String Studies The University of Oklahoma is proud to have Journal editor Matth ew Dane on its String Faculty.
String Faculty he University of Oklahoma School of Music, the only Felicia Moye, violin T comprehensive music school in the state, offers Peter Rovit, violi n degrees at the bachelor's, master's and doctoral levels in Matthew Dane, viola all areas of performance, composition, music education, Gregory Sauer, ce llo music history and music theory. Costs are moderate, and Mark Osborn, bass Gaye LeBlanc, harp scholarships and graduate assistantships are available. The Larry Hammett, gu itar University of Oklahoma is an equal opportunity institution.
Performance Audition Dates Opportunities February 19 and 2 1 and March 5, 2005 OU Symphony Orchestra Accademia Filarmonica University of Oklahoma School of Music Chamber Music 500 West Boyd Norman OK 73019-2071 (405) 325-208 1 • [email protected] http://music.ou.edu Journal of the American Viola Society A publication of the American Viola Society
The Journal of the American Viola Society Fall 2004 is published in Spring and Fall, and as an Volume 20 Number 2 online-only issue in Summer. T he American Viola Society was founded for the promotion of viola performance and research. REGULAR DEPARTMENTS © 2004, American Viola Society From the Edi ro r ...... 3 ISSN 0898-5987 From the President ...... 5 Announcements ...... 7 Editor: Matthew Dane Alternative Styles: Viola Jazz: A Longer Hisrory Alternative Styles: Juliet White-Smith T han You Might Imagine ...... 2 1 At the Grassroots: Lo ui se Zeitlin Modern M akers: Francis Kuttner: Lurhier du Monde ...... 25 AVS Retrospective: Dwight Pounds Searching PIVA O nline ...... 27 Fresh Faces: Lembi Veskimets Fresh Faces: Ralph Farris ...... 3 1 In tl1 e Studio: Karen Ritscher Tour of the New AVS Website ...... 33 Modern Makers: Eric C hapman New Music Reviews ...... 35 New Music: Ken Martinson Sample Score: Arad- Sonata ...... 39 Orchestral Training Forum: C harl es Noble Sample Score: Bultmann-Forgiveness ...... 47 At rhe Grassroots ...... 53 AVS National Board of Directors Mee t the Section: Minneso ta Orches tra Violas ...... 59 Recording Reviews ...... 65 Officers Ralph Fielding, president FEATURES Helen Callus, vice pres ident In Memory: Richard Lane ...... 9 Lo uise Zeitlin, secretary Congress XXXII in Review ...... 11 Steven Kruse, treasurer In the Srudio: Preparing Serio's Sequenza ...... 15 Board Members Claudine Bigelow (2006) Nancy Buck (2006) COVER ART M artl1ew Dane Susan Dubois (2007) jessica Troy grew up with her art training in lock-step with her music. Now a free Erika Eckert (2005) lance violis t in New York C ity, she was Barbara H an1ilton (2007) an art major ar LaGuardia High School. Nokuthula Ngwenyan1a {2007) At Amherst Coll ege, where she studied Michael Palumbo {2005) with Philipp Naegele, her artistic endeav Dwight Pounds {2005) ors trickl ed down ro a small stream of Carol Rodland (2006) recital posters; and by the rime she con Katl1ryn Steely (2007) tinued her vio la studies ar SUNY-Srony Michael Strauss {2006) Brook and rhe Musikhochshule Li.ibeck, Juliet White-Smith {2005) where her principal reachers were Caroline Levin e and Barbara Westphal res pecti ve ly, she was making mostl y wed AVS General Manager ding gifrs. She has been the violist of rhe Madeleine Crouch Mark Morris Dance Group C hamber Ense mble since 1998. A member of rh e AVS National Office Brooklyn Philharmoni c, she has played 13 140 Coit Road with the Maia and Meridian string quar- by Jessica Troy Suite 320, LB 120 rers, and the period instrument ensembles Ars Anriqua and Four Dal las, TX 75240-5737 Nati ons. She can be hea rd on rhe Bridge CD celebrating the 50th (972) 233-9107 ext. 204 annive rsary of rh e Marlboro Music Festival. ASTA Willi NSOA ~~· Nalional Cu'!f'erence 1n• 2005 ...... ,... . Conference High lights: J' p ...... -- ._';1 • Pre -Conference sessions . . . .. - I o \,,J. • Sessions for everyone (K-12, Alternative Styles, Chamber Music, Private Studio, University, Crossover Sessions, and Poster Sessions).
• Master Classes for all instruments and levels taught by leading clinicians.
• Music Industry Showcases and an Exhibit Hall packed with the latest offerings from leading RENO, NV music industry companies - the only "strings only" exhibit hall. f EBRUARY 23 - 26, 2005
• A Semi -formal Silent Auction - your chance to bid on and take home some fantastic string related items, services, vacations, novelties and more!
Early Bird Registration Viola Master Classes Deadline: December 15, Donald Mcinnes - Collegiate Level 20041 Register Early and Marilyn Seelman, Pre-College Level SAVE SSSSS
Viola Sessions Include: Viola Power- Gail Barnes Mastering the Viola - Deborah Craioveanu Steps Ahead: Mastering the Viola Fingerboard - Nancy Buck Viola Pedagogy and Women Composers - Carolyn Broe Voila Viola: Ensemble Music for Violists of All Ability Levels - Caryn Niedhold
Showcase Performances include: Rachel Barton Pine National High School Honors Orchestra Regina Carter Quintet performing with Arizona State University Symphony Orchestra Grand Champion Orchestra from the ASTA National Orchestra Festival Alternative Styles Awards Winners Concert
American String Teachers Association wtrH National School Orchestra Association Visit www.astaweb. com for more information or to register. Tel : 703-279-2 113, ext. 14. column fea tures pieces by violists who also compose, with excerpts from rwo strong solo pieces reprin ted. The Recordi ng Revi ews in clude repertoire of the 21'' cen ru ry.
In addition, our articles on Brahms 2"J Symphony, viola maker Francis Kuttner, the Minnesota Orchestra Viola ec tion, the Minneapolis Congress, and rwo very different Willi am Primrose Festiva ls range from the 1 am plea ed to present yo u with in formative to the enterrai ning. Volume 20, Number 2 of the journal ofthe American Viola 1 wo uld like to thank everyone Society! T his is technicall y my sec invo lved with jAYS for maki ng ond is ue, after rhi ummer's th is transition run so smoothl y. online publication. Foun d by nav Madeleine Crouch of rhe AV iga ting to AVS ' new website, the National Office and the depart onl ine issue holds a thorough mental editors, listed next to the review of Donald Maurice's Table of Comenrs, have all been Bartok Viola Concerto book, inter helpful and welcoming- I am view of both Roberto Diaz and lucky to have such people wirh Maurice, an article on viola maker whom to work. Most of all , I David Rivinius, and a pi cture need to thank my predecessor ga ll ery fro m rhe Mi nn ea poli s Kathryn teely for leaving JAYS Viola Congress. in such good order, and for being so willing to give her va luable As the cover so beautifu ll y po r advice at all hours. f; trays, this iss ue featu res the vari ous ro les of our insrrumcm and incerel y, irs players. So nya Lawso n gives an Matthew Dane overview of rhe use of sn·inged Editor, Journal of the Ameri ca n instruments, particularl y violas, in Viola Society early jazz. Our "Fre h Faces" col Assistant Professo r ofViola, umn imroduces Ethel Suing Un iversity of Oklahoma Quarrer vio list Ra lph F:uris, and "Tn rhe Srudio" gives va luabl e insight inro lea rning and reachi ng Berio's Sequenza. The New Music
VOLUME 2 0 NUMBE R 2 3 The David Dalton Viola Research Competition Guidelines
NEW FOR 2005, CASH PRIZE! The Journal of the American Viola Society welcomes submissions for the David Dalton Viola Research Competition for university and college student members of the American Viola Society.
Entries must be original contributions to the field of viola research and may address issues concerning viola lit erature, history, performers, and pedagogues. Entries must not have been published in any other publication or be summaries of other works. The body of the work should be 1500-3500 words in length and should include relevant footnotes and bibliographic information. Entries may include short musical examples. Entries must be submitted in hard copy along with the following entry form, as well as in electronic format for either PC or Mac. Word or WordPerfect format is preferred. All entries must be postmarked by 15 May 2005.
The American Viola Society wishes to thank AVS past president Thomas Tatton and his wife, Polly, for under writing first prize in the 2005 David Dalton Viola Research Competition.
Send entries to: AVS Office, 13140 Coit Rd., Suite 320, LB 120, Dallas, TX 75240. A panel of viola scholars will evaluate submissions and then select a maximum of three winning entries.
Prize categories: All winning entries will be featured in the Journal of the American Viola Society, with authors receiving a free one-year subscription to the Journal and accompanying membership to the American Viola Society. In addition: 1st Prize: $250, sponsored by Thomas and Polly Tatton 2nd Prize: "Bartok's Viola Concerto" by Donald Maurice and Facsimile edition of the Bartok Viola Concerto 3rd Prize: ''An Anthology of British Viola Players" by John White and "Conversations with William ______J:riii!.r.9g': py_Qayjg_Q~t.9p______
David Dalton Viola Research Competition Entry Form Please include the following information with your submission to the David Dalton Viola Research Competition. Be sure to include address and telephone information where you may be reached during summer, Name Current Address Telephone ------Email address, ______
Permanent Address ------Telephone ------Email address, ______
University/College Academic Level: Fr I So I Jr I SrI Grad
Topic ______Word Count------
Current AVS member? Yes I No If you are not a current AVS member, please join AVS by including $21 student membership dues with your submission, along with a membership enrollment form, which can be found in the current issue ofJAVS.
JOURNAL OF THE AMERICAN VIOLA SOCIETY 4 FROM q" HE PRESIDENL
Young University in Provo, Ut O L UME 2 0 NUMBE R 2 5 33rd International Viola Congress in Reykjavik, Iceland June 2-5, 2005 We are busy preparing and have still got many loose ends but the following is scheduled: • Yuri Bashmet will perform with the Iceland Symphony O rchestra, • Garth Knox will do his "experimen tal thing" as well as leading 10 violas in a brand new piece for solo viola, tutti violas, harp and percussion. • Lars Anders Tompter will give a recital. • Duo d 'Amore will come from Hvanngil-mynd, Iceland Slovenia • Visual Music from Sweden (Henrik Results of 2004 ARD Munich Prize for the commissioned piece Frendin & Frcdrik Em ilson) and Competition (Parthenope for viola solo by David • Nordic music fi·om d1e Baroque The winners of the 53'" ARD Sawer), and a prize from the Munich period (which we know very li tde International Music Competition, Chamber O rchestra for a single about but interests us!) will be heard. the world's largest international semi-finalist selected from rhe entire • Lectures will be held on new competition for classical music, arc competition. Barbara Buntrock, teaching methods and rhe bene now confirmed. As for the conclu Julia Mai, and Teng Li were all fits of musical eduction and cul sion reached by the competition's awarded grants from rhe Theodor ture on greater society. Artistic Director Professo r Rogler-Foundation. • Dissertations and performances of Christoph Poppen: "1 am especially Icelandic music, old and new, and happy that for rhc first rime in rhc lectures on Nordic (Scandinavian) history of the co mpetition all the Results of 2004 TSB Composition music, old and new. available prizes have been awarded. Competition • Masterclasses, ensemble playing This is concrete proof that the par Among the winning composers of and a festival club ticipants are operating at the high this biennial competition was vio • The "Golden Circle Tour" of est possible level. " list Kurt Rohde. Rohde wo n the lccland's geographi cal famous chamber division for his Three landmarks, including an outdoor ARD Viola winners were as follows: Fantasy Pieces. T he prize includes a concert, weather permitting! Antoine Tamestit, a former winner performance at the 2005 ISB of the Primrose Competition, won (International Society of Bassists) We have ice and fi re, we are "cool" their first prize in Viola. 2nd prize Convention. and warm, and look very much for was awarded to Ryszard Groblewski ward to seein g you in Rcykj avfk ! of Poland, and 3rd to Tomoko Akasaka of japan. Tamestit was also Sesselja Halldorsdottir and Gudrun awarded several others, including the Thorarinsdorrir, co-hosts Audience Prize, the Interpretation Iceland Vio la Society V OLUME 2 0 NUMBE R 2 7 just when you thought that all work, therefore highlighting the 28th November at the Royal Primrose celebrations were the same ... issue of 'Conservation in Action' in Scottish Academy of Music and the broadest tenns. The film will be Drama in Glasgow and would fea Primrose Centenary Viola Festival, made by two Primary Schools in ture the new work, alongside fur Glasgow, Scodand- 'Conservation South Lanarkshire alongside 'frames ther repertoire for multiple Violas. in Action' Press Release per second' media, a community It is anticipated that this would be based film production company the largest gathering ofViola play The Viola is one of several orchestral based in Motherwell. 14 children in ers ever seen in Scotland, thus creat instruments that are difficult to Primary 5 from these schools will also ing a great deal of media attention. promote to young people starting be given the opportunity to learn the out on their musical careers. There viola over the next 3 years. Three In collaboration with the Royal are now fewer children learning the viola players from the BBC SSO will Zoological Society Education instrument at school, which leads visit these two schools in early May, Department, we will stage a sec to difficulties in recruiting players encouraging the new, young viola ond concert at Edinburgh Zoo on for the Viola sections in both school players, and demonstrating the instru s'h December 2004. This event and amateur orchestras around the ment to other classes in the schools. will include the second perform country. The Conservation in Action Footage of these workshops will be ance of a newly commissioned project will look to address this included in the final film, and all work performed by the BBC SSO issue in several ways ... those involved will be invited to a day Viola section and another group out at Edinburgh Zoo in June. Live of Viola players from around The BBC Scottish Symphony footage of the featured animals will be Scotland, the showing of the Orchestra is commissioning a short shot by the children during their visit, related films, and satellite concerts film to include the character of the also for inclusion in the film. and film showings staged Endangered Viola, the African Wdd throughout the Zoo at various Dog, the Asiatic Lion and the The first concert/showing will be points in the day. 8 Bongo which will be projected dur the culmination of the Primrose ing the performances of the new Centenary Viola Festival on Sunday 2005 Pritnrose Cotnpetition and Festival Events May 24-28, 2005 Brigham Young Univ., Provo, Utah • Guest artist recitals include Daniel Foster • Nokuthula Ngwenyama • Brant Bayless • Fonteyne Duo • Master Classes with guest artists • Guest lecturers include David Dalton • Dwight Pounds • The librarians of PNA • Special tours of Primrose International Viola Archive (PNA)- see rare documents, transcriptions and instruments of: William Primrose • Harold Coletta • Franz Zeyringer • Paul Doktor •Study the over 5,000 scores available in the archive •Listen to the rising stars of the viola community in the open semi-final and final rounds of the Primrose Competition! Check for updates at www.americanviolasociety.org. ----~--~----. _lQU~J'::-l.£\.L OF_THE AtvfgJUCAI::-J VIQ~A SOCIETY 8 IN MEMORY RICI=IA RD LANE Echaniz and Armand Basile and composition with Louis Mennini, Wayne Barl ow, and Bernard Rogers. He was the recipient of a Ford Fou nda tion grant and an Eastman chool grant, whi ch brought him as composer-in-resi dence into the school systems of Lexington, Kentucky and Rochester, New York. Lane's music was widely performed in rhe USA, Europe, Africa, Australia, Mexico and the fo rmer Soviet Union. Ri chard 's ourpur was large and, in add ition ro the viola works, encom passed chor;J compositions, piano Richard Lane; violists Baird Knechtel (7oronto}, Myron Rosenblum (New York}, pieces, a piano concerto, ongs for Hans-Karl Piltz (Vancouvn). Taken at the 19th international Viola Congress, voice and piano, music for saxo fthaca College, !thaca, New York, 1991 by Dwight Pounds. phone quarrer, viola d'amore solo and d1amber works, band music A Composer Who i hed our firsr eight weeks of basic and mud1 ch;unber music. After his Loved the Viola training and were sent to the Band army service, Richard's career chool at Ft. Oix where we mer. focused on private reaching, com by Myron Rosenblum During those next eight weeks we position and accompanying. became good friends and on week American composer Richard Lane end leaves, I would spend many 1s tarred asking Richard to write viola di ed on 'eptember 12, 2004. fin e hours in Dick's home in pieces and so started a long progres Richard was a composer and fine Paterson with his warm and giving sion of some wonderful music. I pianist, butT beli eve at hea rt was parents. We pan ed after those liked his music and he was always al o a vio.list. During his produc eight weeks to fulfi ll our army ready to have a go ar something new. tive life as a compost:r, he pro ob li ga rion - he to The Presidio in The first piece he wrote for me was a duced so me wonderful solo and an Francisco and J ro rurrgarr, wonderful trio for clarinet, viola and chamber works for the viola. Germany to play in the ?"' U. . piano, sti ii Lmpublished, whicl1 I pre Army Symphony. We remained miered in Carnegie Recital Hall in Richard La ne and T met for the close friends since that rime. 1964 . O ther suggesti ons followed first time as soldiers in the U.S. and new works appeared - a viola Army at Fr. Oix, New Jersey. This Richard La ne was born in Paterson, and piano sonara, a quartet for violas, was in ea rly 1956. Richard had New Jersey in 1933. He graduated anod1er trio for clarinet, viola and graduated from rhe Eastman from the Eastman School of Mu ic piano and the Triptych for Six Violas, chool, and I from Q ueens ollege with a Master's degree in 1956, which he cornpleced in 2003 and in New York City. We had just fin- where he studied piano with Jose revised in 2004. YOI.UME 2 0 NUMBE R 2 9 H e wrote other works for other violists and musician Richard. T his four-movement work will be recorded colleagues, including Scott Slapin and Emmanuel by Scott and Tanya soon. Vardi. A complete list of his viola output can be found at che end of this article. I feel a great sense of personal loss of a dea r friend and good colleague, a wonderful human being and a Richard L·me was the honored composer at 19'" mo t talented composer. 