JOURNAL oft/ze AMERICANVIOLA SOCIETY Chapte r of THE INTERNATIONAL VIOLA SOC IETY Association for the Promotion of Viola Performance and Research

Vol. 3 NO.2 August 1987

Features

Bernard Fleshier: Damaging Decibels

3 Pamela Goldsmith: A Most U npleasant Break

10 Rosemary Glyde: James Millington

16 Olivier Seube: Teaching the Viola in France

19 Alexander Harp er: A Mu sical Feast

AVS Membership 1987 OFFICERS

I David Daltoll President Brigham Youllg University Provo, Utah 84602 (801) 378-3083

• Lollis Kievman Vice-Presidellt 1343 A mal!i Dr. Pacific Palisades, CA 90272

• Harold Klotz Secretary 1024 Mapl e At'e. Evmlstoll, lL 60202 f Rosemary C lyde Treasurer Po. Box 558, Rt. 22 Golden's Bridge. N Y 10526

• Mal/ rice W Riley Past Presidellt 512 Roosevelt Blvd. Ypsilanti . Ml 48197

EXECUTI VE BOARD

P.m l Doktor Miltoll Katims I Donald Me/mIl'S I Robert O ppelt [oseph de PllSquale Dw ight Poun ds Th oma s Tattoll •Marcus Thom psoll Fran cis Jilrsi • Karen Tutt le • AmI Wood ward

COORDlNAIOR WITH CANADIAN VIOLA SOCIETY

• A. Baird Knechtel

FOUNDER

• ,vly roll Rosellbill m

HONORARY PRESIDENT

W illiam Primro se (deceased)

~w Chapter of the lnternationa!c Viola -Gesellschaft The Journal of the American Viola Society is a publication of that organization, C 1985, and is produced at Brigham Young University. The Journal welcomes letters and articles from its readers.

Editorial office: BYU Music, Harris Fine Arts Center, Provo, UT 84602, (801) 378-8083 Editor: David Dalton Assistant Editor: David Day

Advertising office: Harold Klatz, 1024 Maple Avenue, Evanston, lllinois 60202, (312) 869-2972. Deadlines are March 15, June IS, and October 15 for the three annual issues. Inquiries can be made to Mr. Klatz. Copy and negatives to be sent to the editorial office.

Rates: S75 full page, S40 half page, S33 one-third page, S25 one-fourth page. For classifieds: SIO for 30 words including address; S20 for 31 to 60 words. Payment to •American Viola Societ y" c/o Harold Klatz, DAMAGING DECIBELS voice. And then when we do get a tutti solo, and the section wails away, by we have our cake and eat it too (waltzes notwithstanding). BERNARD FLESHLER Occupational Hazard consider myself very fortunate that back in 1952 an army major Playing in the viola section put me in convinced (ordered) me to switch from front of the brass, and most of the violin to viola. We had an interesting time , the trumpets. I loved to hear the musical organization named the Seventh ethereal blasts of sound. It was a Army Symphony Orchestra stationed at great feeling, sort of Sony Walkman, Patch Barracks near Stuttgart, West live. Germany. A rather endearing gentleman who resembled Santa Claus Now after thirty-three years sitting without a beard lent me quite a nice in front of the brass my ears let me viola. I promised Herr Hamma that I know it by hissing at me. would take good care of it. I've always been indebted to this most About seven or eight years ago distinguished luthier for his trust. I during the tenure of Julius Rudel as honestly grew to love the viola despite conductor of the Buffalo Philharmonic, its "cumbersome" size, the perplexing the problem of NIHL (Noise Induced clef, the absence of an E string, and Hearing Loss) became an issue with our the addition of a rather sonorous C orchestra. At that time I was chairman string . of our Artistic Adv isory .Committee. The jurisdiction of this committee and The first few concerts were played the orchestra committee overlapped. in a state of great anxiety, but But it was our committee that drew the gradually the alto clef began to make attention of those sitting in front of some sense; and our conductor, the the brass, percussion, piccolo, and even well-known composer Samuel Adler, was the Eb clarinet. In essence they said very understanding. to us, "We're not going to take it anymore, do something!" We did, we So began for me an adventure that sympathized, and we took them out for apart from my family became of central a cup of coffee. Out of this importance and interest in my life. Kaffeeklatsch came some practical suggestions and a few ideas that had Not that I am bitter, but I credit best be left unwritten. that army major of long ago for giving me a good case of tinnitus (ring ing in It is a peculiarity of the 1970's and . the ears, hissing, gurgling and other 1980's that "decibel sensitivity" became I such loathsome auditory manifestations). a vocal issue. People began to express I now have a great feeling of empathy their concern and to voice their for Robert Schumann, and for all others opinions. Experts sat up and took who have made the futile pilgrimage notice. A new field for the otologysts from one otologist to another. opened up, and for the most part, all these hearing doctors could do was to One must understand that the obser ve, study the problems, compile reward in playing the viola came not statistics and offer sympathy. At this only from its unique and gorgeous writing most otologysts do not have the sound , but from the almost erotic proper equipment to measure the harmonic sensation of being an inner hearing loss of musicians. They cannot That's enough, trumpets, we lost all the violas that time.

01 10 r- B ER NAR D C A M U RA T

VIOLIN, VIOLA, CELLO AND ACCESSORIES RARE AND CONTEMPORARY RESTORATIONS AND REPAI RS

T UESDAY 708 N. ORANGE GROVE AVE. THRU LOS ANGELES, SATURDAY CALIFORNIA 90046 1()·4 2 13 .658.R937 D L..I --J1D measure those upper frequencies that number has some hearing problem, from constitute high -fidelity. How often has actual hearing loss, to heightened the frustrated musician argued with the sensitivity to loud sounds including a doctor: "is the music sounds distorted!" fear of potential hear ing loss. and the doctors have replied; "But your tests are normal". At this point I would like to suggest as others have done, that a base-line It is understandable with the larger study of every musician's hearing be and "harder" concert halls, Modern and done upon entering an orchestra. This Pop repertoires with an expanded is important should a musician want to percussion section, electronics, new file for compensation at a later time in concepts of forte, and with conductor his musical life. Also, I believe that and aud ience expectations of louder and every orchestra should have an still louder, that musicians are finally acoust ical study performed by a speaking up. specialist regarding decibel levels.

