The David Dalton Viola Research Competition Guidelines
NEW FOR 2005, CASH PRIZE! T he 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 for either PC or Mac. Word or WordPerfect format is preferred. All entries must be postmarked by 15 May 2005.
T he American Viola Society wishes to thank AVS past president Thomas Tatton and his wife, Polly, for under writing first prize in the 2005 David Dalton Viola Research Competition.
Send entries to: AVS Office, 13140 Coit Rd., Suite 320, LB 120, Dallas, TX 75240. 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: $250, sponsored by T homas and Polly Tatton 2nd Prize: Bartok's Viola Concerto by Donald Maurice and Facsimile edition of the Bartok Viola Concerto 3rd Prize: An Anthology ofBritish Viola Players by John White and Conversations with Wiliiam Primrose ------b~~~~ig_()~JtoJl ______
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 I So I Jr I SrI Grad Topic Word Count ______
Current AVS member? Yes I 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 JAYS. Journal of the American Viola Society A publication of the American Viola Society
The Jou rn al of Lhe American Viola Sociery Spring 2005 is published in Spring and Fall, and as an Volume 21 N umber 1 online-only issue in Summer. The America n Viola Society was founded for the promotion REGULAR DEPARTMENTS of viola performance and research. from rhe Ed itor ...... 3 © 2005, America n Viola Sociery From the Pres id ent ...... 5 ISSN 0898-5987 Announcements...... 7 LVS News ...... 9 Ediro r: Matthew Dane AVS Meeting Minutes, 'll·easurer's Reporr, M~:mbcrs hi p Reporr .. ll Alt ernative Styles: Leroy Jenkins: Improvising lnnovaror ...... 25 Alternarive Styles: Jul iet White-Smirh Modern Makers: Tschu Ho Lee, A Secret Exposed ...... 3 1 At the Grassroots: Louise Z<:idin O rchestral Training r-:orum: AVS Retrospective: Dwight Pounds Brahms Second Symphony, Op. 73 ...... 33 Fres h Faces: Lembi Veskimets Rerrospcctive: Nores on the Coolidge Competition and In the Studio: Ka ren Ritscher 13erkshire r es ti va l of 19 19 ...... 37 Meet Lhe Secrion: Michael Srrnuss Se:uching PIVA Online ...... 4 1 Modern Makers: Eric Chapman Fresh Faces: Anroi ne Tamestit ...... 43 New Music: Ken Martinson New Music Reviews: Chamber Music ...... 45 Orchesrral Training Forum: Charles Noble Sa mple Sco re: excerpt from Ellenwoocl-Frmtrt.ry Piece ...... 49 Ar rhe Grassroors ...... 53 AVS National Board of Directors Meet the Secrion: Sr. Louis Symphony Orchestrn Violas ...... 59 S3 mple Score: Woeh r-Chrtriie's Waltz ...... 60 Officers Ralph Fieldi ng, presidenr FEATURES Helen Callus, presidenr-elect In rhe Studio: Martial Arts vs. T he Big 13rown Bea r ...... 15 Louise Zeidin, secretary Alternative Styles: Strings in j azz, Part Two ...... 19 Steven Kruse, treasurer Board Members Claudine Bigelow (2006) COVER ART Nancy Buck (2006) New York nati ve Philip Lowry first Matthew Dane came w Tulsa as a scholarshi p student Susan Dubois (2007) ar the University of'li.tlsa while also Erika Ecken (2005) employed by the 1i.dsa Philharmonic. Barbara Hamilton (2007) In 1958, Lowry attended West Point NokuthuJa Nt.rwenyama (2007) and played with the West Poinr Ba ne!. Michael Palumbo (2005) He srudied with Paul Doktor in NYC Dwight Pounds (2005) and also played with the National Carol Rodland (2006) Symphony Orchestra Association. Aftt:r Wesr Point, Lowry played wi rh Ka thryn Steel y (2007) both the La uderdale and Miami Michael Strauss (2006) Symphonies. He rejoined the Tu lsa Juliet White-Smith (2005) Phi lharmonic in 1963, becoming principal violisr in 1970 as well as a AVS General Manager Gculry member at TU. He obt:aincd his Masters of Music and Performance Madeleine Crouch by Philip Lowry at the Harr School of Music in AVS National Office Hanford, Connecticut, studying with Rcnaro 13onicini . He has taughr 13 140 Coir Road and played ar rhe 'Taos School of Chamber Music. Suite 320, LB 120 Philip Lowry keeps busy composing, bread baking, and playing the swck Dallas, TX 75240-5737 market; othetwisc he is in volved in rwo phowgraphic exhibits in 'Ji.tlsa and (972) 233-9 107 ex c. 204 Taos, and plays in both the 'li.tlsa Opera and the Norrh Arbnsas Symphony. 2005 Prim.rose Com.petition and Festival Events May 24-28, 2005 Brigham Young Univ., Provo, Utah
• Guest artist recitals include Daniel Foster • Nokuthula Ngwenyama • Brant Bayless • Fonteyne Duo • Master Classes with guest artists • Guest lecturers include David Dalton • Dwight Pounds • The librarians of PIVA • Special tours of Primrose International Viola Archive (PIVA)- see rare documents, transcriptions and instruments of: William Primrose • Harold Coletta • Franz Zeyringer • Paul Doktor •Study the over 5,000 scores available in the archive •Listen to the rising stars of the viola community in the open semi-final and final rounds of the Primrose Competition! Check for updates at www.americanviolasociety.org.
JAYS WELCOMES LETTERS AND ARTICLES FROM
ITS READERS. SUBMISSION DEADLINES ARE
DECEMBER I 5 FOR THE SPRING ISSUE, APRIL I 5
FOR THE SUMMER ONLINE ISSUE, AND AUGUST I 5
FOR THE fALL ISSUE. SEND SUBMISSIONS
TO THE AVS EDITORIAL OFFICE,
MATTHEW DANE, [email protected] OR TO
MADELEINE CROUCH, I 3 140 COlT RD.,
SUITE 320, LB I 20,
DALLAS,TX 75240-5737.
