Journal of the American Society A publication of the American Viola Society Volume 24 Summer 2008 Online Issue

Contents

Feature Articles

p. 1 The Genesis of the Internationale-Viola-Forschungsgesellschaft and the Early American Viola Society: Factual and Anecdotal by Myron Rosenblum p. 8 Viola Power (1972) by Myron Rosenblum p. 10 The Pöllau Protocol (1965) by Franz Zeyringer and Dietrich Bauer p. 12 Reflections: Photos from the XXXVI International Viola Congress in Tempe, Arizona by Dwight Pounds p. 21 Book Review: Tom Heimberg’s Making a Musical Life by Dwight Pounds

Departments p. 24 New Music Reviews: Michael Kimber by Kenneth Martinson The Genesis of the Internationale-Viola- Forschungsgesellschaft and the Early American Viola Society: Factual and Anecdotal

By Myron Rosenblum of meeting Franz and his family. I was also invited to perform the Christoph Graupner It is hard to believe that we are at the 40th Concerto in D Major for Viola d’amore and Anniversary juncture of both the International Viola soli with strings with the local orchestra Viola Society and not long after, the American and with Franz as the violist. Franz showed me Viola Society, but here we are! For me, it his viola research and I was greatly impressed really began in college when I discovered the at his efforts to catalogue as much viola beauties and allure of the viola. I made the music—original and transcriptions—as he changeover from violin and had the good could locate or knew about. From my base in fortune to study with some viola luminaries: Vienna that year, I was able to go through the , Walter Trampler, and William catalogues of both the Nationalbibliothek and Primrose. the Gesellschaft der Musikfreunde (both of which contained a fair amount of viola music) HOW IT ALL STARTED: After my army and send him substantial data on viola solo and service, where I was violist in the 7th US viola chamber works that I could look at in Army Symphony in Stuttgart, Germany, I was these fine libraries. During my visit to Pöllau, browsing one day in the 1960s in Patelson’s Franz started speaking casually of forming an Music House, that fine music shop in back of international viola society, something that Carnegie Hall. I came upon a book titled piqued my interest. I told him that when I Literatur für Viola, published in 1963 and returned to the USA, I would explore the authored by Franz Zeyringer, an Austrian possibility of forming an American chapter, or violist and school teacher. I was amazed at its “sector” as Zeyringer called it, something that contents and the apparent wealth of music for pleased him very much. viola in many settings, most unknown to me. Inside the book was a card by the author THE VIOLA SOCIETY: There were earlier inviting the reader to contact him and submit attempts to form such a viola society. In 1927, data on any viola music not included in the Paul Hindemith and the great Russian violist book. I wrote to Mr. Zeyringer, praised his and teacher Vadim Borissovsky made an effort book, and started sending him information on to form a society which they called The viola works that I either owned or knew of that Violists’ World Union. That never were not in his book. Much of it was viola materialized. Two years later, a journal titled works by American composers that he knew Die Bratsche appeared. Edited by the well- nothing about. He sent a quick response of known German historian, librarian, and critic thanks and appreciation, and so began a close Wilhelm Altmann, it was devoted to articles collegial friendship. on both viola and viola d’amore. Altmann proposed a viola organization which he called MEETING FRANZ ZEYRINGER: During my Bratschen-Bundes (Viola Union). However, Fulbright year in Vienna (1964-65) I contacted there appeared to be a minimal response and Franz, and he subsequently arranged a concert enthusiasm for this idea of a journal (ah, these in his hometown of Pöllau. My wife and I laid-back viola players!), and so it was short- traveled to Pöllau where we had the pleasure lived. Undoubtedly, the decaying political

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situation in Germany and in Europe at that VFG’s executive officers changed over time. time and the eventual outbreak of World Franz Zeyringer was always there in some War II contributed to the lack of interest in capacity and served as its president around such viola matters and to the demise of these 1976. Others who served in various roles well-intentioned plans for a viola society over time were the scholar Walter and viola publications. In 1937, Altmann Lebermann, editor of Classical-period viola and Borissovsky did manage to collaborate concertos, and the Austrian composer Alfred and publish their Literaturverzeichnis für Uhl, known to violists as the composer of Bratsche und Viola d’amore, the first serious some fine viola etudes and the Kleines attempt to catalogue known music for both Konzert for clarinet, viola, and piano. viola and viola d’amore providing library sources for the manuscripts and publishers THE AMERICAN CHAPTER: When I for printed music. returned to New York City during the summer of 1965 and resumed my activities With another teacher, Deitrich Bauer, there, I set upon forming an American Zeyringer conceived of the formation of a chapter to be known as the Viola Research viola organization in 1968 and called it Society (VRS). My initial challenge was Viola-Forschungsgellschaft (VFG), how to make violists all over America and translated as Viola Research Society. Its Canada aware of this newly-formed viola base was in Kassel, Germany, where Bauer society. I wrote short pieces for both the lived, with the first Viola Archive set up in International Musician and Allegro, the Kassel. Later, in 1975, this Archive would publications of the American Federation of move to the Mozarteum in Salzburg, Musicians and Local 802 of the A.F. of M in Austria. Franz had a handful of devoted and New York City (which had a large and passionate colleagues for the administration prominent viola family). I wrote “Violists of the new society. The president of the Unite” for the International Musician and VFG was at first Emil Seiler, the well- “Viola Power” for Allegro in 1972. Also in known violist (Seiler and Walter Trampler 1972, a similar piece of mine appeared in were stand partners in an orchestra in The Strad and we had some responses from Munich as young men), and soon after was British violists anxious to join our society. Dr. Wolfgang Sawodny, a professional Chapters were eventually set up in Canada, chemist and lover of the viola. Bauer was with Baird Knechtel as its head, and in the first secretary. The archive of viola England, led by John White with assistance music in Salzburg looked promising. The by Nannie Jamieson.

