJ f~ - - - - .. I' ...

fJ v IlIIIIIII!!III »' ~ ~..: --.. :. ,... - 1­ ...... ­ -...... , - ~ -- - ­ .,­ 4­ ..... I - - - ...... -" - --­ ..... - ~ P --­ V r:J~ ,...~ ,...- ,... ~- >'1"'" - .. ... ~ ~ ..... -. -­ - - - ,... f - --­ -

Example 6. Mov. IlL mm. 1-15

Most episodes have strong modal harmonic tendencies, often with extended pedalslosti­ natos. Sometimes modes are used in pure form. Other times, they appear in combination with altered notes for dissonance and harmonic interest. Example 7 shows a portion of one of the episodes. Here, the F# dorian mode is featured in both instruments, without altered notes, in an extended passage with a viola ostinato that lasts a total of fourteen measures. An F# minor seventh harmony is implied throughout the passage. 17

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Example 7. Mov. IlL mm. 92-105

Ponce's Sonata a Duo makes a good addition to the repertoire. Its modern and diversified harmonic palette allows for a wide spectrum of harmonic colors. From dark, highly dissonant and ambiguous progressions to transparent consonances, the Sonata's harmonic idiom is easily accessible to the tonally oriented ear. Furthermore, its Spanish Bair and impressionistic touches add an attractive, exotic appeal to it.

Excerpts with permission ofSalabert Editions, Paris, from the original copyright © 1993 by Maurice Senart.

Jorge Barron Corvera holds MM and D.MA. degrees in violin performance from the University of Texas at Austin. He has been active as a performer and teacher both in Mexico and the USA. He currently works as a violin teacher and researcher [or the Universidad Autonoma de Zacatecas, Mexico.

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MANUEL M. PONCE

Sonate en Duo

pour VIOLON ET ALTO

Excerpts with permission ofSalabert Editions, Paris, from the original copyright © 1993 by Maurice Senart.

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Mexico, 1938 Pari sv }. F. -:\1. R. P. 1939 Imprime en France E.M.S.8786 Margin graphics from Handbuch William Robert Scott der Musikinstrumentenkunde by Curt Sachs, Breitkopf & Hartel, Leipzig, 1930; The Carel Van Leeuwen Boomkamp Collection of Musical Instruments, Fritz Knuf, Amsterdam, 1971; De Klanksfeer der oude Muziek by Carel van Leeuwen Boomkamp, Het Hollandsche Uitgevers-huis, Amsterdam, 1947; and Geigen­ bau in neuer Sicht by Hans R6dig, Das Musikinstrument 2865 Valle Vista Street Frankfurt/Main, 1978. Minneapolis. MN 55421 Tel. 612.544.1021 Awarded consistantly over tke last 12 years for workmanskip and tone.

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SHIFTING

byRoland vamos

he art and skill of shifting from one position to another on stringed instruments has been T examined in detail by numerous pedagogues over the span of the past two hundred years. Perhaps the main reason that new shifting study books keep coming out is that the techni­ cal and musical demands made on our string players are continuously evolving and expanding. This article outlines the kinds of shifts available to the performer, some of the major prob­ lems to be overcome, and some hints as to how these problems can be solved. My hope is that in this article I can organize a bulk of information into a useful outline that may have value to both the professional pedagogue and the student. any intelligent discussion of shifting can take place, we must be assured that the per­ former has a secure and stable hand-setting in all the positions. I am convinced that a good shift starts in one position (with hand correctly balanced to play in that position) and grad­ ually moves through all the intermittent positions in such a way that if the hand were suddenly stopped before the arrival point, it would be in the correct hand-setting for the position at which it was stopped. I that the student practice exercises in each position gradually going up each string. In position the student should develop a kinesthetic sense of how the hand feels in that position. Certain parts of the hand should be touching the neck or bout of the viola (depend­ on which position is being played). Once the student knows how each position on each string feels, it will be easier to maneuver from one position to another. In life, most ofour concepts and expectancies are developed by hindsight. What was, gives us a rational basis for what probably will be. In shifting, I like to think in terms of "hind-feel." For example, in shifting from 1st to 5th position, ifwe start by placing our finger on the arrival note (with the hand and arm in the proper position), we should be able to develop a kinesthetic sense of we are going and how it will feel when we arrive there. We should be sensitive to our points ofcontact with the bout ofthe instrument. Now we are ready to start on the note preced­ ing the shift. We must try to remember how the arrival note feels before we leave the old note. In this way we develop an a priori sense ofwhere we are going before we start the shift. Let us say for the purpose of analysis that there are two basic kinds of shifts: the Utilitarian shift and the Expressive shift. The Utilitarian shift is (as the title implies) a shift that is meant to move cleanly from one position to another. object is to make this shift so smooth that it is not audible. The Expressive shift, on the other hand, is intended to be heard. When discussing the Utilitarian shift, I find it best to temporarily replace the word "shift" with the term "finger replacement." By this I mean that the old finger rises straight up as the new finger comes straight down (as a pianist would do when playing two consecutive notes). The hand (and forearm in leaps) moves up or down the fingerboard, depending on the direction of the shift. What needs to be practiced is the coordination between the finger replacement and the arm or hand motion. At the exact moment that the fingers move, the arm must move.

2 1 I 2 2 I 2 1 1 2 2 I 1 2 ~ :". ,.,-.... :'\

Example 1 36

The Expressive shift can be divided into three types: 1. Shifting on the oldfingerand landingdirectly on the newfinger. When shifting on the old finger, one must be careful not to slide too heavily. Taste, judg­ ment, and a discriminating ear must be used to assure that the shift is not overdone; otherwise the desired expressive quality would be replaced by a smear. If asked what kind of expression this shift evokes, the adjective I would use is "voluptuous." 2. Shifting lightly most ofthe way on the oldfinger and then gradually placing the new finger down asyou slide into the new noteon the newfinger. This type of shift can be used to evoke two types of expressive quality. It can make the pas­ sage being played sound sensuous or intense, depending on a number of other factors. At this point I must emphasize that this article is limited to one aspect of technique: shifting. But when we discuss "expressive" shifting, we must also take into account the speed and intensity of the shift, the speed, intensity, and width of the vibrato on either end ofthe shift, and the speed, amount of compactness, and focal point of the bow during the passage in which the shift occurs. 3. Shifting on thesame finger. This type of shift, when used expressively, can evoke the qualities of either of the other two types ofshifts, depending on how much pressure is released as the finger leaves the old note and the manner ofarrival on the new note.

It would be profitable to practice a number offinger combinations in shifting: 1. Shifting from a finger to the same finger.

1 1 1 1 1 1 1 1 1 1 1 1 2 2 2 2 2 2 2 2 2 2 2 2 ='" """ I"'"" """'"

Example2

This exercise can be practiced on all four strings. It should also be done with the third and fourth fingers. 2. Shifting from a lower finger to a higher finger. This has a number ofpossible combinations. a. First finger to the second finger First finger to the third finger First finger to the fourth finger b. Second finger to the third finger Second finger to the fourth finger c. Third finger to the fourth finger 3. Shifting from a higher finger to a lower finger. (See Example 1) a. Second finger to the first b. Third finger to the first finger Third finger to the second finger c. Fourth finger to the first finger Fourth finger to the second finger Fourth finger to the third finger 37

All these shifts should also be practiced starting in the 2nd, 3rd, and 4th positions. One of the common problems in shifting I have encountered among my students has been the tendency to clutch the instrument and shift with a heavy hand. An excellent solution to this problem can be found in Dounis, "The Artist's Technique ofViolin Playing, Ope 12." He solves the problem by anticipating the shift with two grace notes.

I--_~ ete.

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It is not possible to play the grace notes in Example 3 quickly and cleanly if the instrument is being clutched. Consequently, the hand automatically relaxes. One controversial aspect of shifting has violinists and violists alike lined up on opposite sides: Should the instrument be held by the chin and shoulders and allow the hand and thumb to move freely from one position to another, or should the thumb support the instrument with­ out help from the chin and shoulder and anticipate the movement ofthe hand? This controversy is not easily solved, because many extenuating circumstances must be taken into consideration. The thumb size, the direction of the shift, the distance to be covered by the shift, and the speed ofthe passage in which the shift occurs are but a few ofthese considerations. The thumb must always be flexible. Often when the shift is a small one, the hand can pre­ cede the thumb, which will follow at a convenient moment (depending on the context of the passage). In upward shifts I find it more comfortable for the thumb to move along with the rest of the hand and fingers in a smooth motion. Because the hand supports the instrument, it is not necessary to clutch it with the chin and shoulder. On the way down, however, it is helpful to apply a slight pressure of chin and shoulder during the moment of the shift. This pressure should be released when the hand arrives in the new position. The thumb can help during this downward shift by slightly anticipating the movement of the hand. This anticipatory move­ ment by the thumb will vary according to the speed ofthe passage. In much ofour modern music a newer type ofshift has evolved, "the partial shift." This type of shift often does not require any arm movement. When a shift is in a high position and is temporary in nature (with only a few notes in the new position before returning), the thumb and arm need not move, since the hand can play in several positions without major adjustment. On other occasions we can extend upward with the fourth finger or extend downward with the first finger. The hand follows the extended finger at its convenience. This crawling technique can also be executed with the other fingers.

Roland ~mos has higher degrees from Columbia Teachers College and theJuilliard School ofMusic. He studied under Oscar Shumsky and William Lincer and was a member ofvarious professional orchestras, such as the National Symphony and the orchestras ofDenver and Houston. As a chamber musician, he played with the Antioch String Quartet and the Altamiro Chamber Players. His stu­ dents have won national and international competitions, including the Sibelius, Tibor ~rga, and Nielsen violin competitions, and the General Motors/Seventeen Magazine National Concerto Competition. He is a faculty member ofthe North Shore Music Center in Chicago and the Oberlin ConservatoryofMusic. ""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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TEACHING MOZART ON THE VIOLA: A REASONABLE COMPROMISE?

byDwight Pounds

We violists are perhaps proud of the fact that study. Such a course would be prudent and several composers preferred the viola when perhaps musically and politically correct, but they had occasion to perform, among them alas, it would avoid the goal of providing a Bach, Mozart, Dvorak, Britten, and Hinde­ solo experience on the viola with Mozart. The rnith. Bach spoke lovingly of his viola, we are remaining option is totally pragmatic and told by Anna Magdalene, and Mozart was neither prudent nor musically correct in the known to join Haydn and Dittersdorf in minds of many violists: to utilize violin tran­ chamber music as a violist. All used the scriptions for this purpose. While less contro­ instrument with effect and originality in versial perhaps for instructors of both violin orchestral and chamber works but, with the and viola, this move is difficult at best for an exception of Hindernith, wrote few or no solo increasing number of viola specialists, and works. This contradiction is especially true of possibly unthinkable for at least some teach­ Mozart, whose primary works featuring the ers in each category. viola were duos with the violin, including the Two highly honored violists/teachers, Symphonie Concertante for Violin, Viola and William Primrose and Lillian Fuchs, can be Orchestra, K. 364 and the Duos for Violin found on opposite sides of this curious di­ and Viola, K. 423-424. Indeed, the Sym­ lemma. Primrose's position is well known: the phonie Concertante and the second Duo con­ transcription of a work a perfect fifth lower stitute Primrose's only recordings of works by offended his sense of absolute pitch, causing Mozart featuring the viola. him a degree of disorientation and aesthetic, The conscientious teacher eventually must if not physical, anguish when subjected to face potentially controversial choices regarding such a performance.' Fuchs, on the other the fact that Mozart left no known sonatas or hand, apparently driven by a more pragmatic concerti written specifically for the viola. approach to the problem, recognized that What are the options for the viola teacher the only way to create a viola solo work by with talented and inquisitive students who Mozart was to adapt a suitable piece written want, need, and deserve a hands-on solo expe­ for the instrument most similar to the viola in rience with Mozart? It would appear that first, technical and musical demands-the violin. young violists could study the viola works of This is neither to suggest that Primrose never Mozart's lesser contemporaries, such as made such an acknowledgment nor to imply Hummel, Hoffmeister, Pleyel, Vanhal, Zelter, that Fuchs was unaffected aesthetically by J.C. Bach/Casadesus-even Stamitz-many transcriptions. The difference is that William of whom wrote important and quite playable Primrose was not inclined to pay the aesthetic concerti, and learn Mozartian style by osmo­ price of hearing or playing music transcribed sis. While several of these composers' concerti a perfect fifth away from its original key.' But are certainly worth learning and performing, not everyone with perfect pitch is bothered particularly the Hoffmeister and Stamitz, they by transcriptions away from the home key­ deserve to be studied in their own right rather Lionel Tertis, for instance. than as Mozartian substitutes. A second To Lillian Fuchs the gain of a convincing, option would be to confine the choices to the playable viola work by the greatest of the cited works of Mozart and gradually incorpo­ mid-Classical masters was a reasonable sacri­ rate his trios, quartets, and quintets in the fice. Nevertheless, she was very careful in the 40