OURNAL OF THE AMERICAN VIOLA SOCJ ETY 2 Brahms' Second Symphony, includ Also new among the awards is the ing many musical examples. recent Bartok Viola Co ncerto Another article examines the 1919 study by Donald Maurice, a Coolidge Competition, an event remarkable piece of viola scholar that produced two works now in ship generously donated to the the standard repertoire for our Competition by O xford instrument. Ann Woodward relies University Press. Guidelines for on fascinating reviews of the time entty are listed on the inside front to recount the tale. T his article cover; any questions can be direct originally appeared in the AVS ed to either the AVS National Newsletter #28 of April, 1985; we office or to the editor. University reprint it on its 20th anniversary and conservatory teachers are for its subject, and as a asked to encourage their students "Retrospective" to celebrate the to enter! f:l Volume 2 1, Number 1 again deals history of AVS scholarship. with the diversity within our viola Sincerely, profession. In addition to the con Article submissions to be consid Matthew Dane cluding segment of the Violas in ered fo r publication are always Editor, Journal of the jazz survey, we have an in-depth welcome. We are interested in all American Viola Society look at improvising violist Leroy topics pertaining to the viola, its Assistant Professor ofViola, Jenkins. It contains not only his literature, and its players and University of Oklahoma background, but also a written teachers. Articles furthering the out piece of his that increases Journal's mission of research are understanding of the subject. St. particularly encouraged. Specific Louis Symphony violist Christian guidelines for submission will be Woehr writes about the challenges posted on the AVS internet site in facing his section. Fresh Face the near future. Questions, ideas, Antoine Tamestit talks about the or proposals can be directed either wide variety of repertoire and ven to myself or to any of the depart ues on his performing schedule. mental editors. Susan Dubois' article incorporat ing M artial Arts practice into For undergraduate and graduate musical performance shows student members, the May 15th important connections between deadline fo r the 2005 David the two disciplines that are useful Dalton Viola Research to both players and teachers. Competition is approaching. For the first time, the first prize Also in this issue are articles cov includes not only publication but ering some of the violist's dearest also a cash prize! The AVS is repertoire and lore. Joel Belgique grateful to former AVS president gives a long-awaited, thorough Thomas Tatton and his wife, look at performance issues in Polly, for underwriting this award .
O L U M E 2 1 N U MBE R 1 3 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
• Hardback in black, 12 by 16 inches, 84 pages including photo page. • Prriface by Peter Bartok & Commentary by Uiszl6 Somfai ( Te"Ct in English, .Hungarian, German, Japanese, and Spanish). • Fair transcription of the dra:ft with notes prepared by Nelson Della maggiore.
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
OURNAL OF THE AME RIC AN VIOLA SOC I ETY 4 nary library of viola music) and T his will be my last message as AVS Robert Redford's "Sundance" President since my tl1rcc-year term is Resort in the mountains less than drawing to a close. Helen Callus will twenty minutes from BYU. As an become President on July l, 2005. after-competition trip, there are Helen currently teaches viola at the three National Parks within a five University of California Santa hour drive that feature the wonders Barbara and has an international of Southern Utah's dramatic red career as a teacher, performer, and rock formations (Arches, Bryce recording artist. We look fotward to Canyon, and Zion). having her great energy and innova tive ideas at the service of the AVS. Associated with the Competition wiJI be the Primrose Festival, featuring I would like to d1 ank the members performances by former Competition of the AVS Executive Board for winners Daniel Foster and Nokuthula another ambitious and productive For those of you in a mood to travel Ngwenyan1a. For n1rther information, yea.r. They are an amazing group of in early summer, two major viola please see the AVS internet site at bright and energetic people, and events will be taking place. www.americanviolasociety.org. have been wonderful to get to know both collectively and individually. The first event wi ll be the AVS Less than a week after the Primrose sponsored Prim rose Memorial Competition concludes, the My best wishes to all for a relaxing Scholarship Competition, which will International Viola Society is holding summer. !3 be held Tuesday, May 24 through the XXXIII lntemationaJ Viola Congress Saturday, May 28, 2005 on the in Reykjavik, Iceland, June 2 - 5. For Sincerely, campus of Brigham Young University registration information and a sd1eduJc in Provo, Utall. The competition is of events, please see their web site Ralph W Fielding being hosted by RYU professo r http:/ /www.congress.is/viola2005/. President, American Viola Society Claudine Bigelow and wi ll feature The next North American Faculty, Bowdoin lnt'l Music Festival you ng co ntestants from li tera ll y all Congress will be held in Montreal, over rhe world. The semi-llnaJ and Canada from June 7 - 11 , 2006. final rounds arc open to the public. T heir internet address wiJI be http://www. violacongress2006.ca/. From a touri st perspective, Provo is a safe, clean, and fr iendly city in a The AVS is currently gathering pro bea utiful location at the base of the posa ls to host a Congress in the U.S. Wasatch Mountains. Local attrac in 2008. If you are interested in tions include the Primrose hosting this event at your school (o r Memorial Rooms at Brigham know someone who might be), You ng University (exh ibits and please let the American Viola memorabilia on the grea t violist Society know by writing us at W illiam Primrose and an extraordi- [email protected].
- Y O LUM E 21 NUMBER 1 5 the NEWBERG VIOLA BOW "Ever is always in the best of hands srnce !first became aware of offering the Berg violists 11iolin and custom cello bows in crafted bows the mid-1990's in a wide I have been range of pressw·ing Michael Duff to weights produce such a viola and selection bow. It has been ci 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 powe1jul 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
. ( " 'H. I>J,~ • . bergbows.com W listening booth • endorsements • history • bow information • latest news
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TilE CHOICE OF CONCERT ARTISTS SINCE 1 84 ANNOUNCEMENTS
To download PDF copies of the 2005 description and ru les, and application, please visit the following rwo URLs:
http:/ /www.hugokauder.com/descriprion rules05 .pdf h rtp:/ /www. h ugokauder. com/appl icarion05. pdf
Chicago Viola Society Solo Competition The 2005 Chicago Viola ociety Solo Competition wi ll be held on Sunday, May 8th at the VanderCook College of Music, located on the campus of the Illinois Institute ofTechnology. Violists up to age 25 will com pete in fo ur divisions, and must be either lega l resi dents or enrolled as full-rime students in one of the following stares: Illinois, Indiana, Iowa, Michigan, Minneso ta, Missouri, Ohio, or Wisconsin. Specific repertoire is required. Entries must be postmarked by April 24, 2005. Contact CVS presidenr Dr. Michael Tower in Frankji1rt, Germany, home ofPau l Hindemith Hall at mhall@va ndercook.edu for applications and from 1923 to 1927. Among his works ofthis time were further informacion. £l the Solo Viola So nata Op. 3114 and Kammermusik #5, Op. 3614. Phoro by Dwight Pounds.
