JOURNAL ofthe AMERICAN ViOLA SOCIETY

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

Vol. 13 No.2 1997 OFFICERS Thomas Tatton President 7511 Park Woods Stockton, CA 95207 (209) 952-9367 Pamela Goldsmith Vice-President 11640 Amanda Drive Studio City, CA 91604 Donna Lively Clark Secretary jCFA, Butler University 4600 Sunset Indianapolis, IN 46208 Mary I Arlin Treasurer School ofMusic Ithaca College Ithaca, NY14850 Alan de Veritch Past President School ofMusic Indiana University Bloomington, IN 47405 BOARD Atar Arad Victoria Chiang Ralph Fielding john Graham Lisa Hirschmugl jerzy Kosmala jeffrey Irvine Patricia McCarty Paul Neubauer Karen Ritscher Christine Rutledge

Pamela Ryan I I William Schoen _J I EDITOR, ]AVS ...... ~/. ._------"~j~~~ ! ___i David Dalton Brigham }Dung University Provo, UT 84602 PASTPRESIDENTS

(1971-81) Myron Rosenblum -_._------_.------Maurice W Riley (1981-86) David Dalton (1986-91) t=====~====---======-======--==~ HONORARYPRESIDENT William Primrose (deceased)

~wSection of the Internationale Viola-Gesellschaft The Journal ofthe American Viola Society is a peer-reviewed publication ofthat organization and is produced at Brigham Young University, ©1985, ISSN 0898-5987. JAVSwelcomes letters and articles from its readers.

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

Editor: David Dalton Associate Editor: David Day Assistant Editor for Viola Pedagogy: Jeffrey Irvine Assistant Editorfor Interviews: Thomas Tatton Production: Bryce Knudsen Advertising: Jeanette Anderson

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

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Margin graphics courtesy of Nouveau Manuel Complet du Luthier par MM. Maugin et Maigne, L.V.D.V. Inter-livres, Paris, and Le Violon et La Lutherie par Francine Cabos, Librairie Grund, Paris. 3

FROr-·/l THE PRESIDENT

"'\VJhat a wonderful time to be a violist; what an W exciting time to be a member of the American Viola Society. Our membership is the largest it has ever been and we just celebrated our 25th silver anniversary congress at the University ofTexas at Austin-an extraordinary event, one that will resonate beautifully fOt years. Do you remember my call to action, printed in 1994 jAVS Vol. 10 No.2? The major points were • Double our membership by 1998 • Raise the attendance at our congresses to 600 • Double our Primrose Memorial Scholarship Fund by 1998 • Activate the committee structure • Have rwenty healthy and functioning chapters by 1998. We are well on our way in accomplishing each of those goals. Kudos to all! Friends, there is much yet to be accomplished. This is my continuing call to action. Winston Churchill said, "There are those who make things happen, there are those who watch things happen and there are those who wonder what happened." Let's you and me together make things happen! • Strive for excellence at all levels ofyour viola teaching, performing, making, and composition • Help build strong grassroots AVS organizations in your local community • Remember that repetition is a powerful tool Continue to promote the value, power, and beauty of the viola through performance and demonstration. See your local elementary/middle school music teacher and volunteer to demonstrate your love ofand skill on the viola to school children. Promote the AVS by continuing to distribute our membership brochure and extol the value ofour organization to non-AVS violists. As musicians and as violists we have an important job to do, and, for me, it has to do with music education and Americas musical future. We can join hands and create our future together. With my experience as president over the past three years, my vision has broadened to include • Working to revitalize our parent organization, the International Viola Society, so that it becomes a truly international organization that is responsive to violists in all countries • Collaborating with organizations including the Music Educators National Conference, the American String Teachers Association, Chamber Music America, and the Suzuki Association ofAmerica in projects of mutual interest • Connecting with the professional orchestral violist to create a mutually beneficial relationship. I love my viola as you love yours. Remember that our relationship with our instrument is an affair of the soul, and the American Viola Society represents a unity ofour hearts.

AVS President's Change ofAddress: Dr. Thomas Tatton, 7511 Park Woods, Stockton, CA 95207 tel. (209) 952-9367 fax (209) 473-8042 BIDDULPH RECORDINGS in cooperation with THE PRIMROSE INTERNATIONAL VIOLA ARCHIVE presents WILLIAM PRIMROSE

FIRST AND LAST VIOLA RECORDINGS

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

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

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

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

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

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

ANNOUNCEMENTS

PIVA is the official archive of the Inter­ If the request is sent by regular mail, please national and the American Viola societies. It ask your library to use their official library wishes to be user friendly and aid you in your letterhead. The response time for these re­ needs regarding viola repertoire. quests varies depending mostly on how quick­ Holdings of PIVA now consist ofapproxi­ ly your library can process the request. There mately 5,000 scores that feature the viola. is no charge for loans from our library. Some of the older editions and manuscript At present, other materials collected by scores can be photocopied for a modest fee. PIVA such as sound recordings and archival Although many scores are protected by copy­ documents cannot be loaned. If you have right and may not be photocopied, PIVA is research needs or other inquiries related to able to loan these materials through inter­ these materials, please contact David Day at library loan. The process of interlibrary loan the following address: is simple. Inquire at your local public or acad­ emic library. Ask them to send your request to DavidA. Day the following address: Curator The Primrose International Viola Archive Interlibrary Loan Brigham Young University Attn.: Maria Childers Provo, UT 84602 Harold B. Lee Library Brigham Young University TEL: (801) 378-6119 Provo, UT 84602 FAX: (801) 378-6708 e-mail: [email protected] TEL: (801) 378-4155 FAX: (801) 378-6347 For general information concerning PIVA e-n1ail: [email protected] visit our web site at: N~html http://www.lib.byu.edu/ ,-J music/PIV

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• The most comprehensive ELLIS W. HERSHMAN protection at reasonable cost. Heritage Insurance Services, Inc. • Underwritten by afinancially 826 Bustleton Pike, Suite 203 sound A-rated company. Feasterville, PA 19053 • Call Toll Free today for 800-289-8837 information and quotation. FAX: 215-322-5854 XXVI International Viola Congress

16-19 July 1998

at the Royal Scottish Academy ofMusic and Drama 100 Renfrew Street, Glasgow G2 3DB

Host Chairman: John White FRAM Coordinator: Michael Calder Consultant: James Durrant MBE

The 1998 Congress is to be given as a tribute to the memory ofthe great violaplayer William Primrose who was born on 23 August 1904, at 18, Wilton Drive, Glasgow.

Theprogramme willfeature a number ofScottish-born and Scottish-based violaplayers, some who have studied andtaught at the RSAMD, plus maJ·orfigures in the viola world There willbe an emphasis on musicfeaturing the viola by Scottish andBritish com­ posers and also works associated with the late William Primrose.

A maJ·or exhibition, a civic receptionfor delegates, broadcasts, record­ ings, talks, lectures, and master classes are plannedand the organisers intendto commission new worksfrom Scottish composers.

For further information please send s.a.e. to The Secretariat XXVI International Viola Congress 36, Seeleys Harlow, Essex CM170AD ENGLAND BEACONTRIBUTOR TO OR BENEFACTOR OF THE AVS.

Your contributions are tax deductible and are greatly appreciated.

(SEE MEMBERSHIP ENROLLMENTFORM IN THIS ISSUE.)

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

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

AVS Nears 1000 Members During 1997, our society probably will welcome its 1000th member. That person will be recognized in a special way. RANKED NO. 11 in the 1997 U.S. News and World Report survey of the

nation's best graduate schools, the Eastman School's comprehensive

program, featuring John Graham and George Taylor, provides outstand-

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Our groundbreaking Arts Leadership Program prepares stu-

dents for careers as audience builders, imaginative educators,

compelling advocates, and inventive performers. No matter

what career in music our graduates choose, they are well pre-

pared to meet the ch~lIenge. The Eastman School of Music.

Mor. than a conservatory - education for a lifetime.

String faculty: Lynn Blakeslee, violin Kathleen Bride, harp Charles Castleman, violin Steven Doane, cello Pamela Frame, cello Nicholas Goluses, guitar John Graham, viola Allan Harris, cello (part-time) Charles Haupt, violin (part-time) Margery Hwang, chamber music (part-time) Oleh Krysa, violin Melissa Micciche, viola (part-time) Stefan Reuss, cello (part-time) Mitchell Stern, violin George Taylor, viola James VanDemark, double bass Zvi Zeitlin, violin Quartet in Residence: The Ying Quartet­ Timothy Ying, Janet Ying, Phillip Ying, David Ying

For further information, contact the Eastman School of Music Admissions Office: 1-800-388-9695.

EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER 9

RALPH VAUGHAN WILLIAMS'S SUITE FOR VIOLA AND ORCHESTRA

by William E. Everett

he eminent English composer Ralph Vaughan Williams's Suite for Viola and TVaughan Williams (1872-1958) was no Orchestra is a collection of eight miniatures, stranger to the viola. He began to play the each ofwhich demonstrates a particular musi­ instrument during his student days at Charter­ cal atmosphere. Each movement is cast in a house.! Wilfred Mellers refers to the viola as basic ternary design (ABA) or simple variant "an instrument which Vaughan Williams thereof These musical postcards hold a special enjoyed playing, and for which he had a deep place in Vaughan Williams's oeuvre since, affection, not unconnected with its being at although they constitute a work for solo once the most ethereal and the most volup­ instrument and orchestra, they do not have tuous of the string family." 2 This special affin­ the pretentiousness or grandeur of a concerto. ity for the instrument is apparent in the Suite Frank Howes said of the Suite, "The Suite for for Viola and Orchestra (1934), a collection Viola represents quite another scale of values: of miniatures which displays the viola's versa­ colour and virtuosity replace logic and force."4 tility and personality.3 James Day described the Suite as a composi­ Vaughan Williams wrote several major tion which works featuring the viola in a solo capacity before he embarked on the Suite. Most im­ is easy to listen to and requires a true vir­ tuoso soloist, and the work stands in portant of these are Fantasia on a Theme by relation to Vaughan Williams's more im­ Thomas Tallis (1910, rev. 1913 and 1919), pressive compositions as Beethoven's with its prominent viola solo in the concer­ Bagatelles do to his; that is to say, its small tante string quartet; Phantasy Quintet (1912), scale indicates a great mind relaxing scored with two viola parts; Four Hymns (1914) for tenor and piano with viola obli­ rather than a little mind saying elegant nothings.5 gato; and, most importantly, Flos Campi (1925) for solo viola, mixed chorus, and small This study will address several aspects of orchestra. Vaughan Williams's Suite. First, the work's Lionel Tertis was the performer most formal organization and n1usical style will be closely associated with the creation of the discussed. This will be followed by brief Suite. He not only commissioned the work commentary on the manuscript of the Suite, from Vaughan Williams but also was its dedi­ housed at the British Library. The final sec­ catee and the soloist at its first performance tion will discuss critical reception of the Suite on 12 November 1934. During the decade at its first performance in 1934. A survey of before he premiered the Suite, Tertis gave first these various aspects of the Suite will illumi­ performances of Vaughan Williams's Flos nate features of it not only as it is today but Campi (10 October 1925), his own arrange­ also as it was over sixty years ago. ment of Elgar's Cello Concerto (21 March 1930), and Holst's Lyric Movement (18 Formal Organization and Musical Style March 1934). In Vaughan Williams's Suite, therefore, we see the coming together of two The Suite consists of eight movements great English artists whose careers intersected arranged into three groups.6 A common in the early 1930s: Vaughan Williams as an theme of Christmas unifies the three move­ experienced composer for the viola and Tertis ments of Group I ("Prelude," "Carol," and as a champion of new British music for the "Christmas Dance"). Two character pieces instrument. constitute Group II ("Ballad" and "Moto 10

Perpetuo"), while dances provide the basis for The Prelude, superficially recalling Bach's Group III ("Musette," "Polka Melancolique," First from the Forty-Eight and Debussy's d· and "Galop"). The Suite is flexible in its pos­ Dr. Gradus ad Parnassum, is not so cool sibilities for performance: it can be played as a and formal an affair as either.8 complete unit; each Group may be performed independently; or single movements can be It is the arpeggiated opening which in­ used as individual pieces.7 vites the comparison with Bach. The middle part of the movement, however, also evokes Group I images of the Baroque. This section, in a pas­ toral 9/8, provides the movement's connec­ Group I of the Suite consists of three tion with the Christmas theme. The pastoral movements which share the common theme meter is often associated with the Christmas of the Christmas season: "Prelude," "Carol," season, as is evident in works such as Handel's and "Christmas Dance." It is not only the Messiah and Corelli's Christmas Concerto. programmatic titles of the second and third Without having to refer to the season in verbal movements but also distinctive musical ele­ terms, Vaughan Williams evokes it through ments which suggest the association. Musi­ musical means. cally, evocations ofChristmas include the pas­ The "Carol" is the movement which has toral atmosphere of the middle section of the drawn special attention from several com­ "Prelude," the strophic form of the "Carol," mentators on the Suite. Even in the review of and the jubilant mood of the "Christmas the first performance which appeared in the Dance." Musical Times, this movement stood out to The opening movement, "Prelude," is, as the critic: the title suggests, a quasi-improvisatory fanta­ sia in a baroque manner. Frank Howes said of ... it is only the leisured simple things the movement: that were remembered. One of them came in the Carol, where the viola had a sweet and simple tune and the flute fol­ lowed it about, a bar or so behind, with fleece as snow. 9

(Actually, the flute leads the canon, with the viola entering one measure later.) Percy Young described the movement as demonstrating "the illimitable possibilities thrown open by melodic symbiosis." 10 This prominence of melody is one of the elements which con­ tributes to the movement's particular charm. OUf new catalog is filled The relaxed and lyrical nature of the with fine hardwood melodic line is enhanced through its metric instrument stands, sheet treatment. Measures alternate between 4/4 music cabinets, footrests and 5/4 virtually the entire movement. This and more. Call for your use of meter gives the theme a somewhat FREE copy today. improvisatory feel: it is not forced into a metric straight jacket but is allowed the free­ dom ofebb and flow in its forward motion. "Christmas Dance," with its metric alter­ nations between 6/8 and 3/4, effectively concludes Group I. Passages which evoke images of a rustic fiddler are complemented by sections of broad lyricism. In the orches­ tral version of the Suite, Vaughan Williams adds to the radiant atmosphere of the "Christn1as Dance" by including trumpets THE and percussion for the first time in the work. ~~\,"H.ICAGO SCHOOL This increase in the size of the orchestra ~~ 0:: .~\ 0 f along with the brilliance of the added instru­ , ~ ments accentuates this movement and gives it I , IOLIN MAKING special significance in the overall design of '/ the Suite as the end ofGroup I. /~ I ..... The three movements of Group I are all A.', e comes InquInes Into Its relatively extroverted in nature. The major ~::.: 3 1/2 - year mode dominates all three movements, and (f full-time program in each contains aspects of metric interest. The (I violin maIung and repair first two movements both are directed toward .\\\ the "Christmas Dance," although each of \\\~~ Instructlon..IS 1based on trad··ItlonaI them can exist independently. In the manu­ e -l.an~hods and etnphasizes the aehievetnent ~,~~-- script score, the indication "attacca no. 3" ~~~,,:,,: quality craftsIllanship. ~~ appears at the end of the "Carol," thus sug­ '~\ gesting greater unity between the final two \~~\ 3636 Oakton \\ n10vements. okie, Illinois 60076 \\ I,; EL (847) 673-9545 Group II III 4AX (847) 673-9546 o~ Whereas the three movements ofGroup I iiI 1schu Ho/l%e, Director (MeIllher of AFVBM) are focused outward, those of Group II, 0: ..::if7' "Ballad" and "Moto Perpetuo," look inward. _~veJ \,y Illinois State Board of Education The two movements are linked by a common tonal center, C. The "Ballad" is in C major present: this is the dark foreboding world of while the "Moto Perpetuo" is in C minor. Vaughan Williams's Fourth Symphony (com­ The "Ballad" is the central slow move­ posed 1931-34, first performed 1935), a ment of the Suite and occurs at its midpoint. work contemporary with the Suite. The principal melody is pentatonic, with the Taken as a pair, the "Ballad" and the fourth and seventh scale degrees not present. "Moto Perpetuo" display two different The rich harmonic accompaniment with its approaches of Vaughan Williams's depiction frequent use of parallel fifths (reminiscent of of seriousness and austerity. The "Ballad" a bagpipe drone) contributes to its solemn takes a lyrical approach: played at a slow tone. A fast middle section in 6/8 provides tempo, the spaciousness of the principal contrast to the slower outer sections of the melody is enhanced through the contrast of a movement. This passage begins with an oboe fast central section. The "Moto Perpetuo," on solo (a pastoral instrument) and is in a pas­ the other hand, relies on tonality and the toral meter (6/8). Taken with the pentatonic minor second for its evocation ofpathos. melody and the parallel and open fifths ofthe outer sections, elements of the pastoral tradi­ Group III tion dominate this movement. The "Moto Perpetuo" which follows Group III contains three dance move­ maintains the introverted atmosphere estab­ ments: "Musette," "Polka Melancolique," and lished in the "Ballad." Although it contains "Galop." The arrangement of the dances is only sixteenth notes played at a very fast somewhat curious, for the slowest ofthe three tempo, the minor tonality and frequent movements is not in the middle of the set (its appearance of the interval of the minor sec­ typical place), but rather at the beginning. ond (an interval frequently associated with Furthermore, each dance contains unusual tragedy) give this movement its ominous features for a work of its particular type. The character. The movement is certainly the "Musette" does not have the identifiable most virtuosic and technically challenging of drone of open fifths as its most salient fea­ any in the Suite. The pastoral element is not ture; the usual vivacious polka is set in the 12

