The Primrose International Viola Archive announces a generous gift by Peter Bartok of several hundred copies of the Facsimile of the Autograph Draft of the Viola Concerto by Bela Bartok

• Hardtack in black, 12 cy 16 ill::h:s, 84 );B.ges in:lu:lir.g rroto p::ge. • :treface cy Feter Eart6k & CrnrrEntaiy cy L3szl6 s:mfai (Text ill Eh;Jlish, HJrg3rian, German, Jap::n:E?e, arrl ~) . • Fair t:.:rars::r:ipjm of t:lE draft with n:tes pr EP3Y" Ed cy 1\elson Lellarraggior e

Any donor, past or future, contributing $150 or more to the Primrose Endowment will receive this handsome book as a gift from Brigham Young University.

Send your donation to: Primrose Account BYU Development Office C-389 ASB Brigham Young University Provo, UT 84602 4). Journal of the American Viola Society A publication of the American Viola Society

The Journal of the American Viola Spring 2003 Society is published in March and Volume 19 Number 1 November, and as an online-only issue in REGULAR DEPARTMENTS July. The American Viola Society was From the Editor ...... 3 founded for the promotion of viola per­ From the President ...... 5 formance and research. JAVS 19.1 Announcements ...... 7 © 2003, American Viola Society Alternative Styles: A Violist's Primer To Improvised ISSN 0898-5987 Accompaniments In Alternative Styles ...... 29 In the Studio: Let's be Knuckleheads! ...... 33 Editor: Kathryn Steely Modern Makers: D avid Burgess and Frank Ravatin ...... 37 Alternative Styles: Juliet White-Smith AVS Retrospective: Founding the Primrose International At the Grassroots: Louise Zeitlin Viola Archive (PIVA) ...... 41 AVS Retrospective: Dwight Pounds Searching PIVA Online ...... 45 In the Studio: Karen R.itscher New Music Reviews ...... 49 Meet the Section: Christine Rutledge Sample Score: Kurek Sonata for Viola and Piano, Mvt. 1 ... .. 53 At The Grassroots ...... 59 Modern Makers: Eric Chapman Orchestral Training Forum: Ginastera - Variaciones Concertantes, New Music: Ken Martinson Op. 23, Viola Variation ...... 63 Orchestral Training Forum: Meet the Section: Detroit Symphony Violas ...... 65 Christine Rutledge Recording Reviews ...... 71 Recording Reviews: David 0 . Brown FEATURES JAVS welcomes letters and articles from Breaking Boundaries: An Interview with Emanuel Vardi ...... 11 irs readers. Submission deadlines are World Views: Finding Harmony Between East and West ..... 23 December 15 for the March issue, April 15 for the summer online issue, and August 15 for the November issue. Send submissions to the AVS Editorial Office:

Kathryn Steely, Editor, JAVS School of Music Baylor University PO Box 97408 Waco, TX 76798 (254) 710-6499 Fax (254) 710-3574 [email protected]

Please address all advertising and member­ Homage to a Great Violist- Emanuel Vardi, 2001 ship inquiries to the AVS National Office: ARTIST BIO Madeleine Crouch, General Manager Emanuel Vardi is an internationally known painter and American Viola Society world-renowned viola virtuoso. Because of his lifetime 13140 Coir Rd., Suire 320, LB 120 parallel involvement with music and art, he brings a Dallas, TX 75240-5737 unique style and perspective to his musical subjects­ (972) 233-9107 ext. 204 that of a musician, intimate colleague, and painter. Fax (972) 490-4219 info@ AVSnarionaloffice.org Mr. Vardi welcomes commissions in all sizes and mediums and may be contacted at [email protected]. PUBLISHERS OF MUSIC FOR THE SERIOUS VIOLIST FAURE RACHMANINOFF STUDIES Fantasy Vocalise ARNOLD FlOCCO RIES Three Octave Scales and Arpeggios Allegro Perpetuum Mobile BLUMENSTENGAL FRANCK RIMSKY-KORSAKOFF Viola Scale Technique Book 1 Sonata in D Flight of the Bumble Bee Viola Scale Technique Book 2 FRANCOEUR SCHMIDT DAVID Sonata in A Major Alla Turka 24 Etudes for the lnterm.Violist GERSHWIN SCHUBERT HOFMANN "Porgy & Bess" Fantasy Ava Maria Melodic Double-Stop Studies Three Preludes The Bee SEVCIK GLUCK TARTINI Op. 7 Prep. Studies in Trilling Book 1 Melody from "Orfeo" Sonata Angelique The Devil's Trill Op. 7 Prep. Studies in Trilling Book 2 HANDEL TCHAIKOWSKI Op. 9 Prep. Studies in Double Stopping Concerto in Bb Canzonetta TARTINI Sonata in Bb The Art of Bowing June Barcarolle Sonata in D Mel odie HUBAY REPERTOIRE Seranade Melancholique Hejre Kati Valse Sentimentale ARNOLD !BERT Basic Bach (Student Pieces) VITALE The Little White Donkey Chaco nne Beethoven's Best (Student Pieces) JENKINSON VIVALDI Cadenzas for Telemann Viola Concerto in G Elfentanz Sonata in G Mozart Miniatures (Student Pieces) JOPLIN VON WEBER The Young Violist Vol.l (Student Pieces) Maple Leaf Rag Andante & Hungarian Rondo The Young Violist Vol.2 (Student Pieces) Pineapple Rag WIENIAWSKI BACH Solace Legende Bouree in C minor KREISLER Romanza from Second Concerto Chromatic Fantasy & Fugue Leibesfreud Scherzo-Tarantella Preludio and Gavotte Leibesleid BARTOK Praeludium & Allegro Roumanian Dances Recitativo & Scherzo Caprice ENSEMBLES BEETHOVEN Sicilenne & Rigaudon BACH Fur Elise Schon Rosmarin Fifteen Two-Part Inventions BENJAMIN KUCHLER DeBERIOT Jamaican Rumba Concertina in Style of Vivaldi 12 Short Easy Progressive Duos BOCCHERINI MASSENET HANDEL Music Box Minuet Meditation from "Thais" Ent. Queen of Sheba - 2 Violas & Piano BOHM MENDELSSOHN HUFFANAGLE Sarabande Sonata in Eb Rythm Duets Qazz Style) BOROWSKI MASCAGNI MOZART Adoration Intermezzo from "Cavalleria Duo Sonata in Bb BRAHMS Rustic ana" Twelve Duets Scherzo MOUSSORGSKY PACHELBEL CHOPIN Hopak Canon Nocturne for Viola MOZART TELEMANN CORELL! Adagio K.261 Concerto # 1 in C for Four Violas Concerto #2 in G for Four Violas Sarabanda, Giga, & Badinerie Menuetto Divertimento K.334 Sonata #12 Folia con Variazioni Rondo K.250 Concerto #3 in F for Four Violas DANCLA Serenata Cantabile K.283 Concerto #4 in D for Four Violas Carnival of Venice NOVACEK VIVALDI DeBERIOT Perpetual Motion Concerto for Four Violas & Piano Scene de Ballet PAGANINI DEBUSSY Six Sonatas Book I Available from your Local Dealer or: Claire de Lune Six Sonatas Book II VIOLA WORLD PUBLICATIONS Girl With the Flaxen Hair Variations on the G String 2 Inlander Road La Plus Que Lente PUCCINI Saratoga Springs, NY 12866 DVORAK "0 Mio Babbino Caro" Phone:/ Fax: (518) 583-7177 Romance Op. 11 PUGNANI email: [email protected] Sonatina Op. 100 Gavotta Variata www. violaworldpublications FRGM THE EorroR

will better meet the needs of this around the country. Christine ruverse community and yet con­ Rutledge will continue to coordi­ tinue to be the valued resource nate the Orchestral Training that we appreciate. Forum and will take on added responsibilities through coordi­ Beginning with Volume 19 nating our new column, Meet the Number 1, Journal of the Section, highlighting orchestral American Viola Society will take viola sections from around the on a fresh new look. We are country. David 0 . Brown will excited about the new format, continue his fine work in wruch will include a new full­ Recording Reviews. Watch for color glossy cover with changing additional columns to meet spe­ cover art. We also are excited cific needs in future issues of about welcomjng new contribut­ JAVS. ing editors who will bring fresh perspectives in a number of new JAVS will continue to promote columns that will appear in the viola performance and research journal. In this issue, we welcome through its offerings, presenting Change never comes easily. Most Eric Chapman, contributing edi­ feature articles covering recent viola of us like the comfort of well­ tor for Modern Makers, a column scholarship and interviews with established patterns and the highlighting the work of current prominent members of our field. knowledge that we can count on luthiers from around the world; finding certain elements in the Dwight Pounds, contributing edi­ The bottom line is that JAVS is publications we read. There tor for AVS Retrospective, which your publication. Without your comes a time, however, when will provide a look back on the ideas and contributions, JAVS fresh ideas are worth the risk of history of the AVS; Karen cannot represent the variety of trying something new. Ritscher, contributing editor for interests and perspectives present In the Studio, which will contin­ in the viola community. We wel­ The Journal of the American ue to explore the finer points of come your comments and sug­ Viola Society has appeared in pedagogy; Juliet White-Smith, gestions as we undertake tills much the same format since contributing editor for new venture! B 1985. Certainly there have been Alternative Styles, bringing new mjnor adjustments and changes to ideas from the experts on Jazz Kathryn Steely the journal with regard to content and improv topics; Ken JAVS Editor and design elements. JAVS grew Martinson, contributing editor in length and scope, yet retained for New Music Reviews, which the look of a scholarly journal. will review newly composed and The AVS has grown to encompass newly published works for viola; viola enthusiasts of widely varying and Louise Zeitlin, contributing interests and perspectives. It is our editor for At the Grassroots, hope that JAVS in its new format highlighting local viola activities

VOLUME 19 NUMBER 1 3 XXXII INTERNATIONAL VIOLA CONGRESS JUNE 9-13, 2004

Celebrating its centennial, the University of Minnesota School of Music is proud to host the XXXII International Viola Congress as part of its bold new vision for the next century.

fu the world's largest gathering of professional, amateur and student violists, this event will feature a full schedule of concerts and presentations including displays of instruments and accessories by retailers and manufacturers from many countries.

The Univer.~ity ofMinne.~ota Located on the banks of the mighty Mississippi River, the University of Minnesota is one of our nation's leading research institutions with a student population exceeding 60,000. The School of Music is one of the University's jewels, boasting state of the art facilities and a world-class faculty. The School of Music is housed in Ferguson Hall and features a variety of performance venues ideal for intimate and grand-scale events, including solo recitals, chamber music, master classes, and large ensemble performances. The School is part of the University's exciting West Bank Arts Ouarter, which unites the art, dance, theatre and music departments into a unique hub for performance, teaching and scholarship in the arts.

The Twin Citie.; The University of Minnesota is located in t he Twin Cities of Minneapolis and Saint Paul. With a population of over 3 million, the Twin Cities boast a vibrant arts and cultural scene that includes the renowned Minnesota Orchestra, the Saint Paul Chamber Orchestra, the Guthrie Theatre, and many other acclaimed institutions. The Twin Cities are also home to the Mall of America, the largest shopping and entertainment complex in the country.

P lease join distinguished host Korey Konkol, professor of viola, in celebrating this extraordinary schedule of events.

Korey Konkol University of Minnesota School of Music e-mail: [email protected] 100 Ferguson Hall web: www.music.umn.edu/viola.htm 2106 Fourth Street South phone: 612-624-9086 Minneapolis, MN 55455 fax: 612-626-2200 FROM 1fHE f RESIDENT

This June, the 3 1st International as one of his five favorite places to Viola Congress will be held in visit in the entire world. Kronberg im Taunus (Frankfurt), Germany, in conjunction with the In addition, there are many venues Deutsche Viola Society ViolaFesr. for shopping, major-league sports, These events will run from June 10 bicycling, river cruises (St. Croix through June 15. Log on to our and Mississippi rivers) and even website at www.americanviolasoci­ canoeing on lakes within the city ery.org for more information. limits. The famous Mall of America (in Bloomington, MN) is only a 20 I would also like to announce that minute drive from the University of the 32nd International Viola Minnesota campus. The Mall, with Congress will be held from June 9- over 42 million visitors annually, is Welcome to the first issue of JAYS 13, 2004 on the campus of the the largest entertainment and retail in its new format. In addition to its University of Minnesota Twin Cities, complex in the US and is the new cover, we have added new hosted by Professor Korey Konkol. nation's # 1 visited attraction. departments and features that we The University of Minnesota has hope will appeal to our member­ excellent centralized music facilities A few hours drive away, northern ship. Please read the "Letter from and has hosted many instrumental Minnesota's spectacular wilderness the Editor" on page 3 for more conventions. You will find more area (North Shore of Lake Superior information on changes and addi­ information on the facing page. and Voyageurs National Park), pro­ tions that have been made. Of the vides canoeing, sailing, fishing, rock many AVS members whom have In addition to the attraction of the climbing, hiking and camping contributed their expertise to this Congress viola events, northern opportunities. issue, I particularly wish to acknowl­ Minnesota makes for a great vaca­ edge the hard work of]AVS Editor tion visit (a plus for family mem­ Given all of these attractions and Kathryn Steely and ideas and practi­ bers of all ages). The Professor Konkol's enthusiastic cal support from AVS General Minneapolis/St. Paul area has many vision, there is no doubt that this Manager Madeleine Crouch. world-class cultural institutions, will be yet another wonderfUl Viola including the Walker Art Center, Congress. MARK THESE DATES Heartfelt thanks to everyone who con­ the Guthrie Theatre, the IN YOUR CALENDAR NOW!!! 8 tributed to the AVS National Office Minneapolis Institute of Arts, the Project fund-raising campaign. We Minnesota Orchestra and the Sr. Sincerely, have recognized their investment in the Paul Chamber Orchestra, the fUture of the AVS in the AVS National Ordway Music T heatre and the Office Grand Opening Science Museum of Minnesota. Commemorative brochure inserted in The Twin Cities have the second­ this issue ofJAYS. With your contin­ most theaters per capita in the Ralph W. Fielding, President ued support, we look forward to con­ United States, behind only New American Viola Society Faculty tinuing to provide the highest quality York Ciry. Arthur Frommer, the Bowdoin Summer Music Festival ofvio la-related events and publications. travel expert, lists the Twin Cities

VOLUME 19 NUMBER 1 5 GEOFFREY OVINGTON

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JOURNAL OF THE AMERICAN VIOLA SOCIETY 6 AVS19.1

XXXI International Viola Congress Make plans now to participate in lines, please see the Primrose Kronberg Germany; June 10-13, 2003 this gathering of violists from Competition link on the AVS around the globe. Website: www.americanviolasoci- The XXXI International Viola ety.org. Congress will be held June 10-13, 2003 Primrose Memorial 2003 in Kronberg Germany, in Scholarship Competition 8th Lionel Tertis International conjunction with the Kronberg Viola Competition and Workshop Academy Viola Fest. Each day will The Semi-Final and Final Rounds feature an interesting mix of of the 2003 Primrose Memorial The 8th Lionel Tertis International ensemble playing, recitals, lectures Scholarship Competition will take Viola Competition and Workshop and masterclasses. Featured presen­ place on May 18 and 19, 2003 at is to be held in Port Erin, Isle of ters will include Tabea Zimmermann, Samford University in Homewood, Man August 23-30, 2003. The Nobuko Imai, Kim Kashkashian, Alabama, just outside of Competition is open to viola play­ Yuri Bashmet, the Vogler-Quartet, Birmingham. Up to 20 contestants ers of all nationalities. The com­ the Viola Section of the Berlin will be selected from the taped pre­ petitor may not be more than 30 Philharmonic, and the Moscow liminary round to participate in the years of age as of August 30, 2003. Soloists in conjunction with the live competition. Take this oppor­ Players of all nationalities are invit­ Junge Deutsche Philharmonie. tunity to hear some of the very ed to take part. For those not wish­ Further information is available at finest young violists in the world ing to compete, the Workshop www.viola.com or through a link compete for generous cash and offers recitals, lectures and tuition on the AVS Website, www.ameri­ merchandise prizes. For more infor­ from the world's experts. Port Erin canviolasociety.org. mation on the competition guide- is a small fishing port in the south

XXXII International Viola Congress - University of Minnesota, June 9-13 , 2004

Please mark your calendars for the next North American International DEALERS, MUSICIANS, COLLECTORS, MAKERS ... Viola Congress, to be held on the beautiful University of Minnesota Specialized Insurance Coventge for the campus, June 9-13, 2004. For more Classical &Vintage Musical Instrument Trade information, please see page 4 of ELLIS W. HERSHMAN this issue of JAYS or contact Korey • The most comprehensive protection at reasonable cost. Heritage Insurance Services, Inc. Konkol, University of Minnesota • UndeiWritten by a financially 826 Bustleton Pike, Suite 203 School of Music, 100 Ferguson sound A-rated company. Feasterville, PA 19053 Hall, 2106 Fourth Street South, • Call Toll Free today for 800-289-8837 Minneapolis, MN 55455. information and quotation. FAX: 215-322-5854 e-mail: [email protected], web: www.music. umn.edu/viola.htm, ph: 612-624-9086, fax: 612-626-2200.

7 of the Isle of Man, itself only 227 For more information, see the May 2003. For more informa­ square miles in area and some 40 competition website: tion, please see page 9 of this miles off the north west coast of http:/ /www.erinartscentre.com/ ev issue of JAYS or visit the link England. The island boasts some ents/viola2003/index.html on the AVS Website: unique scenery, with miles of www.americanviolasociety.org. unspoiled coast, cliffs, bays, The David Dalton Viola mountains and fields. Research Competition AVS Membership Online

In addition to the official events, The Journal of the American AVS renewals and new member­ there will be opportunities for pri­ Viola Society welcomes submis­ ships are now accepted online vate tuition, informal recitals and sions for the David Dalton Viola through the membership link on sightseeing. The Bridge Research Competition for univer­ the AVS website: www.american­ Bookshop, Port Erin, will run a sity and college student members violasociety.org. Take this oppor­ comprehensive music and record of the American Viola Society. tunity to join the world's largest shop. There will be a minor repair Entries must be original contribu­ organization of violists dedicated clinic. Players of all abilities as tions to the field of viola research to the development of viola per­ well as non-playing observers are and may address issues concern­ formance and research. invited to attend. A limited num­ ing viola literature, history, per­ ber of tickets will be on sale to formers, and pedagogues. Entries AVS Giving Opportunities the public. must not have been published in any other publication or be sum- The AVS continues to welcome maries of other your tax-deductible contributions works. The body to several important funds that of the work should enable the AVS to make an be 1500 to 3500 impact on the viola world. These RBP MUSIC PUBLISHERS words in length include the Primrose Memorial and should include Fund, which provides financial Offering quality arrangements for viola, relevant footnotes support for the internationally by resident editor ROBERT BRIDGES. and bibliographic recognized Primrose Memorial information. Scholarship Competition, the "These arrangements are great! /love them all!" Karen Tuttle, viola instructor at the Juilliard School. Entries may AVS Endowment, which sup­ * * * include short ports the ongoing projects of the 1001 Biber Passacaglia (viola solo) $5.75 musical examples. AVS on both the local and 1002 Beethoven Sonata op. 5 #2, via/piano $9.25 1003 Debussy Rhapsody, viola and piano $14.25 Entries must be national levels, and the AVS 1 004 Franck Sonata, viola and piano $10.75 submitted in hard National Office Project, which is 1005 Telemann Solo Suite $6.75 1006 Stravinsky Suite for Viola and Piano $28.00 copy along with assisting in the establishment of 1007 Prokofiev "Cinderella" Suite, viola/harp $25.00 the following entry the permanent AVS headquarters 1010 Tchaik.Theme and Variations, via/piano $30.00 form, as well as in in Dallas, Texas. Please consider 1 011 Bartok Rumanian Folk Dances, vla/pno $10.00 1012 Massenet Romance, viola and piano $4.50 electronic format, a contribution to AVS today. For 1013 Puccini Madam Butterfly, via/harp $20.00 on either PC or more information, see the mem­ 1016 Bach double concerto vla/vln $35.00 2003 Bach double concerto score/parts $75.00 Mac diskette. bership application at the back of Word or this issue of JAYS, or visit the * * * Include $5.00 shipping and handling. Send your check to: WordPerfect for­ membership link on our website RBP Music Publishers, 2615 Waugh Dr #198, Houston,TX nooe mat is preferred. at: www.americanviolasociety.org. 13 Send for our FREE catalog, or visit our website at: http://members.aol.com/rbpviola/index.htm All entries must be postmarked by 15

jOURNAL OF THE AMERICAN VIOLA SOCIETY 8 The David Dalton Viola Research Competition Guidelines

The Journal of the American Viola Society welcomes submissions for the David Dalton Viola Research Competition for university and college student members of the American Viola Society.