Recent AVS By-laws passed The new AVS By-laws were accepted by a vote of the General Membership.
Quartet Competition The Hugo Kauder Society Inc. is pleased to announce the 2nd Annual international Hugo Kauder Music Competition sponsored jointly with Yale University and the New Haven Fescival of Arts and Ideas. T he co mpeti tion will rake place in Yale University's Sprague Hall from jw1e 16- 18, 2005. Applications from string quartets interested in competing are now being solicited and should be submitted no later than Aprill, 2005.
Judges of this year's string competition include distin guished cello professor Aldo Parisor from Yale University and renowned violinist Pamela Frank.
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decided upon. This year's Congress Thanks to the efforts of Beate Gross, will be held in Reykjavik, Iceland, the formation of a Lithuanian or Dear AVS Violists, June 2-5. Its Web site is www.con Baltic Viola Society is continuing. gress.is/viola2005. I hope many of Beate produced a Baltic viola web Greetings and Happy New Year you will be able to attend. newsletter last year and we look for from the IVS! Your new IVS offi ward to further updates. cers for the 2005 to 2007 term are: The 2006 International Viola Congress has been awarded to the THE IVS NEEDS YOUR HELP! President- Michael Vidulich Canadian VS and will be held in At present we have only six IVS (Australian & New Zealand VS) Montreal, Quebec, Canada, June sections (Australian & New Zealand Past President - Ronald Schmidt 7-11, 2006. Follow the links at VS; American VS; Canadian VS; (German VS) www.viola.ca. This is also the web German VS; Nordic VS; and Vt'ce President- Tom Tatton for events and information for the South Mrican VS) with emerging (American VS) Canadian Viola Society. sections in the Baltic states and Secretary- Pamela Goldsmith Poland. Do you have any violist (American VS) The 2007 Congress has been contacts who might be interested Treasurer- Donald Maurice awarded to the ANZVS and will in forming a viola society in other (Australian & New Zealand VS) be held in Australia (probably in European or Mrican countries, either Sydney, New South Wales or Middle East, Latin America or I have appointed Henrik Frendin Brisbane, Queensland). The dates Asia? If you can help us, please for (Nordic VS) and Carlos Maria have not yet been set. Web infor ward your contacts to our IVS sec Solare (German VS) as our two mation will be available soon. retary: Dr Pamela Goldsmith at Executive Secretaries. [email protected]. It was decided last year that the Thank you. Three former IVS officers with a International Viola Congresses wealth of experience and knowl would be awarded three years in Just a brief news item from "down edge will continue to assist. They advance, if possible. This year a under'' - the ANZVS will be hold are Ann Frederking (Canadian decision will be made for the 2008 ing the ANZVS International Viola VS), who has kindly offered to Congress in North America and the Conference and Viola Competition, work as the IVS's Webperson, and South African Viola Society is work July 7-10, 2005 in Newcastle (just David Dalton and Dwight Pounds ing on a bid for the 2009 Congress. north of Sydney), NSW, Australia. (both American VS), who will For more information email Robert work as advisers. We officially welcomed the two Harris, ANZVS Vice President, at newest viola societies as IVS sec [email protected]. The recipient of the IVS's 2004 tions at the Minneapolis congress. Silver Alto Clef (award for out They are the Nordic Viola Our IVS web site will be up-dated standing contributions to the Society (with chapters in soon, so if you would like to know viola) was Tom Tatton (AVS). Denmark, Finland, Iceland, more about the IVS, please find us Congratulations, Tom! Norway & Sweden) and the at www.viola.ca/ivs/ivs_home.html B South African Viola Society, At last year's International Viola headed by Hester Wohlitz. Both Cheers, Congress in Minneapolis, the sections are working on web Dr. Michael Vidulich, IVS President Congresses for 2005 to 2007 were newsletters for their members. VOLUME 21 NUMBER 1 9 Players Wanted
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Annual Board Meeting of the American Viola Society (President-elect), Zeitlin (Secretary), Kruse (Treasurer) Tuesday, June 8, 2004 Board members present: Bigelow, Buck, Dane, The University of Minnesota, Ferguson Hall, Room 280 Hamilton, Palumbo, Pounds, Rodland, Rutledge, 10 a.m.-1 p.m. Steely, Strauss, White-Smith Board members unable to attend: Chiang, Eckert Officers present: Fielding (President), Callus (President-elect), Zeitlin (Secretary), Kruse (Treasurer) Meeting called to order by President Fielding at 2:20 p.m. Board members present: Bigelow, Buck, Dane, I. Discussion on how AVS can afford to keep pro Hamilton, Palumbo, Pounds, Rodland, Rutledge, fessional management. Moved (Hamilton), sec Steely, Strauss, White-Smith onded (Kruse) "that the AVS board members Board members unable to attend: Chiang, Eckert will endeavor to the best of their ability to bring in $500 to AVS income in cash contributions, Meeting called to order by President Fielding at 10: 15 a.m. in-kind donations, membership increase, I. Welcome to board members by President Fielding. fundraising, sponsorship or advertising between II. Introductions of new board members, whose 6/8/04-5/31/05." Motion approved unanimously. term began July, 2003: Nancy Buck, Carol II. Helen Callus (President-elect) discussed her Rodland and Michael Strauss. wishes for the future of the AVS. III. Introduction of new JAYS editor, Matthew Dane. III. Discussion on Teacher Directory. Moved (Bigelow), IY. Announced results of spring 2004 elections. New seconded (Hamilton) "to not do printed newslet appointments to the board are: Matthew Dane ter and directory and instead explore options for and Susan Dubois. Reappointments to the board an on-line version." Motion approved unanimously. are: Barbara Hamilton and Kathryn