Viola V19/N2

Total Page:16

File Type:pdf, Size:1020Kb

Viola V19/N2 AVS RETROSPECTIVE THE PRIMROSE MEMORIAL SCHOLARSHIP COMPETITION’S EARLY YEARS by Dwight Pounds activated following his death and for Viola, Strings and Harp with contributions began to be solicited. the National Arts Chamber The Artist, the Fund, and the The AVS Executive Board deter- Orchestra. Carla-Maria Rodriguez Competition mined that the fund would have to placed second and Paris reach $10,000 before interest from Anastasiadis third. They were given The great William Primrose earnings could be dedicated to $300 and $200 respectively and enjoyed numerous recognitions in awards. When Congress XIII con- performed in congress master class- his lifetime and still more were vened in Boston at the New es. Jurists included Robert Oppelt, bestowed upon him following his England Conservatory of Music in chair, David Dalton, Rosemary passing in 1982. Late in his career 1985, the fund had matured to Glyde, Nathan Gordon, Louis he was knighted as a Commander $8500. In the November 1986 Kievman, Dwight Pounds and of the British Empire by Queen issue of the JAVS, Past President Ann Woodward. Elizabeth II and in 1975 he was Maurice Riley announced that the awarded an Honorary Doctorate fund had a base in excess of by Eastern Michigan University in $10,000 and President David Ypsilanti at ceremonies during Dalton in the same issue Congress III. Concurrently he was announced that the William given an award unique in the Primrose Scholarship Fund American Viola Society, the AVS Competition would be held in Scroll of Distinguished Service. In conjunction with the 1987 Ann further actions by AVS leadership, Arbor congress. In 1989 the Primrose was also named Board created the Primrose Honorary President of the Society Memorial Fund and the Primrose and Honorary Chairman of the Memorial Scholarship Lynne Richberg and Executive Board. International Competition, giving each function Carla-Maria Rodriquez Viola Congress XI, convening in its own designation.1 Houston, Texas, in 1983, was ded- In 1989 and with Congress XVII icated to his life and artistry, the The First 10 Years convening on the campus of first such dedication in AVS or Redlands University in California, IVS history. He was made an hon- The first Primrose Memorial the second PMSC was won by orary member of the International Scholarship Competition was held, Daniel Foster, a student of Jeffrey Viola Society posthumously. An as scheduled, in June 1987, in con- Irvine. Ming Pak took second annual memorial concert/master junction with Congress XV in Ann place and Kai Tang Third. Foster class was established at Brigham Arbor, Michigan, and was won by played the world premier of Young University in his memory— Lynne Richburg, a student of Wayne Bohrnstedt’s Concerto for and this is by no means a defini- Donald McInnes. The winner Viola and Orchestra with the tive list. The William Primrose received $800 and performed Alan Redlands Symphony. Jurists Memorial Scholarship Fund was Shulman’s Theme and Variations included Louis Kievman, chair, VOLUME 19 NUMBER 2 41 David Dalton, Alan de Veritch, Bloomington, Indiana. Second In 1995 the first prize cash award Roberto Diaz, Rosemary Glyde, place was taken by Kathryn had grown to $1500 with $1,000 Donald McInnes, Dwight Pounds, Lockwood. Judges included going to the second place contest- Sven Reher, and Karen Tuttle. William Preucil, chair, David ant, if awarded. The prize also car- Todor Pelev was the competition Dalton, Mary Arlin, Paul Coletti, ried the obligation for a solo per- coordinator. William Magers, and Thomas formance at the next congress; the Tatton. Lisa Hirschmugl was the runner-up was guaranteed a master competition coordinator. class performance in conjunction with the current congress. The winners and finalists in the Primrose Memorial Scholarship Competitions, representing many American, Asian and European nationalities, languages and proud musical traditions, have gone on to distinguished careers in perform- ance and teaching—giving cre- dence to Primrose’s observation Dan Foster, second PMSC winner, receiv- that the idea of the “solo violist” as Nokuthula Ngwenyama, winner ing congratulations from Donald McInnes of the fourth