minor mode; and the "Galop," a dance typi­ Manuscripts at the British Library (Add. Ms. cally in 2/4, has a middle section in 6/8. 50386). Even though it was presumably the The "Musette," played con sordino, basis for the published version of the Suite __--"A reestablishes the pastoral character ofthe open­ because it had been the property of Oxford ing Group. The gentle ostinato in the harp University Press, several discrepancies exist c D and the muted string sound create an orches­ between the manuscript and published ver­ tral atmosphere reminiscent of Ravel, 11 while sions. Apparently, the solo part was extracted the frequent modulations in the middle sec­ from the score and given to Lionel Tertis, tion provide distinctive tonal interest. who subsequently added fingerings and bow­ The "Polka Melancolique" lives up to the ings. When Tertis received the solo part, it oxymoron of its title. A polka is thrust into most likely contained inconsistencies with the the minor mode and with some curious manuscript. melodic twists is transformed from a lively Most ofthe differences between the manu­ folk dance into a mournful caricature. Percy uscript and printed versions of the Suite con­ M. Young said of the movement, in refer­ cern articulations, dynamics, and bowings. ence to the dichotomy between the minor There are several instances ofdifferent pitches. mode and the polka character and Vaughan The most important of these occurs in the Williams's use oftonality: opening measures of the "Moto Perpetuo." The treble clef sign in the sixth measure It may be compared with the cafe music should be after the third note, rather than ofthe Flemish Farm suite. Before the final before it. Therefore, the third note of the cadenza the minor third, which has previ­ measure should be dl, rather than c2. It thus ously appeared, stands preceded by the follows the pattern established in the preced­ major third, while the last chord is third­ ing measure of having an open string fol­ 12 less, both tokens ofcon1miseration. lowed by the three note pattern Bb eBb, The "Galop," although in the minor with the pattern occurring an octave higher mode, nonetheless provides a virtuoso ending each time. for the Suite. As mentioned above, a galop is typically in 2/4; however, in this movement, the central section is in 6/8. The tune, scored for solo viola and piccolo, is not pastoral like the 6/8 sections of the "Prelude" and "Ballad" but rather suggests a theme that one might Example. "Moto Perpetuo," mm. 5-6, manuscript version find in a score for a western film. The theme is transformed into a saloon dance through an A detailed description ofeach discrepancy increase in orchestration and rhythmic em­ between the manuscript and printed versions phasis on the second beat ofeach measure. of the Suite is beyond the scope of this study; The three movements of Group III all however, some comments on tempo indica­ offer creative and atypical interpretations tions and titles of movements will be of inter­ of traditional dance forms on the part of est. Six of the eight movements demonstrate Vaughan Williams. These movements are differences in either the tempo indication or among the most original of the Suite and, suggested metronome marking (see Table). after the pastoral nature of Group I While neither tempo nor metronome markings and the austerity of Group II, provide Movement Manuscript Printed Version an effective set of movements to con­ "Prelude" j = 60 and j == 66 j == 66 clude the work. (both metronome markings are present in different hands) "Carol" j == 66 j = 70 The Manuscript Score "Ballad" Andante tranquillo Lento non troppo " "Mota Perpetuo" Presto J = 88 Allegro J = 80 The manuscript orchestral score "Musette" Andante sostenuto Lento for the Suite for Viola and Orches­ "Galop" j = 184 j = 160 tra is housed in the Department of Table. Differences in tempo indications and metronome markings between manuscript and printed versions. EXCLUSIVE WORLDWIDE DISTRIBUTION

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P.O. Box IZI161 - Dalhvill., T,oo'II" 31ZIZ 1-800-))6-1980 15 should be taken as absolutely definitive, an cholique" was apparently added sometime investigation of these markings as they appear after the first performance of the Suite and in the manuscript augments their appearance before it was published in 1936 by Oxford in the printed version. University Press. Only the "Christmas Dance" and "Polka Melancholique" have the same markings in The First Performance both versions.l 3 As far as metronome mark­ The first performance of the Suite took ings are concerned, lyrical movements are place on 12 November 1934 with Lionel indicated to be played slightly slower, accord­ Tertis as soloist and the London Philhar­ ing to the manuscript, while virtuoso move­ monic Orchestra conducted by Sir Malcolm ments are to be played faster, especially the Sargent. The concert was part of one of the B "Galop," whose metronome indication in more important series of the time-the the manuscript is 24 beats quicker than Courtauld-Sargent Concerts. 15 Both the work in the printed version. and the performance were well received by The manuscript also reveals information the critics. The lead article in the December regarding the titles of two of the movements: 1934 issue of Strad, "Violinists at Home and "Ballad" and "Polka Melancolique." "Ballad" Abroad," began with commentary on the was originally called "Romance." The title Suite: "Romance" was marked out and replaced with "Ballad." A work for viola and piano The first important novelty ofthe present entitled "Romance" by Vaughan Williams was season has duly made its appearance, the discovered among his manuscripts after his suite for viola and orchestra ... by death and published posthumously in Vaughan Williams. This was produced at 14 The manuscript, which is at the 1962. a Courtauld-Sargent concert, the conduc­ British Library, is, according to a notation by tor receiving a special welcome on mak­ Ursula Vaughan Williams (second wife of the ing his reappearance after his illness. composer), in the hand of Adeline Vaughan LIONEL TERTIS was the soloist, and I Williams, Ralph's first wife. Adeline died in hear that the composer has given him so Vaughan Williams obviously com­ 1951, some delightfully effective music to play, pleted the "Romance" before that time. Since ofwhich, it need hardly be said, he made it is not known more precisely when Vaughan the most. The work consists of eight Williams wrote the "Romance," as no date short pieces of varying character and appears on the manuscript, it could have been rhythm and were the viola a more popu­ envisioned at the time of the composition of lar instrument would doubtless be fre­ the Suite. This could be one possibility as to quently heard.l6 why the title of the movement in the Suite was changed, since Vaughan Williams did not The positive remarks about both the want to use the same title for two solo works Suite and Tertis were amplified in the Musical for viola. Another possible reason for the Times review, along with some less than flat- change may be that Vaughan Williams tering remarks about the viola: thought "Ballad" was simply a more appropri­ ate title for the movement. Vaughan Williams has not exhausted his Regarding "Polka Melancolique," the move­ capacity to spring surprises. His Suite for ment's title appears only as "Polka" on the viola and orchestra ... , played by manuscript. Even though each of the move­ Mr. Tertis at the concert on November 12, ments contained in Group III is an atypical could no more have been prefigured than version of a dance, perhaps the title "Polka" the "Pastoral" Symphony or "Flos without further description was thought to be Campi." Mter the event one can perceive somewhat misleading. The program for the the composer's train of thought and agree premiere performance of the Suite also lists with it. In the "Concerto accademico" for the movement with the single-word title violin, Vaughan Willian1s' contrapuntal "Polka." Therefore, the qualifier "melan- puzzles were in the fashion. Still more so

was the percussiveness of the Pianoforte Concerto. In the work for viola, however, he corrects fashion-rebukes it if you like-for treating the instrument in an unsuitable way.... The viola's dusky tone and fit of plaintiveness do not necessarily cast it for tragic parts: they are part of its homely nature and are fit for homely thoughts. Its voice, unlike that of the aristocratic violin, is the voice of lowly humanity, with its simplicities and hum­ ours as well as its dumps. Its candle-light is that ofthe cottage. So Vaughan Williams does not write a three-movement con­ MarkAnton Hollinger certo with poignant subjects, burden­ VIOLIN MAKER some developments, and punctilious Award Winning Instruments designs. He writes a set of short pieces, VIOLIN • VIOLA • CELLO lively, peaceful, jocular, wistful-any­ thing but portentous-with the voice of Expert Repairs, Acoustical Adjustments folk-song slipping in, as if by right, at Bows &Accessories every other breath. The lowering of 5075 LUPINE ROAD the brow does not in the least lower the MISSOULA, MONTANA 59803 musical style. In fact, Vaughan Williams has never written a work more crowded 406-542-2012 MEMBER A.F.\1:B.M. with points of musical interest, sudden gleams of beauty, inspired simplicities, reviews in all three of these publications were and telling subtleties. Sometimes he is so quite enthusiastic in tone. The unnamed quick-witted that his meaning loses itself reviewer for the Monthly Musical Record in performance-Vaughan Williams wrote: becoming too rapid for St. Cecilia, or her servants.... Mr. Tertis enthusiastically The new suite contains delightful things. backed up the composer in this process of There are eight movements, diversified in putting the viola in countenance. character, yet unified by the poetic spirit­ Debunking is too ugly a word. I? pensive and yet virile. This music springs from the same England as the poetry of It seems that the reviewer, "McN," was Hardy and Bridges. IS much more impressed with musical attributes of the work and its performance than he was The writer for Musical Opinion commented with the instrument for which it was written. on folk and dance influences in the Suite: It is even in this review of the first perfor­ mance that we observe one of the problems It betokens no new departure for its com­ which has befallen the Suite: it is not a large­ poser: his work never lacks spontaneity scale concerto but rather a collection of when meditating on rural and pastoral miniatures. When expected to be a concerto, subjects. The various short dance move­ the work fails miserably. It cannot be some­ ments do not lack development, while thing which it is not. When viewed as a suite, the Suite is cast in that diatonic mould the collection of small pieces which it is, peculiar to Vaughan Williams which Vaughan Williams's work for viola and delights the ear. I9 orchestra succeeds. Commentary about the Suite also The review for the Times offered a brief appeared in the Monthly Musical Record, description of each movement (omitted here) Musical Opinion, and the London Times. The and placed the work in relation to the work 18

of Holst and Elgar, both of whom were also It has been not only Lionel Tertis but also represented on the program in Ballet Music numerous other violists who have played from "The Perfect Fool" and Cockaigne Vaughan Williams's Suite since its first perfor­ Overture respectively. mance in 1934. With its variety of musical atmospheres, technical challenges, and accessi­ The program ... has the distinction of bility for both performers and audience, it introducing a new work by Vaughan has become a staple of the viola repertoire. Williams, a suite for viola and small Whether performed in its entirety or as orchestra written, it seems scarcely neces­ selected movements, the work ably demon­ sary to say, for Mr. Lionel Tertis, who in strates many facets of Vaughan Williams's turning the viola into a virtuoso's instru­ style and is certainly deserving ofits continued ment has reconciled English composers to popularity. instrumental virtuosity. The new suite is very much Tertis's own and his instru­ ment's (it would be unthinkable trans­ William A. Everett is assistant professor ofmusic ferred to violin or violoncello), yet it is at Washburn University in Topeka, Kansas, also the composer's own in every detail of where he teaches music history, music theory, and its design and phraseology.... applied viola. He holds degrees from the Seven short movements follow the University of Kansas (Ph.D.), Southern prelude, and recall various phases of his Methodist Universtiy (M.M.), and Texas Tech folk-lore and folk-dance interests.... University (B.M). His articles have appeared in The whole is a most engaging set of American Music, Sonneck Society Bulletin, miniatures, and throughout, though the andOpera Quarterly. His viola teachers include character of the viola seems the chief Susan Schoenfield and Barbra Hustis. He is a motive, the delicate colouring of the member ofthe Washburn University Faculty orchestral background contributes essen­ String Quartet and is associate principal violist tial and subtle beauties. It is music to ofthe Topeka Symphony Orchestra. which one must listen for every jot and tittle of its expression. It does not hurl itself at one's ears as Holt's [sic] ballet NOTES music does, or as Elgar's ever young "Cockaigne" overture (the final piece on 1Hugh Ottaway, Vaughan Williams (London: Novello this programme) does. It is well that it gets and Company, 1966),7. two performances on consecutive nights 2Wilfred Mellers, Vaughan Williams and the Vision of Albion (London: Barrie & Jenkins, 1989), 107. straight away. Mr. Tertis will no doubt see 30xford University Press published a viola-piano vet;­ to it that it gets many more.20 sion of the Suite in 1936 and a full orchestral score in

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Composers and publishers should submit new works to the editor for possible reviews in ]AVS and deposit in PIVA. 1963. It is these editions that will be cited in this study. 4Prank Howes, The Later U70rks ofR. Vaughan Williams (London: Oxford University Press, 1937),85. Aspen Music Festival 5]ames Day, Vaughan Williams (London: ]. M. Dent & Sons, 1961), 174. and School 6Por a detailed analysis of the Suite, see chapter 3, "Background, Analysis, and Significance of Suite for Viola and Small Orchestra," of Christine W. Treter's "The Significance of Selected Compositions by Ralph June 10- August 16, 1998 Vaughan Williams which Peature the Viola" (DA disser­ tation, Ball State University, 1993). 7When the Suite was first published in a version for viola and piano (Oxford University Press, 1936), each Group was issued as a separate publication. This arrangement enhanced the distinctive nature of each Group. In 1989, Oxford University Press published the Suite in a one­ volume edition. The movements are not divided into groups on the contents page, but on the following page, which appeared in each volume of the earlier edition, the groups and movements contained therein are listed, as is the instrumentation for the orchestral version. 8Prank Howes, The Music ofRalph Vaughan Williams (London and New York: Oxford University Press, 1954), 111. 9"London Concerts, Courtauld-Sargent Concert," Musical Times 75. 1102 (Dec. 1934): 1128. 10percy M. Young, Vaughan Williams (London: Dennis Dobson, 1953), 187. 11 Vaughan Williams studied orchestration with Ravel for three months in 1908. (Michael Kennedy, The U70rks ofRalph Vaughan Williams, 2nd edition [London and New York: Oxford University Press, 1980],90.) 12Young, 135. 13"Christmas Dance" is marked Allegro pesante in both David Zinman the manuscript and the published orchestral score. The tempo marking is given only as Allegro in the solo viola MUSIC DIRECTOR rart and the piano reduction. 4Ralph Vaughan Williams, Romance for Viola and Harold Laster Piano, ed. Bernard Shore and Eric Gritton (London and w. New York: Oxford University Press, 1962). DEAN 15The Courtauld-Sargent Concerts were founded in 1928 by Mrs. Samuel Courtauld and Malcolm Sargent with the purpose of providing high-quality music at affordable prices. The Concerts included six programs Orchestral String Program each winter season at the Queen's Hall. The series was quite successful, and the concerts, which took place on Center for Advanced Monday evenings, were repeated the following evening. In 1932, the newly formed London Philharmonic Quartet Studies Orchestra began its association with the Concerts. The Courtauld-Sargent Concerts lasted until 1958, spon­ sored for its last eleven seasons by the New Era Concert Society. (New Grove Dictionary ofMusic and Musicians, Application must be received S.v. "London: Concert Life Organizations" by Henry by February 27, 1998 Raynor). 16"Violinists at Home and Abroad," Strad 45.536 (Dec. 1934): 341. 17"London Concerts, Courtauld-Sargent Concert," Musical Times75.1102 (Dec. 1934): 1128. 2 Music School Road 18"Concerts and Opera," Monthly Musical Record 64. Aspen, Colorado 8161 1 762 (Dec. 1934): 228. 19"London Concerts, Courtauld-Sargent Concert," 970/925-3254 • 970/925-5708 FAX Musical Opinion 58.687 (Dec. 1934): 234. 20"Courtauld-Sargent Concerts, Vaughan Williams's e-mail: [email protected] Suite," Times (London) 12 November 1934. TIME WARNER is the official sponsor of the Aspen Music School. r(fJilliam ©lf6oennig & c$on~ :ttd.

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ROMANTIC WORKS FOR THE YOUNG VIOLIST

by Patricia McCarty

s a child browsing through viola music at expediency of assigning students only music Athe music store in Wichita, Kansas, I which is readily available in the stock of our used to lament the small size of the viola local music store, we encounter great gaps in drawer compared to those of the violin and the continuum of gradually and ever-more­ cello. I consoled myself with the assumption challenging repertoire. All too frequently the that it was a manageable amount of music to young viola student completes the Telemann learn and that it would at least be possible and Handel/Casadesus concerti, then suddenly to learn everything written for my instru­ faces the chromaticism of the J. C. Bach and ment. This belief was shattered when I began the classical style articulation of Stamitz studying with Joshua Missal at Wichita State and Hoffmeister-concerti quite difficult for University as a high school student and was even the artist performer to make sound as introduced to his lifelong collection of rare polished as a beautifully played Mozart violin viola works already out of print at that time. concerto. Then after perhaps learning works The success of his teaching was largely due to by Vaughan Williams or Bloch, this student his ability to find the right work for each typically tackles our beloved standard student's technical and musical development, Romantic repertoire-the Bruch Romanze, thereby opening the door to achievement of Schumann's Miirchenbilder, the Schubert new heights of both technical and expressive Arpeggione and Brahms Sonatas-often with­ accomplishments. How intellectually and out ever having developed the technical and emotionally stimulating it was to study such a musical skills to manage these pieces with variety of works as the Antiufeyev Concerto, finesse, guaranteeing frustration for the student Hovhaness's Chahagir, Ravel's Piece en forme and his future teachers as he tries to unlearn de Habanera, the Cecil Forsyth Concerto, ingrained hang-ups. Vieux's Etudes sur les intervalles, the Bach Suites, and the Bloch Suite Htbrai'que all in The Teacher's Role one winter-andall prior to encountering the so-called standard repertoire by Brahms, It is as much a teacher's responsibility to Schubert, Hindemith, Walton, Bartok, etc. nurture a student's development of musician­ The following year found those big three ship as it is to teach the n1echanics ofplaying, twentieth-century concerti further postponed and it is possible to find repertoire in all by University of Michigan teacher Francis eras and styles of music at beginning, inter­ Bundra's insistence on laying important mediate, and advanced levels of technical groundwork in the concerti by Serly, Porter, development. We violists have been condi­ Piston, and Gyula Divid. tioned by others to believe that we have little While these lesser known works are not Romantic repertoire, and while concerti may usually prescribed today in the audition be lacking, the recital repertoire from that requirements for high school All-State or col­ period is bountiful. The Guide (see pages lege entry, many of them sound far better 24-25) which I have compiled arranges most with less frustration in young hands than the of the viola's Romantic repertoire into four more famous contemporaneous repertoire. categories of difficulty, with suggested Offering alternatives to prolonged study of preparatory studies before embarking on the baroque and classical era works, they help first group and with companion technical build the technique and musicianship neces­ studies for all. These works are both original sary for enhanced finesse when returning to and transcribed; the transcriptions represent those styles, and for successful performance of both those done in the last century by the the standard Romantic and twentieth-century composers themselves and the most peda­ repertoire. If we as teachers rely on the gogically useful ones of recent years. The PUBLISHERS OF MUSIC FOR THE SERIOUS VIOLIST