Entries must be original contributions to the field of viola research and may address issues concerning viola lit- erature, history, performers, and pedagogues. Entries must not have been published in any other publication or be summaries of other works. The body of the work should be 1500–3500 words in length and should include relevant footnotes and bibliographic information. Entries may include short musical examples. Entries must be submitted in hard copy along with the following entry form, as well as in electronic format, on either PC or Mac diskette. Word or WordPerfect format is preferred. All entries must be postmarked by 15 May 2003.

Send entries to: Kathryn Steely, Editor, Journal of the American Viola Society, Baylor University School of Music, P. O. Box 97408, Waco, TX, 76798

A panel of viola scholars will evaluate submissions and then select a maximum of three winning entries.

Prize categories: All winning entries will be featured in the Journal of the American Viola Society, with authors receiving a free one-year subscription to the Journal and accompanying membership to the American Viola Society. In addition: 1st Prize: Facsimile Edition of the Bartók Viola Concerto 2nd Prize: John White’s book An Anthology of British Viola Players 3rd Prize: David Dalton’s book Playing the Viola: Conversations with William Primrose

David Dalton Viola Research Competition Entry Form Please include the following information with your submission to the David Dalton Viola Research Competition. Be sure to include address and telephone information where you may be reached during summer, Name ______Current Address ______Telephone ______Email address______Permanent Address ______Telephone ______Email address______University/College ______Academic Level: Fr / So / Jr / Sr / Grad Birthdate ______Topic ______Word Count ______

Current AVS member? Yes / No If you are not a current AVS member, please join AVS by including $21 student membership dues with your submission, along with a membership enrollment form, which can be found in the current issue of JAVS.

VOLUME 19 NUMBER 1 9 THE STEINHARDT SCHOOL OF EDUCATION BREAKING BOUNDARIES: AN INTERVIEVV VVITH EMANUEL VARDI

By Kathryn Steely continues to develop his second KS: H ow does one begin to sum­ career as a painter. Vardi is well marize the richness of a career that "Vardi has focused in his recenr known for his contributions as one has spanned a lifetime in not one work of varied media on a post of the foremost viola soloists of the but two fields? You are well known cubist manner that employs line 20th cen tury. His groundbreaking in the musical community as a almost to the point of music ... One recording of the Paganini 24 Caprices viola soloist of extraordinary scope, cannot view these works without on the viola is accompanied by numer­ and virtuosity. A short bio, if one hearing the "Cantabile Amoroso" ous others, including the sonatas of dared even to begin to construct An Speak Magazine 1993 Brahms, Bax and Bliss. (See discog­ such a thing, would include srudy raphy on page 12). Vardi is a master at Juilliard, student of Primrose, "Emanuel Vardi dominated the reacher, conducror, and composer, assistant principal viola in Toscanini's scene as man and artisr. ... Vardi and an international award-winning NBC Orchestra, principal in ABC represents the American School at artist, having sold over 100 paintings Orchestra and Symphony of the its best and his recital was colos­ during his lifetime. Vardi recently Air, a solo career, a rich recording sal .... " Strad magazine donated his painting, "Homage to a career including the only viola Great Violist" ro the Primrose recording of the Paganini Caprices, This year, viola virtuoso Emanuel International Viola Archive at master teacher, conductor, compos­ Vardi celebrates his 86th birthday. Brigham Young University in cele­ er, and in addition to all of that, Although such longevity is an bration of the opening of the artist painter! As you look back at accomplishment all in itself, Vardi Primrose rooms in 2002. these enormous accomplishments,

VOLUME 19 NUMBER 1 11 Emanuel Vardi - Discography what in your childhood pointed Metropolitan Opera Orchestra. I you toward a career as a musician say forced because Juilliard used to I. Bach, J.S. Sonata No. I in G and as a violist? give money at that time to the Met, Major & Sonata No.2 in D Major and in exchange, the Juilliard stu­ in TWO SONATAS FOR VIOLA Manny: My father was a violin­ dents were given first chance to AND PNO, perf.Vardi (VIa.) and ist, and my mother was a pianist. audition for the jobs. I couldn't Rivkin (Pf.) She accompanied Jascha Heifetz read the de£ When I got to the when he was six and she was audition, the conductor at the 2. Barab, Seymour. Duo No.2, perf. twelve, in Vilna, Russia. I started time, Maestro Bodansky, asked me byVardi (VIa.) and Grabenstein playing the violin at two and a what I was going to play. I said a (Pf.) half in Jerusalem where I was Paganini Caprice. After I finished, born. I started out by imitating he threw some Wagner in front of 3. Bartok, Bela. "Rhapsody No. I" my father, and he said I was like a me. The page was entirely black arranged for Violin and Piano, little monkey and copied what he with notes! I promptly put the viola perf. byVardi (VIn.) Bartok did all over the violin! A short back into the case while proclaim­ Records BRS 306, 1953 time later, I began piano lessons ing my innocence and ignorance. with my mother and dropped the The next day, I got a call from the 4. Bartok, Beta, "Two Rhapsodies violin temporarily. I made my Met saying that I had gotten the ( 1928)", perf. by Vardi, The New solo debut at six at Steinway Hall job! I couldn't believe it, and told Symphony Orchestra. cond. by in New York City, playing the them I couldn't read the clefl The Serly Bartok Records BRS 307, Mozart d minor Fantasy. I contractor, whose name escapes recorded in London, 1950 received a glowing review from me, said that the Maestro said, "If Charles D. Isaacson, main critic he can play Paganini, then he can 5. Bax,Arnold. "Fantasy Sonata", of the New York Times, after play anything we have!" perf. byVardi (VIa.) and Ross which I promptly retired while I (Harp) Musical Heritage Society was ahead, and began playing the At that time, I was taking les­ MHS 3613, 1977 violin in earnest. There was never sons, for 10 dollars an hour (big any question, at least not in my money in those days!) with 6. Bax,Arnold. Sonata for Viola and father's mind, that I was destined William Primrose. Without my Piano, perf. byVardi (VIa,) and to be a violin soloist. I was a vio­ knowing it, he had recommend­ Bogin (Pf.) Musical Heritage linist at Juilliard, and I first took ed me for the NBC Symphony Society MHS 3613, 1977 up the viola while in school under Toscanini. So, I auditioned because I was big, and could play for NBC. At the audition, the 7. Beethoven, Ludwig van. "Kakadu all the violin literature on the contractor, H. Leopold Spitalny, Variations", Piano Trio No, I I, viola, besides the fact that they said "Primrose says you play Op. 121 A and Piano Trio No.8, needed someone to fill out their Paganini Caprices on the viola. Op. Posth., perf, by Vardi Trio; string quartets. When my father Play!" I played the first four dou­ Vardi (VIn.), Shulman (Vc.) and found out that I was playing the ble stops of the 13th Caprice, Hymovitz (Pf.) Music Minus One viola, he almost disowned and he said "STOP! You're MMO 39, MMO 40, MMO 41 me... that is, until I brought home hired!" So, I took that job, and my first paycheck!! Then it never joined the Met. 8. Beethoven, Ludwig van. became ... "my son the violist" ... ! Complete String Trios, Friedman KS: What about your develop­ As soon as I took up the viola, I ment in the visual arts? How did (VIn.),Vardi (VIa.) and you discover that side of your Silberstein (Vc.) Musical was sort of forced by Julliard to take an audition for the expressive potential? Heritage Society MHS 3687/8/9

jOURNAL OF THE AMERICAN VIOLA SOCIETY 12 Manny: As far as the visual arts new better than I did what was 9. Brahms, johannes. Sonatas for go, I have been painting as long as good! When I got back to the US Clarinet and Piano, arranged for I have been playing the violin and in 1952, I became principal violist Viola and Piano, perf. by Vardi viola. I took private art lessons all of the Symphony of the Air, the {VIa.) and Carey (Pf.) Finnador through my school years prior to continuation of the NBC 90519·1-E, 1986 Juilliard. My father also painted, Symphony after Toscanini retired. and it was his belief that I should I continued to paint seriously all I 0. BREAKING BOUNDARIES, be well rounded in all of the arts. during those years. perf. Vardi {VIa.) E. V. During high school, I won first Productions EV I 00 prize in the Macy's Children's Art KS: Regarding your decision to Show for a sculpture of an Indian. study painting in Florence-You had II. Bruch, Max. "Stucke for Piano, After that, I didn't paint until well already achieved widespread success Clarinet and Viola", Op. 83 and after I got into the NBC as a violist at that point. Did you Eight Pieces for Clarinet, Viola Symphony in the late thirties, one continue playing actively during this and Piano. Musical Heritage year after it was formed. I joined period? Were you ever tempted to Society MHS 4130, 1979 & 1980 the Navy Orchestra during World put music aside and devote your 12. Chausson, Ernest. Concerto en War II rather than be drafted, and efforts entirely toward painting? Re Majeur pour Piano, Violon after the war, I went to Florence, et Quatour a Cordes Op.ll, Italy to study art on the GI Bill. I Manny: Actually I never really perf. by Casadesus (Pf,), studied at the Academia de Bella stopped playing concerts. Only, at Francescatti {VIn.) with the Guilet Quartet, Giulet (I st Arte with Giovanni Colachicci, this point, I went back to playing Vln.), Robbins (lndVIn.),Vardi and Primo Conti, two very well solo violin concerts under manage­ {VIa.) and Heifetz (Vc.) known artists at the time, and ment throughout Europe. The rea­ Columbia Records ML 4998 while I was there, I won first prize son I stopped playing the viola tem­ in the First International Art porarily is that I was frustrated at the 13. Colgrass, Michael. "Variations Competion in Rome. This compe­ lack of acceptance that the viola was for Viola and Drums", perf. by tition was a national competition getting. For example, once when I Vardi {VIa.) and Composer at the time, and they thought I was playing a viola concert in New (Drums)MGM Records MGM E was an Italian with a name like York, it was reported back to me that 3714, 1959 Vardi. When they found out that I after the first couple of pieces, a wasn't, (Vardi is a Hebrew name woman turned to her companion 14. Gould, Morton. Concertette for meaning rosebush) they changed it and was overheard saying "when is he Viola and Band, pert. by Vardi to an International Competition. going to start playing on the viola!" {VIa.) and MGM Orch., cond. by Now, that's Italian!! My winning The woman thought I was playing a Winograd MGM Records MGM painting, an abstract of a violin, violin, after having just played 3 or 4 E 3714, 1959 was bought by the Bordeghera Art Paganini Caprices on the viola. She Museum where it was hung. I did had never heard a viola played in 15. ENGLISH MUSIC FOR VIOLA this painting as a joke. You know such a virtuoso manner before, and AND PIANO, perf. byVardi the, "Here's how they paint probably was not too acquainted {VIa.) Musical Heritage Society today!" kind of thing. Two Italian with the viola to begin with. She was MHS 4043, 1979 twin brothers who were fond of wondering when I was going to practical jokes, but very good switch to the viola so she could hear 16. Handel, Georg Friedrich. Works. artists and very good friends of me play on that instrument! At that Selections;Arr., perf. byVardi mine, sent in the painting to the time, many people didn't know what {VIa. and Cond.) and Stradivari competition without telling me. I a viola was or that it could even be Chamber Orch. Stradivari sent in three still-lifes. I guess they played in a solo recital! Records STR 617, 1950

VOLUME 19 NUMBER 1 13 I 7. Hindemith, Paul. "Trauermusik" Music for Mourning, perf. by Vardi (VIa,), The MGM String Orch., cond. by Serly MGM Records MGM 3432, 1957

18. Hovhaness,Aian. 'Talin" Concerto for Viola and Strings Op. 93, perf. byVardi (VIa.), MGM String Orch., cond. by Seriy MGM Records MGM E 3432, 1957

19. May, Walter, Concerto for Viola and Orch., perf. by Vardi (VIa.), South Dakota Symphony Strings Zoe Records, 1981 *cover picture by E.Vardi

20. Mozart, Wolfgang Amadeus.VIO­

LIN · VIO~DUOS , Duo No. I in G Major 1<.423, perf. by Vardi I got very tired of this kind of kept getting engagements on the (Yin. & VIa.) Musical Heritage thing. At the height of my career, I viola, so the violin kind of went Society MHS 3692, 1977 decided to approach the most well down the drain. I never wanted ro known management at the rime, stop playing, and I always assumed 21 . Paganini, Nicolo. "Caprices" 24 Sol Hurok Management. I went I could do both at the same rime. Caprices for Violin Op.l arr. for armed with a load of great reviews, Viola, perf. byVardi (VIa.) Epic and when I spoke with the secre­ KS: In addition to your solo sc 6049, 1965 tary, I was promptly informed that career and activiry in the visual 22. Partos, Oedoen. "Viskor", perf. they already had a violist on the arts, you have also had a wide byVardi (VIa.) MGM Records roster and couldn't use me. range of experiences as a compos­ MGM E 3432 1957 Confused, I asked who the violist er, conductor, producer, and so forth. In fact, you rook a ten-year 23. Ravel, Maurice. Piano Trio, perf. was, and the secretary replied, "why, we have Emanuel break from active concertizing byVardiTrio; E.Vardi (Yin.), Feuermann on the roster." I guess from 1970-1980. Shulman (Vc.), and Hymovitz even the managements didn't (Pf) Music Minus One MMO 36, know the difference between a vio­ Manny: During the ten years, 37, 38. 1971 list and a cellist!! So I went to from 1970-80, I decided to go 24. Schubert, Franz. "Arpeggione Europe determined to go back to into producing, and uaveled Sonata", perf. byVardi (VIa.), concerrizing on the violin, and was around producing people like Frank Weinstock (Pf.) Musical frequently performing concerts Louis Armstrong and AI Hirt, for Heritage Society MHS 4130, while I attended the Academia de the recording companies, Audio Bella Arte in Florence full time for Fideliry and MGM. I was also 1979 & 1980 two years. I planned on conrinu­ very acrive as a conductor for 25. Schumann, Robe rt. ing with the violin, but almost as Decca Records in New York, and "Marchenerzahlungen", perf. by soon as I arrived back in NYC, I produced many records as conduc­ Vardi (VIa.) was hired on the viola again. I tor of the Concert Masters of New

JOURNAL OF THE AMERICAN VIOLA SOCIETY 14 York, and the Kapp Symphonietta and a botched job. I couldn't get 26. Schumann, Robert. Piano Trio both of which I founded. I was my right arm up high enough to in D Minor Op.63, Vardi Trio: also busy composing at this time. get to the lower strings, and I Vardi {VIn.), Shulman (Vc.) and I became the conductor of the played a couple of concerts after Heifetz (Pf.) Music Minus One South Dakota Symphony for six that with a pad under my arm. It MMO 33, 34, 35 years in the late 70's and early really didn't work and was quite 27. Serly, Tibor. Concerto for Viola 80's, and commuted out to Sioux painful. At that time, Tully Potter, and Orchestra, perf. by Vardi Falls every couple of weeks. one of the English critics for Strad (VIa.), Vienna Symphony Orch., Magazine told me "Manny, if you cond. by Serly Musical Heritage KS: What prompted your return can't play the way you used to, Society MHS 3306, 1976 to the stage as a soloist? don't play anymore!" So, I consid­ ered his very wise words, and just 28. Serly, Tibor. "Dulcissima Mia Manny: My return to the concert stopped playing and became a full Vita" (Gesualdo 0 Serly) stage was due almost entirely to my time painter. Fortunately, I have a Concerto forViolin and Wind then new wife, the very fine violin­ video tape of me playing a concert Symphony, perf. byVardi {VIa.), ist, Lenore Weinstock, who had just in New York 2 weeks before the Strings of the Vienna Volksoper finished up her studies with Joseph accident, which is kind of nice. Orch., cond. by Serly Musical Silverstein in Boston, and Dorothy Heritage Society MHS 3306, DeLay in New York. She wouldn't KS: You have played on many 1976 let me be, and kept encouraging fine instruments during the course me to return to concertizing, which of your lifetime, by makers rang­ 29. Serly,Tibor.lnstrumental Music. I finally decided to do. We also ing from Albani, Stradivarius, Selections; Orchestral and played many concerts, here and Vuillaume and Dodd to Chamber Works perf. byVardi abroad as a violin viola duo. Postiglione, Max Frirsz, and then {VIa.), Harrington & P.Vardi Hiroshi Iizuka. Did you find one (Pf.),Volksoper Orch. & New All of this ended with my accident in particular that was best suited London Symphony, cond. by in '93, when I fell at a construc­ to your expressive voice? Antori & Serly Musical Heritage tion site in Westchester County Society MHS 3390, 1977 New York. I broke my wrist, and Manny:The two instruments that 30. Stamitz, K. Duo No.2 in A, perf. the doctor had to operate. He I really loved playing the most byVardi (VIn. &Via.) Musical inserted 3 pins inside of my wrist were the Strauss Stradivarius, and Heritage Society MHS 3692, to hold the very bad break togeth­ my Hiroshi Iizuka. The Strad was 1977 er, and while on the mend, one of loaned to me by Rembert the pins broke. I guess the steel Wurlitzer for three years and it had 31.VARDI, EMANUEL: VIOLIST was weak or something. This left a very beautiful sound, kind of like BREAKING BOUNDARIES. my wrist deformed, and it could velvet. I almost died when I have Works by Bach Bax, Colgrass, not be corrected even after 2 more to give it back. The Iizuka was my Paganini, Schubert, Serly and surgeries. This happened in last instrument and I was extreme­ Vardi, perf. by Vardi (VIa. & August, and the following winter, ly fond of it. It had a most beauti­ Cond.).Weinstock & P.Vardi while my wrist was still in a cast, I ful sound, and projected excep­ (Pf.), Ross (Harp), Colgrass slipped on the ice in front of the tionally well. I think that Mr. (Perc.), Serly (Cond.) EV door to my home in Westchester, Iizuka is one of the very finest Productions, MGM Records and I couldn't hold on to anything string instrument makers today. MGM E 3432 with my bad hand. I fell on my right shoulder and tore the rotator KS: So, talk a bit about the part­ cuff, which resulted in 3 surgeries, nership between instrument and

15 "fits", yet it seems that a person should not only find a voice from without, but also from within.

