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Journal of the American Viola Society Volume 1 No. 1, August 1985

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Journal of the American Viola Society Volume 1 No. 1, August 1985 JOURNAL oltke AMERICANVIOLA SOCIETY ·-Chapterof THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion of Viola Performance and Research vei i No.1 August, 1985 Katherine RapQPOrl: Notes on the 1985 Congress Tomlls Tichauer: The Viola in Argentina page 8 AVS Membership,1985 page 15 SHAR NEW RELEASE HI went the road to Damascus. I saw the light, repented of past transgressions, and converted to the viola." - William Primrose (1904-1982) A VIOLIST'S LEGACY NOW AVAILABLE - the television documentary on Primrose originally recorded at Brigham Young University. The wonderful grace and charm of the musical giant is forever preserved in a 30 minute color video presentation. A magnificent addition to any music library or private studio video collection, Shar takes pride in offering A Violist's Legacy for the first time. A VIOLIST'S LEGACY - available in VHS or Beta $110 (please specify) 3/4" format also available $140 Available exclusively from ••~ii-l Shar Products Company 1-800~521-0791 I 2465 S. Industrial Order Toll-Free: I ~O. Box 1411 In Michigan: 1-800-482-1086 Local: (313) 665-7711 I Ann Arbor, MI 48106 THE AMERICAN VIOLA SOCIETY Chapter of INTERNATIONALE VIOLA-FORSCHUNGSGESELLSCHAFT OFFICERS MAURICE W. RILEY, PRESIDENT DWIGHT POUNDS,VICE PRESIDENT ANN WOODWARD, TREASURER HAftOLD KLATZ, SECRETARY 512 Roosevelt Blvd. 1713 Daren Court. 209 W. University Drive 1024 Maple Avenue Ypsilanti, MI 48197 Bowli~ Green, Ky 42101 Chapel Hili, NC 27514 Evanston. IL 80202 313 • 482-6288 Western Kentucky University University of North Carolina VIOlist in Chicago Symphony, Emeritus Professor of Violin-VIOla Advertising for AVS Newsletter Eastern Michigan University MYRONROSENBLUM, PAST PRESIDENT 39-23 47th Street SUnnyside, NY 11104 Queensborough Community College execunvE BOARD MEMBERS DAVIDDALTON Archivist. International Primrose Viola Archives, Editor, A.V.S. Newsletter Brigham Young University Provo, Utah 84602 PAUL DOKTOR 215 West 88th Street New York, NY 10024 JunUard School Mannes College of Music MILTON KATIMS 8001 Sand Point Way NE Ie-« Seattle,:WA 981~5 LOUIS KIEYMAN 1343 Amalifi Drive Pacific Palisades, CA 90272 Private Teacher in the Los Angeles Area DONALDMc"NES Professor of Viola SChool of Music University of Michigan Ann Arbor, MI48109 ROBERTOPPELT 26305 Coolidge Avenue Oak Park, MI 48237 Private teacher in Detroit area JOSEPHDE PASQUALE 532 Lafayette Road Merion Station, PA 19066 Principal Viola, Phi1adelphia Orchestra Prof. of Viola, Curtis Institute ROBERT SlAUGHTER 1705 North Riley Road Muncie, IN 47304 Ball State University THOMAS TATTON 2705 Rutledge Way Stockton, CA 95207 University of the Pacific MARCUSTHOMPSON 19 Florence Street cambridge, MA 02139 Mass. Inst. of Tech., New England Conservatory FRANCISTURSI 18 Coniston Drive Rochester, NY 14610 Eastman School of Music COORDINATOR WITH THE CANADIAN VIOLA SOCIETY A. BAIRD KNECHTEL 103 North Drive Islington, ONT. M9A 4R5 Canada President, Canadian Viola Society HONORARY PRESIDENT DR. WILUAM PRIMROSE deceased · Rare instruments and bows Expert appraisals Hours 10-5:30 Tuesday-Saturday 410 South Michigan Avenue Chicago. "Illinois 60605 Telephone (312) 663-0150 through research into older literature. An indication of this fact is that, since' Notes on the 1985 its first edition in 1963, Zeyringer's CODgcess Literatur fur Viola has been expanded by three times: 1n 1965 with a KathertneRapoport supplement, with a new edition in 1976, and with the current edition, due to be published in August. The new This year's Congress was held at the edition, with introductions in German, New England Conservatory in Boston, English and French, will contain 14,000 Massachusetts. The Conservatory has entrtes, mainly of original works for excellent facilities for the viola. There is certainly much work accommodatlon of an event of such going into this listing of viola scope and diversity: the Congress literature. Zeyringer collaborated with included. concerts, lectures, 1300 correspondents throughout the demonstrations, master classes and a world to prepare the new edition. He large display of instruments. also mentioned a second book on which The opening banquet set the tone for he lscurrently working, deaJingwith a very friendly and communicative other matters of interest to violists, gathering. Speeches by Marcus including the construction of the Thompson, Maurice Rlley and Franz instrument itself, etymology of the . Zeyringer stressed the fact that the word "viola," discussion of literature, Congress Is .not just a meeting of -viola bibliography and elementary players and theoreticians, but that its literature for viola most important function is to "further the contact between