STUDIES FAURE RIMSKY-KORSAKOFF ARNOLD Fantasy Flight of the Bumble Bee FIOCCO Three Octave Scales and Arpeggios SCHMIDT Allegro BLUMENSTENGAL AlIa Turka FRANCOEUR Viola Scale Technique Book I SCHUBERT Sonata in A Major Viola Scale Technique Book 2 The Bee GLUCK TARTINI HOFMANN Melody from "Drfeo" Sonata Angelique Melodic Double-Stop Studies HANDEL The Devil's Trill SEVCIK Concerto in Bb TCHAIKOWSKI Ope 7 Prep. Studies in Trilling Book I Sonata in Bb Canzonetta Ope 7 Prep. Studies in Trilling Book 2 Sonata in 0 June Barcarolle Ope 9 Prep. Studies in Double Stopping HUBAY Melodie TARTINI Hejre Kati Seranade Melancholique The Art of Bowing IBERT Valse Sentimentale The Little White Donkey THEOBALD REPERTOIRE JENKINSON Scherzo Agitato ARNOLD Elfentanz VITALE Basic Bach (Student Pieces) JOPLIN Chaconne Beethoven's Best (Student Pieces) Pineapple Rag VIVALDI Cadenzas for Telemann Viola Concerto in G Solace Sonata in G Mozart Miniatures (Student Pieces) KREISLER VON WEBER The Young Violist Vol. I (Student Pieces) Leibesfreud Andante & Hungarian Rondo The Young Violist Vol.2 (Student Pieces) Leibesleid WIENIAWSKI Praeludium & Allegro BACH Legende Recitativo & Scherzo Caprice Bouree in C minor Scherzo-Tarantella Sicilenne & Rigaudon Chromatic Fantasy & Fugue ENSEMBLES KUCHLER BEETHOVEN BACH Concertino in Style of Vivaldi Fur Elise Fifteen Two-Part Inventions MASSENET DEBERIOT BENJAMIN Meditation from "Thais" 12 Short Easy Progressive Duos Jamaican Rhumba MATTHEWS HANDEL BOCCHERINI Fantasy Ent. Queen of Sheba - 2 VIas. & Pa. Music Box Minuet MENDELSSOHN MOZART BOHM Sonata in Eb Duo Sonata in Bb Sarabande MOUSSORGSKY Twelve Duets BOROWSKI Hopak PACHELBEL Adoration MOZART Canon BRAHMS Adagio K.261 TELEMANN Scherzo Menuetto Divertimento K.334 Concerto #1 in C for Four Violas CHOPIN Rondo K.250 Concerto #2 in G for Four Violas Nocturne for Viola Serenata Cantabile K.283 Concerto #3 in F for Four Violas CORELLI NOVACEK Concerto #4 in 0 for Four Violas Sarabanda, Giga, & Badinerie Perpetual Motion VIVALDI Sonata #12 Folia con Variazioni PAGANINI Concerto for Four Violas & Piano DANCLA Six Sonatas Book I MANUSCRIPT Carnival of Venice Six Sonatas Book II Deluxe Manuscript Music Book DeBERIOT Variations on the G String Manuscript Music Pad Scene de Ballet PUCCINI The Young Musicians' Writing Book DEBUSSY "0 Mio Babbino Caro" Available From: Claire de Lune PUGNANI Your Local Dealer or: Girl With the Flaxen Hair Gavotta Variata VIOLA WORLD PUBLICATIONS La Plus Que Lente RACHMANINOFF 2 Inlander Road DVORAK Vocalise Saratoga Springs, NY 12866 Romance Ope 11 RIES Phone & Fax: (518) 583-7177 Sonatina Ope 100 Perpetuum Mobile email: [email protected] 23

Beethoven Romances are included because accompaniment. Most of this music IS In they seem more romantic than classical in print, available through the Primrose Inter­ nature, but the Mendelssohn Sonata and the national Viola Archive or inter-library loan. Notturno are omitted as belonging more to the Classical era. Works by Bloch, Clarke, Bliss, Berkeley, Vaughan Williams, and Bax Patricia McCarty won the First Silver Medal have been omitted for their more twentieth­ prize in the Geneva International Competition century harmonies. Many of the works in at the age ofeighteen and since then has per- Groups A-B-C offer musical satisfaction for formed throughout the U.S., Europe, and advanced and professional players, but more Japan, appearing as soloist with such orchestras importantly, this repertoire provides suitable as the Detroit Symphony, Houston Symphony, material for the developing violist to confront and the Boston Pops. She was associated with issues of technique and musicianship crucial the Boston Symphony as assistant principal to successful performance of Group 0, issues violist and currently teaches at the Boston such as sustaining sound throughout the Conservatory. McCarty is keenly interested in length ofthe bow, phrasing, bow distribution, viola repertoire and has been awarded two varying bow speeds and weights, vibrato, National Endowmentfor the Arts Solo Recitalist tonal colors, dynamic gradations, articulation Grants that have allowed her to explore andper- variety, intonation in chromatic harmonies form contemporary American and lesser known and complex key signatures, and interaction works for the viola. She serves as a board member with a piano part which is more than mere ofthe AVS.

THE VIOLA

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

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

For information, write: Walter Birkedahl "BYU is the Best Buy in U.S. higher education" School ofMusic, C-550 HFAC - US. News & World Report Brigham Young University Provo, UT 84602 25 September 1995 Tel (801) 378-3294 at BRIGHAM YOU NG UNIVERSITY 24

Guide to Romantic Viola Repertoire Kayser, Etudes; various editions compiled by Patricia McCarty Mazas, Etudes Speciales; International Etudes Brillantes; International PREPARATORY STUDIES (in progressive Schradieck, Book 1; International order): Ross, Violinist's Guide to Exquisite Sevak, Opus 8, Shifting; Elkan-Vogel Intonation; Bomoff, Techno-Melodic Studies, Part 1; Salter, Starters; Palaschko, GROUPB Old Masters for Young Players; Maganini, (more difficult short, lyric pieces, with some six­ Ancient Greek Melody & Song ofChinese teenth notes, higherpositions, doublestops, com- Fisherman; studies by Carse, Wohlfahrt, plex key signatures) Flor, The Positions; Whisder, Introducing the Positions; Mackay, Position Changing; Beethoven, Romances; International Bornoff, Pure Technique, Book 1; Bornoff, Bliss, Intermezzo; Oxford Viva la Viola, Book 1; Boetje, Viola Music Bridge, Allegretto; Thames for Concert Church; solos comparable to Brun, Melodie; (rare) Telemann Concerto Faure, Elegy; International Glazunov, Elegie; Master's Music GROUP A Hubay, Un Conte; (rare) (short, slow, lyric, 3rd-4thposition) Maggiolata; (rare) d'Indy, Lied; Hamelle Works by Czech Composers; Russ. S.M.l? Joachim, Hebrew Melodies; Musica Rara Albeniz, LAutomne; Leduc Maganini, Night Piece; Ed. Musicus Borodin & Cui, Russ. S.M.l? Marteau, Feuillet d'Album; (rare) Bridge, Four Pieces; Faber Popper, Romance; (rare) Davidoff, Romanze; (rare) Raff, Cavatina; (rare) Gedike, Khachaturian, etc; Russ. S.M.l? Riffaud, Impromptu; (rare) Glazunov, Three Pieces; Russ. S.M.l? Sitt, Romance; Amadeus Ilyinsky-Forbes, Berceuse; Chester Kalliwoda, Nocturnes; International GROUPC Kreisler, Sicilienne & Rigaudon; Viola World (multi-mvt., slowfast, mixed rhythms &- articu­ Liszt, Romance oubliee; Sikorski lations, higherpositions, some doublestops, inter­ Rebikoff-Forbes, Berceuse & Danse; Chester action withpiano part) Saint-Saens, The Swan; various editions Schumann, Adagio & Allegro; International Works by Polish composers; Polskie WM. Fantasy Pieces; International Brahms, Sonatensatz; International Three Romances; Belwin Mills Fuchs, Phantasiestiicke; Wollenweber Sitt, AlbumbHitter; International Glinka, Sonata in D minor; Musica Rara Barcarole; (rare) Grieg, Lyrische Stiicke; Leipzig Peters (rare) Drei Fantasiestiicke; (rare) Herzogenberg, Legenden; Peters Skryabin, Prelude; International Juon, Sonata, Ope 15; International, Kalmus Tchaikovsky, Valse Sentimentale; Viola World Kiel, Drei Romanzen; Amadeus Vierne, Deux Pieces; (rare) Miaskovsky, Sonata No.2; Russ. S.M.l? Reinecke, Phantasiestiicke; Amadeus A-B COMPANION STUDIES Rubinstein, Characterstiicke; (rare) (in progressive order) Vieuxtemps, Etude; Schirmer Winkler, Deux Morceaux; (rare) Bornoff, Pure Technique, Book 2; F.A.S.E. or Lifschey, Scales & Arpeggios; C-D Schirmer COMPANION STUDIES Dont-Sve~enski, 20 Prog. Exercises, with Campagnoli, Caprices; various editions accompaniment ofa second viola; Dont, Etudes, Ope 35; various editions Schirmer Dounis, Ope 12; Fischer 25

Fiorillo. 31 Studies; International Dale, Suite, Ope 2; (rare) Flesch, Scalesystem; Fischer Phantasy, Ope 4; Schott Gavinies, Etudes; International Foote, Sonata; (rare) Kreutzer, 42 Studies; Schirmer Forsyth, Concerto; Schott Palaschko, Etudes, Ope 77; Leduc Fuchs, Sonate; Amadeus Rode, Caprices; various editions Gade, Sonata in D major; Breitkopf Sev~ik, Ope 1, parts 1-2; Bosworth Gaigerova, Suite; Russ. S.M.~ (rare) Ope 9, doublestops; various Ivanov-Radkevich, Sonata; Russ. S.M.~ (rare) Ope 1, part 4; Bosworth Joachim, Variations; Baron Vieux, 20 Etudes; Leduc Juon, Sonata Ope 82; Schlesinger (rare) 10 Etudes sur les Intervalles; Leduc Medtner, Fairy TaleOp. 15, no. 3 (rare) 10 Etudes sur des traits d)orchestre; Naumann, Sonate; Amadeus Leduc Radnai, Sonata; Simrock (rare) Ramsoe, Romance; (rare) GROUPD Rubinstein, Sonata; Mockba (difficult concert pieces & sonatas, requiring Scharwenka, Sonate; Amadeus facility, articulation variety, musical maturity) Schubert, Sonata Arpeggione; various Sitt, Konzertstiick Ope 46; International, etc. Bant6k, Sonata in F major; Chester Stanford, Sonata; (rare) Bowen, Sonata No. 1 in C minor; Kalmus Vieuxtemps, Capriccio; Schott Sonata No.2 in F major; Schott (rare) Elegie; Sikorski Brahms, Sonata No. 1 in F minor; several Sonata; Amadeus Sonata No.2 in E flat major; several Winkler, Sonata; (rare) Bridge, Pensiero, Allegro; Stainer & Bell plus many transcriptions pub. by Bruch, Romanze; Schott Viola World

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IMPRESSIONS OF THE 1997 CONGRESS

by julian Fisher

here was something special about this The fatigue of travel and concentrated listen­ T Congress. In the past, I would receive an ing takes its toll on the body. Still, I wished invitation to the Viola Congress, and I would that I had missed nothing. Everything had its think to myself: How can I find a way to relevance. attend this? I was merely hopeful. This time, I attended a technique workshop by however, my wife ordered me to go! The Heidi Castleman on rhythm and scales: "A registration was very easily done, over the Path to Musical Vitality." Ms. Castleman was Internet, and many events along the way gave assisted by Ya-Chin Pan, a student at the me the conviction that this was a guided decision. The plane fare was a gift, for starters. At the airport, I expected a hassle because I was taking an instrument that would not fit under the seat. In the past, as an examiner for the Royal Conserva­ tory of Music, I had been given trouble with a violin. However, the officials had no trouble with a viola! This was an indi­ cation of good taste on their part. In fact, they asked me if I was any good at "that thing." Thinking quickly, I assured them that I was and was on my way to Austin. The weather in Austin was hot and humid, and I was dressed in a suit. Until I got to my room, I sweltered stoically. I met several acquaintances at the airport and was very kindly given a ride to the University of Texas campus along with Dwight Pounds, Tom Tatton, and Ann Sandra Robbins and Elmar Oliviera with the Martinu Madrigals Frederking. I savored the moment when one of the employees at the registration desk Peabody Conservatory. I found it fascinating, asked a distinguished teacher if he was in and could tell from the eight-page handout town for the "Viola Camp." Once settled, I that the subject had been well thought out met another violist, a singer, and a composer. and that it could give the dedicated player an I was impressed by the fact that people other imaginative way of correlating the musical than violists were at our Congress. Having challenges of repertoire with the structure of come so far, I was really happy to make new scales and arpeggios. I am sure that many of friends. Many of these people were acknowl­ the attendees would agree with me that scale edged leaders in their branch of the music technique is absolutely a given in terms of profession, bur they were all so approachable. knowing the fingerboard and that there are We had lots of worthwhile conversations and many bowing articulations that can be em­ very little talk indeed about "shop matters." ployed. This class went further than that, The week was chock full of interesting with demonstrations of how specific prob­ events, and I was hard pressed to decide what lems in the standard repertoire could be prac­ not to attend, since it all looked so interest­ tised within a scale. I left thinking that not ing. My experience at Viola Congresses in the only was this an important thing to keep in past had taught me that to go to everything mind-during practice-but that I needed to takes one to the point of diminishing returns. practice more. My thinking now is to have 28

more of an architecture in terms of what I do presented ranged from the familiar Sonata in with my practice time. F minor by Brahms to a world premiere of We were treated to a recital by Lars a Suite for Viola and Piano by Otto Anders Tomter. I had never before heard of Freudenthal. In the fourth Mixed Recital, this artist and was glad that I was familiar I heard an excellent performance of the with four of the five pieces on the program. Gordon Jacob Suite for Eight Violas: In Memoriam Lionel Tertis. It was per- formed by high school competition win­ ners. You need not be famous to be outstanding. I thoroughly enjoyed a recital by Joseph de Pasquale. The concert was a celebration of the fifty years that Mr. de Pasquale spent as principal viola with the Boston Symphony and the Philadel­ phia Orchestra. It was preceded by a slide show retrospective given by David Dalton. There were many informative aspects to this, but most of all, I enjoyed the gentle humor. I think that violists are blessed with many wonderful attributes, and a sense of humor is one of them! As

Panel ofrhe "New" Bart6k Viola Concerto. L-R, Elliorr Anrokolerz, Donald Maurice, David for the concert, it was more that of a solo Dalton, Paul Neubauer, Csaba Erdelyi, Malcom Gillies artist than of a career orchestral player. The first and longest work was the What I heard was truly outstanding, a great Premiere Sonate by Darius Milhaud. I felt start to the Congress. The playing was won­ that the concert was played from the heart by derful. I think with remorse of how many a great man whose powers were undimin­ performers back in Toronto I hadn't gone to ished. There were two transcriptions by hear for the poor excuse that I had not heard William Primrose on the program: From San of them before! The performance showed Domingo by Benjamin, and the Litany fOr All abundant virtuosity beyond any debate, but Souls' Day by Schubert. In Primrose's mem- also a thoughtful and soulful approach. In a world dominated by loudness and speed, it was a balm to [he soul to hear the Langsam (last movement) of the Schumann Marchen­ bilder played as if nothing else in the world mattered.