selection of this piece, choosing the Concerto entire career. Fully aware of the controversy in G major, K. 216. In the published fore­ inherent in this subject, I nevertheless most word she wrote: heartily and sincerely advocate the use of "It has been generally conceded that the Mozart's Concerto, K. 216 in C major with absence of a Concerto for Viola by an piano accompaniment, as a reasonable com­ acknowledged classic master has left a serious promise between two diametrically opposed void in the limited literature for the instru­ points ofview. ment. In an endeavor to fulfill this need, I My advocacy for K. 216 is rooted in part have chosen to recast the Mozart Violin in Lillian Fuchs's arguments, but the strongest Concerto in G Major (Kochel No. 216) for reason is musical. I concur with her point the viola. This work possesses an unusually that the concerto possesses an inherent dark 'dark' register and an intimate beauty which, quality so effectively expressed on the viola, together with its color, range and make but her observation on its intimate beauty it most suitable to the peculiarities ofthe viola. has to be the focal point on the issue whether This particular Concerto was composed by the to resort to a transcription to teach Mozart. nineteen-year-old Mozart in the year 1775. It This is intimate beauty created by Wolfgang was the third offive written between April and Amadeus Mozart, and no other. Mozart's December of that year. I this adaptation K. 216 simply deserves a hands-on experience to all players of the viola with the sincere hope by violists in every respect, technical and that it will, while the repertoire for especially musical. the instrument, afford pleasure to both player There is an additional and equally com­ and listener alike." pelling reason for recommending the K. 216, Whether Mozart would have approved of one which is entirely personal and concerns the transcription is pure conjecture. His own an abiding experience with the concerto: approach to this technique tended to have a learning the work with the right teacher quite pragmatic, if not financial, bent. When com­ literally changed my understanding ofmusic missioned to write a flute concerto, he merely andprofoundly influenced myfuture. recast his Concerto in E-flat Major for Oboe My discovery of the Mozart K. 216 was Orchestra down a half-step to D major purely by accident. Lillian Fuchs's transcrip­ and delivered the score as one of his two flute tion, entitled simply "Concerto," without ref­ concerti. If he found it expedient to do this erence to a key, appeared in a small stack of for an instrument he ostensibly disliked, one literature at a local music store. Whether the is compelled to ask if he at least would not was original or a transcription was have done something similar for one which beside the point ... I had recently begun he apparently very much enjoyed? studying the viola in addition to the violin and needed something to play. The timing On the Way to Conversion was fortuitous on two counts: first, my level of maturity was such that I was ready for, if I t is not my purpose in this article to not my first, certainly my most profound debate whether Mozart's K. 216 should have musical experience; and second, I happened been transposed for viola, whether it should to be working with an ideal mentor. be studied and performed, or whether Mozart I took the concerto to my new teacher, Mr. or William Primrose would have approved. Julius Hegyi, who had opened a studio in Instead it is to share with my fellow teachers Lubbock, Texas, in 1951. He added it to my the fact that the study of this concerto on the repertoire list immediately, thus beginning for viola under the direction of a master teacher, me an odyssey of discovery-interpretation, Julius Hegyi, accounted for the most remark­ feeling, and personal growth mentally and able musical experience of my youth and one aesthetically-which concluded with the deci­ of the richest learning experiences of my sions (1) to become a violist and (2) to enter Oxford Music for Beginning Strings

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music professionally. The fact that the viola and triple stops, rapid string changes, and version of the concerto was in C major rather staccato and spiccato in various parts of the than G major made no difference whatsoever: bow. Musically the challenges are almost inex­ my family was marginally musical at best; I haustible, with scale passages, arpeggios, had never heard-much less performed-the embellishments, and all the phrasing, rhyth­ original and therefore was not oriented to a mic and dynamic subtleties for which one given key and, in that respect, was tonally could ever wish. unbiased; it seemed to lie well technically and With all due respect to Mozart's contern­ sounded marvelous on the viola. At no time poraries and imitators, these people simply did either Mr. Hegyi or I consider for one are not Mozart. To learn Mozart's solo style, moment that the concerto was too dark, dull one should eventually play his solo litera­ on the lower strings, or in any other way inap­ ture-even violists. propriate to the viola-tonally, technically, or aesthetically. It is ironic that my experience in An Hour with Julius Hegyi: The Lesson of learning a violin concerto on viola from a the Dormant Tree world-class violinist/violist, who more impor­ tantly was an extremely sensitive interpreter of During a lesson one winter day those Mozart, confirmed my decision to switch per­ many years ago, I was executing a passage manently to viola. In regard to tonal orienta­ from the K. 216 more than playing it, and tion, having learned the K. 216 as a viola certainly not to Mr. Hegyi's standards. This composition in C major, the only time I am very patient and inspirational teacher paused tempted to wince is upon hearing the concerto briefly and walked to a window, looking for a in the original key: nonmusical metaphor by which to make an My very positive personal experience with important point. The following (admittedly this concerto as a very young musician paraphrased) conversation took place: prompts this question: it is possible that we JH: Dwight, you are playing melodies and mature (in the sense of "experienced, profes­ phrases as if they were from different compo­ sional, educated") teachers/performers, with sitions. You do not appear to understand that either perfect pitch or highly developed relative they are part of an interrelated whole. Come pitch and a knowledge ofmusic history and style here, I want to show you something. (I pro­ acquired over many years, impose our finely ceeded to the same window, viola under my honedsense ofkey center upon students-who are arm, and we each for a moment stared at a not as sensitive either to the vagaries ofpitch or dormant, naked Chinese elm, its twisted and historical precedent-to the exclusion ofimpor­ turning tentacles of branches and stems sil­ tant literature simply because it is in what isper­ houetted against a clear blue sky.) Look at the ceived to be the wrong tonality, therebydepriving tree. It is not particularly pretty, is it? youngpeople ofan experience such as was mine? (It was obvious that he was setting me up Whether played on viola or violin respec­ for something and that the point he really tively, C major and G major are comfortable wished to make probably had little to do with keys in the sense that the moderately advanced that particular organism. The tree was geo­ student has the advantage in this concerto of metrically appealing, with intricate designs concentrating more on musical and stylist and patterns, but at the time I had very little qualities than contending concurrently with comprehension of why it had that appeal. extremely demanding technical challenges, Without trying to appear totally lacking in although these too are scattered throughout perception, I gave something close to the the body of the work. The range does not expected answer.) exceed c'" except in the cadenza, and a good DP: No, not particularly. It is quite dead capability in first through fifth position is right now and doesn't have a single leaf: but it required. Bowing challenges consist of double forms a nice silhouette. 44

JH: It's not really dead, you know; it is pitch, it disturbs me to hear the chaconne in dormant, but very much alive, much like D minor, for example, played in G minor. Without memorized or even recorded music. At the absolute pitch, it wouldn't matter, probably. ... It unsettles me to hear the piece a fifth down" (Dalton: proper time it will break forth into a new Playing the Viola: Conversations with William existence. As for beauty, the tree is quite Primrose [Oxford], p. 186). He also voiced beautiful even now-perhaps more beautiful acoustical concerns, that passages generic in some respects than in summer in that its to the violin sometimes had a tendency to "sound form is fully revealed in every detail. Start dull on the D and G strings" when transposed with the trunk and follow the tree through down a fifth and on viola. Violin litera­ ture and technique had their proper influence on one branch to the buds on its smallest stems. the viola in Primrose's mind, however. He, like Now consider the whole-the trunk as it Walter Trampler, preferred prospective viola stu­ divides and splits, the branches and stems as dents who had "come via the violin with a left-hand they spread in all directions from the center, technique . .. in reasonably good condition" and do not forget the substantial portion of (Dalton, p. 5). the tree under the ground which we cannot 2. Primrose's position on transcriptions, although strong, certainly was not rigid: to the see. No two branch systems are alike, just as delight of thousands he liberally availed himself no two trees are alike. They are all different of such treasures as the Paganini La but stem from the same source and comprise Campanella, Preludium and Allegro, i.ieoesiaa. one whole. music, the tree also has and others with no apparent offense to his sense of rhythm, motion and color, and its surround­ tonality. It is worth remembering that Primrose ings create an accompaniment ofsorts. chronologically was a violinist before assuming the mantle of therefore major concert violin Music is much like this tree in the fact that repertoire, much of which he doubtless played or it too has form and design, that instruments studied, most likely was fixed in his mind early in give it color, that it twists and turns on its his career. Also, as by Willianl Goodwin journey, that the whole comprises a mass of and others, Primrose's lifelong desire to expand highly different but interrelated viola repertoire may have influenced his assiduous themes, embellishments, ostinati and other avoidance of major violin concerti and other orchestral works transcribed for the viola as much accompanying melodic and rhythmic pat­ as his renowned sense ofpitch. terns. Remember this as you prepare this con­ certo, then you will realize why the Dwight Pounds's tribute to William theme is differently in the develop­ Primrose may be seen in ]AVS Vol. 8, No.3, ment and cadenza than in the exposition and p. how to make adjustments for each. Now, back to Mozart. ... Concerto (Kochel No. 216), Mozart's Violin Concerto in G Major, transcribed by Notes Lillian Fuchs, was published in 1947 for viola 1. Primrose's stated aversion to violin composi­ tions being transposed for viola performance and piano by M. Witmark & Sons, New derived more from his absolute pitch than the fact York, #20604-47. It is currently available that they were written for violin. "Having absolute Irorn International Music Company, #2681.

Dwight Pounds is a teacher ofviola at \\'Iestern Kentucky University. As a graduate student at Indiana University he studied with William Primrose. Pounds has been a long-time board member ofthe AVS and contributor to JAVS. He is the author ofThe American Viola Society: A History and Reference.

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NEW ACQUISITIONS IN PIVA

Editor's Note: This continues the. series ofinstallments that will update the holdings ofthe Primrose International Viola Archive. (PIVA is the official archive ofmusic for the viola ofboth the International and the American Viola Societies.) Viola scores in PIVA up to 1985 are identified in Franz Zeyringer's Literatur ftir Viola (VerlagJulius Schonwetter [un., 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 bepublished annually in JAVS. The entries are listed according to the Zeyringer classification ofinstrumentation. A future compilation under one cover of all the annual lists is plannedas a sequel to the Zeyringer lexicon.

Violine und Viola (arr.) 1988 Acquisitions Mozart, Wolfgang Amadeus. Zolf Duette: ftir zwei Bassethorner; Ausgabe ftir Violine und Viola hrsg. und bezeichnet von Willy M iiller­ Viola - Solo Crailsheim. Wolfenbtittel: Verlag fur Musikalische Bentzon, J0rgen. Fabula for viola solo, Ope 42. Kultur und Wissenschaft, 1951. Kebenhavn: Skandinavisk Musikforlag, c1946. Zwei Violen (arr.) Bofkovec, Pavel. Sonata pro violu solo, Ope 12. Mozart, Wolfgang Amadeus. Zwolf Duette fur 2 Praha: Hudebni Marice Umelecke Besedy, 1933. Bratschen, Ope 70; tibertragen von Louis Pagels. Heilbronn a/No : C. F. Schmidt, [192-?]. Creuzburg, Henrich. Sonate ftir Bratsche. Berlin: Astoria Verlag, 1980. Violoncello und Viola Dagand, J. Gaia fughetta: pour alto et violoncelle, F. Vier Stucke ftir die Bratsche, op. 1; rev Ope 69. Paris: Edition Maurice Senart, [193-?]. von Ludwig Pagels. Heilbronn: C. F. Schmidt, [189-?] . Dagand, J. Impromptu-Capriccioso: pour alto et violoncelle, Ope 76. Paris: Edition Maurice Senart, Weisberg, Arthur. Piece for viola solo. New York: [193-?]. American Composers Alliance, [1984?]. Harfe und Viola Werdin, Eberhard. Divertimento ftir viola Solo. Fontyn, Jacqueline. Fougeres: pour alto et harpe. Wolfenbtittel: Moseler Verlag, 1979. Paris: Editions Salabert, 1985.

Viola - Solo (arr.) Klavier und Viola Wieniawski, Henri. Etiudy-kaprysky z Ope 10 i 18: Antiufeev, B. (Boris). Dva dramaticheskikh epizo­ na altowke etudes-caprices d'op, 10 et 18: pour da dlia al'ta i fortepiano = Two dramatic frag­ alto; transcription et redaction Stefan Kamasa. ments: For viola and piano. Moskva: Gos. Krak6w: Polskie Wydawn. Muzyczne, c1972. muzykal'noe izd-vo, 1946.

Violine und Viola Bartos, Jan Zdenek, Sonatina: viola e piano, Grims-Land, Ebbe. Concerto-gavotto per Otto Ope 46; rev. Antonin Hyska a Jifi Berkovec. von Habsburg: violin + viola. Stockholm: Stirn, Prague: Orbis, c1950. [1984?] . Benary, Peter. Kleine Kammermusik ftir Bratsche Maasz, Gerhard. Duo e-dur ftir Violine und Viola. und Cembalo. Wolfenbtittel: Moseler Verlag, Wolfenbtittel: Moseler Verlag, 1980. 1972.