Steely. IY. Discussed committee assignments (this list as V. Zeitlin presented membership report June 2004. revised on 6/9/04): Discussion on how to retain lapsed members. Nominating- Zeitlin (chair), Callus, Strauss, Steely VI. Kruse presented financial report 2004. Moved Primrose- Bigelow (chair), Buck, Callus, (Hamilton), seconded (Fielding) "that the fiscal Rodland, Strauss, White-Smith year be 6/1-5/31." Motion approved unanimously. Publications- White-Smith (chair), Callus, VII. Management fees for Dillon and Associates are very Dane, Palumbo high. Discussion on how AVS can save money on Finance- Kruse (chair), Dane, Fielding, management fees and also generate more revenue. Hamilton, Ngwenyama VIII. Steely presented JAYS report. Fundraising (subcommittee)- Hamilton (chair), IX. White-Smith presented results of first £-newsletter, Callus, Kruse, Ngwenyama, Palumbo June, 2004. Congress- Buck (chair), Dubois, Eckert, Hamilton X. Discussion on Dalton Research Competition. By-laws- Pounds (chair), Fielding, Kruse Membership- Kruse (chair), Palumbo, Strauss, Meeting adjourned at 1:05 p.m. Zeitlin Awards- Pounds (chair), Dubois, Eckert, Rodland Tuesday, June 8, 2004 Technology- Steely (chair), Fielding, Ngwenyama The University of Minnesota, Ferguson Hall, Room 280 Chapters- Zeitlin (chair), Dubois, Palumbo 2-6 p.m. Gardner (Ad hoc)- Kruse (chair), Hamilton, Palumbo, Pounds, Steely Officers present: Fielding (President), Callus Dalton (Ad hoc) - Dane, Pounds, Rodland
VOLUME 21 NUMBER 1 11 V. Moved (White-Smith), seconded (Steely) that "the II. Steely will continue work on AVS web site to bylaws committee will revise the bylaws to include include links to chapters, pictures and audio links. a permanent voting position on the board for III. Report by Callus on her discussions with the the JAYS editor to run concurrently with his/her International Viola Society in Kronberg, term as editor." Motion approved unanimously. Germany Qune, 2003). {Editor's Note: This change in the AVS Constitution was IY. Discussion on cycle of American congresses and approved in a mail-in vote by the general m£mhership.] Primrose Competition. v. Moved (White-Smith) seconded (Hamilton) to Meeting adjourned at 6:05 p.m. "fill the board vacancy created by the permanent JAVS editor with the runner up from the most Wednesday, June 9, 2004 current election." Motion approved unanimously. The University of Minnesota, Ferguson Hall, Room 280 VI. Decided upon final 2004-2005 committee 9 a.m.-12 p.m. assignments. VII. Changes to the constitution were voted on by Officers present: Fielding (President), Callus the board and were then presented to the general (President-elect), Zeitlin (Secretary), Kruse (Treasurer) membership at the General Membership Board members present: Bigelow, Buck, Dane, Meeting on 6/13/04. Hamilton, Palumbo, Pounds, Rodland, Rutledge, [Editor's Note: These changes to the A VS Steely, Strauss, White-Smith Constitution were approved in a mail-in vote Board members unable to attend: Chiang, Eckert by the general membership.] VIII. Decided that treasurer's report needs to continue Meeting called to order by President Fielding at 9:15 am. to be in print.
I. Discussion about the possibility of formation of Meeting adjourned 11 :50p.m. student chapters. Discussion to be continued by chapters committee. Respectfolly submitted by Louise Zeitlin, AVS secretary
AVS Membership Report 2002-04
June 2002 May 2003 June 2004 Recently expired Lapsed before Gain/loss 1/4/05-4/30/2005 1/4/05 2003-04
Regular 550 621 517 97 270 -104 Student 248 327 231 77 258 -96 Emeritus 49 67 60 8 16 -7 Joint 22 27 25 5 8 -2 Dual 15 14 12 10 10 -2 International 13 20 18 5 8 -2
TOTAL 959 1,145 863 202 570 -213
JOURNAL OF THE AMERICAN VIOLA SOCIETY 12 AVS Treasurer's Report 2004
6/1/03-5/31/04 6/1/02-5/31/03 INCOME
Membership Dues $ 34,643.00 $ 31,144.45 Advertising Income 13,000.50 10,862.00 QAYS, newsletter, website) Interest (Checking account) 39.89 89.06 Donations to funds 2,027.00 7,527.00 Chapter Dues 2,718.00 2,414.00 1. See note below Mailing List Sales 319.10 728.65 JAYS Back Issues 90.00 136.00 Foundation Grants 734.00 Primrose Comp. Application fees 106.07 2,650.00 Remaining Funds from 2002 Congres 257.76 Income or (Loss) from Funds (2,327.86) 3,086.31 TOTAL INCOME: $50,615.70 $59,629.23
EXPENSES
JAYS JAYS Issues $ 8,731.00 $ 22,446.36 2. See note below Newsletter 926.30 Editor Fee 2,400.00 1,600.00 Ad Secretary 317.00 Mailing and Supplies QAYS & newsletter) 4,026.57 1,494.97 TOTALJAVS $ 16,083.87 $25,858.33
Administrative Costs Management Fees ($1,150 per month) $ 13,800.00 $ 11,500.00 Office Expenses 4,708.72 4,794.00 Membership Directory: 2,512.48 Secretary Expenses 152.28 Treasurer Expenses AYS/CYS Fees 220.00 270.00 Accountant Fee: Audit, tax preparation 650.00 Annual Board Meeting 504.86 5,926.89 3. See note below Bank Fees, including check printing 74.47 150.42 Credit Card Charge fees 442.90 323.37 Website Maintenance/design charges 1,975.90 1,518.58 TOTAL ADMINISTRATIVE $24,239.33 $ 21,838.30
VOLUME 21 NUMBER 1 13 IVS Related Costs Dues: 7% per capita $ 2,234.58 $ 4,780.44 4. See note below Support for meeting reps. 500.00 TOTAL $ 2,734.58 $ 4,780.44
Program Costs AVS Congress $ 1,322.00 $ 1,500.00 Chapter Dues Rebates 2,294.00 2,384.00 Primrose Competition 171.45 7,347.34 Dalton Competition Prize: 150.00 ------Return of unused grant money ------449.44 Amateur Chamber Music Society Chapter Grants 900.00 1,523.46 Chapter Rebates ------127.50 Awards Plaques ------357.00 TOTAL $ 4,837.45 $ 13,688.74 TOTAL EXPENSES: $47,865.23 $ 66,165.81 PROFIT OR (LOSS) $2,720.47 ($6,536.58)
1. Note chapter dues payments under program costs. Figures for 2003-4 includes receipts that were paid to chapters after 5/31104. 2. Includes expenses for only one issue in 2003-4. Publication expenses for second issue were paid after 5/31104. 3. Does not include expenses for June 2004 board meeting at the Minneapolis Congress. 4. Figure for 2003-4 fiscal year includes IVS dues payments for two years.