1 do know that his music International Viola Congress, held at Ithaca College, will live on and continue to be performed by violists Ithaca, New York, June 12- 16, 1991. At this congress, and orher musicians and that Richard is up there I had the privilege of giving a talk on Richard, his life somewhere smiling that pixie-ish smile of his and and viola wo rks, with live performances of his Duets looking very content, surrounded by all those won for Flute and Viola; the Viola Quartet; the ftrst Trio derfu l viola sounds. for Clarinet, Viola and Piano; and the Eight Duets for Two Violas. Also, his Aria and Affegro for Viola and Strings was performed by Kirsten Docter (winner of Richard Lane's Music for Viola the Primrose Memorial Scholarship Competition), violist, with the U AF rring Orchestra. • 3 Sonatas for Viola and Piano (No. 1 , 1979; No.2, 1997; No. 3, 1998) Richard's las t viola work was a duet for violas that he • Eight Duets for Two Violas ( 1985) had just w ri tten for Scott Slapi n and Tanya Solomon. • Five Duets for Flute and Viola (1984) Scott and Tanya paid a visit ro Richard this summer, • "A Final Thought" -Viola Duets (2004) just a few weeks before he died, in Wci iAeer, • Quartet for Four Violas (1978) MassachusettS where they played the new duet for • 2 Trios for C larinet, Viola and Piano (No. 1, 1963; No.2, 1982) • Trio for Viola, Cello and Piano (ca. 1993) • Nocrurne for Viola and Piano (1 995) • Song and Dance fo r Viola and Piano ( 1984) • Aria and Allegro for Viola and Srring Orchesrra (1990) • Triptych for Six Violas (2004) Several memorial concerts are being planned to honor Ri chard Lane and his music; to dare, o ne will take place in Ridgewood, New Jersey in the late fall, and one at a New York Viola ociery concert in New York Ciry on January 30, 2005, where selections of his viola music wi ll be performed by NYVS violists. B ------~J OURNAL F T H E AM:....:E=-:Rlc.=..:=-:::.:c_:._.....: OCI K I "Y-=------10 2004 MIN By Rachel White (piano), and Thomas Turner (viola) the most was called Also Sprach -Lydia Artymiw (piano). The piece Sancho Panza. It started with the This summer, I had the immense was both lyrical and flowing, and it famous opening of Richard Strauss' pleasure of attending the XXXII was wonderful to hear two differ Also Sprach Zarathustra but quickly International Viola Congress. This ent interpretations by excellent transformed into the music of year it took place over the week of players with the same piece. Strauss' Don Quixote, with differ June ninth through the thirteenth, ent members of the quartet com on the beautiful campus of the After this recital was a master class peting to play the solos. University of Minnesota in on the topic of orchestral excerpts, Minneapolis. With 339 attendees, given by Yizhak Schotten. Krista At eight o'clock that night was a it was seamlessly hosted by Korey Windingland, a student from St. concert commemorating the 1OOrh Konkol, Professor ofViola at the Michael, Minnesota, played the birthday of the great William University of Minnesota. infamous excerpt from the Primrose. The program consisted Andante movement of Beethoven's of pieces that had either been tran This was the first event of this Fifth Symphony. Mr. Schotten scribed by Mr. Primrose or written nature that I have ever attended. spoke primarily of bow control. for him. From this concert, I really Going into it I had no idea what He talked about using less bow in enjoyed watching Roberto Diaz to expect. I am thrilled to say that general throughout the movement, play Franz Schubert's Litany for All it was one of the best experiences and warned against making unin Saints Day, Johannes Brahms' Soft of my life. I met incredible people tended accents. Mr. Schotten Strains ofMusic Drifting, Op. 105, from all corners of the world, was offered many helpful suggestions No. 1, and later- joined by Elmar reunited with old friends, and for practicing, including bowing Oliveira on violin- Handel/ heard fantastic playing that I will reversal. Halvorsen's Passacaglia. Not only never forget. was it wonderful to hear Diaz play, Concurrently to this class was a but the fact that he was playing on Wednesday, June 9th: concert of orchestral reductions William Primrose's viola made the The Congress opened with a cere given by The Four Violas. The performance even more amazing. mony where Konkol and Dr. Four Violas is a group comprised The viola was an heirloom in the Richard Schmidt, President of the of members from the Oregon Primrose family; it became William International Viola Society, gave Symphony: Joel Belgique, Mara Primrose's first viola only after he warm and hospitable welcomes. Lise Gearman, Charles Noble, and convinced his father that he should Brian Quincey. They had some be allowed to switch from the vio The first recital of the congress hilariously funny arrangements of lin. The instrument has a unique entitled Music ofMinnesota, Part 1. what you might call "old classics," and wondrously deep, rich sound. It was a collection of music by such as a disco version of the first I also enjoyed hearing Che-Yen composers native to Minnesota. In movement of Beethoven's Fifth Chen, winner of the 2003 particular, I enjoyed the selection Symphony and a truly miniaturized Primrose Memorial Scholarship from this concert called Seven for version ofTchaikovsky's 1812 Competition, play George the Flower's Near the River by Overture, complete with soprano, Rochberg's Sonata for Viola and Stephen Paulus, the performance alto, tenor, and bass cannons Piano. This was the first time I had of which was divided between (a.k.a. PVC pipe with rubber stop ever heard this piece, and I Kerri Ryan (viola) -Jason Alfred pers). However, the piece I enjoyed absolutely fell in love with it. VOLUME 20 NUMBER 2 11 Following the concert was a short Gotlibovich, first prize winner of presented by Patricia McCarty and panel discussion called Primrose the 2003 Lionel Tertis International Martin Amlin. I was not familiar Remembered, which reflected upon Viola Competition. In the with any pieces that were played Primrose's life as a performer, Weisman Art Museum of the East but I really enjoyed all of them, teacher, and friend. It was fun to Bank Campus, the program includ particularly the transcriptions of see that whenever his former stu ed six caprices written and per solo violin Fantasies by Georg dents told a story about him, they formed by Mr. Arad. Each of these Philipp Telemann. would always mimic his deep voice cleverly written caprices is named and Scottish accent. after a composer of a very famous Friday, June I I th: viola work, and contains a musical The day started off with a concert Thursday, June I Qth: reference to the piece; for example, entitled Bach Morning. The entire The first event of the day was a one of the caprices was named program was comprised of music master class given by Donald Rebecca after Rebecca Clarke, and by the Master, Johann Sebastian Mcinnes on the topic of music musically alluded to parts of her Bach. The program concluded transcribed for viola. Kristina 1919 Sonata. with Ciaccone "Transformation for Willey, a student from Pleasant 4 Violas" from Partita 2 for solo Grove, Utah, played the Flight of Shortly afterwards, John Graham violin, BWV 1004, arranged by the Bumblebee by Rimsky gave a recital of works written for NodaYra, The Four Violas. I really Korsakov. Similarly to Mr. acoustic or electric viola, accompa liked the arrangement of the Schotten, Mr. Mcinnes talked nied by electronic sounds. My piece; it was both skillfully done about bow control, though the favorite pieces in this recital were the and greatly enhanced the overall context differed significantly. One first and last. The former was a mes effect of the music. thing that Mr. Mcinnes talked merizing work by Kevin Ernste for about that struck me greatly was acoustic viola and electronic sounds Concurrently to that recital was a the idea of physical easiness. He entitled Birches after Robett Frost's master class following the Bachian said that you should practice the poem "Birches" (coincidentally one theme, led by Patricia McCarty hard parts until they look as easy of my favorite poems). The latter on the subject of the Cello Suites. to play as the easy parts. It is an was called Calico Dances for electric One of the student performers, unbelievably simple idea, but it viola and electronic sounds. Erica Burton from Minneapolis, seems that a lot of people overlook Rhythmically driving, the piece was Minnesota, played the Prelude it, myself included. composed by Nicolas Scherzinger. and Fugue of the Fifth Suite in C Minor, BWV 1011. Ms. McCarty Concurrently to that was the part After Mr. Graham's recital was a first gave some great advice on two conclusion of the Music of luthier demonstration, where creating new bow strokes for the Minnesota series. As with Part I, the twelve bows and forty violas were Fugue section. When speaking of performers were members of the played one after the other by Paul the Prelude, she gave some Minnesota Orchestra and the Saint Neubauer. It was very educational insightful information on mixing Paul Chamber Orchestra. The to hear so many instruments played romantic and baroque styles. finale was Viola Zombie by Michael closely together by such an amaz Daugherty; it was performed by ing player. At first it was slightly The afternoon's presentations Thomas Turner and Kerri Ryan, overwhelming to my ear, but after were of an Eastern theme. At who both seemed to really enjoy a time I started to develop a sense 1 :30 was a lecture/ recital titled playing this piece together. of the minute differences in sound Homage to Borisovsky. I was only that make a great viola. able to hear the informative lec Following lunch was a superb ture about Borsivosky's life and "Pedagogue and Protege" recital The evening concert was a creative work, delivered by Dr. Carlos featuring Atar Arad and Yuval program entitled Phantasy World Maria Solare. I found it very JOURNAL OF THE AMERICAN VIOLA SOCIETY 12 interesting that Borisovsky played watch perform, they seem to real was the Concerto for Viola and on a viola that was eighteen and ly have a great time playing Orchestra by Tibor Serly performed three quarters inches long and together. by Atar Arad. This was another sounded like a cello! piece that I was unfamiliar with, That afternoon was a recital given but greatly enjoyed. The last piece At the same time as the lecture/ by the Puchhammer-Desjardin for the evening was the Peter recital was another recital titled Duo, consisting of Jutta Bartok version of the Bartok Viola East Meets West. In this program, I Puchhammer-Sedillot (viola) and Concerto, performed by Paul really enjoyed hearing Paul Elise Desjardins (piano). Only able Neubauer. This performance ren Neubauer play Joan Tower's Wild to hear Jean Coultard's Sonate dered me speechless, it was one of Purple for solo viola. It is an Rhapsody pour alto et piano, I the most awe-inspiring things I amazing piece, and it was great to admired them particularly for their have ever seen and heard. hear it performed by the dedica fluidity and grace. Following Mr. Neubauer's perform tee. This performance was one of ance, he gave an improvised my favorites of the entire Concurrently to that recital was a encore; his comical "overview'' of Congress. program devoted to the music of the Congress consisted of musical American Women Composers. My snippets from no less than a dozen The final concert Friday was Paul favorite piece from this perform pieces hear earlier in the week. Coletti accompanied by Lydia ance was a very entertaining and Artymiw in a program called The light-hearted work called Bocadillos Sunday, June IJth: Romantic Viola. This was another Panoramicos by Margaret Following the theme of the previ of my favorite concerts of the Griebling-Haigh performed by ous evening's concert, the last day Congress. For the first half of the Lynne Ramsey. It was written to of the Congress started with a mas concert Mr. Coletti played Felix illustrate various aspects of a vaca ter class given by Roland Vamos on Mendelssohn's Sonata in C Minor tion that the composer had taken the subject of viola with orchestra. for viola and piano, and in New Mexico, and was per Among the student performers, Marchenbi!der, Op 113 by Robert formed warmly by Ramsey. Rachel Kuipers from Rochester, Schumann. It was breathtaking Minnesota played the first move for me to hear these pieces per Fitting for the climax of the ment of Bartok's Concerto. Mr. formed live by Mr. Coletti. In his Congress, the theme of the last Vamos was an amazing person to sound and presentation, he seems evening concert of the assembly watch teach; he has a truly unique to sing rather than just play. The was Viola with Orchestra. The first way, which I cannot really explain, last piece of the program was piece on the program was John of bringing out the best in a stu Brahms' Sonata in E-flat Major, Harbison's Concerto for Viola and dent's playing. Op. 120, #2. This performance Orchestra performed by Sabine was especially remarkable because Thatcher. This was my first time to Concurrently to the last master Mr. Coletti played it scordatura ever hear this piece, but I really class was a recital titled Dramatic all four strings were tuned up half enjoyed it. The second piece on the Repertoire. Included in this pro a step to D-flat (from the top). program was the Concerto for Viola gram was Stephen Paulus' Exotic B-flat, E-flat, A-flat, and D-flat. and Chamber Orchestra by Krysztof Etudes, for solo viola-played by Penderecki played by Roberto Michael Hall-and piano quartet, Saturday, June 12th: Diaz. Roberto Diaz is such an elec which I found to be a lyrical and The first recital of the day was tric performer that I could not take beautiful work. given by The Irrelevants, a viola my eyes off of him for the entire and saxophone duo comprised of work. His virtuosity is overwhelm The penultimate recital of the Tim Deighton and Carrie ing and truly does the piece justice. Congress was another "Pedagogue Koffman. They were really fun to The third work on the program and Protege" concert, this time VOLUME 20 NUMBER 2 13 with Jessica Bodner, Katie Sousa, and Bmndenbu1g Concerto Rachel White is a junior at the Kadarauch, Jonathan Vinocour, No. 7 by ]. 5. Bach. It was a won University of Oklahoma. srudents of Kim Kashkashian from derful finale to a wonderful New England Conservatory. Congress. [Fo r complere Congress programs Unfortunately, Ms. Kashkashian and fu rther phoros, visit the online hurt her hand a week or so before Si nce returning from the summer issue of JAYS at the AVS the Congress and was unable to Minneapolis Congress, I feel rhar I web sire: www.a meri canviolasoci attend. (I wish her a speedy recov have grown as both a violist and a ery.org.] n ery!) Carol Rodland took her musician. Attending the Congress place, and the recital was per was a great experience for me as a formed masterfully. student, beca use r was able to see such a high concentrati on of fine The closing ceremony was one last players. I learned so much just concert, featuring the Congress from watching these masters of the Viola Ensemble. T he group of viola, and getting ro talk with peo almost 50 performed fun arrange ple who know so much about the ments of N imrod from the Enigma viola and viola playing. I look fo r Variations by Sir Edward Elgar, ward to attending the Congress Overture to Wiffiarn TelL by next year in Iceland; hope to see Gioachino Rossini, Stars and yo u there! Stripes Forever by John Philip BOSTON UNIVERS I TY SCHOOL OF MUSIC '---S- TRING PERFORMANCE ] D . M . , M.M ., D . M . A . ARTI T DIP LOM A P E R FO RM ANCE DIPL O M A In residence since 19H3, the Muir String Q u an~:t h a~ long bn :n ac knowledged as one of the world \ IIIOSt povw lf'i.d .md insightful emembb, di ~ tin guis h in g itsd f amo ng a udi e n c~:s and critics wi th its '\·xhilarating in vo l w m ~: nt" (B <~stott Clo!le). "in1peccablc voicing and in tonation" ( till t :,rltldsco Exatttitter), ,llld ''unbridled mus ic.Il iry" (A tllcrircttt Rmm/ C ttidc). Violin Viola Double Bass For lllOrt• infon11.1llon, com.1ct: Lynn C han~ *Stcwn Ansdl * Edw in U.lrkt·r Director of Admissiom Uay la Keyes *Ed w.m .l G.IZoulc'.l\ *J.unc> O rle.1m Uo\ton Un iversity * Lun a 1111 "' M1chdle LaCour"· *li1dd Scl'lwr clwol of Mus1r BOSTON *M.dcolm I nwc *Mid1.1el Zaret,ky *L.1wrcnce Wolfe HSS Con m lOilWl'.Il th Avenue UNIVERSITY Ua1u Mawrkevich Cello 13o,ron, M A 112215 Yuri M,17urkcvich * IJ<>SII> II S)''"'''"'"l' 800- MJ- -1 7% CO LLEGE of *J ule, E'kon ( )rdlt'.,rr.l ,\ fcomlwr *lk uko M 1111110 George Nt•ikrug 617-353-33-11 "'(.'