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THE FIRST NEWSLETTERS: The VFG started publishing its initial newsletters (Mitteilungen), and I followed suit by sending them to our membership. Since they were exclusively in German, which most Americans in the society did not understand, I asked Dr. Sawodny, who had an excellent command of the English language, to make a summary in English for our English- speaking members. Later newsletters were translated into English by one of the VRS’s members, Walter Wels, an enthusiastic, German-speaking amateur violist who lived in Flushing, New York.

The earliest VFG Newsletter I have is from 1971 (Mitteilungen Januar 1971), a two- Violists Unite,” from the July 1972 issue of The page affair. In addition to reporting on International Musician. Image used with general developments of the parent permission of the American Federation of organization, it included the names of new Musicians, www.afm.org members, many of them American violists. To the May, 1972 newsletter, I stapled a The response to these articles was quick and brief note that read: enthusiastic. Violists and viola teachers “Dear Member of the Viola Research wrote to me expressing great interest to join Society (Viola Forschunsgesellschaft): The and support an American chapter. Dues enclosed NEWSLETTER for 1972 will were set at the huge sum of $3.50. Not long bring you up to date on viola developments after, when the dues were increased, half of during the past year. Subsequent Newsletters the dues would go to the parent will be made available to you in English and organization, the VFG. It took a while to put will include a section on viola-related affairs things in place. At the onset I had no helpers in the U.S.A. and Canada.” to do all this, so I had multiple tasks. These included collecting dues and depositing I think with some amusement how these them into a newly-setup bank account; a early VRS Newsletters were created— great deal of correspondence; and writing, before the comforts and conveniences of typing, reproducing, and sending out the computers—with my old L.C. Smith newsletters after stuffing them into typewriter, sitting on my kitchen table in my envelopes and putting on stamps. It was Greenwich Village apartment, while I typed time-consuming but I didn’t really mind as, away. They were either run off on a for me, it was a labor of love. I had always mimeograph machine or photocopied, basic liked viola players and as a group found and not very elegant. them decent and humble people and superior musicians. But, primarily, I loved the viola With the assistance of many of our talented and the aim to further its image and members in both the VFG and the VRS, the repertory seemed like an important venture. content of the newsletters was at a relatively

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high level and remained so with intriguing How happy would be my late husband! All content. For example, in the Newsletter 8 his life was devoted to the popularization of (February 1975) were Walter Lebermann’s the viola considered by him as he most “Authentic or Not? Viola Concertos of the beautiful and noble of all existing 18th Century Evaluated as Possible instruments. 1 Forgeries”; Jeffrey Wollock’s “A Note on Alkan, Casimir-Ney, and the Viola”; and The VFG held its initial two viola this writer’s tribute to the Italian violist and congresses in those early years in Germany. teacher Renzo Sabatini on his death. The It was my understanding that the attendance Newsletter 7 from 1974 had a fine piece by was not large, but there was much Walter Lebermann: “The Viola Concerti of enthusiasm. Membership grew slowly over the Stamitz Family,” as well as a report on those early years and it is intriguing to note the death of Vadim Borissovsky, the the numbers from the VFG. In 1974, the Russian violist and teacher who died in VFG listed members from Austria, 1972. Switzerland, Canada, Germany, Denmark, England, France, Hungary, Italy, Japan, The Newsletters gradually increased in Norway, Holland, Portugal, Romania, the scope and improved in quality of content USA, and South Africa. In the majority of and their look. Newsletter 12 (April 1977) these countries the membership was had Marna Street’s “Tosca Berger Kramer”; miniscule—typically 1, 2, or 3 members. Veronica Jacobs’s “Rebecca Clarke”; and The largest membership was in Italy (5), Shirley Fleming’s “The Cinderella of Austria (8), Germany (43) and the USA Instruments Finds a Prince Charming” a (120). The sole member in Japan was wonderful, lengthy piece on violist Walter , who had settled there Trampler reprinted from a New York Times with his third wife. In 1975, membership article (February 20, 1977). was up considerably in spite of the single- digit numbers from many European After Professor Borissovsky died in 1972, I countries. Germany was up to 51 and the had some correspondence with his widow. I USA had 292 members. New countries sent her a packet of some of our newsletters came on board, including Australia, New and the program of the 3rd International Zealand, and Israel. Viola Congress in Ypsilanti. Here was her reply: Dues went up to $5.00 and in 1975 were raised to $6.00. In 1978 dues went up to Dearest Mr. Rosenblum. $8.00 and I have a letter that year to Heinz Kraschl, the VFG secretary, where I note I have no words to express my gratitude for sending the VFG a check for $972.00 as our your kindness towards me in sending the contribution to the parent organization. It most valuable material about the Viola became apparent to me that the monetary Congress [1975]. All the Moscow violists support of the American chapter to the VFG are getting acquainted with it with a keen was crucial to its very existence, or at least interest. What a great event for the violists that it made possible the gifts sent to of all the world! What a striking members in the early years and helped demonstration of the violists’ solidarity and support the early congresses. acknowledgement of the importance of the viola in music!