Mixed Recitals

I found the mixed recitals to be very L-R, Joseph de Pasquale, Congress dedicatee and interesting. Not only did I hear a variety of Angelin Chang, accompaniest works, I heard a variety of performers and instruments. I heard my longtime friend and oirs, he mentions de Pasquale with a lot of colleague Jonathan Craig perform a work admiration but says that he didn't owe him called Steps for Viola and Piano, by Malcolm very much. I beg to differ. I heard things in Forsyth. Although John was an excellent player de Pasquale's playing that I had heard in the when we were in school together, I could not Primrose recordings. First of all, de Pasquale help but be impressed at the improvement played from the heart. The bow control was that was the result of several years of intelli­ impeccable, and the tone was absolutely gently sustained work. The variety of works refined and full of allure. I never felt that the

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~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~~ 31 playing was lacking in emotion. "There was played by Sabina Thatcher was a great oppor­ always a srory," ro paraphrase my teacher, tunity ro hear Lillian Fuchs in her role as a Stanley Solomon (former principal viola of composer; and what a forward-thinking per­ the Toromo Symphony), son she was! The performance of who journeyed all the The Paganini Sonata for the way co Austin to hear his Grand Viola, performed by Geral­ longtime friend and col­ dine Walther, showed without league and this Congress's any doubt that you can write in dedicatee. the grand virtuoso manner for The Primrose Scho­ the viola, and the right performer larship Competition Win­ can play it convincingly. Elmar ners' Recital was a great Oliveira was a special guest on the display of viola virtuosity. program, joining Sandra Robbins The performances by to perform the Three Madrigals Cathy Basrak (winner, by Martinu, a work written for 1995) and Christina Joseph and Lillian Fuchs. Before Castelli (1997) would performing, Mr. Oliviera thanked have gladdened the heart the audience for their warm wel­ of the man after whom come, saying that he could not the competition is named. imagine feeling as safe in a room Sabina Thatcher. principal, Sr. Paul The musicality was con­ Chamber Orchestra full ofviolinists. vincing, and the virtuosity was quite breathtaking. I am convinced that Personal Reward the recorded legacy of Primrose has given both of these performers a wonderful starting When I think of what I, personally, point. Christina's biography in the primed wanted most out of the Congress, I think first program memions that she is also studying of all that I wanted to get inspired in my own chemistry at Oberlin College. I am sure that playing. I wanted to sustain the inspiration the diversity of her study comributes ro the richness of her imerpretation. (Speaking of The History of the Viola Primrose, I would like to see a represemation of the Primrose Imernational Viola Archive at Volume I (with Supplement) future congresses.) Revised 1993 Csaba Erdelyi opened the Evening (out of print since 1987) Recital on Thursday evening with two very skilled and musically effective arrangemems and of works by Bela Bart6k, a Hungarian Suite, Volume II, 1991 and the Suite from El Amor Brujo, by Manuel de Falla. I recall reading about Csaba in Both available NOW The Strad magazine and have followed his colorful career over the years. There was an enlightening discussion of the "New" Bart6k Hard and Soft Cover Concerto on two different mornings, and his $29.50 and $24.50 each; commems were well informed and conducive plus Shipping and Handling: co discussion. USA $3.00; Canada $35.0; Lillian Fuchs has been a hero figure for Foreign, USD $4.00; each me ever since a dear friend, Everett Gates, gave me a recording of her performing the Bach Sixth Suite on the viola. It doesn't sur­ tIJr. Maurice W 2?jfey prise me at all that her studems saw fit to pay Author/Publisher her tribute in the form ofa memorial concert. 51 2 Roosevelt Blvd. Hearing the Sonata Pasrorale for solo viola Ypsilanti, MI 48197 Phone: (313) 482-6288 ""Curtin & Alf wentfar beyond anything I expected. My viola is spectacular in every way - the look, thefee4 the sound.J.J Donald McInnes, Los Angeles 1992

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struments, starting and ending with his own Amati. Several others besides myself had the feeling that with the exception of two or three instruments, they all had very fine qualities and deserved to be on anyone's shorr list of preferred instru­ ments. Even the more unusual patterns had a distinct and high­ quality viola sound. We all thought it remarkable how Paul was able to adjust to each instru­ ment, not only for intonation, but also for the idiosyncrasies of character. It was in some ways a L-R, Gregg Al£ Paul Neubauer, and Eric Chapman contrast to the Luthiet's Panel with some clear strategies and mental tools. I Discussion, which was more cautious. found Karen Tuttle's master class to be the I had never participated in a play-in for tonic that I was looking for. 1 found myself multiple violas, although my experiences with agreeing again and again with Ms. Tuttle's Suzuki had exposed me to assertion that much of the instrumental play­ violin and cello groups. ing today, viola playing included, is roo This was quite special. I mechanical and technical. We have to con­ was apprehensive about nect to our emotions. Mr. de Pasquale was how the Brandenburg 6th mentioned as a classic example of someone might sound but in fact who plays from the heart. Recalling Karen's found the outer move­ visit to Toronto in the spring, I was reminded ments joyful and the of the five emotions that we can feel when we second movement mov­ approach a piece of music, or a particular sec­ ing in terms ofsensitivity. tion: Love, Anger, Joy, Fear, and Sorrow. The Although each per­ best kind of outlet for a musician is practic­ son at the Congress had ing! Along with the holistic philosophy, we his or her most favorite were advised to activity, I would have take care of our­ to say that the con­ selves. Her AVS cluding recital by Lifetime Achieve­ Paul Neubauer was ment Award was my personal choice. most deserved. The recital was full (Harry Danks was of musical and tech­ L-R, Jeffrey Irvine, AVS Awards Chair, and Karen also honored in nical challenges, but it Tuttle, recipient ofLifetime Acruevemenr Award absentia.) seemed natural in its Many violists execution. Mr. Neubauer was assisted by a as welJ as viola clarinettist, twO singers, !:\vo pianists, and makers turned out a string quartet. After a week of feasting to a Luthier's dem­ on solo viola music, it really felt good to onstration featur­ hear the viola in what is debatably its ideal ing Paul Neubauer, medium: chamber music. The program who played a brief was entertaining, and the audience was "eclectic improvi­ appreciative, both in terms of applause sation" on twenry­ and poignant silence before applauding, five different in- Dwight Pounds and Viola Congress's depending on the music. Photo Exhibic INs FAMOUS NO'f SO FAMOUS FOR OVER 50 S

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I profited a great deal from this Con­ an adjudicator in various music festivals, he is gress and will certainly try to go t:O the next active as a board member for the Alliance one! It seems right that we will hold one, at fOr New Canadian Music Projects (ACNMP) last, in Scotland. at the Canadian Music Centre. Fisher is a member of the Canadian Viola Society, julian Fisher is a ftculry member and examiner the Ontario Registered Music Teachers, and the fOr the Royal Conservatory of1l1usic. He is the Ontario Suzuki Association. conductor ofthe RCM junior String Ensemble and the McMaster Hall Strings, an adult group ofstring players. He is the violist and arranger Congress photos by Dwight Po Wlds, Kevin ]agoe, and fOr the Fisher Quartet. In addition to serving as Donna Dalton

Primrose MemorialScholarship Competition at the XXV International Viola Congress

Preliminaries: Misha Galaganov, age 22, Houston, Texas There were thirty-seven candidates who sub­ Repertoire: Reger Suite No.1; Rochberg mitted taped entries for the preliminary Sonata; Bartok Concerto; Sarasate/Zimbalisr: round, representing fifteen states and three Zapateado. foreign countries. Karin Brown, age 18, Oberlin, Ohio Repertoire: Bach D Minor Suite; Rochberg Judges for the preliminary round were Evan Sonata; Hindemith Der Schwanendreher; Wilson (principal violist, Los Angeles Paganini/Primrose: La Campanella. Philharmonic); Roland Kato (principal violist, Los Angeles Chamber Orchestra); and David Schwartz (retired principle violist, MGM and Paramount Studio orchestras).

Finals: Six entrants were selected for the final round through anonymous screening ofthe taped entries. They were­ Christina Castelli, age 19, Oberlin, Ohio Repertoire: Bach G Major Suite; Rochberg Sonata; Bartok Concerto; Paganini: 24th Caprice. Thomasz Szlubowski, age 27, Baton Rouge, Louisiana Repertoire: Bach Sonata for Violin No.1; Rochberg Sonata; Bartok

Concerto, and Paganini/Primrose: La Primrose Memorial Scholarship Competition finalists: L-R, Misha Galaganov; Karin Brown, 3rd place; Campanella. Boris Tonkov; Rira Porfiris, 2nd place; Tornasz SzlubowskJ; and Chrisuna Castelli, 1st place. Boris Tonkov, age 24, Baton Rouge, Louisiana Rita Porfiris, age 26, Houston, Texas Repertoire: Hindemith Sonata Op. 25, Repertoire: Bach D Minor Suite; Rochberg No.1; Rochberg Sonata; Bartok Concerto; Sonata; Hindemith Der Schwanendreher; Sarasate/Zimbalist: Tango from "Sarasateana." Benjamin: Jamaican Rhumba. JOHN­ BRASIL

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Judges for the final round: and the Montreal International Violin Karen Tuttle (Juilliard and Curtis schools) Competition in Canada. Christina was awarded Alan de Veritch (Indiana University) the Bach prize in the 1996 Kingsville David Holland (Interlochen Arts Academy) International Young Performers Competition in Karen Ritscher (Mannes, Manhattan, and Texas. She was named a 1996 Presidential Rice University) Scholar in the Arts by the White House Commission on Presidential Scholars and per- Winners: formed at the John F. Kennedy Center for the First Prize: Christina Castelli, $2,000, a Performing Arts. Christina is currently a student minirecital at this year's Congress, and an ofAlmita and Roland Vamos at Oberlin invitation to make a featured appearance at Conservatory, where she is a double degree stu­ the XXVII International Viola Congress. dent in music performance and chemistry Second Prize: Rita Porfiris, $1,000 and a (Oberlin College). master class performance at this year's Congress. Rita Porfiris is a member of the Houston Third Prize: Karin Brown, $500 and a master Symphony. class performance at this year's Congress.

Christina Castelli, 18, ofU7estern Springs, Karin Brown is a student ofthe Mtmoses at the Illinois, began studying the violin at age 3. Oberlin Conservatory. Christina has been a first-place winner in numerous competitions. In 1995, she was submitted by a finalist in both the Yehudi Menuhin Laura Kuennen-Poper International Violin Competition in England Chair ofCompetition

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1997 Honorary Member Award

Harry Danks, voted unanimously as the tinued umil his retirement in 1946 as princi­ recipient of the 1997 AVS Honorary pal violisr of the BBC Symphony. His many Membership Award, is shown here with performances of major concenos, the count­ Thomas Tarton (L) and John White (R). less recital and concert appearances, and his Mr. Danks was unable to attend our recem promotion of the viola d'amore in perfor­ XXV Congress to accept his award; thus, the mance and through his exhaustive research plaque was presented to him in his home in culminating in his book The Viola d'amore Wembley, England. The distinguished career (1975, 1979) attest to his position as one of of Me. Danks began in 1935 with the this century's leading violists and one em­ Birmingham Symphony in 1935 and con- inently wotthy ofAVS recognition. 39

1997 REpORT ON THE SURVEY OF THE JOURNAL OF THE AMERICAN ViOLA SOCIETY READERSHIP

by Ronn Andrusco*

Editor's Note: The results ofthe survey in their Findings/Results/Limitations entirety are not printed here. Rather, that infor­ There were 159 completed questionnaires mation judged ofmost interest to AVS members received. This represents about a 20% re­ appears. In the next issue ofJAVS, the editor, sponse rate from the AVS membership. The Dr. David Dalton, will reply to comments and results presented reflect the collective answers inquiries that were submitted by respondents. given by those respondents to the question­ naire. It is not possible to project findings from the survey onto the total AVS men1ber­ Executive Summary ship with any degree ofconfidence since there 820/0 of the respondents rated ]AVS as very was no attempt to follow up with nonrespon­ good or excellent. dents. However, analysis of the results indi­ 83% of the respondents rated ]AVS informa­ cates direction that is applicable to the future tion at very valuable or valuable. planning of]AVS in order to better serve the 420/0 ofrespondents feel the primary function AVS membership. of ]AVS is to inform, stimulate, and en­ lighten, while communication and a ]AVS RATING SCALE sense of unity and community are sec­ 82% of respondents rated ]AVS as excellent or ondary functions. very good, 140/0 percent as average, and 84% ofrespondents keep ]AVS for reference. only 1% as fair. 84% of respondents thoroughly read each At least 500/0 of respondents wanted more issue or read some articles in detail. information in ]AVS content areas of 89% of respondents indicated they would Feature Articles, Viola Pedagogy, About subscribe to ]AVS if articles were available Violists, and Interviews. About 330/0 of on the Internet. respondents wanted more informa­ Respondents desire more feature articles and tion in New Works, Recordings, and interviews and more coverage ofviola peda­ Announcements. gogy, and about violists. 360/0 of respondents wanted less information Feature articles and pedagogy are the top fea­ in the Minutes of AVS Board Meetings, tures enjoyed by respondents. 200/0 wanted less information on New About 500/0 of respondents suggested some Acquisitions in PIVA, and 130/0 wanted changes to ]AVS. less information on From the President and Viola and bow maker articles and regular Chapters. pedagogy articles were the most frequently 830/0 of respondents rated ]AVS informa­ suggested additions to ]AVS. tion as Very Valuable or Valuable, 150/0 76% of respondents refer to ]AVS when seek­ rated it as Slightly Valuable and less than ing a service or product. 1% rated it as OfLittle Value. 670/0 of respondents have made contact with a ]AVS advertiser. The top two ]AVS areas mentioned the most 45% of the respondents are both teachers and by respondents were Feature Articles and professional musicians. Pedagogy.

*The findings and opinions expressed in this study are solely those ofthe author. This report, therefore, does not necessarily represent the editorialpolicies or positions ofthe Journal ofthe American Viola Society, and no official endorsement should be inferred. .I I , I , r I I

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25% of respondents who answered this ques­ SUGGESTIONS tionnaire suggested that a status quo be main­ Comments fronl respondents relating to the tained. Changes requested were the placement changes, additions, and general comments of ads, the cover logo, and the use of color areas of the jAVS survey have been combined and type ofpaper. and grouped under the following headings:

More than one-third of JAVS respondents -Endorsement of Present JAVS thoroughly read each issue while a further -Qualified Endorsement 530/0 read some articles in detail and skim -Critical Comments the rest. -Specific Administrative/Aesthetic Suggestions -Specific Content Suggestions The combination Teacher and Professional -Nonspecific General Suggestions to JAVS -Specific Content Areas to Reduce Musician comprised the largest single group of respondents with 450/0. A further 17% ENDORSEMENT OF PRESENT jAVS indicated Amateur Musician, 11 % indicated 27 different comments were made by 80 Professional Musician, and 50/0 indicated respondents that clearly endorsed the current Student. offerings ofjAVS, for example: 570/0 of JAVS readers also read Strings, 52% also read Strad, 33% also read Chamber Music Nothing 23 Professionally Presented 9 America, and 240/0 also read ASTA. Glad JAVS Exists 6 Attractive Format 3 Analysis Reader Friendly 3 The level of satisfaction with JAVS and its Essential Reading 2 content is outstanding; respondents wrote JAVS Becomes Daily Tool 1 numerous positive comments. Remains Voice of Inspiration 1

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QUALIFIED ENDORSEMENT PIVA Article and Access to PIVA 2 4 comments were made by 7 respondents that Pedagogy for Young Players 2 Orchestra Excerpts Fingered/Bowed 1 indicated a qualified endorsement of ]AVS. Standard Chapter Information 1 From these comments, it would appear that IVS Coverage 1 for some readers, ]AVS has been improving over time. NONSPECIFIC GENERAL SUGGESTIONS To]AVS Okay Now 2 57 respondents made 41 general suggestions, Cover Well Now 2 Getting Better 2 for example: Improves Issue to Issue 1 More Historical Articles Total Respondents 7 5 More Extensive Articles 4 Amateur Violist Papers 3 CRITICAL COMMENTS More Local Happenings 2 11 comments of this nature were received, for More Recording Reviews 2 example: More Practical Performance Suggestions 1 More Lively Letters Section 1 More Substance 3 More Interviews 1 Too Academic 2 Information for Amateur Violists 1 Not Enough Article Scholarship 1 Student Violist Articles 1 Amateur Writing 1 Padded/Pretentious 1 Taking into account the multiple readers of ]AVS, one finds an average of 1.72 people SPECIFIC ADMINISTRATIVE/AESTHETIC reading one copy of ]AVS, or 600 ]AVS are SUGGESTIONS 27 specific suggestions were made by 62 respondents. These suggestions related to the physical attributes of ]AVS and editorial decision-making. Some suggestions were opposites, namely, more/less artwork, like/ dislike graphics, and member list yes/no. Selected general examples:

Place Ads at Back Together 7 Color, Paper 6 am~C~tl~~ 5 Real Table ofContents 5 CLAIRE GIVENS More Photos/Pictures 3 Earlier/Postal Lag 2 VIOLINS, INC. Tel#/E-mail/Internet Addresses w/Member List 4 Increase Frequency/More Editions 4 Dealers, Makers & Restorers of Fin~ Graphics (Positive Comments) 4 Graphics (Negative Comments) 2 Violins, Violas, Cellos & Bows. Less Ad Space/Less Commercial 2 New Acquisitions on Web Page 2 We are committed to offering the best violas and viola bows in all price ranges. SPECIFIC CONTENT SUGGESTIONS 39 suggestions were made by 78 respondents: Celebrating Our 20th Anniversary More Articles on Instrument/Bow Makers 11 1977 - 1997 More/Regular Pedagogy Articles 11 More Viola Music/Excerpts/Inserts 7 College Program Information/Teaching Staff 3 1004 Marquette Avenue, Suite 205 A Question & Answer Column 3 Minneapolis, Minnesota 55403 USA New Product Evaluation 3 (612) 375-0708 or (800) 279-4323 Music/Record Sources & Costs 2 E-Mail: [email protected] Auction Price Information 2 Audition/Job Opportunities 2 Instruments Played by Great Violists 2 IRA B. KRAEMER & CO. Fine Violins, Violas, Cellos and Bows Expert Repairs, Restorations, Appraisals and Accessories

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read by 1034 people, using three readers for three or Table 3 more. Some teachers leave their ]AVS for students to Rating ofInformation inJAVS read while waiting. This should be encouraged by all by 1997 JAVSReadership Respondents teachers. Cumulative Frequency Percent Percent For most AVS members, the ]AVS appears to be their Very Valuable connection to the AVS, since 430/0 of respondents have 50 31.4 31.4 Valuable 82 51.6 83.0 not attended a Viola Congress. To inform, stimulate, Slightly Valuable 24 15.1 98.1 and enlighten is what most ]AVS readers perceive as the OfLittle Value 1 0.6 98.7 most important function of]AVS. This suggests a more OfNo Value o 0.0 98.7 complex expectation of the reader for ]AVS as a "one­ No Response 2 1.3 100.0 stop" center and not just a communication vehicle. Total 159 100.0

TABLES

Table 1 Table 4 Overall Rating ofJAVS Features ofJAVS Most Enjoyed by 1997 JAVSReadership Respondent by 1997 JAVSReadership Respondents

Cumulative Frequency of Frequency Percent Percent Occurrence

Excellent 59 37.1 37.1 Features Articles 41 Very Good 72 45.3 82.4 Pedagogy 40 Average 23 14.5 96.9 New Works Descriptions 26 Fair 2 1.3 98.2 Personal Stories 23 Poor 0 0.0 98.2 About Violists 22 Response 3 1.9 100.0 Recording Reviews 19 Total 159 100.0 Interviews 13 Concert Reports 10 Library Information-PIVA 9 All 8 Table 2 Advertisements 7 Changes in Amount ofInformation in JAVS Announcements 7 by 1997 JAVS Readership Respondents Forum 5 Artistic Format 4 JAVS Content More Less Same Missing OfInterest 4 Feature Articles 61.6 0.6 30.8 6.9 General Information 3 Viola Pedagogy 61.0 4.4 31.4 3.1 Current News 3 About Violists 57.2 1.3 32.7 8.8 Varies Issue to Issue 3 Interviews 50.9 6.3 37.1 5.7 Colleagues Working/Earning 2 New Works 39.0 3.8 49.7 7.5 Instrument Features 2 Recordings 37.1 3.1 50.3 9.4 Membership List 2 Announcements 30.8 1.9 58.5 8.8 Viola Connotations 1 OfInterest 23.3 0.0 57.9 18.9 Variety 1 Competitions 22.0 8.8 60.4 8.8 Viola Promotion 1 Forum 18.2 5.7 64.2 11.9 Easy to Read 1 Chapters 14.5 13.8 59.1 12.6 Music Reprin 1 Advertisements 13.8 9.4 67.3 9.4 Composers 1 New Acquisitions Rare Works Articles 1 in PIVA 11.3 19.5 62.9 6.3 Historical Discoveries 1 From the Education 1 President 5.7 13.2 73.6 7.5 Competitions 1 Minutes ofAVS Open to Comment from Anyone 1 Board Meetings 3.8 35.8 49.1 11.3 Early Violists 1 Total Respondents 159 Total Respondents 138 Samuel Koistein " Son Ltd.