One day we did speak up and took The life of the musical artist should our problem to Julius Rudel, who was be free from unnecessary worry about most sympathetic and understanding, his hearing. And yet there was much more so than a conductor--now Beethoven who did the impossible by deceased--who for punishment would showing us that the mind 's ear can seat a string player in front of the overcome great adversity. percussion. (Oh, I do hope that Lionel Tertis is giving it to him now!) Our meeting resulted in plastic shields used Bernard FleshIer is a member of the as a baffle or buffer between brass and Buffalo Philharmonic. He has developed strings, and percussion and strings. the "Buf f alo Baffle" or Acoustishield The experiment was more or less which can be ordered through NFVR successful if used in front of the Center. 100 Leroy Ave. Buffalo. NY percussion section. Their sound did not 14214. suffer, but the brass sound was muted, and so these baffles were removed. That left the violas with ear plugs for protection which is not always conducive, to good ensemble playing. A MOST UNPLEASANT BREAK The thought occurred to me that attaching a curved baffle to the back by of our chairs might help. What we are using in Buffalo now is a portable Pamela Goldsmith baffle that can and is used on run­ outs. These baffles fit most chairs. Not everyone wants to use them, but I broke my arm. My left arm. The for those of us who do, we feel they arm with which I hold the viola. The i offer some protection from intense viola is not only my craft and my "sound pressure levels." means of earning a living, it is my life. When I broke my arm , I was afraid I I would like to note that in an wouldn't exist at all--if I weren't informal survey of the viola section, playing the viola, I was not alive. every member was very "decibel" conscious. Most used some sort of The particulars of the incident itself protection, either a baffle or ear plugs, are not very exciting. I was walking and sometimes both . A significant in the woods, where it was moist and

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THE UNIVERSITY OF WASHINGTON

Faculty Position in Yiola

Position: The School ofMusic at the University ofWashington announces a tenure track opening in the Strings Division in viola, beginning in the Autumn of 1988.

Duties: Teaching undergraduate and graduate viola students and cham ­ ber ensembles.

Rank and Salary: Lecturer, Assistant, Associate or Full Professor. Salary is com ­ petitive and dependent on experience and qualifications.

Qualifications: Demonstrated success as a performer ofnational orinternational stature and as a dedicated teacher of viola.

School of Music: With approximately 350 mus ic majors and a faculty of 55 , the U.W. School of Music has undergraduate and graduate pro­ grams in Composition, Conducting, Ethnomusicology, Music Education, Music History, Opera Production, Performance, Systematic Musicology, and Theory. Degree programs include the B.A., B.Mus., M.M., M.A., D.M.A., and Ph.D.

Application: Applicants should send a letter of interest, a current curriculum vitae, and the names, addresses and telephone numbers of four persons who may be contacted for letters ofreference. Priority will be given to applications received before November 15, 1987 .

The University of Washington is actively seeking qualified minority and women faculty. Accordingly, such applicants are encouraged to apply and identify themselves.

Applications should be sent to:

Professor Steven Staryk, Chair Viola Search Committee School of Music, DN-IO University of Washington Seattle, WA 98195

The University of Washington is an Equal Opportunity Employer and operates under an Affirmative Action non-discrimination policy and program. slippery, and I fell. I landed on my lecture-demonstration I had recently left arm, causing an angulated fracture presented at the Violin Society of the radius just above the wrist. Convention titled "The Transition to That is the objective report. What I the Tourte Bow and its Effect on felt as I lay there on the ground is Bowing Articulation". I dared not think something else again. I could not move of the possibility that there might be my fingers, my grotesquely gnarled no more opportunities to grapple with hand, or my wrist. The fear was so all the problems of bowing articulation, or encompassing, I was momentarily any other problem of viola playing, for nonfunctional. The pain was that matter. I had been playing for nauseating, but fear was the real thirty-eight years; I could not conceive problem. I knew instantly that it doing anything else. would be a long time, maybe never, before I would play the viola again. I After six weeks, the cast came off, walked out of the woods on my own and the day I had looked forward to so power, reassuring everyone that I was greatly turned into yet another all right, but in my mind I was already nightmare. As they peeled off my assessing the damage to my life and my cocoon the pain hit I was even career. distracted from the appearance of the atrophied tissue. The arm, supported In the emergency room, the X-rays by the heavy plaster for so long, could confirmed that I had , indeed, a most not support itself, and the hand hung unpleasant break. The pictures in down, flopping in the air. I could black and white were shocking enough, barely walk out of the hospital. but when we pulled off my jacket and I saw for the first time what my arm The Reunion actually looked like , I came close to hysteria. There was a big bend and At home, the anticipated reunion with drop in the ordinarily straight forearm, the viola was delayed a few days, until and the hand hung loosely, totally out I could lift the arm somewhat. Finally, of my control. Once the arm was set I unpacked the instrument and put it in the cast, all I could do was attempt under my chin. I lifted up the arm, to wiggle my fingers, which were , and discovered that I could not rotate mercifully, left free from this it enough to get any finger down on nightmarish incarceration. The cast, a any string. I could not reach the heavy plaster pressing on me from just fingerboard at all. I put the viola below my fingers all the way to above away and went back to bed . After my elbow, was an incredible trial. some time had passed, in which I floated in a dream-like state of horror, Every pain I felt during this period, it occurred to me that something must from the enormous throbbing to each be done. With the tears rolling down minor twinge, became magnified because my face, I went back to the viola and of my great interest in what was going tried again. Expending enormous

