:.. Chaj)ter of THE INTERNATioNAL VIO~A SOCIETY Association for the Pro motion ofViolaPerforrnance and Research
:' Vol. 4 No, 1
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3 Teaching: Questioning, Imagery and Exploration KathrynPlummer '
7 Writing for the Viola "·· Alan' Shulman ' .'
II ' The Story of Viol~ World .Robert Mandell"
(5 William Magers Rosemary Glyde
" . ... .", ~ <...... ;
~ . The Journal of th e American V iola Society is a public ati on of th at organi zatio n. and is produced at Br igh am You ng U nive rsi ty. w 1985, ISSN 0898-5987. The Jou rn al welcom es letters and art icles fr om its read ers.
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Send To: Rosemary Glyde, Treasurer P.O. Box 558, Rt. 22 Golden's Bridge, NY 10526 3 TEACHING: QUESTIONING, Socratic method can be successful with IMAGERY AND EXPLORATION all ages. In the case of a ten year old violist whose first lesson showed signs by of very poor concentration, I asked a series of questions beginning with, KATHRYN PLUMMER "Where do you practice and what is the atmosphere?" (As I suspected, it was As a teacher, I am not trying to amid the chaos of the typical American produce more Primroses. I am looking family with siblings frequently inter for progress; period. One student's rupting and noise from the television or progress may take him to Carnegie Hall radio inescapably interfering). "When do and another's may create an enthusiastic you practice?" (It was usually later in and intelligent' concert goer. Both are the evening after he was already tired great rewards for the teacher as I see from homework and a long day). "Do it. your parents keep a critical ear to the door expecting only 'concert-ready' In some respects I am a rather sounds?" (His affirmative reply conventional teacher. I use old and indicated concern that he was not tried methods, such as Flesch, Sevcik, pleasing his parents and thus not Schradieck, and Kreutzer. My teaching completely focusing on his practice). repertoire includes most of the standard "How long do you practice and how works, but in tailoring my teaching to many breaks do you take?" (His breaks meet my students' specific needs, I try often exceeded his actual practice to be as creative and imaginative as time!). After these and a few other possible. A teacher has to be willing to leading questions, he smiled at me run the gamut of ideas from the tested sheepishly and then together we drew to the unorthodox. I feel there are few up some guidelines on practicing. I feel truly boring students, only bored it is crucial to involve the student in teachers who have given up searching the process of finding solutions. for that magical word or idea that a particular student needs. In the teacher's Self Criticism behalf, the student must, of course, be I frequently ask my students where receptive and eager to learn. If those they think their strengths and weak ingredients are not inherent or cannot nesses lie, both generally and specifica be awakened, then that student won't fit lly relating to the particular piece they in my class. are playing. Often their responses show an exaggerated concern over relatively It is impossible for me to encapsulate minor problems while failing to focus my teaching methods in a short space, on the major ones. Moreover, they but one aspect I want to address is the don't recognize and appreciate their use of the Socratic approach in teaching. strongest points. Their own assessment Teachers have basically two options: helps me understand and evaluate them telling students what needs to be much more effectively and gives me improved in their playing or questioning direction on how best to proceed. Some them in a manner that will reveal to students have no idea how to recognize them a clear understanding of a truth. I their those, a gentle mimic can quickly feel that if you can lead a student to a demonstrate the problem. Sometimes I revelation, it makes a much greater play a game of role reversal. I imitate impact and opens the way to faster the student as accurately and fairly as progress. In essence you are teaching possible and have the student teach me! the student to think for himself. The Another successful method is to tape Preferred by top concert artists
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Another exercise is having the 4. I insist that they be able to walk student attempt to describe how a in rhythm as they play and be able certain technical motion is analogous to to count aloud through complicated something unrelated to viola playing or passages. to music in general. If they can isolate the motion and reproduce it without the 5. I teach them various ways to use viola, they come back to the instrument the metronome without letting it with greater understanding and freedom. become a crutch. (One student Finding analogous motions can be very made tremendous progress after challenging but lots of fun. Sporting practicing with a click track I events, dancing, cooking, carpentry--you prepared for her of the Meditation name it--can all be drawn upon. by Bloch). Applying an image to a technical problem can also have a wonderful 6. I keep and use a tape recorder at effect in changing a student's percep my side when I teach. Sometimes I tion. For example, with a student who assign the student to make weekly grips his left thumb and finger during a recordings of his practice. shift, I tell him to imagine his left hand coated in automotive oil. Coupled with 7. I encourage most of my students to sound technical analysis and advice, the practice special left hand exercises use of imagery can be remarkably senza bow while watching TV or helpful. reading. I encourage the same for certain bow grip exercises. These A Helpful List exercises should not take time away One final point I want to emphasize from actual practice, for they is the teacher's obligation to explore require minimal, if any, concentra different means to help students. Both tion. I myself have made fine the student and the teacher benefit progress in my own left hand from this and it certainly keeps teaching technique while traveling across Restorers and Dealers
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8. In general, I encourage students to Alan Shulman utilize "dead time" for something musically constructive. Trying to mentally visualize a piece for the There is a good reason why the aid of memorization is an excellent French scores read alto; that precisely use of the time while waiting for a describes the Viola. I feel the same bus or standing in a long grocery way about my instrument, the cello: store line. both are not exclusively A-string instruments. Entirely too much music 9. For violinists having trouble reading is composed for the upper positions on alto clef, I suggest they carry a these instruments. As a result of the xeroxed page of viola music in their shortened string length, the sound pocket or purse and look at it becomes tight and constrained. Idioma several times throughout the day to tic writing is the order of the day. If become familiar with the notes. you want the sound of the "95th" position, write for the violin! 10. For students without perfect pitch, I ask them to keep a tuning fork in At the XIV International Viola the car so while listening to the Congress in Ann Arbor, I yearned- radio they can try to determine the mostly in vain--for the sound of the keys of the music being broadcast. two lower strings. When it too infrequently occurred, it was as if I These are but a few examples. There was bathed in velvet. In this regard, is no magic formula to teaching; no one Smetana achieved perfection in the method that guarantees success for quartet Aus meinem Leben, Brahms in every student. The only assurance I give his quartet, Ope 67 and the quintet, Ope as a teacher is in the form of a 111, and Debussy in his quartet. As a commitment: a promise to do the best composer I always consulted with possible for each student. I have yet to colleagues as to the playability of a have two students alike. That is why it passage (not only violists, but all the is a teacher's obligation to continue instrumentalists of the orchestra). searching for new, innovative ways. The Sometimes the addition or deletion of a imaginative mind is limitless. note will make for more comfort and will not disturb musical values.