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Table 5 Glance Through it, Possibly Skim Most Important Function of]AVS as Indicated an Article or Two 4 2.5 99.3 by 1997 ]AVSReadership Respondents Have No Time to Read ]AVS 0 0.0 99.3 Have No Interest in Reading]AVS 0 0.0 99.3 Frequency of No Response 1 0.6 100.0 Occurrence Total 159 100.0 Inform, Stimulate, Enlighten 56 Community, Sense ofUnity 34 Table 7 Communication 31 Current Status of 1997 ]AVS Readership Respondents Advocacy/Promotion 14 Provide a Forum 6 Cumulative Education 5 Frequency Percent Percent Connection 3 Distribution/Dissemination Center 2 Teacher and Professional Not Just PIVA 1 Musician 72 45.3 45.3 New Music 1 Amateur Musician 27 17.0 62.3 Encouragement 1 Professional Musician 18 11.3 73.6 Student 8 5.0 78.6 Total Respondents 132 Teacher 6 3.8 82.4 Retired 6 3.8 86.2 Retired/Amateur 6 3.8 90.0 Table 6 Other 16 10.2 100.0 Journal Reading Habits of 1997 ]AVS Readership Respondents Total 159 100.0

Cumulative Ronn Andrusco is a professional violist living in TOronto Frequency Percent Percent and also active in Edmonton, Alberta. His analytical Thoroughly Read Each Issue 55 34.6 34.6 surveys in behalfofthe AVS have appeared previously in Read Some Articles in Detail, Skim the Rest 84 52.8 87.4 JAVS: Vol. 6 No.1, Spring 1990, on the XVII Inter­ Usually Skim, Occasionally national Viola Congress (Redlands), and Vol. 7 No.2, Read an Article 15 9.4 96.8 Fall 1991, regarding a Comparison ofAVSMembership.

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FACUL7Y Steven Ansell, Viola t* Malcolm Lowe, Violin* Michael Reynolds, Cello t Edwin Barker, Bass* Yuri Mazurkevich, Violin Todd Seeber, Bass* Lynn Chang, Violin Ikuko Mizuno, Violin* Roman Totenberg, Violin I I Andres Diaz, Cello George N eikrug, Cello Lawrence Wolfe, Bass* SCHOOL FOR THE Jules Eskin, Cello* James Orleans, Bass* Michael Zaretsky, Violin * Bayla Keyes, Violin Leslie Parnas, Cello Peter Zazofsky, Violin t ARTS Wei-pin Kuo, Violin t Dana Pomerants-Mazurkevich, tMuir Strmg Quartet member Michelle LaCourse, Viola Violin *Boston Symphony Orchestr.l member MUSIC DIVISION Carol Lieberman, Violin Bruce MacCombie FOR MORE INFORMATION contact: For information on summer programs for high Dean, School for the Arts Halley She£ler, Director ofAdmissions school students at Tanglewood in conjunction with School for the Arts, Music Division the Boston Symphony Orchestra, call 617/353-3341 Phyllis Elhady Hoffman 855 Commonwealth Avenue, Boston, MA 02215 or 617/353-3386. Director ad interim, 617/353-3341 An equal opportunity, eiffirmative action institution Music Division DOYENNE OF AMERICAN VIOLIN MAKERS -New York Times, June 14, 1994 dal1lpit8 Pat No :3 407 700 the sensational humidifier for VIOLIN. VIOLA. CELLO. BASS

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NEW ACQUISITIONS IN PIVA

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

1993 Acquisitions

Viola-Solo Violine und Viola

Cherny, Brian. Sekhinah: alto seul = solo viola = Essner, Walther. Spielbuch flir 2 bis 4 Streich­ Bratsche Solo. Que, Canada: Doberman-Yppan, instrumente. Leipzig: Fr. Portius, c1937. c1992. Jansa, Leopold. Three duets for violin and viola; Gardner, Maurice. Tricinium: sonata for solo op. 70; edited by F. Hermann. Miami Lakes, Fla.: viola. New York: Staff Music, c1978. Master's Music Publications, [1989].

Giner, Bruno. Premices: pour alto seu!. Paris: Neubauer, Franz Christoph. Three duets; op. 10, Durand, c1991. for violin and viola; edited by Wilhelm Altmann. Miami Lakes, Fla.: Master's Music Publications, Grims-land, Ebbe. Impromptu russo: tonbroderi [1989] . i "Vit natt" ("Beloj notchi"). Leningrad: violon­ cell-eller viola-solo: verk III, 1981. Stockholm: Spohr, Louis. Duo flir violine und viola; op. 13. Stirn, [1989?]. Leipzig: C. F. Peters, [1953?].

Perle, George. Sonata para viola solo. Montevideo: Starer, Robert. Duo for violin and viola. New Editorial Cooperativa Interamericana de Comp­ York: Southern Music, c1960. ositores, c1944. Zwei Violen Rubbra, Edmund. Meditations on a Byzantine hymn, ceQ quando in cruce": for unaccompanied Dechiffrage du manuscrit. Paris: H. Lemoine, viola; op. 117. London: A. Lengnick; New York: [l90-?]. sole agent, USA and South America: Mills Music, c1964. Stamitz, Karl. Sechs Duette fur zwei Violen; erst­ Three compositions for viola solo. Hillsdale, N.Y.: mals hrsg. von Walter Lebermann. Mainz: B. Boelke-Bomart, c1975. Shott's Sohne; New York: Schott Music Corp., c1968. Wellesz, Egon. Prceludium flir Viola; op. 112. Wien: Doblinger, c1975. Violoncello und Viola

Viola-Solo (arr.) Knorr, Ernst-Lothar von. Duo flir Viola und Violoncello. Zlirich: Amadeus, 1978. Minsky, Aaron. Three American pieces: for unac­ companied viola: from ten American cello etudes; Van Appledorn, Mary Jeanne. Four duos; edited transcribed by David Dalton. New York: Oxford by Arthur Follows. Washington, D.C.: Arsis Press, University Press, c1991. c1989. BeautifulAlto ClefJewelry Heiden, Bernhard. Sonata for viola and piano. Pendents New York: Associated Music Publishers, c1968. Earrings Tie Tacks Ishii, Kan. Sonata for viola and piano. Rev. ed. Tokyo: Ongaku no Torno Edition, [1991]. CuffLinks Joachim, Joseph. Hebrew melodies: for viola and All orders custom made by a professional jeweler. piano; op. 9. Boca Raton, Fla.: Master's Music Publications, [198-?]. Sterling Silver Pendant $25.00 Menasce, Jacques de. Sonate pour alto et piano en with chain 35.00 un mouvemem. Paris: Durand, 1956. Tie Tack 35.00 75.00 _Earrings Ridout, Alan. Seascapes: six easy pieces, with piano 14 KGoid accompaniment for viola or cello. London: _Tie Tack 100.00 Associated Board of the Royal Schools of Music, _Pendant 85.00 c1991. with chain 125.00 _ with 2 two-pt. diamonds add 50.00 Rosell, Lars-Erik. Sonat for viola och piano. _Gold Earrings, clip/post 200.00 Stockholm: Svensk Musik, c1989. Include name, address and $3.50 shipping. Schumann, Robert. Mdrchenbilder: 4 Stucke fur Classics Unlimited Music Pianoforte und Viola (Violine ad libitum) = Fairy Carolyn Waters Broe tales: 4 pieces for pianoforte and alto (violin ad 4972 E. Paradise Lane-(602) 493-3118 libitum) = Contes de fees: 4 pieces pour piano et alto (violon ad libitum); op. 113. Leipzig: Scottsdale, AZ 84254 Breitkopf & Hartel, [l91-?].

ContrabOlS$ und Viola Schumann, Robert. Pictures from Fairyland: Mdrchenbilder: for viola (or violin) and piano; Tsoupaki, Calliope. When I was 27 for viola and op. 113; edited by Henry Schradieck. Boca Raton, double bass, 1990. Amsterdam: Donemus, c1991. Fla.: Master's Music Publications, [1989].

Klavier und Viola Tsimsadze, Sulkhan. Romans = Romansi. [s.l.: s.m., 1949?] . Bliss, Arthur, Sir. Sonata for viola and pianoforte; [edited by Lionel Tertis]. London: Oxford Vardi, Emanuel. Suite for viola and piano, based University Press, c1934. on American folk songs. N[ew] Y[ork]: Emvar Music Publishing, c1977. Etler, Alvin Derald. Sonata for viola and harpsi­ chord. New York: Associated Music Publishers, Walker, George. Viola sonata (1989): viola and c1%1. piano. St. Louis: MMB Music, c1989. Erler, Alvin Derald. Sonata for viola and harpsi­ chord. [U.S.]: Cominuo Music Press; [New York]: Klavier und Viola (arr.) sale selling agem, A. Broude, c1973. Arne, Thomas Augustine. Sonata in B-flat Major Giampieri, Alamiro. Fantasia per viola e for violin (or cello, viola, B-flat clarinet) and pianoforte = Fantasie pour viole et piano = piano; transcribed by Harold Craxton; [edited for Famasia for viola and piano = Fantasie fUr Viola viola by Watson Forbes]. London: Oxford und Klavier = Fantasia para viola y piano. Milano University Press, c1959. and New York: G. Ricordi, 1953, c1939. Baltin, Aleksandr Alesdandrovich. Letnii den: Glazunov, Aleksandr Konstaminovich. Elegie for poema dlia al'ta s orkestrom = Summer day: poem viola and piano; op. 44. Boca Raton, Fla.: Well­ for viola and orchestra; [prelozhenie dlia al'ta Tempered Press; distributed exclusively by fortepiano autora]. Koavir = piano score. Moskva: Master's Music, [1989?]. Sov. kompozitor, 1992. 51

Beethoven, Ludwig van. Fur Elise; [transcribed for Kreisler, Fritz. Liebesfreud; [transcribed for viola viola by Alan H. Arnold]. Huntington Station, by Alan Arnold]. Huntington Station, N.Y.: Viola N.Y.: Viola World, 1987. World, c1990.

A Corelli, Arcangelo. Sonata no. 12: Follia con vari­ Kreisler, Fritz. Pr;eludium and allegro; transcribed azioni; op. 5; transcribed for viola by Alan H. for viola by Alan H. Arnold. Huntington Station, Arnold. Huntington Station, N.Y.: Viola World, N.Y.: Viola World, c1986. c1983. Kreisler, Fritz. Sicilienne; and, Rigaudon; [arranged David, Gyula. Braesaverseny (braesa - zongo­ for viola by Alan H. Arnold]. Huntington Station, rakivonat) = Konzert fur Viola und Orchester = N.Y.: Viola World, c1986. Concerto for viola and orchestra. Budapest: Zenemukiad6 VaIlalat, 1953. Mozart, Wolfgang Amadeus. Symphonie con­ Dvorak, Antonin. Romance; op. 11; edited by certante: Es Dur fur Violine und Viola mit William Lincer; transcribed by Alan H. Arnold. Orchester; revidiert und mit Vowort versehen Huntington Station, N.Y.: Viola World von Rudolf Gerber. London: E. Eulenburg, Publications, c1980. [1935].

Hummel, Johann Nepomuk. Fantasie for viola Rachmaninoff, Sergei. Vocalise; transcribed for and string orchestra with two clarinets; arranged viola by Alan H. Arnold. Huntington Station, for viola and piano by H. Truscott. London: N.Y.: Viola World, c1977. Musica Rara, c1973. Reger, Max. Romanze fur Violine und Klavier, G Jongen, Joseph. Suite pour orchestre et alto princi­ Dur; ausg. fur Viola und Klavier; [bearb von] pal; op. 48; reduction pour piano par l'auteur. (Hans Sitt). Wiesbaden: Breitkopf & Hartel, Paris: H. Lemoine, c1928. [1989?] .

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JOACHIM-KoECHERT QUARTET ST. CECILIA CHAMBER ORCHE.";TRA GOTE~~GSYMPHONY Wieniawski, Henri. Scherzo-tarantella; op. 16; edited by William Lincer; transcribed by Alan H. Arnold. Huntington Station, N.¥.: Viola World Publications, c1980. ~SIC Violine, Viola und Violoncello PUBLISHERS Pleyel, Ignaz. 3 concertante Trios; op. 10; hrsg. von Bernhard Pauler. Zurich, Edition Eulenburg, RBP is pleased to announce a unique new line of c1971. exceptional arrangements for viola, transcribed and edited by ROBERT BRIDGES This collection has been thoughtfully Viola, Violoncello und Klavier crafted to fully exploit the special strengths and sonorities of the viola, We're confident these arrangements will be effective and useful additions to any violist's recital library Flothuis, Marius. Trio serio: for viola, cello, and pianoforte; op. 38 no. 2. Amsterdam, Donemus, 1001 Biber Passacaglia (violin) , $ 575 c1951. 1002 Beethoven Sonata op 5 #2 (cello) $ 9,25 1003 Debussy Rhapsody (saxophone) $1425 Bass-Blockflote, Viola und Cembalo 1004 Franck Sonata (violin) $1075 1005 Telemann Solo Suite (gamba) $ 675 1006 Stravinsky Suite for Via and piano $2800 Bach, Carl Philipp Emanuel. Trio in F major for 1007 Prokofiev "Cinderella" Suite bass recorder, viola (or two violas) and harpsichord for Viola and Harp $2500 or pianoforte (with violoncello ad lib.); [edited and arranged by] Hans Brandts-Buys. London: Include $1 50/item for shipping and handling Schott, c1951. 'To order, send your check or money order to: Flote, Viola und Violoncello send for RBP Music Publishers our FREE 2615 Waugh Dr. Suite 198 cataloguel Houston, Texas 77006 Devienne, Franc;ois. Sechs konzertante Trios fur Flote, Viola und Violoncello = Six trios for flute, viola and violoncello; hersg. von Bernhard Pauler. Reher, Sven. Music for viola (in the first position) Winterthur, Schweiz: Amadeus, 1985. with piano accompaniment: a collection of music Flote, Viola und Harfe based on the classics as well as folk music.; tran­ scribed, arranged, and edited by Sven Reher. Albin, Roger. Sonate a trois pour flute, alto et [U.S.?]: Sven H. Reher, 1988, c1980. harpe. Paris: Editions Musicales Hortensia, c1974. Sbornik p'es russkikh i sovetskikh kompozitorov; Flote, Viola und Gitarre perelozhenie dlia arta i fortepiano E. Strakhova. Moskva: Gos. muzo izd-vo, 1952. Ansink, Caroline. Kymata: for flute (alto flute), viola, and guitar: 1989. Amsterdam, Donemus, Telemann, Georg Philipp. Concerto in G major c1990. for viola and orchestra; [edited by William Primrose]. New York: G. Schirmer; Milwaukee: Oboe, Viola und Klavier Distributed by H. Leonard, c1991. Jordan, Paul. Trio for oboe, viola and piano: Vaughan Williams, Ralph. Six studies in English chamber music from a new German Chorale. folksong: for violoncello and piano: (alternative [U.S.?]: s.m., [1974?]. versions for violin, viola, or clarinet). [London]: Stainer & Bell; New York: American agents, Oboe, Viola und Cembalo Galaxy Music, c1927. Telemann, Georg Philipp. 30. Triosonate in Vivaldi, Antonio. Sonata in B-flat major for viola C-Moll fur Oboe (Violine), Viola und Basso and piano; revision and realization of the figured continuo = 30. sonata a tre in C minor for oboe bass by Luigi Dallapiccola; transcribed and edited (violin), viola, and basso continuo; hrsg. von by William Primrose. New York: International Bernhard Pauler; Continuo-Aussetzung von Willy Music, c1955. Hess. Winterthur, Schweiz: Amadeus, c1989. 53

Klarinette. Viola und Violoncello William Lincer]. Huntington Station, N.Y.: Viola World Publications, c1980. Jacob, Werner. Giuoco a tre: per clarinette/clar. basso, viola e violoncello. Bad Schwalback: Werke mit vier und mehr Violen Edition Gravis, c1992. Fouillaud, Patrice. Crepusculaire: 7 altos. [Paris]: Gesang, Viola und Klavier Durand, [1989?].

Janacek, Leos. Rikadla: vy-rah pro solovy zpev sest Etiiden, Capricen, Studien, Obungen az sedm solove hlasy s ppnivodem klaviru a violy nebo housli = Kinderreime: Auszug fur eine Chetyre p'esy klassicheskikh masterov; perelozhe­ Singstimme oder sechs bis sieben Soli mit Klavier nie dlia al'ta solo, v kachestve etiudov, V. Borisov­ und Viola oder Violine.; slozil S obrazy podle kre­ skiT. Moskva: Gos. muzo izd-vo, 1939. seb Lady, O. Sekory a L. Haly: deutsche Dbertra­ gung von R. St. Hoffman. Wien: Universal­ Palaschko, Johannes. 24 melodicheskikh etiuda: Edition, c1928. Sredneii trudnosti dlia al'ta; soch. 77.; redaktsiia E. Strakhova. Moskva: Gos. muzo izd-vo, 1951. Oboe, Viola, Contrabass und Klavier (Quartette mit Viola) This concludes the 1993 PIVA acquuisitions. The Ohana, Maurice. Kypris: pour hatubois (et haut­ 1994 acquisitions will begin next issue. Address bois d'amour ad lib.), alto, contrebasse et piano. inquiries about loaningprocedures from PIVA to Paris: Jobert; Bryn Mawr, Pa.: Sole agent for USA, Canada, Mexico, T. Presser, c1988. David Day, Music Librarian PIVA HBLL5222 Quartette mit drei Violen (arr.) Brigham }Dung University Provo, UT 84602 Pachelbel, Johann. Canon for three violas and Tel (801) 378-6119; fax 378-6708 piano; [transcribed by Alan H. Arnold; edited by e-mail: [email protected]

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L()R'{' \.;\1,,, ..