I on beneath the plaster curtain. Each effort, I wrenched my arm around and new X-ray was threatening and succeeding in getting my first finger wondrous at the same time. Imagine down on the A string. The pain was looking at a picture of the inside of excruciating. I could hold the position your arm, and seeing a misshapen for only a few seconds, and then damaged bone. What I managed to dropped my arm . I tried again, lifting accomplish during this time was to my finger above the string and putting learn word processing on the computer it down to alternate between A and B. and produce a written version of the I could play two notes, slowly. Very 5 slowly. Everything I did with my left accepted the work when it was hand had to be done slowly. It was available, even if it meant occasional extremely weak and hurt all the time. thirteen to sixteen hour days. In fact, it was those days that built my I could play my two notes for only strength and gave me great endurance. a few repetitions at first. Gradually I Now all that was gone . increased the number of repetitions, then added the second, and then the I left the viola out on the piano all third finger. The fourth finger was day, and just kept returning. Getting much more difficult. I was an absolute down to the G and finally the C string beginner. Eventually the D string was a major accomplishment in those loomed into view, and the rotation first weeks. At first, I would lock my necessary seemed possible, if only thumb over the neck and fingerboard momentarily. The correct word for the and hang on for dear life. Any kind of motion I was attempting is supination. chromatic alteration requiring lateral I have learned this word well, and also motion was extremely difficult, and the its opposite, pronation. We use extension back of the first finger, pronation of the right arm to add which I had always relied on so weight and power to the bow stroke--it heavily, came much later and with is the turning of the hand down great effort. towards the floor "and away from the body. Pronation of the left hand is I began to creep up the fingerboard: still difficult for me, but supination, second position and then third position. the turning of the hand toward the One day, to my amazement, I found body, was the motion I needed to reach myself in fourth position on the A the fingerboard, and supination was string. I also found that I could play next to impossible, or so it seemed. for a few more minutes before the pain set in so strongly that I had to stop. I had no muscles . My pitiful arm Sometimes I would break down in tears, and wrist were quite swollen, but as but I always went back later and tried the swelling receded I saw how little of again. I devised a warm-up exercise my formerly well-developed arm that was, at first, all I could manage to remained. What was prominent instead do. It was basically a trill preparation was a big bump where the break had exercise on each finger, and then a occurred and another big bump on the patterning of the four fingers in outside of my wrist. I analyzed the different half step formulations. I was pain: the muscles were screaming still a beginner, but my range was from being used after having been growing and my endurance improving. frozen for so long, the muscles and tendons were being stretched again I learned what it is to be compulsive. after foreshortening, and the bones in I went back again and again, trying to the new position were pressing against extend what I could do. I was driven each other. In retrospect, it was the to practice. My life depended on it. weakness of the muscles which was my major problem. They just would not Therapy pull the hand around over the fingerboard, and exhaustion set in It was after about two weeks that quickly. I could practice for only a the doctor sent me to occupational few minutes at a time . I dared not therapy. What we did there was think about how many " hours I used to stretch the wrist . Increasing 'range or work in the recording industry, in any motion' was the goal, since I was given day . As a free-lance musician, I severely impaired in the pronation and

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1637 Silverlake Boulevarda Los Angeles, California 90026 (213) 662-7256 supination motions and somewhat overcome than I to be back in the field impaired in the up and down motions as of battle. well. WarmlD& Up ' If anything, the severe stretching exacerbated the pain, but after about I learned a great deal from this two weeks of daily stretching, I experience. First, the importance of discovered something wonderful. My warming up. I will never again pull vibrato was coming back. Slow the viola out of the case and start sustained playing was still my most playing. The exercises I devised, while difficult task, requiring the greatest not original, seem to be extremely strength and endurance, but the freeing helpful and I will probably begin each of my wrist made the vibrato motion day with them for the rest of my life. possible. I gained twenty degrees of It is also a good idea to do some large motion in each direction during this muscle movements such as general body period. I was starting to sound like a stretching, shoulder and head rolls, and violist again. so forth, before one even approaches the viola. Because I was so stiff and What did I practice? Everything I sore, I found heat applied gently to my could find in the music cabinet. I was wrist and arm for five minutes before I playing the viola at least four hours a began to practice to be of help, also. day; when it hurt too much, I would But apparently, heat must be used with stop and come back later. I don't care, because it draws fluids to the remember when it occurred to me that area, and if one is swollen, it can I had made tremendous progress I was cause more swelling and hence less so involved in the process of relearning freedom of movement. and the task so great, I had little perspective on what I was I had always thought that it was accomplishing. necessary to begin practicing with long, slow, sustained tones. But I found that Toward the end of the fifth week this kind of viola playing is perhaps out of the cast, the pain changed from the most difficult, and requires the the demanding, shooting pains and most strength and control. For me, it muscle cramps to a deep ache. I was was impossible at first. It seemed grateful. This meant I now could play better to begin with moving fingers, up longer at any given opportunity, I was and down on the finge rboard, gradually able to increase my range on the C increasing speed. Three octave scales string, still my nemesis, and I could and arpeggios are a mainstay of our work on double stops at last. The technical practice, but even these are more I was able to play, the stronger I quite athletic and should be preceded got. The sound improved because 'the by more restrained motions. finger strength was gaining. I recorded myself and listened back with I solidified some basic tenets or trepidation. Always my worst critic, I teaching, and found my concepts found the playing almost acceptable. validated by my own experience. The most important is that practice must At the end of six weeks out of the push at the edges of what is possible cast, three months after I first broke for the player, otherwise it is only my arm, I was ready . to go back to maintenance. I am not discounting the work. I don't consider anything I did value of maintenance practice for the to be heroic . There are other string professional it is absolutely imperative players I know who bad much more to to counteract the effects of overwork,

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Telephone (312)663-0150 63 Douglass Street San Francisco, California 94114 (415) 861-5535 underwork, and orchestral playing in Werner Henze Viola Concerto. She general. But for students, progressive played electric viola with Frank Zappa. practice is the goal. Building all the and was recipient of a "Most Valuable time from what is possible to the next Player" award from . the National step, be it faster, higher, louder, Academy of Recording Arts and softer, more sustained, more intense, Science.• etc., this is the way to progress. And measurable progress is the greatest motivator of all. Positive reinforcement is a powerful tool, and what you accomplish on the viola is your own personal victory; no one can JAMES MILLINGTON do it for you, take the credit, or the blame. by