Manny: I feel that the main role of the teacher is to do what I call "Open doors". By that, I mean that I firmly believe that no one can really teach anybody how to play. They can guide the student to explore what a wonderful viola sound is by example of their own sound and perhaps, encouraging them to listen to fine recordings and to attend concerts of fine musician. What role does the KS: Do you look for anything in soloists and ensembles. I very instrument play in the expressive particular in a "viola'' sound? often have my students sing the outcome? phrases that they are to play, Manny: As far as a 'viola sound' because I believe that any string Manny: I really believe that the goes .. .I look for beauty and vibran­ instrument sound should be a instrument helps, but that, for the cy; I don't really qualify that it has singing one and based on the most part, a fine musician has his to have a 'viola sound'. Ideally, human voice, which to me is the own particular sound which he when one hears a great string ideal that the string player should imbues his instrument with, and as sound, one should not be con­ strive to emulate. In the case of long as an instrument is healthy scious that he is hearing a particu­ the violist, I often tell them to lis­ and very good, the musician lar instrument, only a wonderful ten to a really fine contralto, sounds pretty much the same on sound and beautiful music. Of which is the range of the viola. what ever he or she plays. I have a course, a viola has to have a good Listening to singers is an ideal good friend, Charles Libove, a very C string and the appropriate depth way for the violist to begin to fine violinist who used to teach at of sound, but I believe that when "get" what it means to really com­ Peabody Conservatory and still one has a sound in one's head, a municate to your audience. plays concerts. I could never tell person almost automatically pro­ which instrument he was playing duces that sound no matter what I spent many hours as a young on unless I looked closely. He kind of instrument it is. It's man attending concerts and trying could be playing on his Strad or his largely a matter of concept in all to figure out what makes a fine Berger.. .! never knew! He always areas of music making. soloist, like a Heifetz for example, sounds like Charly! I also feel that tick. I tried to imitate some of an instrument soon becomes 'alive' KS: You have taught many stu­ the things that I heard, and then, with a player's sound when that dents over the years. How have you went to the next step of deciding person plays the instrument awhile understood your role in the process what I wanted to sound like, what and becomes really comfortable of helping students develop their the composer was trying to say, with it. I once loaned my viola to a concept of "sound" or learning to and what I needed to express. I student for a couple of weeks, and play communicatively? Granted, really believe that a player must when I got it back, it had an through extensive listening and hear the sound and the phrase in incredibly small sound!! It took observation one gravitates toward a their head before they play, other­ me a week to get my sound back! style or a sound that personally wise it's like being adrift in a large

JOURNAL OF THE AMERICAN VIOLA SOCIETY 16 body of water and not knowing in the rough'' who has not had KS: Aside from techniques to what to do or where you are going. the opportunity to develop their focus and project, your comment, potential. Along these lines, I "It's a feeling really'', is so true! KS: What other characteristics believe that the ability to express Projecting a musical idea is very make for fine teaching? oneself can be developed, and much wrapped up in how you that very often, a student with share your musical intention with Manny: Some of the attributes that I ability can come to me for les­ the audience. Your musical "inten­ believe a good teacher must have are: sons and be totally closed up tion'' must be very clear, even to emotionally. This could be due the person in the last row of the 1) The ability to be supportive and to family background and con­ hall. Many times students auto­ to build confidence in the stu­ ditioning, or because of a cer­ matically associate projection with dent. I do not believe in ego tain trauma. I'm sure that there volume, when really it is a matter trips in the classroom. One are other reasons, including of focus and a matter of congruen­ should always make the student intrinsic shyness, but I am not a cy between the visual and the feel that he can do it. A stu­ psychologist and it is not my aural. If your body language on dent should leave the lesson job to know why, or even if stage subtly projects the same qual­ with enthusiasm and excite­ knowing why is important, but ity as the music, the communica­ ment, feeling inspired to work I believe that a teacher must use tion of the musical idea seems to on the new material that was a certain amount of psychology be much stronger. You capture that explored in the lesson. A student to try to help the student. One well in your paintings I might add! should not feel discouraged or has to gently coach the student -That musical focus is readable depressed with the feeling of to express what may be hidden in the musicians of your paintings. "Oh! what's the use? I can't do inside, by letting him or her How do you help your students what you do anyway!" They know that it is safe and OK to down the road toward "knowing" should always feel that it is pos­ express their deepest feelings when they are projecting? sible to accomplish anything without embarrassment. that they set their minds to. Being able to express one's self Manny: I really feel that in order 2) Another attribute would be the is of paramount importance to a to really project one's ideas to an ability to bring out the best and successful performance and in audience, a musician must be like the uniqueness of each individ­ the development of true artistry! an actor. If an actor on the stage ual. Too often I find that were to speak in a volume or tone teachers use the cookie curter KS: Self-expression is also tied to of voice of an everyday conversa­ method of teaching, and end up projection. tion, the words and meaning treating everyone the same way. would be missed entirely by the This is totally wrong! Thank Manny: Projection in playing is an audience because it would be God we are not all alike! art, and has a lot to do with focusing much too subtle for a hall. The 3) I think it is also very important the sound. I feel that it is extremely same goes for the musician on that the teacher be able to see important that a violist especially stage. I guess what I'm really saying potential, which is an art in learns techniques fOr fOcusing and is that the performer must exagger­ itself, and very necessary if that projecting the sound. It's hard ate everything that he does in teacher is to really give the stu­ because a violist cannot really hear order to get an idea or phrase dent a chance at becoming a what is being heard in the concert across because so much is lost in fine player. If the teacher only hall. It's a feeling really. You have to the distance between the stage and looks for a finished player when 'know' when you are projecting, and the audience and becomes blurred they take on a student, they that takes knowledge, experience, or inaudible very easily. Also, what may be missing a real "diamond and of course, talent. a player might think he is project-

VOLUME 19 NUMBER 1 17 ing in his head, is not necessarily visual artist and the composer start to completely let go, trust, and coming across, which is where with a blank page, so to speak. then lose yourself so that you recording yourself before a concert Playing is a very difficult thing to become one with your art. You comes in handy. I often say to the do because you have to go beyond have to forget all about technique student: Don't be a few notes on the page and make and transcend the instrument, or confidential ... think, Here I am! them speak. You have to, in a paintbrush and paint. Listen to this .. .isn't this music way, read the composers mind, wonderfUl!" It's all about a certain while at the same time, make that KS: Could you comment further confident attitude on the stage that piece of music your own. You on the subject and style of many of you mentioned previously in your take someone else's ideas and then your paintings? What rough per­ remarks on stage deportment. take off. Painting is different in centage of your painting is geared Projection is more than sound ... it's that you have to come up with the toward musical subject matter? It also the visual. The pauses and original idea with no starting seems that the essence of the music rests between notes and phrases are point, except for perhaps a subject. making experience is strong in your tremendously important as well, Also, painting is a very solitary paintings, bringing life and move­ and can add a great deal of excite­ activity, whereas with performing, ment to the viewing experience. ment, suspense, or surprise you are really on stage. You can­ depending on the music, of course. not hide! With painting, you've Manny: Almost all of my recent I also use a subtle image that I got more than one shot! In a per­ painting deals with music and have found tremendously valuable, formance, there is no" take two" as musicians, although I am now and that is to have the concept in they say in the recording studio!! working on a landscape of the one's mind of bringing the audi­ There is a certain amount of room Southwest featuring a very beauti­ ence to you, instead of you going to change things in painting, or if fUl and twisted tree. out to meet them. That creates a worse comes to worse, you can certain intimacy and connection ditch the canvas or rip up the My musical paintings began with a between the performer and audi­ paper, and start again. Unless you commission from Don Hammond, a ence, as if one were to say "come are recording, this is kind of hard jazz saxophonist, back in the '50s, with me into my world." In order to do in a performance!! Neither and soon I was receiving commis­ for a performance to take place activity is a totally solitary effort. sions fur paintings and selling paint­ there, of course, has to be three With a performance, it takes the ings to musicians before they were equally important elements: com­ composer, the performer, and the even on the canvas! That's how I got poser, performer and audience. audience. With the artist, it takes started doing my musicians. One the painter, and the viewers and art painting that comes to mind is a KS: Both the viola and the paint­ lovers to complete the experience. commission that a young woman cel­ brush seem to be very personal list requested of a cello and trumpet. modes of expression for you. Both performing and painting are Her boyfriend was a trumpet player. How do you compare the act of similar, however, in that if one is That's one of things that is unique painting, the making of art, with fortunate that day, he or she can about what I do, because you can't the experience of making music? get into THE ZONE, which is of exactly find a painting of a trumpet course the ideal. I won't go into and cello at the corner art gallery! Manny: The basic difference, in what the wne is, because if you've my mind, between painting and been there, you know it, and if I really enjoy doing musicians playing music, is really the differ­ you haven't, hopefully you will because that's what I am, inside ence between actual creation, and find out all about it!! The main and out. That is what I know recreation. Painting is more akin thing about the zone is that you best! I have been inspired by the to composing, in that both the can't put yourself into it. You have many musicians that I have

JOURNAL OF THE AMERICAN VIOLA SOCIETY 18 worked with and seen in perform­ ance throughout my life. Of course now that my playing days are over, I feel that I am expressing my deep musical feeling in paint and color. When I was playing I thought of sound in color, now it's the other way around. I think of color in terms of sound. A painting, like a player, has to sing! In one of my NY shows a critic from 'Art Speak Magazine' was heard to say aloud when he came into the gallery... "! hear music when I look at these paintings". That was a great com­ extremely difficult to explain. It matter what instrument they are pliment to me, and a very nice feels as though I go into another playing. My goal is to try and cap­ tribute to my art. dimension or space without having ture the spirituality, involvement, any idea of how this occurs, but and inner feeling that is always KS: And what about you? Do you when it does, everything seems to present at a concert. Therefore, my "hear music" when you paint? fall into place without intellectual­ musicians usually have their eyes ization. This can go on for many closed or are looking down signifY­ Manny: I rarely listen to music hours at a stretch, and it's as if time, ing deep involvement in their when I paint, because as a musi­ as we think of it, no longer exists. musical performance. cian, it tends to distract me. I do When I come out of the zone, a much better in silence. The paint­ finished painting is on the easel and I've been told many times that my ings come from inside of me, and the palette is a large gray mess. musicians have a spirituality about I find that if I plan the painting too Sometimes I don't even remember them. Maybe I think of musical tal­ much, it becomes stilted and dead. painting it! My hope is that I can ent as God given. If you look at my I prefer to let the painting happen impart to the viewer the emotions, paintings you will notice there is spontaneously after I put down a through the use of color and design, always a halo or aura around the ground and general outline of what that players go through on stage heads of the musicians. It gives them I will be doing as far as subject during a concert performance. life and energy. The other figures in matter and composition goes. I use my paintings are usually observers or a ground, instead of a blank white KS: What about the figure(s) listeners. I think of them as being in canvas, to give the painting depth. that appear in many of your paint­ another dimension, kind of watch­ I use a warm, burnt sienna ground ings/ drawings? When did you first ing the player. I often felt that for a warm reddish kind of paint­ start using this representation? Has someone was watching me while I ing, and a cool ultra-marine it evolved in your work over time? practiced or played, and I guess that ground for a cool night or a jazz is what I'm depicting. I guess that painting. It all depends on what I Manny: Having been a musi­ sounds a little strange, but it's kind need to express, or what colors a cian all my life, it is only natural of a spiritual thing. Somehow I felt client prefers. that I have a deep knowledge like I was being guided by an unseen about the subject. It is second hand. Even when I was practicing I Painting is a spiritual experience for nature for me to visualize the posi­ could hear and feel that unseen pres­ me and when I am working, some­ tion, faces, body language, and ence making me repeat something thing happens to me that is every nuance of my musicians, no because it wasn't right. Maybe it was

19 KS: At 86 years of going because she believed in my age, what next for work so much. She unfortunately Manny Vardi? passed away at a very young age, before she could realize her idea. I Manny: PAINTING, took some of her prints, which as I PAINTING, AND said before, weren't very good, and MORE PAINTING!! brought them to the U ofl Music ... and teaching viola. School. Students snatched them up I would like my art to for $25 a piece within a day! That got reach as wide an audi­ Lenore and me thinking that there is ence as I did with my a real demand around the world fur concert career, or possibly paintings about musicians, and stu­ further. I am always open dents in particular really want to hang to commissions for these paintings on their wall. paintings, and I love Musicians love to have a painting just my mother's spirit, who was a working with people and hanging that represents their own really fine pianist, coming back to their ideas of what they want their musical instrument or an ensemble threaten me. Just kidding!! painting to say. I still work in all such as a string quartet that they mediums including pastels, acrylics, relate to and that is dose to their KS: You tend to use oil paint as a pen and ink, and oil pastel, but my heart. It's really amazing how a paint­ medium for many of your works. real love is working in oil. I also ing or poster can liven up, energize What qualities of this medium do plan on reproducing some of my and beautifY a room and change the you find attractive? work into lithographs and posters, whole feeling of the environment. so that people who may not have Hence the formation ofVardiArt. My Manny: An oil painting is like a the funds to purchase a large oil website, www.vardiart.com should be symphony. It has weight and impor­ painting can still hang something up and running by late March or tance, like a symphony by Beethoven related to music on their wall. early April, and a complete overview or Brahms. That doesn't mean that of what we have to offer, including other forms or mediums aren't When I was a visiting professor at the prints, T-shirts designs, notecards, important. It's just that I feel I can University of Illinois for two years lithos, etc. can be viewed there. relate to and express myself the best during the mid-nineties, we didn't with oils. No other medium can get have a really good computer to repro­ KS: And with music? the textures and depth of oil. Oil can duce my work, and I wasn't really be worked over and over without painting as much as I do now because Manny: I still love teaching and getting muddy, and the colors have a I was very busy at the University. A conducting master classes, and am brilliance no other medium can very good friend of mine in New still accepting serious viola players match when applied right. Of course, York who really loved my work and as students. I have a large reper­ in the wrong hands, oils can be a dis­ was trying to get it out to the public, toire, a lot of which I have created aster! I guess that goes for a viola too!! decided that she would print up some myself, and I enjoy teaching that I paint and have painted in all medi­ of my paintings on her MAC com­ repertoire, as well as imparting ums. My favorite medium is line puter. At that time, all she could pro­ my considerable technical and drawing using ink, marking pen, duce were very rough reproductions, musical knowledge to students. I pencil, crayon, etc. The spontaneity which were not very dear and the feel that, at 86 years of age, I still and virtuosity can't be matched in colors were not really true. She even am very vital and have a lot to any other medium, except maybe in wanted to take them around to art offer. I truly love passing on the watercolor and pastel. and craft fairs to help get her project knowledge that took me so many

JOURNAL OF THE AMERICAN VIOLA SOCIETY 20 years to acquire; knowledge that ing pieces. Not that Schumann and cert, like the fine meal, contains a comes from a great deal of experi­ Brahms shouldn't be played!! But, lot of different tastes (different ence. So while I'm still on the one tires of hearing the same four styles or periods of music) and a planet, a student can take advan­ or five pieces over and over again, lot of variety for the diner (listen­ tage of that knowledge through and the performer really has to go er) to enjoy. Violinists, cellists, and private lessons, and of course out of the way to provide the audi­ even pianists are not above playing through master classes which I ence with something new or differ­ transcriptions, so why do violists really enjoy giving. ent. There are many really fine balk at the prospect?!! composers who are composing ter­ One of the main purposes of my life rific pieces for the viola, such as Also, there is the matter of com­ was to dispel some of the past preju­ Karen Campbell, Kermit Moore, posing for oneself Players through­ dices against the viola and it's per­ Bernard Hoffer, David Carey, out the history of performance ceived limitations, which I always Richard Lane, and many, many have always composed for their refused to accept. I still believe that others. Sometimes you have to dig a own instrument and use. I some­ anything can be done on the viola little to find gold! There are also times get rather peeved when I hear that can be done on any of the some pieces that have been in exis­ violists talk about how different the other stringed instruments. There tence for years, and yet they are sel­ viola is than the violin and cello. I has been a great improvement in the dom played. Pieces like the Vaughn often hear phrases like ... "you quality of viola playing over that Williams Suite, Rolla Sonata, the should capitalize on the C and G which was in existence when I was Serly Concerto and the Rhapsody strings" (as if the A string doesn't first starting out. There are many on Hungarian Folk Songs are only a exist) and "that's not how a viola very fine players out there today few examples of available pieces that should sound!" I think a lot of vio­ who are enjoying wonderful concert are seldom heard. And, I'm afraid lists are much too conservative in careers and are furthering the cause that I'm going to offend some with their approach, attitude, and con­ of the viola. I hope that my life's my belief in transcriptions. I really cepts. Does a cellist make use of work on the instrument has been an think that they can help to add the A string and upper register?!! inspiration to violists today, and that interest, and can spice up a program The A string on the viola is very my difficult road has paved the way with a little dessert, so to say! I have unique and has it's own wonderful for them, and made their paths a lit­ received some incredible comments sound which is extremely effective. tle easier and less frustrating. My after concerts about the short pieces road was made much easier by that I used to program. The audi­ In closing, I guess the best and William Primrose, and Lionel Tertis ences really loved them and found most wonderful thing is seeing how before him. I hope my career has that they enjoyed and related to far the viola has come. It really served much the same purpose as them. You can't beat a short piece excites me when I think about what these two giants. for creating atmosphere. is coming up in the future!! Seeing the wonderful talents out there who KS: Do you have any words of cau­ I like to think of the concert pro­ are making names for themselves tion or advice for today's violists? gram as I do a meal! First there is and expanding the horizons of the the appetizer, (opener) followed by viola, makes all my efforts on behalf Manny: My one concern is the the soup or salad (an interesting of my chosen and much beloved lack of originality in programming suite or variations piece). Then instrument, truly worthwhile!! on much of today's concert stage by comes the main course (a big the violist. I see altogether too sonata or featured piece of length For more information on much of the Schumann pieces and and depth), followed by a dessert Emanuel Vardi, his art and his the Hindemith and Brahms Sonatas (a short piece, virtuoso tour de music, visit www.vardiart.com or and not enough unusual and excit- force, or transcription). This con- www.shumskymusic.com. B

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forming and teaching at both the Hanoi Conservatory and the Viemam National Opera and Ballet. Phan1 Hong Hai contacted him concerning an event that the VNOB was planning for October in cele­ bration ofViemam Women's Day, featuring an International Women's String Quartet. The cellist would be Scene from a performance oftuong , traditional Vietrtamese opera. from Vietnam and the other players would each represent a different country. The quartet would perform By Dr. Steven Kruse and two major works and a short selec­ Dr. Penny Thompson Kruse Viemam is one of the poorest coun­ tion from each of the represented tries in the world, but also has one of countries. Mr. Hai was hoping to Viemam is regarded as one of the last the fastest-growing economies. Since ftnd an American woman violinist bastions of Communism. For the relaxation of economic restrictions and asked Dr. Carlson if he could early baby boomers, memories of a following the Sixth Parry Congress recommend anyone. tumultuous war are difficult to over­ in December 1986, private business­ come. Americans do not see Viemam es have sprung up all over Hanoi. In Dr. Carlson mentioned the Vietnam as a tourist destination. "Why would order ro survive, most Vietnamese Women's Day concert in a Christmas anyone want to go there?" was the have more than one job or business, letter and we were both intrigued by repeated response from friends and and have a strong entrepreneurial the opportunity. After further colleagues as we rold them about our spirit. Our host, Pham Hong Hai, inquiries, we decided that this would upcoming trips and performances in orchestra direcror for the Viemam be a unique and worthwhile experi­ Hanoi, Viemam. National Opera and Ballet (VNOB), ence. A rapid exchange of e-mails told us, "In Vietnam, everyone with Mr. Hai ofVNOB followed as Since September 11 , however, works more than one job. The lucky we finalized arrangements. American tourism to Viemam has ones have music as one of them." been on the rise, due to the inexpen­ Another e-mail from Mr. Hai came sive cost of traveling in Viemam and Our two recent trips to Viemam in May. VNOB had planned string the relative low risk of terrorism. The came about through a connection concerts in August with a French Viemamese people are welcoming with a former violin teacher of violist, who would conduct and per­ and friendly cowards Americans. We Penny's. Dr. Paul Carlson, Professor form Mozart's Symphonie were surprised how many Viemamese ofViolin at Pittsburg State Concertante with a Vietnamese vio­ spoke at least some English, and at University in Pittsburg, Kansas, had linist. The other piece already the number of Americans we encoun­ gone to Hanoi on numerous occa­ planned for the program was tered while there. sions during the past six years, per- T chaikovsky's Serenade. The French

VOLUME 19 NUMBER 1 23 violist was now unable to come; in between, and bicyclists trying to Vietnamese we met have only would Steve be interested? Since we survive. The horn is the most used motorcycles. We both experienced . . both had summer commitments mstrument, not seen as a warnmg our first motorcycle ride braving through August 3, Mr. Hai agreed or indication of rage, but rather as the crowded streets of Hanoi. that the concerts could take place advisory: "You're in my way, Incidentally, no one wears helmets! on August 16-17. Steve planned to move!" Coundess poremial soloists leave for Vietnam on August 5, for Gershwin's An American in All throughout Hanoi, one finds a arrive August 7 (due to the rime Paris can be heard every minute! sharp contrast between the old change), and begin rehearsals and the new. The largest buildings August 8. The VNOB orchestra The streets of Hanoi are much are recently constructed hotels and usually rehearsed two to three narrower than the road leading only about twenty stories rail. The weeks in preparation for concerts. inro the city from the airport. rest of the city consists mainly of Due to Steve's availability for this While there are lane markers and a small shops built on top of each concert, the VNOB would only few traffic lights, observance seems other. They are often three- or have one week to prepare and so to be optional. For the tourist, four-story structures. The first Mr. Hai scheduled two rehearsals there are three means of trans­ floor is the place of business and per day. After some discussion, the portation: taxis, motorcycle taxis, the upper floors are living quar­ rest of the program was decided: and cyclos, a modern version of ters. Walking the streets of Hanoi Sibelius' Andante Festivo and the rickshaw. Most of the is difficult. Sidewalks are crowded Hindemith's Trauermusik. with vendors selling their August Trip ware, people cooking dinner When Steve arrived in Hanoi, or washing weary from three different flights, their dishes, or he was greeted by Mr. Hai who parked motor­ arrived with a bouquet of flowers. cycles. Garbage After their extensive e-mail conver­ is swept directly sations, Steve felt as if they were into the street old friends. The recendy completed and picked up Hanoi International Airport was every few days. quite modern, and passing through Hanoi is nor a customs was a simple process. clean city and the aroma is The drive to downrown Hanoi quite fragrant! gave a clear image of life in this For Americans, city of nearly five million people. however, it is a Automobiles are very expensive in shopper's para­ Vietnam and most people get dise, with bar­ around by means of motorcycle. gains to be The road from the airport to found in a vari­ Hanoi is one of the best in the ety of merchan­ country, being one of only a few dise, from cus­ four-lane roads. Still, traffic is tom-made silk mayhem: cars and trucks passing A street scene in Hanoi, Vietnam, with an outdoor garments to haphazardly, motorcycles weaving market area on the right. compact discs.

JOURNAL OF THE AMERICAN VIOLA SOCIETY 24 Despite it's lack of modernity, H anoi is a very beautiful city. Contrasting the urban sprawl are twenty-seven lakes beauti­ fying the H anoi landscape. Hoan K.iem Lake is in the cen­ tral district, the business and cultural hub of the city. In the center of the lake lies rhe "Turtle Pagoda," named after an old legend. On one side of the lake is the Ngoc Son Temple, founded in the eigh­ Steven Kruse rehearses Mozart's Symphonie Concertante with violinist My H uong at teenth century. the Hong Ha Theater.