Nardini, Pietro. Sonate: [fur Viola, F-moll]. Broz, Frantisek, Jarni sonata: ro violu a klavir. Bruxelles: A. Cranz, [19-?]. Praha: Orbis, c1951. 48

Cooper, Paul. Variants II: for viola and piano. Meyer, Ernst Hermann. Sonate fUr viola und [London]: Chester Music, [cI975]. Klavier, 1979. Leipzig: Edition Peters; New York: C. F. Peters [distributor], c1984. Cosma, Edgar. Sonatina, pentru corn (viola) §i pian. Bucuresti: Editura de Stat Pentru Literatura Miaskovsii, Nikolai. Sonata no. 2 dlia violoncheli §i.Arta, 1955. (ili al'ta) i fortepiano = Sonata no. 2 for violoncel­ lo (or viola) and piano; redaktsiia partii violonche­ Gawronski, Wojciech. Sonata na altowke i forte­ Ii M. Rostropovicha; pererabotka partii violonche­ pian, Ope 22; gtos alt6wki opracowat Mieczystaw li dlia alta B. Borisovskogo. Moskva: Gos. Szaleski. Krak6w: Polskie Wydawnictwo muzykal'noe izd-vo, 1960. Muzyczne, 1953. Moortel, Arie Van de. Sonate pour alto et piano: Goltermann, Georg. Grand duo: pour piano et voor altviool en klavier. Jette: Bij de Componist ­ violoncello ou viola, Ope 25. Leipzig: C. F. Peters, Chez l'Auteur, [1955?]. [1880?] . Murgier, Jacques. Moda 2: pour violon (ou alto) a Graue, C. D. Menuetto scherzando, Ope 27. la 2eme et piano. Paris: Editions Musicales Leipzig: Fr. Kistner, [1895?]. Translantiques, c1981.

Ivanov-Radkevich, N. (Nikolai Pavlovich). P'esy russkikh kompozitorov: perelozhenie dlia al'ta Sonata-poerna: dlia al'ta i fortepiano. Moskva: i fortepiano; sostaviteli i redaktory L. Gushchina i Gos. muzykal'noe izd-vo, 1947. E. Stoklitskaia. Moskva: Muzyka, 1986.

Jacob, Gordon. Sonatina: for viola or clarinet and Proizvedeniia sovetskikh kompozitorov: dlia al'ta s piano. London: Novello, c1949. soprovozhdeniem fortepiano; sostavlenie i redakt­ siia S. Talaliana. Moskva: Muzyka, 1968. Juon, Paul. Sonatas for viola and piano, Ope 15, D major. Sonate fUr Bratsche und Klavier, Ope 15. Roger, Kurt George. Irish sonata: for viola and Berlin: Verlag der Schlesinger'schen Buch & pianoforte, Ope 37. London: Fancis, Day & Musikhandlung, (Rob. Lienau), [193-?]. Hunter, c1948.

juon, Paul. Sonatas for viola and piano, Ope 82a, Rubinstein, Anton. Sonate F-moll: fUr Viola und F major. Sonate fUr Viola und Piano, Ope 82A. Pianoforte, Ope 49. Leipzig: Breitkopf & Hartel, Berlin: Verlag der Schlesinger'schen Buch & [193-?]. Musikhandlung (Rob. Lienau), c1924. Sitt, Hans. Drei Fanrasiestucke fUr Viola mit Kalliwoda, Johann Wenzel. Sechs Nocturnes fUr Pianoforte-Begleitung, Ope 58. Leipzig: Ernst Viola und Pianoforte, Ope 186. Leipzig: C. F. Eulenburg, [1894]. Peters, [192-?]. Spies, Leo. Funf Sommerbilder: fUr Viola und Klingler, Karl. Sonatas for viola and piano, D Klavier. Leipzig: VEB Breitkopf& Hartel, c1955. minor. Sonate fur Bratsche und Pianoforte. Berlin: N Simrock, c1909. Stamitz, Karl. [Sonatas, viola d' amore, continuo, D major]. Sonata per la Viola d'amore e Basso; Krein, IU. (IUlian Grigor'evich). Sonata. Sonata: Neuausgabe fUr viola d'amore und Cembalo oder dIia al'ta i fortepiano; G. Buzogly. Moskva: SOY. Klavier (ausgesetzter Bass) bearbeitet von kompozitor, 1979. Christian Dobereiner, Mainz: B. Schott's Sohne, c1930. Kriukov, V. (Vladimir Nikolaevich). Dve p'esy dIia skripki (iii al'ta, iIi violoncheli) i fortepiano. Stevens, Halsey. Suit: for viola and piano. New Moskva: Gos. muzykal'noe izd-vo, 1950. York: Peer International Corp., c1969.

Kutavicius, Bronius. Sonate fur Viola ud Klavier = Taneev, Aleksandr Sergeevich. Feuillet d'album: Sonata for viola and pinao: (1968). Leipzig: Edition pour Viola avec accompagnement de Piano, Peters; New York: C. F. Peters [distributor], c1984. Ope 33. Moscou: P. Jurgenson, [196-?].

Martinon, Jean. Rapsodie 72: pour alto et piano. Vaughan Williams, Ralph. Romance, for viola and Paris: G. Bilaudot, 1972. piano; the viola part edited by Bernard Shore; the With dedicated students, an exceptional faculty and a beautiful, tranquil setting, there is no limit to personal and artistic growth. Forover ten years, ENCORE School for Strings has embraced this belief and its students have flourished.

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In St.Paul's Historic Cathedral Hill District The Blair Arcade, at Selby & Western Avenues 165 Western Avenue North, Saint Paul, MN 55102 612/228-0783 800/347-9172 51 piano part edited by Eric Gritton. London: Boccherini, Luigi. Sonata in do minore per viola e Oxford University Press, c1962. pianoforte; riveduta e realizzata da Renzo Sabatini. Milano: Carisch, c1959. Voo rm o len, Alexander. Sonata per viola e pianoforte; gecomponeerd in opdracht van de Joh. Cztery utwory kompozytor6w polskich; tran­ Wagenaar Stichting der Gem.'s Gravenhage. skrypcja na altowke, Jerzy Kosmala. Wyd. 1. Amsterdam: Donernus, 1954. Krak6w: Polskie Wydawn. Muzyczne, 1981.

Zeldman, Boris Isaakovich. Kontsertino dlia al'ta i Debussy, Claude. V lodke; LunnyIsvet; obrabotka fortepiano: 5-7 klassy. Moskva: Gos. muzykal'noe V. Borisovskogo. Moskva: Gos. muzykal'noe izd­ izd-vo, 1962. vo, 1955.

Klavier und Viola (arr.) Druschetzky, Georg. Concerto D-dur; hrsg. und Ariosti, Attilio Malachia. Sonate I Es-dur: (Mi flat bearb. von K. M. Schwamberger. Hamburg: N. maj.); bearbeitet und iibertragen flir Viola (Alto) Simrock, 1962. und Piano von a. Piatti. Mainz: B. Schott's Sohne, c1897. Faure, Gabriel. Elegy, op. 24; transcribed for viola and piano by Milton Katims. New York: Inter­ Aristakesian, Emin Aspetovich. Kontsert dlia al'ta national Music, [1947?]. s orkestrom, perelozhenie dlia al'ta i fortepiano avtora. Moskva: Vsesoiuznoe Izd-vo SovetskiI Giornovichi, Giovanni Mane. Konzert flir Viola Kornpozitor, 1967. und Orchester «Dvdur»: Klavierbearbeitung von Wadim Borissowsky. Leipzig: VEB Friedrich Bach, Carl Philipp Emanuel. Solfeggietto; Hofmeister, c1955. arranged by William Primrose. N ew York: Carl Fischer, 1945. Gliere, Reinhold Moritsevich. Russkaia pesnia; obrabotka dlia al'ta i fortepiano V. Borisovskogo. Bach, Johann Christian. Kontsert do-minor: Moskva: Sovetskii Kornpozitor, 1958. izdanie dlia al'ra (ili violoncheli) i fortepiano; Obrabotka A. Kazadeziusa. Moskva: Gos. J ullien, Rene. Concertstuck, viola, orchestra, muzykal'noe izd-vo, 1954. op. 19; arr. Concertstuck pour alto et orchestre, op. 19. Berlin: N. Simrock, c1912. Bach, Johann Sebastian. Adazhio iz organnogo kontserta no. 3 (po A. Vival'di); svobodnaia Khandoshkin, Ivan Evstaf'evich. Variatsii na obrabotka dlia al'ta i fortepiano V. Borisovskogo. russkuiu pesniu "To teriaiu, chto liubliu", svo­ Moskva: Gos. muzykal'noe izd-vo, 1960. bodnaia obrabotka dlia alta i fortepiano V. Borisovskogo. Moskva: Gos. muzykal'noe izd-vo, Bach, Johann Sebastian. Inventsiia: perelozhenie 1955. dlia al'ta i fortepiano; perelozhenie G. Bezrukova. Moskva: Gos. muzykal'noe izd-vo, 1956. Ostergren, Eduardo A. Sonata em tres seculos: for viola and piano. Naperville, Ill.: Ferna Music Bartok, Bela. Este a szekelyeknel, T 6t legenyek Publications, [c1971]. ranca Ein Abend am Lande. T anz der Lowaken = An evening at the village. Slovak peasant's Paganini, Nicolo. Moto perpetuo (concert­ dance. Klarinetra (vagy melyhegedure) es zon­ allegro), op. 11; arranged for viola and piano by gorara von Vaczi Karoly. Budapest: Zenernfikiado Watson Forbes. London; New York: Oxford Vallalat, 1957. University Press, 1952.

Benjamin, Arthur. Jamaican rumba; arranged for Purcell, Henry. "Air-Dance-Ground": from viola and piano by William Primrose. N ew York: Dido and /Eneas; arranged by Elisabeth Lutyens, Boosey & Hawkes, c1944. London: J. & W. Chester, c1946.

Boccherini, Luigi. Sonata in do minore: per viola Rathaus, Karol. Rapsodia notturna: for viola and e pianoforte; [riveduta e realizzata da] R. Sabatini. piano; transcribed for viola by Carl Eberl. New Milano: Carisch, c1949. York: Booseyand Hawkes, 1968. 52

Raukhverger, Mikhail Rafllovich. Kontsert dlia Stojowski, Sigismund. Fantazja na puzon (lub al'ta s orkestrom; klavir; [red. partii alta I. altowke) i fortepian. Krakow: Polskie Wydawn­ I I Boguslavskogo] = Concerto for viola and orches­ icrwo Muzyczne, 1953. "-I tra; arranged for viola and piano; [edited by I \ I. Boguslavsky]. Moskva: Muzyka, 1986. Szeremi, Gustave. Ier Concerto pour viola alto \ avec accompagnement de piano, Ope 6. Budapest: \ Rolla, Alessandro. Concerto for viola and orches­ Charles Rozsnyai, [191-?]. I \ tra, Ope 3; edition for viola and piano [by] Sydney I Beck. New York: Ricordi, c1953. Szeremi, Gustave. lIme concerto pour viola alto \ \ avec accompagnement de piano, Ope 57. Budapest: Schmitt, Florent. Legende pour saxophone, alto, Charles Rozsnyai, [191-?]. ou violon, et orchestre, Ope 66. Alto et piano. Paris: Durand, c1919. Tartini, Giuseppe. Sonate II, F-dur (Fa rnaj.): (Alard-Dessauer). Mainz: B. Schott's Sohne, Sitt, Hans. Concert (A-moll) fur Bratsche mit [194-?]. Begleitung des Orchesters oder des Pianoforte, Ope 68. Leipzig: Ernst Eulenburg, c1900. T chaikovsky, Peter Ilich, "Kolybel'naia": iz opery Mazep a: perelozhenie dlia al'ta i fortepiano; Starnitz, Karl. Concerto in D Major, Ope 1: for perelozhenie. E. Strakhova. Moskva: Gos. viola and piano; arranged by Paul Klengel. muzykal'noe izd-vo, 1952. Melville, N. Y.: Belwin Mills, [197-?]. Tchaikovsky, Peter Ilich, Nocturne in D Minor: Stamitz, Karl. Concerto in 0 Major, Ope 1: for for viola and piano, Ope 19, no. 4; transcribed for viola and piano; [edited and provided with caden­ viola and piano by V. Borissovsky. New York: zas by Clemens Meyer]. New York: International Edwin F. Kalmus, [195-?]. Music Co., [1943?]. Tchaikovsky, Peter Ilich, Nocturne in D Minor: Starnitz, Karl. Concerto in 0 Major, Ope 1: for Ope 19, no. 4; transcribed for viola and piano by viola and orchestra: viola and piano: [edited by] V. Borissovsky. New York: International Music, Clemens Meyer. London; New York: Edition 1946. Peters, [197-?]. Tchaikovsky, Peter Ilich. Sladkaia greza. Skertsol Stamitz, Karl. Concerto in re: per viola e Ts. Kiui. Moskva: Gosudarstvennoe muzykal'noe pianoforte; [I ibera elaborazione cadenze e accom­ izd-vo, 1955. pagnamento d i pianoforte di] Enrico Polo. Milano: G. Ricordi, 1953, c1935. Zwei Violinen und Viola Dvorak, Antonin, Terzetto in C major for 2 vio­ Stamitz, Karl. Concerto in 0: for viola and piano; lins and viola, Ope 74. New York: International (piano reduction by William Primrose); edited by Music, 1948. William Primrose. New York: G. Schirmer, c1979.