My First Viola Congress

his past June it was my great pleasure to of music to creating a sculpture. He explained T attend the XXV International Viola that when sculpting, you take away the excess Congress at the University ofTexas in Austin. clay until the desired object emerges. How­ What an experience! In no other place could ever, adding clay to the work is also necessary one hear such a brilliant collection of world­ at times. I compare that to ironing out the class violists perform such a variety of works, technical "wrinkles," but when necessary share their special insights, and simply cele­ applying something extra that clarifies and brate the glory of music. better defines the entire presentation. It gave I am a sophomore studying the viola me a new idea of how to take a piece ofmusic with Dr. David Dalton at Brigham Young and actively shape it to make it speak and University. I started playing the violin when I move the audience. "[The piece] has a receiver was three years old at because it has a subject the "request" of my par­ ... a giver." The music ents. For most of my life must be presented, not I wasn't really interested simply heard. I left the in being a musician. I master class that day was occupied with the with a renewed desire typical cares of youth, to create a relationship such as sports, video with the audience and games, friends, and mis­ to stir their emotions. chief. However, when Here are a few more of given the opporrunity to my favorite quotes. quit playing, something "The first note wouldn't let me. As I should not be produced; grew into a teenager my it should be born." parents, along with the "Try to keep the coaxing of a few teach­ interest [of the audi­ ers, convinced me to ence: without doing switch to the viola. This things." decision has opened "It's too sweet, too many doors for me. L-R, Lars Anders Tomter, Alan de Verilch. beautiful ... avoid and David Dalton At the viola congress excesSive. sweetness." I was introduced to many new aspects of "The greatest art is to playa piano that musicianship, viola playing, and how to be a makes sense." better performer. Overall, the events I enjoyed "A piano shouldn't be tensionless." the most, and incidentally learned the most "Playing piano is not the same as playing from, were the master classes. In the first one small." Lars Anders Tomter gave us excellent technical "[Technique] is also something that doesn't and musical advice. stop with the hands." "Don't focus on being flawless, focus on "If you play three fones you might be saying something." heard." "Do I play to be flawless or give people an The next master class was with Karen experience ... and myself an experience? Tuttle, someone who definitely knows music. "You have to take risks" Tills class probably had the greatest effect on He compared the preparation of a piece me overall, which, incidentally, was also quite 9vfi{{er & ~ein STRINGED INSTRUMENTS ~storers !MakfrsJ and fJ)ea{ers of

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In St. Paul's Historic Cathedral Hill District The Blair Arcade, at Selby & Western Avenues 165 Western Avenue North, Saint Paul, MN 55102 612/228-0783 800/347-9172 57 humorous. She reminded me that music is than a combination of notes in rhythm. I emotion and that you must "feel." I will specifically remember feeling something dif­ explain, recounting and using quotes. ferent etched in my soul when I left that mas­ "To become a performer you must have ter class. I wanted to access my emotions passion." much more than I ever had before so as to "You can't move an audience without perform the music from my heart and make feeling it yourself." it possible for others to feel it. I think that "What, are you unhappy yourself?" when we successfully do this, music becomes There were several small conversations a living, breathing entity in our lives that we that also portrayed the need to be more emo­ literally cannot live without it. tionally involved with our music and to forget I also enjoyed the presentations by Jeff about being nervous. One of my favorite ex­ Irvine and Tom Heimberg on practicing. amples occurred as a young man finished They helped me realize that practicing doesn't playing. Ms. Tuttle told him that he looked have to hurt or be mentally painful ifone pre­ unhappy and asked him what his dream was. pares correctly and goes into it with a good He said that it was to play better viola and attitude. Sound practice, mental preparation, she immediately asked him if he also wanted and a passion for the music enable us to play to play better quartet and chamber music, to confidently and to reach into the rich sea of which he responded affirmatively. She quickly emotions that lie in the heart. Music then told him in a very loving and cheerful way, begins to breathe, dance, weep, charm, and "Okay, I would lighten up. I don't think you console and becomes a wonderful showcase of breathed throughout the whole thing." This all that the human heart can feel. helped me understand that we need to be This, I have taken with me from the relaxed as we perform so that our emotions Viola Congress. I express my gratitude to the have room to operate. When many of us pre­ organizers, performers, lecturers, and all who pare for competitions or performances, we made it possible. My concept of and motiva­ experience nervousness, which is natural. tion towards music and performance was What I learned from Ms. Tuttle was that changed and my heart was opened a little music itself has a greater purpose, a greater more. function, and if all that we focus on is getting through the piece flawlessly, we miss the big Chris Lewis, sophomore viola major, picture. The music becomes nothing more Brigham Young University

I enjoyed reading the recent issue ofJAVS and playing the viola. She retained a passionate the interview with Joseph de Pasquale. How­ interest in people and music until she died at ever, his memory of Rebecca Clarke as the age of ninety-three. "a frail little English woman" is inaccuarate. She was nearly five feet ten inches tall with Veronica Jacobs large hands that must have been well suited to New York, New York ;8

June 3, 1997 Pres. Tatton called meeting (Goldsmith) and seconded that the AVS rec­ to order at 3:30 PM. ognize with a gift Ron Andrusco for produc­ ing a very valuable survey and also to recog­ Officers present: Tatton (President), Goldsmith nize Jennette Anderson for increasing ]AVS (Vice-President), Clark (Secretary), Dalton (Past advertising. President), de Veritch (Past President) ~ Officers absent: Arlin (Treasurer), Riley (Past VII. Myers reponed on Congress registration :, ~ President) Rosenblum (Past President) (235 with expected walk-ins of 10-12) and I 1 I shared observations for future Congresses. Board members present: Chiang, Fielding, Graham, Hirschmugl, Irvine, Ritscher, Rutledge, VIII. Ojstersek reported on and brought Ryan, Pounds (Special Consultant to the Board) greetings from the 400 members of the Board members absent: Arad, Kosmala, Neubauer, European Section of the International Viola McCarty, Schoen Society. Guests: Laura Kuennen-Poper (Chair, Primrose Competition), Allan Lee (Internet VIa Soc), Anne Meeting adjourned at 5:00 PM. Frederking & Henry Jansen (Canadian Via Soc), Gunter Ojstersek (Inernational Via Soc), Otto Freudenthal (Swedish Via Soc), David Day (PIVA June 4, 1997 Pres. Tatton called meeting to Curator), and Roger Myers (Host of the 25th order at 11:45 AM. Viola Congress)

I. Greetings by Pres. Tatton Officers present: Same as 6-3-97 Officers absent: Same as 6-3-97 II. Allan Lee discussed the Internet Viola Society. Board members present: Same as 6-3-97 Board members absent: Same as 6-3-97 III. Corrections to the 1996 minutes. Moved (Graham) and seconded to accept the min­ Guests: Utta Puchhammer-Sedillot (Host for utes from the 1996 Board Meeting at 1999 North America Congress), Henry Jansen, & University ofTexas. Anne Frederking

IV. Kuennen-Poper reported on the 1997 I. Clark reported a total of 952 members with Primrose Competition (37 applicants, 6 final­ number growing daily and presented other ists, 3 winners, 20 new members). membership matters. Moved (Clark) and seconded that we publicize and implement V. Introduction and presentations of other the emeritus membership policy from the guests. Jansen announces the 1996 Congress by-laws and raise the International Student will be hosted by]utta Puchhammer-Sedillot dues to $20. at University ofMontreal and will include the Primrose Competition. Moved (Goldsmith) II. Fielding appointed Nominations Com­ and seconded that we now appoint the 1999 mittee Chair for up-coming election. Competition Committee (Kuennen-Poper, chair). III. Tatton presented Treasurer's repon from Arlin. VI. Dalton reported on ]AVS cost analysis and results of the reader survey as well as the IV. Pounds reponed on the Photo Exhibit he construction progress of the new housing for arranged for the Congress. PIVA and the campaign to raise $100,000 to complete the Primrose Room. Moved Meeting adjourned at 1:05 PM. 59

June 6, 1997 Pres. Tatton called meeting make a recommendation regarding officers' to order at 11:50 AM. expenses and board member honorariums after we know the financial results of this Officers present: Same as 6-3-97 Congress. Moved (de Veritch) and seconded Officers absent: Same as 6-3-97 that the Finance Committee revisit the '97 Board members present: Chiang, Fielding, and '98 proposed budgets to take into consid­ Graham, Hirschmugl, Irvine, Neubauer, Pounds, eration the added costs of increased member­ Rutledge, Ryan ship. Moved (de Veritch) and seconded that Board members absent: Arad, Kosmala, McCarty, as part of that revisit, we build in an increase Ritscher, Schoen for the ]AVS editor from $500 to $700. Moved (de Veritch) and seconded that as part Guest: Frederking ofthe reassessment both endowment funds be I. Announcement of 1998 Board Meetings in reexamined and the purposes be restated with Provo, Utah results brought to the next Board Meeting. Moved (Goldsmith) and seconded that the II. Goldsmith reported on negoiations with Finance Committee examine supporting the the NY VIa Society. Moved (Graham) and new Primose Room at PIVA . seconded to fund Goldsmith trip to NY to participate in a NY VIa Soc activity and final­ IV: General business summary ize negotiations.

III. Tatton: Budget issues. Moved (Graham) Tatton thanked the Board and adjourned and seconded that the Finance Committee meeting at 1:00 PM.

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ASSETS Endowment Interest Interest (CD) 376.10 Tompkins County Trust Co. 22,833.89 -Operating Account 17,356.42 Indiana Federal Credit Union EXPENSES -Holding Account 992.62 Indiana Federal Credit Union President (Tatton) -Savings Account 2,148.12 Telephone 236.34 First ofAmerica Bank, Indiana 2,519.40 Postage 253.71 Miscellaneous 124.5 1 TOTAL OPERATING FUND ASSETS 614.56 23,016.56 Secretary Includes Endowment (see below) Assistant 1,734.80 Supplies 91.40 RESTRICTED FUND ASSETS Kinko's 164.97 Postage & Envelopes 200.60 Endowment Photocopying 88.00 USLIFE-Annuity 2,279.77 (Principal 11,225.02+ Interest) 12,859.25* TCTC-CD Bank Charges (includes Riley Fund [$145]) 6,753.57 Checks Returned (Comes due 10/2/97 (dues & journal ads) 250.50 @ 5.34% interest) Bank Service Charge for NSF checks 41.50 TOTAL ENDOWMENT FUND ASSETS 292.00 (inc. Riley) 19,612.82 Primrose AVS: H &R First Albany Corp Postage reimbursed -Government Bonds 15,093.25 toWKU 46.50 & Money Market 274.01 TCTC-Savings 1,982.93 Board Meeting Meals 1,289.56 TOTAL PRIMROSE ASSETS 17,350.19 Hotel (Austin) 2,313.11 Transportation 498.27 TOTAL RESTRICTED FUND ASSETS 4,100.94 36,963.01 Domestic Congress Program Committee 892.00 TOTAL FUND ASSETS 59,979.57 Congress Manual (Printing) 26.00 918.00 *This money, the receipts from the insurance policy Journal on Rosemary, has been transferred to First Albany Printing 15,682.59 Corp. for investment in Fedl. Home Loan Mtg. BYU Agency Account 759.57 Corp. AAA Bonds (8% interest). David Dalton (Vol. 12) 1,500.00 Ad Manager 1,045.50 RECEIPTS Postage 2,594.13 Telephone 164.74 General Miscellaneous 224.68 Dues 15,640.00 21,971.21 Journal Advertising and Sales 4,900.50 Brochure Indiana Federal Credit Printing 660.00 Union (Interest) 32.96 Contributions 1997 Primrose Competition Endowment 25.00 (TCTC Savings) Primrose Scholarship Fund 310.00 Ad in Strad for 335.00 1997 competition 600.00 AVS: H &R 528.50 Primrose TOTAL EXPENDITURES 31,482.42 Interest on TCTC 45.22 Interest-Bonds 975.83 1,020.83 submitted by Mary I. Arlin, AVS Treasurer Presenting. .. ocherzo 9!giltlfo Jim Theobald r---:: .- "Scherzo Agitato", a contempo.. Viola ~~~~>~~~>~~~> ¥>~:!> ~>m~t~>~:!~>~:!~~>~>~$!i rary Viola solo by Jim Theobald. fusto f > A Contemporary music as it should ) be...... Plano E~~~~~~I~~I~~~~~~ DELIGHTFUL TO PLAY, ,...... ::. ENJOYABLE TO HEAR. -

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63

ABOUT VIOLISTS

Maurice w: Riley Remembered

by Dwight Pounds

here is a folder upstairs in my filing T cabinet which I highly treasure. It is labeled "Correspondence with Maurice Riley" 'and is abour three-quarters of an inch thick. The first entry was in 1981, the last in 1997. It consists primarily of one-page letters between Or. Riley and myself. There was good reason for this active correspondence-during the years he was the AVS President (1981-1986), it was my honor to serve him and the Society as Vice President. The unlikely fact that I was vice president in only my sixth year of membership was his doing entirely. Well, perhaps not entirely ... I volunteered for something, breaking a rule learned years earlier in the Air Force. Following Congress VII in 1979, many congress participants were riding a bus from Provo to Salt Lake City to make airline connections. Myron Rosenblum and Maurice Riley shared a seat and were discussing both the congress and the future ofthe Society. During a lull in their conversation I turned co them and said, "Although by no means an artist violist, I Dr. Maurice Wimon Riley have some organizational skills which Nov. 24, 191 I-June 27, 1997 might be of use to the Society," expecting perhaps a committee assignment or suggestion part of his persona and would lead me down for an article. Or. Riley looked at me with a the Primrose path more than once. Despite face any poker player would have coveted and what initially appeared to be a preposterous said, "Good. You can be vice president!" response (" ... be vice president!") to my offer, There were several facts to which I was Dr. Riley was serious. Two years later Maurice not privy at that point: (l) The American Riley and Dwight Pounds were elected, Viola Society and its Newsletter were run respectively, President and Vice President of from the living room of Myron Rosenblum's the American Viola Society. Although some­ home. An Executive Board did exist, but it what baffled at my new position, there was no was more honorary than functional. (2) A doubt in my mind that the gentleman who new slate of officers would assume duries in hosted the very first North American Viola 1981. Dr. Rosenblum, the Society's founder, Congress at Ypsilanti in 1975 was exactly the had decided not to run for another term as man to succeed Myron Rosenblum as AVS president, and Maurice Riley was the most Presidem. likely candidate to succeed him. (3) A dead­ Maurice Riley in some respects stumbled pan wit, without equal in my experience, was upon international viola organization. He 64

traveled extensively, visiting libraries and know that the term 'Professor' applies only to archives as he assembled and organized bits of fellows who play the piano in brothels." data pertinent to the viola's history. When Intent on continuing my education, Riley one of Rosenblum's early articles on the Viola attached to official correspondence master­ Research Society (VRS) (which later became pieces as: A Dog Named "Sex"; English the International Viola Society) and the Schoolteacher Rents Room for Summer Kassel Viola Archive came into his possession, Vacation; Petey the Snake (tongue twister); he determined to inquire further about the and the Nathan Hale Aptitude Test, as well as organization. He began corresponding with countless cartoons, jokes, and one-liners. Still, Dietrich Bauer, VRS Secretary and Viola Maurice and I formed a close professional Archive custodian, and traveled to Kassel, and personal relationship which lasted far Germany, in 1971 to meet with Bauer and beyond our terms in office. Dinner with the examine the archive. It is important to re­ Riley family at congresses was always a won­ member that at that time there were (1) no derful experience. Since Maurice Riley spoke independent American or other international very little German and IVS President Franz sections ofthe VRS and (2) no viola congresses Zeyringer was not conversant in English, I had ever been held. During a discussion of functioned as their translator. Those six years the concept of "viola congresses," Riley asked of sometimes weekly contact with Riley and his host why such a meeting could not be Zeyringer changed the course of my profes­ held in the United States. Bauer answered, sional life. At the behest of each, I began "Because we have never been invited." Riley gathering and organizing data and materials replied, "Well, in that case I am inviting you for a history of the American Viola Society. to have a viola congress in the United States." This work was dedicated to Maurice Riley, He told me years later that this invitation was Myron Rosenblum, David Dalton, and Franz entirely spontaneous but that he saw enor­ Zeyringer. mous potential in an international viola con­ During President Riley's term of office, gress. Bauer was obviously impressed and several noteworthy developments took place. took the proposal to the VRS Presidium. The The AVS By-Laws, written by Maurice, Bob minutes ofthe next meeting read: "Prof. Riley Oppelt, and myself in 1980, were expanded. from the USA was in the archive and ex­ AVS Executive Board membership moved tended an invitation for an international viola from being an honorary position to one of congress to be held in the United States." hands-on activity and involvement. William Four years later Dr. Maurice Riley hosted Primrose died. International Viola congresses International Viola Congress III at Eastern were held in Toronto, Stuttgart, Houston, Isle Michigan University, Ypsilanti, Michigan, ofMan, and Boston; Dr. Riley attended each. and established many of the precedents, for­ AVS membership increased. The History of mats, and traditions which are still followed the Viola was translated into Italian. Dr. Riley both in Europe and North America twenty­ was recipient of the International Viola Soci­ two congresses later. ety Silver Key in 1985, the International Somewhat intimidated to be working Viola Society Honorary Membership in in close association with such a renowned 1986, and American Viola Society Honorary scholar, I was ever reluctant to address him as Membership in 1991. Following his presidency, "Maurice." Using "Dr. Riley" seemed stiff Congress XXI in Evanston, Illinois, 1993, and formal for a man of obvious congeniality, was dedicated to the collective members of therefore I opted for "Professor." After several the Riley family. The Maurice W. Riley Viola letters from me which began, "Dear Pro­ Award, inaugurated by Rosemary Glyde, fessor," the following rejoinder arrived from became the highest AVS award for scholar­ Ypsilanti: ship, teaching, and service to the Society. "You always address me in your letters as Inconsistent health did not preclude his 'Professor.' I can assure you that I am unwor­ participation in viola congresses. During thy of this title by either chosen instrument Congress XIX at Ithaca, New York (1991), or locale of performance. I am sure that you he presented a lecture, sat on a panel, and 65

received honors. At great personal effort he their artistry and charisma, can do, and are attended AVS Board meetings as an interested doing, much for the instrument and for observer, advisor, and mentor. While plan­ themselves by developing and spreading a ning the latest congress, Roger Myers, host of faith in its unique qualities, and by con­ Volute Congress XXV at the University of Texas, stantly promoting, publicizing, and propa­ sought Dr. Riley's advice only weeks before gandizing the salient virtues of this magnifi­ his passing. cent voice. Just as we pay him homage today, he did the same to those who had labored in behalf At no point would it have occurred to of the viola before him. Concluding his chap­ this tireless scholar that, more than any other ter on "The Future of the Viola" in History of person, he was describing himself. fond the Viola, Volume 1, Maurice Riley wrote: There is a folder upstairs in my filing Chevalet------Arne cabinet which I highly treasure. It is labeled Tertis and Primrose succeeded as concert "Correspondence with Maurice Riley" and is artists because of their dedication to the about three-quarters of an inch thick. It instrument, their love of it, their ability to is quite small compared to what is stored in convince others of the viola's potential, and the hearts and minds of violists and scholars above all, their great artistry. Others, lacking who ever knew Maurice Winton Riley.