Steve arrived at his hotel around three-hour full rehearsal in the schedules so they arrive when noon and had two hours to rest morning and two-hour sectionals they can. Breaks can run close to before auditioning violinists for Ln the afternoon. In the evenings, thirty minutes, further reducing Mozart's Symphon.ie Concertante. Steve rehearsed the Mozart with rehearsal time. T he stifling heat Four violinists from the orchestra rhe violin soloists, beginning and humidity wreak havoc on had prepared the solo parr and evening rehearsals around Slx and both instrumems and players. Steve played through the work going to bed about midnight. Air-conditioning is only turned with each of them. All were pre­ on at the beginning of rehearsals. pared, demonstrating solid tech­ Steve quickl y discovered a major VNOB musicians tend to talk nique and training, however, difference between American and among themselves during knowledge of the score, stylistic VNOB orchestra rehearsals. Time rehearsals, like the hubbub of sense, and rhythmic integrity were is a valuable commodity with an H anoi streets, proving especially lacking. Of the four, Thanh H a American orchestra. Rehearsals are difficult for a conductor relying exhibited the strongest sense of highly structured and musicians on an imerpreter. style and rhythmic security. After come with their parts prepared. hearing these violinists, Steve was VNOB orchestra rehearsals exhib­ T hese difficulties aside, the told that there was one more vio­ ited quire a different character. VNOB musicians brought an linist, My Huong, from the enthusiasm and freshness to the Hanoi Conservatory who would T he average VNOB musician music. T hey accepted direction play for him the next morning. makes thirty-three cems per well and did not hesitate ro try a She proved to be an outstanding rehearsal. Even in Vietnam , this is new idea. While most were well­ violinist. VNOB administration very little money. (The lunch trained and technically compe­ requested that Steve perform with between rehearsals costs the musi­ tenr, the ensemble lacked cohe­ both Thanh H a and My Huong cians fi fty cems!) Practicing siveness. Phrasing and articula­ as there would be two perform­ between rehearsals is difficult, tion, usually instinctual for an ances. Though the rehearsal due to time restrictions and lack American orchestra, needed to be schedule was more difficult, the of an adequate place to practice, elaborated in detail. T he musi­ idea proved successful. thus musicians learn their parrs in cians were nor accustomed to fol ­ rehearsal. fu there is no union lowing a conducror or listening to T he first orchestra rehearsal began steward, rehearsals are not run each other. Steve described these Thursday afternoon. After that, strictly by the clock. Many musi­ problems succinctly in an e-mail the daily schedule consisted of a cians have conflicting work message to Penny. "T hey don't

V OLUME 1 9 NUM BER 1 25 know when they aren't rogether. observing Penny's reactions. Even training on both Western and tra­ They will play chat way for quire though Steve's descriptions had ditional Vietnamese instruments. some time until a train wreck been vivid, nothing could march We were impressed by the enthu­ nearly occurs. Then, somehow the experience. We were joined on siasm and dedication of the stu­ they figure our how ro get back this trip by our friend, violinist dents and facu lry, bur were deeply together. Similar to their driving, Bonnie Lin, who is a native and saddened by the condition of the they make it where they have to, resident ofTaiwan. Bonnie earned facilities. The building containing but it isn't pretty, and it's also a a bachelor's and master's degree reaching studios, rehearsal, and little scary along the way! " from rhe Manhattan School of practice rooms is in deplorable Music and is currently finishing condition and woefully inade­ Despite the fact that rehearsals her doctorate at the Ciry quate. Fortunately, a new building were frequently difficult, steady University of New York. Violist is currently under construction, to progress was made. Fewer instru­ Francoise Coppey of Srrasbourg, be completed by Fall 2003. The ments were left in the hall after France, and cellist Tran Van Ahn concert hall, recently built, is each rehearsal and musicians ofViemam completed the quire attractive and impressive. returned to the hall in the evening Women's Day quarter. to practice. T chaikovsky's Quartet rehearsals began the after­ Serenade was particularly chal­ The morning after our arrival, we noon of the day following our lenging for the orchesua, both visited the Hanoi Conservarory arrival. French violist, Francoise technically and musically. As the with Tran Van Ahn, who teaches Coppey, was the only one who musicians became more familiar at the conservatory. Van Anh's did not speak English. Language with the nares, they began to lis­ English is excellent. She intro­ difficulties required the most ten and watch more. By rhe dress duced us to several faculty mem­ expedient solutions. T he group rehearsal, there was a real sense of bers and arranged for us to found the most direct and simple excitement and accomplishment observe lessons. Two thousand approaches to solving problems. among the musicians. students, ranging from age ten T he program had been deter­ through pose-graduate attend the mined in advance: Borodin's The concens rook place at Hong conservatory, which includes Second String Quartet, D vorak's Ha Theater, a nineteenth-century building that had been newly ren­ ovated. A large banner outside the theater proclaimed the event in bold letters. The concerts went well and the audience was very enthusiastic. M usicians in the audience commented on how well rhe orchesrra performed with so lirde rehearsal rime. The artistic director and parry representative at VNOB, Cong N hac, was thrilled with the results.

October Trip

On the second trip, Steve knew A student at the Hanoi Conservatory plays the Dan Tranh, a traditional what to expect and enjoyed Vietnamese instrument similar to the Zither.

JOURNAL OF T H E AMERICAN VIOLA SOCIETY 26 sian, and traditional instruments created a memorable evening. Both events gave us a more com­ plete picture of the colorful artis­ tic life in Hanoi.

In addition to the quartet con­ certs, Mr. Hai arranged a recital for us. Steve rehearsed four times with pianist, Irina Bui, a Russian native who had lived in Vietnam for two years. She proved to be a sensitive collaborator, and the lan­ guage barrier was easily overcome. Unfortunately, VNOB does not own a grand piano, so an upright was used for the recital. The works Vietnamese Live on the water in floating houses, HaLong Bay in Vietnam. for viola and piano on the recital included Bloch's Suite Hebraique, ''American" Quartet, and a short Island, is a tourist center lined Site's ALbum Leaves, and Enesco's piece from each country. The with hotels, restaurants, souvenir Concertpiece. In addition, Steve Vietnamese piece, Tu Binh (Four shops, and nightclubs. The trip and Penny played Mozart's G Pictures) by Hoang Cuong was included a four-hour bus ride, Major Duo and a new work by choreographed and danced by boat ride through the bay, visits to David Maslanka, entitled Montana members of the VNOB. caves, overnight on Cat Ba Island, Music. The recital took place at and return boat and bus ride. VNOB's 200-seat concert hall. The quartet had eight days to pre­ Since VNOB could not afford to The enthusiastic audience present­ pare the program and rehearsed pay for everyone, we each gladly ed the performers with over a twice daily for a total of five agreed to pay the $18 per person dozen bouquets of exotic flowers. hours. This intense rehearsal cost for the trip! schedule made a two-day break The quartet concerts, entitled, over the weekend particularly wel­ Evenings allowed us opportunities "Hanoi Rendezvous," took place come. VNOB arranged a tour to to attend a water puppet theater at the historic Hanoi Opera Halong Bay, one of the Seven performance and a performance House, a beautiful and acoustical­ Wonders of the World. Halong of tuong, traditional Vietnamese ly resonant hall built by the Bay, connected to the Gulf of opera. Water puppetry originated French in 1911. The concerts also Tonkin, covers 1,000 square miles approximately 1,000 years ago featured the Vietnam Women's and is dotted with over 3,000 with rice farmers who wanted to Cello Ensemble. For the second islands. "Ha long" means "where create entertainment during the half of each concert, the quartet the dragon descends into the sea." long flood season. Tuong is simi­ dressed in traditional Vietnamese Legend holds that a great dragon lar to Chinese opera, bur with its attire, Ao Dai, (literally meaning living in the mountains created own national flavor and dates "skin-fit"). The audience was the islands. The islands contain back to the tenth century. Ornate touched when they saw the quar­ innumerable beaches and grottoes costumes, symbolic painted faces, tet members in these tight dresses, created by the wind and the gestures that combine dance, mar­ even though the design isn't as waves. The largest island, Cat Ba tial arts, and emotional expres- flattering on average Western fig-

VOLUME 19 NUMBER 1 27 Members ofthe International Womens String Quartet, dressed in Ao Dai, traditional Vietnamese dress, at the Hanoi Opera H ouse. Left to Right: Claire Thibauld, violist Francoise Coppey, Violinists Penny Thompson Kruse and Bonnie Lin, cellist Tran Vu Vttn Anh. ures as it is on the more petite and one reason, the unique experience Dr. Penny Thompson Kruse is svelte figures of Vietnamese makes us appreciate many things Assistant Profissor ofViolin and women! The level of ensemble that we take for granted. In adru­ Assistant Dean for Graduate Studies playing after six days of rehearsal tion, the spirit, warmth, and at Bowling Green State University amazed members of the VN0 B enthusiasm of the people are in Bowling Green, Ohio. She taught orchestra, who attended rehearsals infectious and they are eager to for eight years at William Jewell as well as performances. Auruences share cul tural backgrounds. College in Liberty, Missouri and consisted of many tourists and H anoi is a viral city, with a bright was a member ofthe Kansas City Americans residing in Vietnam, m usical future. Would we return? Symphony for five years. including several members of the Yo u bet! B American embassy. At the airport on our way home, we were instant Dr. Steven Kruse currently teaches celebrities, approached by numer­ at the University ofToledo and ous fellow travelers who had performs as principal violist with attended one of the concerts. the Flint (Ml) Symphony and Lima (OH) Symphony. He taught When describing our experience, on the faculty of the University of it is easy to emphasize the less Missouri-Kansas City for twelve attractive aspects. Why would one years and served as principal violist want to perfo rm and work in ofthe Kansas City Symphony for such a difficult environment? For six years.

JOURNAL OF THE AMERICAN VIOLA SOCI ETY 28 A A VIOLIST's PRIMER=* rt1PRoviSED ACCOMPANIMENTS IN ALTERNATIVE STYLES

By Katrina Wreede Because there are already so primary melody note is a reliable many good books and CDs on place to start. Usually, grabbing When I resigned from symphonic jazz solo techniques for strings, notes on the G and D strings will work in 1985 to study jazz, I had this article specifically addresses feel most comfortable and balance no specific plans for where it "comping" (accompanying) with most solo voices. Sometimes, a sec­ would lead. I just enjoyed trying to nothing but a "lead sheet" (the ondary viola melody played higher improvise a lot more than sitting melody and chord symbols). than a louder melody instrument in a section. That choice enabled Violists should find the sound of has a spectacular Dixieland obliga­ me meet, study and gig with inno­ these improvised parts surprising­ to effect. The great thing is, the vative musicians outside the classi­ ly familiar. Music is music and player is allowed to adapt as need­ cal realm, become a founding middle voices continue to be ed, dictated only by imagination, member of the adventurous Bay middle voices ... good taste and a playful sense of Area Jazz Composers Orchestra, adventure. and tour internationally with the Lead vs. Camping Turtle Island String Quartet. It also Voice leading launched my composing career. The first decision, whether to play Now on any given day, I may find the "lead" or "comp," is usually Once the violist decides on myself playing, teaching and com­ made by the leader of the ensemble approximately what pitch range posing classical, jazz, swing, even right before playing. Even if the the comping will cover, where are free improv music. It is great to viola plays the melody line, there the most effective notes? The root move comfortably between musical may be comping during other play­ of the chord is usually covered by worlds. I believe improvisation is a ers' solos. To comp effectively, the a lower instrument, so choose the necessary survival skill for the next violist uses the chord symbols as a interesting notes: the generation of violists. guide and chooses double stops, major/minor third, seventh single notes or secondary melodies and/or ninth of the chord. The experiences I have had over the that imply the chords. Then he/she Traveling from one chord to the last 17 years lead me to believe that superimposes a rhythm appropriate next, choose notes based on good regardless of musical style or ensem­ to the style, soloist and tempo (a la voice leading, in other words, ble instrumentation (viola with Suzuki Twinkle rhythms) over the keep notes the same as much as strings, piano, harp, saxophone, chosen pitches. possible and move only one step guitar, etc.), a viola is at its best when possible. Contrary motion, when being a viola. An improvised Range for example: one note changing viola solo should be an all-around up while the melody changes moving experience, but, in explor­ Choosing the pitch range for down usually creates interesting ing alternative music styles, the vio­ comping involves listening to the lines. Using the 4-staff score exer­ list will find that often her/his best soloist/melody and finding an cise below will help develop a work happens while filling out the effective, supporting distance. A repertoire of easy-to-grab chord middle, as in a Beethoven Quartet. diatonic third or sixth below the progressiOns.

29 Rhythms Parallel harmony lish and maintain the groove. In more modern jazz selections and The rhythms that create a groove In many styles, like jazz ballads, Latin tunes, the groove comes can be very simple, as long as they tango and swing, the viola sounds from alternating between strong rely on some repetition and a great improvising a parallel harmo­ and weak beats in evenly divided familiarity with the style. Too ny line. Use the same rhythms as eighth notes more than from the jagged or unreliable a pattern will the melody and choose the next traditional "jazz triplet" feel. throw the ensemble off, even if chord tone down from the melody each note is technically in the note. This can be tricky. It requires Bowing patterns will be dictated "right" place. As ensemble com­ the violist to be aware of all the by the basic comping rhythm. munication improves, the comping note possibilities in each chord, Find the underlying rhythm for a players can take more liberties. what chord tone (if any) the tune by listening to recordings. Listening to recordings of different melody is using and even what Practice the rhythm pattern over styles of music will increase the chord tone the melody will use scales with a metronome, work­ violist's repertoire of comping next, to avoid too many crossed ing out the bowing to fit accents rhythms. Here are a few patterns lines. Another consideration is until it feels like the bow runs on for some different styles. deciding when to use passing tones "auto-pilot". When the bow and when to hold while only the takes care of itself, the groove Ex. 1. Rhythm pattern for fast melody moves to the next chord will be better, and there will be swing tune tone. Too much parallel movement more time to contemplate finger sounds silly; too little can sound decisions. e J stodgy. A little practice will allow liB the violist to rely on her/his ear I highly recommend using library and good taste. or internet research to find a copy Ex. 2. Rhythm pattern for bossa ofJoe Venuti's "Violin Rhythm, a nova Bow strokes School of Modern Rhythmic Violin Playing", published by Robbins v r'1 v v v In general, bow strokes for rhyth­ Music Corp, 1937. It does won­ derful things for rhythmic accuracy liB e tj EIJI 'f Etr I mic camping require more accent and a quicker decay. A slightly in any style, especially jazz. lower bow arm helps. The closest Ex. 3 Rhythm pattern for jazz basic stroke might be compared to The 4-staff Comping waltz an aggressive Baroque marcato. Exercise

v r'1 v In order to analyze and develop fluidity with these techniques, I r r have my improvising students use Spiccato is very seldom used except this exercise. Once written out in Ex. 4. Rhythm pattern for in some show-off gypsy or tango­ score form, practice each one with Klezmer tune esque tunes. Heavy accents on the a recording of the tune or with "back beat" one of the Jamey Aebersold prac­ L.H. r'1 v (beats 2 and 4) tice COs, available on-line at liB e £ [JI or the off-beat www.jazzbooks.com. notes inside syn­ copated patterns 1. On manuscript paper, write out will help estab- a tune for study on the top line

jOURNAL OF THE AMERICAN VIOLA SOCIETY 30 of a 4-staff score, along with the staves, it can be used to compose Katrina Wreede, improvising violist, chord symbols. improvised solos, too. It also prepares "Composer in the Schools" for the violist fur those situations where American Composers Forum since 2. On staff 2, write a chord, lined someone drops a melody with chords 1998, author of"Violaerobics, a up with each chord symbol, on the stand and says, "just play Technical Workout for Violists" and using all the chord tones that something that fits''. As the world "Concerto for Improvising Viola and fall comfortably in first position. becomes smaller and musical styles Orchestra': available from MMB If a little rusty on chord tones, fuse, this skill will be more in demand Music, St. Louis, MO. refer to the chord tables section than ever before. It should be part of of any harmony textbook or a every violist's basic training. B beginning jazz book. The chord tones in simple swing tunes are usually the AllofMe root, third, fifth and sev- 4-staff score exercise enth degree. chord symbols CMaj7 E7 E7 f'-_ ...... ~ 1_j[ 3. On staff 3, select a dou­ melody ble stop from each chord change, watching for pitch changes that move ~ ~ ~ ~ chord tones small distances and for in lstpos. .. _... comfortable hand posi­ tt tt "~ tions. Practice these with 1"'1 1"'1 1"'1 1"'1 1"'1 1"'1 1"'1 1"'1 many rhythm patterns comping with rhythm (see Joe Venuti's book)...... "* * Keep a separate diary of rhythms for reference r3-, ... parallel later. melody ...... I I - 4. On staff 4, write a sec­ ondary melody using A7 A7 s-, Dmin Dmin similar rhythms to the - r~ • melody but choosing chord tones below the notes of the melody. Add ~ II l:t ~ passing tones between notes, and/or keep it II 1- • simple by playing mostly " 1"'1 ,., ,., half notes that match up 1"'1 1"'1 1"'1 1"'1 v v v v with the chord changes. 71 71 If-' If-' adding~odi~mo' ~· * for interest I have found the exercise to [""'""3--, be a great introduction to learning harmony; composi­ passmg tones I I I tion and improvisation. Using an additional couple of Ex. 5. "All ofMe" 4-stajfscore exercise

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By Karen Ritscher play the viola. Of course, the flex­ use as little energy as possible ors of the forearm also contribute to feel the opposition. This is A number of years ago, while to the finger action, but I would NOT a muscle strengthener, admiring some of the great per­ like to focus more on the function bur rather facilitates the aware­ forming violists, I noticed that all of the small muscles supporting ness of the brain-knuckle con- beautiful left hand techniques the knuckle action. Without spe­ necuon. shared the characteristic of plump, cific kinesthetic awareness, stu­ well-formed knuckles. I wanted dents are often stumped on how those knuckles as my own and to acquire clear and efficient left­ started to obsess on how to hand technique. We know that achieve knuckle perfection. I have the action should be a "ping­ noticed in my students that often release" from the base joint. Often the proper use of base knuckles is students believe they are doing the one missing link to successful this correctly when in fact they left-hand ease. Following are a few are using too much of the back of suggestions and musings for hand and forearm muscles. I sug­ improving left-hand function, gest doing an "opposition" exer­ gleaned from my own practice cise with the student away from and observation of my students. the viola to help him/her gain awareness of the proper motiva­ Most of us have been instructed tion of the movement: that good finger action comes from a lever motion from rhe base 1. Have the student rest his (or joint. Among medical and anato­ her) left arm on some phone Teacher on right providing the my people, the base joint is books with his shoulder resistance to help the student feel the strength ofbase knuckle referred to as the metacarpal-pha­ relaxed. langeal or m.p. joint. The m.p. 2. While the student presses a fin­ joint is simply the joint that con­ ger down, one at a rime (like a While good hand shape or "frame" is nects the bones of the palm to the piano finger action), the vital for consistent intonation, one base of the fingers. The interossei teacher uses his own finger and must also pay attention to the inde­ are small muscles originating from hooks it under the student's pendence and balance of each finger. rhe metacarpals and inserting and provides upward resistance. I believe that superb intonation can onto the phalanges (fingers). T he student should try to only exist with good knuckle align­ T heir tendons are attached to locate the tiny muscles around ment, which exists when the joints those of the extensor muscles of the joint and to recruit the arm are free to serve as hinges. Each finger the arm. T he lumbricals are also muscles as little as possible. needs to: 1. drop and lift freely, 2. small muscles at the base of the 3. Then the student presses his glide up and down the suing and 3. fingers. Collectively, the interossei finger up while the reacher cross easily berween strings. While we and the lumbricals flex and resists in a downward pressure. talk about "lifting" motion, it is more extend the joints, enabling the It is important for both student accurately a springing motion from minute finger action required to and teacher to concentrate and the base joint.