Rolla, Alessandro. Trio D-moll: fUr zwei Violinen Stamitz, Karl. Koncert D-dur nr 1 na altowke i und Viola. Milnchen: W. Wollenweber, c1983. orkiestre = per viola e orchestra for viola and orchestra = fUr Viola und Orchester; Edito Rolla, Alessandro. Trio F-dur: fUr zwei Violinen da/Riduzione Janusz Zathey; parte di viola Jerzy und Viola. Munchen-Grafelfing: W. Wollen­ Kosmala. Krakow: PWM Edition, 1979. weber, c1983. Stamitz, Karl. Koncert A-dur nr 2 na altowke i orkiestre = per viola e orchestra = for viola and Violine, Viola und Violoncello orchestra = fUr Viola und Orchester; riduzione, Aumann, Franz Joseph. Divertimento, fur Janusz Zathey; edito da parte di viola, Jerzy Violine, Viola und Violoncello; nach einer zeit­ Kosmala; cadenze, Joel Hoffman. [Krakow]: genossischen Abschrift erstmalig herausgegeben Polskie Wydawnictwo Muzyczne, c1975. von Wolfgang Sawodny. [Erstdruck] Munchen: W. Wollenweber, c1980. Starer, Robert. Concerto for viola, strings and per­ cussion: reduction for viola and piano. New York: Beethoven, Ludwig van. Trio, C minor, for violin, Leeds Music Co., c1961. viola and violoncello: Ope 9, no. 3; edited and with 53 foreword by Wilh. Altmann. London: E. (da gamba oder da braccio) und Basso continuo Eulenburg; N ew York: Eulenburg Miniature Cembalo (Pianoforte), Violoncello (Viola da . Scores, [19-?]. gamba) ad lib.; hrsg. von Hugo Ruf. Mainz: B. t 1 J Schott's Sohne: New York: Schott Music, 1964. 1 Jemnitz, Sandor. Serenade fUr Violine, Viola und ,I Violoncell, Ope 24: Stimmen. Wien: Universal­ I Klarinette, Viola und Klavier • Edition, c1928. ~\ Schumann, Robert. Mdrchenerzahlunyen = Fairy , tales: fUr Klavier, Klarinette (Violine), und Viola, , Pleyel, Ignaz. 3 trios concertants pour violon, alto Ope 132. Wiesbaden: Breitkopf & Hartel, [195-?]. , et violoncelle, Ope 11; neue revidirte Ausgabe von , A. Blumenstengel. Braunschweig: H. Litolff's Fagott, Viola und Violoncello 1 Verlag; Boston: A. P. Schmidt, [192-?]. Rolla, Alessandro. Concertino per viola, cello e basson; [edited by Alfred Mann]. Hackensack, ., Reger, Max. Trio, A minor: for violin, viola, and , N. J.: jerona, c1987. , violoncello, Ope 77b. London: E. Eulenburg, I :--. c1932. I Flote, Fagott und Viola , Saunders, Max. Trio for flute, viola and bassoon. : Schubert, Franz. Trio fUr Violine, Viola und London: G. Ricordi & Co., 1955. Cello, B-dur: For violin, viola and cello, B-flat major: Pour violon, Alto et Violoncelle, Si flat Horn, Fagott und Viola majeur. Wien: Wiener Philharmonischer Verlag, Kurpifiski, Karol. Nokturne = Nocturne per 1926. corno, fagotto e viola. Pejzazrnuzyczny = Paysage musical: per corno e fagotto. Krakow: Polskie Violine, Viola und Gitarre Wydawnictwo Muzyczne, 1985. Molino, Valentino. Grand trio concertant, Ope 10: fUr Violine, Viola und Gitarre; hrsg. von Filippo Viola - Solo, mit Orchester E. Araniti. Frankfurt: Zimmermann, c1985. Barkauskas, Vytautas. Kontsert dlia alra i kamernogo orkestra: 1981; redaktsiia partii al'ta Viola, Violoncello und Cembalo IU. Bashmeta = Concerto for viola and chamber Binder, Christlieb Siegmund. [Trio, harpsichord, orchestra; viola part edited by Y. Bashmet. viola, violoncello, F. II, 10, D major] Sonate 0­ Partitura. Leningrad: Soverskii kompozitor, 1986. dur: fUr Viola und Cembalo obligato (Pianoforte) mit Violoncello ad lib.; hrsg. von Hugo Ruf. Hindernith, Paul. Der Schwanendreher: Konzert Mainz: B. Schott's Sohrie: New York: Schott nach alten Volksliedern, fUr Bratsche und kleines Music Corp., c1965. Orchester (1935); Klavierauszug vom Komponisten. Mainz: B. Schott's Sohne: New Flote, Violine und Viola York: Schott Music, c1937. Reger, Max. Serenade: D-dur, fUr Flere, Violine und Viola, Ope 77a. London: Ernst Eulenburg; Hindernith, Paul. Trauermusik: fUr Bratsche oder New York: Edition Eulenburg, [195-?]. Violoncello oder Violine und Streichorchester. Partitur. Mainz: B. Schott's Sohne, 1936. Reger, Max. Serenade: fUr Flore, Violine und Bratsche, Ope 77a. Berlin: Bote & Bock, c1954. Jentzsch, Wilfried. Concerto expressivo: fUr Viola und Orchester. Leipzig: Peters, 1971. Reger, Max. Serenade: G-dur, fUr Flore, Violine und Bratsche, oder 2 Violinen und Bratsche, Ope Prosev, Toma. Koncertantne improvizacije: za 141 a. Leipzig: C. F. Peters; Ernst Eulenburg, violu i gudacki orkestar. Zagreb: Udruzenje c1915. Kompozitora Makedonije, 1964.

Flote, Viola und Harfe Schulen und Methoden Mathias, William. Zodiac trio: for flute, viola, and Lestan, Tomas. Merodo completo de viola. harp. London: Oxford University Press, c1977. Madrid: Union Musical Espanola, [195-?].

Flote, Viola und Cembalo Etiiden, Capricen, Studien, Dbungen Telemann, Georg Philipp. Triosonate h-Moll: aus Chailley, Jacques. Premiers concerts: 12 morceaux "Essercizii Musici" fUr Querflote (Violine), Viola faciles pour violon et piano (ou alto et piano) 54

d'apres les "Exercices Divertissants' de Marie­ Hermann, Friedrich.. Technische Studien fur Therese Chailley = First concerts: 12 easy pieces Viola, op. 22. Leipzig: Breitkopf & Hartel, for violin and piano (or alto and piano), after [1881?]. "Exercices Diverrissants" by Marie-Therese Chailley. Paris: Alphonse Leduc, c1974. Kolar, Augustin. Mistrovska skola pro violu: denni cvicenf Meisterschule fur die Viola: Dont, Jacob. Vierundzwanzig Etuden flir Violine; Tagliche Obungen. Praha: Editio Supraphon, flir Bratsche libertragen von L. Raby; uberarbeiret 1979, c1964. von Fritz Spindler. Leipzig: Friedrich Hofmeister, c1957. Lifschey, Samuel. Double-stop studies for the viola. New York: G. Schirmer, c1943. Fiorillo, Federigo. 31 studies for viola solo; [edited by Joseph] Vieland. New York: International Matz, Arnold. Intonationsstudien fur Viola. Music Co., 1965. Leipzig: Breitkopf& Hartel, 1951.

Fiorillo, Federigo. 36 Etiiden-Capricen flir vio­ Weinreich, Justus. "Our und Moll" "Major and line; flir die Viola libertragen und bearbeitet von Minor" "Majeur et Mineur": 24 Uebungen und Fritz Spindler. Leipzig: Friedrich Hofmeister Charakterstucke in allen T onarten fur Bratsche Musikverlag, c1954. (Viola), op. 8. Offenbach a. Main: Johann Andre, [19-?] . Flesch, Carl. Scale-system: scale exercises in all major and minor keys for daily study; adapted for the viola by Charlotte Karman. N ew York; Boston This concludes the 1988 PIVA acquisitions. The [etc.]: C. Fischer, c1942. 1989 acquisitionswill begin next issue.

Flesch, Carl. Das Skalensystem: Tonleiterubungen Inquiries about loaning procedures from PIVA durch aIle Dur = und Moll = Tonarten flir das should be addressed to tagliche Studium fur Viola; bearbeitet von Charlotte Karman. New York: Carl Fischer; David Day, Music Librarian PIVA Berlin: Ries & Erler, c1956. HBLL5222 Brigham Young University Hermann, Friedrich. Konzert-Studien flir Viola, Provo, UT 84602 op. 18 = etudes de concert concert studies. Tel (801) 378-6119; fax 378-6708 Leipzig: Breitkopf& Hartel, [18-?]. e-mail: [email protected] a new work for Viola & Piano .. flSPEn rrJUSIC f SIIVfi~ fino Dance Bagatelles SCHOO~ Dexter Morrill performance score & part 48th Summer Season

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57

FORUM

Hindemith Recalled

BriefEncounter with Hindemith

n 1955, Paul Hiridernith visited London and conducted two BBC Symphony IOrchestra concerts. I was given authority to be absent from the first concert to enable me to take part in a radio performance of Hindemith's Kammermusik, op. 46, no. 1, for viola d' amore and orchestra. This took place with the London Symphony Orchestra conducted by Walter Goehr on 17 March 1955. The following day I returned to the BBC Orchestra and my normal job and met Hindemith, who had not been able to listen to the broadcast of the Kammermusik since he was conducting a performance for the BBC in their Maida Vale Studios. He said some nice things about my performance, which had been listened to and reported on by his wife. During our conversation I asked him if he would ever consider writing something else for the viola d' amore? He replied in very firm language and strong voice, "There is Seiler in Berlin, Sabatini in Rome, yourself here in London, and possibly a few others dotted around the world, and that is all. It just is not commercial!" And that was the end of the conversation and also his output for viola d' amore, I might add.

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No Organ Concerto

have often related the story of some valuable advice once given me by Paul Hinde­ I mith, and ofits effect, which has lasted to this day. Hindemith conducted a performance of his Organ Concerto with the New York Philharmonic in the late fifties. The well-known organist, who shall remain nameless in this tale, was seated at the console in center stage at Carnegie Hall. At the rehearsals, the most frequent stops were made for the composer's comments that the organ w~s too loud. They were to no avail. From the first note of the performance, the organist played no less than forte. Hindemith, not a large man, was perched on the summit of a three-tiered podium, especially designed for his use at the concert. There was absolutely no communication between the occupants of the console and the podium, the soloist never taking his eyes offthe keyboard and the stops. Hindemith flailed his arms in desperation as he begged for some relief from the roaring King of Instruments. Purely orchestral passages arrived and departed, all drowned in the rolling sea ofsound from the monstrous pipes. When it finally and mercifully came to an end, Hindemith, crimson with rage and drenched from the futility of his efforts, made his way down the mountain of lumber and stomped over to me. (We knew each other from chamber music and recording ses­ sions.) He growled with a gravelly voice into my ear, "Never write an organ concerto!" And I never have! On very short notice, Hindemith once asked me to play in a concert at Town Hall, New York City, under his baton. Among the works was his Kammermusik No.1. One of the movements consisted of very fast triplets, in the cramped half-position on the C string, for solo viola. At the concert, he announced that he had made arrangements to have it recorded on the following day. I arrived early to have another careful look at the two devilish pages. To my chagrin, I saw that one of the notes was a B below the open C! I showed it to Hindemith. He looked at my part, compared it with the score, glanced about surreptitiously and said to me, behind his hand, "Leave it out. I don't think the composer will know."

LeonardDavis Former Principal Violist, New York Philharmonic

Hindemith in Argentina

aul Hindemith came to Buenos Aires, Argentina, in 1954, invited by the P"Asociacion Amigos de la Musica," whose orchestra he conducted in several con­ certs. Each program included mostly his own works, even a few premieres; Hindernith usually started with a piece like a Canzona by Gabrieli for which he always requested that the assistant concertmaster be replaced by a viola player. It certainly was a very unusual but exciting experience for me to be seated in that location. Der Schwanendreher was played by a good and well-known violist specially engaged for the occasion. Rehearsals of the piece started with Hindemith-usually a polite per­ son-showing some signs of silent disapproval followed by verbal indications to the Steven McCann Maker of Violas • Violins • Cellos

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Partial and full scholarships are available. ~ For more information contact: Office of Admission and Financial Aid • Manhattan School of Music SCHOOL OF MUSIC 120 Claremont Avenue • New York, NY 10027 • 212/749-2802, Ext. 2 63 soloist whose new efforts evidently still did not satisfy the composer/conductor. Hindemith finally asked him for his viola and bow. Without any preparation, Hindemith attacked the difficult solo introductory passage showing how he thought it should be played but also demonstrating his tremendous skill as a viola performer. Needless to say, next rehearsal went much better. Hindernith's wife, Gertrude, attended every rehearsal from beginning to end and, of course, the concerts. I regret not being able to remember the name of one of his new orchestral works that we were rehearsing (more than forty-one years ago!) that was to be premiered at the next concert. At the dress rehearsal a few bars in the last move­ ment of this work, we heard very clearly the first clarinet playing the theme of the famous Wedding March by Mendelssohn, which blended perfectly with the rest of the music! Everybody was surprised, except a smiling Hindemith and the clarinetist, who had been in collusion to keep it a secret from us and especially from Mrs. Hindemith. It was the anniversary of their wedding day and she was obviously very touched, grate­ ful, and happy. Hindemith impressed me as a very energetic conductor, always well prepared and showing knowledge of every work, not only his own. I liked his rehearsing tech- nique, stopping not too often but instead reminding a particular player (or section of orchestra) at any time about their role with resonant and commanding calls. How I wish I could still hear him shouting "TUBA, TUBA!"