Primrose Memorial a professional was a myth—and following the competition at Redlands. Scholarship Competition. have made the competition a truly international celebration of the At Ithaca College of Music, Ithaca, First place in the fifth PMSC, held viola. By way of update, the New York, in 1991, and held in with Congress XXIII in American Viola Society 2003 conjunction with Congress XIX, Bloomington, Indiana, in 1995, Directory and various websites the third PMSC was won by was taken by Catherine Basrak, have yielded the following infor- Kirsten Docter, a student of Jeffrey student of Roland Vamos. The sec- mation on the PMSC winners and Irvine, with Kin-Fung Leung plac- ond prize went to Joan finalists through its first ten years, ing second. These were the only DerHovsepian and third to Scott though some listings may not be awards given. The winner per- Lee. Continuing with the prece- current. Among the winners, formed again a world premier, dent set in Evanston, Basrak gave a Lynne Richburg is principal violist Richard Lane’s Aria and Allegro solo recital and was promised a with the San Francisco Chamber with the USAF Symphony. Jurists featured appearance in Congress Orchestra, a member of the New were Emanuel Vardi, chair, Harold XXV, the Silver Jubilee, to be host- Century Chamber Orchestra, and Coletta, David Dalton, Rosemary ed by the University of Texas in an active studio musician in Los Glyde, Pamela Goldsmith, and Austin. The previous winner, Angeles, having performed on over John White. Nokothula Ngwenyama, played a 100 motion pictures including A solo recital and performed the Beautiful Mind and Seabisquit. The fourth PMSC was held during Shulman Theme and Variations She revisited Alan Shulman’s Congress XXI in Evanston, with the USAF Symphony. Jurists Theme and Variations in a Illinois, in 1993, and won by included Donna Lively Clark, February performance with the Nokuthula Ngwenyama, a student James Durham, Csaba Erdélyi, NCCO and was joined by the of Alan de Veritch. Ngwenyama Abram Skernick, Thomas Tatton, composer’s son, Jay Shulman, in performed a solo recital and was and Marcus Thompson. Laura this tribute to his father and his scheduled for an appearance in Kuennen-Poper was the competi- music. Dan Foster is affiliated with Congress XXII in 1995 in tion coordinator. the University of Maryland, is JOURNAL OF THE AMERICAN VIOLA SOCIETY 42 principal violist in the National Society.3 Carol Rodland is on the called Mad Juana), Ming Pak, Kai Symphony Orchestra, and is a faculty at the New England Tang, Man-Qin Zhang, Mike JAVS contributor.2 Kirsten Docter Conservatory and serves on the AVS Kelly, Matthew Phillips (who may is on the viola and chamber music Executive Board. Rodland, recently be playing in the Buffalo faculties at the Cleveland Institute elected to the AVS Executive Board, Philharmonic), and Ken of Music, violist with the Cavani has come full circle as a PMSC Mathewson. The international String Quartet, and has appeared finalist and now serves on the com- character and appeal of the PMSC as soloist and ensemble member in petition committee. truly has become one of its most Europe and North and Central Joan DerHovsepian played many enduring hallmarks and continues America. Nokuthula Ngwenyama seasons with the Everest Quartet to mark the legacy of this still rela- has performed as soloist with sev- which for at least two years was in tively young event. eral major symphonies and in residence in the Midland-Odessa recitals at the Kennedy Center, the (Texas) region and may have a Notes: Louvre and the White House. position now in Houston. Scott Ngwenyama was the recipient of Lee, 1996 Concert Artists Guild 1. The Primrose Memorial the 1996-1997 Fulbright Grant to Competition winner and Lionel Scholarship Competition should study at the Conservatoire de Tertis Competition finalist, is a not to be confused with the sin- Musique in Paris and also received faculty member at the University gle 1979 Primrose International the 1997 Avery Fisher Career of Missouri-Kansas City Viola Competition which took Grant. She graduated from the Conservatory and at the Idyllwild place in Provo, Utah, before the Curtis Institute of Music in Chamber Music Festival and opening of Congress VII. Philadelphia