VOLUME 19 NUMBER 1 33 One of the most important elements she pretend that there is ample in healthy setup is the counter-bal­ space for the first finger joint. I ance between the index finger joint have a trick that facilitates this and the function of the pinky. The hand balance. Imagine that there space between the index finger base is a slot in the peg-box running knuckle joint and the second finger perpendicular to the strings base knuckle joint must be free of where your first finger can rest excess tension. The knuckles do and approach the fingerboard NOT need to be parallel to the fin­ from the direction of the scroll. I gerboard, as this tends to lock the keep a cardboard cutout of a knuckles. Rather, the image of a "giv­ viola that the student can experi­ ing" hand shape helps an organized ment with to achieve this feel­ set-up. For smaller hands, indeed, the mg. pinky knuckle will be higher than the first finger joint. Sometimes I Good shifting is also affected by fantasize, and even attempt to play, the hinge of the knuckle release. the viola with my first and second The first step before the shift is fingers on the C string side and the to let go of the pressure of the third and fourth fingers on the A stopping finger. Many students string side because it feels so natural. misunderstand and release the My wrist releases, my knuckles open pressure of the tip of the finger, and my fingers line up beautifully: while keeping the back of the hand rigid. Instead, during the shift, if it is an "old finger" shift, to play the exercise or the pas­ the knuckle is open, the finger sage from your piece that your stays lightly on the string with a movements will be much more harmonic type pressure, and precise and economic. 8 when the new pitch is reached the finger again springs down. Karen Ritscher is Associate Profissor ofViola at the Shepherd School of One last exercise that my viola Rice University. She appears often studio has found helpful is the as chamber musician and soloist "intention" game. I suggest and has given masterclasses beginning with Schradieck Book throughout the US, Canada, Korea, One, page one. Place all four and Taiwan. She was the string fingers on the string. Without consultant for the book by the bow, pretend that you will Madeline Bruser, The Art of play the exercise, but instead Practicing: A Guide to Making ONLY feel the firing or motiva­ Music from the Heart, published tion of the finger motion. You by Bell Tower in 1997. Rachel White, student at University can "play through" as much as ofOklahoma, demonstrates com­ you like, in rhythms or evenly at fortable hand setup any speed, although slowly is always preferable until the brain When the student returns to nor­ connection is focused. You will mal hand setup, suggest that he or then find that when you go back

JOURNAL OF THE AMERICAN VIOLA SOCIETY 34 the NEWBERGVIOLABOW "Ever is always in the best of hands smce !first became aware of offering the Berg violists violin and custom cello bows in crafted bows the mid-1990's in a wide I have been range of pressuring Michael Duff to weights produce such a viola and selection bow. It has been of worth the wait! The beautiful new Berg viola bows are mountings: just what the doctor ordered. Rarely have I had • snakewood the good fortune to play a • hom bow that virtually has it all.. . and this is it. How unique • ebony it is to have a stick be warm • fine silver and sensitive at one moment and powerful and articulate the next. • gold Not to mention its affordability. I am truly looking forward to years of camaraderie with my new Berg bow and plan to encourage my students and colleagues to give the Berg bow serious consideration as well. "

Alan de Veritch Professor ofMusic, Indiana University Past President, American Viola Society

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JOURNAL OF THE AME RICAN VIOLA SOCI ETY 36 DAVID BURGESS AND

By Eric Chapman time in history. Indeed, the rated violinmakers. Both trained limelight has returned to the as violinists for which violists Welcome to this the inaugural craft of violin making as it now should forgive them. column featuring the world's sits center stage in the world of finest contemporary viola mak­ performing arts. Burgess, born in Princeton, New ers. In this column, we will Jersey in 1952, has been explore the lives, methods, and Fortunately for violists, the involved in the string world philosophies of makers around creme de Ia creme of makers from the age of 5. Initially he the globe whose work has been have given vastly more attention auditioned for The Curtis decorated in major competi­ to the viola now than during Institute but found his calling in tions, and have found approba­ any other renaissance period. the instrument world working tion in the opinion of you, the Given the chronic shortage of for David Saunders in Seattle, players. older quality violas, the top con­ Hans Weisshaar in Los Angeles temporary masters have moved where he worked on the restora­ The musical world has enjoyed to fill that void. tion of many fine instruments, the fruits of several renaissance and Shar Products in Ann periods in violin making, per­ Ever try to find a fine old viola Arbor, where he was the resident haps the most famous being the of quality that was in good con­ maker. He has worked on his Italian Renaissance of the 17th dition, affordable, and had a own for many years and still and 18th centuries which pro­ fine sound? In every violist's makes Ann Arbor his home. pelled all the creative arts to rise search for the dream instrument Ravatin, born in France in to their greatest levels. The he or she has probably learned 1962, was headed in the same finest creations of Antonio rather quickly that the best bar­ direction but found himself Stradivari and Guarneri Del gain is in the contemporary faced with a choice of electrical Gesu may never be matched. masters. For quality of work, engineering or violin making. In The nineteenth century featured sound, and price, they are diffi­ an effort to sort out career a renaissance directly linked to cult to best although a bit of options, he took a job restoring the career and creativity of the patience may be required as the an old farmhouse. Having dis­ great Parisian luthier J.B. viola is "played in". covered that he preferred work­ Vuillaume. In the early twenti­ ing with his hands and learning eth century, the focus of violin The best makers achieved their that he was too old to enter the making moved back to Italy reputations because of their rate French violin making school at with the evolution of the Bisiach of success-like Strad and Del Mirecourt, he headed for dynasty in Milano. Gesu, the vast majority of their Cremona, played the instruments are tonally excellent Khachaturian violin concerto for The late Twentieth Century and world class in craftsman­ his audition and began his stud­ marks the start of the most ship. The two makers selected ies with Giorgio Scolari After important renaissance in violin for this inaugural article, David graduation he worked with making since the Bisiachs. Burgess in the United States and Massimo Negroni. Following six Perhaps there are more great Frank Ravatin in France are per­ years of restoration work with violin makers now than at any haps the world's two most deco- the Camurat family in Paris he

VOLUME 19 NUMBER 1 37 set up on his own in 1991 and petition in Oakland, the judges Bartok, Walton, etc. He prefers now makes his home in Vannes. were perplexed after the compe­ little antiquing and believes After both Burgess and Ravatin tition wanting to know who that slab cut maple backs are found their calling in violin had made such a beautiful viola. the most successful for the making, each has credited the Some judges thought it was viola. Burgess, on the other other as being a major influence Italian, others French. No one hand, makes no copies, doesn't in their making. When Burgess knew for sure until Ravatin was ever antique and believes that won the Trienalle in Cremona, revealed to have won the gold his instruments have a very dis­ Ravatin was greatly impressed. medal. This viola is pictured in tinctive face. lr is probably fair Le Canu's "Les Luthiers to say that either maker's While both makers have retired Francais," Vol III. instruments can easily be iden­ from competitions at least in tified from across a room, a the United Stares, their compe­ Asked what distinguished his trait that becomes important in tition credits are unequalled. work from other makers, the secondary marker of instru­ Between 1976 and 1982, Ravatin indicated that it was ment sales. Burgess won nine VSA Gold his willingness to adapt classic Medals-so many rhar the VSA models for contemporary play­ While Burgess prefers larger board passed what at the time ers. His preferred model for violas tonally, he also believes was referred to as the "Burgess" viola has been the Andrea that tone quality exists mostly rule, which forbade makers to Guarneri although he has independent of design; he compete after having won three shortened the corners a Ia Srrad therefore does not tailor his gold medals. This rule was later to facilitate the performance of instruments in most cases to a modified to Gold medals in three competitions and com­ bined the scoring of workman­ ship and tone, the system under which Frank Ravatin won 8 Gold Medals. Ravatin also won gold at the Manchester Cello competition while Burgess col­ lected top prize at the Triennale in Cremona, the Spohr compe­ tition in Kasel, Germany, and the American Federation of Violin & Bow Makers. Both makers made quire a splash with international judges. Fo llowing the 1980 internation­ al VSA competition in New York, Rene Morel, then head of restorations for Jacques Francais Violins asked whom this David Burgess was. "On my best day at Mirecourt", Rene marvelled, "I don't think I could do that well." At the 1994 VSA com-

JOURNAL OF T H E AMERICAN VIOLA SOCI ETY 38 ers. Each uses an oil varnish, which is never excessively rubbed out. The price of a Burgess viola is presently $24,000 while a Ravatin is approximately $ 12,000 depend­ ing on currency exchange. Both makers would appear on nearly every luthier's list of the top ten makers in the world. 8

Eric Chapman is a violin maker/ appraiser/dealer who has guided his many clients through the thorny process ofinstrument choice and purchase. As founder and President ofthe Violin Society ofAmerica, he directed five international violin making competitions. As the first Western technical advisor to violin makers in China, he revitalized the craft in Guangzhou. The recipient of specific player. Models are residing at the Paris many medals and awards, includ­ designed to avoid technical Conservatory. ing the Ysaye Medallion from the problems and violists are given Belgian government, and a the option of two body widths While photos can be quite Distinguished Service plaque in each size. deceptive, one is immediately from the American Viola Society, struck by the beauty of the he is on the Board ofDirectors of Mos t of the musicians on wood used by both makers. the Chicago School ofViolin Ravatin's four-year waiting list T he choice pieces of maple and Making and the Skokie have consulted with him as to spruce are always well aged and Symphony. size, string length and preferred the grain on the spruce tops is sound quality. Each instrument always straight and the wood is crafted with its intended use perfectly quartered. T he f holes in mind. Together, maker and are superbly executed by sure player work to evolve an "ideal" hands. T he Ravatin shows the viola. Ravatin recently complet­ black outline on the chamfer of ed a string quartet for the M ira the scroll while the Burgess is Q uartet, presently in residence left plain. Neither maker uses at Kent State University. Violist high ribs, which assists the play­ John Largess needed a larger er in the upper positions. Necks instrument, which inspired are beautifully finished and the Ravatin to design the new viola instruments are set up in a way based on a viola by David that reflects the background of Tecchler (Rome, 1666-1743) both as superbly trained restor-

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JOURNAL OF THE AMERICAN VIOLA SOCIETY 40 A

INTERNATIONAL VIOLA ARCHIVE

by Dwight Pounds responsible for the archive's exis­ and Zeyringer basically called for tence, with each having devoted (1) the establishment of a research On March 1, 2002, the Primrose years ofpersonal effort and sacrifice body for the viola, and (2) sched­ Room at Brigham Young University into its creation. Immense obsta­ uling viola congresses at appropri­ was dedicated by Dr. David cles-many across international ate intervals. The research body Dalton, Past President ofboth the borders-had to be overcome, would require a dedicated viola American and International Viola money raised, reluctant people per­ library capable of supporting inves­ Societies and Professor Emeritus at suaded, and very complicated and tigative and archival functions and B. Y. U, Prof Franz Zeyringer, co­ difficult personal and institutional serve as an international "viola cen­ founder and Honorary President for relationships assuaged. ter." This organization and the Life ofthe International Viola viola congresses would be struc­ Society, and numerous violists and tured around and for an organized academic dignitaries representing The Viola Research membership of violists, scholars, many countries, organizations, and Institute and Viola and friends of the viola. schools. Constructed with precious Research Society woods, a coffered ceiling, and cabi­ Following three years of painstak­ nets with inlayed wood by Nick The PIVA dedication represents ing preparations by Bauer, Bruford, proprietor ofArtisans du the culmination of a movement Zeyringer, and others, the ground­ Bois ofSan Diego, the Primrose begun 37 years earlier when the work was complete. On 13 April Room welcomes visitors to the PIVA idea of a viola archive and viola 1968, violists from Germany, with an exhibit ofviolas used by congress was first conceived. In Austria, and Switzerland met in Mr. Primrose and many other July 1965, two relatively unknown Kassel, Germany, and organized mementos from Primrose and other teacher/violists, School Master the Viola-Forschungs-lnstitut outstanding violists. The adjoining Dietrich Bauer, from Kassel in the (VFI) ("The Viola Research room features a very large and Federal Republic of Germany Institute"), which later became the impressive painting by Emanuel (FRG) and Music Director Franz Viola Archive, and the Viola Vardi, the Austin Viola Congress Zeyringer, of Pollau, Austria, met Forschungs-Gesellschafr (VFG) Photography Collection from for a week at Zeyringer's home and ("The Viola Research Society" and Dwight Pounds, and the Great outlined their perceptions of a original name of the organization Violists painting by Carl Ben Riley. workable organization centered that eventually became the These gracefully surround the around and dedicated to viola per­ International Viola Society) to give world's largest and most extensive formance and research. The con­ the institute its "public frame­ collection ofliterature for and about clusions of days of extended delib­ work." The one American to play the viola. It was fitting that the erations were summarized in the an important role in early forma­ ceremonies were organized and led Pollauer Protokoll, a two-page out­ tion of the viola society was Myron by Dr. Dalton and that the guest of line which must be considered the Rosemblum who was going gradu­ honor was Prof Zeyringer since "genesis document" for the ate work in Vienna where he also these gentlemen are those most International Viola Society. Bauer studied viola d' amore. Dr.

VOLUME 19 NUMBER 1 41 Rosenblum was a very close friend ("International Viola Research Rochester, N.Y. A larger room was and confidant of Zeyringer for Society"), was adopted, with sec­ promised and the archive was many years and was founder and tions in the USA, Japan, Canada, transferred to the Borromaum, a first President of the American Australia, and England, and an recently renovated Mozarteum Viola Society. independent section in Germany. facility, and coinciding with the The Viola-Forschungs lnstitut was completion of the archive cata­ Bellevue Castle in Kassel was the disbanded in favor of the "Viola logue in October 1978. original seat of both the VFI, thus Archive," and the IVFG seat and the repository of the original viola the Viola Archive transferred from The archive now enjoyed a nice archive, and the VFG, but in time Kassel's Belleview Castle to the room furnished with shelf space, the city proved a difficult location. Mozarteum in Salzburg, Austria. tables, chairs, desks, typewriters The problem for Zeyringer was and necessary office supplies, twofold: the first was geographic-­ Frustrated in his attempts to trans­ though the acoustics were ques­ Kassel was a full day's train ride or fer the IVFG and its holdings to tionable. Though the room com­ automobile drive from Pollau, Graz, Zeyringer thought Salzburg plied with basic needs, anyone try­ Austria, extracting from him a would deliver everything he had ing to use the archive could hear price in time, money and physical sought. His letters to Rosenblum everything from the neighboring strain; the second dealt with the at the time reflected satisfaction rooms, the hallway, and the upper archival support of Kassel officials. and optimism-the relocation to and lower floors. The floor also Zeyringer described the problem as Salzburg worked out very well ini­ was so elastic that it vibrated con­ "too little initiative, no money and tially, with monthly Executive tinually, but these proved to be insufficient space," and the distance Board meetings where "any and all only minor difficulties. involved meant that he simply problems" could be addressed could not exert enough influence expediently. He developed a work­ The room was not dedicated on events. At his urging, the VFG ing relationship with the exclusively to the archive, contrary Executive Board resolved in 1971 Mozarteum Rector and felt that to bilateral agreements. The facili­ that the Society and its archive be his dream of a functioning archive ty was used as a classroom, and transferred to the Musikhochschule and "viola center" would be even worse, any Mozarteum pro­ in Graz, Austria, a very reasonable achieved in Salzburg. fessor could schedule it for exami­ drive from Pollau. nations. Anyone conducting Zeyringer's satisfaction with the research could no longer work Although Zeyringer wielded con­ archive at Salzburg was relatively there without interruption. When siderable power and influence as short-lived. The room placed at his parts of the archive simply disap­ VFG President, he did not always disposal was quite insufficient in peared and when the Mozarteum have his way. Ultimately, nothing volume, an outrageous develop­ director did not renew Zeyringer's regarding the VFG structure went ment in his mind since it would commission as viola archivist, he to Graz. The Germans would not not even accommodate the eventu­ refused to release his private agree to the transfer without al transfer of his voluminous pri­ library. Custody of the archive founding their own independent vate holding and made no provi­ then was transferred to the section with its seat and eventually sions for the expansion of the Mozarteum Library and the IVFG an archive in Kassel. A solution archive from future donations. therewith lost any right of partici­ was reached only at the General Zeyringer nevertheless began the pation in the decision process Assembly Meeting of25 July 1976 arduous task of cataloging the viola regarding the viola archive. Kassel in which a new name, the archive, ably assisted by Dr. Louise had not met Zeyringer's expecta­ lnternationale Viola­ Goldberg, a librarian with the tions and now the archive had Forschungsgesellschaft (IVFG), Eastman School of Music in been absorbed into the

jOURNAL OF THE AMERICAN VIOLA SOCIETY 42 Mozarteum. As the situation in facilities. The fact that the Lee lished this announcement in VRS Salzburg became worse and worse, Library in 1979 housed 2.5 mil­ Newsletter No. 9: "Efforts are he began to explore the possibiliry lion items maintained by 300 under way to establish a perma­ of salvaging the Viola Archive and employees compared to the nent archive in America of viola reintegrating it into the IVFG. Mozarteum's 60,000 items and six music for study and loan purposes. Thoroughly outraged, the turn of employees was not lost on Several possible locations in events left Zeyringer more deter­ Zeyringer. He determined that American universities have been mined than despondent. Brigham Young Universiry should proposed and are being explored." be given the opportuniry to pur­ The Primrose Viola chase the Viola Archive, despite Provo indeed had much to offer. Library the fact it was across the ocean and Not only did Zeyringer have the kin­ very much outside the German dred spirit in the person of David The founding ofPNA, however, is language domain. That the Dalton with whom he could com­ not related to the IVFG archive. archive might be bound for a reli­ municate comfortably in his own William Primrose had given his gious institution in a Western state language, but he knew that the personal library and memorabilia and far removed from the many Primrose Viola Library was already in to Brigham Young University in conservatories and music schools place, a resource which, if combined Provo, Utah, at the behest of that dot the U.S. eastern seaboard with the viola archive in Salzburg, D avid Dalton in 1974, when an were points of concern raised by might form the nucleus of his elusive agreement was signed. The mate­ Dr. Myron Rosenblum and Dr. goal for a functioning "viola center." rial was assembled under the title, Maurice Riley (second AVS Zeyringer, who consistendy valued "Primrose Viola Library," and President and host of human decency and integriry in peo­ incorporated into the Harold B. International Viola Congress III in ple as much or more than their musi­ Lee Library and made available to Ypsilanti), in later exchanges with cal expertise, was deeply impressed the general public. Zeyringer visit­ Zeyringer and Dalton. Zeyringer with the professionalism of the BYU ed the BYU campus in 1979 for and Dietrich Bauer were not the administration, the genuine friendli­ International Viola Congress VII only people interested in establish­ ness and personal standards by which and saw for himself the extensive ing a viola archive. Five years ear­ they conducted themselves, and the Universiry library collections and lier, in 1975, Rosenblum had pub- good faith and flexibility they showed during negotiations. BYU was also in the position to offer exrensive and excellent library and archival facilities with a highly trained, dedicated and skilled staff. By no means least in importance, Zeyringer was convinced that the Brigham Young University representatives acrually wanted the Viola Archive and appeared willing tO meet his demands and specifica­ tions in acquiring it. It must be stat­ ed that Zeyringer's goal and efforts for a functioning viola archive, inter­ national in scope and access, and housed in a secure facility, were limit­ ed neither by language, country poli­ tics, personal interest, nor friendship.