Building physical prowess is not the ROSEMARY GLYDE only goal in progressive practice. Increasing mental awareness, gathering Editor's Note: This is the third in a the information from the page of music series of articles by the author on faster and more accurately, is also a prominent violists and those who have learned process. So is absorbing had influence in our field. information from what you hear and correcting it instantly. Again, pushing "Only one violist. Only one violist at the edges, constant effort to do on the island . And he just returned more, learn more, see more, hear more, home to England." This was a and play more. It requires great surprising pronouncement from a energy to practice in this fashion, but gentlemen I was recently privileged to the rewards are measurable. I can meet. We sat on the porch of an old assure you that this is true. sugar plantation farmhouse one morning in March of this year. The house was I went back to work a few weeks located in the parish (village) of Christ ago. It is a pleasure to make music Church on the island of Barbados, the with my colleagues instead of solitary English protectorate in the southeast practice. I can feel myself gaining in Caribbean. The old farmhouse had the strength each day. My latest purchase Bajan-styled central stairway leading up is a three-pound barbell, with which I to a wraparound porch lined by exercise dutifully. Each of us can jalousies. Just inside I could see old benefit from the development of portraits of a young violinist. Across muscular strength in the arms and from us was a grove of mahogany trees. hands. Viola playing is a very physical The grove, owing to the trees' shallow activity. And being a violist is a roots, fell and wreaked havoc on the privilege to which I have happily house in the hurricane of 1955, he returned. explained. It was hot, the day was bright, bright sun. The gentleman's wife brought out a welcomed tray of Pamela Goldsmith studied at Mannes sweet orangeades. College of Music and received her DMA from Stanford University. She I was on that porch by way of a presently teaches at Cal State simple phone call to the Barbados Northridge. As co-principal of the Tourist Authority in New York after I Cabi//o Festival Orchestra. She gave learned I was to accompany my husband the West Coast premiere of the Hans on a business trip to Barbados. The

10 PRACTICING THE UIOLA Mentally-Physically by LOUIS KIEVMAN Ncwmakin!l ro O rder. Sail's, Rcp:lIrs, :\ p p r1 i ~ : d o~o Daily Studies for Left Hand, Right Hand \ Oiol ins- Violas ° ( :d lJ ° K " w ~ \ Ul".'\,.r:': ' ' 1i I e s d ~\\ O Ih n 'lI ~ ~ h I feel that it is an answer to a prayer. Sa tu rd 3 1.00 III c lO polll My congratulations on the simpli­ city and sensible thought you have shown in it. -MAX ARONOFF Michael and Rena Weisshaar At your local music dealer 167 Cabrillo Street or send $4.50 plus 75<1: handling to: Costa Mesa, California 92617 (71+ ) 5"4- H- llH7 KELTON PUBLICATIONS P. O. Box 49720 Dept. V Los Angeles, CA 90049 Violinrnakers Tourist Authority suggested I contact Fort Washington Heights, failed him in the University of the West Indies at the exam. He was 22 years old. James Cave Hill on the island. There, the told them that he wanted their best secretary--after being momentarily teacher. "I want you ," : he said to stymied when asked to give me the Professor Farina. Farina answered, name of the local violist, or at the "But I don't want you. You're too old very least, the local viola teacher--said and your fingers are too thick. Where she would look into it. A week later, do you come from?" "Barbados." "Never she had found the violinist teacher on heard of it." James then mentioned the island, a retired teacher named something he had read about Ysaye, James Millington. His daughter, Janice Ysaye had to put on a broader Millington Robertson, a violinist and fingerboard to accommodate his thick pianist, joined us for the meeting. fingers. "That saved me. I was able to tell him this and that got him!" James Millington is a man of eighty­ Millington told me triumphantly. "I four years who seems much younger. was in!" The professor then asked him The story of his beginnings was told which violinist he wished to pattern fervently and in great detail, as though himself after. James answered, "I it had all happened yesterday. would like to play like myself, but I do Enthusiastic, he sometimes sang entire admire Kreisler. Heifetz plays fast, passages of a concerto to illustrate his like a cyclone. Kreisler is just as fast, point, gesticulating strongly with his but he takes more time." He then bow arm. Alternately, he lay down on added, "Give me one year. I'll pay you a chaise lounge to rest a chronically in advance, and if I don't come up to pinched nerve in his neck. This man standard, I'll be out." The professor had studied in New York, and had was wicked; everything he gave me was achieved the reputation of being the beyond me," but at the end of the violinist and teacher on this island. year, he said, "You can go on." He How did it come about in this remote just couldn't understand how the young tropical region? Millington could memorize so very well.

James Millington was born in Every year there were concerts given Barbados, a true "Bajan", His uncle, by the students outside the who had no children of his won, took Conservatory. A young player, great interest in him and discovered Andrietta, from New York and a that James had musical talent. The wealthy boy, could play in a room by uncle had his own organ; James sang themselves but couldn't bear an while the uncle played. The uncle gave audience. "But for me, the more him a mandolin in which James took people, the better I play. I played the great interest. Then he heard a violin. DeBeriot Concerto No. 9 for my test His uncle found one for him, and James and passed." began to teach himself at fourteen. Later his uncle insisted he go to After graduation in 1930, he returned college and sent him to America in the to Barbados to visit his mother and 1920's. uncle, but "they didn't allow me to go back." Millington thought he would not In New York be able to make a living in Barbados, but his uncle was convinced it was Arriving in New . York, he first actually better for him to remain studied privately to prepare for the because Barbados would, he believed, college entrance exam. The college, provide a lucrative base for the sole the Conservatory of Musical Arts in string player. In addition, he could