and resides in Boston. Workshop in California and is par- Geraldine Walter won first Cathy Basrak is assistant principal ticularly active in chamber music. place, Jun Takahira took second, violist of the Boston Symphony Kathryn Lockwood performs and and Patricia McCarty third. Orchestra, principal violist of the records with the Lark Quartet, the Judges were William Primrose, Boston Pops, is affiliated with Orpheus Chamber Orchestra, Trio Ralph Aldrich, and Joseph de Boston Conservatory and active Solisti, Muir Quartet, Pasquale. with faculty ensembles there. Concertante, and Triple Helix. She Predictably, many PMSC finalists serves on the faculties at University 2. Dan Foster’s article, also have established high profile of Massachusetts, Amherst, “Preparation and Performance careers. Carla-Maria Rodriguez Concordia Conservatory and the of Richard Strauss’s Don records and performs with the San Boston University Tanglewood Quixote and Ein Heldenleben” Francisco Silverwood Ensemble. Institute. Gilad Karni won the is published in JAVS Vol. 18 Susan DuBois, former prizewinner Lionel Tertis International Viola No. 1, 2002. and recitalist at the Lionel Tertis Competition 1994, is a former International Viola Competition member of the New York 3. Lembi Veskimets’ interview with and winner of Artists Philharmonic Orchestra, and has Bloomington PMSC winner, International’s 23rd Annual performed internationally as a Cathy Basrak appears on page Auditions, is viola professor at the soloist. Karni is currently the 49 of this issue of JAVS. University of North Texas.
Recommended publications
  • Viola V26 N1 11/7/14 6:25 PM Page 102 Viola V30 N2 Viola V26 N1 11/7/14 6:25 PM Page 1
    Viola V30 N2_Viola V26 N1 11/7/14 6:25 PM Page 101 30 Years of JAVS Features: A Survey of Hans Gál’s Chamber Works Vadim Borisovsky and His Viola Arrangements, Part I Alfred Uhl’s Viola Études Primrose’s Transcriptions Volume 30 Volume Number 2 and Arrangements Journal of Journal the American Viola Society Viola V30 N2_Viola V26 N1 11/7/14 6:25 PM Page 102 Viola V30 N2_Viola V26 N1 11/7/14 6:25 PM Page 1 Journal of the American Viola Society A publication of the American Viola Society Fall 2014 Volume 30 Number 2 Contents p. 3 From the Editor p. 5 From the President p. 7 News & Notes: Announcements ~ In memoriam Feature Articles p. 13 A Survey of Hans Gál’s Chamber Works with Viola: Richard Marcus writes on the Austrian composer Hans Gál, who emigrated to Great Britain due to World War II. A catalog of his chamber works with viola is provided, along with a look at various selections of these compositions. p. 27 Vadim Borisovsky and His Viola Arrangements: Recent Discoveries in Russian Archives and Libraries, Part I: In the first installment of a two-part article, Elena Artamonova provides a detailed historical context of the Russian violist Vadim Borisovsky—who, in addition to his musical accomplishments, was also a poet. p. 37 Alfred Uhl’s Viola Études: Studies with a Heart: Études have long been an indispensible part of a violist’s training, but have also been typically confined to providing technical facility. Danny Keasler looks at the études of Alfred Uhl, which include melodic aspects that can relate directly to repertoire.
    [Show full text]
  • Chopin's Nocturne Op. 27, No. 2 As a Contribution to the Violist's
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory Rafal Zyskowski Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Zyskowski, Rafal, "A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory" (2014). LSU Doctoral Dissertations. 3366. https://digitalcommons.lsu.edu/gradschool_dissertations/3366 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A TALE OF LOVERS: CHOPIN’S NOCTURNE OP. 27, NO. 2 AS A CONTRIBUTION TO THE VIOLIST’S REPERTORY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Rafal Zyskowski B.M., Louisiana State University, 2008 M.M., Indiana University, 2010 May 2014 ©2014 Rafal Zyskowski All rights reserved ii Dedicated to Ms. Dorothy Harman, my best friend ever iii ACKNOWLEDGMENTS As always in life, the final outcome of our work results from a contribution that was made in one way or another by a great number of people. Thus, I want to express my gratitude to at least some of them.