/wirmtlll , S 1 ri1(~ Ro n1an fim·nbcr!-! Le,lic P.1rn." f(nl ttllsir(a lm .cd11 Fine Arts Dcfllll'tllll'llt l'ctcr za, or., ky 1 Mid1ad Rt·ynulth 11'11'11 .1111 .1'tllt l ((tl Mmk . ll w.ur ~ Att' Vhual Art ~ l"l..hond.1 R idt'r D.w1d ~OYl'r ------J OURNAL F T ilE AM E. R I ~ AN V I O L A 0 . I ETY 14 A Technique for Learning solo instruments entitled "Sequenza' 22nd second, I would not be able to Modem Music FAST, or How in theory class at Juilliard 15 years use a standard "orchestral-style" 137 Pushups in 2 Minutes ago. Vague memories of interesting tremolo. Instead, I tried a fiddle-like Helped Me Prepare for the Berio compositional techniques and technique, a la "Orange Blossom Sequenza "cool" sound effects came to mind. Special," alternating mini tremolos Since then I'd played and recorded between the bottom 2 and top 2 By Rita Porfiris a few of Berio's orchestral works, strings, "avoiding prolonged pat had even been conducted by Berio terns of regular articulation." The As violists and responsible musicians himself; I nai:vely assumed, there effect enables the arm to release as it in today's modern world, we must fore, that the viola Sequenza could changes string angles, and I could learn and perform the music of n't be that difficult. take some of the stress off my bicep modern and living composers. I alternating articulations between always encourage my students to play Four weeks before the concert, the my arm and my fingers. and attend as many new music con music arrived. Ripping open the certs as possible. These events are oversized envelope, I stared in Step Two: Notes and Fingerings essential for the evolution and sur shock at the incomprehensible The linear figures, when grouped vival ofour genre. Often, we are jumble of ink After listening to the together, generally form the chords asked to perform these challenging accompanying CD, I realized that that directly follow them. The and wonderful pieces with a little Sequenza VI was not only the hard majority of fingerings can be learned less preparation time than may be est Sequenza in the series, it was in chord blocks, with a "base finger" comfortable. As a member of!he one of the most physically around an easily reachable note and Houston Symphony and Artist demanding pieces in the solo viola the other fingers arrayed on sur Affiliate ofviola at the Moores repertoire. How to approach this rounding strings in 112 steps. School ofMusic ofthe University of feat of heroic proportion? Houston, my time is usually over booked, so organizing my practice is Step One: Articulation ofutmost importance. The extent of the "instructions" that accompanied the work The call came late one afternoon. involved the main figure of the A local modern music group was piece, the vehicle that ran through Figure 2- block style fingering interested in programming out, the "broken tremolo." Luciano Berio's Sequenza VI for Viola Solo on an upcoming series _L_ ft v ft = as fast as toward the frog. entitled "Barmusic." Always inter ~ = brc*en tremao, &liT lJlJ possible, ested in reaching out to and culti ( vating a new audience, intrigued Maintain a homogeneous and equal emphasis on an the pitches of each chord, avoiding pr®nged patterns by visions of appreciative bar of regular articulation. patrons and lured by the chance to Figure 1-broken tremolo wear a flashy, symphony-unap proved cocktail dress, I agreed to After attempting the first 21 sec In this piece, as in many other perform. My decision wasn't onds of the piece (the first chord, in modern works with large leaps, I entirely impulsive: I had studied a broken tremolo), I realized that if decided that it would be best leave few of Berio's works for diverse my bow arm was to survive to the as many fingers down as possible, VOLUME 20 NUMBER 2 15 • Clll CL EVELAND INS T ITUTE O F MUSIC David Cerone, Pre ident IW ANY MFA URE. EXCEPT IONAL The lcvcland Institut e nfMusic b a leading international comervatory rhar is distin g ui ~ h eJ hy an exceptiona l degree of o llahoration between s rud e nr~ and teachers. The viola facu lty at the C leveland l nstituteofMusic includ e~ *Rohert Vemon, head of the derartmcnt, Jeffrey Irvine, *Mark Jnc kohs, *Stanley Konorka and *Lynne Ramsey. • Ck vo.:l<~ nd Ord1e,1r:1 M em l~ r Bachelor of Music Master of M usic Doctor of Musical A rts Artist Certificate Artist Diploma Professional tudics F11r further infnrmmion, cont.lCt William Fay, Director of AJmi>siun C leveland Institute uf Mustc 11 02 1 E < L~ r Boulevard Cleveland, Ohio 44 I06 (216) 795 -31 07 J :..:....:.:....:...:=-:.FTH C./\MERI AN V I O L A 16 avoiding acrobatics. This way I with audiences, is the pizzicato sec Since joining the group over 3 years would always have a solid founda tion. It is announced by five bowed ago, I noticed an improvement in tion on which to base intonation, Bartok-like cluster chords in a driv my overall endurance on the viola. though it would mean more string ing pulse before descending into a I have begun to implement specific crossmgs. wild melee of left hand and up calisthenics to target key viola areas. and-down pizzicato. (Audiences For orchestral musicians, strength Step Three: Rhythm, loved this for the blood factor. ening the abs are quite important Interpretation, and "The Line" Ignore the pain, and hope you get to counteract lower back pain. Sit At first glance my tendency was to a callus below your fingernail.) The ups and crunches are great ways to treat the piece quasi-aleatorically. section encompassing the last page strengthen the core. For the Berio, There are no bar lines, and it and the coda is one of the wildest, however, I knew that although my would be one less thing to worry "scrubbiest" in the repertoire. The biceps would be getting a workout about if the rhythm could be best thing to do is memorize the from the "broken tremolo," it fudged. Besides, which bar patron tune, plop your fingers down in would really be my back- (lats) would be able to tell whether I the appropriate chord block, and shoulders (delts), and neck (trapez played a 16'h rest instead of a 32nd? slide, baby, slide! ius) that would take a beating. I However, in the beginning Berio decided to "up" my doses notates quarter note=62 and accel of push-ups, pull-ups, and erates up to quarter note= 144, so I dips. Especially helpful dragged out the metronome. would be "dive bomber When forced to keep to a beat, the push-ups" and row-type piece began to take on an intense Figure 3- the last page incline pull-ups. I driving pulse that would actually informed my workout relieve some of the strain of relying A quick note about "the line:" cer group of my plan and they were solely on the tremolo to provide tain notes in the music are slightly more than willing to help me push the intensity. bigger and darker than others. towards these goals. Based on my newfound rhythm, I began to divide the piece into sec tions. Each section was announced by a profound change in rhythm Flifure 4 - the line and often (but not always) by a tempo change as well. One of my favorite sections, beginning mid If one follows the notes in bold as Run-throughs would also be an way down the third page, only a melodic line and release the oth important part of the preparation. became clear once I started really ers, the figures become "easier" Luckily for me (and unluckily for following the dynamics. When physically, as well as aurally and my colleagues in Houston!), I was done properly, it sounded like an musically- the listener and per not playing two of the pieces on entire brass section. Mini-frag former feels pulled along in a cer that weeks' symphony program the ments are built around not only tain direction. week of the Berio performance. I tonal areas, but often just a single went trolling for audience victims note. With three to five different Step Four: Physical Preparation/ among the brass and wind players articulations and dynamics on each Requirements: who were also of£ Strangely, repetition, it sounds like it is being It wasn't just the learning of the throughout the week the "Berio passed around on four different piece that would build up my buzz'' grew. I overheard conversa instruments. The most painful sec endurance. I belong to an exercise tions like "Hey, you have to go tion, but also the most popular group run by ex-Navy SEALS. down to dressing room 4 at the VOLUME 20 NUMBER 2 17 A 2-count exercise. Start by assuming a leaning rest position with feet spread - 3 ft. apert, palms on deck, Day 16: rework problem passages from day before, elbows fully extended, and hips slightly lifted. another run through with unsuspecting audience Count1: uppertorao sweeps down toward Chest, forearms, Dive Bomber Days 17-26: warm up on difficult intonation spots, deck between and triceps,-anterior Push-Ups through hands while daHolds try for 2 run-throughs a day. bending elbows. Rest- ~ ing poaltlon Is seme as down poaltlon of basic Day 27: one run-through push-up. Coun1 2: upper torso sweeps beck and Day 28: Dress rehearsal (with more victims) up while elbows extend to return to starting position. Figure 5 - dive bombers Concert day: one run-through early in the day (then go for a run, 2 sets push-ups/pull-ups), take a break, slow warm up on various traps, enjoy! A 2-count exercise. Requires a low ber (i.e., a dip bar). While lying or sitting on Posterior shoulder ground {dapsndlng muscles -triceps PerfOrmance Issues: Blood, Sweat, and Heavy Breathing on how low bar Is), Incline Pull-Ups grsb ber with both The first week of run-throughs revealed an astonishing hands and pull uppsr body toward ber at a fact: I could sweat behind my knees! Subsequent per 45°angle. Emphasis: pulling shoulder btedas togethar formances were done with the air conditioner jacked up. during movement. Slipping off the viola was not an option in this piece. Figure 6- incbne puU-ups One of the most frequent comments I received was break; Rita is doing an impression of a missile attack," about maintaining the musical tension in the few from poor unsuspecting people caught in the crossfire. rests. At first I was using those rests to relax my arms, Never underestimate the power of Beri~, however; take a deep breath, shake out my fingers, release ten many of my victims became champions, even becom sion. Unfortunately, it had the unwanted effect of ing compelled to attend the "real" performance. releasing tension in the flow of the piece as well. The last week of run-throughs was spent learning to The work schedule: With the limited timeframe, I release tension internally while outwardly freezing in decided on a basic race-training-like approach. I had place. It put the final polish on the piece- visually as four weeks and wished to spend the last two weeks well as aurally. The rests, due to their shocking silence doing run-throughs. Here is the schedule I decided on: amongst the fray, are of the utmost importance and must not be marred with the sounds of sucking wind. Day 1: page 1 Day 2: page 2 In the end, I came to really enjoy Sequenza VI. The Day 3: page 3 audience at the concert was not the drunken bunch of Day4: page 4 rowdies for which I had originally hoped, despite my Day 5 :page 5 threat to require everyone in the bar to have a drink Day 6: page 6 on me before I started the program. But the space was Day 7: pages 1-2 packed to fire code-violating capacity, and the red Day 8: pages 3-4 stage lights cast an effective glow as I made my way Day 9: pages 5-6 through the piece. As one of my Navy SEAL workout Day 10: slow non-tremolo run through to get chords buddies (they were all there to witness the results of and fingering patterns for connections and to root all those push-ups!) said happily afterwards, "It was out difficult transitions great. The red light made your bow on fire-you were a Day 11: pacing and metronome work fiddlin' fool!" Day 12: interpretive problems and dynamics Day 13: run through pages 1-3, some problems A frequent performer at modern music events worldwide, solved, some found Rita Porfiris is on the faculty ofthe University of Day 14: run through pages 4-6, ditto Houston's Moores School ofMusic. She is also a member Day 15: first run through with audience, note ofthe Houston Symphony. Her top pushup score to date problematic passages and fix is 140 in two minutes. B JOURNAL OF THE AMERICAN VIOLA SOCIETY 18 At New England Conservatory, students work together with one of the world's most distinguished music faculties. Our faculty represents a broad range of professional experience, as soloists, in chamber music, or as orchestra players for the Boston Symphony Orchestra. Strings & Chamber Curriculum includes: NEW ENGLAND Music Chair: 3 full orchestras and CONSERVATORY Lu cy Stoltzman chamber orc hestra Viola Faculty: Annual concerto New England Conservatory Kim Kashkashian competition for strings Office of Admi ssion Martha Strongin Katz Masterclasses with 290 Huntington Avenu e Carol Rodland Boston , MA 02115 internationally renowned Marcus Thompson Phone: 617.585.1101 artists (2003-04 included Fax: 617 .585.1115 Gideon Kremer, Karen Programs of Study: ad mission@newengI a nd conservatory.e du Tuttle, Pieter Wispelwey, Unde rgraduate Diploma and Steven Tramontozzi) Bachel or of Music Application deadline: December 7, 2004 NEG/Harvard Doubl e 50 chamber music groups An equal opportunity, affirmative action Degree with weekly facu lty institution NEC/Tufts Double Degree coachings - annual Graduate Diploma Honors Ensemble Master of Music competition in photo: Kim Kashkashian giving a lesson Artist Dip loma Doctor of Musica l Arts www.newenglandconservatory.edu VIOLA VIOLIN MAKERS - Restorers and Dealers - Only 45 minutes from Lincoln Center • Sale and Repair of Fine Ylollns, Ylobu and CeHos • Sound AcUustments • Repairs and Restorations • Bows Rebalred • Cases /Yew Instruments " ... among the most highly acclai med of today's stringed Instrumen t makers." The Strad, Nov 96 " ... th eir Instruments have been selected by orchestral players, chamber musicians and soloists all over the world" The Strad, Nov 96 Business Hours: Tu esday - Friday 1:30 - 5 :30; by Appointment 134 Brookdale Road • Stamford, CT 06903 Web Site: www.moesandmoes.com Tel : (203) 461-9560 Free off street parking See our web site for r. directions VIOLA JAZZ: A LON'"t;'"'E 11Fl t-4rsiORY THAN YOU MIGHT IMAGINE By Dr. Sonya R. Lawson er, a violinist would appear as a inet and string quartet, plus a soloist with a big band, improvis small rhythm section. Nobody had Beginning in the early years of ing over the group and not just ever done that sort ofa jazz cham the twentieth century there has playing harmonic filler. ber-music thing ...Anyway, to my been an increasing number of total astonishment the piece broke violists performing and recording Small groups consisting of 3 to 6 the show wide open. 3 jazz. String players have always players were also an active part of been part of the jazz tradition but the jazz scene. These small combo His piece was innovative for the have rarely been noted in print settings required more creativity, era in both instrumentation and and, until the 1960s, were not and string players were expected compositional style. Shaw's com frequently recorded. We can see to be able to swing, improvise, position combined sections of typi by examining concert programs and play polyphonically. The vio cal classical string writing with sec and reviews the extent of string linists Stuff Smith, Eddie South, tions of jazz clarinet playing; Shaw instrument participation not evi Joe Venuti, Stephane Grappelli, himself said, "You'll note that the dent by perusing recordings and Ginger Smock led their own slow section sounds a little like alone. This article will cover the small groups while violinists such Ravel."4 history of violins, violas, and cel as Claude Williams, Ray Nance, los used in jazz with particular and Edgar Sampson more often The form of Shaw's composition emphasis on the viola. Jazz histo played with big bands rather than has two main sections that alter rians often talk about the 1960s the smaller chamber groups. nate, beginning with an 8-bar as being a turning point in the introduction that sounds much stylistic development of jazz, this Artie Shaw, the clarinetist, com like French Impressionist string article will focus on the earlier poser, and bandleader, used quartet music. The violins and period, 1930-1959. strings in both big band and small viola play with a shimmery vibrato combo jazz settings. In 1935, and long bowstrokes, without a STRINGS IN THE Shaw performed a piece he had feeling of rhythmic drive. The cello SWING ERA ( 1930- written for clarinet, string quartet, plays two pizzicato notes to punc 1944) and rhythm section called tuate the first phrase and then "Interlude in B flat" during a joins the other strings in playing The most commercially popular swing concert given at the arco. This introduction is followed jazz during the Swing era was big Imperial Theatre in New York by the entrance of the clarinet, band music that consisted of fully City. Shaw described the experi which plays a flourish of notes over written arrangements rather than ence: the sustained chords of the string "head" arrangements. 