ASSETS AND LIABILITIES as of 5/31104
ASSETS:
Checking Account: l':Jorth Dallas Bank & Trust Co. $ 17,062.48
TOTAL CASH AND BANK ACCOUNTS $ 17,062.48
OTHER ASSETS:
Other Assets: AVS Endowment Fund $ 14,228.21 AVS Primrose Fund 17,142.41
TOTAL OTHER ASSETS $ 31,370.62 TOTAL ASSETS $ 48,433.10 LIABILITIES 0.00
TOTAL NET WORTH $ 48,433.10
jOURNAL OF THE AMERICAN VIOLA SOCIETY 14 By Susan Dubois yell is called a kia Qapanese) or missed shift or an unclean passage. kiap (Korean) for "Spirit meeting." Improving my musical performance When a brown bear is chasing you I found that taking deliberate and that of my students required in the forest, what are your breaths from the abdomen and developing techniques to counter options? Any biology major will forcefully blowing air out of my balance the body's survival response. tell you, "Fight or flight." While mouth increased the power of my you're making your choice, your punches. Increased muscle tension, a hall body is making its own decisions mark of the fight or flight response, about heart rate, pupil dilation, On that first day of class, my Sifu may be essential for running and muscle tension, and breath con was my brown bear ... or at least escaping; but it is detrimental to trol. The reason for these "auto my body thought so. As he stood technical performance. One impor matic" changes is to ensure that in front of me, my body reacted tant way to alleviate tension your body is in its optimal state to ! began to sweat, I could feel both throughout the body is through either fight or get the heck away my heart pounding and my mus breath control. For example, imag from the bear. Surprisingly, the cles tensing, and I held my breath. ine taking a deep breath and then biological responses that help us I wanted to "get it right," and that expelling the air through a drinking survive the brown bear can actually focus interfered with my awareness straw. Because the straw is narrow, interfere with our performance in and control of what was happen you will experience greater resist more complex tasks such as viola ing within my body. My body's ance while expelling the air than performance. However, it was not natural response hurt my perform you would during a normal exhale. hungry bears in Bavaria, but ance in class. My Sifu's recommen In fact, you will feel a sense of pres Martial Arts lessons in Manhattan dations were about more than just sure or "holding" in your abdomen that taught me that "trying our yelling; they were about body and tension in the chest as you hardest" could interfere with "per awareness and body preparation work harder to expel the air. forming our best." for the specific task at hand. Similarly, there is greater resist ance-hence greater internal pres To relieve stress, some people jog; These valuable lessons were imme sure-when exhaling air through others meditate. My relief during diately applicable to my life as a your nose (a smaller passageway) Doctoral study at Juilliard was a performing violist. In the past, than through your mouth (a larger Kung Fu school a few blocks away. when faced with a difficult shift or passageway). After I walk my stu One of our first exercises was to fast sixteenth-note passage, I would dents through this experiment, I practice right- and left-hand try hard to "nail" the passage. I recommend that they exhale gently punching techniques in a "horse might think, "The G-sharp must through the mouth rather than the riding" stance. My Sifu (master/ be higher" or "Pay attention to the nose as they practice. This tech teacher) stood in front of me, finger action." At the same time, nique helps reduce tension not only observing me, nodding his head my body would take its own steps in the abdomen and chest, but also with each punch ... right, left, to prepare for the impending in the arms and fingers due to the right ... and then, WHAM ... he "musical emergency." Of course, generalized physiological response struck me on the forearm! He told the result-holding my breath or of relaxed breathing-a response me to relax my body and breathe. using excess left-hand finger pres opposite to that of fight or flight. To "remember" to breathe, he told sure to depress the string during a me to yell out on each punch. This run-increased the likelihood of a Another way that breath control
VOLUME 21 NUMBER 1 15 NEW YORK THE STEINHARDT UNIVERSITY SCHOOL OF EDUCATION
Department of Music and Performing Arts Professions Intensive Three-Week String Quartet Workshop
For advanced high school and college students and for young professionals ages 15 and older JUNE 27- JULY 16,2005
• Coaching and private lessons • Master classes in solo and quartet repertoire with distinguished guest artists • Weekly public concerts • Culminates in a five-day music festival • Residential option available (ages 16 and up)
Faculty
VIOLIN CELLO Anton Miller, Almita Vamos, Roland Vamos, Marion Feldman Neil Weintrob CHAMBER MUSIC VIOLA Mir6 Quartet Stephanie Baer, Rita Porfiris, Roland Vamos
For more information, call Steinhardt's Office of Special Programs at 212-992-9380 or visit us online at www.education.nyu.edu/summerstrings7
Now York UmverStty 1s an affirmat1ve 8CI10n/equal opportunity in&lltUIIOn. can be used to reduce tension is arion exercises, one of which I call tricky passage aga in and aga in , through deliberate breathing. As rhe "Jacuzzi technique." Imagine a your body will eventually relax mentioned ea rl ier, rhe harder we hot tub; stea m thick above the auromarica ll y when you approach try, the greater the body's emer bubbling warer. Hmmm .. . rhe that passage. At first, students must gency response, and rhe greater tht: water must be hot .... perhaps too be deliberate and ca.reful in practic tension in the body in preparation hor? Now step into rhe hot water. ing their breathing techniques and for action. For performers, this Will it be OK? Feel your muscles mental exercises. They must process is triggered most often tighten and your body brace to remain consciously and actively when we approach difficult runs or protect itself. Again, will it be roo involved in rhcir practice. Over passages. or co urse, this is the time hot? Are you holding your breath? time, however, the response-the when we want the lens/ rension in Then, you settle inro the seat. tension release, the relaxation our bodies. Using the rechnique of "Ahhhhhh .. .. " It