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201 385·1139 become a nationalist, creating Janice Millington Robertson opportunities for his nation. As I spoke to Janice, several facts He then met the British organist, brought us in almost immediate rapport. Gerald Hudson, organist at the main We are both the same age; we both cathedral on Barbados, a fellow of the have a small child; and we both studied Royal College of Organists, and "the the violin with our fathers in out-of­ best musician on the island." Wanting the-way places . Discussion of her Millington to be introduced to the violin studies with her father brought island, he arranged a concert for him not an unexpected volley of laughs and at the cathedral. The cathedral was concerned glances in regard to packed. After that concert, Millington stubbornness on both their parts. He never had an empty hall. He took on had wanted her to study medicine, but private pupils for nineteen years, she ultimately chose music; the violin playing student concerts and his won was her first instrument, the piano, her solo performances every year. second. She is well known on the island, for in the short time I was His daughter, Janice Millington visiting there, several people I spoke to Robertson, pointed out that on the knew her by reputation or had heard island, a recitalist was expected to play her in performance. for free. Therefore, when Millington was offered a teaching position at the The governor from St. Kitt's had Camembere School on the island, it was assisted her in obtaining a scholarship very inviting to him . He was asked to to study in England. He informed her create a department to introduce the father that, if the subject she was English exams of Oxford-Cambridge. interested in was not obtainable at the The position offered him a fixed salary island's university, she was eligible to which was, or course, much more receive the Commonwealth scholarship. rewarding financially. But he had There followed her years of study in studied in the U.S. and as such, was London. There she found her mentor unfamiliar with the English grading in Jean Harvey, herself a violinist and system. As the thought processes and pianist. syllabi were very different from the American and Barbadian, he had to Janice now teaches at Harrison devise a method to adapt the English to College and is herself at a crossroads. the island's needs. He evidently She just played solo concerts in Guiana enjoyed much success in the position and finds that now is the time of her of his students at the school, all have life to play. The question is whether passed and many received distinctions. to stay in Barbados or go overseas. "If A former pupil, Augustus Brathwaite, I play at a national level, what kind of for example, went to Peabody and is contribution can I make?" presently in Georgia working on . his doctorate. On the subject of the viola, Janice feels that "the island needs to hear a Millington also founded a string good violist, in order to allow the viola group at the school that later became to be a visible thing. Some people the Barbados Strings, and later, the don't even know what a viola is!" Barbados Sinfornia. He directed this There had indeed been only one violist group for years, and until very on the island. His name was William recently, it was directed as well by his Greasley, an Englishman who came from daughter, Janice. Kneller Hall , the English military academy for training musicians.

14 OBERON

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Viola at Oberlin

For more information about private viola studies and the viola program at Oberlin contact: Michael Manderen Director of Admissions Oberlin Conservatory Oberlin, Ohio 44074 216/775-8413

Extensive financial aid and scholarships available. Greasley conducted the military band school, or private lessons, or by and was a violist as well. He had registering directly as beginners. Each recently retired back home to England. region has a National Regional Conservatory which gathers the best was about to ask Millington who students from the schools of music. was filling Greasley's shoes when my Here students can study all instruments taxi arrived, honking, and I had to as well as solfege (required), sight leave quickly to catch the boat. reading (required), chamber music, Otherwise, I could have easily spent orchestra, piano (secondary instrument), hours with them and gotten my answer. music history, musical analysis, acoustics, and eventually, a second It was truly a memorable meeting instrument. listening to these dedicated musicians, true trailblazers on this remote island. The professors teach sixteen hours a Their life-long struggles have been and week and are paid full -time salaries. will be appreciated and enjoyed. I'm Often, they have an assistant who sure the Millingtons would welcome teaches the lower level courses. The letters and inquiries: Maxwell, Main lessons are private--although other Road, Christ Church, Barbados. It was students may attend--and the length of hard to leave them . the courses varies depending on the conservatory. At Strasbourg, where I teach, I give a one-hour lesson to each Rosemary Glyde received her doctorate student every week. of Musical Arts from the Juilliard School under Lillian Fuchs. She was At each level, there is a violist in the Manhattan String Quartet corresponding age limit, (the course of and has appeared as soloist with the study being very hierarchal). The Houston Symphony and other duration of study at each level is set orchestras. Ms. Glyde is . the treasurer by each conservatory. Entrance of the American Viola Society.• examinations designate at which level the students will enter the program. A semi-annual examination monitors the student's progress.

TEACHING THE VIOLA Every school year starts in September and ends in June of the following year. IN FRANCE The students are admitted from about the age of eight years. Violists usually by play small violins which have been restrung, or they play small scale violas OLIVIER SEUBE made at Mirencourt 1/4, 1/2, and 3/4 size. Beginning at the level of middle school, the students buy their own Practically every city in France of instruments, usually made in Strasbourg more than 30,000 inhabitants has a or Mirencourt, for approximately $2,000. school of music, managed and adm inistered by the municipality The courses go up to the "course government with the help of the license" or the preparation to become a regional council. All children who professor (twenty-eight years old). desire to study music, dance or Most of the advanced students then go dramatic art can enroll in these schools to the Superior National Conservatories after having taken courses in a private of Music at Paris or Lyon to finish

16 their stud ies. Some students change Fortunately, about ten years ago, an from the study of the violin to the organization, Friends of the Viola, was viola. This is rare, but they do have formed in France presided over by the choice, Violinists are actually Serge Collot, professor of Viola at the encouraged to briefly stud y the viola in Conservatoire National Superieur de order to acquire a more resonant tone. Musique in Paris. (cf. Secretaire address below") The study of music requires numerous sacrifices because it must be This association has greatly enr iched balanced with traditional school stud ies the opportunities for the advancement which are very demanding in France. of viola professors through contacts, meetings, concerts, trips to foreign But for twenty years, each regional countries, and a journal of informative conservatory has offered the choice of articles, discussions, studies and works studying on an adjusted schedule: at in collaboration with the makers of school in the morning and at the stringed instrument, composers and conservatory in the afternoon. This editors. often yields the best results. In fact , the goal of the French String teaching method used in conservatory is to offer a very France is very trad itional, since all the specialized musical ambience in order to professors are French and are taught produce professionals. Contemporary the same approach in the National music is really just now beginning to Conservatories, i.e., the Franco-Belgium make headway in our teaching. We technique which is akin to the Russian would be very happy to receive technique. recommendations of contemporary Amer ican viola works which could The use of foreign or contemporary enrich us even more. I, in turn, list music is rather limited although the works of pedagogicical interest for professors are free to teach as they teach ing contemporary French music.·· wish. There are also few exchanges with foreign conservatories. For these reasons, teaching has remained rather unchanged.