1 Strings par quartet. The string parts alternate ticipated most commonly as a sec I was a studio musician at the time. this "sweet" writing, sustained tion, playing whole notes and half Nobody knew me. joe [Sullivan] notes played with lots of vibrato, notes that functioned as timbre asked me to perform with a small with peppy accompanimental softening harmonic filler; little, if group while they were changing the quarter notes in the second sec any, swing feeP was necessary from band setup. I thought, just for tion; this contrast actively supports these players. Occasionally howev- kicks, that I'd write a piece for clar- Shaw's changes of character and VOLUME 20 NUMBER 2 21 mood. Rather than sounding like a harmony and rhythm than instrumentation: string quartet mish-mash of musical styles, the melody, and as a consequence and a jazz band made up of trum writing for strings moves seamless compositions were much less pet, guitar, piano, bass, and ly from section to section. "tuneful" than they had been in drums. 8 The string quartet con the Swing era. For example, bebop sisted of veteran string players (Leo According to Walter Bruyninckx musicians typically used chord Kruczek and Gene Orloff, violins; in his discography, 60 Years of progressions, instead of the melod Dave Schwartz, viola; George Recorded Jazz, 1917-77, the ic line, as the basis for improvisa Ricci, cello) who had played on probable string players for the tion; they invented new tunes for other jazz and studio albums. On Shaw "Interlude" were Julie jazz standards by employing a jump for joy, the strings were more Schechter and Lou Klayman (vio growing array of chord types, such integrated with the rest of the lins), Sam Persoff (viola) and as altered chords and substitute ensemble than in similar albums Jimmy Oderich (cello), the same chords.6 This was the case both by Charlie Parker, Clifford Brown, players Shaw later hired to play with the composed "head" of com and Chet Baker. Bill Russo, the on a number of recording dates in positions and the solos. (In this arranger for the album, avoided 1936 and 1937.5 case the "head" is the principal many of the pop cliches of string melody of a piece.) Heads were arranging, such as diatonic notes STRINGS IN BEBOP often extremely complex, unison of long duration. Even though JAZZ ( 1945-1959) melodies. These traits had the they were not required to impro effect of removing bebop from the vise, Russo did make the quartet During the 1940s, a number of mainstream of popular music. part of the band by requiring them swing musicians began experi Both intellectual and visceral, to swing, play harmonically inven menting with new approaches to bebop was, above all else, virtuosic tive parts, use both arco and pizzi harmony, melody, rhythm, and musiC. cato, and play involved rhythms. improvisation. In big band swing The result was an album that was music, a primary goal had been to Cannonball Adderley interesting and musically satisfYing produce danceable music, and with Strings to listeners. used fully scored ensemble parts to achieve it; the new priorities Cannonball Adderley ( 1928-1975) Harry Lookofsky focused on individual expression, was a saxophonist who mixed ( 1913-1998) and created music for listening. bebop harmonic ideas with an Their brilliant style relied on daz energetic and highly rhythmic In 1958 violinist/violist Harry zling individual technique to create gospel and blues style, thereby Lookofsky made a recording called hard swinging, harmonically com becoming known as a "hard bop" Stringsvillr? that was remarkable for plex music in lightning-fast tem player. During his career he made a number of reasons. First, this pos. The musicians - such as saxo two recordings with strings. The record sounded like it was per phonists Charlie Parker, Dexter second of them, 1958's jump for formed by a group of violinists and Gordon, and Sonny Rollins; trum joy/ is noteworthy in the history of violists playing standard bebop peters Dizzy Gillespie and Miles jazz strings. tunes like" 'Round Midnight" and Davis; pianists Thelonious Monk, "Moose the Mooche." Second, it Mary Lou Williams, and Bud jump for joy was an album based sounded like the string players Powell; drummers Max Roach and on Duke Ellington's 1941 theatri were improvising in a bebop style Kenny Clarke; and bassists Ray cal revue of the same name. and swinging hard. This was a Brown and Oscar Pettiford- start Adderley was approached by an sound that had not been heard ed playing the music that came to executive from Mercury records before, and it was tremendously be known as "Bebop." who suggested that they make an exciting. However, instead of mul Bebop music focused more on album scored for an unusual tiple string players, the album was JOURNAL OF THE AMERICAN VIOLA SOCIETY 22 made up of multiple string parts, styles of early and swing jazz with hear strings in that kind of large, all of which Lookofsky played the harmonic and melodic lan homophonic setting than in himself, overdubbing them in a guage of bebop, thus contributing smaller, less conventional combi studio! He said this about the a new voice to string jazz. nations. process: STRINGS IN COOL Stan Getz and Strings In those days, there were no multi JAZZ (1950-1959) track tape recorders, only single In 1961 saxophonist Stan Getz track. So, Epic had me play each After the heady intellectualism recorded an album called Focus string part (three violins, two viola and confusing sounds that the that sounded unlike the earlier parts) on a separate track while I public associated with bebop, the jazz recordings with strings. It listened to the rhythm track, which sounds of cool jazz pulled it back used an entirely different model was itself on a separate tape: Then, into the mainstream. of jazz composition thanks to the lining up six single track Ampex Geographically, cool jazz was man who composed and arranged machines, each with a part and all played on both coasts, but most it, the famous Eddie Sauter. Getz connected to a common "starter" people associate it with the West had asked Sauter to write him an box, they their best to put it all Coast. Players of cool jazz are extended work; Sauter himself together. After many starts and often thought to be mostly veter described the result as a "musical stops, together with the splicing, ans of big bands such as those of hybrid" of jazz and classical influ they wound up with the albumfl 0 Claude Thornhill, Boyd ences.12 Focus was comprised of Raeburn, Woody Herman, Stan seven different pieces. Though After the head of each piece was Kenton, and Elliott Lawrence, Getz would play, Sauter gave him played, the string parts sound though in reality this wasn't no written parts, did not leave improvised but in fact were com always the case. 11 him any spaces to improvise, and pletely written out. For example, did not follow the standard on the opening track on Whereas bebop was considered to "head-improvisations-head" for Stringsville is the famous Monk be extroverted and virtuosic, cool mat so common in jazz. In effect, composition "'Round Midnight," jazz was the opposite: more intro Getz had to improvise over and Lookofsky starts by playing the verted, less flashy, and often mel through a stand-alone orchestral opening eight measures of the lower sounding. Softer-sounding musical composition. As Sauter head sedately, but then launches Classical instruments, such as wrote in the liner notes: into an extremely fast solo, almost flutes, oboes, clarinets, French entirely 32nd notes, played much horns, flugel horns, and tubas, In writing these seven pieces, I in the style of Charlie Parker. were employed; less vibrato, thin hated the idea ofa rhythm section ner timbres and less density to with strings and I also hated the Lookofsky's solo sounds impro group sounds became identifying sound offlat backgrounds with no vised because it swings effortlessly, qualities of the style. meaning in themselves. I knew I makes use of chromaticism, didn't want to do it that way. employs rests in the breathless Even though there had been What I wanted to do was write manner associated with bebop, interesting uses of strings by like a string quartet with space to and sounds spontaneous. It was Cannonball Adderley in the move things. I'd let them make Lookofsky's abilities to make a "hard bop" genre in the 1950s, it their own time and rhythm. It's written solo sound improvised must not be forgotten that swing not the same thing as with a that made this recording impor style big bands and Hollywood rhythm section. The attack ofa tant, and why people still talk orchestras that played "easy lis rhythm section and strings diffirs; about it today. Lookofsky com tening" music were still around; one is sharp and the other is slow. bined the timbre and bowing audiences were more likely to And they don't blend. 13 VOLUME 20 NUMBER 2 23 The compositions were scored the two most important are a for solo tenor saxophone plus 10 constant tempo, and the presence violins, 4 violas, 2 cellos, bass, of many syncopations before harp, and drums. The nucleus of and/or after the beat. the strings was the Beaux Arts 3 Gene Lees, liner notes, Artie string quartet, which had played Shaw- A Legacy, Book of the in 1960 on the Modern Jazz Month Club Records 71-7715, Quartet (MJQ) album called 1984. Third Stream Music. The mem 4 Ibid. bers of the classically trained 5 Walter Bruyninckx, 60 Years of quartet were violinists Alan Recordedjazz, 1917-77 Martin and Gerald Tarack, vio (Mechelen, Belgium: Bruyninckx, list Jacob Glick and cellist Bruce 1979). Rogers. Unlike Adderly's jump 6 An altered chord is a dominant for joy, Sauter did not call upon 7th chord with any combina the string quartet to swing. tion of the following scale degrees: sharp 5, flat 5, sharp 9, In the cool jazz era, the majority and flat 9. of string-accompanied jazz record 7 Julian "Cannonball" Adderley, ings featured a sweet, lush string Cannonball Adderley and Strings backdrop contrasting with soloist (EmArcy MG 36063, 1955; reis improvisations. However, as with sued Verve 314528 699-2, Russo's earlier arrangement of 1995); jump for joy (EmArcy jump for joy, Sauter's Focus for MG 36146, 1958, reissued as Getz stands out as innovative Verve 314528 69902: 1995). because the pieces merge Classical 8 Michael Ullman, liner notes, and Jazz traits to create a unique, Cannonball Adderley and Strings hybrid musical language. and jump for joy. 9 Harry Lookofsky, Stringsville, Dr. Sonya R. Lawson is Assistant Atlantic SD-1319, 1958. Professor ofMusic History and 10 Jon Rose, On the Phone to jazz Viola at Westfield State College, Legend Harry Lookofiky, Strings and her dissertation was a history 4:6 (May 1990): 37. ofthe use ofstrings in jazz .from 11 Ted Gioia, The History ofjazz 1900-2000. As a member ofthe (New York: Oxford University .free-jazz group "The Knotty Press, 1997) 17 4. Ensemble" she has played at the 12 Don Cerutti, liner notes, Focus, Vancouver jazz Festival and Verve 821982-2, 1961. released two CDs. 13 ibid. 1 A head arrangement is a piece where the opening theme is pre determined and memorized, fol lowed by improvisation on that theme. 2 To say that a piece "swings" takes a number of factors into account; JOURNAL OF THE AMERICAN VIOLA SOCIETY ____ 24 MODERN MAKERS FRANCIS KUTTNER: LUTHIER DU MONDE Francis Kuuner, born in Washington history from Antioch allege, one of America's our- D.C in 1951 , wa a founding tanding small liberal arts college , Ku rrncr struck member of "Le Lu rhicrs du our for Berkeley, alifornia where a job building Monde" (Violin Makers of the guitars awaited. Having built dulcim ers in college, it World) , an organiza tion th at was a logical next step. The lure of the violin then exh ibi ts during international trade inspired enrollment at the International Violin shows and includes some of the Making School in Cremona. Initiall y, his training world's ve ry best violin and bow mak was with two hi ghly rega rded reachers, Giorgio ers. Tn many ways, Kuttner i a violin Scolari and Giobarra Morass i. It was, the classica l maker of the world. His work com approach of Franci co Bissolorri, however, rhat bine his background in art his stru k rh e compatible chord . "Bisso," as he is affec tory with borh an Italian Aair tionately known in the trade, and a drive for perfection offered both rh e approach of found among the besr Sacconi and rhe experience American makers. of a professional woodwork er, borh from which A ked whar distin guishes Kuttner wamed ro learn as his work from orher mak quickJ y a possible. ers, Kurrner rep li ed: "Ts ti ll usc the classic Cremonese "T play violin, vi ola and cello construction technique eq uall y we ll ," Kuttner commcnrs th:u was promoted by dcprccaringly. "That is to say, T Fernand o acconi in the can play, bur ir's nor music. It '60s. lr calls for a rradi sound like Bartok in a rional and logical deep depre sion. " While approach to arching Kuttner is nor enamored :md edge work rhar is of his playi ng prowess, hi not commonly used by accomplishments in rhe most maker roday. I do my violin making wo rl d arc purAing and edge work when the body of the instru another story. The consis ment is permanently closed. This was rhe technique tenr high quality of hi used by Srradivari and most probably others who work has earned him three trained with the Amari fam il y. Tt gives me great free Gold medals from the dom in achieving the final form of the in strument as Violin ocicry of Am eri ca well as an increased awa reness of the in Lrumcnr's along with Hors Concours response through plarc control, nor to mention a status, which precludes more Auid control of the V LL.JM~ 2 Q NUMI3 R 2 25 de Pari s in 199 1, ing of varnish and irs appli cation. So me of chis Kurtner was award change of hea rt comes from the maker "gerting ed two sil ver antiqued myself." Whi le sti ll a stickler for fi ne crafts medals, a feat he manship, Kuttner admits that "he might leave a few repeated aga in at more toolmarks now" After making 125 instru the second ments, experience has also all owed more sense of Concours at Paris in spontaneity and less obsession with making the "per 1999. In addition, he fect" instrument. Varnish recipes have evo lved from rece ived a 'il ver medal at spirit to oil / resin. Is there a "Kuttner" so und? the 1985 Triennalc in "Obviously my clients wo uld say so," he notes. Cremona and a Sil ver Comments like "it plays itself" are quite common. Medal for a cello at the Ma nchester T he violas and his other instruments have a recog International cello nizable face and are always known fo r their beautiful co mpetition in wood and craftsmanship. The present retail for vio 1992. las ranges from $22,000 ro $25,000. The waiting rim e is approx imately one yea r. He With such spends half the year ar his shop in accomplish- Sa n Francisco and half in ments as a Cremona where the roots of his co ntestant, instrument-making ca reer are Kuttner i located. "Spending half my highly sought time in Cremona, " Kuttner after as an in ter says, "livi ng a fu ll and ri ch life, national competi has give n me a certain sense as to tion judge. He has where violin maki ng fits in a much twice served as a Vio li n ociery of America judge, wider artistic tapestry." twice as a judge at the Mittenwald competition in Germany, and most recently at the latest Trienalle in Asked how he wanted ro be Crernona where he now makes his horn e for part of remembered, Kuttner com each yea r. This December he will be on the jury fo r mented: "I hope that the Etienne Vatelot co mpetition in Paris. musicians wi ll continue to appreciate the sound When asked if there was such a thing as an ideal of my instruments and T viola model or size, Kuttner found the concept quite hope rhat the instru- foreign ro his approach. What is im portant to him is ments T make will be rec that the instrument feels comfortable whatever the ognized by their style as size and string length. T he only model that he my own." He will be believes is perhap nor suited to many players is the remembered as a prod- "Terris" model, wh ich the viola virtuoso developed uct of rhe America n with lu thier Arthur Richardson. arts renaissance of the I 960s and I 970s who Kuttner's approach to instruments has evolved in played a major role in very subtle ways over the past 25 years. A decade establishing the preemi ago, the idea of antiquing an instrument was anathe nence of American vio- ma to hi m. Now he find that rhe techniques used lin maki ng. fJ in rh e antiquing process help his overall understand- The Harold B. Lee Library at The Internet URL for the BYU AND, OR, and NOT can be Brigham Young University is home library homepage is used to combine keywords. to the Primrose International Viola www.lib. byu.edu/ newhome.html. 4. Then dick on the SEARCH Archive. Their library catalog sys Anyone with access to the Internet EVERYTHING button. If your tem can be accessed via the should be able to use the catalog. choice of keywords is limited to Internet by violists throughout the Some users who receive their the composer's name or title only, world. The following instructions Internet access from America then dick on the corresponding explain how to search for viola Online have reported problems AUTHOR or TITLE button. materials in the catalog and making the connection. To use the describe procedures for requesting online catalog it is necessary to SUBJECT SEARCH