Lazaro Sternic Ottawa (submitted by Ronn Andrusco)

Sense and Nonsense

arl Zuckmayer, the famous German author, recalls in his autobiography that "Hinde­ Cmith a concert in Heidelberg, and first of all he played the viola d'amore, his favourite instrument-early music, acceptable to everyone, which was received with applause. Then he played some of his own compositions on the viola. These gave rise to restlessness noise, cat-calls, boos, whistles, and laughter, and these in turn encouraged us to enthusiastic ovations for our champion and master of modern music. We carried this small, cheerful, fun-loving musician (as he liked to call himself) off on our shoulders, right through the town to our favorite pub.... In the corner there was a dilapidated piano and it was on this that 'Pauly' Hindemith made us acquainted with the 'sea-lion piano' that night. Using the flat of his hands like flippers, without touching single keys, created delightful parodies of well-known pieces, and as he sat at the instrument, he looked like a circus-trained sea-lion himself The humorous possibilities of Liszt, Chopin, and Wagner were considerably increased by being played with flippers." Philipp Dreisbach, the clarinettist in the first performance of Hindemith's Clarinet Quintet, op. 30, gave the following drastic description: "Reinhold Merten organized a 'fashion show' for Max Egon, Prince of Furstenberg, 1863-1941, patron of the 'Chamber Music Concerts for the Encouragement of Contemporary Music' in Donaueschingen, and the entire assembled company; I shall never forget it. They fetched clothes from the cloakroom and Merten did the announcing. Hindernith appeared in a 64

very old-fashioned bathing cap and looked dreadful. He was wearing a bathrobe with the belt tied round his knees and that was how he walked on. It was hilarious!"

GiselherSchubert Hindemith Institute, Frankfurt (from liner notesofeD WER 6197-2)

V10, 1"mistszvrof'( r: I-tsts

always enjoy the jAVS, and I must say that I appreciate it more now that I am so far I removed from the American viola scene. I am happy to report that New Zealand has some fine homegrown violists and violas. Apropos the editor's letter from London, Tabea Zimmermann recently played the Walton Concerto with our orchestra (the New Zealand Symphony Orchestra) with her husband, David Shallon, conducting. She has to be one of the best violists around now, and none of us could imagine anyone playing a better version of the Walton Concerto. Now, to the subject of my letter, a complaint about an otherwise fine and interesting article by Thomas Hall in Vol. 11, No.1, "The Viola Today in Greater L.A." I quote from the article: "During the 1994-95 season, two visitors have adopted an 'and-l-ean-play-the-viola-too' posture-to no particular critical acclaim, it should be added." This was in reference to appearances by fiddle luminaries Schlomo Mintz and Jaime Laredo. Mr. Hall even allowed himself this comment concerning the Schlomo Mintz performance: "Perhaps the Israelis are experiencing some budget problems." Messrs. Mintz and Laredo are both not only world-class fiddlers, but are also serious part-time violists. As I recall, Mr. Laredo has been playing viola in public for more than two decades, frequently to critical acclaim. I was relieved that Pinchas Zukerman was employed elsewhere during the period in review. I once heard William Primrose express an opinion similar to Mr. Hall's, so allow me to address that "problem" first, lest others remember his comments and use them as a defense. (I searched my copy of Walk on the North Side, but could not find any such comments in print.") My conclusion from the distance of time is this: Mr. Primrose's specific complaints, which focused on recordings, were certainly valid when I heard them (in the mid 1970s), but are now out of date. In that pre-CD era, a large percent­ age of the few available viola concerto recordings were by Yehudi Menuhin and a young and not-yet-violistic Pinchas Zukerman. Mr. Primrose was no doubt concerned about the prospects of the younger generation ofviolists and, of course, desired that viola per­ formances reveal the unique character of the instrument. The viola world has pro­ gressed enough in the last twenty years to make such concerns no longer necessary, and to give fresh voice to them now seems to me somewhat petty. During this time ofgreat progress by and proliferation of echtviolists we have also seen many more highly regarded violinists playing our noble instrument. Both developments reflect the generally increased stature ofthe viola. The jAVS, I believe, should appeal to all violists, even if they happen to make their living by playing the violin. I would not like to have the exclusive attitude expressed by Mr. Hall conveyed to my violinist friends who happen to read my copy of jAVS. 65

William Primrose became a full-time violist as an adult, certainly in part because he was encouraged, rather than discouraged, to do so. Let us be welcoming in our attitude towards those fiddlers who take the trouble to learn our clef and judge a performance strictly on its merits. Having spent my entire musical life as a violist, I am quite familiar with the senti­ ments that must underlie Mr. Hall's comments. I'm not saying we have to like it when violinists play the viola. I am saying that we should be more gracious.

Phillip M Rose Wellington, New Zealand

"Editor's note: Primrose's views on the subject can be found in print in Playing the Viola: Conversations with William Primrose by David Dalton, Oxford University Press, 1988, pages 12-13.

Samuel Koistein " Son Ltd.

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Don Ehrlich, assistant principal viola of the San Francisco Symphony, has been a frequent soloist and chamber musician in the BayArea and around the world. He received his B.M. from Oberlin Conservatory, his M.M. from the Manhattan School of Music and his D.M.A. from the University of Michigan. Geraldine Walther, principal violist of the San Fran­ Leonid Gesin is a member of the San Francisco cisco Symphony, is former assistant principal of the Symphony and several chamber music groups including Pittsburgh Symphony and a participant in the Santa Fe the San Francisco Chamber Orchestra. He studied with Chamber Music Festival. She studied at the Curtis A.G. Sosin at the Leningrad State Conservatory, then Institute of Music with Michael Tree and at the Manhattan performed with the Leningrad State Philharmonic and School of Music WIthLillian Fuchs, and won first prize in taught before emigrating to the United States. the William Primrose Viola Competition in 1979.

Paul Hersh, former violist and pianist of the Lenox Denis de Coteau, music director and conductor for the Quartet, studied viola with William Primrose and San Francisco Ballet Orchestra, has conducted dance attended YaleUniversity. He has performed with the San companies, youth orchestras and major symphonies Francisco Symphony, the San Francisco Chamber throughout the world. He has received a variety of awards Orchestra and many other groups. He has also made a and commendations, earned his B.A. and M.A. in music number of recordings and has been artist-in-residence at from New York University, and holds a D.M.A. from universities and music festivals in the U.S. and Europe. Stanford University.

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

San Francisco Conservatory of Music 67

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Editor's note: Please submityour informative photos oflicense plates, commercial products, etc., that indirectly keep our name before thepublic.

especially enjoyed conducting at the Royal Opera in Copenhagen, where I used to watch my I father rehearse on the viola while I waited in the front row with his sandwiches. After the performance I sat in my hotel suite looking across to the theatre where he had worked for so long, and I wished he could have been present to share what I myself have done. He would remember how he launched me at my first piano recital at the age of ten and then took me round to entertain the whole family."

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ABOUT VIOLISTS

ublic viola activity in the summer of 1995 musician in Los Angeles. He presents these Pwas somewhat somnolent in Southern programs "as a hobby" in a 1920s church California, except for a spasm in July. On located in an area of Santa Monica called Monday the 24th, Dale Hikawa-Silverman Ocean Park, hard by the surf The neighbor­ and Zita Carno, Los Angeles Philharmonic hood is full ofrestaurants, boutiques, and gal­ violist and pianist respectively, played leries, accurately described as "Trendy West Hindernith's Sonata, Ope 11, no. 4 at the John Los Angeles." Despite some sentimental Anson Ford Amphitheatre. The next night, stained glass religious allegory windows, the visitors from Russia-Maxim Vengerov (the building would be hard to identify as a sanc­ Siberian violinist) and Yuri Bashmet (frequent tuary, what with its stage, improvised (prob­ viola soloist with the L. A. Orchestra)-played ably non-code) lighting, and movable theater the Symphonia Concertante by Mozart with seating. The acoustics are superb. The Carlo Rizzi conducting a reduced Philhar­ ambiance is relaxed, informal. The program­ monic in the Hollywood Bowl. Both perfor­ ming is refreshing and nontraditional. The mances were "under the stars," at sites literally performance standard is lofty. There have across the freeway from one another. There been at least five of these programs, subtitled might have been other viola performances, but "Marlow Fisher & Friends" given in 1995. they were not widely publicized. The October program consisted of Miniature Late in June, the Los Angeles Chamber Suite for Clarinet and Viola by Gordon Jacob Orchestra performed Bach's Brandenburg with Fisher and clarinetist Bronwen Jones, a Concerti (including the 6th) at the Bowl, minimalist solo viola piece called Music for which is described variously as capable of Viola by John Steinmetz (who made intro­ holding 13,000 to 14,000 concert-goers. All ductory remarks), and The Plot against the is amplified, ofcourse. What a strange experi­ Giant for Flute and Two Violas (1995) by ence that must have been, for both audience Ron Sappington, which enlisted the help of and performers! Janet Lakatos (violist) and Rachel Rudich October 1995 produced a flowering of (flutist). The evening ended with Marlow viola action in L.A., the intensity of which is Fisher giving a convincing and solid viola per­ not sustainable! First, there was Marlow formance ofthe Bach Chaconne. Fisher on October 8 in one of his Viola Plus The following Saturday afternoon, at series. Mr. Fisher is a transplanted East-Coast California State University, Long Beach, John violist who works as a freelance commercial Scanlon, violist with the Pacific Symphony, 70

and Tania Fleischer, pianist and faculty mem­ in her performance of these suites. She ber at Chapman University, gave an ambi­ includes echo effects, really fast and light tious and superbly presented program of rhythmic figures, cadenza-like passages, mostly standard literature: the Premier Sonata chords treated as the harmonic ornaments by Milhaud, Miirchenbilder by Schumann, they really are, diminution or filling in of Sonata by Rebecca Clark, and the Dances for melodic leaps, cadential ornaments, etc., etc., Deliverance by Maria Newman. The Dances all done with seeming abandon of care for were heard last summer at the Indiana Viola technical limitation. This was a repeat of her Congress. Fleischer gave a virtuoso solo per­ performance of the same Suite heard in formance of Liebeslied in the Schumann-Liszt Bloomington last summer. Sonata for Viola version. Tania and John are friends of long Solo by the Polish violinist-composer Grazyna standing from days at the University of Bacewicz was a mid twentieth-century offer­ Michigan, where she accompanied for the ing. Although the piece was originally for vio­ studio of Donald McInnes. By chance, they lin-the style seems to fall somewhere both now work in Orange County. between Penderecki and Berio-it certainly The next October middle-fiddle treat came transfers well to the viola. There were two at the Robert Linn 70th Birthday Concert pre­ nineteenth-century bon-bons, both originally sented by the USC Contemporary Music for viola: La Nuit, Air de Felicien David Ensemble on October 17. Pamela Goldsmith arranged by Vieuxternps, and Reverie for and Donald McInnes played Linn's Fantasia Viola and Piano by Wieniawski. Both these for Two Violas (1992). This witty and fresh morceaux provided a chance to show unman­ piece is a set of variations on a theme by nered, musical virtuosity, and beauty of Frescobaldi, which Linn wrote for these two sound. The program closed with Elegie for artists and specifically their violas, both being Viola and Piano, Ope 73, by Mazas. Originally made by Gasparo da Sah, The piece does pro­ for viola and orchestra, the piece is in the vide ample opportunity for these two instru­ Carl Maria von Weber virtuoso showpiece ments to sound glorious. This work was heard tradition. What its connection is to the nor­ at the Northwestern Viola Congress, played by mal spirit of elegy is a mystery. The recital the same duo. It ages well. was a triumph. On October 22, 1995, also at USC, Pamela Donald McInnes is scheduled to perform Goldsmith, with the assistance of Bryan Concertette by Morton Gould at USC on Pezzone playing harpsichord and piano, gave a November 1, and later at Kansas City and viola recital rich with unusual literature and Dallas. Written in 1943 for Emanuel Vardi, the kind of high artistic achievement we have it's scored for solo viola and chamber band, come expect from Dr. Goldsmith. The and makes use of jazz, blues, and folk ele­ F Major Sonata by Marcello that started the ments. Mr. McInnes says it presents some real program probably was not originally for viola technical challenges. and harpsichord, but it was treated with sensi­ It is with considerable regret that we take ble performance practice intelligence so that note of the death ofVirginia Majewski at the the original instrument intended really didn't age of eighty-eight, on October 9, in Los matter. Her use of a baroque-model bow, little Angeles. She was a distinguished member of vibrato, ornaments on repeated sections, bari­ the Los Angeles viola community for many, olage, and a lot of fleet-fingered technical daz­ many years and will be remembered not only zle, was a real treat. Professor Goldsmith used for her prowess as a player, but for her aware­ the baroque bow again to play the Bach E-flat ness ofthose around her, and her kindness. Major Suite for Solo Cello in the viola version. She demonstrates unusual grasp of baroque - Thomas G. Hall traditions and understanding of dance forms Chapman University ERIC CHAPMAN VIOLINS,INC.