Kathryn Plummer teaches at the Blair The full symphony is too heavy for School of Music, Vanderbilt University, a viola soloist to cut through, no and was for thirteen years the violist matter how big his tone. If you want of the Blair String Quartet. She was the violist to be heard, a chamber formerly assistant principal violist of orchestra or wind octet, or string the Cincinnati Symphony and a member orchestra with one added instrument-.:.. of the Casals Orchestra in Puerto Rico. preferably harp--is sufficient, in my Her teachers were David Dawson, opinion. Yes, the reader will ask, but BOSTON UNIVERSITY SCHOOL OF MUSIC
Boston University is Our string faculty includes: pleased to announce Edwin Barker, double bass Roman Totenberg, violin the appointment of Raphael Hillyer, viola Max Winder, violin Peter Zazofsky Bernard Kadinoff, viola Lawrence Wol~ double bass as violin instructor and first Carol Lieberman, violin Michael Zaretsky, viola violinist ofthe Muir Malcolm Lowe, violin Leslie Martin, double bass Muir Quartet, in residence Quartet, in residence at the Yuri Mazurkevich, violin} at the Boston University School School ofMusic. Mr. Chairman ofString Department ofMusic, are: Zazofsky is recognized George Neikrug, cello Steven Ansell, viola worldwide as one of Mischa Nieland, cello Bayla Keyes, violin America's outstanding James Orleans, doublebass Michael Reynolds, cello soloists. He has appeared Leslie Parnas, cello Peter Zazofsky, violin with the Berlin Henry Portnoi, double bass Philharmonic, the Rotterdam Philharmonic, Phyllis Curtin, For more information contact: Dean, Schoolfor the Arts the Vienna Symphony, and Alan Weiss, Director ofAdmissions Robert Sirota, Boston University School of Music the Amsterdam Director, Schoolof Music 855 Commonwealth Avenue Concertgebouw Boston, MA 02215 Orchestra. Telephone: 617/353-4241 Major scholarships available to qualified applicants. .i41l equal opponunuv, affirmative action institution. what about the Walton, Bartok and principal violist of the Chicago 9 Hindemith concertos, for instance? It Symphony Orchestra. The four can be done, but only if there is a movement suite has no program, but sensitive accompanist on the podium, the second and third movements were ready to assume a subordinate role--an influenced by sounds of nature. In the idea not always easily achieved. I also second movement, the sixteenth note love a huge tonal palette, but with a passage followed by an eighth viola soloist, it must be as a SUPPORT (Pochissimo pill mosso, measure 16) is ING CAST. based on a bird call I heard in southwest Maine during a summer I Early Start spent composing there. The Vivo is I started composing when I was ten based on the sounds I heard, also in years old. I loved chamber music, and Maine, during a severe windstorm in we used to have quartets at our house late August, nearing equinoctial time; in Brooklyn practically every week. I thus the reference "wind through the started to write little arrangements for trees." string quartet. We would play through a quartet by Haydn, or a Beethoven My Theme and Variations for Viola quartet, and then before we broke up, I and Piano/Orchestra was premiered by would generally present a "junior Emanuel Vardi and Vivian Rivkin at chart." We tried it over, and one thing Town Hall, New York City on Febraury led to the other until in 1933, our 17, 1941. Vardi and the NBC Symphony efforts were called to the attention of under Frank Black, gave the first a producer at NBC and our quartet orchestral performance over the NBC went on the air with the horrible name network on 11 March 1941. The work of the "Sweet Rhythm String Quartet" has since become standard repertoire. playing popular arrangements. I knew Some of its performers have included and loved Kern, Gershwin, early William Primrose, David Dawson, Milton Rodgers, Cole Porter, and others. These Preves, Milton Thomas, Nathan Gordon, were the giants of popular song. I Milton Katims, Joseph de Pasquale, Max consider Jerome Kern to be the Franz Aronoff, Michael Tree, Karen Tuttle, Schubert of popular song. I was brought Kim Kaskashian, Carlton Cooley, Yizhak up in that atmosphere and I loved jazz, Schotten, Paul Doktor, Walter Trampler, too. I heard all the great black bands, Oscar Shumsky, Toby Appel, Paul and I think I learned a lot from them. Neubauer, Ernst Wallfisch, Richard Young, David Schwartz, etc. It's wide After graduating from Juilliard, I acceptance naturally makes a composer joined the NBC Symphony under feel good. Toscanini, and I also took lessons from the great Emanuel Feuermann. I studied A Second Set composition with Paul Hindemith and In the early 1980's I decided to played in the Stuyvesant Quartet. write a second set of Variations. After almost a half century, my style Among violists, I am known for naturally has changed. But there was a three works: Suite for Solo Viola desire to write a conservative work as (1953, Swanee Press), Variations for a companion piece to the 1940. Thus Viola and Piano/Orchestra (1940, the Variations (1981, revised 1984) came Chappell), and Variations for Viola, into being and had their first perfor Harp and Strings (1984). mance with orchestra at the Ann Arbor Congress. The Suite for Solo Viola is dedicated to my good friend Milton Preves, former The work is dedicated to the PUBLISHERS OF MUSIC FOR THE SERIOUS VIOLIST