specific titles through the interli have either Internet Explorer ver Subject searching can be more com brary loan process. sion 4.x or Netscape version 3.x plicated. Subject information in the (or a higher version of either) run catalog is based on the Library of PIVA is the official archive of the ning on your computer. The cata Congress Subject Headings and the International and the American log may not function properly Zeyringer classification scheme for Viola societies. We wish to be user with earlier versions. viola music. If you are familiar with friendly and to aid you in your either of these systems enter key needs regarding the viola reper Once you have made the connec words (e.g., "viola AND duets") and toire. The holdings ofPIVA now tion to the BYU Library home then dick on the SUBJECT button. consist of approximately 5,000 page, select the option LIBRARY If you are not certain of terminology scores that feature the viola. Some CATALOGS-BYU LIBRARY. used in the subject headings, then of the older editions and manu The catalog can be searched in enter common descriptive terms for script scores can be photocopied four different modes. BASIC musical genres and dick on for a modest fee. Although many SEARCHandADVANCED SEARCH EVERYTHING. The scores are protected by copyright SEARCH are the two most useful truncation symbol of the dollar sign and may not be photocopied, search modes for PIVA. (e.g., "sonat$") retrieves sonata, PIVA is able to loan these materials sonaten, sonates, etc. through inter-library loan. BASIC SEARCH The results of the search are first Using the Catalog To use BASIC SEARCH (the displayed in a list showing only call default mode) follow these steps: number and title page information. The catalog will display all of the 1. Leave LIBRARY pop-up menu published scores and sound record set at ALL. To view the full citation for the ings in the viola collection. Most of 2. Leave the SELECT SEARCH item, dick on the VIEW button the published scores are available to TYPE option set to KEY on the left side. In the full cita borrow through interlibrary loan. WORD. tion display titles, author names, Commercial sound recordings are 3. Enter keywords from the com and subject terms are highlighted not loaned at present. Manuscript poser's name and title of the and underlined in blue. Clicking scores, rare editions, and materials in work For example, "bloch AND on any of these highlighted phras fragile condition are also not avail suite" (upper and lower case are es will initiate a new search on the able for loan, but in most cases may not important). Common corresponding author, title, or be photocopied for a modest fee. boolean operators including subject. VOLUME 20 NUMBER 2 27 To print rhe results of a search you I. Pop-up menus in rhe left-hand The interlibrary loan process is not must first rag citations by clicking in column ler yo u pecify d1 e care complicated. Si mply bring the rhe checkbox positioned at the upper goly for rh e keywords you enrer. information you received from lePr. Click on d1c PRINT CAP' l'U RE 2. Pop-up menus in rhe righr searching rhe online catalog ro button and fo llow the prompts ro hand column ler you select a your loca l library and ask them to modi fY rhe display :md sorting of rhe boolean operaro r. send rhe request to the fol lowing records. Note d1e option to send rhe 3. In the SEAR H LiMITS area of contact and address: results of your search ro an e-nmil the display leave the LIBRARY address or ro save w a disk. pop-up menu et to ALL. Interlibrary Loan 4. U e rhe ITEM TYPE pop-up Ann.: Andy Spackman Just for fun, try entering the key menu to limi t rhe search ro a Harold B. Lee Library word search "primrose AND viola specific rype of media such as a Brigham Young Universiry AND archi ve" and click F.AR 1:--l CD or S 0 RE, ere. Provo, UT 84602 EVERYTIII NG. TEL: (80 I) 378-4 155 Experiment with rhe different FAX: (80 I) 378-6347 ADVANCED SEARCH options and pop-up menu to OCLC ymbol: UBY The ADVAN ED SEA RCH modify your sea rch. The interface e-m j U RN/\1. F THE AM ERI ' AN V I Ll\ . 0 : 1 ·TY 28 TITANIUM VIOLA A Kaplan olutions are strings that solve specific problems and requirements for tbe high-end player. Years ofe:r:hrmstive research into materials and design ofstri ngs. combined with extensive input from professional musiciaiiS and luthiers result in strings made for the perfect petformrmce. T he Kaplan Solutions Viola A string produces a round, rich, and open tone. T his titanium wound string is designed to blend with lower strings, adding projection on higher notes. It's the missing link to a total Violt1 performance. Vc LUME 2 0 NVMBER 2 29 FRESH FACES: RALPH FARRIS A VIOLIST fiNDS A DIFFERENT GROOVE a~ a violist has spanned the everything artistic. Farris recalls range from performing singing the parr of''Amahl" in wirh the Chamber Music "Amahl and the Night Visitors," a Society of Lincoln Center wel l as actually playing the recorder to being an original mem part on hi 7th birthday. ber of the Broadway com pany of Disney's "The Lion Ralph Farris' road from Jui ll iard ro Ki ng." He is also a con Broadway is an example of having ductor, as well as a the gumption and the ability to tal{e Grammy-nominated advantage of opporru nity when it arranger. comes your way. When Roger Daltry of "The Who" decided to O rigi nally fro m Boston, celebrate his 50th birthday perform where he attended the ing rh e music of Pete Townshend Walnut Hill School for the wirh rhe Juilliard O rchestra at Arts as a student of Mary Carnegie Hall, Farris "lucked our Lou Speaker-Churchill. and landed the Fir t Viola chair for Ralph Farris continued on the shows." He co ntinues, "l just his less-than-traditional ate it up. When it wa~ all over, l path from a landmark of decided T needed more. I chased classical music, the J ui ll iard Maestro [Michael] Kamen down in School of Music. At his dressing room and begged him Jui ll iard, he received two for a job. He asked me if I was a by Lembi Veskimets degrees and reveled in the knowledge conductor. I said yes. He said, and dedicated mentorship ofhis 'Good. T he tour leaves in a month." When one first discovers the ensem reacher, Samuel Rhodes, and He impressed the other rour con ble named Ethel, the obvious ques Rhodes' Juilliard Srring Quartet col ductor, Broadway's Keith Levenso n, tion is, "Why Ethel ?" As its violist, leagues, Roberr Mann , Joel Smirnoff enough that when he fo und Farris "a Ralph Farris puts it, "T his band was and Joel Krosnick. More than even few depressing months later," work our baby, and so we chose ro name the classicaJ training that supports ing in the classica l music depart our group as one wou ld name a his present-day artistic explorations, ment of his favorite record srore, he chi ld." The more important ques Farris says that "Juill iard afforded me promptly invited Farris to act as an tion is, what is Ethel? You can get a the opportu nity to stake my cla im in assistant conductor for the clue ro rhe answer by looking at the big, scary world that is tbe New Broadway revival of "Annie" and rheir Jetson-styled logo, which York music scene." Of course, he recommended him for the implies something both nostalgic was probably predisposed to being a violin/viola chair for the original and futuristi c. Ethel is a traditional musician since his mother, Nancy company of "The Lion Ki ng." string quarter that fuses classical DuCette Farris, is co-direcror of music with roday's pop culture. It is White Mountain Musical Arts and Ethel was form ed when its members also the brest project of the multi his fa ther directs the Richard Farris (incl uding Todd Reynolds and Mary talented Ralph Farris, whose career Chorale and exposed him early on to Rowell , violins, and 'cellist Dorothy VOLU M E 2 0 NUM B R 2 31 over audiences, Farris share the universal truth rhar "wh en you arc playing music rhar you love, it shows." While Ethel has per Form ed ar practically every presti gious space in New York City, Joe's Pub is Farris' Favori te ve nue because it is "an intimate setting [and] rhe spirir there is warm and invmng." Jusr li ke every modern celebrity, Erhel uses a host oF people ro help them shine in the spotlight: a management company (ICM), a publicist, an executor who sends our a monthly e-zine, a web ire designer/webmasrcr, and th eir non-profit even has a licensing arm whi h seeks pl acement oF their reco rdings in various film and TV spots. Irs members have plenry leFt to do with composing (rheir CD Fca cures a tune by Reynolds), arranging (Farris arranged another audience Favorite, "Pelimanni's Revenge"), programming (set-lists arc matched to each perFormance space, and future reco rdings proj ects are bein g planned), and writ ing grants For commissions. Farris Ethel Quartet: hrris, Rowell, Lawson, Reynolds hopes that in the near Future, not only wi ll Ethel continue ro receive Lawson) sat down For a gig in selection with a microphone, no accolades (from The New York 1997 and Found the chemistry intermission. In f.1ct, they play Tillu's to Billboard and irrcsisrihlc. rarris considers class i amplified, which allows them ro a11dante.corn) and perForm around cal music an "evolving art" and ro add ocraves, add reverb, play with the country and abroad, hur will rhat end the group plays music pre-recorded tracks and use disto r also pay the rent... In rhc mean that "stretches beyond the bound tion , among other efTects. "We rime, he li ves by the motto "lFyo u aries oF the Fa miliar string quarter craft an acousri c journey with our arc happy doing it, make it your model," From blu es to rock ro live show sound," explains Farris. liFe's work." avam-ga rdc classical. In this they O h, and th ey also improvise, arc indebted ro rhc Kronos somerime using improvisation ro Lembi Veskimets is a member ofthe Q uanet For "clearing rhe path." link LOgerher works by contempo Cleveland Orchestra a11d President Ethel's programs are f.1shioned li ke rary composers such as John Halle, ofthe Ohio Viola Sociny. a rock band's set-list, beginning John King, Phil Kline, Julia WolFe with rhcir 'hits', introducing each and Evan Ziporyn. As For winning j URN/\1. F T H E J\MERJ AN V I O L A 0 I E'--'"I_' Y-'---- 32 Announcing the New AVS Website Recent growth and development of the AVS website during the summer months has resulted in expanded services and new features for AVS members and the wider viola community. Here is a brief description of some of the new features on the site: Community- This link provides access to AVS Local Chapters, International Viola Societies, and other viola societies. Watch for a new AVS Chapter Calendar of Events coming soon. Join AVS- AVS membership and renewals can be easily registered through the secure connection or through a downloadable membership form. Giving Opportunities- The AVS continues to welcome additional support in order to keep membership affordable. Look to this link for new and expanded giving opportunities in support of the viola and its research, performance, history, and literature. Marketplace - This exciting new area of the site provides a place for members to promote their materials, books, COs, sheet music, pedagogical works, and JAVS back issues. If you have materials that you would like to have listed in this area of the site, please visit the member ads link from the Marketplace for instructions on submitting your item. Member Resources- This area of the site includes the AVS National Teacher Directory {listings by state and by last name) and a new email directory of the AVS membership. Watch for more links from this page coming soon. Also check out the News corner in the lower right side of the home page, as well as Special Features in the lower left corner. Currently these special features include a review of the 2004 International Viola Congress, the 2005 Primrose Competition, and Travels with Thula, a new travel log written by Nokuthula Ngwenyama outlining her experiences as she travels the world during the 2004-2005 concert season. Be sure to visit the site and check out our new look: www.americanviolasociety.org New AVS E-Mail Directory The AVS has a new tool for members to stay in touch. The AVS Email Directory provides email addresses for AVS members who have provided that data on their membership registration. Please visit www.americanviolasociety.org and find the Email Directory under the Member Resources link. If you would like to have your email address removed from the Email Directory, please contact Kathryn Steely at Kathrvn Steely@ baylor. ed u. PI VA Welcome Commun ity Home page Art From the President Local Chapters Emanuel Vard i's Journal of the AVS History Sister Organizations Homage to a Great Violist American Viola Society Interview with Vardi Feature Article Join AVS Subscriptions JAVS Online Online Membership Giving Opportunities JAVS Archives AVS Electronic Journal Membership form AVS Contributions Submissions Summer 2004 Renewals How you can help! Past Issues Summer2003 Info for Advertisers Member benefits Special Features Contact Us Travels with Thula Your AVS questions 2004 Congress Review Competitions answered 2005 Primrose Competition Instruments for Sa le Primrose Competition JAVS Back Issues David Dalton Viola News from the AVS Pedagogical Works Research Competition Sheet Music Your con nection to AVS Advertising Info news, updated regularly Member Resources National Teacher Directory Email Directory This issue's column foatures solo viola this one are the performances This work is available through: works written by violists. Rachmaninoff gave of his own piano concertos. The viola writ Theodore Presser Co. Sonata for Viola Solo ing stretches the possibilities of Presser Place (1992) the sound palette of our instru Bryn Mawr, PA 19010 Melancholia ment in many ways, but especial Phone: (215) 525-3636 Alia Bulgarese ly in his use of double-stopped Finale sui ponticello harmonic passages, many of these Or from the composer directly at: having a solidly played note e-mail: [email protected] By Atar Arad (b. 1945) against a harmonic note. Difficulty: Level 6 Duration: 20 minutes The Middle-Eastern, Balkan, and Forgiveness (Solo Hungarian flavors are evident Viola Sonata) (2002) I was first introduced to this throughout the work, filling a work by Roland Glassl (former large void in our repertoire in solo By Nils Bultmann student of Atar Arad) when he viola literature from this region of (b. 1975) gave his top prizewinning per the world (except for maybe the Difficulty: Level 5 formance of this work in Khachaturian Sonata for Solo Duration: 11 minutes Potsdam, NY in 1997 for the Viola). One can also hear Arad's New Music Competition there. American influences, especially in As I was playing through this Glassl kindly gave me a copy of the rhythmic writing in the sec work, I was immediately struck the score, and I recently bought ond movement of this sonata with by the deep expressive qualities Arad's CD of this work at the alternating 5/8, 2/4, 7/8, 12/8 this piece possesses, and the way Minneapolis Congress. I remem bars that are somewhat reminis it makes the viola sound good. ber being very attracted to it on cent of the exciting rhythmic This work is another work by a both hearings. It wasn't until I writing of Copland or Bernstein. violist/composer, and it too, like sat down with the score and lis This work will certainly take lots the Arad, uses the viola in some tened to it several times before I of time to prepare, particularly to rather unique ways, most strik realized the sheer genius of this comprehend and comfortably exe ingly in his writing of a melodic composition. cute the extremely fast moto per line while requiring the performer petuo third movement. I very to pluck other open strings with This work is the first released much look forward to virtuoso the left hand. The execution here composition of Atar Arad, and violists stepping up to perform was a little tricky to work out at was premiered in June 1993 at this work; I would say that this first, but none of it is impossible, the 22nd International Viola would take about as much and can surely be worked out Congress in Chicago. When lis courage to learn as it would for with practice. tening to his recording, I was some of our most difficult solo considering whether or not I had pieces, such as the works by Musically, I enjoyed the use of the heard before such an excellent Ligeti, Kurtag, or Berio. With his motive (G#-A-F#, with a leap of a performance of a composer's own own rendition, Atar Arad certain minor 9'h between the G# and A, piece; the only examples I could ly has set the performance bar at a then a drop of a minor third possibly think of that could rival very high level for future players! between the A and F#) that finds VOLUME 20 NUMBER 2 35 its through most of the of Hindemith's Sonata Op. The History of the Viola piece. Rhythmica ll y, it is set 25 no. 1. The piece ends sim ila rl y to Bernstein's charmingly with the somber Volume I and Volume II Maria, maybe there is a melody high up on the string slight influence rhere? The with the bell-like left hand work has a fl exible feeling pizzicato accompaniment. 