THE HISTORY OF THE VIOLA By Maurice W. Riley The first book to deal with all aspects of the viola from ca. 1500 to the pres­ ent. The instrument. its music. and outstanding violists are discussed and evaluated. The Foreword is by William Primrose. An appendix contains over 300 short biographies of outs tanding violists. Over 400 pages of photo­ graphs. music. and text. NEW LOW PRICES: Paper$15.50 Cloth $20.50 Maurice W. Riley 512 Roosevelt Blvd.• Yps ilant i. MI 48197

17 *ASSOCIATION INTERNATIONALE DES ALTISTES ET AMIS DE L'ALTO Secretaire: Paul Hadjaje II Bis, rue neuve Saint Germain, 92100 BOULOGNE

** LlSTE D'OEUVRES CONTEMPORAINES D'INTERET PEDAGOGIQUE:

Nom du Compositeur Titre Ed iteur

M. BLEUSE EI Cantador BlLLAUDOT J. B. GALLAIS Hymne TRANSATLANTIQUES P. CHOQUET Piece pour vln&vla JOBERT J. M. DEFAYE Amplitude ESCHIG F.FABER Poursuite Institut Pedagogique Mus ical­ Etablissement public du Pare de la Vilette 211, Avenue Jean-Jaures 75019 PARIS P. FOUILLAUD Crepusculaire idem R.GAGNEUX Duo pour vln&vla DURAND J. GUINJOAN Microtono AMPHION B. JOLAS Episode 6· HEUGEL idem l'Ardente idem J. M. LAUREAU Schizzo, vln ,vla, vic I/P/M P. Y.LEVEL Mentor LEDUC A. LOUVIER Sempre piu Alto LEDUC G. MASSIAS 12 Etudes de Concert JOBERT A. VOIRPY Motum III LEMOINE I. XENAKIS Embellie SALABERT M. DURUFLE Prelude, recitatif DURAND et variations H. POUSSEUR Flexions IV SUVINI ZERBINI MILANO B. BARTOK Duos UNIVERSAL EDITION (15998) M. CARLES Intensites LEDUC M.CONTANT Rec itative SALABERT D. DENIS Levres Rouges RIDEAU ROUGE A. JOLiVET 5 eglogues BILLAUDOT A. MARGONI 3 eaux-fortes BILLAUDOT J. MARTINON Rapsodie ' 72 BILLAUDOT

Olivier Seube studied at the Paris Conservatory with Serge Col/ot and Bruno Pasquier. He was a violist with the Colonne Concert Association and has soloed with several French orchestras . He is an associate professor of music at the Strasbourg Conservatory.•

Editor's Note: The November, 1987 issue of the JOURNAL will not arrive at our subscribers' address until January, 1988. 18 A MUSICAL FEAST videotape which included the master violist performing Beethoven, Schubert AT ANN ARBOR and Paganini in 1946. Both Zey ringer and Dalton have forthcoming books on by their topics. Rile y is readying a revised, enlarged edition of his The .. Alexa nder Harper History of the Viola.

Viola pedagogy received close It was a musical feast, indeed, for attention in a lecture by Louis Kievman devotees of the alto and Bratsche, as (practice pointers), in master classes by some 200 violists assembled for the Emmanuel Vardi, Robert Vernon and week of June 16-20, 1987, at Ann Heidi Castleman, in a Suzuki Viola Arbor, Michigan. The American Viola Workshop by Doris Preucil, and by Society and the School of Music of the mock orchestral auditions before a University of Michigan co-hosted the panel of Nathan Gordon, Patricia XIV International Viola Congress, with McCarty, Yizhak Schotten and Robert Yizhak Schotten as host chairperson, Vernon. assisted by his wife, Katherine Collier. Makers of violas and bows were in It was a feast for gourmands, with attendance with examples of their craft performances of seven concertos and for purchase or order, all coordinated five other viola works with orchestra, by Eric Chapman, Joseph Curtin and some twenty-eight chamber works and Gregg AIr. A cacophony of violas solos, eight works with composers undergoing simultaneous sampling could present and five world premieres. It be heard at all times in the display was a feast for gourmets in elegant rooms. Tokyo Quartet violist Kazuhide performances by world-class artists. Isomura demonstrated instruments by Two orchestras and a dozen skilled nineteen attending makers, playing accompanists at p iano, harp, identical passages from Tchaikovsky, harpsichord and - -would you believe it? Brahms and Beethoven. Purveyors of --gamelan ensemble prov ided settings music, recordings, v ideotapes, for the viola works . accessories and journals did brisk business. Yet the Viola Congress was not a mere performance marathon. Both the Primrose Competiton International Viola Society and its American chapter are committed to viola research as well. Frontiers of First event was the Primrose Memorial recent scholarship were shared by Fund Scholarship Competition, with Franz Zey ringer on the emergence of finalists Lynne Richburg, Carla-Maria bowed stringed inst ruments in Europe Rodrigues and Paris Anastasiadis. First, by the 7th century A.D. and of the second, and third place awards were in I viola da braccio family before that of that order. (Henceforth, in this article, the violin; by Maurice Riley on methods makers of instruments played are given and materials for viola research; and by in parentheses after violist's name and Ann Woodward in profiling the violist names of compos itions are limited to of the classical period. awards or first performances.) Winner Lynne Richburg (Matsuda viola), pupil David Dalton, AVS President, of Donald McInnes, played later with reported some progress in the Prim rose orchestra Alan Schulman's Theme and recording-reissues. He presented a new Variations as part of her award.