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He was an elegant artist with a the Juilliard School, and other institu sound comparable to Tertis's, and like tions. He has enriched the viola Bill Primrose (if my memory serves me repertoire, and of his Theme and correctly), he was a crackerjack ping Variations (1940), Felix Borowski of the pong player. His students at Indiana Chicago Sun wrote: "Shulman wrote University revered him, and we gratefully and, on occasion, brilliantly, enjoyed the fruits of his labor in his for the instrument. He knew its former student, Kathryn Plummer, who strongest points and made a great show performed the Variations at the con with them; but he knew the orchestra gress. The new work compared with the as well, and caused it to be more than 1940 Variations has one difference, mere background." possibly two. It is almost more virtuosic than the first set, and one of the variations has a touch of jazz in it. THE STORY OF Also, the harp plays a more prominent VIOLA WORLD part. Robert Mandell The 1940 Variations were scored for full symphony, and subsequently rescored In the quaint colonial town of for string orchestra and harp. I decided Huntington on Long Island, New York, to utilize the latter scoring in' the new a noteworthy contribution to viola Variations so the viola could be more literature is taking place. From the prominently displayed. pen of the American composer, arranger, string player and teacher, In my youth, I was tremendously Alan Arnold, more than sixty publica taken by French impressionists. Subse tions have flowed in a short nine year quently, I have been influenced by period. Devoted entirely to enhancing many national schools. I feel that the the repertoire of the viola as a recital fewer notes I put into a score, the instrument, the new publications all better I like it. I do not approve of the appear under the name "Viola World." school that camouflages a paucity of music ideas under a barrage of All these publications are skillful orchestration. I also feel that there is transcriptions for viola and piano of too much "intellectual" music being classic repertoire borrowed from string written today. That doesn't mean that and non-string sources of music one should necessarily "write down" to composed between the 18th and 20th an audience; it means that the lay centuries. person (who represents the majority of music lovers) wants an aural satisfaction While the initial reaction of today's which will arouse his emotions. He must purist may be to frown upon the idea have something to grasp and retain- of transcriptions, one can immediately namely, a tune. point to Bach's transcriptions of Vivaldi, Beethoven's transcription of his Alan Shulman studied cello with Felix D-major violin concerto, Brahms Salmond and composition with Bernard transcriptions of both his clarinet' Wagenaar at the Juilliard School. He sonatas for viola, and Schubert's joined the NBC Symphony under "Arpeggione" Sonata written for a now DL-I ~ID B E R N A R D c A M u R A T
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Over the years, the general neglect ROSEMARY GLYDE of the viola literature by international publishers helped to create the climate Editor's Note: This is the fifth in a of success that has greeted Viola World series of articles by the author on publications. The concept of concen prominent violists' and those who have trating a publishing house's output on a had influence in our field. single instrument is, however, not in itself new. It was the overall pressing There is always a first time for need for publications of quality, drawing everybody. I went to Arizona this last upon distinguished repertoire, that February for the first time, a trip that formed the foundation of Viola World's enabled me to meet one of our distin sustained success. guished AVS members, Dr. William Magers. The case for Viola World is rein forced if one considers that the artistic Dr. Magers met me in the lobby of basis of its transcriptions of the classics my hotel. A comfortable, silver-haired is not merely the reproduction of music gentleman, he is immediately likable from one instrumental form to another with a congenial, affable way about to suit a particular performer's talents him. We left for the half-hour ride or a special celebratory occasion. from Phoenix 'to Arizona State Univer Rather, it is an effort to strengthen a sity at Tempe. wider and more balanced repertoire for a major instrument whose musical worth For a newcomer to Arizona, the ride has been underestimated for more than to Tempe was fascinating--flat plains 200 years. If, in the future, viola players interspersed with the sudden rise of cease to be viewed cynically as "failed sharp peaks, first Squaw Peak, then the violinists," but rather as great exponents range in the distance known as the of a great instrument, it will be due in McDowell Range. Definitely western, part to the efforts of musicians like earth colors abound: beige sand, red Alan Arnold who took a career risk to clay, imported palms. Great Saguaro open up new possibilities for the cacti shooting up from time to time, instrument with his Viola World. flat orphan roofs, adobe-colored homes.