1 by throughout, not unlike the think this work will make for Dr. Maurice W. Riley fee ling in Persichetti's Parable a nice addition ro our li tera for Solo Viola. It is also very tu re. llook forward to more To order, contact: satisfying how Bultmann contributions to the viola lit separates the clearly contrasr erature from this up and George Maurice Riley ed sections of the work with coming violist/ com pose r! long breaks; they are borh 12301 Harbour Circle musically compelling and This work is available direct Ft. Washington, MD 207 44 practical, as it gives rhe per ly through the composer: former a chance to regroup. Phone (30 1) 292-0177 Each section contras ts in Nils Bultmann Fax (30 1) 292-0280 character and tempo, with 336 W. Lakesid e Sr. #1 [email protected] one of the later sections hav Madison, WI 53715 ing an aba ndon-li ke feel sim (608) 280-8368 ilar to the fourth movement e-mail : [email protected] l wf' Quulln ltuttllmt' ltH um/IJou' HrJitlll, Rf'lltdh An ('.\.) O IIt' \ ,\1/,•,•t M tnll FOR ALL YOUR BOWED INSTRUMENT NEEDS (505) 889-2999 · FAX (505) 889-7790 • (800) 284-6546 3201 Carlisle, NE Albuquerque, New Mexico 87110 F THE AM · RIC AN V I OLA 0 ~ I ETY ______36 Sonata for solo viola Kimber's ability to write in many the clarinet influence in Brahms' (1997) different compositional styles, Sonatas, Op. 120. There are no Prelude while keeping his individual voice double stops in this work, and it Fugue and the personality of his writing comes off very well on the viola. Nocturne intact. This breadth of inspiration Presto gioioso reminds me slightly of the varied The Yereg Haikakan Patkeratsum influences in Rebecca Clarke's begins with drone sounds and Difficulty: Level6 Shorter WOrks for Viola and Piano; rhythms similar to Stravinsky's Elegie Duration: 9 minutes Kimber takes this to the extreme for Solo Viola, however Kimber takes however, with influences ranging these ideas and expands on them Monolog i Krakowiak from Bach, Mozart, Hindemith, beautifully throughout this work. (2000) Stravinsky, and Bloch, to Jazz, The 2nd movement (Aghachang) uti Soliloquy World Music, and Space Music! lizes exotic scales, sometimes remind Krakovian Dance ing me of Bloch's exploration of the The Sonata for viola solo is very tight augmented 2nd interval in his Suite Difficulty: Level 5 ly constructed in a neo-classical style Hebrai"que or of the scales used by Duration: 8 minutes that is somewhat reminiscent of the Hovhaness. A dear Bartok influence Hindemith Solo Viola Sonatas. The is heard in the 3rd movement Yereg Haikakan first movement mimics Bach's Cello (Tonakatarutiun) with open string Patkeratsum (3 Suite No. 3 in contour, but is very drones and quick changes between Armenian much in a 20th Century language as duple and triple groupings within far as harmony and rhythm. The the 9/8 meter that is maintained Impressions) (2002) Fugue movement is very jazz-like, throughout the movement. Gisherayin Yerazhtutiun (Night especially in the rhythm with its Music) triplet-like shuffie beat pattern. The Comet: Reflections on a Celestial Aghachang (Supplication) Nocturne is peacefully written in a V~ager, Kimber's first released solo Tonakatarutiun (Celebration) 6/8 rocking tempo, however this viola composition, is highly impres character disappears in the middle of sionistic and seems very successful in Difficulty: Level 5 the movement during the animated provoking highly imaginative Duration: 9 minutes section which peaks on a high D-flat thoughts about outer space. This Twelve Caprices more that two octaves above the work in particular seems to require (1996) open A string. Of all of the viola lit the violist to have lots of endurance erature to my knowledge, only one with a great deal of the movement Difficulty: Level6 other work utilizes notes higher than utilizing tremolo in various manners. Duration: 30 minutes this, that piece being Schnittke's Monologue for viola and stringr in The Twelve Caprices are each writ Comet: Refections on which he goes up to the D-sharp ten in a different key, and ordered a Celestial Voyager above that. The last movement is a according to the circle of fifths. (1986) moto perpetuo, which includes some Each of these technical studies/per Difficulty: Level 5 16th note passages that somewhat formance pieces, written in a quasi Duration: 8 minutes mimic parts of the 3"' movement 19th-century style, exposes one or Bartok's Viola Concerto. two technical ideas. These are cer By Michael Kimber tainly recommended for those vio (b. 1945) Monolog i Krakowiak is available in lists and teachers who are interest versions for viola or saxophone. ed in exploring other options for Upon listening to live performanc When listening to the viola version, technical studies besides the usual es of this violist/composer's music, one can hear the composer thinking Kruetzer, Campagnoli or Rode I am most intrigued and amazed by of the saxophone just as one hears etudes. VOLUME 20 NUMBER 2 37 These works arc available through the co mposer at: Michael l(jmber 12 N. Mount Vernon Drive Iowa iry, IA 52245 (3 19) 339-7232 e-mail: [email protected] web: http:/ /rncmbers.tripod.com/m_k.imber Key to the Difficulty level chart: I Very Easy Af{llflrero • J:/ UOJfJIII' de Jeme= 2 So mewhat Easy La Pen·ita Frmimrll • TwiJty ViJIII 7imgo 3 Intermediate by Margi Griebling- Haigh 4 omcwhat Difficult 5 Difficulr "IJocotlillus l,ono r·{uuico. .:; is ufuu ph•t'f•jm· hoth tlw wufl'l·m·1· G Very DiHicult wul tiH' perfol'lllf!I"S, with lots ofd 1m·octer wrd cor!lrast!" Jt"'ffrey J,.u;,,.. Please send all viola cores for review consideration to: Send n check or money order made out to Marj\i Gricbling- llaigh $2!\ fur tlw first ('OPY Kenneth Martinso n ($ ~o each for mlrlitirlllal copies moiled tn the same address) 2701:! llcrkshirt• Road, Cleveland !!eights, Ohio 44106 (216) ~97-01 5 1 Western Illinois University S1'11uigh @ndclphin.n cl Music Department- Browne Hall 1 University Circle Dr. Macomb, LL 61455 J OURNAL 1: TH E AM£RI CI\N VI IETY 38 Alla Bulgarese II ritmico f.\ , grazioso ~= 144 V V 2 IIR i n ~ ,J F j ,f, i ~ 111 p Efbtrri E Ul pp v f.\ v v ~ a· ' poco 0 0 0 .....--.... ~~~ f ~ i If ~ ~ liE p· EJ1:ffE7 F f ~ I V f.'.. r .- ~ ~~ - ~ 1pt r fvj 1g J ';fjf llti : ~ ~H IM ;· .J @f I p ~ ritmico ~ = 176 ~b...... -- ~,2 >3 I> v~ f.\> f!i1i ~ ot~ Phi~ h r kD I~ F ! F f I P i II I A I Vivace molto 176 o ~-= 4 4 liB ~£ip10iililiilifn I;JJ'QVi#glt'J§til I.[L4jgm@IJfJ ~ mp collegno $. J) i II ~ 3 I,~g; [N"d 'N~ i :P ''j #p r a~ro. m~ru& ro ~ ~ JOURNAL OF THE AMERICAN VIOLA SOCIETY 40 accel.--... rit. VOLUME 20 NUMBER 2 41 v I J J J J >- > ifz f JOURNAL OF THE AMERICAN VIOLA SOCIETY 42 1 2 > > IliB§ &J j r i p itJ4 p 3 G------> 1> ; b.h > 2 ~ ~ 2 11u ~~ ; ; 1w ~E s n r r 1 r Er c r 1 ff VOLUME 20 NUMBER 2 43 ---..., mp IIIU lp f r F C. f r i C r r J I~ Is F 5 f C: 0 V C cresc. pesante a tempo Ilia U~et H ftec U li C ~F 1'r I~ 1( @f# 0 J @ID ' f pesante rit. 0 4 0 3 !"';\ ' 1113 a: J &J J j jg I§ ::5- .J .w >~· ill €139 J> >J J > f v v PPP - V v !"';\ ;0 ; J I~ r r j f v f r PPP f espr. ll#f f f f {] 1ij~~I p V dim. PP JOURNAL OF THE AMERICAN VIOLA SOCIETY 44 The Primrose International Viola Archive announces a generous gift by Peter Bartok of several hundred copies of the Facsimile of the Autograph Draft of the Viola Concerto by Bela Bartok • Hardback in black, 12 by 16 inches, 84 pages including photo page. • Priface by Peter Bartok & Commentary by Laszlo Somfai (Text in English, Hungarian, German, japanese, and Spanish). • Fair transcription of the draft with notes prepared by Nelson Dellamaggiore. Any donor, past or future, contributing $150 or more to the Primrose Endowment will receive this handsome book as a gift from Brigham Young University. Send your donation to: Primrose Account BYU Development Office C-389 ASB Brigham Young University Provo, UT 84602 VOLUME 20 NUMBER 2 45 o/%1ttuo6t . cle/mdcm a /$41" ~~#wi ongmaliry, a one of a kind genius ~ . mal cann01 be duplicaLed Like the gen1us of Pmchas Zukennan A legend 111 hiS own time, Jar an times And the only snmgs Pmchas uses on tus IRIMIItl• .... venerable. c. 16 70 Andrea Guarneri v10la are Dommam perlon smngs Craf1ed -- w1th uncompromising arosoy and qualtry by Thomasok-lnfeld. A legrnd rn this ttme, far all ttme:s. Dominant perlon viola strings: ~r virtuosi like Pincha s Zukerman , and all those who wrsh to bring out a touch of gemus. THOMASTIK·INFELD CoNNOllY & Co. v H H A Exclusive U.S.A. Oistribu1or www.COftftOIIyiiiKo.com www .tll omutl tl-lnleld.tom lllfoOcoiiiiCIIIyiMco.com ------+J -=O::....::U R N/\ 1 ____ETH E A M J::. R ICAN VIOLA SOCIET Y 46 EXCERPT FROM COMPOSEO SY NII.S SUI.TMANN , e I 6 3 s P <:mP> A TEMPO ~If 3 ·------1':\ ATEMPO 68 i ;,~EtPflfift~(drfttl lf{M ff @f ,fl ~ - 3 6 SUI.O 3 ~ ~ 3 II (ctESC.)...... •.•.....•.•••.•...... •.....•...... VIOLENT, STASSINQ AT FfOQ ~------6------~n n ;,g,,,,.,l>_ > > > SUI.O 3 v v <4) 2004 NILS SULTMANN. ALL fiQHTS fESEiv'EO VOLUME 20 NUMBER 2 47 f) • 66) 0 f CALM - II~ @IJo:r J * f) ,. 40) SLIQIIfL Y LESfi CALM fifiLL BlfiN~ LE~fO, SfAffiN~ MUCH SLOWErl 0 16 > - ~IT ~riAOUALLY ACCELEriAfiN~ ..... - ~ > -- . ------... ~ ~ ~ I] ~0~ J J. r E ~~~~~~ li, ;p_;.,ij_J>JUFI @'JI;, PI 3 1 8 J] tjw t~= ,J1Efi tjE!! tiP f B ffi•tl- u I (CriEfiC.). • • • ~• . ~ • • • • • • • • • • • • • • . . • • . . • . • • . • . . ~~-• ?...... = iiT. _ - - 25 > 3 -- vr- 3 - ~ 1':\ B il¥ :u 3J ¥ J ; 9 112 Jz NIENfE 3 ~HAPSOOIC AO. LIS. (!.E. SrAeT SLOWLY. ACCELEeATE) ------. ~-52) 24 ~ n ,..-1i'l ,...... ---r.: f - 13 2~ ~ t ~ I 'f € ff f € tr € f2 f € f 1 mf = mp ceESCENOO = tr ~---- flf.- ~- - MOVIN~ FoeWAeO ) 2 is tff f v li(Si5 f •r= e lf e i5 f tlf= 118 mJ CeESC. " ~0. LIS.) Eli' PASSIONATE (WITH FleE) w(Ao. LIS.)- I A TEMPO SWEETLy SIN~IN~ Js ~ ~v ~ 13 ~ r-r e re;tft ftt 'tf 4ft r ~?: 4 ~ ;f:E r •W ,fi;-Uf 1t6 r if() ,fii eri 1s CiESCENOO > 57. ~ > > $ -ifJO@@UJfl@r}ffiffiQJ&I 0 5~ ~iAO. SUL PONT ...... • . . . . SUL PONT...... 17iiAO. NOiMAL ..... $ ooae"'Haulecwaaau~fi s HOAOEN SI.IQIITI. Y ),.) NOI!MAI. 61. () "' 92)~- • afj •c ftr Me @16 lr 2tr W cUI ST A6SIN~ AT FI!O~ A TEMPO I 6 (),._.-----.... 66) 3 , n n 67 IV ' ~~ v ' ~~ - t r E---- E. v B ~r f : E~ ' ' ' ' [ ~I A TEMPO () ·..S6) 69 n B ilf 1 ...____3~ _ __. Ill Bachelor of M Master of Musi Performers C Artist Diplom: J OU i tNAI . OFTHF- 1\M E IU< '. /\ N V I O L /\ "OCJETY 52 AT THE GRASSROQJS Please send items ofinterest regarding Minnesota AVS Local Chapters Arizona Viola Society viola activity at the grassroots to: The Minnesota Viola Society pro Patricia Cosand, president Louise Zeitlin, AVS Secretary, vided terrific support at the [email protected] 480-897-1954H 480-921-3308W LouiseZeitlin@oberlin. net. XXXII International Viola Chicago Viola Society Congress presented in Michael Hall [email protected] Iowa Minneapolis this past June. The Idaho Viola Society By the time you see this, Viola Day Congress surely made for an excit Linda Kline Lamar, president [email protected] 2004 will have happened on Sunday, ing and rewarding first year for 208-426-3665 October 17 at the University oflowa the MVS! Since that extraordinary Iowa Viola Society Christine Rutledge, president School of Music. This year should be a event, the MVS board has met [email protected] 319-341-0311 fun day for all, as have been all previous regularly to discuss long-range Minnesota Viola Society Viola Days! Our activities will com planning and goals that include Korey Konkol, interim president [email protected] mence at around noon, but for those two major events each year. North Carolina Viola Society wishing to see a wonderful viola recital Scott Rawls, president the evening before, plan on coming to [email protected] We are currently in the midst of 336-288-2990 Iowa City on Sarurday and spending the planning our first annual fall event Northern California Viola Society night; Michael Kimber, former Professor Tom Heimberg, president "Viola Fair, '04" which will be host [email protected] ofViola at the University of Kansas and ed by Hamline University in St. Paul 510-526-8396 the University of Southern Mississippi, Ohio Viola Society from 1-4:30 p.m. on Saturday, will be presented a program of his origi Lembi Veskimets, president November 13. The program will [email protected] nal compositions for solo viola. 440-356-0265 include a guest speaker, riveting Michael has recently moved to Iowa Oklahoma Viola Society archival video/film footage of cele Matthew Dane, president City with his wife Marian Wtlson [email protected] brated violists, and to top off the 405-325-0428 Kimber, who is one our new musicology day a recital by members of the Oregon Viola Society faculty members. Viola Day will Adrienne Brown, president MVS, which is now 62 strong. [email protected] include our annual viola competition for (503) 697-9662 both high school and college-level stu Palmetto Viola Society A viola competition will be Kathryn Dey, president dents, which was instituted for the first [email protected] time at last year's Viola Day in Decorah. announced next spring, and the 864-467-1751 MVS board will plan a retreat early The Philadelphia Viola Society David Yang, president Sincerely, next summer to reflect on the past [email protected] 215-627-7622 Christine Rutledge Russell year's successes as well as reenergize Rocky Mountain Viola Society President, The Iowa Viola Society for future endeavors. The MVS will Margaret Miller, president mail its first issued newsletter "Viola [email protected] 303-442-1004 Notes" in October; it will focus on MD/DC &VA Southern California Viola Society several items including a recap of the Lori lves, president The Viola Club ofMD/DC&VA is [email protected] looking for members, and potential new Viola Congress, details of the 818-262-3741 November "Viola Fair" along with Urah Viola Society members, who wish to become involved Claudine Bigelow, president in the running of the chapter! Please our membership drive and dona [email protected] tions, and the announcement of 801-422-1315 contact me with questions or ideas. Viola Club of MD/DC & VA anticipated upcoming performances Louise Hildreth-Grasso, president [email protected] Louise Hildreth-Grasso, in the Twin Cities. While our 410-243-4726 [email protected] newsletter is for members only, Seattle Viola Society LeeAnn Morgan, president President, Viola Club of MD/DC & VA much of the information may be [email protected] 425-836-4517 VOLUME 20 NUMBER 2 53 glea ned from our wonderful website Shook and pianisrs Kathryn membershi p informed about all ar www. minnesoraviolaso iery.org. Brown and Nicholas Underhi ll) in our activiti es. a program of duos. T he parrners Respectfu ll y submitted, perform ed wo rks by Rebecca Lcmbi Veskimets Korey Konkol Clarke, Cleveland composer Margi President, O hio VS lnrerim President, MY Gri ebling-Ilaigh, Jan Jarvlepp, Ma rrinu, Moza rr and a brand-new work by Nicholas Underhill. The Oklahoma Ohio popular event , put together by Lisa Yuva l Gotli bovich Performs in April 23 rd , 2004, was the dnre of Boyko and Lembi Veskirners, raises Oklahoma ... Yes, Oklahoma!! The our annual benefit co nce rt, "Voila money ro support rhe OV ft rsr guest recital sponsored by the Viola," held at Sr. Paul' Ep iscopal omperirion. Our new letter edi Oklahoma Viola Society was an hurch in Cleveland Heights. tor, Lisa Boyko, has published a amazing trea t for the ftfry-plus This yea r's theme was viola + I newsletter for each season fe J U R NAL 1-' TH E AM H.J C:/\N V I OLA SOC I TY 54 Brown, President; Shell y Mathewso n, Secretary; Shauna Keyes, Treasurer; and Charl es Noble, OVS Webmaster. Sin cerely, Peggy Swafford Past President, O rego n Viola Sociery Philadelphia PV is planning three concerts in the pring: a group co ncert and recitals by Doris Lederer and Steve Wyrczynski (his in conjunction wi th the Delius Sociery). PVS pro duces rwo newsletters a year and OKVS Board after YtwaLGotlibovich (seated) RecitaL: PhiL Lowry, Matthew Dane, ran successfu l competi tion last year Donna Cain, jeffery Cowen. won by Loval High chool student William Frampton, now a student performing works by Bach, Arad, This, our January "Hindemith at NEC. Krein, Schubert and rwo Primrose Fest," and 3 recitals by members transcri ptions for encores !! His Steve Pri ce, Mara Lise Gearman David Yang playin g was effortless and expres and Charl es Noble, rounded our Presid ent, sion pass ionate. The OKVS the year 2003-2004. We had a Philadelphia Viola Socicry boa rd was very thankful for him wonderful year and look forward coming to perform. The O KVS is co another exciting one! We wel planning their annual Viola Day come new offi cers: Adrienne fo r January 15, 2005 to be hosted by the Universiry ofTulsa. We arc off to a great start and we look forward to sharing more of our experiences with everyone. DE . \LERS~ 1\;ll'SICI . \\S~ COLLECTORS, lVf..