    [Show full text]
  • David Dalton History
    David Dalton History Brigham Young University Professor of Viola/ Literature/ Pedagogy Interview: 2009 Education BM, Eastman School of Music, 1957 MM, Eastman School of Music, 1961 DMA, Indiana University, 1970 Interview with Mike Ohman The purpose of this discussion is to learn That happened during my “irreverent period.” about you. I have some prepared questions, but we’ll probably diverge from Yes, it was, and that was an opening to these questions. We’re especially me, as a freshman at BYU—that BYU had interested in your stories. The plan is to professors like this. That was how I met get a picture, as well as a written you and Glenn Williams. document, that will go into the library We did some lecturing, “officious archives, along with the transcribed proclaiming,” about music in the Church. We interviews of other music faculty. The tried to differentiate between what we called interview will also go online. good music—a topic always subject to I remember you when I was a first- debate—and music that could be classified as semester freshman, taking a beginning “Mormon pop.” Over the years, we‟ve class in music appreciation. Your wife wondered if the strictures have become came and sang for us, and you were tightened, with regard to appropriate and extolling the virtues of “good” music in inappropriate music in the Church. I support the Church vs. other music that’s not so such strictures. For instance, the main good. You put other words to the song instrument in our church services should be “Temple by the River”, your wife sang it, the organ.
    [Show full text]
  • Colburn School Announces Live Round Competitors for the 2018 Primrose International Viola Competition
    Contacts: Lisa Bellamore Crescent Communications [email protected] (323) 500-3071 Lillian Matchett [email protected] (213) 621-1064 Colburn School Announces Live Round Competitors for the 2018 Primrose International Viola Competition (Thursday, March 1, 2018, Los Angeles, CA) – The Colburn School and the American Viola Society today announced the 24 live round competitors for the 2018 Primrose International Viola Competition. During the pre-screening round that took place in the fall of 2017, 157 applications were received, the most in the competition’s history. The 2018 Primrose International Viola Competition takes place at the Colburn School, June 10–16, 2018. The 24 live round competitors come from all over the world, representing 12 countries. The average age of participants is 23, with the youngest aged 18 and the oldest 28. “The Colburn School is proud to co-present the Primrose International Viola Competition in collaboration with the American Viola Society,” says President and CEO Sel Kardan. “We look forward to welcoming 24 extraordinarily gifted young violists from all over the world, who convene to not only compete, but to celebrate the legacy of William Primrose and the instrument he championed throughout his remarkable career. It promises to be an inspiring week of music-making.” Each of the 24 live round participants will compete in the quarter-final round on June 12 and 13, 2018, and eight competitors will advance to the semi-final round, taking place on June 14, 2018. During the quarter-final round, competitors will perform a work that demonstrates the musical strengths of the competitor, and a work that demonstrates the virtuosic strengths of the competitor.
    [Show full text]
  • WALTON Viola Concerto.1 SINDING Suite in the Old Style2 • Eivind Holtsmark Ringstad (Va); 2Arvid Engegård, 1Joshua Weilerstein, Cond; Oslo P • LAWO 1133 (41:27)
    WALTON Viola Concerto.1 SINDING Suite in the Old Style2 • Eivind Holtsmark Ringstad (va); 2Arvid Engegård, 1Joshua Weilerstein, cond; Oslo P • LAWO 1133 (41:27) Viola Concertos AUDIO CD; IMPORT Lawo Classics Given the relative scarcity of neo-Romantic viola concertos, you would think that violists would be eager to pick the late-blooming, lush fruit of William Walton’s concerto, but for some reason they don’t seem to be and never really have been since it was written in 1929. Not only has the piece not been recorded that often, but to add a bit of irony to it, among the recordings that have been made over the years, a number of the better-known ones are by violinists who have temporarily switched to the viola for the occasion, for example Yehudi Menuhin, Nigel Kennedy, and Maxim Vengerov. That is not to say that violists of note haven’t been heard from. Two recordings I have and take pleasure in feature violists Nobuko Imai and Lawrence Power; and though unfortunately it’s not a recording I have, there is quite possibly the definitive version of the work with William Primrose under the baton of Walton himself conducting the Philharmonia Orchestra. Norwegian-born (1994) violist Eivind Holtsmark Ringstad is a rising young Scandinavian artist who made his debut with the Oslo Philharmonic in 2013, launching him on an international career. Based on this new release, which I take to be Ringstad’s first commercial recording, I can attest that he is very, very talented, indeed. If you are unfamiliar with Walton’s concerto, or you do know it but have never warmed to it, I would strongly urge you to hear this performance of it.