vtola Trtencs Another important step in making throughout the world" tntormatlon orl uterature more ,generally avauaote ts the Growth of VIola Literature establishment of the Primrose International Viola Archive in Provo, One area where development 15 Utah, under the supervision of David particularly trnpresstve 1s in 1iterature, Da1ton. There are already between amply demonstrated by the lectures and 3000 and 4000 items in this collection. by the many concerts held throughout the Congress. Thanks to the work of Maurice Riley made- the important the Internatlonal Viola Society, the point that viola literature is growing violist's repertoire is being enlarged not only as a result of the composition continually, both through the promotion of new works, but also from older and performance of new works and works coming back to our awareness. 3 Some vtottsts are still under the performer, not only 'because of hearlng rntsaporenenston that the J. C. Bach, the finished work, but also because of Handel and Handoshkln concerti are the value'. of suggestl0ns by the authent1c (when in fact only the flrst performer wttn ,regard to changes of movement of the Handoshkln Is truly register for better sound, or effective authentic), and are neglecting many use of techniques such as sul other works of merit. In his lecture, Dontlcel10. Allen mentioned that in Riley demonstrated his polnt by playing writing for viola, timbre must cassettes of three concerti,by Joseph constanly be kept in mind. This was Schubert, Johann Wanhal1 and Carl obviously an tmportent factor for many Zelter, all 'of which were quite as of the other composers whose works interesting and as deserving of were heard 1n the concerts and recttals. performance as other more familiar The viola appeared in a variety of works 1n the violist's repertoire. The ensembles where the timbre was given range of "rediscovered" works extends special conslderatton, such as in even into the twentieth century, with combination with harpsichord in the sonatas by Htndemtth emerging only Lassus Variations. 1962, by Bernard recently and recetvtnq performances at Krol, where the harmonies of this "the Congress. Two solo sonatas, one century sounded particularly poignant dated 1937 and the other numbered Op. in the "archaic" instrumentation. 31 No.4, were performed by Kim Kashkashlan, and the Sonata Op. 25 No. A highlight for many who attended 4 (1922) for viola and plano was the Congress was the played by Walter Trampler and Thomas Eastman-Rochester Viola Ensemble, a Stumpf. group of fifteen players, drawn from the viola section of the Rochester New Works Philharmonic Orchestra and the Eastman New 1iterature was certainly glven a School of Music. Christian Woehr, prominent position 1n the concerts principal violist of the Rochester during the five days of the Congress. An Philharmonic and a composer of no impressive array of 'soloists was little lmaqlnatton and ability, wrote assembled to perform these new works. three pteces for this ensemble to play. Judith Shatln Allen, whose Glyph was The sound of the group was highly written for and premiered by Rosemary trnpresstve, with considerable tonal and Glyde, qave a very informative talk dynam1c range. .. about the process of wrltlngthis piece, 1n wh1ch she mentionec the exc1tement Master Classes to a composer of working wttn the 4 Lectures and master classes dealt a substantial sound, but not exceeding with problems the size the majority of players can common to all violists, such as manage comfortably. preparation for orchestral auditions, in which Abraham Skernick, formerly State of Viola-Playing principal of the Cleveland Orchestra and now at Indiana University, gave In most cities, viola concertos are helpful advice about priorities for the se1dam schedu1ed on symphony playe~ In her lecture about avoiding programs and recitals by well-known harmful tension in playing, Kim players are also infrequent. The Kashkashlan stressed the importance of opportunity to hear the many excellent minimum deviation from natural guest artists within the space of a few positions, and energy-efficiency from days 1n the concerts and recttals, from an 'athletic point of view. Other Cynthia Phelps, a young player on the sessions included master classes for threshold of a career, to sentor artists pre-college students and their such as Walter Trampler, Paul Dokor, teachers, and a pane1 discussion Joseph de Pasquale and Milton Thomas entitled uHow to Get The Most Out of was therefore of tremendous value. It Your Practice," with Atar Arad, Paul allowed for general impressions of the Doktor, Rosemary Glyde, Cynthia Phelps state of viola-playing today and for and Milton Thomas. cornpartson of the styles of the artists heard. Although all guest artists It was a pleasure to see and hear the featured in this year's Congress are old master-instruments
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