\KERS ... Jeffery G. Cowen Vice Pres ident, Specialized Insurance Coverage for the O klahoma Viola Society Classical &Vmtage Musical Instrument Trade • The most comprehensive ELLIS W. HERSHMAN protection at reasonable cost. Heritage Insurance Services, Inc. Oregon • Undetwritten by a financially 826 Bustleton Pike, Suite 203 O n February 18'", "The Four sound A-rated company. Feasterville, PA 19053 Violas" performed ar the • Call Toll Free today for 800-289-8837 information and quotation. Bridgcpon Brewery for a program FAX: 215-322-5854 sponsored by th e "Friends of rhc Symphony" - a support group for the O regon Symphony. V O L U M E 2 0 N U M BER 2 55 Seattle California May 16'"- Spring oncen O ur Violah:st, on of combined Suzuki Studio September 26, 2004 ar Add Viola to Program - Occidental College, was SVS members convinced a great mu sica l success program directors w though we wish more include violas cl1is year for people had attended. We d1e first rime! Jn the past dle had 3 L people an ending, co ncen has fe ll u n::d violin many of whi ch partici JOURN/\1. or; T l IE AMERl AN V I O L/\ SOC:I E T_:__Y'------56 Proof ofDarkness for six violas (by Martin include David Dalton and Dwight Pounds, both Kennedy) and then many other violists rollicking intimately familiar with the history of the archive through Manson's arrangement of Gershwin's and its contents. Carrie Maxwell will speak about "We've Got Pulse," with Bevan Manson conduct her experiences with the newly acquired and cata ing. We concluded with a drawing for door prizes. logued Harold Coletta Collection. In between the two concerts we had pizza, and The week will also be filled with time to hear the split into groups for some smaller viola-ensemble competition itself. These violists are the promising playing. and rising stars of a new generation. Please come and join us for the wonderful extravaganza we We are planning some more play-in events - a have planned! Holiday Party! - and will post them on our web site: http:/ /Southern CaliforniaViolaSociety.com. Claudine Bigelow Check our ViolaFest Program there. President, Utah Viola Society Lori Ives [email protected] Utah The Utah Viola Society is feverishly preparing to welcome the Primrose Memorial Scholarship Competition at Brigham Young University, in Provo, Utah, May 24-28, 2005. In an effort to SOLOS·DUETS draw more people to come hear the competition, a festival is being prepared and will feature a TRIOS · QUARTETS number of eminent guest artists, lectures, and spe cial tours of the Primrose International Viola ALL NEW TRIO SERIES! Archive (PIVA). 2 Volumes Interchangeable Parts Nokuthula Ngwenyama and Daniel Foster will be presenting recitals. The festival will additionally feature Utah violist Brant Bayless, a former mem ber of the Arcata Quartet, and currently a mem ber of the Utah Symphony. The Fonteyne Duo NEW VIOLA will give a recital showcasing repertoire from their WEBSITE! DUETS research in the Primrose Archive. There will also be a series of master classes with some of the guest artists that will address both solo and orchestral NEW T-SHIRT DESIGNS! excerpt preparation. Fitted French Style • Men & Women Alto Clef Angel • Clef Signs in Crystals & More! Other lovely additions will be daily opportunities 15 Great Designs • Look for Website Specials! to see PIVA, with lectures featuring some new aspect of it each time. There will also be opportu WEDDING • SACRED • CHRISTMAS nities to open some of the locked cases to see LAST RESORT MUSIC PUBLISHING some of the rare and special items, including some 800.762.0966 Fax 818.956.1521 ofWilliam Primrose's violas. Lecturers will www .lastresortm usic.com VOLUME 20 NUMBER2 57 concert violist: Transcribed for the Viola ~ by Alan Arnold. ,... -- -- Price: $8.95 www. violaworldpublications.com MEET THE SECTION MINNESOTJX ORCHESTRA cenrly voiced query as to the rela tive virruousness of my mother, and nine hearty welcomes from musicians who seemed genuinely glad ro have me aboa rd. T hat firsr day sera ro ne which hasn't changed much in the more th ~Ln four years since: if our section had a morro, it would have to be "Work hard , play hard - preferably simultaneously." Before we delve roo deeply inro rhc behind-the-scenes antics of our merry band , it should be stres ed thar none of our camaraderie would be possible in a section that The Minnesota Orchestra viola section at the Palau de Ia Musica in BarceLona, didn't make ir a point of pride to Spain, October 2000. L to R: Kerri Ryan, Ken Freed, Tom Tume1; Richard perform at rhc absolute highest Ma rs~a LL, Myrna Rian, Eiji Ikeda, Sifoi Cheng, Sam Bergman, Dm1id Ulfeng, level. From our secti on leaders to substttute player Korey KonkoL, MichaeL Adams. Missing: Megan Tam our rookies ro our most veteran players, every violist on our stage C-Strings & least not intentionall y!). And yet, understands how seriously we rake Sideshows when called upon to profile the our collective reputation among by Sam Be rgman viola section of the Minnesota our co lleagues, and everyo ne con O rchestra, of whi ch I have bee n a tribute ro that reputation. That We musicia ns probably go ove r mcm bcr for fi ve seasons, I must having been said , there is no ques board in assigning human charac co nfes to an overwhel ming temp tion that rhe Minnesota violists arc teristics to the va rious sections of tation to resort to viola jokes and best known in rhc orchestra fo r rhe orchestra. While ir ca nnor be hasty generalizations. ou r sense of humor. Counrless deni ed rh ar certain instrumental publicity phoros of the full ensem stereotypes are grounded in reality, T he fi rst thing you need ro know ble have been compromised due to an unbiased look at most ense m about us is that we have, hands the fact that rhe entire viola section bles would undoubtedly revea l clown, more fu n than any other was suddenly doubled over with that not all violinists arc carry and section in the Minnesota laughter ar some inside joke just as hypcrcom peri rive; that most O rchestra. Wirhin five minures ol the shutter snapped. Over the oboists show no actual signs of rh e moment T sat down for my years, on our corner of the stage, brain d V QLUME 2 0 NUMBER 2 59 and complex symphonic own strengths rather works have been reduced than demanding constant THE AMERICAN VIOLA SOCIETY to mere derivations of the obedience is that, on the A HISTORY AND REFERENCE opening two bars of the occasion that he does SECOND EDITION Bartok concerto; and some turn around with an of the great soloists and instruction, we know it by conductors the world has must be important. He ever known have had their has a low-key way of Dwight R. Pounds biographies quietly revised making everyone feel into side-splitting mono comfortable in their role, logues. All of this chaos and I'm convinced that it $24.00 Spiral Bound comes courtesy of eleven makes us a better section. $28.00 Hard Cover musicians who could not These days, by the way, (recommended for Library Use) be more different as indi Tom's German is perfect, viduals, yet who have and he is indispensable Dwight R. Pounds somehow come together in on European tours, 1713 Karen Street the common interest of where he regularly bails Bowling Green, KY 42104 self-amusement. It is my me out of situations dwight. [email protected] distinct pleasure to intro (restaurants, train sta 502-843-4820 duce you to them: tions, drunken revelries, etc.) in which I find • Our fearless leader is myself linguistically chal Tom Turner, a deeply lenged. impressive musician and • Co-principal Richard the best principal I've Marshall is a veteran of ever had. After graduat the section, having ing from Curtis, Tom arrived in 1984, but headed off to Germany somehow, he still has all on the vaguest promise the enthusiasm of a col dam pi~ of a job with a chamber lege graduate starting his Pat No 3 407 700 orchestra. He spoke bare first job. Richard's skills the sensational ly a word of German, as a musician and an humidifier for and according to sources, ambassador to the com VIOLINeVIOLAeCELLOeBASS took his time learning it munity are far too We recommend the Dampit enthusiastically. once he was there, but numerous to list here, his musicianship carried but suffice it to say that a dampit provides perfect protection against damage from a dry atmosphere. him quickly to the prin concert rarely goes by in dampit proved itself 100% effective in cipal chair of the Berlin which some member of scientific sensor measurements. Radio Symphony, where the audience does not FREE Room Humidity indicator with each dampit. he remained until taking approach the stage to say Violin $8.95 • Viola $9.50 over our first chair in hello to him. In addition Little Violin $7.95 • Cello $11.50 1994. A5 a principal, he to being the member of Bass $12.50 is surprisingly quiet, lead the orchestra most in AVOID FAKES, AVOID MISTAKES. ing by example more demand for donor events A genuine Dampit has the Dampit name on the black top. often than not. The and public appearances, Air postage and hendUng outside USA and Canada $1.00 per unit. In USA and Canada pleaae add $.55 per unit. upshot of his willingness Richard is our official Box .a3, Radio City Station NY, NY 10101. to let us all play to our Rookie Welcomer, pos- JOURNAL OF THE AMERICAN VIOLA SOCIETY 60 sessed of an innate abili ty one," although her ro make even the most bizarre obsession wim inexperienced violist feel pigs (she owns hundreds li ke Paul Coletti. He is of figurines, pictures, and also our resident master other assorred porcine of horrible punnery, and memorabilia) and in tense has an extensive collec interest in 1980s pop cul tion of groan-inducing, ture are enough to make 4th grade-level jokes that her fit right in. he hauls out at the slight • Of our eight section play est provocation. er , Michael Adams • Our assistant principal is undoubtedly rook the Kerri Ryan, with whom most CirCUitoUS route to 1 entered the orchestra his chair. He studied at back in 2000. Before Mannes and Eastman, and coming to Minneapolis, men spent time working Kerri was almost exclu construction in Oklal1oma sively a violinist, and (there's a viola joke in spent her first 18 months rhere somewhere) before as a professional musician coming to Minnesota as a as the acting concertmas morning radio host at ter of the Charleston WCAL-FM in Northfield. (SC) Symphony After subbing with the O rchestra. When she orchestra for a few years, started wid1 our section, Mike won a full-time spot she even confessed to me in 1989, and he now that she wasn't I 00% reigns as our official sec secure in alto clef You'd tion almanac. No matter never have known it. As what piece we're playing, it turns out, Kerri is one Mike ca n tell you in an of the most spectacular instant the last time we violists I've ever mer, and played it, and under what she was elevated to her conductor. When he current chair within rwo becomes bored with d1e years of her arrival. She is viola part of a given work, preternaturally patient he is li kely to suddenly with those members of begin playing me violin the secti on given to, shall part (or the cello part, or we say, shenaniga ns, d1e oboe part, or whatev although she did christen er) from memo1y, usual ly me entire bunch of us as wi thou r missing a nore. the denizens of" Miss He is also unquestionably Kerri 's Day Care" within the best in me section at a few months of her tel ling off-color jokes, and ar ri val. By our standards, he possesses incriminating Kerri would have to be photographs of ar lcasr one considered "the normal of his colleagues. ______V..~.....:: O::....:o..L"""U""' M E 2 0 NUMH E R 2 61 • "lechnically, David rehearsal, and murrered Ulfeng is no longer a in my car, "Hey, just so member of rhe section, you know, you've already having retired rhis past gor renure in my book." winrer, bur I couldn't Colleagues don't come possibly wri te a profile of mud1 bcrrer than tl1aL our membership without • Sifei Cheng probably Release from Phono Suecia including him. At first takes the prize as the glance, Dave appears to most low-key member Henrik Frendin be a li·iendly Norwegian of the section, but chap, given to amusing there's no chance rhar he anecdotes and possessed would ever go unno Viola Con Forza of an impressive knowl ticed once he picks up VIOLA CON FOitZA edge of obscure solo his instrument. O ne of viola repertoire. But he is three Curtis-educated o much more: in a sec players among us, he is tion jam-packed with tile essence of rhe rei i class clowns, Dave was ablc orchestral musician, very quietly tl1 e funnie t posses ed of an ungodly guy in rhe bunch. He sight-reading abiliry and could sit silent for rwo a free-fl owing technique hours of a two-and-a rhar most of us would half hour rehearsal, and ki ll for. More tllan any s then end you into a one in tile section, he lC hopeless giggle fi r with a makes playing the viola The versatile and innovative viola-player Henrik Frendin shows here what can happen when the interpreter becomes a cocreator single whispered sen look easy. He is also our of the music. The computer and improvisation are used as flexible tence or, even more resident golf obsessive, tools. A new electrified stringed instrument, the Electric Viola impressive, a sidelong and has been known ro Grande, is a central element, and stylistically this collection of glance and a raised eye spend rhe firsr coupl e of compositions reflects a liberating variety. brow. There isn'r a single services of the week Music by member of the section Daniel Nelson, Jiirgen Dalgcird, Kent Olalsson, gauging a guest conduc Fredrik SOderberg, Henrik Frisk and Henrik Frendin. who doesn't have a ror's rehear al style with Soloist: Henrik Frendin, viola. favo ri te Ulfe ng story, the in tent of determin The Gageego Ensemble and Helsingborg Symphony Orchestra. Conductors: Hannu Lintu and BTommy Andersson. and at tile viola parry ing whether he might be (ye , we have viola par able ro schedule an ea rly "TTUs record becomes an adventure. The music is beoutilul, it is dark, schrewd and almost funny. ries) ar which he tee rime should we be With your ears in suspense it Is just to be carried away." announced his retire- released a few minu tes "'A surprisingly amusing and disturbing CD/ " menr, we spent over an ahead of schedule. "TTtis recording is a wonderfully unpredictable journey in constantly shifting sonorous ani/ harmonious landscapes." hour going arou nd the • Ken Freed. I hardly room witl1 tllem. ] o me, know where ro begin. Dave will always be tl1e I've known Ken since l man who, when I was was I I, when he was wrestling with a period my counselor at a small Production: Phono Suecio SliM/Swedish Music Information Centre of intense self-doubt chamber music ca mp in Box 27327, SE-102 54 Stockholm1 , Sweden • Phone: +46 8 783 88 00 Fox: +46 8 783 95 10 • E-mail: swedmic~tim .se • Website: www.phonosuecio.com during my first season in the Berks hires. He hasn'r Main distributor: CDA • Phone: +46 8 442 11 20 • Fox: +46 8 4421 133 Minneapolis, leaned over changed much since E-mail: [email protected] • Website: www.cdo.se to me at the end of a rhen (a lthough he hasn't JOURNAL OF T H E 1\M E RJ , AN VI 62 given me any wedgies lately), enough time for most musicians Eiji has been working to perfect a which is to say that he's still the to become bitter and cynical gizmo that can perform the ardu only 'person I know who can about the profession, and yet, she ous task of holding up his viola make my sides hurt from laugh couldn't be nicer. More than that, while he plays. There have been ing whenever he wants to. she is a walking counterargument many incarnations of this tool, Remember where I mentioned to the wrongheaded notion that the most amusing of which that our section frequently ruins musicians can't maintain their involved a dowel rod, a sheet of publicity shots due to our inabili skills at top level for more than a black foam adhered to the back ty to stop giggling? Ken is nearly couple of decades of orchestra of his instrument, and the left always the stimulus for that par work. She is also, as it happens, a breast pocket of his suit coat. ticular response. He'll do literally championship quilter whose We're all confident that he'll anything for a laugh, but he spe work currently adorns the lobby someday make millions from this cializes in waiting until we're all of Orchestra Hall, and an indis endeavor alone. When he's not on stage before a concert, and pensable repository of knowledge working on that main project, then, just as the lights are concerning conductors, soloists, Eiji keeps an imaginary spybook dimmed, beginning a sotto voce and other orchestral characters. on all new players in the section, monologue in an uproariously • Megan Tam is our newest mem scouts the internet for good deals pretentious accent that falls ber, just one year into her time on cutting-edge computer equip somewhere between Inspector with us, and our youngest player ment, and places eyeglass screws Clouseau of Pink Panther fame by almost five years. Joining us in his fingerboard for the pur and Sidney Greenstreet in The straight out of college, we initial pose of quickly locating the high Maltese Falcon. The sound of this ly worried that she could be a bit E-flat in Shostakovich 5. accent alone has been known to overwhelmed by the strong per • And then, finally, there's me. I'm cause convulsions in Richard sonalities that dominate the sec the quiet one. Marshall, and the content of tion, but it didn't take her long Ken's monologue, which usually to throw herself into the Sam Bergman is a violist in the focus on the imagined life story Minnesota Orchestra spirit, and Minnesota Orchestra, and a news of the guest conductor emerging to begin mercilessly playing editor for the arts news website from the wings, is so absurd as to pranks on the rest of us, a skill Artsjournalcom. In February 2004, send anyone within earshot into which she has clearly spent a life he authored a critically acclaimed a fit of laughter. The monologues time developing. In one leg web log for Arts]ournal documenting usually conclude at more or less endary episode, Megan spent 90 the orchestra's European tour. All the exact moment that the minutes in a parking garage cov opinions expressed in this profile of applause dies down, and the ering Richard Marshall's entire his colleagues are his own, and will downbeat comes swishing minivan in festive Christmas probably be vehemently disputed for through the air towards us. wrapping paper, complete with years to come. B • I could describe Myrna Rian as bows and a stuffed bear hanging the long-suffering matriarch of from the side mirror. In her spare our mostly-male, decidedly time, she is very, very