Robert Mandell studied at the Juilliard The entrance to the University is School and conducted at Tanglewood. strong architecturally. Almost im He became a special associate to mediately rises the Gammage Auditorium Leonard Bernstein on his award which was designed for the imminently winning TV series "Omnibus," and his to-be-dethroned Shah of Iran, but "Young People's Concerts." Since 1968 ultimately found its way to the Mr. Mandell has resided in England University. The color of deep red clay where he is today a noted conductor, marks this prominent building with broadcaster, composer, orchestrator and encircling decorative crescents at its writer on music.• apex. The Music Building, just across the way from Gammage, is of the same red clay color and built in the round. Just seventeen years old, it was' designed by Wesley Peters (son-in-law at one time of Frank Lloyd Wright.) The Violexchange
A Quarterly Review ofStringLiterature and Repertoire
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L.F.S. Publications, Inc. P.O. Box 6046 • Ann Arbor, MI 48106
Franz Zeyringer Literature for Viola
New edition 1985 German - English - French Contents: Foreword Introductory article "The Viola and its Literature" Newmaking to Order, 14.000 works for viola: Sales, Repairs, Appraisals. Viola solo 750
Violins -Violas - Celli - 80\\'S - Accessories Duos with viola 5000 Trios with viola 4300 Tuesday through Saturday Viola with orchestra 1300 1:00 to 5:30p.m. Double, triple and quadruple concertos 600 Recorder and viola 50 Voice and viola 1200 Various combinations 200 Michael and Rena Weisshaar Methods, studies and exercises 600 167 Cabrillo Street Index ot 1000 publishers Costa Mesa, California 92627 Index of 5000 composers Price: 470,- Austrian shillings, 70 German marks, (714) )48- 1287 $ 28 US
Publisher: Julius Schonwetter jun. Violinmakers A-8230 Hartberg, Michaeligasse 26, Austria After a brief elevator ride and walk His Background down the circling hallway, we came to I learned that Bill set up residence Dr. Mager's office. Bill informed me 'in Arizona because he feels truly at that the University has 42,000 students, home in western climes. He grew up in making it one of. the largest schools in northern California, in Santa Rosa, just the West. The Music Department has north of San Francisco. He presently six hundred students, two-thirds of lives in Tempe, just three-and-a-half whom are undergraduates. miles from the University, though he says he is practically never there owing Bill's office is lined with Indian to his teaching schedule. He had the wallhangings, one from Mexico, others opportunity to come to Tempe when an from Arizona and Guatemala. There is opening occurred in the New Art an old Navajo rug and gifts from Quartet. The first violinist, Frank friends and students. A viola pillow (my Spinosa, had been a colleague at their first!) adorns a far wall; signed photos old school, The University of Illinois, of friends and colleagues, including our where they were both doctoral students. own AVS Vice-President Louis Kievman, At present, the New Art Quartet plays and our English colleague, Nannie extensively and has a local manager for Jamieson, are on his desk. A framed the state. They rarely tour outside copy of Halsey Steven's Unaccompanied Arizona as they prefer to devote Lullaby is above the desk. (Halsey themselves to the teaching circuit. Stevens was on Bill's doctoral commit tee.) There is even a floridly adorned Bill's 'musical background is very viola thermometer from China atop the diverse, from a wide range of teachers vast collection of books and music files. and schools. Beginning as a piano student, Bill later studied the violin and We toured the music building. The then quickly moved to the viola. Among larger concert hall is again in the his early teachers were Lucien Mitchell, circular treatment and "favours the a student of Max Aronoff, and Stefan treble," Bill told me. The Juilliard Krayk, a student of Flesch. Bill was Quartet had only just performed there with Krayk at the University of in the last week, and Sam Rhodes had California in Santa Barbara. given a master class as well. Bill showed me a program of the class. A A move to Los Angeles brought Bill large and impressive program, Bill's into contact with Sanford Schonbach, students played a wide range of reper solo violist of the L.A. Philharmonic. toire, and "all from memory." The This association prompted Schonbach to strength of his class is formidable. suggest Bill go to New York to work with Schonbach's teacher, Raphael The smaller concert hall is inviting, Bronstein. He lived in Brooklyn and again in the round, slopping to the studied with Dorothy Delay. Bill was stage and rising to a wrap-around very impressed at the time with her terrace used for concert receptions. Bill powers of analysis. told me it was soon to be refurbished. Though not perfect, it appeared in fine From 1958-63 Bill played with the shape. Again as we entered the stairwell, St. Louis Symphony, and commuted at Bill apologized for the lack of "polish," the same time to Indiana University to but it seemed not so lacking. For a work with David Dawson, violist with seventeen-year-old building, it has not the Berkshire Quartet. He later moved of the wear compared to the wear-and on to the University of Illinois and tear suffered by our schools back East. underwent vast changes in his playing and thought owing to his work with ., -
,.; " ~ . '~ . ERIC CHAPMAN ~IOLINS,INC.