hroughout my life I always felt very for­ would not be enjoying the fruits of their T tunate because I had a man I could look labors as much if it were not for him. And up to. He was my father. I knew what good­ their whole lives would not be quite as great if ness was all about. I knew this because I wit­ it was not for what he did for these people. nessed it in the nicest, gentlest, strongest man And they know it because they have honored I've ever met, my dad. He taught me and him on many occasions. showed me so much. But Dad, it was you­ When he retired from Eastern Michigan, what you were as our father, and how you he did not retire at all because he single­ lived your life-that always meant so much handedly created a new world that no one to me, my brothers, and our whole family. had discovered and he promoted the viola You were our leader and our role model. You world by organizing the first International always showed us how much unending love Viola Congress in this country. It was an you had for us. That love was there all the instant success. His books on the history of time. And we always felt it. the viola are not only popular, they have And love radiates equally from our dear broken sales records for books of this type. mother, Leila, because you and she were But more than that, they have actually always one and inseparable. The two of you brought a message of peace to this world. had the greatest bond and union two people Think about it. People have been getting could possibly have. Your love for one an­ together and making music at these Viola other was awesome to behold and no pair congresses where they would not be doing could have been closer than you two. All of this if it were not for Maurice Riley-work­ the Viola congresses and viola books that my ing together in peace and brotherhood dad wrote were the product of the two of through music-making. What more wonder­ them working together. Everything they did, fullegacy could anyone leave than that? they did as a team. I'm not alone in the way I look up to my dad because people allover the world look up Ben Riley, son to him. There are students of all types in­ Member ofthe cello section structed throughout his teaching career. They US Air Force Orchestra 66

riting a eulogy seems so impossible at Ypsilanti, Michigan, hosted by an W when it is for my father. I know that unknown, to me, Dr. Riley. Primrose, with my words cannot be adequate. But as difficult whom I was in contact, said that Eastern as this is, I can think of nothing but wonder­ Michigan University was going to give him a ful thoughts-his many accomplishments and "little notice" on the occasion: an honorary his incredible sense of humor. I have always doctorate. Riley must be behind this, I been influenced by his positive attitude, his thought, and how did he do what no other gratitude, respect, humor, and love. Now as, I educational institution had yet done to honor reflect, he will continue to have the same deci­ the great violist? sive impact on my life, and on my family, as I wrote Dr. Riley congratulating him on on many others. this accomplishment and also adding that I He touched so many people because he had been collaborating with Primrose in the was the consummate parent, teacher and men­ writing of his memoir, to be published in a tor. He had a way of making people believe couple of years. And would he be in need of that they and their activities were the most anyone to pay a tribute to Primrose when he important things in the world. He helped was being feted? If so, I was a most willing develop and perpetuate many musicians' volunteer. Maurice decided to take a chance careers without expecting any credit for him­ on a brash violist from out West who must self As a result, Dad and his tremendous work not have seemed to lack in chutzpah. in music will always live on. Having then been invited, I was intro­ I initiated my study of music because of duced through Ypsilanti to the Viola Society, Dad. Music surrounded my life and was made the species "Viola Congresses" (to which over enjoyable by his undeniable love for and devo­ four-hundred violists congregated probably as tion to it. As a small child, listening to him much as anything to gawk in amazement at practice violin and viola, I knew that playing this unprecedented colony of middlemen), to violin and viola was what I wanted to do. the Rileys, Dr. Rosenblum, and to Prof Franz Once I began violin lessons he made sure that Zeyringer, then president ofthe IVS. I always had the best instruction. The best Directly out of these introductions even­ instrument. The best school. The best sup­ tuated Congress VII at Provo and Zeyringer's port. At the age of five he allowed me to join taking mental inventory on the spot of the in with his high school band. I was a sort of modest Primrose Viola Library at BYU. Franz mascot, with a little snare drum. It was tre­ went to work and in several years, the IVS mendous fun. Archive was joined with the Primrose Library Our family activities always revolved to form PIVA and the largest collection of around music. I will continue to strive to meet materials related to the viola in the world. the standards he demonstrated to me by con­ I wonder how differently things might tinuing to be involved with string music as a have come out if Maurice hadn't taken a way of life for me and my family. Both of my chance. I found that to be his nature: he was children, Jessica and Shawn, are studying always encouraging and supportive of others' musIC. aspirations. His attitude and his efforts did indeed make a difference. His was an exem­ George Riley, son plary model ofcollegiality to all ofus. Former member ofthe violin section, US Air Force Orchestra David Dalton

As an expression ofsympathy, contributions can be Editor's Note: Maurice Riley was the best of made in behalfofMaurice W; Riley to: colleagues. I reflect on one seemingly small decision he made in my regard, a virtual Daisy Riley Memorial Scholarship Fund unknown to him at the time, and the far Eastern Michigan University reaching effect it had. I was impressed and Department ofMusic surprised when in 1975 I received a mailing Ypsilanti, MI 48197-6068 announcing an International Viola Congress Fine stringed instruments and bows Expert appraisals

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by Malcolm Ingram

"'\ ,Tiolists will be saddened to hear of the founded the London String Trio and London V death of Watson Forbes on June 25, at Piano Quartet. From 1954 on he was profes­ the age of 87. He was well known as a viola sor of chamber music and viola at the Royal player, teacher, arranger, and producer. He Academy and in 1964 became of head of was born in St. Andrews, Scotland, trained at music for BBC Scotland. Some of his many the Royal Academy of Music, and later stud­ recordings have been reissued, and he is of ied with Sevtik in Czechoslovakia and with course well known worldwide for his innu­ Albert Sammons. merable arrangements and editions of viola He joined the Stratton Quartet in the musiC. early 1930s and with them made the first As an amateur viola player, playing a Luff recording of the Elgar Piano Quintet at the instrument formerly belonging to Forbes, I composer's request, later recording the string was privileged to sit down recently with a quartet for HMV as a present for Elgar. He group of his friends and play the Elgar piano played in Beecham's London Philharmonic in quintet in his memory. the 1930s and in the RAF Orchestra during the war. After the war he continued with Malcolm Ingram quartet playing, in the Aeolian Quartet, and Glasgow, Scotland

rranged, edited and transcribed by of the London Philharmonic Orchestra, but AWatson Forbes" is how many colleagues he was best known as a fine chamber music worldwide will remember the Scottish-born player. In 1933 the Stratton Quartet, which he violist. had recently joined, was invited by Sir Edward I first met Watson Forbes in my teens Elgar to record the composer's String Quartet when he was the adjudicator at the Hudders­ and Piano Quintet with the pianist Harriet field Competitive Festival; I was taken with Cohen. These recordings, recently re-issued on his constructive and encouraging comments. CD, were a great solace to Elgar in the last few After the competition I tentatively approached months of his life. When George Stratton left him about having some lessons with him later the quartet it was decided to change the name in the year. From my first lesson he became a to the Aeolian Quartet, and it soon became major influence on my life and career, and I one of the country's most popular ensembles, shall be forever grateful for all his help and giving numerous first performances and fre­ inspiration. quently heard on the BBC. Forbes was also a Watson Forbes was born in St. Andrews member of the London String Trio and the on 16 November 1909. His first teacher London Piano Quartet. was his father, an amateur violinist. He later In the 1930s he made a number of solo studied in Dundee before becoming a violin recordings, including sonatas by Bach, student of Marjorie Hayward at the Royal Schubert, Walthew, and Bliss, and commis­ Academy of Music. During his time there he sioned many composers to write new works was encouraged to play the viola by his cham­ for him. When William Primrose made his ber music coach, Herbert Withers, and had Japanese debut in the early 1970s, he was sur­ lessons with Raymond Jeremy. Further studies prised to find that his fellow Scot, Watson followed withSev6k in Czechoslovakia. Forbes, was better known through his numer­ In 1932 Forbes was a founding member ous arrangements and transcriptions! 69

Forbes became professor of chamber recounted his career as a violist in his memoir, music and viola at the Royal Academy and Strings to My Bow, published in 1994. helped launch both the Alberni (of which I In recent years he continued to make was the violist) and Lindsay String quartets. music, with his wife Jean at the piano, until In the midsixties he made a major career well into his eighties. He was an avid reader change when he accepted the position of and during the twelve months before his Head of Music for BBC Scotland, which was death was reading Churchill's History ofthe described as "an inspired appointment." Second World ~r. Amongst his innovations was a BBC Viola There will be a special tribute to Watson Competition in Glasgow when the adjudica­ Forbes during the XXVI International Viola tors were Gwynne Edwards, Frederick Riddle, Congress in Glasgow in July 1998. and for the final, William Primrose. Watson Forbes was awarded an honorary John White doctorate by the University of Glasgow. He Royal Academy ofMusic, London

he spring of 1997 held considerable viola Cleveland Orchestra in September. Her T interest for residents of the Los Angeles pianist was Eric Charnofsky, whose special basin, one main focus being two remarkably interest in accompanying was immediately similar viola-piano recitals. Both were beauti­ apparent. This was a benefit concert for the fully presented by young female artists (in church's Commission on Worship. Mr. their twenties), representatives of major Charnofsky, formerly organist at the church, American orchestras, and both were assisted was clearly a favorite with the audience. by artist-level male accompanists. Both Currently he is on the theory and accompa­ recitals took place in small, neighborhood nying faculty of the Cleveland Institute. Miss church settings, with enthusiastic and ample Veskimets, born in Canada to Estonian par­ audiences, which repaired, immediately after ents, was a student of Robert Vernon at the the last encore died away, to a fellowship hall Cleveland Institute. Her program included for abundant refreshments and socializing. the Capriccio for solo viola by Henri The first recital was given on May 17 by Vieuxtemps, a work new to this listener. It's Leticia Oaks Strong, who joined the viola sec­ not at all capricious in spirit, but serious, and tion of the Los Angeles Philharmonic in 1994 dour. The Veskimets-Chamofsky collab­ as its youngest member. Her collaborator at oration was outstandingly successful in the the piano was Robert Thies, who did an espe­ "Rasch" movement of the Miirchenbilder by cially sensitive and technically fluent job with Schumann, where great clarity was achieved the F-minor Brahms Sonata. The concert was in a movement that is often just a muddle. presented at the chapel of The Church of The encore for this attractive program was a Jesus Christ of Latter-day Saints on the east transcription by John Newton of the vocalise­ edge of Pasadena. The regular program ended etude Habanera by Ravel, a work that really with an effective transcription of an attractive lends itself to the medium. Latin character piece, Requiebros, by Gaspar The next day, June 22, in Studio City, at Cassada, originally for cello and piano. Her the Unitarian Universal Church, a new group encore was Girl with the Flaxen Hair by called The Los Angeles Viola Quartet gave its Debussy, which was, indeed, self-descriptive. first public concert. The setting was woodsy, The second of these recitals was pre­ old San Fernando Valley-not new, glassy, or sented 21 June at the West Los Angeles air-conditioned-with a high ceiling, fans United Methodist Church, whose congrega­ turning slowly and silently, and wonderful tion is mostly Japanese, by Lembi Veskimets, acoustics. The quartet consists of four who will join the viola section of the women: Alexis Carreon, Dee Dee Paakkari, 70

Helen Crosby, and Phyllis Moss. These are Ohyama, presented A String Around Autumn, competent, but not virtuoso players, and they which is a short concerto for viola and presented a varied, informal program of viola orchestra by Toru Takemitsu. The concert was ensemble music to a small but discerning advertised as a tribute to Takemitsu, who died audience. Two of the works were actually in 1996. The soloist was Yasushi Toyo­ written for four violas: the Fantasie for Four shima, principal violist of the New Japan Violas by York Bowen, which is something of Philharmonic. Ohyama, former principal vio­ a staple of the genre, and a less familiar list of the Los Angeles Philharmonic, was entree, Divertissement by Claude-Henry featured in a Sunday L. A. Times interview Joubert, a 1992 work by this Paris-based article (complete with large picture) in early composer. The Divertissement is most attrac­ April, where his many musical activities were tive in rhythmic content, partaking freely of traced. Presently, these do not include viola jazz, blues, French music hall and cabaret ele­ performances. ments ... characteristics not often found in Some brief Los Angeles viola intelligence: viola repertory. Jan Karlin, the Southwest Chamber On 19 April The Long Beach Sym­ Music Society's dedicated twentieth-century phony, with Paul Freeman as guest conductor, specialist, premiered in April a solo viola work presented Harold in Italy by Berlioz with Kazi called "Amid the Winds of Evening" by Petelka, the orchestra's principal violist, play­ Anthony Payne, the British composer known ing the solo part. The problem of all the rests for his Elgar scholarship. for the soloist in the last movement was han­ The Armadillo Quartet, at this point a dled in a novel way. After the "reminiscences" familiar Los Angeles ensemble whose violist is at the outset of the movement, the soloist Raymond Tischer, continued their long rela­ retired to the rear of the stage and took a seat tionship with composer Peter Schickele, by next to the percussion section. As the "Orgy presenting ''An Evening with Peter Schickele," ofBrigands" got underway in earnest, the two in Pasadena, 17 March. An encore on that violinists and 'cellist who were to make up program was a quodlibet titled "Viola the little trio called for toward the end of the Dreams," a new piece by Schickele. movement moved from their symphony seats In May, Miguel Atwood-Ferguson, a vio­ to stage-rear also. All four played their final list at the Crossroads School for the Arts and few measures from the back, and then they all Sciences, was a grand prizewinner ($1000) of left the stage. One critic carped that it was the Emerging African-American Artists "staging," and distracting. Perhaps, but it Awards, sponsored by public television might be better than standing idle in front of KCET, Los Angeles. the orchestra; it was an interesting solution. Sunday afternoon, 18 May, the Asia Thomas G. Hall America Symphony, conducted by Heiichiro Chapman University

Nokuthula Ngwenyama, whose New York teachers have been Alan de Veritch and lately debut in the Young Concert Artists Series was Karen Tuttle at the Curtis Institute. widely praised, was announced in April as recipient of a 1997 Avery Fisher Career Grant. She was winner of the Primrose Milton Katims was given, in May, the award Memorial Scholarship Competition at the of Lifetime Achievement in the Arts by the 1993 AVS sponsored Viola Congress. Her Seattle Corporate Council for the Arts. 71

AVS CHAPTERS

Editor's Note: Each president ofa localAVS chapter is requested to send news ofthat chapter to the editor of]AVS.