feels good; ir's becomes second nature. planned breathing, you can help OK. You feel your body let go. you r body reduce tension ar these Your breathing deepens and slows. One last thing to remember-If a criti cal rimes. For example, imagin e Your muscles relax. brown bear does come along dur you are performing a piece with a ing your next camping trip, skip large-interval shift or a difficult The apprehension in getting into rhe hot tu b altogether and just start passage. Take a large breath and the hot rub is similar to the antici running ... r: hold it for a lew seconds. Then, pation of a dreaded musical pas while srill holding the brearh, exe sage. The Jacuzzi technique Dr. Susan Dubois is the Associate cute the shift or run. How did you involves pairing the "lcrting go" Professor ofVioftt and String-Area feel? How did you perform? memory witl1 the difficult passage. coordinator at the University of As you approach the passage, you North Texns. She has received her Now repeat the process. But this imagine settli ng into the Jacuzzi first-degree black belt in Ttt.e Kwon time, begin expelling rhe air slowly scat. Remembering the feelings, the Do, httS studied Kung Fu, and is cur through a slightly opened mouth body automatical ly relaxes. You are rently beginning study in the Martial just before beginning the shift or not worried about hitting the G Art ofShin Toshi. run. Bt: aware nor only of the phys sh;u·p; you arc breathing deeply. ical sensations throughout the body, You are not worried about the fin bur also of rhe differences in the gering; your muscles arc relaxed, instrument's sound, finger action surrounded by the soothing water. and ease in execution of the shift or As an exa mple of classical condi run. Now how did ir feel? llow did tioning, the focus of your mind has you perform? Exhaling through the changed rhe respon e of your body. mourh while performing difficult passages is just one way performers Deliberate actions and mental exer ca n actively counteract the body's cises are voluntary behaviors rhat emergency response. (Additionally, potenrially can counterbalance the exhaling through a slightly opened body's emergency response. mouth also keeps upper-stringed However, like all volunraty actions, players from clenching their teerh they must be practiced until they whi le playing.) become automatic. (When was rhe last time you thought about how Another way performers can to drive whi le driving?) For exa m reduce tension and improve per ple, if you actively exhaled through formance is through mental relax- your mouth while practicing a
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THOMASTIK·INFELD CoNNOLLY & Co. v N N A Exclusive U.S.A. Distri butor www.connollylndco.com www.thom u llk-lnleld .com lnloOconnollylndco .com By Dr. Sonya R. Lawson 'Donna Lee."' They didn't want to ing style was more advanced har hear it. Nothing like that. In other monically, using bebop's vocabu Editor's Note: This is the conclusion of words, we had to be completely closed lary and chromaticism. Asmussen's a two-part survey ofstringjazz history, offfrom that. Because I'll tell you, solo is rhythmically and harmoni with emphasis on the role ofthe viola. everybody in that group had played cally driven; it is highly syncopated bebop one time or another--every and he often uses a firm, rough The 1960s and 1970s body.1 sounding bow stroke. Occasionally Musicians, scholars, and critics Asmussen plays one note repeated have long debated the definitions These transformations are mir ly in a rhythmic fashion. He only of Jazz and its subgenres; this rored in the profusion of subgroup uses vibrato at the ends of long became even more difficult in the labels that erupted on the musical notes that occur at the end of music of the 1960s and 1970s. scene. The terms Funky bop, Hard phrases, common practice among Creative innovations bloomed Bop, Modal jazz, Free jazz, Avant many jazz musicians of the time. throughout this time at a much garde jazz, Jazz-rock fusion, Jazz more accelerated rate than in pre funk, Fusion, Soul jazz, Third The Don Ellis Big Band vious decades. Jazz musicians were stream music, Ethnic jazz, Modern One of the most meaningful uses exploring new rhythms that were jazz, and Neo-classic jazz emerged of strings during this time was in asymmetrical and non-metric, as a way to distinguish one style of the big band of trumpeter Don experimenting with acoustic and jazz from another. Because of a Ellis. Like the more adventurous electronic sounds, appropriating lack of agreement on each style's composers and arrangers from pre ideas from other traditions, and distinct attributes however, many vious decades, Ellis chose to write mixing both atonality and pan historians opt to talk about the music for the strings that was more tonality with traditional jazz har music starting with the 1960s sim than long notes played beautifully. mony. For example, violinist/violist ply as "modern jazz." He expected some of his string Leroy Jenkins performed with a quartet players to improvise, par jazz group that did not play with Svend Asmussen ticularly violist Jimbo Ross and cel swing feel (which up until this The first recording to feature an list Christine Ermacoff. point was considered a defining improvising solo jazz violist was made feature of jazz), but the members in 1963 by Duke Ellington. His On Ellis' 1971 album Tears ofjoy 2 of the group were all Mrican recording, jazz Violin Session, featured he added an electric string quartet American and improvisation was Ray Nance and Stephane Grappelli to his big band, one of the first their focus. They avoided any on violins and Svend Asmussen on times that this had been done. 3 musical ideas that smacked of viola. Asmussen had originally made a Ellis used the string quartet in two bebop. Jenkins had this to say name for himself as a swing-era violin ways. The first attempted to blend about moving in a new direction: soloist in the 1940s; while he played the sounds of the strings with the the viola frequently in concerts, he woodwinds and brass in a more Now, at the time, because we were try was rarely recorded on it. orchestral way, albeit in a jazz-rock ing to wipe out that vestige for a little musical style. The second contrast while, there was no bebop supposed to Asmussen is featured on the cut ed them with the big band; by pit be done. Like, sometime, [Anthony] "Don't Get Around Much ting the small group against the Braxton and I would get together and Anymore" from Ellington's album. big group and giving each distinct play "Donna Lee," and Muhal or Although rhythmically reminiscent dynamics, styles of improvisation, somebody would sa) '"'No-no, no of the Swing era, Asmussen's play- types of rhythms, and the timbres,