Sale and Restoration of Fin e Instruments and Bows.
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THE OBERLIN VIOLA WORKSHOP June 12-17, 1988
For High-School, College and Professional Violis ts
Je[frey Irvi11 c Ly ll llc RWllscy Technique • Repertoire Orc hestra l Excerpts • Viola Ensemble Fa culty & Student Concerts
Tuition $ 125 Housing Ane! Dinin g $ 129 (S ingle ) $ 122 (Do uble)
CO NTA CT: CONN/I: GI:ORG,\S OfF' C[ Of SUM M ER PROG RAM S, OIl ERUN CO NSERV,\J O R)" or M USIC ORE RU N, O il H 0 74 2 / 6 / 775· 11 044 OBERLIN 19 Paul Rolland. The emphasis on playing Bill Magers, considers himself "old with the least amount of tension and fashioned," employing a traditional anxiety "opened up new things," Bill approach in his lessons, alternating recounted to me. Bill also spent three between emphasis on repertoire to summers with Paul' Wolff of the New emphasis on technique. Bill emphasized College Quartet at the Sarasota festival. certain aspects of his teaching. "I teach older music first. The older the student Again at the University of Illinois, becomes, the newer the music." He he studied with John Garvey. This finds his teaching has grown more friendship led to Bill's appointment as personalized over the years, while visiting viola professor, 1969-71, in developing his own ways of coaching. addition to playing in the Walden He teaches the "violin Bach" for style Quartet when Garvey left. 1971 brought but not for performance, and he him to Tempe. believes in all sizes of violas.
Additional studies took him to the He allows the students to finger University of Southern California with their own music because "they have to Milton Thomas from 1975-77, and in become independent, but we go over 1981, Bill began what he considers his every fingering and every note!" He has most important work with Louis the students decide on recital reper Kievman. Of the many teachers he has toire by including two traditional studied with, Bill singles out his works and then "a third work must be repertory work with Garvey and chosen, a special work that is seldom Thomas, his technical studies with played and not so well known." I heard Rolland and Kievman. Bill also wrote two students play the morning of my after our visit that he is a devoted visit, and I found Bill evincing true student of the Alexander Technique. pedagogical control laced with a sincere Bill is an extremely well-versed profes concern and friendliness for each sor. student.
Mager's Class The first student was Denice Not only is he now teaching at Haney, a teaching assistant who is Arizona State, but he has also taught presently applying for professional for the last three years at the Meadow positions. A serious violist, her doctoral mount School. A single man, Bill takes recital includes the Reger D Major the long drive alone each summer to the Suite, the Penderecki Cadenza and the East. Paganini Gran Sonata. The second student, Hetty Hou, was formerly a Bill has sixteen viola majors, hailing student at the Chinese Cultural from diverse places, such as California, University in Taipei. A gifted student, Virginia, Wisconsin, and including one she and Bill communicated miraculously from my native Alabama. I was pleased with very little common language to meet briefly a fellow Alabamian, who between them. Bill was introducing the studied with me one summer at the portato stroke to the young Taiwanese. Sewanee Festival, Tennessee. Of the He constantly had the instrument in sixteen viola majors, two-thirds are hand, demonstrating as they went performance majors, the remainder are along. He has beautifully formed and music education majors, and one a trained fingers with abundantly round music therapy student. Those who are pads; his thumb is up and he uses a enthusiastically interested get double shoulder rest. lessons a week, the second hour a gift from Bill. I recount some of the specifics of "QUARTET" by Homer Clark
A lyrical, award-winning transparent watercolor in earth tones, and a favorite of William Primrose.
Laser-copied and double-matted.
Image size: Mat Size: 6 x 9 inches 11 x 14 inches $35 16 x 24 inches 22 x 30 inches $70
Proceeds in support of the Primrose International Viola Archive (the official archive of the American Viola Society).
Payment to: PRIMROSE C-SSO HFAC BYU Provo, UT 84602 21 the lessons and Bill's language in Richardson model viola that he uses for teaching: his commercial playing, and a modern ttl would almost do it under the Brothers Amati copy of a baroque viola winding; then the weight of the bow by Colin Nicholls made in England in will do it for you:" 1980. "Do a smooch there, a slide." "Do an impression of a legato My visit with Bill was all too brief. there." But in that short time together, I "Hang onto the pivot string:' glimpsed the totality of his personality, "What is the dynamic?" "Piano." "Do his busy involvement in teaching and in you think we should be under the the lives of each student, with vigorous winding?" emphasis on performance and research.. "The trio needs much more shaping. Shape it like an oboe:' One of Bill's students was kind "We shouldn't be able to see a enough to drive me back to my hotel in portato, no waves. Just concentrate on Phoenix. As we chatted, he shared with the sound:' me, "Dr. Magers is like a mother hen "Let's try the automatic viola to all of us:' positioner, to keep the viola from coming in too far over the stomach:" Rosemary Glyde received her doctorate of Musical arts from the Juilliard school under Lillian Fuchs. She will be on the faculty at the Yellow Barn Music Festival summer of 1988, and is a teaching assistant to Scott Nickrenz at the Hartt School of Music. Ms. Clyde is 1 the treasurer of the American Viola Society.• Among his past students are Jim Een, Acting Assistant Principal, Sacramento Symphony; Dr.· Leslie Straka, Assistant Professor Viola, University of Oregon; and Li Quo Chang, Chicago Symphony.