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We changed the name of the society from Woodward. Since its members were widely Viola Research Society (which might have dispersed, I sent out periodic kept some violists away) to American Viola communications with questions and issues Society in 1978. That same year the raised by different violists and board American Viola Society published its first members with all responses returned to me membership directory. It was an impressive and decisions made by consensus of the list of well-known viola players, teachers, board. It wasn’t ideal at this juncture but it viola students, scholars, composers, dealers, was suitable at that time until additional luthiers, publishers, and even some official meetings could be held at the violinists! Here is a sampling of those in the congresses in America. AVS that year (and for those I omit, my apologies, the limitations of space prevail): THE VIOLA ARCHIVE: When Franz Zeyringer set up his VFG he also initiated Toby Appel, Sally Banks, Henry Barrett, the first viola archive. His well-laid plans for Lyman Bodman, Frank Brieff, Robert such a central library of viola music did not Coleman, Robert Courte, David Dalton, Don last long. The library in Salzburg was Ehrlich, Margaret Farish, Rebecca Friskin greatly mismanaged, and the administration (Rebecca Clarke), Maurice Gardner, Jacob of it quickly deteriorated, so Franz wrote me Glick, Rosemary Glyde, Herbert Goodkind, one day asking if the American chapter Nathan Gordon, John Graham, Carleen could locate a good home in a reputable Hutchins, Louis Kievman, Harold Klatz, library or institution in the USA for the Jerzy Kosmala, William Lincer, Donald existing viola library and one that would McInnes, William Magers, Guillermo grow over time. I enlisted the help of Perich, Joseph Pietropaolo, William Preucil, Maurice Riley. Both of us started making Dwight Pounds, Samuel Rhodes, Maurice contact with universities, conservatories, and Riley, William Schoen, Yizhak Schotten, music schools that would have the resources David Schwartz, Robert Slaughter, Mrs. and funding to do this. We spent Ludwig Stein (Lillian Fuchs), Marcus considerable time making contact with those Thompson, Walter Trampler, Francis Tursi, whom we thought might have suitable sites Karen Tuttle, Emanuel Vardi, Ernst for such an archive. Those who expressed Wallfisch, Ann Woodward, Bernard Zaslav, the keenest interest were The University of Rivka Golani, Otto Erdesz, William Illinois, the University of Iowa, the Berman, Sonia Monosoff, Franco University of Connecticut, and lastly, Sciannameo. Brigham Young University. With a land mass as immense as America is, it was our THE BOARD OF DIRECTORS OF THE hope to have the library housed in a more AVS: After the 3rd International Viola central location to service as many members Congress at Eastern Michigan University it as possible. Then one day, I received a letter was time to seriously think of having more from Franz saying that he had decided to input from others and to create a Board of send the entire viola archive to Brigham Directors. The first Board was created in Young University in Provo. It was obvious 1976 and included William Primrose that David Dalton have convinced Franz that (Honorary Chairman), Paul Doktor, Lillian BYU would be the best place for this music. Fuchs, Donald McInnes, Maurice Riley, Maurice and I were quite stunned and put Robert Slaughter, Walter Trampler, Francis off by this unilateral and sudden decision Tursi, Karen Tuttle, Jacob Glick, and Ann without any prior knowledge, discussion, or

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consultation with us. Franz knew we were lectures. There was also an exhibit and working diligently on this and things were competition of viola makers overseen by the moving along. But it was a fait accompli! Violin Society of America with a So, this music was shipped from Salzburg to competition for viola-making. Viola-making Provo and formed part of the basis of what was of a very high level as this event is now the Primrose International Viola proved. Archive. I am sure that Franz was greatly relieved to know that BYU would take care Without question, the highlight of the of this collection and that it would continue Ypsilanti congress was the presence of one to grow, which it has. of the greatest violists and musicians of the twentieth century, William Primrose. Riley, THE EARLY AMERICAN a most hospitable man, invited many of the CONGRESSES: What put the American officers of the VFG and VRS to stay at his chapter on the map were, without question, home during the congress. Sawodny, Bauer, its first two International Viola Congresses and I as well as Maurice’s children and their in 1975 and 1977 in the USA, at Eastern spouses all were in the Riley home during Michigan University, Ypsilanti, Michigan, those days and they were indeed a most and the Eastman School of Music, intense and busy time for all. Primrose was Rochester, New York, respectively. As I also extended an invitation to stay but he have already reported in some detail about respectfully declined, saying that he “was a these two auspicious events in two recent terrible house guest.” Primrose’s appearance AVS Journals, rather than repeat myself, I at the congress was magnetic. His two-hour will just allude to some of the events and talk about viola matters, practical and personalities leading up to the 3rd congress pedagogical, was inspirational, with much in Ypsilanti. wisdom and wit.2

Maurice Riley, who would become the Maurice and I fretted over whom to invite as second AVS president and author of The guest artists at this congress. Some key History of the Viola, was among our earliest violists had other commitments and could members and enthusiastic about the new not come, and we, naively, did not invite viola society. He proposed having the next certain viola soloists, believing that the International Viola Congress at his personalities of some might clash and cause university, Eastern Michigan University in problems. One of those not invited was Paul Ypsilanti, Michigan. I didn’t know Maurice Doktor. Doktor called Maurice and and had never heard of his university, but complained bitterly, asking why he, as one one day, I believe in 1973, I met Maurice of the important violists of the day, had not and his wife, Leila in their small motel room been invited to the congress. Maurice tried on the west side of mid-town Manhattan, as best he could to ameliorate him by saying where we spent a few hours going over a that Doktor had recently given a master potential program, content, and artists for class in Michigan and there were some such a viola congress at EMU. This congress important Michigan-based violists and was an amazing success with almost four teachers who had to be featured. We realized hundred attendees who came from all over the hurt we had unintentionally caused America and Canada to hear an outstanding Doktor and felt bad about it. A mistake had roster of viola soloists, teachers, and indeed been made and our fears unfounded. musicologists offer terrific concerts and Doktor, however, was one of the featured