19 The congress was greatly enriched program of virtuoso unaccompanied by the fine performances of the U.S. music by Bach-Kodaly, Vieuxtemps, Air Force Symphony Orchestra, Fuchs and Reger. Chamber works by conducted by Lt. Dennis Layendecker. Hummel, Randall Thompson, Loeffler Unique for the Michigan setting was and P.D.Q. Bach were combined in a the National Arts Chamber Orchestra, program by Appel, Westphal, Preucil, and faculty of the University of David Dalton (Peresson) and Suzanne Michigan in supporting chamber music Ostler, violists with Nina de Veritch, roles on winds and keyboard. cello, Fred Ormand, clarinet, Katherine Collier, piano, and Penelope Crawford, The opening concert was presented harpsichord. In another recital by University of Michigan School of Westphal and Collier played Martinu, Music faculty, past and present: Hindemith and the first performance of Patricia McCarty (J.N. Brugere), viola; a Solo Suite by Maurice Wright. Gamelan ensemble under March Benamou; Leslie Gunn, baritone; Donald The Air Force Symphony returned McInnes, viola (Matsuda); Katherine to accompany Robert Vernon (Knorr) in Collier, piano; Fred Ormand, clarinet; David Finke's concerto, Paul Swantek Yizhak Schotten, viola (Brescian: (the symphony principal) in Vanhal's Gasparo?); and Lynn Aspnes, harp, Concerto in C, Patricia McCarty in Geoffrey Applegate, principal 2nd violin Bax's Phantasy on Irish Tunes. and of Detroit Symphony, replaced Camilla Donald McInnes with Endre Granat, Wicks, violin. They performed works violin , in the premiere of Maurice by Lou Harrision, C.M. Loeffler, Leslie Gardner's Double Concerto. Barrett, Bax and Rolla, with composer Barrett in attendance. With the National Arts Chamber Orchestra, conducted by Kevin A recital by Patricia McCarty with McMahon, Susan Kier (Keller) played Ellen Weckler, piano, included works by James Domine's concerto. Emanuel Alexandre Winkler, George Balch Vardi played Walter May's Concerto No. Wilson, Henri Busser and Tibor Serly, 1. Kathryn Plummer (Grancino) was with composer Wilson present, and a heard in Alan Shulman's 1984 Variations first performance of the viola version with composers Schulman and May in of Serly's Sonata in Modus Laviscus. attendance. Violist Toby Appel (Heir. II Amati), with John Mohler, clarinet and Frances A final recital of viola duos by Renzi, piano, presented Romantic Emanuel Vard i and Lenore Weinstock English works by Rebecca Clarke and (both Iizuka) ranged from Rolla to the Frank Bridge. Handel/Halvorsen Passacaglia, with the usual violin part taken by Vardi on the Works with Orchestra viola. Duos by Richard Lane and Seymour Barab were dedicated to these With the Air Force symphony, Fred violists. Ormand, clarinet, joined Schotten in Bruch's Double Concerto. Barbara "Career Options" was the theme of Westphal (Gasparo) rendered Jean a panel discussion by Nathan Gordon, Francaix's Rhapsody for Viola. while Louis Kievman, Donald McInnes, William Preucil (Sgarbi) played Heinz­ Kathryn Plummer and William Preucil. Werner Zimmermann's Concerto for Near the end McInnes quoted a leading Viola, containing jazz-motifs, with the artist-manager saying, "There's room composer present. for only one top-night solo violist in Kazuhide Isomura (Mariani) gave a the world." Quipped Nathan Gordon:

20 "And he's dead!" Violists will gather again at the next Congress which 'was announced for The 1987 Congress opened with a 16-20 June 1988 in Kassel, West banquet, at which citations for service Germany. were made to Maurice Riley, Francis Tursi, Ann Woodward and the U.S. Air Force Symphony Orchestra. The IVS Alexander Harper has been principal presented its annual Silver Viola Clef violist 0/ the Fox River Valley to David Dalton. The Congress ended Symphony in Aurora. Illinois. lor a with separate meetings by the American decade. and a pupil 0/ William Schoen. and Canadian chapters in which lively discussion was heard regarding plans for the expansion of their organizations.

i "' ~'r.I / ...--- - . - \ \

J

Ground Round f r an Sonata for Viola Four Hands by P. D. Q. Bach XIV Viola Congress

21 The AVS is an association for the promotion of viola performance and research.

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Send To: Rosemary Glyde, Treasurer P.O. Box 558, Rt 22 Golden's Bridge, NY 10526 Arrerican Viola Society Merrbership, 1987

AACAAIIJJ, KATHIE J. ANDERSON MUSIC LIB, DWIGHT ARID, ATAR 4611 KENSINGTON AVE. 2301 S. Third Street 1730 LAFAYETTE N.E. TAMPA, FL 33629 Louisvil le, KY 40292 ALBUQUERQUE, NM 87106

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Berger, Madeline Frank Be rk , Annabel Berkowitz, Lori 2 Mac Irvin Dr"ive 8149 E. Baker Drive 170 Second Ave. Apt. 10-B NeWport News, VA 23606 Tucson, AZ 85710 New York, NY 10003

Bethe11, John Bettigole, Marcia Blankleder, Jose The Beeches, Lime Tree Grove 53 Wiltshire Road 1240 Ala P Kapuna,'409 Rathenstall BB4, 8JB Lan ENGLAND Williamsville, NY 14221 Honolulu, HI 96819

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Gardener, Vittore E. Gardner, Maurice Gehman, Connie Hein 2444 Gardener Rd. 5640 Collins Avenue Apt. 7-D 1221 Union Blvd. Eagle Point, OR "97524 Miami Beach, FL 33140 Allentown, Pa. 18103

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HEADLEY, CHARLES BENSON DR. HILDRETH, HELEN H. 1IUl"IER, CAROLI 2029 N. WOODLAWN NO.424 P.O. BOX 42547, YORK STAnON 188 RIVER DR WICHITA" KS. 67208 LOS ANGELES, CA 90050 HADLEY, HA 01035

Hadjaje, Paul Prof. Hall, Thomas G. Dr. Hampton, Co11n 11 bis Rue Neuve St. Germain 3843 East Kirkwood Avenue 309 Berkeley Park Blvd. 92100 Boulogne, France Orange, CA 92669 Kensington, CA 94707 Hanna, James R. Hansen, Jo Mrs. Harbst, Rosalyn 523 W. !aft Street P.O. Box 5358 3606 Glencreek Lane Lafayette, LA 70503 Greensboro, NC 27435 Louisville, KY 40218

Hard, Wallace Hardin, Barbara G. Mrs. Harper, L. Alexander 528 Oakview Drive 824 Franklin Drive 16 S. Gladstone Kettering, OH 45429 Charleston, IL 61920 Aurora, IL 60506