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j OURNA l. OF 'J'H 1::: AMERI AN VIOLA . ' I ETY 20 Ellis opened up possibilities for During the 1960s and 1970s, long Some emerging jazz string quartets musical dialogue. under-appreciated violists became played fully notated music, some parr of the jazz world as more than improvised exclusively, and others On Tears ofj oy, Ross plays an ampli just part of a non-improvising string were somewhere in between. fied viola, using aggressive bowstrokes section. Bod1 Ellis and Zawinul Improvising cellists and violists to propel the music forward . His used violists on recordings, and became a common part of the jazz solos incorporate blues-influenced expected them to improvise in the landscape, due in parr ro jazz li cks and his tone fi rs with the jazz rhythmic language of jazz. sm ng q uarrets. rock smmd of rhe rest of the band. Ross shows his experience playing Leroy Jenkins The Uptown String Quartet blues and rock not only through his [Editor's Note: See interview article The members of the Uptown rough and almost gutrural timbre, focusing on Jenkins, p. 25} String Quarter (USQ) were all but his playing has a rhythmic drive classically trained musicians who that blends perfectly with the rest of The 1980s met at the Oberlin Conservatory. the band as well. Jazz in the 1980s continued to be They had all played a great deal of as eclectic as rhat from the 1960s classical chamber music, particular In 2001 Ross put out a solo and I 970s. While most of the ear ly srring quartets. Of their influ album, Driven by the Blues, 4 on lier types of jazz were still being ences, violist Max ine Roach said: which he plays an electric viola. As played, the decade was one more may be expected, the viola is fea of consolidation than of innova We've aiL been classicaLly trained. we tured on every tune and Ross tion. One of the major develop aiL know the great classicaL quartet makes his instrument growl, rasp, ments in the 1980s was th e popu tradition, but we all grew up listen and moan in the tradition of many larization of rhe jazz string quartet ing to black music. . . We swing, we fine blues guirarists, violinists, and as a stand-alone ensemble. These play rhythmically, whether we play singers. His tone on this recording groups employed both traditional spirituals, ragtime, or contemporary is sometimes edgy and rough, string techniques and new ones pieces written for outside the stan so metimes dark and mellow; his specific to the idiom. By this point dard jazz arrangements ... It's style is reminiscent of Tears ofjoy. violists and cellists had a few mod important to us that the string els to listen to, and were inspired quartet is about the business of Joe Zawinul with Strings to play jazz themselves. In 1992, pLaying aiL styles ofblack music. 7 Pianist Joe Zawinul collaborated with Cellist Eileen Folson of the Uptown avanr-garde composer William S. String Quartet had this to say It was only during their stin t with Fischer on his 1968 recording The about the emergence of the jazz rhe Max Roach Double Quartet in Rise and Fall ofthe Third Stream. 5 string quartet: rhe mid-1980s that rhe players 8 The suing instrumentation is unique: learned to improvise. The improvi three violas and one cello. The violists r feel that there is an opening up sations by the members of the group were Selwart Clarke, Alfred Brown, among string players, outside of generally sound diatonic, with chro and Theodore Israel, with cellist what you are taught in school. You maticism typically introduced as Kermit Moore. In addition ro the are finding all sorts ofst ring play passing tones or neighboring notes. strings, the group consists of electric ers who are frustrated with the T he violist, Maxine Roach, and the piano, tenor sax, uurnpet, percus limited scope ofavailable music, so first violinist, Diane Monroe, play sion, and drums. The music has a people are writing a lot ofthings dissonances on strong bears more dark, lush sound because of the lower or having them commissioned. often than the other two players. frequencies of d1ese instruments. Before, there were staunch labels Even when the violas and cello occa about what jazz was and wasn't Arter playing as members of the sionally play in their upper registers and what string quartets could Max Roach Double Quartet, USQ the timbre is still dark and intense. do. 6 broke away and began record ing
VOLUME 2 1 N UM~B~E""'· R'-"---"'------1 21 and performing independently. he is playing. When playing jazz-rock USQ made two recordings: Max fusion, he u~es an edgy sound th..1.t Roach Presents the Uptown String would hold its own wicl1 an electric Quartet in 1989 and Now \.%it a guitar. Minute! in 1992.9 On both of these albums USQ consciously chose One of me recognizable traits of music and styles associated with the TISQ is their rhythnlic drive. members' Afi·ican American her Through precise chopping, staccato itage. USQs reperroire includes jazz bow strokes at d1e fl-og, walking bass standards, spirituals, ragtime, and lines in pizzicato, and swinging eightl1 contemporary pieces. On their first notes at me tip of me bow, TISQ cre album tl1e group played arrange ]imbo Ross, soloist and former Don Ellis ates a sense of ~wing that propels me Big Band/Greene String Quartet mernber. ments by such famous African music f01ward. In effect, tl1e accom American musicians as Benny The technique is borrowed from panying instruments take me role of Golson, Jimmy Heath, and Cecil bluegrass music, where it has been the bass, drums, and piano. 