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violists in the Eastman congress two years and for his students. But he sent some later and proved easily that he was indeed original music for viola as well: the one of the great violists of his day. Handoshkin viola concerto, a sonata for For me, it has been a privilege and a joy to viola and piano by F.W. Rust, and others. witness the growth of the American Viola After he died, his widow sent me a Society and the higher-than-ever level of photograph of his grave. On his tombstone is viola playing that prevails today. The a large engraved viola. Madame society is unique among instrumental Borissovsky eventually went blind, and one organizations and can be proud of its day I stopped receiving her lovely letters. congresses of superlative content, a journal of high quality, and a membership that is 2 This writer has an audio tape of the proud of its role in the world of music, and Primrose lecture that he gave at the 1977 above all, proud to be part of that special congress at Eastman. The talk ran for almost viola brotherhood and sisterhood. an hour and was followed by a question and answer period. We were asked to submit written questions to which Primrose answered with much perception and humor. I also have in my library other audio tapes of many of the concerts and recitals given there by Walter Trampler, Paul Doktor, Francis Tursi, an orchestral concert that featured Harold Coletta, Robert Coleman, Robert Slaughter and Myron Rosenblum performing concerti, and a concert by The playing with Francis Tursi as guest violist in a Mozart quintet ( was the violist in the Cleveland Quartet). It is my understanding that the Eastman School does not have the Franz Zeyringer, Paul Doktor, and Myron master tapes of these wonderful events, so it Rosenblum at Paul Doktor’s home, June 1977 is my intention to do something with these audio tapes so that these important events will not be lost. Barring any copyright restrictions, perhaps CDs could be made and Endnotes they might be made available to the AVS membership. 1 During the late 1960s and up to Borissovsky’s death, we had an extensive correspondence. Borissovsky would write to me in French, and I to him in English. Though I never met him, his letters revealed a most cultured man with an ongoing passion for both viola and viola d’amore. Over those years he sent me many of his editions of viola and viola d’amore music. The viola works were mostly his arrangements made for his own performance

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Viola Power

By Myron Rosenblum music of any value written for it. The question he kept asking himself was, “How is it (Editor’s note: This article first appeared on possible that the viola, an instrument more page 11of the January 1972 issue of Allegro, than 400 years old, and the real ‘first’ of the the official publication of Local 802 of the modern stringed instruments, had virtually no American Federation of Musicians in New music written for it?” He recalled how York City. The article was instrumental in infuriated he had become one day when he making violists aware of the Viola Research read an article in a German musical periodical, Society and in establishing the future of the in which the author deprecated the viola as an American Viola Society. Reproduced with insignificant instrument, owing to its paltry permission of Local 802 of AFM, literature. The viola works of any value www.local802afm.org/) mentioned by that author were concertos by Telemann and Stamitz, the two Brahms INSTRUMENTAL clubs are in! Devotees and sonatas, the Reger suites, and a few Hindemith fanatics of a wide variety of musical works. To prove his point, the author pointed instruments have expressed their monomanias out that Prof. Etienne Ginot, string pedagogue in the formation of clubs and societies in the Paris Conservatory, deemed it an dedicated to the propagation and dissemination absolute necessity for the survival of the viola of information on such instruments as the to transcribe more than 20 violin concertos for flute, harp, ‘cello, recorder, and the viola da viola. Without these transcriptions of gamba. concertos by Wienawski, Vieuxtemps, de Beriot, Rode, etc., according to Ginot, the The latest venture in these specialized areas is future of the viola as a viable solo instrument the recent formation of the Viola Research was indeed dim. Society, officially known as the Viola- Forschungsgesellschaft. Lodged in Kassel, Intrigued and disturbed by all this, Mr. West Germany, it has quickly grown to Zeyringer started on a research project, to international proportions. Under the expert attempt to disprove that the literature of the leadership of the Austrian violist, teacher and viola was as insignificant as most people musicologist, Franz Zeyringer, the society has believed. attracted the attention of violists from major orchestras, renowned teachers, music Visits to music libraries and endless publishers, and musicologists from Austria, correspondence with violists, music publishers Belgium, Czechoslovakia, France, East and music scholars revealed that there were far Germany, West Germany, Holland, Hungary, more original works for viola than was Italy, Switzerland, the U.S.A. and the U.S.S.R. commonly known. Mr. Zeyringer’s catalogue of viola works started to grow rapidly and in When Mr. Zeyringer was a viola student in 1963, his book Literature for Viola was Vienna, he was bothered by recurrent published in Austria. In it were listed all the dogmatic statements thrown out by his fellow known compositions for viola in which it was musicians—that the viola had little original very prominent: unaccompanied works,