VOLUME 19 NUMBER 1 43 Lengthy negotiations between from Salzburg and his disappoint­ and this writer. A report ofPNA Zeyringer and numerous BYU offi­ ment in having to transfer the acquisitions, including old and new cials were successfully concluded archive to the English language recordings, photographs, books, and the proceedings ratified by the domain from that of the German music, and personal memorabilia, is 17th NG Presidium Meeting on was palpable and poignant. In a published regularly in the Journal of 15 November 1980. Brigham letter to Dr. Rosenblum, he wrote, the American Viola Society (JAYS). Young University and Mozarteum officials agreed to exchange the "I was asked by BYU to function Please notice that 21 years elapsed Viola Archive for a holding of equal as their official representative and between the acquisition of the value [80,000 Austrian Schillings, to pack the Viola Archive. IVFG archive and the dedication roughly $1800]. The Mozarteum Containers were quickly procured of the Primrose Room, and while received a bound set of Corpus from a shipping firm, and I went the developments within PIVA Mensurabilis Musicae, Publication to work. An inventory of the and Brigham Young University are of the American Institute of holdings revealed that 16 items very much a part of the founding Musicology, for the Viola Archive. were missing, among them the of the viola centrum envisioned by handwritten manuscript of a late Zeyringer, these are beyond the In Germany the transfer of the 18th century viola concerto. purview of this writer and await archive to the USA was seen as the the attention of the only person only possible solution, and was unop­ The material arrived safely in Provo qualified to address them, Dr. posed in the next meeting of the NG and was immediately processed. David Dalton. Executive Board. In the USA a con­ This happened in 1982. However, Bict erupted regarding the location of once again a small piece of cultural For more detailed reading on the therudll~. ~eralofficersofthe treasure from Austria has wandered PNA, consult Die Viola da braccio

American Viola Society opposed across the ocean. 1" by Franz Zeyringer, The American Provo because it was too far west; Viola Society: A History and others greeted the transfer of the viola The holdings of the Salzburg Viola Reference by Dwight Pounds, the archi~ to Provo. Then there was the Archive and those of the Primrose 1993 BYU booklet Primrose religious issue. Unfamiliar with the Viola Library were combined in International Viola Archive, and subtleties in American culture and 1981 at the Harold B. Lee Library articles by David Dalton in the geography, Zeyringer concluded that at Brigham Young University at JAYS on the PIVA B Provo occupied a more central posi­ Provo, Utah. This new resource, tion than the cities on either the East named the Primrose International 1 Zeyringer: Viola da braccio, p. 188 or West Coasts of North America. Viola Archive (PNA), has continu­ National and religious arguments ally expanded its holdings and serv­ Dr. Dwight Pounds is Professor were permitted to play no roles. In ices and function internationally as Emeritus at ~stern Kentucky and this manner the relocation of the what Dietrich Bauer and Ftanz author ofThe American Viola viola rudllve from Salzburg to Provo Zeyringer foresaw in 1965 as a Society: A History and Reference. began to take shape. "Viola Center." The PNA has been He currently is gathering materials recipient of the personal papers, in preparation for the second volume Despite his success, despite the ful­ files, music, and other viola memo­ ofthis work. fillment of a treasured dream, rabilia not only of Franz Zeyringer, Franz Zeyringer nevertheless had but also those ofWalter Lebermann, lost the physical presence of the Ernst Wallfisch, Maurice Riley, Clyn viola archive. His emotions were Barrus, Paul Doktor, and others, understandably mixed as the hold­ and has been promised many more­ ings were prepared for shipment -including those of David Dalton

JOURNAL OF THE AMERICAN VIOLA SOCIETY 44 SEARCH I

The Harold B. Lee Library at loan, but in most cases may be case are not important). Brigham Young University is photocopied for a modest fee. Common boolean operators home to the Primrose including AND, OR, and International Viola Archive. The Internet URL for the BYU NOT can be used to combine Their library catalog system can library homepage is keywords. be accessed via the Internet by www.lib. byu.edu/ newhome.html. 4. Then click on the SEARCH violists throughout the world. Anyone with access to the EVERYTHING button. If The following instructions Internet should be able to use the your choice of keywords is lim­ explain how to search for viola catalog. Some users who receive ited to the composer's name or materials in the catalog and their Internet access from America tide only, then click on the cor­ describe procedures for request­ Online have reported problems responding AUTHOR or ing specific tides through the making the connection. To use TITLE button. interlibrary loan process. the online catalog it is necessary to have either Internet Explorer Subject Search PIVA is the official archive of the version 4.x or Netscape version Subject searching can be more International and the American 3.x (or a higher version of either) complicated. Subject information Viola societies. We wish to be running on your computer. The in the catalog is based on the user-friendly and to aid you in catalog may not function properly Library of Congress Subject your needs regarding the viola with earlier versions. Headings and the Zeyringer clas­ repertoire. The holdings of PIVA sification scheme for viola music. now consist of approximately Once you have made the connec­ If you are familiar with either of 5,000 scores that feature the tion to the BYU Library home these systems enter keywords viola. Some of the older editions page, select the option LIBRARY (e.g., "viola AND duets") and and manuscript scores can be CATALOGS-BYU LIBRARY. then dick on the SUBJECT but­ photocopied for a modest fee. The catalog can be searched in ton. If you are not certain of ter­ Although many scores are pro­ four different modes. BASIC minology used in the subject tected by copyright and may not SEARCHandADVANCED headings, then enter common be photocopied, PIVA is able to SEARCH are the two most useful descriptive terms for musical gen­ loan these materials through search modes for PIVA. res and dick on SEARCH inter-library loan. EVERYTHING. The truncation Basic Search symbol of the dollar sign (e.g., Using the Catalog To use BASIC SEARCH (the "sonat$") retrieves sonata, sonat­ The catalog will display all of the default mode) follow these steps: en, sonates, etc. published scores and sound 1. Leave LIBRARY pop-up menu recordings in the viola collection. set at ALL. The results of the search are first Most of the published scores are 2. Leave the SELECT SEARCH displayed in a list showing only available to borrow through inter­ TYPE option set to KEY­ call number and tide page infor­ library loan. Commercial sound WORD. mation. recordings are not loaned at pres­ 3. Enter keywords from the com­ ent. Manuscript scores, rare edi­ poser's name and tide of the To view the full citation for the tions, and materials in fragile con­ work For example, "bloch item, dick on the VIEW button dition are also not available for AND suite" (upper and lower on the left side. In the full citation

VOLUME 19 NUMBER 1 45 display titles, author names, and Experiment with the different charge for loans from our library. subject terms are highlighted and options and pop-up menus to In some cases the item you underlined in blue. Clicking on any modify your search. The interface request cannot be loaned but may of these highlighted phrases will ini­ is generally simple and intuitive. be photocopied. In these cases the tiate a new search on the correspon­ ILL office will notify you in ding author, title, or subject. Requesting Materials advance of the cost. through Interlibrary To print the results of a search Loan Requests for copies of manuscript you must first tag citations by The BYU library is able to loan scores and assistance with archival clicking in the checkbox posi­ most of its published scores and materials can be sent directly to tioned at the upper left. Click on books through interlibrary loan. the curator of the Archive at the the PRINT CAPTURE button Almost any type of library will address below: and follow the prompts to modify qualify: academic, public, or the display and sorting of the orchestra. The library does loan DavidA. Day records. Note the option to send materials to foreign libraries in all Curator, Primrose International the results of your search to an e­ parts of the world. Unfortunately, Viola Archive mail address or to save to a disk. we do not send materials to pri­ Brigham Young University vate libraries. Harold B. Lee Library Just for fun, try entering the key­ Provo, UT 84602 word search "primrose AND viola The interlibrary loan process is TEL: (801) 378-6119 AND archive" and click not complicated. Simply bring the FAX: (801) 378-6708 SEARCH EVERYTHING. information you received from e-mail: [email protected] searching the online catalog to Advanced Seearch your local library and ask them to TheADVANCEDSEARCH send the request to the following mode allows greater flexibility in contact and address: combining keywords and permits limiting a search to a specific Interlibrary Loan media format. Here are some tips Attn.: Andy Spackman for advanced searching: Harold B. Lee Library Brigham Young University 1. Pop-up menus in the left-hand Provo, UT 84602 column let you specify the cat­ TEL: (801) 378-4155 egory for the keywords you FAX: (801) 378-6347 enter. OCLC Symbol: UBY 2. Pop-up menus in the right­ e-mail: [email protected] hand column let you select a If the request is sent by regular boolean operator. mail, please ask your library to 3. In the SEARCH LIMITS area make the request on their official of the display leave the library letterhead. The response LIBRARY pop-up menu set to time for these requests varies and ALL. depends mostly on how quickly 4. Use the ITEM TYPE pop-up your library can process the menu to limit the search to a request. The BYU interlibrary specific type of media such as a loan office (ILL) is usually very CD or SCORE, etc. efficient and prompt. There is no

jOURNAL OF THE AMERICAN VIOLA SOCIETY 46 John Newton

Violas and Violins

Ofcours e I guarantee my work against deftcts in mnrerials and workmanship and I am happy to do long-renn maintmance and adjustmenr. I will also repair or rebuild my instrummts should tbey mffir accidmtal damage. Some playm might prifl!l' a copy ofa specific originnlmasUr instrument, in either modem or Baroque configuration. I would be happy to discuss these possibilities with you. And of To play a string instrument well is a lifelo ng course my workshop is open to any customer wbo challenge and discipline; we live with our wisbes to see their ftll:ure instrument under COIJ­ insuumenrs in an intense, demanding way. sr:mction. Some insr:mmems are usually available They born inspire and frustrate us . Every ftom stock for rrialloans. Photographs and serious suing player is searching for the special instrument thar provides music's deepest satis­ measuremmts can be provided on req1mt. facrion: the fullest realizarion of me unique, personal vo ice of the artist.

To achieve rhis, an instrument musr have many diverse, even contradictory qualities: responsiveness, for ease of playing, combined wirh a solid ronal core; warmth and clarity ar both extremes of the insuumem's range, bur even and smooth overall; sensitivity at pianis­ simo wirh reserves of great volume when played hard; and the mysterious parmership of projec­ In addidon, for viola players, the true deep tion with rhe abi lity ro blend in an ensemble. alto voice musr be found in an insrrumenr All rhese rhings musr be combined in a com­ whose d imensions are often dicrared by rhe fortable, light yer solidly builr instrument char player's size and conformation. Violins and ca n withstand countless hours of practice and violas like this do exist-rhe classic Italians­ performance. There musr also be me basic bur they are now so rare and ex pensive rhar pleasing natural timbre ro which one can rerurn even the mosr famo us players now require over and over. syndicares of patrons ro provide them!

Tbe process ofcommissioning an instrument is risk-free mzd satiifjing. After extm­ siz•e consultation to establisiJ measurements and duired ftatures~ven including wood, vamish sryle, and decol'tttion-a deposit of 10% smtres the ordl!l: It is usually possible ft"t to examine similar examples ofmy work and consult with their owners. On completion (mually in three to four montbs), rhe playl!l· makes a careful trial and any Ultimately. objective ofthe luthier is rhe same as necessary adjustments are done. Ifit is accepted tbe that ofthe the player: to disappear into tbe music. balance is then payable. Ifrhe player is not satis­ Perbaps we could reach tbat goal rogerher. fied, I prefer to make anotber example to present. ifthat instrummt should also be found not appro­ - JoiU1 Newron, priate, I willreftmd the Mposit witbin sixty days. Violin and Viola Maker

JOHN NEWTON RR #2, 056626 Cone. 12 Desboro, ON NOH lKO Canada (5 19) 934-2955 [email protected]

VOLUME 19 NUMBER 1 47 GY~,~d -~:~~ originality, a one of a kind genius ~. that cannm be duplicated. Like the genius of Pinchas Zukerman. A legend in his own time, for all times. And the only saings Pinchas uses on his venerable, c. 1670 Andrea Guarneri viola are Dominant perlon strings. Crafted with uncompromising arrisoy and qualiry by Thomastik-lnfeld. A legend in this time, for all times. Dominant perlon viola strings: @or virtuosi like Pinchas Zukerman, and all those who wish to bring out a touch of genius.

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JOURNAL OF THE AMERICAN VIOLA SOCIETY 48 By Kenneth Martinson Sonata for Viola and Piano cent of a music box. Brilliant col­ By Michael Kurek (b. 1955) ors are heard in the harmonic sec­ This new viola composition tions. The 3rd movement, review column will be the first of 1. That Which Remains Unspoken Shadows That Long to Be Real, many which I hope to write for 2. Fairy Dreams begins with an ethereal color, and the journal of the American Viola 3. Shadows That Long to Be Real then the pace gradually quickens. Society. Being a performer myself, Premiere by John Kochanowski, The sixths and octaves remind me I feel slightly awkward being in viola and Mark Wait, Piano on of the Walton-like drama heard in the shoes ofa reviewer, as music April 19, 2002, Blair School of his concerto. The ending is critics must endure criticism Music, Vanderbilt University extremely powerful and virtuosic. themselves. However, I feel it is Difficulty: Level 5 There are short written-in caden­ my duty to uphold the highest Duration: 23 minutes zas for the viola in the 1st and 3rd standards in presenting materials movements. to the readers of the ]AVS. I hope This work is of exceptional quali­ that somehow my contribution to ty, it is a very lyrical, and highly The piano part is very playable the journal will in a way help to charged emotionally. The work is and well written. There will be promote those "viola gems" that very thoughtful in composition. some sections where the rhythm are out there and raise the level of This work will have an immediate needs to be drilled between the the music that is written for us. I appeal for the performer and the viola and piano. The voicing is am pleased that I have 4 lesser­ audience, especially for the colors, very nicely worked out, and the known works to present to the texture variety, and blend of viola will always be heard clearly. ]AVS readers for my first column, somber emotional moments, and The special effects in the viola all of which I am recommending exciting bravura sections. There is part are very effective, and the to look at. a tendency to exploit slower and harmonics are very clearly notat­ deeper moods throughout the ed. There are subtitles scattered Ifyou know ofany works that you work, however the ending is full throughout the music, and inter­ feel deserve a review, I will happi­ of energy and virtuosity, a trait esting program notes in the score ly consider them. Please mail that welcomed, as much of our by the composer. This piece is them to: repertoire does not do this. slightly reminiscent of the Rebecca Clarke sonata in the Kenneth Martinson, The 1st movement, That Which mood content, but it has a clear Professor ofViola Remains Unspoken, is a lullaby­ identity and character, and the Western Illinois University dirge/aria-dumka. Overall this is a level of composition is as high a Music Department very warm, slow, dark movement quality. My only critique is that 1 University Circle Drive with some fierce sections in the perhaps the harmonies (as refresh­ Macomb, IL 61455 middle. The 2nd movement, ing as they are) are not entirely Fairy Dreams, is very interesting innovative, but then again one Special thanks to Andrea Molina with the opening and closing could say that about Rachmaninoff. for her contribution in reading pizzicato sections (with piano Nonetheless, this work should these works and giving her input accompaniment in the extreme prove to be a welcome addition to from the pianist's point of view. upper register) that are reminis- our repertoire. I enjoyed every

49 moment of reading this work­ will be able to even attempt this ate appeal to the audience and per­ discovering the colors and har­ project. The writing is extremely formers. The first movement, monies as they went by. This uncomfortable at times, with wide Allegretto, is very quick, light, and work has been transcribed as full octave leaps to the extreme upper tightly constructed, while retaining orchestra pieces, commissioned by register of the viola. My sense is that interest in the extrapolations of the the Pacific and Nashville this work sounds much better on opening theme. The second move­ Symphonies. the computer than in live perform­ ment, Scherzando, is in 5/8 meter ance, additional care in making the for the entire movement except for This work is available directly piece more idiomatic for the viola the brief cadenza near the end. The through the composer at: would have been desirable. 3rd movement, Maestoso, begins Michael Kurek Particular movements in this work with a cadenza utilizing triple and 7329 Cavalier Court are stronger than others, movements quadruple stopped chords. A Nashville, TN 37221-1907 USA 3-7 were fine, but 1, 2 and 8 need remarkably courageous section of e-mail: some rewriting I feel. In movement the work, this writing reminded me [email protected] 8, there is a low c-flat out of the of the chordal writing used by website: range of the viola that needs some Vaughan Williams in the first of the www.vanderbilt.edu/ ~ kurek attention from the composer. 4 Hymns for Viola, Tenor, and Strings (or piano). Following this I would recommend this work to section with the dark somber Dance Bagatelles (1994) the readers, but I would also wel­ chords, the entrance of the piano as Dexter Morill come a rewrite of certain passages it joins the viola made for a remark­ 1. "Shall We Dance?" by the composer. This is certainly able effect. The movement is a set 2. A Latin Romance a work worth reviewing, and has of continuous variations on a 15th 3. Ragtime Dreams definite potential. century tune, Deo Gratias Anglia, 4. Children's Dance introduced in the chordal writing in 5. Solo Dance This work is available through: the viola solo at the beginning. 6. A Delicate Waltz Chanango Valley Music Press 7. "Dancing with Duke" P.O. Box 251 The version of the work I read 8. "Last Dance" Hamilton, NY 13346 appeared to be a prototype print­ Written for and premiered by ing of what may be available in Laura Klugherz Duo for viola and piano (1992) the future. It did lack movement Difficulty: Level 6 Robert Milano (b. 1936) titles, tempo markings, and 1. Allegretto dynamics- hopefully these will be Compositionally, this work has 2. Scherzando added in the released version. some very interesting ideas. It has a 3. Maestoso good spirit throughout, and a solid Difficulty: Level 4/5 Robert Milano is a Puerto Rican rhythmic drive. These eight charac­ Duration: 15 minutes composer, who grew up in New ter pieces have distinct and contrast­ York City, and later returned to ing moods, each with its own This duo is an excellent work with Puerto Rico where he holds a pro­ unique rhythmic content. The writ­ a very refreshing style and clean fessorship at the Conservatory of ing is somewhat mechanical in a melodic lines. It is full of Latin fla­ Music of Puerto Rico. This work way, reminding me of Michael vor, and it written in a style one is recorded by Emanuel Olivieri Daugherty (like in the viola duet, might get from a morphing of the on the new disc "Musica de Viola Zombie). Unfortunately, the music ofVilla-Lobos and Puerto Rico para Viola y Piano" gymnastics required of the per­ Shostakovitch. It is a charming in which Emanuel plays the viola former in this work will limit who work, which will have an immedi- and piano parts!

jOURNAL OF THE AMERICAN VIOLA SOCIETY 50 The sheet music and the recording having been written over 80 years More information on this work can be obtained by e-mail Emanuel ago. The viola writing is very and the other works on the CD at: Olivieri at: [email protected] idiomatic, and very challenging, uti­ www.geocities.com/ musica_21. 13 More information on this work lizing many thirds, sixths, and quick and the other works on the CD at: improvisatory or melismatic passages. Kenneth Martinson is assistant proftssor www.geocities.com/musica_21 This will prove to be a very challeng­ ofViola at WZ.stern Illinois University ing work, but worth the effort by all and violist ofthe ]ulstrom String Romanza (1920) means. This type of writing seems to Qjiartet. He is an award winning Jose Ignacio Quinton (1881-1925) be ideally suited for someone like chamber musician and has concertized Difficulty: Viola part-Level 6, Robert Diaz (Roberto check this one throughout the United States and Piano part-Level 3 out!). The version I read from again Canada as well as Brazil England, Duration: 6 minutes seems to be a prototype of what will France, Italy, Russia, and Switzerland, be available; hopefully the presenta­ and was a ftatured guest artist at the Another excellent piece by a Puerto tion of the published version will be 1999 and 2002 International Viola Rican composer, this one is a show­ much cleaner with tempo markings, Congresses in Guelph, Ontario and piece, salon-type music, almost as if it etc. This work is also found on the Seattle, Washington. were written by a Latin Vieuxtemps. CD by Emanuel Olivieri. The sheet It is a very flashy and lyrical work music and the recording can be that amazingly has slipped by the obtained by e-mail from Emanuel viola community for many years, Olivieri at: [email protected]

Presenting ... Ave Maria I'RA!'IZ SCHUBERT ..,...u,No.." A new addition to our Solo Repertoire: "Ava Maria" by Franz Schubert. One of the most beautiful religious melodies ever written.

