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Journal of the American Viola Society Volume 4 No. 2, Summer 1988

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Journal of the American Viola Society Volume 4 No. 2, Summer 1988 JOURNAL ofthe AMERICANVIOLA SOCIETY Chapter of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion of Viola Performance and Research Vol. 4 No.2 Summer 1988 Features 3 The Acoustics of the Viola Carleen M. Hutchins 19 Bach's Cello Suite No.5: A New Approach Richard R. Efrati 23 The Kassel Congress-­ A 20-Year Jubilee Dwight R. Pounds 27 Departments 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 articles from its readers. Editorial office: BYU Music, Harris Fine Arts Center, Provo, UT 84602, (801) 378-3083 Editor: David Dalton Assistant Editor: David Day Advertising office: Harold Klatz, 1024 Maple Avenue, Evanston, IL 60202, (312) 869­ 2972. Deadlines are March I, June 1, and October I for the three annual issues. Inquiries can be made to Mr. Klatz. Copy and art work should be sent to the editorial office. Rates: $75 full page, $60 two-thirds page, $40 half page, $33 one-third page, $25 one­ fourth page. For classifieds: $10 for 30 words including address; $20 for 31 to 60 words. Payment to "American Viola Society" c/o Rosemary Glyde, treasurer, P.O. Box 558 Rt. 22, Golden's Bridge, NY 10526. OFFICERS David Dalton President Brigham Young University Provo, Utah 84602 (801) 378-3083 Louis Kievman Vice-Preside"t 1343 Amalfi Dr. Pacific Palisades, CA 90272 Harold Klatz Secretary 1024 Maple Ave. Evanston, IL 60202 Rosemary Clyde Treasurer Po. Box 558, Rt. 22 Colde"'s Bridge, NY 10526 Maurice W Riley Past President 512 Roosevelt Blvd. Ypsilanti, MI 48197 EXECUTIVE BOARD Paul Doktor Milto" Katims Donald Mclnnes Robert Oppelt Joseph de Pasquale Dwight Pounds Thomas Tatto" Marcus Thompso" Francis Tursi Karen Ii,ttle A"n Woodward COORDINATOR WITH CANADIAN VIOLA SOCIETY A. Baird Knechtel FOUNDER II Myron Rose"blum I HONORARY PRESIDENT William Primrose (deceased) cJl"W Chapter of the Internationale Viola-Gesellschaft c/jEL') MEMBERSHIP ENROLLMENT FORM The AVS is an association for the promotion of viola performance and research. Our personal and financial support is appreciated. As a member, each year you will receive three AVS Journals and The Viola, yearbook of the International Viola Society. You will also receive the satisfaction of knowing that you are a member of a collegial group which is contributing to the furtherance of our instrument and its literature. Please enroll me/my group as a member of AVS for one year. Begin my subscription to AVS Journal containing the Membership Directory, and an annual copy of The Viola. My check for one year's dues, made payable to the American Viola Society, is enclosed as indicated below: Renewal Membership () $20 New Membership () $20 Student Membership () $10 ()I wish to contribute to The William Primrose Memorial Scholarship Fund in the amount of $ _ ()I wish to make an additional tax-deductible contribution to the AVS Endowment in the amount of $ _ TOTAL _ Please indicate appropriate membership category below. ( )Individual Please send AVS your biographical material, ( )Amateur photographs (clearly labelled), brochures, ( )Educational Organization concert programs, posters, press releases, ( )Music Business clippings and other related material on a ( )Library regular basis for our resource files and ( )Other possible publications. We serve as a clearing house for many viola related requests. Name Address City State Zip Telephone () Check if this is a new address (If you are a student, in which school are you enrolled? Please list permanent address above rather than school address.) Send To: Rosemary Glyde, Treasurer P.O. Box 558, Rt. 22 Golden's Bridge, NY 10526 THE ACOUSTICS characteristics and tonal concepts in 3 OF THE VIOLA relation to playing demands. by During the three years in the early 1960s that I worked on constructing CARLEEN M. HlJTCHINS violas under Simone Sacconi's direction with the encouragement of Rembert The viola has been characterized as Wurlitzer, I was privileged to follow "the ailing member of the violin family-­ Sacconi's drawings of the MacDonald too small for its tone range--to large to Stradivarius viola, with comparisons to play comfortably under the chin." the patterns and tests I had already II (Bessaraboff, 1964). Yet it is the viola made of the Casavetti Strad viola in which holds the string quartet together. the Whitall Collection at the Library of It was the viola which Mozart preferred Congress with the help of Boris Kroyt. to play. It was the viola for which Violas which I have made on this Brahms and Hindemith wrote so beauti­ pattern have turned out to have good I fully, exploring the rich low blending tone and playing qualities