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concertos (single and multiple), duos, trios, research items on a loan basis. chamber works with unusual instrumentation, étude and method books, A periodic gift, such as a relevant book, and even transcriptions. viola edition, or recording, will be presented to members. A newsletter will be sent out to Such valuable information as publisher, city inform violists of new and recently of publication, library containing the MS (if discovered viola pieces and where they can original) and its catalogue number, and any be located, as well as other viola-related other source, such as a private collection items of interest. holding the manuscript is given in the book. Thus, anyone interested in obtaining a What’s in store for the future? Mr. Zeyringer specific work can have a good point of and his devoted corps of violamaniacs will departure. pursue further research into the history of the instrument, the publishing of viola In 1965, a supplement to Literature for compositions, and international viola Viola was published in which many new congresses. They sincerely hope that this works were listed and corrections made will be another positive push in the direction where necessary. To date, Mr. Zeyringer has of uniting musicians from the West and the catalogued approximately 10,000 works East by a common interest. with solo or important viola roles. Of them, there are more than 300 original viola Chapter organizations are now in the process concertos, many of them from the 18th and of being formed. The American chapter will 19th centuries. be one of the first to function, owing to the large number of first-rate violists coming out As Mr. Zeyringer’s work became known, a of American conservatories and the interest band of followers grew to include viola in the viola by American composers. The enthusiasts from all over the world. The Viola Research Society welcomes all response was so favorable that the formation interested violists, teachers, string players, of some kind of viola organization seemed musicians, publishers, and musicologists to the next logical step. So— the Viola participate in this new and exciting Research Society came into being! organization. For further information, write:

Using the Zeyringer book as a starting point, Myron Rosenblum the society has quickly set out to achieve c/o Music Department some interesting goals: a viola archive has Queensborough Comm. College been initiated, which will aim to have as Bayside, N.Y. 11364 complete a collection of all viola works as possible—in manuscript, published editions, Or and on microfilm; a biographical file of all outstanding violist will be kept current; Viola-Forschungsgesellschaft phonograph recordings of the important 35 Kassel viola works played by major artists will Brüder Grimmplatz 4A make up a separate collection. Any member West Germany of the society is entitled to use these

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The Pöllau Protocol1

Co-Authored by Establishment of a record and tape collection Franz Zeyringer and Dietrich Bauer (Discography).

English Translation by Dwight Pounds Establishment of a source for collecting writing which pertains to the viola.

(Editor’s note: The Pöllau Protocol derived To investigate the developmental history of the from discussions and conversations between viola, its synonymy, and its playing technique School Master Dietrich Bauer and Music and pedagogy. Director Franz Zeyringer, from July 16-23, 1965, in Pöllau, Austria, and inspired what Expansion and publication of the Zeyringer would become the International Viola Society, catalog, "Literatur für Viola.” established the International Viola Congresses, and helped collect and organize To sketch the biographies of violists and materials that would form part of the Primrose composers of works for viola. International Viola Archive.) This extensive collection should in due course I. Establishment of a research body for the attain the highest possible degree of viola. completeness. The material shall be accessible for all interested parties and could be made Both gentlemen are resolved to establish in available on loan, depending upon their [respective] countries (the Federal circumstances. Republic of Germany and Austria) an organization dedicated to research on the Violists, composers, librarians, archivists, viola. Which ever of the two first succeeds in publishers, and otherwise interested parties doing this will place all assimilated materials should be drawn into this work and become at the disposal of the other partner. The active members of the research organization. research facility should be established within the framework of a music academy, a II. Scheduling VIOLA CONGRESSES at musicological institute, library, foundation or appropriate intervals. other suitable organization. Independent from the establishment of a The task of this research organization research body for the viola, the first viola should be: congress can take place during the summer of 1966 in Kassel (FRG), with sometime in the Establishment of a library for viola literature last two weeks of July as the most convenient (original works and arrangements). To make time. microfilm copies of viola compositions which are not obtainable. A public institution is to be identified which will sponsor and provide the structure and facilities required of the congress (a music

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academy, Bärenreiter Publishing Company a. Presentations about the viola and its or others). The organization of this first literature, with discussions. viola congress in the history of Western b. Critical survey of literature with highly music would lie in the capable hands of specialized musical structure (solo Dietrich Bauer. The final realization of such sonatas, etudes, duos, etc.) a congress could be based upon the c. Performance of old and new viola following: literature. d. Performance on the different viola types, 1. Distribution of a circular to as many i.e. algometric viola, Ritter viola, violists possible inquiring whether interest viola d’amore. The exhibition of from in a Viola Congress really exists. If "yes," master craftsmen. determine: e. Report of the current status of the viola. f. Discussion of the reprint of the Zeyringer a. what major subject areas should be index, "Literatur für Viola," with considered? special consideration given to the new b. what contributions could the delegates classifications of viola literature (original themselves offer? and borrowed works, and arrangements). Categorization of selected works in this 2. Should the circular inquiry indicate the framework (i.e. concerti by Joh. Chr. Bach sufficient potential of active interest, the and G. F. Händel). organization of the congress can begin. The g. Public concerts (with radio, and following points must be taken into eventually television) with infrequently consideration and resolved: heard viola compositions, i.e. Telemann: Concerto a. Financing the congress (from state, for Two Violas; Mendelssohn: Sonata; federal, private, industrial, radio, television Graupner: Concerto for Viola d'amore and resources). Viola; Music for two, three, four and more b. Securing location and facilities for the violas, among other compositions. congress. h. Social gathering for making personal contact. Should these events come to pass, the invitation to violists, music publishers, Notes: composers and other interested parties can follow. To be effective, the invitation should 1. The "Pöllau Protokoll" appears in Franz be printed in all possible music publications. Zeyringer, Die Viola da Braccio (Munich: Regarding program content, any of the Heller Verlag, 1988), 140-41, and is following could be incorporated into a viola gratefully used with the author's permission. congress:

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Reflections: Photos from the XXXVI

International Viola Congress in Tempe, Arizona

by Dwight Pounds

Kim Kashkashian enters a mental state of extreme concentration to the exclusion of other surroundings before beginning the music at hand. Pianist Lydia Artymiw listens both with eyes and ears for every breath, nuance, and movement, no matter how subtle.