    [Show full text]
  • A Guide for Playing the Viola Without a Shoulder Rest Chin Wei Chang University of South Carolina - Columbia
    University of South Carolina Scholar Commons Theses and Dissertations 2018 A Guide for Playing the Viola Without a Shoulder Rest Chin Wei Chang University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Chang, C.(2018). A Guide for Playing the Viola Without a Shoulder Rest. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5036 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A Guide for Playing the Viola Without a Shoulder Rest by Chin Wei Chang Bachelor of Music National Sun Yat- sen University, 2010 Master of Music University of South Carolina, 2015 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2018 Accepted by: Daniel Sweaney, Major Professor Kunio Hara, Committee Member Craig Butterfield, Committee Member Ari Streisfeld, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Chin Wei Chang, 2018 All Rights Reserved ii DEDICATION This dissertation is dedicated to my dearest parents, San-Kuei Chang and Ching-Hua Lai. Thank you for all your support and love while I have pursued my degree over the past six years. iii ACKNOWLEDGMENTS I truly appreciate the director of the dissertation, Dr. Daniel Sweaney, for his advice, inspiration, and continuous encouragement over the past four years.
    [Show full text]
  • Lionel Tertis, York Bowen, and the Rise of the Viola
    THE VIOLA MUSIC OF YORK BOWEN: LIONEL TERTIS, YORK BOWEN, AND THE RISE OF THE VIOLA IN EARLY TWENTIETH-CENTURY ENGLAND A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC by WILLIAM KENTON LANIER B.A., Thomas Edison State University, 2009 Kansas City, Missouri 2020 © 2020 WILLIAM KENTON LANIER ALL RIGHTS RESERVED THE VIOLA MUSIC OF YORK BOWEN: LIONEL TERTIS, YORK BOWEN, AND THE RISE OF THE VIOLA IN EARLY TWENTIETH-CENTURY ENGLAND William Kenton Lanier, Candidate for the Master of Music Degree in Musicology University of Missouri-Kansas City, 2020 ABSTRACT The viola owes its current reputation largely to the tireless efforts of Lionel Tertis (1876-1975), who, perhaps more than any other individual, brought the viola to light as a solo instrument. Prior to the twentieth century, numerous composers are known to have played the viola, and some even preferred it, but none possessed the drive or saw the necessity to establish it as an equal solo counterpart to the violin or cello. Likewise, no performer before Tertis had established themselves as a renowned exponent of the viola. Tertis made it his life’s work to bring the viola to the fore, and his musical prowess and technical ability on the instrument gave him the tools to succeed. Tertis was primarily a performer, thus collaboration with composers also comprised a necessary element of his viola crusade. He commissioned works from several British composers, including one of the first and most prolific composers for the viola, York Bowen (1884-1961).
    [Show full text]
  • Download Booklet
    8.111383 bk Primrose2_EU_8.111383 bk Primrose2_EU 13/10/11 17.52 Pagina 1 Pleyel, with the Lamoureux Orchestra under Sir Mozart’s E flat Quintet, K614, with William Carboni Moennig Jnr and had the use of the ‘Macdonald’ Strad vivid contrasts, reflecting the divergent characters of Thomas Beecham, was the crucial event in for the New Friends of Music at Town Hall. ‘New (later heard in the Amadeus Quartet, in the hands of Primrose’s partners. The Adagio, recorded with Albert ADD Primrose’s career (although subsequently he would Yorkers have rarely … heard such playing as the Peter Schidlof), with its fine tone and instantly Spalding’s regular accompanist André Benoist as a Great Violists • Primrose skate over the Tertis connection, because of their Primrose Quartet vouchsafed yesterday,’ reported The recognisable diagonal-figured back. At this stage filler for Mozart’s Sinfonia concertante, is a model of 8.111383 disagreements on viola tone and vibrato, as well as New York Times. In 1941 Primrose took a chance and Primrose still had a tenor-oriented sound and could collaboration, the gentlemanly Spalding the ideal size of the instrument). Primrose had always went solo, touring the United States with the tenor play in quite a lush style, employing much portamento. accommodating his lovely tone and phrasing to felt affection for the viola but Tertis’s huge, warm Richard Crooks. He recorded with Jascha Heifetz and Later he concentrated on dexterity: his playing Primrose’s. The Passacaglia is at once a performance tone showed him its potential. In the Green Room he Emanuel Feuermann, joined the reconstituted London remained colourful but his vibrato, always on the fast of higher pressure, with the competitive virtuosi told Tertis: ‘I am a disciple of yours from henceforth.’ String Quartet for occasional concerts, and in 1947 side for a violist, seemed more intense than ever, the Heifetz and Primrose matching precision and filigree By 1930 he was playing viola in the London String appeared in London and at the first Edinburgh tone more alto than tenor.