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CHAPTERS

The Utah Viola Society will sponsor a Festival universities and secondary schools will be of Paul Hindernith's Music for Viola on 8-9 selected to perform in the masterclasses and in January 1996 at Weber State University in recitals. Ogden. The event is under the direction of Of interest will be a display of violas by Dr. Michael A. Palumbo and will feature Utah makers and an exhibit from the recitals, workshops, masterclasses, and dis­ Primrose International Viola Archive at BYU. plays. The concerts will feature some ofUtah's best violists performing Hindemith's works for Contact Dr. Palumbo at viola, plus selected chamber music works. Department ofPerforming Arts Marcus Thompson, guest artist, will be heard Weber State University Circle in concert and will also offer a masterclass, as Ogden, UT 84408-1905 will Clyn Barrus, professor ofviola at Brigham (801) 626-69911 fax 626-6811 Young University. Students at various Utah e-mail: [email protected]

JAVS Special Offer to AVS Members! A good gift to students and friends. $3.00 for any ofthe following back issues ofthe Journal oftheAmerican Viola Society. April 1987, Vol. 3 No.1 Vol. 8 No.2, 1992 Nov. 1987, Vol. 3 No.3 __ Vol. 9 No.1, 1993 Summer 1988, Vol. 4 No.2 __ Vol. 10 No.1, 1994 Spring 1989, Vol. 5 No. 1__ Vol 10 No.2, 1994 __ Summer 1989, Vol. 5 No.2 __ Vol 10 No.3, 1994 __ Fall 1989, Vol. 5 No.3 __ Vol 11 No.1, 1995__ Summer 1990, Vol. 6 No.2 __ Vol 11 No.2, 1995 __ Fall 1990, Vol. 6 No.3 __ Die Viola, Vol. 6 __ Fall 1991, Vol. 7 No.2 __ Die Viola, Vol. 7 __ Winter 1991, Vol. 7 No.3 Die Viola, 1985/86 __ Vol. 8 No.1, 1992 __ Name Tel ------I I Address ------

I City State Zip - .:. I Make Check to the American Viola Society and submit to: David Dalton, Editor JAVS, BYU Music HFAC, Provo, UT 84602 RUSSELL L. COE

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NEW WORKS

Dwight R. Pounds. The American Viola Society: A History and Reference. 2d ed. [5.1.]: The American Viola Society, 1995.

ounds's volume is appropriately subtitled the events are portrayed with a successful P"A History and Reference." Given the balance ofdrama and objectivity. opportunity I might further refine the subtitle The main portion ofPounds's volume con­ to "A Documentary History and Reference." sists of the reference indexes. These indexes The strength and usefulness of his work is chronicle the publications and congresses of found in a clear presentation of historical the Society. Pounds presents this information events documented by numerous extant let­ through a systematic manipulation of com­ ters and written recollections. To the histori­ puterized data. The first section lists the writ­ cal account of the founding chronology ofthe ings found in the Newsletters and Journal of organization is added a variety of indexes and the society from the first Mitteilungen of the lists that record the details of the organiza­ Viola-Forschungsgesellschaft. The information tion's publications and congresses. is listed first in publication order, then by I began work as the curator of the Prim­ author and by title. The title list is based on a rose International Viola Archive several years principle keyword selection to make it more after its original founding and organization. useful as a means ofsubject access. As a nonviolist I also lack Pounds's intimate The most extensive indexes are devoted to association with the individuals who played the illusive task ofdocumenting all the perfor­ prominent roles in the evolution of both the mances, lectures and panel discussions from International Viola Society and the American all the previous North American viola con­ Viola Society. Discovering through Pounds's gresses. Again, computer manipulation of the account more ofthe past ofthe Archive I now information enables access by several useful manage and the Society I serve was an perspectives including performer, composer, intriguing education. Extensive quotations title and even the function ofcongress partici­ from personal letters revealed the decisive pants. This sort ofmaster index is an extremely exchange among personalities that advanced useful tool for everyone who has participated the realization of ideals and dreams over a in and benefitted from the activities of a well­ period of twenty-five years. Through Pounds's established tradition of congresses. How often selection and presentation of these excerpts, we have strained our memories to recall when

AVS/HR

~ I Dwight Pounds's compendium of the Society's first twenty years, The American Viola Society: A History and Reference (ISBN 1~886601~00~3), is now in its second printing and available once again. The book documents the founding and early history of the Society and lists, with cross references, the partici­ pants and literature of the first ten North American viola congresses, JAVS, and Die Viola/The Viola articles, and it publishes in English the first four newsletters, which appeared only in German. 355 pages, $24 (spiral binding) or $28 (standard book binding), plus $3 shipping and handling. Order from ,;.. Dwight Pounds, Department of Music, Western Kentucky University, I Bowling Green, KY 42101; fax (502) 745~6855. 76

a work was first premiered, who delivered a community. Pounds's organization of the text lecture on a topic that has since become cru­ and computer listings is simple and easily cial to our research or which violist performed comprehensible. More creative design of the a memorable execution of a work that has computer indexes may have improved the never been recorded commercially. Pounds's graphic appearance of the work, but the for­ indexes are a great contribution in document­ mat is practical and functional. Music librari­ ing and making accessible information that is ans will loath the spiral binding format and important to all serious violist. It is certain to may wish to order an unbound copy, but at be consulted frequently by students, advanced the same time students will appreciate the researchers and planning committees for modest price. future congresses. Perhaps its most important use is to be found in the documentation of -DavidA. Day works that have not been published or recorded Curator, but merit the attention of the larger musical Primrose International Viola Archive

Odd Man Out'! for solo viola, by .Ml;cll~..eI.;BiJ['kel~j).C)~fi;:fa.r:l: ""~.'!-1':~.,!+»>~ £4.95

li Man Out was commissioned by the to wide changes of range that are not violistic, aMananan Festival Trust as the test piece but possible. In measure 53, an indication of for the 1994 Lionel Tertis International Viola simultaneous arco and left-hand pizzicato, is Competition, held on the Isle of Man. It was vague at best. There are no editorial finger­ played by all fifty-two competitors. The com­ ings, which is understandable, considering poser has written several pieces with titles that the intended use. The phrasing and bowings refer to children's games, and he makes clear seem to coincide as practical. At the Tertis that the title is not another viola joke, but is Competition in September of 1994, a general intended to help invoke feelings of isolation announcement was made that the last note of on the part ofa child. "The music, then, is no measure 7 is B-natural, not A-natural as pyrotechnic test piece but rather a challenge printed. in interpretation and musicality.'" There are some reiterated patterns that The work is about five minutes long bring to mind children's teasing songs. The and probably is considered by some violists a overall mood can be said to evoke childlike trial of technical facility as well as a test of isolation, in the way a Strauss tone-poem imi­ twentieth-century idiom mastery. The har­ tates emotion or action. Also like Strauss, monic language is stubbornly dissonant and would these images project without the title non-tonal. It makes extensive use of high tes­ or explanation? The piece is a technical and situra and wide melodic leaps. At times it's musical challenge, to performer and audience, quite lyrical, within these stylistic boundaries; but it has its rewards as well. careful dynamic and expression marks make the composer's intentions clear. Rhythmically Note conservative, the composer has not depended 1. Michael Berkeley, p. 26, in Lionel Tertis on the performer to do his work for him, International Viola Competition and Workshop with aleatoric or improvisational passages, as Program Booklet. Port St. Mary, Isle of Man: is so often the case. Quine & Cubbon, 1994. There are a number of uninterrupted shifts from arco to pizzicato and back, some attendant 77

Superstudies for Viola. Mary Cohen. 2 vols. Faber Music, 1993. $6.50. A "collection ofnineteen original, imagina­ This set of ten charming little pieces, is tive studies for solo viola for younger players." intended for ensembles ofbeginning students, Also published for violin with the same at a very elementary level of accomplishment. pieces. The three volumes can be used together, or separately, or in any combination. Many open Sinfonie Concertante in B-flat Major strings, or very simple finger patterns are (vln/vla/pno reduction). Ignaz Pleyel. Bote & employed, and the principal musical interest is Bock/Theodore Presser, 1994, $38.75. rhythmic. The pieces range in length from six­ Unfortunately, the Preface is in German teen to thirty-six measures, and are carefully only. For foreign markets, it would be helpful marked for bowings; fingerings are not neces­ to include at least English and French transla­ sary. Occasionally a bowing needs to be added tions, as is found in European compact discs. to keep a section from ending up-bow, but Violinists and violists should welcome this this is not frequent. Metronome marks are composition. Advanced-intermediate to provided, and some pieces give opportunity to advanced level. use dynamics. They are designed for a com­ plete ensemble experience, but are certainly Trauermusik (vla/orch. score). Gunter Bialas. within the technical capability of very young Barenreiter, 1994, $27. or inexperienced players. Names like "Lazy Day Skip," "Goin' Sonata for Solo Viola. Bruce J. Taub. C. F. Fishin'," and "Chugging Along" suggest a Peters, 1993, $6.50. moderate jazz emphasis, which many of the Difficult. pieces use. The general harmonic approach is gently dissonant. The style is immediately God Hath Sent Me to Sea for Pearls (vla/ appealing to youngsters. The players develop pno). Hayes Biggs. C. F. Peters, 1992, $12. a feeling of satisfaction because the tunes Difficult. sound well and are performance-accessible. Sonatas 1 and 2 (vla/pno). Nikolai Roslawez. "Notes to the Performers" about each piece, Schott, 1993, $19.95 and $25. are good-natured and engaging, as they give Works written in 1926 and the 1930s pub­ suggestions about the personality ofthe music lished here for the first time. and ways to enhance performance. The cost of a minimum set would be Blues for Benny (vla/pno). Eduard Piitz. $35.85, plus shipping and tax, and that would cover only three stands. To buy these Schott, 1994, $8.95. materials for a normal string class would call Jazzy and meant to sound improvisory. for a hefty amount of money. Is Oxford accepting the practice of photocopying? This Overture to The Flying Dutchman (str quartet, material is beautifully presented, on good 1925). Paul Hindemith. Schott, 1991, $35. paper, with sturdy covers, but the price does "As played at Sight by a Second-Rate seem high. On the other hand, classroom Concert Orchestra at the Village Well at materials of this quality and usefulness are 7 o'clock in the Morning is not a parody of worth a great deal. Wagner's music, but rather exactly the kind of music-making described in the title. -Thomas G. Hall Hinde-mith shows how overtired and unin­ Chapman University terested musicians wade through a score with 78

a certain stoic routine.... Unmoved by false compositions. Difficulty level: graduate stu­ intonation or wrong entries the musicians dent and above. show us all the tricks they use to battle their way through their self-made chaos ... but Duets for Two Violas (arr. Robert Israel from then confidently end up with a finale which a chamber orchestra work ofJ. S. Bach and a makes one shudder!" piano sonatina of Beethoven). Privately pub­ lished by the arranger, 1992. Play It Again, Sam (solo viola). Milton These are welcome additions to the didac­ Babbitt. Peters, 1994, $12.50. tic duet repertory, because the melodic mate­ Along with the Composition (1950), this rials are traded back and forth. Interesting constitutes Babbitt's output for the viola. This and tonal. Difficulty level: high school and work is eight minutes of registrally dispersed, above. cerebrally determined gestures. It is mathe­ matically demanding and technically chal­ Recontres (solo viola). Michele Reverdy. lenging because of its (now seemingly dated) Gerard Billaudot/Theodore Presser, 1994. idiom. This piece would be interesting to a Atonal and harsh. Eight minutes of seem­ fan of set theory. Difficulty level: graduate ingly dated ponticello, pizzicato, and other student and above. effects. The considerable effort necessary to learn the work may not be justifiable. Dif­ Concerto for Viola (reduction for vla/pno by ficulty level: graduate student and above. John Ireland). Cecil Forsyth. Schott, reprint ofthe 1904 ed., $19.95. The above reviews courtesy ofAmerican String With a duration oftwenty-five minutes, this Teacher, Spring 1995, Fall 1995. concerto is probably a bit too long for its mate­ rial, but it is still an interesting and welcome August Baron von Miinchhausen: Grand addition to the viola repertory. The work is sonata pour le Piano-Forte avec Accompagne­ typical ofthe serious school ofEnglish compo­ ment d'Alto, ed. Ulrich von Mwochem sition before World War I and fits well on the (Schott VAB 55). viola. It should, because Forsyth was a violist. Difficulty level: undergraduate and above. Bela Bartok: 44 Duos for 2 Violas, ed. Peter Rhapsodie (reduction for vla/pno by Gunther Bartok (Universal Edition, UE 30203/4). Dornheim). Jean Francaix, Schott Edition #8116, 1993 (composed 1946), $25. Edward Huws Jones: Got Those Position Blues? Like most of Francaix's compositions, this for viola (Faber Music). work is full of energy, though it also seems more tonally and formally conservative than Gavin Bryars: The North Shore for viola and many of his other works. These nine minutes piano (Schott, ED 12473). of noninsignificant technical demands are surprisingly well written for the viola by John Hawkins: Urizen (Boosey & Hawkes, a composer better known for his wind 9787). 79

RECORDINGS

New CDs

Bartok: Sonata for Solo Violin. Stravinsky: Hindernith: Der Schwanendreher; Konzert­ Elegie. Shostakovich: Sonata for Viola and musik, op. 48; Kammermusik no. 5, op. 36, Piano, op. 147. Raphael Hillyer, viola; no. 4. Paul Cortese, viola; Martyn Brabbins, Reinbert De Leeuw, piano. Koch Schwann conductor; Philharmonic Orchestra. ASV 3-1161-2 CD DCA 931.