by Tom Heimberg

he Northern California Viola Society held Special thanks were given to Eleanor T an enjoyable event on April 9. With the Angel, who founded the Northern California friendly cooperation of the management of Viola Society in 1994 and has served as its the San Francisco Symphony, twenty-three President ever since. Many of us had day­ members (including Tom Tatton, our national dreamed about such an organization; she actu­ President) attended an open dress rehearsal of ally started it. She will continue to serve as Yuri Bashmet performing two works with the Events Coordinator. Symphony: Morton Feldman's The Viola in My And there will be events-among the proj­ Life, and the Bartok Viola Concerto. ects currently being discussed are more open Bashmet was at the top ofhis form at that rehearsals, viola play-ins, special master classes rehearsal. He is always an interesting player, by local experts (audition preparation, practice willing to explore a variety of sounds on his workshops, etc.), and general all round viola instrument (traditional beauty, yes-but also partying. As our communication tools get whisper, hiss, roar) in the pursuit of dramatic established (a regular newsletter, a phone tree, expression. It was good to hear and see him. the web) we will be able to share news and The breaks were good, too, as the guests plans about performances, special events, and met with some of the Symphony violists. Don special needs. (For example, it will be easier to Ehrlich's newly acquired ergonomic viola by track down music needed on short notice.) David Lloyd Rivinus attracted a lot of atten­ Plans are also afoot to solicit composi­ tion. He generously demonstrated it, and let tions for viola and to provide opportunities for anyone interested try it out. After the rehearsal, the Society hosted Mr. Bashmet at a luncheon held at Max's Opera Cafe, not far from Davies Hall. There was a small William Robert Scott old-school reunion when Sergei Maker 01 Violas. Violins and Cellos Rakitchenkov, the Associate Prin­ cipal Viola of the San Francisco Opera Orchestra, arrived. He and the guest of honor have known each other since they were both students in Moscow. "O.K. everybody, Sergei is here-no more English!" I announced-but it didn't work. The luncheon was followed by a brief but effective business meeting at which new officers were elected 2865 Valle Vista Street and installed. The new President of the Society is Tom Heimberg. (I am Minneapolis, MN 55421 grateful, and enthusiastic.) Susan Marie Hall is the new Treasurer, and Tel. 612.544.1021 Ted Seitz will continue as Secretary. AwarJeJ consistantly over the last 12 years for workmanship anJ tone. 72

violists to play them and other works as well. lar principal of the San Francisco Symphony, More details to be announced. gave a recital at Holy Names College in Oak­ Several Northern California violists have land, accompanied by the eminent pianist Roy played in public during the past few months: Bogas. The program was formidable: Bliss, On 21 March, the newly formed Adesso Paganini, Britten, Brahms. Susan Marie Hall Ensemble performed on the prestigious cham­ was at the event, and she loved it! Geraldine's ber music series at Old First Church in San wonderful blend of great playing and personal Francisco. One of the featured performers was charm always pleases the audience. Carla Maria Rodrigues, the Principal Violist of On 13 May, Uri Wasserzug played the the San Francisco Opera Orchestra, playing Walton Concerto with the orchestra of the difficult Music for Viola and Percussion by the California State University at Sacramento, Colgrass. Her virtuosity was gripping and her Leo Eylar conducting. Susan Marie Hall was tone was warm and beautiful. The audience able to attend this event also, and she reports showed its appreciation with enthusiastic sus­ that "Uri did a really good job." tained applause. In early June two Northern California vio­ The Melodiya Chamber Ensemble, a won­ lists were presenters at the Silver Jubilee Viola derful group made up mainly of local former Congress in Austin, Texas. Geraldine Walther Bolshoi Principals, gave a concert at St. John's played the Paganini Sonata for Grand Viola, Presbyterian Church in Berkeley on 12 April. and Mark Volkert, assistant concertmaster of The evening's viola solo was Sergiei Rakit­ the San Francisco Symphony, played Land­ chenkov playing the Schumann Miirchenbilder. scapes for Solo Viola. I was honored to discuss I was unable to attend that evening, but I've "The Art of Practice" for an hour and a half, attended many other Melodiya concerts, and offering my personal blend of career experi­ I'm sure it was great. I know Sergei's work­ ence, serious scholarship, and stand-up come­ the 1980 All-Soviet Viola Competition winner dy. It must have been a success; several people definitely still has it. present told me they went back to their hotel On 27 April Geraldine Walther, our popu- rooms to practice-that's where it counts. On 16 June, Carla Maria Rodrigues played again, helping to celebrate her own birth­ Russell L. Cae day at Vivande Ristorante in San Francisco. Her playing of Brahms' E flat Sonata and the viola part of the Geistliche Lieder was beautiful. Maker ofFine Instruments The restaurant, though hospitable, is not yet Sales December 1996 to July 1997 ideally set up for chamber music (on that par­ ticular evening, some clients did not know Sukey Barnhart-The Netherlands about the music; they had come only for the Bole~Farmington Roseanne Hills, MI excellent food-imagine!), but that will change Violas Aaron Butler-Osceola, IN Hank Horowitz-Brooklyn, NY in the future. The restaurant's owner, Carlo Michael Palumbo-Ogden, UT Midione, is-a violist! He hopes to find ways to dedicate one night a week to chamber music James Orr-Fort wayne, IN and its listeners. Vivande Ristorante could Violins Amber Barkey-Fort wayne, IN Jack Marker-Sylvania, OH become a great home base for musicians, as it is within a block of the Performing Arts Jenna Eliassen-Farmington Hills, MI Center. (And he has promised to show some of Cello us his Finckel bow.) All in all, there is a great deal of healthy Quinton Fred Vonalt-Marysville, MI viola activity in Northern California, and I look forward both to reporting it and partici­ 16" Viola Available pating in it.

Call (219) 693-1914 TOm Heimberg E-mail [email protected] 3800 East 300 South San Francisco Opera Albion, IN 46701 President, Northern California Viola Society 73

NEW WORKS

n 17 April Russian violist Yuri Bashmet trasting dynamics and glissandi, tremolo and O performed the world premiere of a new suI ponticello playing. "You cannot really prac­ viola concerto written for him by Sofia Gubai­ tice it; the notes aren't hard, but the effect is dulina, on commission from the Chicago very difficult," he said. Symphony. Afterwards, puffing nervously on a Not everyone was entranced with the con­ cigarette in an alley behind Orchestra Hall, certo. During rehearsals a joke circulated Bashmet expressed relief even as he critiqued his among some orchestra members, admittedly performance: "It is a difficult piece and I was a not always the most receptive audience to new little nervous," he admitted. "But I think it is a music, that the piece was the "latest viola masterpiece, like the Schnittke, one ofthe great joke." And many Orchestra Hall listeners viola works ofthe late twentieth-century." seemed to have a hard time warming to a long, The city's major music critic agreed. John nontraditional piece featuring the viola per­ von Rhein of the Chicago Tribune called the forming in such awkward registers. concerto, conducted by Kent Nagano, "haunt­ Gubaidulina, who was in the audience, ing and challenging.... The solo viola broods, seemed pleased with the result as she took sev­ cries, whispers and wails in moody, glissando­ eral rounds of bows. Born in the former Soviet laden soliloquies that interrupt the large republic of Tatar, Gubaidulina admits to orchestra's static, chant-like figures but are Eastern as well as Western musical influences. hardly affected by them. Soft, slow, austere and Now sixty-six, she started gaining an inter­ almost painfully withdrawn for much of its national reputation with the opening of the 30-minute length, the single-movement con­ Soviet musical establishment in the late 1980s. certo creates a gripping sense of expectancy. Today she lives near Hamburg, Germany. When the viola and orchestra finally unleash Also pleased was CSO's president, Henry their pent-up emotions in a cataclysm of Fogel. "Gubaidulina is a wonderful composer rapidly shifting meters and eerie col legno and we had been wanting to commission effects, one feels a tremendous catharsis has something from her for years. At the same time taken place, even if the viola's last thoughts end Bashmet had been after her to write something the piece with a quiet question mark." Von for him, so when she told us she was writing a Rhein called the concerto "a masterpiece ofthe viola piece for him and asked if we would late twentieth-century-a major addition to accept it, we thought that was terrific." the all-too-slim repertory of modern viola Calling the piece "deeply moving, concertos." extremely dramatic and virtuosic," Fogel pro­ Bashmet said he had less practice time nounced it "a major addition to the viola with the piece than he would have liked, hav­ repertoire." ing received the complete score in January, Bashmet, who plays a 1758 Testore, con­ when he was busy performing on the road. In tinued on with the concerto to Boston, where fact, he had begun studying the solo part in he played it with Bernard Haitink. He per­ earnest only 10 days before the performance. forms 140 times a year, half as a soloist and The piece calls for full orchestra and a half as the leader of the chamber ensemble quartet of solo string instruments as well as Moscow Soloists, which he founded in 1992. solo viola. Li-Kuo Chang, the CSO's assistant "I stay quite busy," he said laughing, as he fin­ principal violist, occupied the viola quartet ished his cigarette and joined Fogel for a cele­ chair. He called the principal solo part "very bratory dinner. demanding and harsh, tailor made for Bashmet." Similarly the quartet part was "very Les Jacobson dramatic and difficult," calling for lots of con- Chicago r

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JAVS Special Offer to AVS Members! A good gift to students and friends. $3.00 for any ofthe following back issues ofthe Journal ofthe American Viola Society. I April 1987, Vol. 3 No.1 __ Vol. 10 No.2, 1994 __ tu Nov. 1987, Vol. 3 No.3 __ Vol. 10 No.3, 1994 __ ne Spring 1989, Vol. 5 No.1 __ Vol. 11 No.1, 1995__ so Summer 1989, Vol. 5 No. 2 __ Vol. 11 No.2, 1995 __ al Fal11989, Vol. 5 No.3 __ Vol. 11 No.3, 1995 __ er Summer 1990, Vol. 6 No.2 __ Vol. 12 No.1, 1996 __ fe Fall 1990, Vol. 6 No.3 __ Vol. 12 No.2, 1996 __ aF Fal11991, Vol. 7 No.2 __ Vol. 12 No.3, 1996 __ su Winter 1991, Vol. 7 No.3 __ Die Viola, Vol. 6 __ m Vol. 8 No.2, 1992 __ Die Viola, Vol. 7 __ a~ Vol. 9 No.1, 1993 __ Die Viola, 1985/86 __ sh Vol. 10 No.1, 1994 __ Name _ ca Telephone _ a~ Address _ br te City. _ State _ Zip _ ex th Make check payable to the American Viola Society and submit to: In. David Dalton, Editor JAVS, BYU Music HFAC, Provo, UT 84602 75

his attractive suite consists of four "playable," some fast metronome indications T movements in a conservative twentieth­ notwithstanding. There are no bowings or century style making thorough and consis­ fingerings, and all page-turns except one are tent use of baroque string techniques. The well thought out. explanatory preface states that it was original­ Following good baroque custom, some ly written in 1985 for Rivka Golani as an pre-existent musical elements are found. The homage to Bach on his 300th birthday. "Capriccio" uses the D-minor two-part Golani recorded it, but it has been revised for invention by Bach in a clever and obvious this 1993 edition. The movements have way, as well as the b-flat, a, c, b-natural signa­ baroque names: "Sinfonia," "Capriccio," ture motive Bach used occasionally. The "Lamento," and "Giga." They are unified by "Lamento," which may be the most successful key relationships, so it could be presented as a movement, is based on a theme by Bruchner, four-movement work, or the movements as is acknowledged in the preface. would stand alone, rather like the concert All four movements would make the etudes ofPalaschko. piece just over 15 minutes long. Essentially it The rhythmic vocabulary is baroque, is happy in mood, and with much contempo­ using a few meter changes, but with regular rary music so tortured in spirit, and vastly pulses. The work is thoroughly tonal, and challenging technically, it might be a pleasant extreme registers, difficult double-stops, or and useful change to indulge in some faux­ awkward leaps are avoided. In a word, it's baroque music well written for viola alone.

ere is a work for solo viola firmly circle above a pitch, leaving the way the pitch H entrenched in unmistakable 20th-cen­ is produced up to the player. At least this tury idiom. It is utterly atonal (until the last appears to be the system used; there is no notes of the last movement, which are a somehow-unsettling C-major triad), with an absolutely pulseless slow movement and clev­ erly syncopated fast ones. If one begins to feel a phrase or melodic idea or a cadence approaching, Mr. Taub does something to be sure that it's stopped. There are four move­ ments, and the title page shows a duration of about 14 minutes, but that may be on the short side. Dynamic, articulation, and tempo indi­ cations are copious. Some are ambiguous: above the staff "N." (often followed by a broken line), "S. T." and "S. P." are encoun­ tered frequently, but there is no legend to explain what these mean. Perhaps parts of the bow, but these are not standard mark­ ings. Harmonics are indicated simply with a 76

explanation. There are no fingerings in the The first movement, tided "Variations," whole Sonata, but there are some bowings. is a series of 6 sections each about 20 mea­ In measure 14 of the first movemenr, there is sures long unified by some rhythmic-melodic a middle-C to open A string double StOp, similarities. The second movement is a which could be an error (awkward at best), "Scherzo," fast pizzicato throughout, all in but other than that, the work seems well sixteenrh notes except at cadences. There are thought Out for the viola, even though the frequent changes of meter, and many accents. writing style does not naturally lend itself to One would get blisters practicing this move­ the instrument's most characteristic nature. ment, and it would require a lot of practice. The third movement named, "Elegy," is muted throughout, with the tempo of 40 to the quarter, much of it marked pianissimo or less. The last movement, double-named "Gigue" and "Rondo," seems the most approachable. It is a string of 6 sections, 15 to 20 measures long, plus a coda. The notion of a returning idea is evident, and there is rhythmic continuity, so the notion of dance is present also, if some­ what clouded. In performance, a necessary page-turn would need to be solved. The Peters Corporation should be thanked for publish­ ing this work, which certainly does not hold the promise of great commercial success. A professional violist would find it a major technical accomplish­ ment to include it in recital, and it would be a satisfYing achieve­ ment for the player. It would take a special audience to share that sense ofsatisfaction.

Thomas G. Hall Chapman Cniversity 77

RECORDINGS

f Bax: Sonata for Viola and Piano, Bloch: Suite Dvorak: Four Romantic Pieces Ope 75; Rondo for Viola and Piano, Ope 94; Sonatina Ope 100; Encores by Kreisler and Paganini. Wtlliam Romance Ope 11, etc., Bernard Zaslav, viola, Primrose, viola, Cohen, piano; Naomi Zaslav piano, Music & Arts CD-953 Pearl PRL 9453 (Koch International) Enescu: Concert Piece, Britten: Lachrymae, Note: Pearl and Biddulph seem to be in a Hindemith; Sonata Ope 25 #1, race to bring out all ofPrimrose's 78 RPM Devienne: Duo, Paulos: Five for the Flowers recordings in excellent reissues. Isn't it near the River, Schumann: Miirchenbilder, wonderful! Cynthia Phelps, viola, Jeanne Baxtresser, flute, Judith Gordon, piano, Cala, CACD 0510 Berlioz: Harold in Italy, Lubomir Maly, viola, (Allegro) Frantisek Jilek, condo Czech Phil., Supraphon 3095 (Koch Review: A triumph for Ms. Phelps. As far as International) 1981 recording I know this is Phelps' first solo album and her performance is outstanding with excel­ Brahn1s: Sonatas #1, #2 for Viola and Piano, lent technique, pitch and tone quality. I was Benjamin: Elegy and Waltz and Toccata, very fortunate to hear her perform Harold Harris: Soliloquy and Dance, Kreisler: in Italy with the NY Phil. under Kurt Praeludium and Allegro, Wtlliam Primrose, Masur about a year and a halfago and was viola, William Kapell, Gerald Moore, Franz very impressed with her playing. It's no Rupp, pianos, Pearl PRL9253 (Koch wonder that Ellen Taaffe Zwilich was International) announced as writing a special work that will feature the "killer" (sic) viola section of Brahms: Two Songs for Soprano, Viola and the NY]?, which is led by Ms. Phelps. This Piano, Sonata for Viola and Piano #1, Sonata record is part ofCala's NY Legend series fea­ for Viola and Piano Ope 108, Yuri Bashmet, turing first desk soloists ofthe NTI Ifyou viola, Masur, soprano, Lobanov, piano. Live buy one viola record this year, let it be this Classics LCL 661, (Qualiton) one.

Bruch: Concerto for Clarinet, Viola and arch; Hindemith: Complete works for Viola, Vol. 3, Other works by Lutoslawski and Strauss, Three Sonatas for Viola and Piano, Tabea Zimmerman, viola, Bruner, clarinet, Trauermusik, Paul Cortese, viola, Jordi Zagrosik, condo Vilaprinyo, Bamberg Symphony Orch., Schwann SWN Philharmonia Orchestra, Martyn Brobbins, 311065 (Koch International) cond., ASV CD DCA 978 (Koch International) Diana Burrell: Das Meer, Resurrection, Jane Atkins, viola, Northern Sinfonia, John Note: This completes the three CD record­ Lubbock, conc. ASV CD DCA 977 (Koch ings ofthe entire viola output of International) Hindemith's viola compositions. The first two volumes were CD DCA 931 and 947. Coulthard: Sonata Rhapsody for Viola and Piano, Martinu: Sonata for Viola, Hindemith: Composers in Person Series, Mendelssohn: Sonata for Viola, Robert Sonatas for Viola solo, other works with assort­ Verebes, viola, Dale Bartlett, piano. SNE 550 ed artists, Paul Hindemith, viola. 2 Angel (Allegro) 55032 78

Juon: Sonatas for Viola in C and F, Gantsher: Keith Harvey, cello, Simon Marlow, piano. Triolet erotique, Prokofiev: ASV CD DCA 976 (Koch International) 5 Melodies, Stepchenko, viola, Abolitz, Rochberg: Sonata for Viola and Piano, piano. Russian Disc RD CD 10 060 (Albany) Creston: Suite, Heiden: Viola Sonata, Carter: Kancheli: Caris Mere, Night Prayers, Kim Elegy, Lawrence Wheeler, viola, Tomfohrde, Kashkashian, et al. Stuttgart piano. Albany Alb 141 Kammerorchester, Dennis Rusell Davies, condo Arnold Rosner: Duet for Violas, String ECM New Series 156878118-21568-2 Quartets #2, 3 and 5. Deirdre Buckley, (BMG) Mark Ottesen, violas, other members ofthe Ad Hoc String Quartet, Albany Alb 210 Rudolphe Kreutzer: Grand Trio, Molino: Trio, Beethoven: Serenade, Paul Silverthorne, Rosza: Concerto for Viola, Sinfonia viola, et al. Meridian 84199 (Allegro) Concertante, Paul Silverthorne, viola, et al., Sedares, condo Migot: Trio for Violin, Viola and Piano; Trio New Zealand Symphony Orch ou Suite a Trois, Renard, viola, et al. Accord Koch International 3-7304-2 205.742 (Allegro) Vanhal: Concerto for Viola, Paganini: Gran Mozart: Sinfonia Concertante K. 364, Viola Sonata, Weber: Variations on an Concerto for Violin #5, Austrian Folk song, Malipiero: Dialogo #5 Leonid Kogan, violin, Pavel Kogan, viola. Ernst Wallfisch, viola. Moscow Chamber Orch, Rudolph Barshai, Faerber, Wiirttenberg Chamber Orch. "In condo The Sinfonia is taken from a 3/26/70 Memoriam," Bayer BYR 200028 recording. Arlecchino ARL 186 Oem Music) Submitted by David O. Brown Brentwood, New York Reger: Sonata for Viola, 3 Solo Cello Suites, Ivo Van DerWerff, viola,

Do you know any violists who live in Viola, Wisconsin?!

""'St ant! ott 66thAnnual USA 20 Viola, WI 54664 Clipper Ships

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