    [Show full text]
  • Journal of the American Viola Society Volume 8 No. 1, 1992
    WILLIAM PRIMROSE, 1904 - 1982 Commerrwrative issue on the 10th Anniversary of his Death JOURNAL oftlze AMERICANVIOLA SOCIETY Chapter of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion of Viola Performance and Research Vol. 8 No.1 1992 The Journal of the American Viola Society is a publication of that organization, and is produced at Brigham Young UniversitY,@1985, ISSN 0898-5987. The Journal welcomes letters and artioles from its readers. Editorial and Advertising OJ/ice: BYU Music, Harris Fine Arts Center, Provo, UT 84602, (801) 378-3083 Editor. David Dalton Assistant Editor: David Day JAVS appears three times yearly. Deadlines for copy and art work are March I, June I, and October I and should be sent to the editorial office. Rates: $75 full page, S60 two-thirds page, S40 half page, 533 one-third page, S25 one-fourth page. For classifieds: $10 for 30 words including address; $20 for 31 to 60 words. Advertisers will be billed after the ad has appeared. Payment to •American Viola Society· should be remitted to the editorial office. OFFICERS Alan de Veriteh President School of .vlusic Unil'erslhJ of So Californza 830 West )4th Street RilmoHalll12 Los Angeles. CA 90089 (8051255-0693 Harold CoLetta Vice-PreSldmt 5 Old Mill Road = West Nyack, ,"'Y 10994 Pamew Goldsmith Secreta11l 1I640 Amanda Dm'e StudIO City, CA 91604 R(lsemarv Chide Treasure;, ~ P.O. Box 558 Golden', Bridge, NY 10526 D1l'la Dalton Past PreSldOlt Editor, /AVS Brigham Young UlIHyrslty Provo, UT 84602 --~I ---I BOARD -~I Louis Kiel'man Wilham Magers Donald McInnes l<£lthryn Plummer DullgJa Pounds ~'l/Illiam PreuCiI Thomas Tatton lv11chael Tree Karen Tuttle Emarwel Vardi Robert Vernon Antl Woodward PAST PRESIDENTS Maurice Rllev f1981-86) Myron Rosenblum (]971-81J HONORARY PRESIDENT William PnmroSt' (deceased) ~Cf?r;fChapter of the IntenzatiOlzale Vioia-Gesellschaft Announcement The premier publication by the American Viola Society, under the direction of the AVS Publications Department, for the benefit of its members and their society.
    [Show full text]
  • An Excursion to Changing Romantic Aesthetics
    An Excursion to Changing Romantic Aesthetics Presentation paper at the 42nd International Viola Congress 2014, Porto, Portugal Markus Sarantola Principal Viola of the Lappeenranta Orchestra, Finland Vice President of the Finnish Viola Society I think the only possible way to start a lecture at a viola congress is to quote William Primrose. Or what do you think? This seems to be the way everybody does these things. 50 per cent of lectures like this have something to do with Primrose... I found an interesting article from the Strad magazine January 1998. Yizhak Schotten - one of America’s finest viola players - was a young student when he met William Primrose for the first time. During the previous years Schotten had been so influenced by Primrose’s playing that he had listened to all his records. Schotten relates: “I brought the Hindemith Sonata op.11 no.4 to a lesson and played it with all my heart - and all my slides. Mr Primrose asked: ”What are you doing that for?” I said: ”I’ve been listening to your recording.” And he replied: ”People don’t play like this any more.” Primrose knew well what was old-fashioned. And for some reason he did not like this style any more. The question is: What is meant here by old-fashioned? I think it is an interesting question. In 1980, it was not very popular to ask such questions, but nowadays we have to be much more aware of the historical ways of interpreting music. Attitudes have changed considerably. Modern musicians have started to play in ways that are historically informed.