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VOLUME 19 NUMBER 1 52 SONATA FOR VIOLA AN

By Michael Kurek (b. 1955) in an open and pluralistic musical dream about fairies, but rather climate. An orchestral transcription the elusive dreams of tiny fairies 1. That Which Remains Unspoken of the first movement was themselves, as they delicately, ten­ 2. Fairy Dreams commissioned and premiered by derly snooze on some soft goose 3. Shadows That Long To Be Real the Pacific Symphony Orchestra in feather. This movement is Los Angeles on October 24/25, ephemeral and light, like a wistful Total Duration: approximately 23 2001. A transcription of the sec­ minuet, though a somber atmos­ minutes ond was commissioned (in aver­ phere sometimes suggests the haze sion featuring the celesta) by the of slumber. The outer sections of This work is available directly Nashville Symphony Orchestra for the movement's simple A-B-A through the composer at: premiere on October 25/26, 2002. design feature playful, tiptoeing Michael Kurek pizzicato in the viola. The middle 7329 Cavalier Court The first movement, entitled (B) section features ethereal har­ Nashville, TN 37221-1907 USA "That Which Remains monics in the vioia against feath­ e-mail­ Unspoken," begins with gently ery piano textures to introduce a [email protected] rocking chords and tolling bass more lyrical and dreamlike theme, website: tones in the piano, which might be in contrast to the pizzicato. www.vanderbilt.edu/ ~ kurek heard either as a gentle lullaby or a distant funeral march; or rather The third and last movement, entitled Sonata for Viola and Piano both, simultaneously. These ele­ "Shadows That Long To Be Real," Notes by Michael Kurek ments provide the setting for a was inspired by the brooding atmos­ lyrical viola part that might be phere in a grove of huge, gnarly live Each of the three movements of heard, likewise, either as an aria or oak trees by a marsh near Savannah, this sonata, commissioned and pre­ a lament, or both. The tide Georgia. One overcast afternoon, as miered by violist John Kochanowski invokes those things we have left the Spanish moss hung &om the trees and pianist Mark Wait, is con­ insufficiently expressed to loved like Dali's surreal dripping clocks, and ceived after a nonmusical idea or ones now passed on or otherwise so many melancholy shapes seemed to image. Each has its own tide and separated from us. As such, the emit the silent groanings of nature, I description below, which serve to viola grows increasingly impas­ tried to imagine a music of exotic and inform the listener what I was sioned as the piano culminates in a bittersweet harmony, with long, grasp­ thinking as I composed; yet; as forceful dirge, before both return ing phrases in the viola, like twisted with all program music, the listen­ to a reflective lullaby, as though vines seeking the sun. Like the shad­ er could just as well think of some­ singing a loved one into a sleep of ows' own song, it was a music no one thing entirely different or take the eternal peace. In this movement, as could hear; it seemed to be searching music entirely in the abstract. I in life, new life and beauty (a for some lost, homespun, Savannah continue here the development of lullaby and an aria) poignantly melody, yearning for some sublime a tonal, melodic style that should mingle with death and pain (a fulfillment. not be understood as 20th-century dirge and a lament). Neo-romanticism, but simply as This score, reproduced by permis­ one possible musical choice a 21st­ The second movement; entitled sion of Michael Kurek, was hand­ century composer may make with- "Fairy Dreams," envisions not a copied in pencil by the composer. B

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The History of the Viola

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VOLUME 1 9 NUMBER 1 57 JOURNAL OF THE AMERICAN VIOLA SOCIETY 58 AT

Ohio Viola Society, 2002 under was Annalisa Boerner. to benefit talented young violists in Greetings from the Ohio Viola Annalisa is &om Columbus, Ohio Ohio through the annual OVS Society! 2002 was an exciting and and studies with Deborah Price. Viola Competition. memorable year for violists in the Second Place went to Paul Mcintyre Buckeye state. ofWestlake, Ohio. Paul is a student The program consisted of arrange­ of Peter Slowik. Honorable ments and original music from We began our year, as many chap­ Mention in Division I was awarded various stylistic periods, including ters did, with the first -ever Viola to Justin Auschenbener of the Canzons XII and XVI by Super Sunday event, held on Strongsville, Ohio, and Alexandra Giovanni Gabrieli (arr. by Patrick January 13, 2002. Violists from Green of Shaker Heights, Ohio. Connolly) and the Water Patterns local communities and professional Justin is a student of Peter Slowik, for Eight Violas and Solo Viola orchestras joined with students and and Alexandra studies with Louise (1991) by Nathaniel Tull Phillips. faculty from Ohio's colleges and Zeitlin. Whether it was the beautiful conservatories under the baton of melodic lines of pieces like the Pie Maestro Peter Slowik to play Wmner of the Division II Jesu from Gabriel Faure's Requiem arrangements of familiar works like "Donald Crossley Memorial Viola (arr. by Tracey Rush) and the Beethoven's 5th Symphony, Berlioz's Prize" for ages 14-17 was Benjamin Bachianas Brasileiras No. 5 by Roman Carnival Overture, and Lee. Benjamin, of Hudson, Ohio, Heitor Villa-Lobos (arr. by Patrick Sousa's Star Spangled Banner. The studies with Ann Smith. Rachel Connolly), or the rhythmic vitality event helped to attracted many new Ward was awarded Second place in of the Brazilian Waltz Medley members to the OVS andAVS. Division II. Rachel is a student of (2002) (arr. By Paul Ferguson) and Nancy Buck and is from Maumee, the Brandenburg Concerto No. 6 We'd like to thank the Amateur Ohio. Jonathan Epstein won this by Johann Sebastian Bach, the Chamber Music Players Inc. for year's Best Bach Award. Jonathan is ensemble beautifully expressed the their grant to cover costs of arrange from Pepper Pike, Ohio and is a viola's rich sonorities and expressive the event, and to Baldwin-Wallace student of Louise Zeitlin. timbre. The evening also included College Conservatory for the use Congratulations to all participants! the Divertimento for Four Violas by of the hall. Thanks also to Louise Kenneth Harding, the Entr'acte Zeitlin for her hard work in organ­ Judging this year's competition from Rosamunde by Franz Schubert izing the event locally. were Marcia Ferritto for Division I (arr. by Robert Stoskopf); and the and Roger Chase for Division II. Festival Overture (1999) by Michael On Sunday, March 3, we held our Kimber. second annual Student Northeast Ohio viola enthusiasts Competition. Participants (and their had a rare opportunity to hear an The OVS is grateful to the violists parents) braved high winds to travel entire program of music dedicated of the Cleveland Orchestra for to Oberlin College in Oberlin, to the beauty and expressive range their support of the OVS and our Ohio to compete for the top prizes of the viola. The Viola section of Viola Competition. The members and receive comments &om this the Cleveland Orchestra per­ of the ensemble include Principal year's judges. formed an evening of music at the Violist Robert Vernon, who did Cleveland Museum of Art's double duty as conductor and Wmner of the Division I Gartner Auditorium. The concert, soloist throughout the evening; "Bratsche" prize for ages 13 and held on April 26, raised over $600 First Assistant Principal Lynne

VOLUME 19 NUMBER 1 59 Ramsey, who performed as soloist at The Cleveland Institute of success. Eighteen violists of all in the Festival Overture and Music and Encore School for ages gathered on the stage of Water Patterns; Assistant Principal Strings. Lemhi, who has been an Clapp Recital Hall at the Stanley Konopka; and section OVS Board member since our University of Iowa to read some members Lisa Boyko, Patrick inception, is a member of the very fun works. What a sound! Connolly (who arranged many of Cleveland Orchestra and is on the The evening concluded with the the pieces on the program), faculty of the Music School Bach Brandenburg Sixth Yarden Faden, Mark Jackobs, Settlement. Many thanks to Concerto with Rosemary Arthur Klima, Eliesha Nelson, Louise Zeitlin for all her hard Chancier at the piano. Then we Lemhi Veskimets, and Richard work and leadership during her all headed down to The Mill Waugh. We would also like to tenure as president, and we wish Restaurant and had a great time. thank Cleveland Orchestra guests her well in her new position as We're already looking forward to Thomas Sperl, violone, Richard Secretary for the AVS, and al) a Viola Super Sunday 2004. Weiss, violoncello, and Joela continuing OVS Board member. Jones, harpsichord, who per­ - ]ejJWilliams The next day the Society hosted formed in the Brandenburg guest violist Peter Slowik, and Concerto No. 6. Iowa Viola Society pianist James Howsmon, at the Preucil School of Music. Slowik On Sunday, November 17, the The Iowa Viola Society inaugurat­ and Howsmon performed an OVS held our fourth annual ed its 2002-03 season with the excellent recital of music by Lidl, Master Class Day at The annual Viola Day, which was held Bartok, Gershwin, Vieuxtemps, Cleveland Institute of Music. on Oct. 6, 2002 in Dubuque, and Brahms. The performance Junior High, Senior High, Iowa at the Northeast Iowa was followed by a reception for College, and Adult Amateur vio­ School of Music. The day began the artists and Viola Society lists participated in the event, with an excellent master class by members. which was attended by over 50 Spencer Martin, Instructor of -Christine Rutledge-Russell people. Lisa Boyko, Roger Chase, Viola at Luther College in Mark Jackobs, Stanley Konopka, Decorah, Iowa. After the annual Jeffrey Irvine, Laura Shuster, Peter membership meeting we had a Utah Viola Society Slowik, Lemhi Veskimets, and great performance ofWarlock's Super Sunday Louise Zeitlin coached the partic­ Pavane by Dubuque area high ipants in 30-minute blocks. school students, followed by The Utah Viola Society Super Observers, participants, and their Guido Papini's Quartet performed Sunday was a great success. The families were able to attend the by Christine Rutledge, William event took place January 19, 2003 four simultaneous sessions. Preucil, Spencer Martin, and Julia at the University of Utah in Salt Attendees noted that the event Bullard. Then all in attendance Lake City. Roberta Zalkind, was extremely rewarding. The day (this year we had over 25 partici­ Associate Principal violist of the ended with socializing together pants) gathered to read some Utah Symphony Orchestra, and a over refreshments. favorite ensemble works for mul­ viola instructor at the University tiple violas. The day concluded of Utah, hosted the event. Many Finally, in news from the OVS with a recital featuring Tracey thanks to the music administra­ Board, we welcomed new board Rush, Maura Sullivan, Julia tion of the university for allowing member Lisa Boyko and incom­ Bullard, Christine Rutledge, and us free use of their facilities. ing president Lemhi Veskimets in Spencer Martin. Our second June. Lisa is a member of the annual Viola Super Sunday, held Michael Palumbo, professor of Cleveland Orchestra and teaches on January 19, 2003, was a huge viola at Weber State University in

JOURNAL OF THE AMERICAN VIOI.A SOCIETY 60 Ogden, Utah, organized the event "finished product." The group Chicago Viola Society which drew together 21 violists, read a variety of music, inter­ including 5 members of the Utah spersed with a brief break to par­ The Chicago Viola Society will be Symphony Orchestra, university take of nourishment (eat junk sponsor the 1st Annual Midwest students, and other members of food), and socialize. Works that Viola Conference on Saturday, the viola community, for 2 hours were read ranged from an opening April 26, 2003, at the Chicago of music and food. performance of three movements College of Performing Arts at from the Six Canonic Sonatas of Roosevelt University. The featured Claudine Bigelow, professor of Telemann, to the finale without artist is British violist Simon viola at Brigham Young which such a gathering wouldn't Rowland-Jones who will present a University, and president of the be complete, the first and third masterclass and a recital. UVS invited Christian Asplund of movements of Bach's Instrument displays and demon­ the BYU faculty to compose a Brandenburg No. 6. Christian strations will be in conjunction piece for the event. Christian is an Asplund played the cembalo part with the American Federation of accomplished violist, in addition on the piano, and Michael Violin and Bow Makers who is to being a composer. His new Palumbo and Wilson H sieh holding its annual general meet­ work, Piece for 4 or More Violas, played the gamba parts on viola. ing in Chicago the same weekend. was composed in the form of a Unfortunately we didn't have a For more information please visit canon. After a brief explanation of cellist, but the performance was the Chicago Viola Society website the instructions for measure and still very satisfying. at: viola.com/chvs. 8 section repeti tion we set off to read the music with Christian It's amazing how fast two hours we want to hear ftom you! Send your conducting. Various aleatoric ele­ flies by when you are engrossed in viola news and photos (with captions) ments including unspecified num­ chamber music. We had far more by regular mail fax or email to Kathy bers of repeats in various sections, music than we were able to read Steely, ]AVS Editor, School ofMusic, and individual rhythmic interpre­ in the rime we had available. But, Baylor University, PO Box 97408, tations of pitch groupings, made not a problem, this just gives us Waco, TX76798, Fax(254) 110-3574, the piece at once interesting and an excuse to meet again and play Kathryn_Steely@baylor. edu. complicated. We read, practiced some more. slowly, and finally performed the - Michael Palumbo

VOLUME 1 9 NUMBER 1 61 Application Information call: 410.480.8007 • Fax: 410.480.8010 [email protected] • www.heifetzinstitute.org ORCHESTRAL

CONCERTANTES, 0P. 23,VIOLA VARIATION

By Randy Kelly second, a scherzo, presents the dynamic is marked "mezzo clarinet; the third, pronounced­ forte," care should be taken not This set of orchestral variations ly dramatic, offers the viola. to force the sound. It needs to was commissioned by the The fourth is a canonic varia­ be played dramatically with a Society of Friends of Music in tion for the oboe and bassoon, pure and lyrical quality. In the Buenos Aires. It was introduced while the seventh presents the second measure after rehearsal in that city on June 2, 1953, French horn in music of pas­ thirty two, I have printed two Igor Markevitch conducting. toral character. Now we get a different fingerings. The choice The composer has explained recapitulation of the theme in of either is up to the individual that this work, while having "a double bass and harp, following player's personal taste and abili­ subjective Argentine character" which the concluding variation, ty. In the fourth measure after does not utilize any basic folk­ in rondo form, is presented by rehearsal thirty two, make sure loristic material. "The compos­ full orchestra. that all chords and double stops er," he says, "achieves an are not played marcato. They Argentine atmosphere through The music of these variations need to be played with defini­ the employment of his own the­ was used for two ballets. One, tion, but with a rich and matic and rhythmic elements1." entitled Tender Night, was pro­ cantabile sound, focusing on duced by the New York City direction and phrasing. While performed without inter­ Ballet on January 20, 1960, with Problems arise in lyrical playing ruption, the composition is in choreography by John Taras. and intonation when perform­ twelve sections: Theme; Another, called Surazo, had cho­ ing the double stop passage Interlude; Giocoso; Scherzo; reography by Patrico Bunster, after rehearsal thirty three. In Dramatic Variation; Canonic and was mounted in Santiago, the first measure following Variations; Rhythmic Variation; Chile, on July 13, 1961. rehearsal thirty three, the fifth Perpetual Motion; Pastoral; should be played with the sec­ Interlude; Theme Reprise; and In the Variaciones ond finger. Do Not shift to the Rondo-Finale. Concertantes,Op. 23 the fifth fifth after playing the octave, movement entitled Variazione but instead reach! Try to play The theme, on which the varia­ Drammatica is for viola. The without breaks between the tions are based, is heard in cello movement should be chords. The second and third and harp. This is followed by an approached with an improvisa­ measures after rehearsal thirty interlude for strings before the tional style, but staying within four are to be played on the A variations begin. Each variation the structure of the composi­ string to help with clarity and features a different instrument tion. I have found that this par­ timbre. Always remember not to or instruments, and the person­ ticular solo is often overplayed, overplay this solo. Due to the ality of each variation is derived and that one should approach nature of the music, this is an from the character and quality the fortes as full, rather than easy trap to fall into. Often of these instruments. The first loud. One has to be careful not dynamics are thought of as loud variation has a jubilant charac­ to force the sound. In the or soft. I would like to suggest ter, highlighting the flute; the beginning of the viola solo, the that instead we think of them as

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full or light. When one thinks violist a real chance to shine, 1 Gilbert Chase, Alberto Ginastera: of a full sound as opposed to a and display the character of our Argentine Composer, The Musical loud noise, they are less likely instrument. B Quarterly 43 no.4 (Oct. 1957): 451. to press and force the sound. In conclusion, this is one of the - Randy Kelly, Principal Viola, few orchestral solos in the stan­ Pittsburgh Symphony dard repertoire which gives the

JOURNAL OF THE AMERICAN VIOLA SOCIETY 64 Seated in Front Row: Catherine Compton, Caroline Coade, Shanda Lowery Top Row Standing: Hart Hollman, Alexander Mishnaevski (principal), james Vtzn Valkenburg (Assistant Principal), Glenn Mellow, Manchin Zhang, Theresa Rudolph, Han Zheng.

A Short History of acting Principal, and 12 as there were only four in 1906. the DSO Viola Section Assistant Principal. There were just 10 through the 20's and 30's and then in 1944 Since the DSO began in 1887, The section has several alumni the DSO planned a concert at more than 82 people have played playing in other major sym­ Carnegie Hall in which they in the viola section. Among the phonies. Robert Barnes is in billed themselves as "The largest 14 principal violists, Nathan Boston, Paul Silver in Pittsburgh orchestra in the world." That year Gordon had the longest tenure, and Vince Lionri at the Met. they hired extra players for all sec­ 27 years, playing from 1958 Darrell Barnes went to tions, including two violists, who through the 1984-5 season. The Philadelphia, then St. Louis, is were let go by the next year. One first woman to join the section now free-lance. Anne Mischakoff of these was Abe Levine, who son was Eugenia Staszewski, who left to teach, and is now at the David later joined the DSO cello played from 1943 to 1986-7. The University of Illinois. Emil section, and his son Daniel joined violist with the longest tenure of Simone! still plays in the cellists in Dallas. Twelve vio­ all is David Ireland, who recently Chautauqua. lists appear again in 1952 and retired with 48 years of service, Most of the time there are 11 1953. After this the twelfth comes 1952 to 1999-00, two years as members of the section, though and goes, bur the eleventh stays

VOLUME 19 NUMBER 1 65 on board. Again there were 12 in been a featured soloist with many Committee, in charge of the play­ 1957 and 1958, 1965, 1967, orchestras in Michigan and on the ers' chair search and similar mat­ 1968, and lately in 1980, 1983, East Coast, and performed solo ters. Cathy and her life partner and 1984. In the 80's it was Antal recitals on many artist series in Dan Butts enjoy gardening, and Dorati who insisted that the extra the area. He plays Principal Viola sharing their lives with two cats. money be spent to increase the with the Birmingham-Bloomfield Cathy enjoys playing chamber string sections. Symphony. Hart teaches privately music and singing in a small choir and is on the faculty of the Utah of fellow DAR members. During This season we have three new Music Festival. Outside the her sabbatical year she commis­ tenured players, Theresa Rudolph, orchestra Hart's interests include sioned and premiered "Three Shanda Lowery, and Han Zheng, triathlon, marathons, mountain Carols for Viola, Piano, and and one more retiree, Phil Porbe, climbing, backpacking, sailing Chorus," by Hiram Titus. who played from 1964 to 2001-2. and photography. There will be an audition this Violist Caroline Coade joined the spring for this eleventh position. A native Detroiter, Cathy Detroit Symphony Orchestra in - Cathy Compton. Compton began study in violin September 1996. Before coming class and soon after in private les­ to Detroit, Coade was a substitute At a Glance: (in order ofphoto sons with Ara Zerounian. for the New York Philharmonic, appearance) Assigned the viola for string quar­ the Philadelphia Orchestra, and tets while still in grade school, she held positions with Concerto Hart Hollman, son of concert studied both instruments until a Soloists Chamber Orchestra, pianist parents, began piano study viola scholarship to the Opera Company of Philadelphia, at the age of three and violin Interlochen Arts Academy led her Santa Fe Opera, and T chaikovsky study at the age of seven. After to play ''All viola, all the time." Chamber Orchestra. A San Diego seven years of study with David Among the institutions that native, Coade began taking Madison (associate concertmaster shaped her career are Interlochen Suzuki violin lessons at age 6, but of the Philadelphia Orchestra) he Arts Camp and Academy, Cass switched to viola at age 14. She switched to the viola because his Technical High School, Oberlin spent her senior year of high hands were too big for the violin. College and the University of school at the Interlochen Arts At this time he began study with Michigan School of Music, where Academy, and went on to receive Max Aronoff, at The Curtis her principal teacher was Frank a Bachelor of Music degree from Institute of Music. Hart went to Bundra. Cathy joined the DSO in the Oberlin Conservatory, an Indiana University, studied with 1973. While serving for 10 years Artist Diploma from The Curtis David Dawson and in 1969 grad­ as the DSO representative to Institute of Music, and a Master uated with a performance degree. ICSOM (International of Music degree from The After graduation Hart got the Conference of Symphony and Juilliard School. Her principal Principal Viola position with The Opera Musicians), she served on teachers include Karen Tuttle, North Carolina Symphony. In ICSOM's Board of Governors for Eugene Becker, Jeffrey Irvine, and 1970 Hart went to the Baltimore two years. As chairman of the Joyce Robbins. She has been an Symphony where the quartet he Conductor Evaluation adjunct faculty member of formed became the resident quar­ Computerization Committee, she Detroit's Wayne State University tet at the Ambler Music Festival. spearheaded the research to devel­ since 1998, and has taught Master In 1973 Hart joined the Detroit op the form still in use today. She Classes at the University of Symphony, during which time he has served on several DSO com­ Michigan. She coaches the viola became a member of the mittees, for the past ten years as section of the Detroit Symphony American Artists Series. He has Chairman of the Hall Civic Orchestra, and has a private