Bill has recently published Shifting Development Studies with Frank Spinosa and Harold Rusch for the Kjos Music Company of San Diego. A very attractive Rare instruments and bows publication, it covers intermediate Expert appraisals shifting work in a very useful and gradual compilation. Hours 10-5:30 Tuesday-Saturday This month Bill will perform Harold 410 South Michigan Avenue with the University Orchestra. He will Chicago, Illinois 60605 no doubt play his "concerto viola," the Telephone (312) 663 -0150 powerful 16 3/4 inch Johannes Gagliano. Perhaps his choice will be his 19th century 16 1/4 inch viola by Felice Guadagnini II that he said is a "dream to play." Others in his collection of instruments include a big Tertis- Francis Kuttner ~~~,Jf"...~,Jf"~""~~~~"''''''''',Jf''....~ Violinmaker ~ ~·fS~ i ~ Violin Maker and Restorer ~ ~ WE BlN AND SELL g Award winning ~ VIOUNS, VIOLAS, ~ violins, violas and ~ CELLOS, DOUBLE ~ ~ ~ cellos made in the BASSES AND BOWS. ~ all instruments set lip properlyto ~ classical Cremonese g acbiet 'f' the best tonal properties ~ tradition. t~ Reasonable Prices ~~ ~ On Repairs, Instnunents p ~ and All Accessories ~ ~ • Strings · In-Stock selection ~ g : ApBOWp~~~airing ~:s~:e,'~~~h~~~,er ~ ~ ~ ~ bows, rosin, etc. ~ ~ ~ 63 Douglass Street ~ BY APPOINTMENT ONLY ~ ~ 215/779-0665 ~ San Francisco, California ~ ~ ~ 400 West Thirty-seventh Street Reading. PA 19606 ~ 94114 "~.~"'~J.f".~~~~.~"'~...~~~...-'r...~"'~4,~ (415) 861-5535
Aspen Music Festival and School
GordonHardy, President 40th Anniversary Season Jorge Mester, Music Director June 20-August 21, 1988
Continuing excellence in a complete curriculum of training and performance
1988 StringFaculty: Douglas Davis Yehuda Hanani Hyo Kang Stuart Sankey American String Quartet Dorothy DeLay Koichiro Harada Paul Kantor Kurt Sassmannshaus Cleveland Quartet Lillian Fuchs Lynn Harrell" Masao Kawasaki Kaoko Tanaka Emerson Quartet Robert Gardner Alan Harris Ronald Leonard Karen Tuttle* AtarArad Shirley Givens Leonore Hatfield Eugene Levinson Laszlo Varga Bruce Bransby Ruben Gonzalez Gary Hoffman Samuel Magad Robert Vernon" Earl Carlyss John Graham Jeffrey Irvine Zara Nelsova Harry Wimmer StephenClapp William Grubb Lynne Ramsey Irvine Sylvia Rosenberg Frederick Zlotkin Carole Cowan
"Leave ofabsence 1988.
Aspen Center for Advanced Quartet Studies,EarlCarlyss, Director Orchestral Leadership Seminar, RubenGonzalez, Director OrchestralString Program
Foraudition date, school catalog and calendarofevents, writeor call: ------.--Aspen Music Festival &School· 250West 54th Street, 10thFloor East New York, NY 10019 . (212) 581-2196 23 problems associated with string playing. Forum KHANA provides an opportunity for members to meet and keep in touch with each other around the world to exchange ideas and experiences.