Stamitz, Hummel, Dittersdorf, Vanhal: Andrei Eshpai: Concerto for Viola and Sonatas for Viola and Fortepiano. Anna Orchestra; Violin Concerto no. 2; Piano Barbara Duetschler, viola; Ursula Duetschler, Concerto no. 2; Concerto for Orchestra with fortepiano. Claves CD 50-9502. Solo Trumpet, Piano, Vibraphone, and Double Bass. Yuri Bashmet, viola; Eduard Grach, violin; Rodion Azarkhin, double Schnittke: Viola Concerto; Monologue for bass; Evgeni Svetlanov, conductor; Viola and Strings. Kopytman: Cantus V for USSR Symphony Orchestra. Russian Disc Viola and Orchestra. Tabea Zimmerman, CD 11 054. viola; David Shallon, conductor; Jerusalem Symphony Orchestra. EMI CDC 5 55107 2.

Rolla: Viola Concerto in E-flat Major, op. 3; Divertimento in F Major; Concertino in Beach: Piano Quartet. Clarke: Piano Trio; E-flat Major; Rondo in G Major. Massimo Viola Sonata. Endellion Quartet; Martin Paris, viola; I Musici. Philips 442 154-2. Roscoe, piano. ASV CD DCA 932. 80

COMPETITIONS

Twenty-first annual Stulberg International American Foundation Harriet Hale Woolley String Competition, violin, viola, cello, dou­ Scholarships: for U.S. graduate instrumental­ ble bass, will take place 24 February 1996. ists 21-30 with knowlege of French. Awards First prize $3,000 plus concerto appearances. of $8,500 for study in Paris. Closing date Applicants 19 years of age or younger as of 31 January. Contact 15 Blvd Jourdan, 1 January 1996. Deadline for submission F-75690, Paris Cedex 14, France; tel. +33 1 12 January 1996. Contact Julius Stulberg 4589-3579; fax -4150. Auditions, no. Box 50107, Kalamazoo, MI 49005; tel. (616) 671-5052 I 381-2329 / 375-2808. Countess of Munster Musical Trust: for UK and Commonwealth students 18-24. Gives tuition and maintenance grants for study. Carmel Music Society Competition: for Closing date 31 January; auditions April-July. California residentslstudents 18-30. First Contact Wormley Hill, Godalming, Surrey prize $1,500 plus $2,000 performance con­ GU8 SSG; tel. 01428 685427; fax -685064. tract. Closing date early January; competition March. Contact l?O. Box 1144, Carmel, CA 93921; tel. (408) 625-9938. Sir James Caird's Travelling Scholarships Trust: awards to Scottish postgraduates. Closing date 31 Janaury; auditions 9-12 Chamber Music Yellow Springs Competi­ April. Contact Thornton Solicitors, tion: for groups of3-6, average age under 30. 11 Whitehall St., Dundee DDI4AE; tel. First prize $2,000. Closing date 15 January; 01382 29111; fax -21779. competition 28 April. Contact l?O. Box 448, Yellow Springs, OH 45387; tel. (513) 767­ 1696; fax 767-9350. The Music Club of Kingsville, Inc., in con­ junction with the Corpus Christi Symphony Orchestra, will host the 1996 Kingsville Young Concert Artist's Trust: for groups or International Young Performers Competi­ individuals under 28; normally UK resident. tion 28, 29, and 30 March 1996, on the cam­ Gives career management. Closing date 27 pus of Texas A&M University, Kingsville, January; auditions Feb-4 June. Contact Texas. The application deadline for the com­ YCAT, 23 Garrick s., London WC2E 9AX; petition is 15 January 1996. For more infor­ tel. 0171 379 8477; fax 379 8467. mation, contact Young Performers Compe­ titions, l?O. Box 2873, Station 1, Kingsville, TX 78363; tel (512) 592-2374.

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McCann. Darrin E. Miller. George P. Myers. Roger E. Nieland, Michael L. 1309 Amethyst St. #C 22700 Cass Ave. 9617 Great Hills Trail No. 1522 1400 Inverness Ave. Redondo Beach. CA 90277-2411 Woodland Hills. CA 91364 Austin. TX 78759 Pittsburgh, PA 15217

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McCarty. Patricia Millett, Maxanne Neaveill. Heather Nisbet. Meredith W. 25 Carruth St 5222 N. Cliffside Dr. 6520 Gunpowder Lane #208 116 Evonshire Dr. Boston. MA 02124 Phoenix. P\Z. 85018 Prospect. KY 40059 Arkadelphia, AR 71923 Nordstrom, Harry Parotti, Sergio Pillai, Ashan Preucil, WiUiam 611 E. 5th St. Av. Federico Lacroze 2560, l' H Juilliard School Lincoln Ctr. Box 317 Windsor Drive Northfield, ...... 55057 1426 Buenos Aires New York, NY 10023 52.3 Iowa City, IA 52245 ARGENTINA Nowak, Michael Pas, Peter W. Piltz, Hans-Karl Preves, Milton P.O. Box 6929 330 S. Dunn #3 4523 W. 1st Ave 721 Raleigh Rd. Los Osos, CA 93412 Bloomington, IN 47401 Vancouver, Be V6R 1H7 Glenview, IL 60025 CANADA O'Brien, James B. Paskaruk , Greg Pinks, Mark Douglas Primrose, Hiroko 4711 W. Metaline #45 11-604 Edward Ave. 13715 S.W. 68 St. #210A 1013 Prospect St. #1112 Kennewick, WA 99336 Richmond Hill , ONT L4C 9Y5 Miami, FL 33183 Honolulu, HI 96822 CANADA O'Hair, Dawn Patterson, Ann Pinner, Jay-Martin Przygocki ,James T. OS 587 Poplar Ave. 4428 Lake Shore Dr. P.O. Box 283 U. of Wyoming, Music Dept. Elmhurst, IL 80128 Waco, TX 76710 Greenville, SO 29602 Laramie, WY 82071-3037

Ohlsen, Linnea D. Pellett, Jill Pittman, Merne Puchhammer-Sedill , Jutta 1169 E. Alameda 407 Orange St. #2 2264 Sweetbrier Road 915 Ravel Santa Fe, N\4 87501 New Haven, cr 06511 Schenechtady, NY 12309 Brossard, Que J4X 2L3 CANADA Olsen, James A Perdikis, Petula Plummer, Kathryn Pulju, Elizabeth 1718 E. Geneva Place 6 Withers Lane 3416 Benham Ave. 1130 Toledano St. Milwaukee, WI 53211-3557 Hockessin, DE 19707 Nashville, 1N 37215 New Orleans, LA 70115

Olson, Victoria Perich, Guillermo Posset, John R. Quiroz, Janet Maney 2324 W. 96th St. 2Wahuhu Ct. 2804 Steffin Hill 1712 W. Roma Ave. Leawood, KS 66206 Brevard, NO28712 Beaver Falls, PA 15010 Phoenix, AZ 85015

Oppelt, Robert L Perkins, Jane Pounds, Dwight Racine, Nina 988 Madison 108 Sudden Valley 1713 Karen St. 3113 Teal Ave. Birmingham, MI 48009 Bellingham, WA 98225 Bowling Green, KY 42104 Louisville, KY 40213

Oqulst , Kjer51en Perna, Leslie Power, Elizabeth E. Radmer, Robert 7527 229th St. SE 510 Bluebird Ct. 7129 N. Amy Court 1129 Gemini Dr. Woodinville, WA 98072 Onalaska, WI 54650 Warrenton, VA 22188 Portales, N\4 88130

Orynawka, Leo Pescor, James M. Prather, cameron Ramirez, Edmundo 2278 Long Road 5011 Waw Ban See 844 West 43rd 33 Gainsborough St. #212B Grand Island, NY 14072-1330 Clarkston, MI 48348 Indianapolis, IN 48208 Boston, MA 02115

Oswell, Simon Pettengill, Edward H. Prentice, Cynthia S. Rawls, Scott Wyatt P.O. Box 1384 3639 Saddlemire Rd. 77 Dogwood Lane 301A Tyron St. Pacific Palisades, CA 90272 Binghamton, NY 13903 Trumbull, cr 06811 Greensboro, fie 27403

Ouzounian, Michael Pettit, Rachel Prescott, Karie L. Ray, David 170 West End Ave #30-S BYU, Deseret Towers. T-42O 9038 112 Hubbard St. 9 Wachusett View Dr. New York City, NY 10023 Provo. ur 84604 Culver City, CA 90232 Westborough, MA 01581

Palumbo, Michael A. Pikler, Charles R. Pressler, Barbara L. Rayne, Melinda 5463 S. 125 E. 1255 Fairfield Rd. 1011 N. 4th St. #6 362 Elwood St. Ogden, ur 84405 Glencoe, IL 60022 Las Vegas, NV 89101 Red'NOOd City , CA 94062 Reiher. Stephanie K. Robertson. Marie C Rudoy. leslie K. Sawodny. Wolfgang 6519 Greenfield Court 3003 Monte Vista. NE 3150 Lake Shore Drive Eichenweg 27 LanhamlSeabrook. MD 20706 Albuquerque. NM 87106 Chicago. IL 60657 Oberelchingen D 7911 GERMANY

Reiter. Erica A. Rodden. Jenell Rudwell. Beth E. Scalabrin I Fabrizio 6271/2 N. Forgeus Ave. 1570 Thoroughbred In 200 Longview Dr. via Bariero 75 Tuscan. Pil 85716 Florissant. MO 63033 Jeffersonville. IN 47130 31021 Magliano V.to. Trevis ITALY

Rekas I Linda Armstrong Rodgers I Oliver E. Ruggeri. Sylvia M. Scanlon. John T. 5531 Corteen PI. #213 Kendal-at-Longwood #179 9013 Congressional Court 385 Flint Ave.

North Hollywood. CA 91607-1681 Kennett Square I PA 19348 Potomac. MD 20854 Long Beach. CA 90814

Reuter. Fritz Rodland I Carol Rush. Tracey R. Schmidt. Stan 3917W. Touhy 57 Chris Terrace 2872 Illinois Ave. 112 Evergreen Lincolnwood. IL 60645 Ringwood. NJ 07456 Dubuque. IA 52001·5409 Elmhurst. IL 60126

Rhodes. Dianna Lyn Roggen. Ann V. Russell. Mark E. Schmitz. Margery M. 10575 N. 6000 W. 11 W. 69th St. #6D 10682 Sherborne Rd. 3612 Kerry Ct. Highland. UT 84003 New York. NY 10023 Fishers. IN 46038·2669 Denair. CA 95316

Rhodes. Samuel Rombaum. Matthew Rutledge. Christine Schnaidt. Ann A. 89 Booth Avenue 300 W. Armour 337 Tonti St. 618 East Plum

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Sego. David Skernick, Abraham Stains. Betsy A. Straka. leslie 808 E. June St. 126 Hampton Ct. 4642 Strayer Drive 3870 Yorkshire Ave. Mesa. 1\Z. 85203 Bloomington. IN 47408 Hilliard. OH 43026 Eugene. OR 97405

Seitz. Ted Sklar. Arnold Stanbury. Jean C. Strauss. Michael 22103 Main Street 7135 Keystone 43 Circuit Rd. 3244 Dogwood CircleSouth Hayward. CA 94541 Lincolnwood. IL 60646 Chestnut Hill. MA 02167 Indianapolis, IN 46268

Selden. William Slaughter. Robert W. Starkman. Jana Emily SUbotnick. Linn 5 Riverfield Dr 465 Lee Street #101 106 Gibbs Street 11750 MoorparkSt No.G Westport. cr 06880 Oakland. CA 94610 Newton Centre. MA 02159 Studio City. CA 91604