JOURNAL OF THE AMERICAN VIOLA SOCIETY 66 teaching studio. Previously, she Summer Institute. In addition, Ensemble, Montreal's McGill was on the faculty ofTemple Shanda maintains a busy private Chamber Orchestra and University in Philadelphia from teaching studio. In her free time, Orquestra Sinfonica de Xalapa in 1994-1996. An active chamber Shanda loves playing as much ten­ Mexico prior to joining the DSO. musician, Coade spent rwo sum­ nis as she can and hanging out Mishnaevski joined the Detroit mers at the Marlboro Music with her rwo cats, Harry and Symphony Orchestra as principal Festival and since 1999 Coade has Hermione. violist in 1986. Mishnaevski has been a member of the Woodland performed in chamber music con­ Trio (flute, harp, viola). In April Born in Moscow, Alexander certs and in recital around the 2002 the Trio performed in Mishnaevski (principal viola) world and has collaborated on Morocco as guests of King began studying the violin at age chamber music projects with emi­ Hussan VI. When she is not play­ six -Mishnaevski's father was the nent players including Isaac Stern, ing her viola, Coade can be found principal violist with the Radio Schlomo Mintz, Joseph at Stardust Ballroom, where she and Television Symphony Silverstein, Schmuel Ashkenazy, studies ballroom dancing. Orchestra of Moscow. The Franz Helmerson, Joseph younger Mishnaevski changed Swenson and the Colorado Shanda Lowery was born in from violin to viola in the later Quartet. As a soloist, Mishnaevski California and began studying the 1970s, at the suggestion of Isaac has appeared with the New York violin at age five and the piano at Stern, following several master City Symphony, the Oklahoma age eight. She continued her classes. Mishnaevski immigrated Symphony, Queens Symphony musical studies at the Interlochen to the United States in 1973, after Orchestra (New York), the New Arts Academy in Michigan, his father decided that the West Jersey State Symphony, Orquestra majoring in violin. She received a offered a more promising future. Sinfonica de Xalapa, the Taipei BA in Music from the University Unfortunately, Mishnaevski's Symphony and the Singapore of Puget Sound where she began father didn't live to see his son Symphony. He has also performed studying the viola with Joyce perform on American soil; he in Korea and Hong Kong. Ramee. Shanda attended the passed away in Italy, where the Locally, Mishnaevski performs University of Maryland and Rice young Mishnaevski and the rest of with the symphony orchestras of University where she earned a the family spent eight months Detroit, Windsor (Ontario), Master of Music in Viola awaiting documentation allowing Southfield, Grosse Pointe and Performance, studying with them into the U.S. Mishnaevski Dearborn. Roberto Diaz, Wayne Brooks, and did complete studies at the Martha Katz. She has held posi­ Central Music School in Moscow Currently Assistant Principal tions with the Virginia Symphony prior to his emigration; once in Violist of the Detroit Symphony (Assistant Principal), Rochester the U.S., he graduated from the Orchestra, James VanValkenburg Philharmonic, and joined the Juilliard School of Music and came to orchestral playing after a Detroit Symphony in 2001. became an American citizen in satisfYing career in chamber Shanda also enjoys teaching and 1978. From 1979 through 1985, music. As a founding member of performing with educational out­ he was principal viola for the the International String Quartet, reach groups. Her love of teaching Soviet Emigre Orchestra, and he toured the world with concerts has benefited members of the played with that group during its in Europe, the Far East, South Detroit Civic Orchestra, tours of North America, South America, as well as the U.S. The Interlochen Arts Camp/World America and Europe. Mishnaevski quartet won several notable prizes, Youth Symphony Orchestra, Troy also held the position of principal including the Munich High School String Camp, and violist for the New York Chamber Competition, East & West Artists the Detroit Symphony Orchestra Orchestra, the New York Pro Arte of New York, and was the first

67 winner of the Premier Grand Prix that those two events are unre­ Quartet Competition in at the International Chamber lated. Before joining the DSO, London, England. Manchin Music Competition of Evian, Glenn earned his Master of studied with Emanuel Vardi at France. Since joining the DSO in Music degree at Indiana the Manhattan School of Music 1986 he has participated in sever­ University where he was a stu­ from 1991-1994. Upon gradua­ al summer festivals including dent of Abraham Skernick. His tion, she was appointed to the Lockenhaus, Newport, and undergraduate degree is from DSO. She was also a finalist in Strings in the Mountains. Northern Illinois University the 1991 Primrose International A graduate of the Interlochen Arts where he studied with Nobuko Viola Competition. Manchin Academy and Indiana University lmai. While at Indiana, Glenn currently lives in Northville, School of Music, he has enjoyed met his first wife, Edie, to Michigan with her husband, chamber music collaborations whom he is still happily mar­ Bing Xia, a violinist with the with many of his favorite musi­ ried. They are endeavoring to Michigan Opera Theatre. They cians, among them Menahem survive raising two teenage sons. have an eight-year-old son Pressler, Gidon Kremer, Misca When the viola is not in his named Brandon who has been Maisky, David Shifrin, and Isaac hands, one of Glenn's favorite playing the violin since he was Stern. Recent recordings include a things to do is cook for family five. Manchin enjoys living in violin, viola duet ofWilliam and friends. He also enjoys Michigan and enjoys being a Bolcom, Piano Quartets of Franz being outdoors, most especially member of the DSO. Waxman and the Stravinsky relaxing on a lake in Northern Septet, on Koch, and the Michigan while sitting in his lit­ Theresa Rudolph, age 23, is Beethoven Septet on Philips. Jim tle yellow boat, which depend­ currently the youngest member is married and enjoys being ram­ ing on its orientation in the of the DSO. She comes from bunctious with his two boys, as water is know either as the Vancouver, British Columbia, well as running, swimming, bik­ Mellow Yellow Canoe or the where she began her musical ing and all other active outdoor Yellow Submarine. studies on the violin at the age endeavors. He spends much of his of 3. While in high school, she free time training for Ironman Born in Hunan, China, DSO began playing the viola and Triathlons and has started and violist Manchin Zhang started studied with Gerald Stanick, completed two, most recently fin­ playing the violin when she was who inspired her to concentrate ishing the 2.4 mile swim, 112 six. In 1988, she switched to the exclusively on this beautiful mile bike, and 26.2 mile run of viola and two months later was instrument. Theresa spent her Ironman Canada 2002 in 13 a winner of the China National last year of high school in the hours and 55 minutes. Concerto Competition, allowing Young Artist Program at the her the opportunity to perform Cleveland Institute of Music, Glen Mellow has been a mem­ the Walton Viola Concerto with where she studied with Robert ber of the Detroit Symphony the Shanghai Symphony Vernon. She then went on to Orchestra since 1980. His Orchestra. That same year, she obtain her Bachelor of Music favorite memory is being grant­ also performed as violist with Degree from CIM, graduating ed tenure by Music Director the Shanghai String Quartet, in 2001. Theresa has attended Antal Dorati after only five with whom she performed con­ the Sarasota Music Festival, the weeks on the job. Soon after certs throughout the city. The New York String Orchestra that, the DSO Board of group performed a four week Seminar, the Isaac Stern Directors accepted Mr. Dorati's tour of Hong Kong and won Chamber Music Workshop at resignation. To this day, Glenn fourth place in the 1988 Carnegie Hall, and the Steans stubbornly continues to believe Portsmouth International String Institute for Young Artists at the

JOURNAL OF THE AMERICAN VIOLA SOCIETY 68 Ravinia Festival. She participated in the Musicians from Ravinia 2001 Tour, and is featured on their promotional CD. In addi­ tion, Theresa has collaborated with musi­ cians such as Steven Isserlis, Robert McDuffie, Miriam Fried, and the Borromeo String Quartet. She has been featured several times on CBC Radio. Theresa's mother, Kathleen, is principal flute of the CBC Orchestra and her father, John, is principal percussion of the Toronto Symphony Orchestra. They enjoy performing together as the Rudolph Family Players. Theresa also has a younger brother, Michael, who wants to one day break the family mold and become a lawyer.

Han Zheng, one of the Detroit Symphony Orchestra's newest violists, was born in Guangdong Shamou, China. His father was a professional violinist and was Zheng's first Laura Wilcox music teacher. At age fourteen, Zheng entered the Guangszhou Conservatory of Artist faculty, viola Music to study both violin and viola. In "... grounded in toda~ 1985, he continued his studies at the yet comfortable with classics. " Shanghai Conservatory of Music. In 1992, he received his Bachelor of Music degree The Journal, Edmonton from the Central Conservatory of Music in Beijing. Upon graduation, he joined the China National Symphony Orchestra. In 1997, Zheng came to the United States to further his music career. He turned to his hobby of bow making and found a job as a bow maker in Chicago. The following year, Zheng won the position of Principal Viola with the Toledo Symphony Orchestra. Zheng began substituting with the Detroit Symphony Orchestra in 2000, and won his position with the DSO in September 2001. Zheng and his wife, Xian (a flutist), recently welcomed the birth of their first child, a son named Caleb. In his spare time, Zheng enjoys rehairing bows of many DSO string players, and making wood furniture. 8

VOLUME 19 NUMBER 1 69 Legend has it our master violin makers can select the finest wood simply by tapping a-,~• and listening. Of cout:Se, no on! :!)as actually, seen this, but for 65 years we've been developing our tone wood stock until it is the envy of Europe. And the world. It's just part of the mystery that makes 1J Paesdld.

Put' nothit1g but a Pae~old between you! By David 0. Brown In this issue, my reviews include Canto qualities .. transcriptions the recordings of two violists by Strahkov and Borisovsky make When I raved about violist Tabea with whom I was not familiar. full use of the viola's timbric and Zimmmerman's Haenssler record­ Both are finished artists that are expressive arsenal... Carlos Maria ing (CD93008) of Hebrew worthy of your attention and Solare, Strad Chamber Music in the last support. Mr. Slapin made his journal, I wrote Ms. Haenssler Hiroshi lizuka viola sound like it Benda, J: Viola Concerto; and expressed my admiration for had been around for a couple of Benda's Lament; Benda, F: Violin the recording. She then sent me centuries. More importantly, he Concerto; Josef Suk, viola; Ariane two other recordings featuring made the works sound as if origi­ Pfister-Benda, violin; Christian similar music. One of the two nally written for the viola. He Benda, cello; Prague Chamber new discs featured pianist jascha has that dash and smoothness Orchestra; Naxos 8.5 53994 Nemtsov and violinist Ingolf that many an older violist would Turban (CD 93041), and the envy. No less than William Josef Suk gives a brilliant per­ other (CD 93041) featured Primrose is quoted as saying the formance in his Viola Concerto ... mezzo soprano Helene Bach Sonatas and Partitas are, well worth investigating. Carl Schneiderman on her disc entitled "nearly unplayable". More power Baumer, American Record Guide "On Wings ofjewish Song". All for the extraordinary musician­ three discs feature Russian jewish ship of Scott Slapin. Dancing Suite to Suite: Saxe: composers whose works were sup­ Dance Suite for Solo Violin; pressed for 70 years or more, Music for Viola: Bach: Bach: Partita No.2 BWV 1004; revived now by Haenssler. Chaconne; Hindemith: Sonata Bakkerud: Fanitullen for Op.1 1 #4; Paganini -Kiegel: Hardangerfele; Karen Bentley, Bach: Concerto for Viola (after Cantabile; Bizet-Waxman: violin, viola, Hardanger fiddle; BWV 1053, 169 and 49); Carmen Fantasy; Debussy­ Neptunus Records NEPCD005 Concerto for Three Violins (after Borisovsky: La Pille Aux Chevaux BWV 1064); Concerto for Violin de Lin; Debussy-Strahkov: La Another instrumentalist new to (after BWV 1056); Concerto for Plus que Lente; Shostakovich­ me as I believe that this is her Oboe (after BWV 1060); Strahkov: Preludes Op. 34 #18, first issued disc. Scandinavian Wolfram Christ, viola; Rainer #5, #24. Wladimir Kosstanenko, composer Ole Saxe has written a Kussmael, violin; Alexander Ivic, viola; Vesna Podrug, piano; superb suite of dances for solo violin; Albrecat Mayer, oboe; and Extraplatte EX 41 5-2 violin and viola. Although the Bernhard Forck, violin; Berlin viola has just a short section of Baroque Soloists; Koch Schwann At the 1997 Tertis Competition the Dance Suite, I so thorough­ 99923-149 1-2 Kosstanenko "set the place alight ly enjoyed the disc and talents with his Bach Chaconne" accord­ of Ms. Bentley that I just had to Bach: Sonatas and Partitas for ing to Strad reviewer Tully review the record for the Journal. Solo Violin (adapted for the Potter ... memories of his mes­ Her tone, phrasing, and technique viola); Scott Slap in, viola; merizing performance were provide all the background she Stewart Society for the brought back by this CD. needs to impress any music Recorded Sound SSRS42773-2 Paganini's Cantabile ... shows off lover. I have been touch with (2 disc set) the players' considerable Bel Ms. Bentley and she promises a

VOLUME 19 NUMBER 1 71 disc devoted to the viola in the Note: Grand Sextet Concertante A friend, David Hermann, told not too distant future. Brava! is an arrangement for small me about a CD available featur­ ensemble of the Sinfonia ing a violist with whom I was Joachim: Hebrew Melodies; Kiel: Concertante K. 364. unfamiliar. I contacted her with a Three Romances; Herzogenberg: request for a review copy. She gra­ Legends; Andriessen: Sonatina; Vienna Ensemble's Mozart is ciously complied. I believe that I Heinrich: XX14; Prince Reuss: almost a match for the marvelous can justly say her CD is my Sonata, Anna Barbara Duetschler, original for violin, viola and recording of the year. Her tone viola; Marc Pantallon, piano orchestra. Why is simple: These quality, technique and sensitivity Claves CD 50-9905 players have a degree of ensemble are superb. She plays the same that just wraps itself around every instrument her grandmother used She is ... stately, and evocative .. , perfectly matched flawless nuance to play, a Gaspar da Salo. Who impresses me as a ... subtle, and turn of expression. Duets was her grandmother? None other thoughtful artist ... Joseph Magil exhale and inhale as if one as if than the great and illustrious vio­ one person is breathing. The play­ list and teacher Lillian Fuchs. Her Kancheli: Styx; Guhaidulina: ing is buoyant, clear... (it) has the great uncle was Joseph Fuchs; her Concerto for Viola; Yuri smoothest, lightest playing you'll aunt is violinist Carol Stein and Bashmet, viola; Valery Gergiev, find anywhere ... Gilbert French her mother is the cellist Barbara Coductor, conductor; Orchestra Stein Mallow. Now that is a her­ of the Marinsky Theater, St. Reger: 3 Solo Viola Suites; Solo itage anyone would be proud to Petersburg Chamber Orchestra; Violin Sonata #7; Luigi Alberti have. Vladimir Vaijerevic is her Deutsche Grammophon 2GH Bianchi, viola; Dynamic CDS 383 excellent associate artist on the 471494 piano and also a fellow teacher on (Bianchi) was recorded in 1992 the Mannes College of Music fac­ I consider Guhaidulina's Viola on a violin which was stolen 6 ulty in New York City. I can't wait concerto to he the best concerto years later. The Viola Suites were to hear further recitals by these for the viola bar none. It's head recorded on an Amati in 1977 wonderful artists. You can pur­ and shoulder's above Kancheli's which was stolen 3 years later... chase her CD at www.cdbaby.com Styx ... more complex, more con­ poignant... plays with passionate­ and www.gostrings.com. Links to sistently profound; it's both pret­ ly full tone and avid technique ... both of these addresses can be tier and more compelling than Michael Oliver, Gramophone found on Ms. Mallow's website Schnittke's and we need not con­ www.jeannemallow.com. sider Bartok's in the same Leonard Salzedo: Sonata for league ... the Gubaidulina is sheer Violin and Viola; Quartets for Schumann: Marchenbilder; genius, definitive, probing per­ Strings #2, #7; Elizabeth Turnbull, Piano Quintet; Nobuko lmai, formances and very fine sound; viola; Archaeus Quartet, Dutton viola; Marta Argerich, piano; this is required listening. Robert Epoch COLX 7113 Hyperion 33106 Kirzinger, Fanfare Schumann: Marchenbilder; Adagio The Marchenbilder are not par­ Mozart: Grand Sextet and Allegro; Brahms: Sonata for ticularly interesting but Nobuko Concertante; Quartet for Piano Viola Op. 1 20 #1; Sonatensatz; lmai does her best to make them K 452; Vienna Ensemble; Reener Jeanne Mallow, viola; Vladimir persuasive. (This recording is Hawich, Tobias Lea, violas; Valjarevic, piano. Private JM 2232 "very welcome"). Alexander Andrea Frolich, piano; Ines Available from www.cdbaby.com; Morin, American Record Guide Savern, Cello; Kock Schwann www.~com and they can also 36444 be reached through Ms. Mallow's Schumann: Marchenbilder; website www.jeannemallow.com. Marchenerzalungen; Adagio and

jOURNAL OF THE AMERICAN VIOLA SOCIETY 72 Allegro; Contrabandiste; Piano Primrose's beloved Amati viola, Serghi Sophia: Unrequited Love Quintet; Philip Dukes, viola; had it completely refurbished for Viola and Tape; Antoniou and others; ASV PLT 8518 and it is sounding better than ever. He also plans to come Theodore: Paravasis III for Recital Disc in Memorium: out with an entire disc of Violin and Tape. Andreas Shostakovich: Viola Sonata; Primrose transcriptions. Oh Georgotas, viola; Spyros Kugel: Suite in Memory of that he might find some that Gikontis, violin Turangalila Shostakovich; Michael Kugel, have never been recorded. I Records LS04 viola; Vesla Podrus, piano; can't wait! Extraplatte EX 525-2 This is my introduction to classi­ Kugel interprets the Shostakovich Walton: Concerto for Viola; cal Greek music. The violin and sonata as the composer's plea for Facade Suites #1 ,#2; Variations viola work by Yannis lasts for 28 forgiveness and reconciliation. on a Theme of Hindemith. Paul minutes - it far outlasts its wel­ Needless to say, the suite pulls Neubauer, viola; Bournemith come. The gem of the disc is the every one of the viola's expressive Symphony; Andrew Litton, 5 minute work by Sophia for registers and is ideally presented conductor. Deacca- British viola and tape. I thought it was by its composer... Carlos Maria Music Collection 470 200-2 most delightful and wished it was Solare, Strad part of a larger work. The instru­ Neubauer's interpretation of the mentalists are very talented and Stamitz: Viola Concerto; Walton is right on. It emphasizes hoped I could someday hear Hoffmeister: Viola Concerto; the lyric, the charm, the lightness them in some more traditional Zeiter: Viola Concerto; Hariolf of the composition. His gorgeous fare, both Greek and Western. Schlichtig, viola; Munich Chamber tone quality just shines and I've Orchestra Daniel Gigleberger, con­ known from the past that there Mozart: Sinfonia Concertante K ductor; Tudor 7087 (In connection doesn't seem to be anything he 364; McKinley: Concert with Bavarian Radio) cannot play with ease. It is a Variations; Karen Dreyfus: viola; wonderful addition to his ever­ Glenn Dicterow, violin; Warsaw Hariolf Schlichtig survives the growing discography. National Philharmonic; Carl St. closest scrutiny at the Munich Clair, conductor; MMC Hochschule, he demonstrates Walton: Viola Concerto; Recordings MMC21 22 classically poised playing. Carlos Belshazzar's Feast; Facade Suites Maria Solare, Strad #1,#2; Frederick Riddle, viola; I was just about to finish my col­ Dennis Noble, baritone; umn when several COs arrived in Vieuxtemps: Viola Sonata; London Symphony Orchestra, the mail from MMC Records all Elegie; Capriccio; Unfinished Liverpool Philharmonic; featuring Karen Dreyfus. The Sonata; David (Trans. by William Walton, conductor first CD I naturally went to was Vieuxtemps): La Nuit; Roberto Pearl Gem 0 111. the Mozart and McKinley CD Diaz, viola; Robert Koenig, featuring Dreyfus and her hus­ piano; Naxos 8. 555262. Beardley's transfer does more jus­ band Glenn Dicterow. I may tice to Riddle's gorgeous, dark have listened to more than 100 He (Diaz) is a virtuoso player in viola tone presenting it credibly versions of the Mozart work, yet, the grand manner and thus ideal­ within a warm acoustic .. .it's a I am very pleased to say that ly suited to the Romantic reper­ beautiful recording ... Carlos their version moves up near the toire ... Carlos Maria Solare, Strad Maria Solare, Strad top. With his sweet and expres­ sive tone and her mellow, smooth It has come to my attention that Papaioannou A. Yannis: tone they do a beautiful job of Mr. Diaz has acquired William Satyricon for Violin and Viola; blending into a unified whole.

VOLUME 19 NUMBER 1 73 The Warsaw National My congratulations to the pair and communicative. Philharmonic provides a lovely on their classy combination of Unfortunately, I found the background for the soloists to the classical and modern. McKinley concerto reminded me achieve a most effective 30 minutes. a lot of the Schnittke concerto - Walton: Viola Concerto; quite a bit of noise with little I was most surprised to find out McKinley: Viola Concerto #3; substance. that William Thomas McKinley, Karen Dreyfus, viola; Warsaw born in 1938, has about 25 list­ National Philharmonic; Silesian David 0. Brown has been a record ings in the Schwann Catalogue. Philharmonic Orchestra; Jerzy collector for over 50 years and This was the first work of his I Swoboda, conductor. MMC among his collection ofover 5000 have ever heard. I thoroughly Records MMC 2047. items is a considerable collection of enjoyed this work that comprises viola materials. He is also a retired a theme and 8 variations. Again Compared to Neubauer's version, music teacher and viola aficionado. the soloists show their commit­ I find that Dreyfus has slower ment to fostering new and inter­ timings in all three sections of esting compositions. Although the work. I find her performance McKinley's style is modern I more dramatic and introspective, found it very easy to follow - though both are equally valid

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an accredited institutional member ofthe National Association ofSchools ofMusic since 1931 (a faculty ofperforming artists and research specialists distinguished by a commitment to teaching"

Offering Undergraduate & Graduate Programs in Performance & Music Education

Graduate Assistantships Available

Performance Opportunities OU Symphony Orchestra Accademia Filarmonica Chamber Music

University of Oklahoma School of Music 500 West Boyd, Norman, OK 73019-2071 Voice (405) 325-2081 Fax (405) 325-7574 [email protected] http://music.ou.edu