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Matthew Jones adjusts Laura McDermott’s position to maximize her comfort and playing efficiency. One of two presenters on health, wellness and physical recovery from injury, he learned these skills in the process of recovering from near career-ending injury.

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The collection in this photo seems to suggest a combination latte or cappuccino and a box of violas, on special, while they last. As usual, our exhibitors did a marvelous job with their wares—what would our congresses be without them?

Nancy Buck chose her student staff well. Here we see the faces of the congress fireman/women who seemed to be everywhere during the congress and dousing bushfires as quickly as they occurred: host Nancy Buck, Allyson Wuenschel, Tessa Gotman, Alex Vittal, and Louis Privitera. Regarding Louis, see Montreal Congress Review

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The Arizona State University School of Louise Lansdown, native of South Africa Music, Tempe, Arizona, host to and currently President of the newly-formed International Viola Congress XXXVI. English Viola Society, one of the IVS’s Original architectural designs by Frank newest member societies. She owns the Lloyd Wright Foundation with this portion restored viola which belonged to Cecil of the school by DWL/The Mathes Group. Aronowitz which was almost destroyed when he suffered a fatal stroke while playing it. Her subject at last year’s viola congress was Aronowitz—Hindemith's Op. 11, No. 4 was this year's topic.

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Frank Lloyd Wright, amateur viola player turned architect, who designed the A.S.U. Gammage Auditorium and Taliesin West, his home in nearby Scottsdale.

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Brett Banducci, violist, composer, Director or Composer Outreach and member of Southern California Viola Choir. Learn more about Brett Banducci and his amazing career on his website, www.brettbanducci.org.

Although true of everyone, it is truer when spoken of Alan deVeritch, fourth AVS President: there is only one Alan deVeritch! He is bigger than life in size, in capability, in knowledge and experience, in taste in shirts, and in friendship. We who know him are blessed to call him our friend.

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Jerzy Kosmala, emeritus Professor of Viola Claudine Bigelow, Chair of the 2008 PMSC at Louisiana State University, in a master Jury, shares a moment with featured soloist, class. Although quiet and reserved in his Paul Neubauer, aka the “East Coast private life, Jerzy teaches with intensity and Paul,” following his world premiere leaves little doubt with students or audiences performance of Joan Tower's "Purple alike that his is a formidable musical mind. Rhapsody."

Thomas Tatton, “Dr. Tom” to his students, fifth AVS President and multiple-viola music guru to the remainder of us, shares Paul Coletti, the “West Coast Paul” for those playing and conducting duties for the tracking similar names, escorts his wife, traditional congress play-in. The AVS as we Gina, and daughter Olivia to the congress currently know it took shape during his banquet. More than one person commented leadership (1994-1998). See "An Interview to Paul and Gina that, given the quality of with Tom Tatton in JAVS Online, Summer Olivia’s voice, that she would be a singer 2005 rather than string musician.

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Question: Looking at this black-and-white photograph, what would you suppose Donald McInnes was doing? If you surmised that he probably was teaching a master class at a viola congress someplace, you would be absolutely correct. The above image was taken in June 1991 at International Viola Congress XIX at Ithaca College, Ithaca, New York and is part of the collection in the PIVA gallery in Provo, Utah.

When this image of Donald McInnes in his Tempe master class appeared in my camera, it was “déjà vu” all over again. Once more he was doing what he was born to do right in front of my lens--recreating the 1991 photograph, at least in mood and composition, was a no-brainer. Having spent much of his career on stage, McInnes is as much in his element in a setting where he can coach, cajole, and encourage talented students before an audience as when performing with a professional orchestra. He has conducted dozens of master classes at viola congresses for probably well over a hundred students.

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Molly Carr, Emily Deans, and Dimitri Murrath--third, second, and first place finishers in the 2008 Primrose Memorial Scholarship Competition who each thrilled us with their technique and musicality, both during the competition and the Primrose Winners' Recital.