Published recently is the definitive KHANA publishes two journals each biography of Maud Powell, America's year which contain an editorial by Kato first virtuoso violinist--a long overdue Havas as well as contributions from tribute to the violinist who introduced, physicians, performers, teachers and and sometimes premiered, fourteen students on various aspects of the New concertos (Tchaikovsky, Sibelius, etc.) Approach. Membership forms are in the USA. Inasmuch as many violists available from: Wade Alexander, have been violinists, this book should Greystone Farm, Freeville, NY 13068. be of interest to many in the AVS. Robert L. Stoskopf When at our Toronto and Boston Asheville, North Carolina congresses, I made a point to inquire among our membership. I was amazed to find so many who had never even heard the name Maud Powell! Primrose, when OfInterest I talked with him in Toronto, said he had heard her when she concertized in Europe. I heard her in 1916, and even as a child of ten, fell under her spell. Kassel Viola Congress The history of our musical forebears should be taught along with the The XV International Viola technique of the instruments they Congress will be held 16-19 June 1988 played. This book will certainly be of at Kassel, West Germany. This will be particular interest to the many outstand the twenty-year Jubilee Congress of the ing women violinists and violists, and is founding of the International Viola available from the Iowa State University Society. A preliminary list of par Press, 2121 South State Avenue, Ames, ticipants has the following artists, IA 50010. lecturers, and ensembles participating: Paul and Christoph Angerer, Christian Kind regards and gratitude for the Euler, Jerzy Kosmala, GUnter Ojstersek, work being done in the AVS. Dwight Pounds, Hariolf Schlichtig, Franco Sciannameo, Martin Paul K. Stolz Straakhalder, Barbara Westphal, Ann Satellite Beach, Florida Woodward, Franz Zeyringer, David Dalton, the DUsseldorf Viola "Quartet, Haba Quartet of Frankfurt, Schonberg I am a veteran teacher and longtime Ensemble of Amsterdam, and the Verdi member of the American Viola Society Quartet from Cologne. and believe in the teachings of Kato Havas. The Kato Havas Association for A travel agency which can be the New Approach has benefitted helpful to North Americans wishing to performers and teachers. Students of the attend the Kassel Congress and travel New Approach report release from physical aches and pains, tendonitis, shaky bow arm, stage fright and other 24 afterward is: April 1988 at Brigham Young University. The concert started at 8:00 a.m. and Bassett Travel ran continuously until 5:00 p.m. Clyn 3290 Genesee Street Barrus and "David Dalton, BYU faculty Buffalo, NY 14225 violists, students, members of the Utah Tel. (1-800-828-7166) Symphony, Michael Palumbo of Weber State, community professionals and Further information can be requested teachers, numbering about twenty-five from the host chairperson: violists, took part. Viola solo and ensemble works from Bach to Joplin Uta Lenkewitz-von Zahn were featured. Ahornweg 9 0-5308 Rheinbach ISMA 1989 West Germany The International Symposium on Musical Acoustics is announced by the Catgut Acoustical Society for 19-22 XVI International August 1989 at the School for Violin Viola Congress Makers in Mittenwald, West Germany. Topics are Acoustics of musical As announced in the previous issue instruments and the human voice, of JA VS, the 1989 Congress will be Psychoacoustics, and Musical aspects of hosted for the first time on the West room acoustics. For information: Coast by the School of Music, University of Redlands, Philip J. Swanson, Director. Sekretariat des ISMA 1989 The dates have been" established "as June c/o Muller-BBM 21-25. Prof. Lucille Taylor, faculty Robert-Koch-Str. 11 member of the University of Redlands, 8033 Planegg will chair this event. West Germany
She will work directly with a PIVA Duplicates planning committee for the congress, headed by Louis Kievman, and consisting The Primrose International Viola of several members of the board and Archive has accumulated about 300 officers of the AVS. Proposals for duplicates of published viola works, lecturers and performers for the These titles are already in the collec congress, as well as recommendations of tion and so will be sold beginning new works, will be considered by the September. "Patrons who wish to committee. Mr. Kievman's address is: examine this list of pieces--mostly new, 1343 Amalfi Drive, Pacific Palisades, CA some antiquariat--should request the 90272. list including prices from:
Redlands, California is located about David Day, Music Librarian 75 miles east of Los Angeles, and is PIVA, Lee Library convenient to some of the well known Brigham Young University attractions of the Southern California Provo, UT 84602 area, such as Disneyland.
Viola Marathon A Primrose Memorial Concert "Viola Marathon" took place on Saturday, 2 :::: 25 JAVS New Works Some past copies of the Journal of the American Viola Society are available on request by members of the AVS at $3.00 each. These back issues can be ordered from the editorial office: Playing the Viola Newsletter No. 28, April, 1985; JA VS editions: Vol. 3 No. I, April 1987; Vol. 3 Playing the Viola. Conversations with No.2, August, 1987; and Vol. 3 No.3, William Primrose by David Dalton. With November, 1987. a foreword by Janos Starker.
Contained as an insert in this issue "This volume is an invaluable of JA VS is a membership solicitation contribution to the string pla yer's mailer. These can be provided free of bookshelf. The clarity with which Mr. charge to members of the AVS on Dalton has distilled the ideas of the request at the editorial office. great William Primrose forms a wonder ful basis for a complete technical Editor's note: Readers are reminded approach on both violin and viola. As that any information pertaining to the one who had the rare privileg e of viola or violi sts of general interest may studying and performing with thi s great be submitted to the editor f or inclusion master, it was very much like a person- in the JAVS.