Harr1lllan, J. Kimball Prof. Harrfs , Julia Hartley, Miriam 120 Ashton ce, 3409 Willowood Drive PO Box 267 Athens, GA 30606 Bartlesville, OK 74003 Ledyard, CT 06339

Hauck, Betty V. Hedges, Julie Henderson, David Long Box 79 Apple Hill 1200 North 7100 East 442 Woodlake Drive E. Sullivan, NH 03445 HuntSVille, Ut. 84317 Sacramento, CA 95815

Heydt, Alison Hogendorp, Leo R. 110 llan, Michael 1510 Stafore Drive 2128 California St. 1825 N. 78th Ct. Bethlehem, PA 18017 Oceanside, CA 92054 Elmwood Fark, Ill. 60635

Holland, James Holv1l<, Martha Hook, Claudia L. 1316 W. 96th St. 2515 Iowa Street 3753 Ihornbrier Way Chicago, IL 60643 Cedar Palls, IA 50613 Bloomfield Hills, HI 48013

Howes, Robert A. Mr• Burtz, Albert Hustls, Barbara S. 1519 Robinwood Ave. 830 Fruithurst Dr. 3337 Stanford Cincinnati, OH 45237 Pittsburgh, Pa. 15228 Dallas, TX 75225

Hutchins, Carleen M. Dr. Irvine, Jeffrey IsOOlura, Kazuhide III Essex Avenue 402 !brgan St. 1 W. 64th St. Apt.7C !bntc1air, NJ 07042 a,erlln, 011 44074 New York, NY. 10023

Ives, Lori JOOES, JEAN Jaakkola, Leo t. Mr. 264 Eas t Green Street 314 WISCONSIN AVE. #2 5440 N. Ocean Dr. #U06 Claremont, CA 91711 EL CAJON, CA 92020 Singer Island, FL 33404

Jacobs, Veronica James, Mary E. Jeanneret, Marc llU Park Avenue Apt. 4E 1919 S Elm 61 Babcock Street New York, NY 10126 Pittsburg, KS 66762 Brookline, MA 02146

Johnson, Jill Johnson, Rebecca Johnstone, Duncan 1801 Spring Creek Pkwy. B-1 7138 South 2900 East 1923 IMght Plano, n 75023 Ogden, Ut. 64403 Berkeley, Ca. 94704

.Jones, Roland XASS, PHILIP ICLOFn:NSTEIN, WENDY GLYDE 3004 S. Kearney 209 PARK RD 617 S. CARNEY St. Denver, Co. 60222 HAVERTOWN, PA 19083 A:rMCRE" AL. 36502

Kalal, Gladys S. Mrs. Kelley, Dorothea Kessel, Phyills 111 Marinette Irail 4808 Drexel Drive P.O.Box 949 Madison, WI 53705 Dallas,:IX 75205 Kingston, WA 98346 , Kievman, IDuis Klinpuller, Dr. Volker Prof. , Knechtel, Baird A. 1343 Amalfi Drive Leibnizstrasse 21 103 North Drive Pacific Palisades, CA 90272 6800 Hannheim 1, WEST a:RHANY Islington, en t., M9A 4R5, CANADA

Kolpitcke, John Korda, Ma rion Kramer, Karen 1620 S. GLOBE AVE. 3111 Talisman Road. 3641 Beech Portales, NM 88130 IDuisville, KY 40220 Flossmoor, IL 60422

Kulikowski, Delores LIM, SOON-LEE Lakatos, Janet 1 Old Mountain Road 111 EAST AVE #941 1329 Raymond Ave. Hadley, HA 01035 ROCHESTER, NY 14602 Glendale, CA 91201

Lanini, Henry Lefkoff, Gerald Lesem, Kenneth 10200 Anderson Road 665 Killarney Dr. 90 James St. San Jose, CA 95127 Morgantam, WV 26505 Burlington, V'I 05401

Leventhal, Amy Levin, leonard levine, Jesse 975 DREWRY ST. N.E. 7.220 Pershing Homer Clark Lane Atlanta, GA 30306 St. IDuis, MO 63130 Sandy Hook, CT 06482

~ryJ-U,C~ Locketz, Seymour , !oK: CARTi, PATRICIA M.L.#33 2613 Inglewood Ave. 134 ST. BOIOLPH ST. Cincinnati, OH 45221 Minneapolis, HN 55416 !l0STON, MA. 02115

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McDonald, M.D., Marjorie ~ !'k:Innes, Donald McWilliams, Bernard Mr. 35 Potter Pond 5 Halstead Circle 3195 Crocker Road Lexington, MA 02173 Alhambra, Ca 91801 Eugene, OR 97404

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""ller, Albert ~""sic Society, College NEllER, ELIZABEI'II 6754 Maywood Way 1444-l:1fteenth-Stree~ 848 PORTER Sacramento, CA 95842 Boulder, CO 80302 WICHITA" KS. 67203

Neubauer, Paul Newton, Harold Nisbet, Meredith W. 251 w. 97 Street, Apt. 3E 3935 Harrisburg Street NE 1908 Sylvia New York, NY 10025 St. Pptersburg, FL 33703 Arkadelphia, AR 71923 O'Donnell, Mildred , OPPELT, ROBERT OSTLER, SUZANNE 1256 W. Fairview Drive 988 MADISON P.O.BOX 17844 Springfield, OR 97477 BIRMINGHAM, HI 48008 SALT LAKE CITY, UTAH 84117

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Westman, Burns Ivbite, Donald O. White, John 10912 N. Linn 375 South East Street 36 Seeleys, liar low Oklahoma City, OK 73120 Amherst, MA 01002 Essex CHl4 OAD, ENGLAND

Wickerham, Laura Wieck , Anatole Williams, A. Daryl 5540 West Bar X St. 26 E. University Pk. 300 College Hill Rd. Tuscon, AZ 85713 Orono, He. 04473 Clinton, NY 13323

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A lyrical, award-winning transparent watercolor in earth tones, and a favorite of William Primrose.

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