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Book Review

Making A Musical Life project was almost a foregone conclusion. The Practice, The Profession, The Joy (See JAVS Vol. 22, No. 1, p. 37 for a review by Tom Heimberg of Playing and Teaching the Viola.) There is redundancy in Making a Music Life and Foreword by Lincoln Mayorga Playing and Teaching the Viola and indeed 129 pages, soft bound much of “Practicing the Viola” appears to be Published by String Letter Publishing, 2007 a slightly updated version extracted from ISBN 978-1-890490-59-1 “The Mind in Practice” and other essays in this book. I counted eleven sections from the Reviewed by Dwight Pounds new book which had been incorporated in part or whole in Playing and Teaching the Sometime in 1972, Luciano Pavarotti, in a Viola. This begs the question, “What will private conversation with Tom Heimberg, this book provide that is not in the ASTA- apparently remarked “It all begins in the NSOA publication?” The answer is quite a brain!” The great tenor’s impromptu remark, bit—Making a Musical Life is a compilation perhaps more than the evening's best aria, of Heimberg’s Strings publications impressed itself in Heimberg’s mind. apparently with later work, some of which is However, anyone who reads this book must very specific, i.e., “Vibrato,” “Tremolo,” entertain the thought that Heimberg’s “Pizzicato: The Other Way to Play,” “Bow Making a Musical Life is written not for the Explorations,” and “Tools for Better acquisition of technique per se as one might Technique.” As a compilation it also places expect, but as pedagogy for the mind. in the readers’ hands thirty-some articles in a single volume which otherwise would be Tom Heimberg (1937-2006) was a string available in almost as many separate pedagogue with numerous contributions to publications. A violist should not expect this Strings Magazine, San Francisco Classical book to be viola-specific—most of Voice, and the oral history collection of the Heimberg’s observations are as appropriate San Francisco Performing Arts and Library. to the violin, cello, and double bass as the The majority of his on-stage (or off-stage) viola and he even feels free to draw upon the career was as a violist and personnel experiences of clarinetists, bassoonists, and manager with the San Francisco Opera trumpeters. His approach to a specific Orchestra. Anyone familiar with the 2005 subject tends to be quite general—the ASTA-NSOA publication, Playing and quality and types of vibrato, for instance, are Teaching the Viola, may recall Heimberg’s more important to him than the subtle contribution, “Practicing the Viola: Thought differences in violin and viola vibrato which Before Action.” As author of some fourteen he does not even address. Although some of articles on practice and professional the essays and references date to the 1990s development and authority on both, and the book has a dated quality about it, selection as the “practice” contributor to this

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much—even most—of the content is his/her tone quality. Plan ahead—keep at timeless. least one extra package of strings nearby. Dress for the occasion and avoid tight or “The Practice, the Profession, the Joy,” worn clothing. Be sure your automobile is Heimberg’s subtitle for Making a Music well serviced: check fuel, oil pressure, tire Life, suggests his view of the book’s whole. pressure and tread condition often. Keep It likewise is divided into three parts: part some snacks food and water in your car for one being “Practice,” part two “Counsel and emergencies…and a flashlight. Dozens Guidance,” and part three “Views From the more. Musical Life.” Fourteen concise chapter- essays on practice (which comprise 54 of the Part three in street vernacular is a “mixed book’s 129 pages and constitute its heart and bag.” The author’s subject matter changes soul) share a lifetime of insights on how, rather abruptly in “Views from the Musical when, and under what physical and mental Life” and his role switches from pedagogue circumstances to practice. It is a book of and dispenser of practical tips to tips, recommendations, and admonishments documenting his impressions and lessons to student, teacher, and stand partner alike from a career in the pit orchestra. He with regard to what the author considers discusses such diverse topics as the sacred territory—efficient and productive separation of the San Francisco Symphony practice—why else would he write a chapter and Opera Orchestras into indigenous “To Preserve, Protect, and Defend Practice organizations, the ground rules for marking Time?” Musical examples are almost non- music correctly, and the usually unsung (pun existent. In addition to topics mentioned intended) contributions and critically earlier, “Practice and Self Observation,” important role of prompters in opera, many “Personal Practice Planning,” “Building a of whom he credits with saving entire Personal Practice Book,” “How Fast is performances. A high degree of Slow?” and “Picking up the Pace” complete professionalism is never far from his mind part one. and these subjects, diverse as they might be, still manage to reflect the practical nature so Part one, “Practice,” casts a long shadow in evident in Heimberg’s thought process. part two, “Counsel and Guidance,” as the consequences of good (or bad) technique are He seems to reminisce in the five suggested repeatedly. Recycled sections concluding essays, with little in the way of from Playing and Teaching… include “The transition to move his readers from one topic Fine Art of Faking,” “Tips and Tricks of the to another. It was a bit jolting to read in turn Trade,” and “Lessening Audition Agonies.” an excellent system for marking music and In “Be Prepared” and “Contract Tips for the the essential role of the prompter to a Gigging Player,” Heimberg’s business successful production and move without acumen and negotiating skills prove as benefit of segue to tributes to violist Emil practical as his pedagogical approaches— Férir (see JAVS Vol. 17, No. 3), Heimberg’s don’t presume anything: anyone who would friend Felix Khuner, and Fritz Kreisler—all agree to a handshake should be willing to within the same section. Although sign a contract. Get plenty of sleep—take Heimberg’s “war stories” in part three were care of yourself as well as your instrument interesting and contribute to the reader’s and especially your bow. Anything that insights from parts one and two into the very improves a musician’s comfort improves conscientious, practical, and thoroughly

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professional mind that produced these valuable essays, they seemed to require a section of their own.

Who should read this book? Anyone who either loves or hates to practice, anyone who practices six minutes or six hours per day, or anyone who wants or does not want to know more about how to practice. Student, teacher, amateur, or professional would easily benefit from Heimberg’s observations, especially those young people on the verge of deciding whether or not to enter professional performance as a career.

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New Music Reviews:

Michael Kimber

by Kenneth Martinson reminded me slightly in character of the viola movement of Britten’s The Young Person’s Guide to the Orchestra, it actually sounds convincingly like Saint-Saëns, so La Colombe (The Dove) (2006) for viola much so that I am sure the average section, two pianos, second violins, and concertgoer would have no idea that this basses. movement was by another composer if this fact were not revealed in the program. “The Difficulty: Level 2/3 Dove” is a truly delightful and curious work Duration: 3 minutes that I highly recommend looking at, either in Dedication: West High School Orchestra its original setting or in Kimber’s (Iowa City, IA), Wayne Thelander, director arrangement for solo viola and piano.