Canadian. immature bunch, but that • Eiji Ikeda has somehow man wouldn't be entirely accurate, aged to combine his love of the because I happen to know for a viola with an affinity for elec fact that she enjoys the heck out tronics and a positive obsession of the freak show that gets parad with small-scale construction ed before her on a daily basis. work to become our crew's Myrna has been in the orchestra answer to Inspector Gadget. since 1977, which is more than Since I've been in the orchestra, VOLUME 20 NUMBER 2 63 PUBLISHERS OF MUSIC FOR THE SERIOUS VIOLIST STUDIES ELGAR PUCCINI ARNOLD * Chanson de Matin & Chanson deN uit "0 Mio Babbino Caro" Three Octave Scales and Arpeggios * Salute d'amour PUGNANI BLUMENSTENGAL FAURE Gavotta Variata Viola Scale Technique Book 1 Fantasy RACHMANINOFF Viola Scale Technique Book 2 FIOCCO Vocalise DAVID Allegro RIES 24 Etudes for the Intermediate Violist FRANCK Perpetuum Mobile HOFMANN Sonata in D RIMSKY-KORSAKOFF Melodic Double-Stop Studies FRANCOEUR Flight of the Bumble Bee SEVCIK Sonata in A Major SCHMIDT Op. 7 Prep. Studies in Trilling Book 1 GERSHWIN Alia Turka Op. 7 Prep. Studies in Trilling Book 2 * "Porgy & Bess" Fantasy SCHUBERT Op. 9 Prep. Studies in Double Stopping Three Preludes Ava Maria TARTINI GLUCK The Bee The Art of Bowing Melody from "Orfeo" TARTINI HANDEL Sonata Angelique REPERTOIRE Concerto in Bb The Devil's Trill ARNOLD Sonata in Bb TCHAIKOWSKI Canzonetta Basic Bach (Student Pieces) Sonata in D June Barcarolle Beethoven's Best (Student Pieces) HUBAY Hejre Kati Melodie Cadenzas for Telemann Viola Concerto in G !BERT Seranade Melancholique Mozart Miniatures (Student Pieces) The Little White Donkey Valse Sentimentale The Young Violist Vol.1 (Student Pieces) JENKINSON TRADffiONAL IRISH The Young Violist Vol.2 (Student Pieces) * Londonderry Air (Danny Boy) BACH Elfentanz JOPLIN VITALE Bouree in C minor Maple Leaf Rag Chaconne Chromatic Fantasy Fugue & Pineapple Rag VIVALDI Sonata in G * Italian Concerto Solace Preludio and Gavotte KREISLER VON WEBER BARTOK Artdante & Hungarian Rondo Leibesfreud WIENIAWSKI Roumanian Dances Leibesleid Legende BEETHOVEN Praeludium & Allegro Fur Elise Romanza from Second Concerto Recitative & Scherzo Caprice Scherzo-Tarantella BENJAMIN Sicilenne & Rigaudon Jamaican Rumba Schon Rosmarin ENSEMBLES BOCCHERINI KUCHLER BACH Music Box Minuet Concertino in Style ofVivaldi Fifteen Two-Part Inventions BOHM MASSENET DeBERIOT Sarabande Meditation from "Thais" 12 Short Easy Progressive Duos BOROWSKI MAZAS HANDEL Adoration * The Chatterbox Ent. Queen of Sheba - 2 Violas & Piano BRAHMS MENDELSSOHN HUFFANAGLE Scherzo Sonata inEb Rythm Duets Oazz Style) CHOPIN MASCAGNI MOZART Nocturne for Viola Intermezzo from "Cavalleria Duo Sonata in Bb CORELL! Rusticana" Twelve Duets Sarabanda, Giga, & Badinerie MOUSSORGSKY PACHELBEL Sonata # 12 Folia con Variazioni Canon Hopak TELEMANN DANCLA MOZART Concerto # 1 inC for Four Violas Carnival ofVenice Adagio K.261 Concerto #2 in G for Four Violas DeBERIOT Menuetto Divertimento K.334 Concerto #3 in F for Four Violas Scene de Ballet Rondo K.250 DEBUSSY Concerto #4 in D for Four Violas Serenata Cantabile K.283 VIVALDI Claire de Lune NOVACEK Concerto for Four Violas & Piano Girl With the Flaxen Hair Perpetual Motion La Plus Que Lente PAGANINI VIOLA WORLD PUBLICATIONS DVORAK Six Sonatas Book I Romance Op. 11 Six Sonatas Book II www. violaworldpublications.com 100 Variations on the G String * New additions to our By Sel Kardan tain almost infinite interpretation. complex work that benefits greatly from the artists' sense of timing The CD review portion of the AVS Though nearly half a century sepa and phrasing in this recording. journal will be taking on a new rates the composition of McCarty and Amlin manage to format over the course of the year. Schumann's Marchenbilder and sensitively shape movements I and We will aim to review various types the Op. 120 Sonatas of Brahms, IV and maintain a drive in the of recordings: new releases of there is a certain comfort and cor inner movements that propels recital and concerto repertoire, re rectness in placing them side by them forward. In the last move releases of historically significant or side. Patricia McCarty, a prize win ment McCarty relaxes her sound long-out-of-print recordings, and ner of the Geneva Competition, and creates the warm glow so nec chamber music releases of signifi an internationally touring recital essary to end the work. All in all, cance to the viola community. ist, and former assistant violist of this pairing is a welcome addition Additionally, viola discs of a non the Boston Symphony, presents a to the catalog. traditional and educational nature technically assured, bold, and will be featured. We hope to fea straightforward approach devoid ture reviews by multiple writers to of sentimentality in both the Music of Arnold Bax offer broader perspective and Schumann and Brahms. Boston and York Bowen expertise. The AVS journal is eager pianist Martin Amlin is an able to receive submissions for review as and supportive collaborator. Doris Lederer, viola well as news of upcoming releases. Sonically the viola is given promi Jane Coop, piano Please send materials to: nence, with the piano sounding a bit muffled by comparison. The Centaur Records, 2003 AVS National Office close recording of the viola results CRC 2660 13140 Coit Rd. in an occasionally strident tone, Suite 320, LB 120 which is perhaps forgivable given A lifetime is simply too short to Dallas, TX 75240-5737 the remarkable clarity of viola become acquainted with the vast sound that is achieved. canon ofWestern music. The works on this disc are excellent Music of Brahms and In both of the Brahms Sonatas examples of relatively unknown but Schumann McCarty commands attention concert-worthy pieces that deserve through phrasing that emphasizes inclusion in the standard viola Patricia McCarty, viola long lines. The F minor reading is repertoire. Bax (1883-1953) and Martin Amlin, piano driving and purposeful, while Bowen (1884-1961) both attended beautiful legato playing is evident the Royal Academy in London Ashmont Music, 2004 throughout the Eb Sonata. One when Lionel Tertis was a young fac www.ashmontmusic.com might wish a somewhat more ulty member. Bax achieved wide romantic and lingering approach spread acclaim during his lifetime The works on this disc certainly to the sonatas but McCarty's as one of Britain's foremost com need no introduction. Indeed, one account displays a freshness that is posers; Bowen was known primari might question the need for anoth certainly worth repeated hearing. ly as a concert pianist (he toured as er recording of these staples, but Schumann's Marchenbilder, Tertis' recital partner) and teacher, these pinnacles of the repertoire though much smaller in scope than and his compositions known pri provide a wealth of material to sus- either of the Op. 120 sonatas, is a marily by pianists. ------·----'V._OLUME 20 NUMBER 2 65 SEMAN MAKERS, RESTORERS & DEALERS OF VIOLINS, VIOLAS & CELLOS 4504 O A KT ON H OU R S : S K O KIE , IL 60076 MoN, T, F 10 - 6 8 47. 6 74. 0 690 T E L TH 10-8 W W W. EMAN VI OLI NS.CO M SAT 10 -4 VIOLINS www. music. u i u c. e d u School UNIVERSITY OF ILLINOIS MUSIC AT URBANA-CHAMPAIGN Laurlen Laufmon ceRo KARL KRAMER , DIRE CTO R The School of Music is proud 10 announce I he addition of the members of the Pacifica Quartet 10 irs distin guished full-time fitc uJty. Mosumi Per Rostad, v;o/o Simin Gonotro, v;oJ;n Brandon Vamos, cello Sibbi Bernhordsson, v;o/;n College of Fine and Applied Arts "' DUNWtRSrrY OF ILUNOliAT UAIANA-CHAMMJGN OURNAL F THE ~ER l C AN VIOLA SOCI ETY 66 Bowen's delightful C minor Clearly, both artists are passion idiomatic use of the viola while Sonata of 1905, included on this ate about the music contained on placing great demands on the disc, might be mistaken for this disc. The listener has a sense performer. These are substantial French music of the mid-nine that this is a true chamber music works, the last being almost a teenth century were it not for its partnership and that both musi half hour in length. Violist Scott unmistakably "English" melodic cians are equally invested in the Slapin handles the technical hur elements. The 26 minute work is performance. Lederer plays with dles with confidence and, as a cast in three movements, featur thoughtful phrasing and sensitive composer himself, conveys his ing beautiful melodic writing and shading, never forcing her sound structural knowledge of the com great virtuosity for both instru while Coop is in full command plex works. With strong atonality ments. Bowen shows his ability of the virtuosic scores. Sonically and long melodic lines these as a capable violist in the bal the recording is well engineered works are not "easy listening," anced and idiomatic writing for with an excellent balance but Slapin manages to sustain both instruments as well. His between instruments and an interest and convincingly express Phantasy for viola and piano of attractive natural acoustic that their haunting beauty. Proto's use 1918 is a single movement work, place the listener in the hall of tone rows are used more to fifteen minutes in duration that rather than on stage. This disc is create strong chromaticism than remained unpublished until worth owning for the repertoire to force him to adhere to any 1997. This work would make an alone but the very satisfying per compositional technique. In fact, excellent addition to any recital formances make it especially what makes these works so program with its dramatic and desirable. arresting is their complete lack of lyrical scoring and somewhat compositional artifice. The pieces more English flavor. An unsus have an organic and improvisa pecting ear might mistake the Proto:Soundscapes tional quality, further heightened Phantasy as a work of Rebecca by Slapin's reading. Proto makes Clarke. Scott Slapin, viola extensive use of double-stopping, which in some of the slow sec The disc closes with Arnold Bax's Red Mark CD, 2004 tions creates an Ysaye-like sonori 1922 Sonata for Viola and Piano. CD 9223 ty. Proto's jazz background comes Bax's writing here is much less www.liben.com (see p. 6) through in several of the faster derivative than Bowen's and of a movements, which employ a more striking quality. A large This new recording contains strong, rhythmic pulse. scale sonata form first movement three Soundscapes for solo viola is followed by demonic scherzo by the by the composer Frank Soundscapes are highly evocative that employs folk-like melodic Proto who, by his own admission works that fully realize the viola's content. The last movement is an in the liner notes, has been range and expressivity. Though extended lento of a somber involved in almost every facet of there is more reverb and hiss nature which eventually returns the music business. A double than one might hope for on this to the first movement's opening bassist in the Cincinnati disc, Slapin's convincing rendi material. Symphony, Proto has also been tions of Proto's original and dra an arranger, producer, and pub matic works should certainly Doris Lederer and Jane Coop lisher and has arranged and com generate excitement. As an added make a strong case for both the posed for a long list of musicians bonus, the liner notes contain a Bowen and Bax works. Lederer is in jazz, Broadway, and classical two-page crash course in viola the long time violist of the music. His three Soundscapes on history from 1500 to Proto, as Audubon Quartet while Coop is this disc display an extraordinary well as useful notes on the works one of Canada's leading pianists. gift for melodic writing and an themselves. VOLUME 20 NUMBER 2 67 Carleen M. Panoramicos: musical challenges for Chamber music both instrumentalists, Hutchins for winds, string, Griebling-Haigh manages and piano to create beautiful textures Works by Griebling and melodic lines that DOYENNE OF AMERICAN VIOLIN MAKERS Haigh, Morgan, and sound fresh and personal -New York Times, June 14, 1994 Schulhoff while evoking the natural beauty of the Southwest. Private label recording Bocadillos Panorimicos is ~ Available through an excellent example of a the Cleveland,~lli ~Kroll, Lau- Dr. David Morgan: substantial new work that l'"''~~!lu~;u -·~---·-·-···----JQU~]'.J!\~Qf THg_~ME:8c!_~~N VJ.Q!,-~_;>_Q~IE]:Y ------·~------68 New CD Release: ORCHESTRA EXCERPTS FOR VIOLA ' with Written & Spoken Commentary by YIZHAK SCHOITEN Viola performance of over fifty olo and tutti orchestra l excerpt from twenty-three ymphonic work "An Important contribution to the viola world. Very useful not only for students but teachers like me to "This CD is an absolute must for any violist wishing have this as a reference." to enter the orchestral world. It Is a completely Charles Pikler, Prin ipal Violist, Chicago Symphony comprehensive guide to all the tools of the trade, including wonderful performances of a wide variety "This disc is an invaluable tool for of excerpts, sage advice on how to practice each young violists who would like to one, and thoughtful commentary." pursue an orchestral career." Cynthia Phelps, Principal Violist, Conductor David Zinman New York Philharmonic "I heartily recommend this extremely helpful " Exemplary playing and sound advice. and excellent tool for any young violist who Is I dream of hearing an audition like this!" looking for good, thorough advice." Paul ilverthome, Principal Violi t, Geraldine Walther, Principal Violi t, London Symphony Orchestra Sa n Francisco Symphony Purchase Info: www.sharmusic.com; [email protected]; ph: 800-248-7427 IJ adt thr 's, 11/tt.l'ln-:,· r111rl dotlorrt! rlfKJn's i11 vi!l!tal~l' all .fidr/.1· of 111/tsir· O"r rlis1i11g"ishtYI fa m I ~I ' : Viola: Pamela Goldsmith John Hayhurst Donald Mcinnes Chamber Music Peter M arsh SY MPHONY C H AMBER ORC HE ST R A CO N TEMPORARY MUS I C E N SEMBLE C H A MB E R MU S I C ENSEMB L ES E ARLY MUSIC ENSEMBLE usc USC Thornton School of Music I Office of Admission I Los Angeles, California 90089-2991 1 1\i l\'ltH .'~ I T\' CIP ~HI.,.-II J{MN 800.872.2213 [email protected] www.usc.edu/music ~ }(OLUME 2 0 NUMBE R 2 69 Seller: Sachiye Day Seller: Chris Wienandt Phone: 626-403-5653 Phone: 817-946-8777 (cell) Email: [email protected] Email: [email protected] Asking Price: $7,000 Asking price: $15,000 negotiable Maker: Anton Dietl, Mittenwald Maker: Otto Erdesz Date Made: 1948 Date made: unknown Back Length: 17 inches Back length: 16-1/2 inches Description: Matching viola and violin for sale in String length: 14-3/4 inches black double case. Seller: Michaela Herrmann/ Burl J. Shetzer Seller: Mara Lise Gearman Phone: 512-267-3989 Phone: 503-253-0511 or Schuback Violins, Email: [email protected] Portland (503-916-4430) Asking price: $10,000- $12,000 Email: [email protected] Maker: Alfons F. Vavra, Prague, Tertis type Asking Price: $18,000 Date made: 1954 Maker: Marten Cornelisson Description: Viola: Length: 401 mm, Upper Width: Date Made: 1996, Opus # 446 196 mm, Middle width: 143 mm, Lower Back Length: 16-3/8 inches width: 252 mm. Bow: H.R. Pfretzschner, Description: One owner, in excellent condition. Length730.5 mm, weight: 69.7 grs, Produces beautiful sound and projects easily Ebony/Silver mounting, Parisian eyes, three-piece adjuster, silver grip and ivory Seller: Linda Kirkwood tip. Price: $2,000 ? $2,800. Viola and Phone: 585-243-4429 bow in excellent condition. Email: [email protected] Violas for Sale ads may be placed on the AVS Website and cost $20 Asking Price: $10,000 for members and $40 for non-members. Please send your printed ad Maker: James R. Coggin, New York City along with payment in US funds to: AVS, Madeleine Crouch, Date made: 1970 (No. 13) 13140 Coit road, Suite 320, LB 120, Dallas TX 75240-5737. Be Back Length: 16-3/4 inches sure to include the following information: Seller's name, Address or String Length: 14-1/2 inches contact information, Telephone, Email address, Asking price, Maker, Back length, String length, Date made, Description Ad Index Aspen Music Festival & School ...... 10 Musicalligraphics ...... 38 ASTA ...... 2 New England Conservatory ...... 19 AVS History & Reference Guide ...... 60 New York University ...... 62 Boston University ...... 14 Primrose Competition ...... 54 California Summer Music ...... 28 Primrose International Viola Archive ...... 45 Carleen Hutchins ...... 68 Purchase College Conservatory of Music/ State ... 52 Cleveland Institute of Music ...... 16 University of NY ...... 61 Connolly & Co., Inc...... 46 Robertson & Sons ...... 36 D'Addario ...... 29 San Francisco Conservatory of Music ...... IBC Dampits, Inc...... 60 Seman Violins ...... 66 David Dalton Competition ad ...... 4 Swedish Music Information Centre ...... 62 Eastern Music Festival ...... 56 University of California ...... BC Henry Mancini Institute ...... 30 University of Illinois ...... 66 Heritage Insurance Services ...... 55 University of Northern Colorado ...... 38 History of the Viola ...... 36 University of Oklahoma School of Music ...... IFC Last Resort Music Publishing ...... 57 USC Thornton School of Music ...... 69 Liben Music Publishers ...... 6 Viola World Publications ...... 58, 64 Moes & Moes ...... 20 Yizhak Schotten ...... 69 JOURNAL OF THE AMERICAN VIOLA SOCIETY 70 American Viola Society The American Viola Society (AVS) was founded for the promotion of viola performance and research. AVS membership includes two print issues of the Journal of the American Viola Society, published in November and March, and an online only issue released in July. 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