with especia­ Vibrational patterns of sounds and highlighting the characteris­ lly fine sound in the higher register, a pair of unattached tic upper tone-range. but I have never been able to attain top and back plates. the full range of rich low tones that (Courtesy Carleen M. In his book, The History of the Viola can be produced in the somewhat larger Hutchins and Scientific American) (1980), Maurice Riley has documented violas patterned after the work of most effectively the early beginnings of Gasparo da Salo. The very beautiful, the viola and its place in the musical sophisticated C-bout curves and the literature of our culture. narrow upper bouts of the Strad pattern viola make it very difficult to My concern for many years has been achieve the wide flat arches of the to try to document and understand the Gasparo pattern, which seem to cause underlying mechanisms which make for the differences in tone qualities. the differences in tonal qualities between the viola and the violin, and to Early in my viola-making I was discover the acoustical characteristics of privileged to talk to Jay C. Freeman the best violins and violas. After who had built up the Wurlitzer constructing and testing, both electroni­ Collection during the first part of this cally and musically, over 150 violas of century. He indicated that if I wanted all sizes from 12 to 20 inches in body to make violas with "real" viola tone, I length as well as testing many famous should work from the Gasparo model violins and violas, I believe I have a few (Hutchins, 1976). Fortunately, through of the answers. my connections with F. A. Saunders, (then retired as head of the Harvard Taste In Viola Tone Physics Department where he had Too often there seems to be a trade­ pioneered violin research in the USA) off between the full rich wonderfully and Helen Rice, (founder of the mellow low sounds of the viola and Amateur Chamber Music Players), I had facility in playing in the higher posi­ access to the beautiful Gasparo viola tions. Since it is seldom possible to owned by Eunice Wheeler of Worcester, achieve the rich low tones of the big Massachusetts, which Saunders had 16t to 17t inch violas in those around tested many times in the Harvard 16 inches or less in body length, each Laboratories. Eunice was very generous violist is confronted with a similar in letting me make patterns from this problem. The player has to work out a instrument, as well as in comparing its trade-off to suit his or her own physical tonal qualities to my own productions PAUL MARTIN SIEFRIED Maker of bows in the French tradition SPECIALIZING IN REPAIR AND RESTORATION ACCURATE EVALUATIONS OUTSTANDING SELECTION OF FINE FRENCH BOws Founder Member of the American Federation ofViolin and Bow Makers Member Entente Interrultiorulle des Maitres Luthiers et Archetiers D'Art Awarded six gold medals in international competition Declared Hors Concourse by the Violin Society of America in 1982 Business Hours: Monday through Friday 10-12 AM, 1-5 PM, or by appointment New expanded service facilities 1637 Silverlake Boulevard. Los Angeles, California 90026 (213) 662-7256 over a period of thirty years. Eventually there is only one effective "air" mode 5 she purchased a 16t" viola of mine, in instruments of the violin family, patterned after the big 17t" Gasparo namely, the so-called Helmholtz mode when she could no longer handle the big (here often referred to as the AO mode) one with ease. which radiates strongly through the low-string-side f -hole and reinforces Coupling of "AIR" and the tones in the violin around C-C# "WOOD" Vibrations near the open D string and those in in Violin Family Instruments the viola around B-Bb-A on the low G As in every type of stringed instru­ string depending on size. We now know, ment, especially those of the violin however, from some very ingenious family, there are a multitude of interre­ experiments done by Eric Jansson in lated factors to be considered. Almost Stockholm (Jansson, 1973), that there is any generalization about how a violin or not only the Helmholtz mode, but also viola works is apt to be wrong in some air modes at higher frequencies inside respect. There is one generalization, the cavity which do not radiate however, that has emerged in my work strongly through the f - holes. that so far holds good for any sized violin family instrument, namely: The Jansson showed that the next higher more evidence there is of coupling, or cavity mode-referred to as the Al close cooperation between the vibration mode-is caused by air vibrations moving modes of the wood of the box and those from one end of the box to the other of the air modes inside the cavity the somewhat like the air in a closed tube better the tone and playing qualities.
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