By Michael Kimber (b. 1945) Reflection (2001) for three-part viola ensemble “The Dove” is truly original in concept in that it was composed to be an addition to Difficulty: Level 4 Camille Saint-Saëns’s The Carnival of the Duration: 5-1/2 minutes Animals, which inexplicably features each of Dedication: In memory of Francis Bundra the string instruments except the violas. The (1927-2000) work was written at the request of Iowa Premiere: Interlochen Arts Academy, June City’s West High School Orchestra director 30, 2001 Wayne Thelander so that his viola students could be featured in his orchestra’s By Michael Kimber (b. 1945) performance of the Saint-Saëns. Kimber chose the dove to represent the viola section A wonderfully attractive work written for because, as Kimber states, “most of the large viola ensemble in three parts, [violists] I have known…are generally Reflection is probably the most serious, peace-loving beings.” poignant work I have encountered for viola ensemble. The mood is somewhat The movement certainly is peaceful and reminiscent of Barber’s Adagio for Strings, calming. It is fairly easy to play, never going beginning softly in the lower register. Like higher than the G in third position on the A the Barber, this too has an “arch-form” string. It is in a moderate triple meter, and contour, beginning and ending softly with a the viola line has a long melodic “soaring” more intense section roughly two-thirds of quality, like a flying dove, above a the way through the work. The intense foundation of the rolling accompaniment of middle section is much more intentionally the two pianos, the second violin tremolos, subdued in this work than the Barber, and the grounded bass line. While it undoubtedly because of the elegiac qualities

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and it being a remembrance of Bundra, the opening which is then imitated in the beloved teacher of many violists at violins, his use of counterpoint, and Interlochen and at the University of imitative inversions of the melodic line. The Michigan. I did also hear some beautiful, driving rhythm of the 6/8 meter also hopeful moments reminiscent of some of the reminded me a little bit of the Piston Viola slow movements of the Dvorák Serenade for Concerto and very slightly of Milhaud’s Strings. I enjoyed the freedom with which Concertino d’été. The work is wonderfully Kimber employs the crossing of voices, virtuosic with some challenging double-stop especially between violas one and two, passages that look fun. I really enjoyed the which share the melodic lines in the treble section in the middle of the work with the register in an intermingled manner. The familiar folk tune in the violins and the viola ending features all three viola parts “chugging” away at the fast notes above the alternating major triads on F and B (the melody. I also liked the clever usage of the initials of Francis Bundra) as they rise to the viola in the lower range and Kimber’s upper register of the viola, portraying careful orchestration so that the viola can climbing up to the heavens; then the piece always be heard. The composition of this ends refreshingly with a somber low register work is very refined. It is written triad which dissipates into nothingness. idiomatically for the instrument in a manner that is practical for the soloist always to be Evocations (2005) for viola and string prominent. orchestra The second movement, Dreamily, in a slow 1. Rhapsodically 5/8 meter, includes quintuplets and other 2. Dreamily rhythms that help to give the movement a 3. Driving free and almost “through-composed” feel. The harmonies change often on the bar lines, Difficulty: Level 6 helping to define the meter. This movement, Duration: 18 minutes lyrical throughout, also includes a section Commission: Iowa City Community String where the soloist plays a fast moving thirty- Orchestra, Carey H. Bostian II, conductor second note line that is juxtaposed against Premiere: Christine Rutledge, violist, and the other strings. This thirty-second note line the ICCSO, April 2, 2006 moves in a sweeping manner starting high at the beginning of the first measure and By Michael Kimber (b. 1945) sweeping down low at the beginning of the second measure, continuing this high-low This work is a welcome addition to the sweep for about six bars, very much like the genre of viola solo works with string solo viola line in the third movement of the orchestra accompaniment (only a few come Walton Viola Concerto, the part with the to immediately to mind: the TelemannViola quintuplets that move in the same fashion. Concerto, Hindemith’s Trauermusik, the Reger Suite for Viola and Strings in G The last movement, Driving, is a perpetuum Minor(orchestrated by Victor Poltoratsky), mobile with exclusively sixteenth note Britten’s Lachrymae, and Schnittke’s sextuplets in the solo viola line, very much Monologue). In the first movement, like the third movement of the Barber Violin Rhapsodically, I noticed many Bartok-like Concerto, especially in the double stop and elements: the folk melody heard in the harmonic E usage parts. This movement

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really cooks along and sounds very fun to play. Again the string accompaniment is very transparent on the whole, often times written in staccato fashion. The entire work strikes me as being attainable for the average listener, and the harmonic language is always coherent and rarely discordant. I highly recommend that violists looking to expand their concerto literature take a look at this work, and I hope it gains enough recognition to garner more performances in the future.

All three of these works are available through the composer at:

Michael Kimber 12 N. Mount Vernon Drive Iowa City, IA 52245 (319) 339-7232 e-mail: [email protected] web: http://members.tripod.com/~m_kimber

Key to the Difficulty level chart: 1 Very Easy 2 Somewhat Easy 3 Intermediate 4 Somewhat Difficult 5 Difficult 6 Very Difficult

Please send all scores for review consideration to:

Kenneth Martinson 2751 SE 24th Place Gainesville, FL 32641

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