Shackleton. Jennifer Sloan. Michael Steely. Kathryn SChmidt Summers, Carol 4312 Dannywood Rd. 619 Oneida St NE 111 B Romana Circle 1097 Blanche St. '101 Louisville. KY 40220 Washington. DC 20011 Hewitt, 1)( 76643 Pasadena, CA 91106

Shallenberger. Jennifer Slosser , Ann Perry Stein. Kenneth Sunderman Jr., F. WilHam 17 Easton St #2 4602 Browndale Avenue S. 1320 Sherman Ave. 13 Mountain Rd. Allston. MA 02134 Edina. MN 55424 Evanston. IL 60201 Farmington. cr 06032

Shanks. Marion Smith. Chalmers Stenzen. Adrian Szoke. Heidi 4110 S. W. Charming Way 2020 Byron St. 3102 DiabloView Ad 127 Lincoln 51. #9 Portland. OR 97225 Palo Alto. CA 94301 Lafayette. CA 94549 Salt lake City. UT 84102

Shaughnessy. Christopher Smith Cindy A. Stevenson. Bertha E Taft. Bradford P.O. Box 14 301 W. Charter Dr. 3258 Austin Dr 306 E. Seven Oaks Sagaponack. NY 11962 Muncie. IN 47303 Colorado Springs. CO 80909 Greenville. SC 29605

Shumway. Sally Smith. David W. Stewart. Danny hatton, Thomas 6038 Fieldston Ad 1411 Silva Street 5 Flint Ct. , 2705 Rutledge Way Riverdale. NY 10471 long Beach. CA 90807 Rohnert Park. CA 94928 Stockton. CA 95207

Silberman. Daryl Smith. Jennifer Stierhof • Karl Taylor. Charletta 10915 Rose Ave. #4 16125th Ave. N. Unzerstr.352/IVl1 9634 Knight lane Los Angeles. CA 90034 Great Falls. Mf 59401 A-114O Vienna Stockton. CA 95209 AUSTRIA Simon. Melissa Gregory Solomon. Stanley Stohs • Joanne Temple. Suzanne 719A Hinman 290 Berkeley St 1155 Crested View Dr. 1812 Essex Drive Evanston. Il 60202 Toronto. Ont MSA2X5 St. Louis. Me> 63146 Ft. Collins. CO 80526 CANADA Sims. Janet Solomon. Tanya M. Stoicescu. Ciprian Thayer. Delores 10190 N. Foothill Blvd. #F9 3891 EICamino Real C/. 5agunto 160. B. 311• 5 18 KosiorDr Cupertino. CA 95014 Carlsbad. CA 92008 Valencia 46009 Hadley. MA 01035 SPAIN Siviero. Juan Solomonow. Rami Stoll, Barrett Thomason. Daniel 1319 W. Belmiont 1FF 9442 Springfield Ave. 999 310th St. 10917 Pickford Way Chicago. Il 60657 Evanston. Il 60203 Atalissa. IA 52720 Culver City. CA 90230 Thompson, John W. Turner. Nils Vidulich, Michael L. Weisberg, Diane 205 Sierra Morena Circle. S.W. 965 Delaware Ave. SE Apt. 2 P.O.BOX 47-126, Ponsonby 17832 Boniello Dr. Calgary. ALB T3H 2W8 Atlanta, GA 30316 Auckland 1 Boca Raton. Fl 33496 CANADA NEWZEALAND Thompson. Marcus A. Tursi. Mary C. Vo, Brian-Trung M. Weiselberg, Moriel 11 Waverley Ave. A-202 Summit Dr. 13871 Shady Lane #11 256 Old Country Road Newton, MA 02158-2103 Bryn Mawr, PA 19010 Santa Ana, CA 92706 Deer Park, NY 11729

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Thornblade, Gwendoline Ulfeng, David Waddle, John R. Welna, Anne 27 Central Terrace 7817 Van Buren NE 2032 St. Clair Ave. 7630 Sunset Lake Dr. Auburndale. MA 02166 Minneapolis. MN 55432 St. Paul, MN 55105 Saginaw. MN 55779

Thornton. Douglas Ulfeng. Sue Walker. Noralee Anne Wels, Walter 6588 Lancaster Dr 7817 Van Buren NE 130 ParkSt 146-35 59th Avenue Warrenton. VA 22186 Minneapolis, MN 55432 Medford, MA 02155-3908 Flushing, NY 11355-5422

Thurnheer. Werner Urrasio. Nancy C. WalUn • Marilyn Werne, Patricia Daly Rainstrasse 38 231 N. 3rd St. Apt. 321 29 River Road 108 Wood Pond Road Thalwil CH·8800 Philadelphia. PA 19106-1233 Wayland, MA 01778 West. Hartford, cr 06107 SWITZERLAND Timblin, William S. Uscher, Nancy J. Warrington. Martha Werner. Julie 1303 First. Avenue 1010 Washington St. NE 7310 SW Westgate Way 4845 Stavanger Rd. Sterling. IL 61081 Albuquerque. NM 87110 Portland, OR 97225 Duluth, MN 55803

Tischer, Raymond J. Vamos. Roland Warshaw, Marvin Wernick, Stephen 3313 Community Ave. 58 East College St. 177 Howard Ave 50 Bellevue Ave. La Crescenta, CA 91214 Oberlin. OH 44074 New Haven • cr 06519 Bristol, cr 06010

Tobey. Marta Van Hamel. Diederik A Warwick, Jennifer White. John 1510 Sonoma Ave 6 Lower Byrdcliffe Rd. 29 Bryan St. 36 Seeleys, Harlow Albany, CA 94706 Woodstock, NY 12498 Havertown, PA 19083 Essex CM17OAD UK Tolberg , Adelaide VanBecker, Leslie Washell. Arthur White-Smith, Juliet 84 Kingston Rd. 539 Paris St.SE 450 Chrysler Rd U. No.Colorado, Music School Berkeley. CA 94707 Grand Rapids. MI 49503 Endwell, NY 13760 Greeley. 00 80639

Tree. Michael vandenBerg. Mary Beth Watras. Melia Whiting. Amanda 45 E.89th St. 1100 Slayton Ave. 915 N. Jackson St. P.O. Box 3135 New York. NY 10128 Grand Haven, MI49417 Bloomington. IN 47404 San Luis Obispo. CA 93403

Trster , Christine W. Vann • Judith Ablon Watten, Ralph Whitson, Bruce N. 5791 Fern Court 707 Roantree Dr. 1209 Weeks Ave. Dallnst.r.,35 Greendale. WI 53129 Brentwood, IN 37027 Superior, WI 54880 Kreuztal-Ferndorf 0-57223 GERMANY Troiano. Rosalyn R. Vernon, Robert Weber. Marie C Wiens, Phyllis 194 Salye Terrace 32340 Burlwood Dr. Box 358 118 W Main St 1110 Broadford Dr. Rochester. NY 14613 Solon. OH 44139 Campbelltown. PA 17010 Cary. t.c 27511-5002 Wiggen , Jennifer Woolf, Stephanie BaylorLib. Serials J.S. Mack Library-Periodical$' S45 E. Smith 3615 Hood's Hili P.O. Box 97151 Bob Jones University Bloomington, IN 47401 Nashville, IN 37215 Waco, 1)( 76798 Greenville, SC 29614

Wilkey, Kristen Wreede, Katrina Bein& Fushi LA Wallace Library 2344 Putman St. 2884Carmel St 410 S. Michigan Ave. Suite 1014 Juilliard School, Unooln Ctr TerreHaute, IN 47803 Oakland, CA 94602 Chicago, IL 60605 NewYork, NY 10023-7498

Willcox, Scott Wright, Carla F. Central SerialsRecords Libraryof Congress 206 Ira Street 302 Normandy U. Kentucky Library Gift SectlExchange & Gift DIY Urbana, IL 61801 San Antonio, 1)( 78209 Lexington, KY 40506 Washington, 00 20549

Williams, A. Daryl Yanagita, Masako Chapman College Library Library-Serials 1168587 300College HHI Rd. 838 WestEnd Ave Apt282 333 N Glassell Bowling Green StateU. Clinton, NY 13323 NewYork, NY 10025-5351 Orange, CA 92666-1031 Bowling Green, OH 43403

Williams, Lawence E. Young, Roslyn L. Chicago PublicLibrary, Music Mills Music Lib.-Univ. of WIS 1714Endriss Dr. 270 Riverside Dr. Apt. 4E 400 S. State St. 728 State St. Martinez, CA 94553 NewYork, NY 10025 Chicago, IL 60605 Madison, WI 53706

Willis. Wdliam E. Zaharako. Susan ChrisNewport Univ. MurrayState U. Library 3114 Muensterman Ave. 11869N. Gray Rd. 50 ShoeLane Periodicals Dept. Evansville, IN 47720 Carmel. IN 46033 Newport News. VA 23606-2949 Murray, KY 42071-3330

Winget, Marie A. zaslav, Bernard Cincinnati Library MusicArticle Guide 135W. Forrest Hill 32 PeterCouttsCircle 800Vine St Library Sq PO Box 27066 Peoria, IL 61604 Stanford, CA 94305 Cincinnati, OH 45202-2071 Philadelphia. PA 19118

Winrich • Christina Zeyringer, Franz Cleveland Inst Music Library Music Library, U. of Illinois 5265N. Shoreland Ave. Musik Hochschule 11021 East Boulevard 1114W Nevada St Milwaukee. WI 53217 A-8225 Poellau Cleveland, OH 44106 Urbana. IL 61801 AUSTRIA Winslow. Barbara Zimmerman, Christine Duke Univ.-Music Lib. NationalScienceCouncil 10225Kensington Pkway '902 4459Stonewood Drive P.O. Box 90661 P.O. Box 4, Nankang Kensington, M) 20895 Middleton, WI 53562 Durham, NC27708 11529Ta~i TAIWAN Womack, Mark Zinovyev, Mihail Eastman SchoolSibley Mus. Lib. NatlTaiwan Univ 11589Wildflower Ct. 16103 BryantSt. 27 Gibbs Street Air Fr(03966)POBox 9210(M56) Fishers. IN 46038 Sepulveda, CA 91343 Rochester, NY 14604 Westwood, MA 02090

Wood, Thomas Anderson MusicLibrary FreeLibrary of Philadelphia NicholasFrirsz Violins 209 Scheide MusicCenter, ColI. 01 2301 S. ThirdStreet 2000 Hamilton St. P.O.Box 146 Wooster, OH 44691 Louisville, KY 40292 Philadelphia, PA 19130 Schuyler Lake, NY 13457

Woodside, Laura Adams Baker Library-Serials Friedheim Lib. Peabody Inst. NTSULibrary, North TexasSt. 7531 SW 137Street Dartmouth College 1 E. Mount Vernon PI P.O. Box 5188NT Station Miami, FL 33158 Hanover, NH 03755 Baltimore, M) 21202-2397 Denton, 1)( 76203-0188

Woodward, Ann Bayerische Staatsbibliothek Harmonie ParkPress Oberlin College 209 W. University Dr. DFGlZSBiblio. Ludwigstr.16 23630Pinewood MainLbrary Mudd Center Chapel Hill, NC27516-2920 80539Muenchen Warren, MI 48091 Oberlin. OH 44074-1532 GERMANY Periodicals Dept. U. Libraries The MaxAronoff Viola Institute Serials Department- Knight Library Memphis State U. 6302 54th Ave. Ct. West 1299 Univ of Oregon Memphis, TN 38152-0001 Tacoma, WA 98467 Eugene, OR 97403

Rapkievian Fine Violins Thompson & Seman. Inc. Serials Dept. Indiana U. 418 Undercliff Ave. 2F 4504 Oakton University Libraries Edgewater. NJ 07020 Skokie. IL 60076 Bloomington, IN 47405

RBP Music Publishers U. of Alberta Dept. of Music Serials Dept., Univ. of N.C. 2615 Waugh Dr. Suite 198 Fine Arts Bldg. Room 3-82 Davis Library CB#3938 Houston, 1)( n006 Edmonton. Alt T6G2C9 Chapel Hill. t-C 27599-3938 CANADA San Francisco Cons. of Music Lib. U of Nev Las Vegas Library Serials Rec. Central Library 1201 Ortega St. 4505 South Maryland Pkwy U. of Cincinnati San Francisco, CA 94122 Las Vegas. NV 89154 Cincinnati. OH 45221

SCH Instrumental Music Univ of Iowa Library Syracuse U. Library P.O. Box 232 Serials Dept Serials Division North Perth. WA 6006 Iowa City, IA 52242 Syracuse, NY 13244 AUSlRALlA Ser Acq UnitlLib Tech Ser Univof Michigan The Harid Conservatory Florida St.U 620 S. Woodward St. Music Lib.3239 Moore Bldg 2285 Potomac Road Tallahassee, A. 32306 Ann Arbor. MI48109 Boca Raton, FL 33431

Serial Dept. Library Yale Univ. Music Library Northwestern University 98 Wall St.Box 208320

Evanston, IL 60208 New Haven I CT 06520-8320 INDEX TO ADVERTISERS

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Courtesy of the Paul-Hindemith-Institut, Frankfurt am Main, and the Primrose International Viola Archive, Brigham Young University