    [Show full text]
  • American Viola Society Newsletter No. 22, April 1982
    THE AMERICAN VIOLA SOCIETY Chapter of OFFICERS INTERNATIONALE VIOLA-FORSCHUNGSGESELLSCHAFT DR. WILUAM PRIMROSE, HONORARY PRESIDENT 1407 West 1100 North Provo, Utah 84601 Brigham Young University MAURICE W. RILEY, PRESIDENT April NEWSLETTER 22 1982 512 Roosevelt Blvd. Ypsilanti, MI48197 313 - 482-6288 Emeritus Professor of Violin-Viola Eastern Michigan University 10th INTERNATIONAL VIOLA CONGRESS in STUTTGART, MYRON ROSENBLUM, PAST PRESIDENT 39-23 47th Street west Germany, June 2-6, 1982 Sunnyside, NY 11104 Queensborough Community College A tentative program of the stuttgart Congre8s was DWIGHT POUNDS. VICE-PRESIDENT 1713 Karen Court published in the last Newsletter. It has recently been Bowling Green, KY 42101 announced that soloists will include the following Western Kentucky University internationally famous violists: Ulrich Vidor ANN WOODWARD, TREASURER Koch, P.O. Box 1134 Nagy, Herman Voss, Luigi Alberto Bianchi, Ulrich von Chapel Hill, NC 27514 North Carolina University Wrochem, and from the United states, Jerzy Kosmala and HAROLD KLATZ, SECRETARY Lawrence Wheeler. Panelists and speakers, in addition 1024 Maple Avenue to those mentioned in the last Newsletter, include Evanston, 1160202 Violist in Chicago Symphony distinguished viola teachers, Max Rostal and Berta EXECUTIVE BOARD MEMBERS Volmer; Walter Lebermann, who has researched and edited DAVID DALTON many Baroque works for the viola; and David Dalton, Archivist of the International William Primrose Viola Archives from the United states, who will describe the William Brigham Young University Primrose International Viola Archives, hous~d at Brigham Provo, Utah 84602 Young University. PAUL DOKTOR 215 W. 88th Street Registration fees should be sent in DM by April 15 New York, NY 10024 to: Prof.
    [Show full text]
  • The Up-Hill Fight for the Viola: Two Different Strands of Development of the Viola in Britain from 1885 to 1960, and a Recently Discovered Work
    2014 © Valerie Dart, Context 38 (2014): 53–57. RESEARCH REPORT The Up-hill Fight for the Viola: Two Different Strands of Development of the Viola in Britain from 1885 to 1960, and a Recently Discovered Work Valerie Dart My research began with an interest in finding new viola repertoire. Realising that there was a wealth of British viola music that didn’t get much attention, and finding it often to be out of print, I started to become interested in researching this field. Being British myself, and having studied with Cecil Aronowitz, one of Britain’s finest viola and chamber music players, I have a natural connection with this music and have become quite passionate about this research and am excited by every new discovery. The research will look at the difficulties facing British viola players and composers in the late nineteenth and the early twentieth centuries; how performers and composers worked together to raise the standard of viola playing in Britain, inspiring and encouraging writing for the viola, both as a solo instrument and as a more prominent orchestral instrument; and how they brought about a change of attitude in the musical community towards the viola. The leading figures, Lionel Tertis and William Primrose, are well known. Their autobiographies and the writings of scholars such as John White, David Dalton and Maurice Riley, give insight into the plight of the viola at this time. British viola repertoire went through a stage of being neglected until only fairly recently. Some of today’s foremost viola soloists—Roger Chase, Lawrence Power, Martin Outram, Sarah Jane Bradley, Simon Rowland Jones and others—have lately revived some of this beautifully lyrical and passionate music.
    [Show full text]