Subscribers enjoy a special 20% discount ..This volume is an invalu Playing the Viola able contribution to the string .· . ·P LAYi N G rrHE ~ Conversations with William Primrose player's bookshelf. The clarity . DAVID DALTON , Brigham YOWlS Ullil'crsily with which M r. Dalton has Fo rew o rd by JANOSSTA RKER Bef ore th e d ea th , in 1982, o f th e re no w ned distilled the ideas of the great ·.VIOLA' vio lis t William Prim rose, Da vid Da lto n e ngaged the musicia n in a live ly series of William Primrose[o rms a Conversonons with W illiam Prim rose co n ve rsa tio ns th at touch ed o n a lmost a ll as pects o f viola tech n iq ue , perfor ma nce . wonderful basis fora technical repe rtoi re , record ing, a nd h ist o rv, T h is book approach on both violin and is a transcripti o n o f th a t di a logu e , co n tai n ing illumina ting advice o n ho ld ing th e vio la, viola. As one who has had the bowing . to ne . fin s e ring . a nd p ract icin g , a ll s u p ported by CO p iOUSillu s trati o ns a nd rare privilege of studying and m usica l exam ples. as well a s in sig h ts o n performing with the great rep e rtoire fo r the vio la - "an in strument wi thout tradi tion"- a nd o n pe rfo rma nces of master, it was very much like the g rea t co ncertos by Bartok a nd Wa lton. ~ Pu nctu a ted w ith frankness and hu mor. thi s a personalvisit... boo k is a trib u te to o ne o f the g rea t a rtis ts o f thi s ce n tu ry - Joseph Silverste in, eminent violinist, forll/er Concert Master of the Boston Con te n ts: SYII/ phony Orchestraand Music To the Read e r ' Vio la via Violin" - Teache r a nd Stu d e n t - The Lesso n ' O n Practis ing ' Directorof the Utah SYII/ phony Ho lding th e Vio la ' The Art o f Bo w in g ' More o n Bowi ng a nd Ton e ' The Ma tte r o f To order, send check or monev order to: Finge rin g ' Lef t-hand Techniques - O the r iiu inanitics and Social SciCl ices David Dalton Lef t-h and Cons idera tio ns ' Abo u t with a Fo re w o rd by ) ("'O S '):cd ,." Marketing Department Performin g ' O n Stage · T he Repe rto ire ' Perfo rm ance Practi ce a nd In te rp re ta tio n ' Pro gr amming ' Recordin gs: How , a nd Wha t ' Kalamatiano and other works for viola and accordion by Nick Ariondo. Though one might be incredulous about Order a gift membership at the rate of $20.00 for three AVS journals and the annual Die Viola o YES, I want to give a year's membership in the AVS to the individuals named below. o In addition to gifts, o or in place of gifts, please renew my own for 1988 at the regular rate of $20.00. I enclose my payment totaling $___ for __gifts or my renewal. First Recipient's Name Third Recipient's Name Address Address City State . Zip City State Zip Gift Card to Read Gift Card to Read Second Recipient's Name Fourth Recipient's Name Address Address City State Zip City State Zip Gift Card to Read Gift Card to Read We will send a card to you acknowledging your gift plus a letter to each recipient informing them of your thoughtfulness. The gift membership willstart with the annual Spring issue. Many thanks. Rosemary Glyde Treasurer P.O. Box 558, Rt. 22 Golden's Bridge, N.Y. 10526 29 Harry Danks will be featured on Competitions the viola d'amore. Traditional Manx Teas and a daily cocktail hour plus the competition newspaper THE DAILY BRA TSCHE will be offered. No viola enthusiast should miss this wonderful Tertis International event! Viola Competition For further information contact: The Executive Committee (John Bethell, Harry Danks, Lillian Tertis and The Secretariat John White) are delighted to announce Mananan Festival Office that the Third Lionel Tertis Internation Port Erin al Viola Competition and Workshop will Isle of Man, U.K. take place at Port Erin, Isle of Man, U.K. from 27 August to 3 September Vieux Competition 1988. The Berne Concours International _The Jury for the Competition will d'Alto "Maurice Vieux" will be held 7 .include Harry Danks and Sidney Griller 12 March 1989 in Orleans, France. This (both former students of Lionel Tertis), event is sponsored by the Ecole Thomas Riebl, Milan Skampa, Emanuel Nationale de Musique d'Orleans, the Vardi and Sir David Lumsden (Chairman). Delegation Regionale a la Musique The Workshop is full of very exciting Ministere de la Culture, and the events including recitals by Nobuko Imai, Association Les Amis de l'Alto, which is . Emanuel Vardi, Thomas Riebl, Yuri the French chapter of the International Bashmet and Eric Shumsky. The great Viola Society. For further information, Russian violist Yuri Bashmet will perform write: the Walton Concerto with the BBC Philharmonic Orchestra. Masterclasses to Les Amis de l'Alto be given by Louis Kievman, Nobuko Imai, II bis, rue Neuve Saint Zlatko Stahuljak, Thomas Riebl, Milan Germain Skampa, and Eric Shumsky. 92100 Boulogne France Daily Viola Ensemble class with John White. Lectures on instruments and bows by Man Seng Chan and Wilfred Saunders. Washington Winner Tully Potter will give three talks The Washington International about Tertis, Primrose and the late Competition for Strings was held on Peter Schidlof. Paul Patterson, who has March 25-26. First place winner with a composed a new solo work for the $3,500 prize in viola was Roberto Diaz, competition, will give a lecture on "The age 27, from Santiago Chile who is now Role of the Composer." living in Boston. Violist Evan Wilson from Los Angeles was also honored. Mr. The Bachmann Quartet will present Diaz will be presented in a debut two recitals, and their viola player recital at the Phillips Collection in Martin Outram will give a rare perfor Washington, D.C. The next Washington mance of Benjamin Dale's Suite, Ope 2, a competition for strings will be held in favorite of Lionel Tertis. 1991.