11 Bridgewater; on cl1eir second, over common for at least 60 years. Although each of me violists who half the compositions were written Ross uses this tecl111ique to good have petformed with TISQ has a ve1y by the members of the quartet effect when accompanying the other different sow1d and improvising solo themselves. USQ played with a players to drive the music forward. style, all contributed to me rhythmic sound tl1at combined tl1e language momentum of d1e group when play of jazz- including expressive slides, Turde Island String Quartet ing accompanimental roles. minimal vibrato, and swung In 1987, one of cl1e most commer rhythms-with the precision of clas cially successful jazz string groups was [Editor's Note: Danish violist Mads sical training. formed by violinists David Tolling joined the TISQ in the fall of Balakrishnan and Darol Anger, violist 2004, after this article was written.} The Greene Quartet Laurie Moore, and cellist Mark After working with Don Ellis, Sununer. The Turtle Island String Jimbo Ross went on to become a Quartet (TISQ) has made tl1irteen THE 1990s 0 12 member of the Greene String recordi ngs an d contmue to tou1~ During d1e 1990s, string jazz fi.1rcl1er Quartet, led by violinist Richard publish original music, and teach as developed as its own subgenre, Greene. This group made three clinicians. Three violists have record becoming more eclectic as it contin 10 recordings between 1988 and 1995; ed with TISQ: Irene Sazer, Katrina ued the trends of mel960s. Through each contains an eclectic mix of Wreede, and Danny Seidenberg. cl1is decade, the improvising violist straight-ahead jazz, rock, and blue Sazer is a conservato1y-trained violin became increa~ingl y visible both on grass-influenced music. Ross plays ist and violist who was discovered by recordings and in concerts. in a variety of styles, including rock cl1e other members ofTISQ when fusion (as with the Ellis group), fid she was performing freely improvised Keith Barry dle (quick, repeated string cross music. On me TISQ recordings she Keith Bany resides in Los Angeles ings), and bop (rapid streams of plays wim a warm, rich tone, u~es a and is one of the few improvising 16th notes). As a stand-alone mediwn-width vibrato, and has a violists who has released a solo albwn. acoustic quartet, cl1e Greene Quartet good sense of swing. Wreede's TISQ Barry has appeared or recorded used a bowing technique called recordings have a slightly edgier and with Woody Shaw, Sweets Ed ison, "chopping" --striking one or more darker tone than Saze 1~ and she uses Les McCann, Leroy Vinnegar, and strings vertically at the frog while less vibrato. Her improvisations often Teddy Edwards. 13 His playing, wim the strings are dampened by the left add double-stops to a mix of blues its fat tone and horn-like phrasing hand--to create non-pitched percus and pemaronic scales. Seidenberg's and articulation, is in the style of sive effects while camping." Qazz sound is eitller rough or smoom, Hard Bop tenor saxophonists. term for playing accompaniments.) depending on me style of tile piece His solo album, Blew Years
OURNAL OF T HE AMERICAN VLOLA SOCIETY 22 Proposition, demonstrates that a vio Tanya Kalmanovitch is a violist with list can play jazz in the Bebop tradi many different influences, including tion.14 T he viola is the solo instru classical music, rock, straight-ahead ment, joined by a rhythm section of jazz, free improvisation, OLUME 2 1 NUMBER 1 23 up-tempo pieces. On the ballads, I have discovered that oftentimes Classics 7243 5 45 133 2 9, 1995. Spring generally uses medium to one of the best (or only) ways to get 11 lhcy Silverman, interview by author, email correspondence, 8 January 2003. wide vibrato, plays with a rich tim recordings made by many of these " Turcl e Island String Quartet's complete bre, and has no edge to her sound, violists is to order them &om the discography can be found at www.risq.com. artist or their record company direct in marked contrast with her " Mark Chung, Jazz Strings [Wcbpage] recordings with Sullivan. ly. Below is a list of web site address {accessed 3 January 2003); available from h rrp:/ /www.shokoan:s/ -chung. es that can assist in fmding lesser known recordings mentioned in the " Keith Barry, Blew Years Proposition, Saphu Will Taylor SCD-0017, 1995. Will Taylor has been a prolific article. " Keith Barry, interview by author, taped phone recording arrist since the early Keith Barry: Saphu Records, interview, January 9, 2003. 1990s, playing on many studio hup:/ I sa phurecords.com/cds. html " Hut Five, Hut Fitle, Perspicacity Records PR 01, 2002. recordings and releasing three solo Duke Ellington {Svcnd Asumussen) Violin Summit· recordings.22 On each, Taylor Mosaic Records, ht.tp://www.mosaicrecords.com/ "Mat Mancri, 7iinity. ECM 1719 314 543 444- 2, 200 I; Mar Maneri Quartet, Blue Decco, plays an eclectic style that com Leroy Jenkins: Omnirone, Thirsty Ear Recordinl}" (The Blue Series) THI h np:/ /www.omnicone.com bines swing jazz, classical, funk, 57092-2 (CD), 2000; Mat Mancri lrio, Fifty-one Mat Maneri: Aum Records, SomJIIJS, Leo Records CD LR 278, 1997; Mar folk, and bluegrass. His improvisa hnp://aumfidclicy.com/homc. hrm and ECM, Maneri Trio, Fellt!r &d, Leo Record~ Leo Lab http:/ /ccmrecords.com CD 022, 1996; Matthew Shipp String lrio, By tions range from lyrical and mel tbeLawofMliSic, hat ART CD 6200, 1997. low to furiously fast streams of Jim Nolcr: Cathexis Records, " Jim Nolet, With You, Knitting Factory Works http:/ /www.ca1h exisrecords.com and O mniwne notes. T he enduring element pres LC 5650, 1993. ent in all ofTaylor's improvisa Jimbo Ross: Bodacious Records, " Michael Bisio, Ulldttltuioi'IS, Omni Tone hnp://www.bodaci o By David Wallace Baptist Church and for various events About seven years ago, a wiry, around the commu energetic man stopped me on the ni ty. In addition to street and asked, "Hey, are you reacl1ing church that violist who lives on Prospect music and standard Place?" The man was prize-win violin repertoire, ning composer Leroy Jenkins, a Frederick proudly pioneer of avant-garde jazz, and taught his students one of the only string players to the music of black enjoy lasting success through free composers such as improvisation. By some miraculous William G rant Still, coincidence, I had just moved to Clarence Cameron Jenkins' block in Brooklyn. White, and Will Marion Cook. My new neighbor extended the best invitation an improvising violist could At thirteen, Jenkins hope to hear: "Come on over some ventured beyond the time, and I'll show you some tLmes!" violin by playing In the visits that fOllowed, Jenkins has clarinet in the graciously shared his music, his com church marching positional and improvisational band. The clarinet approad1, and his life. eventually became his ticket to the Photo by Lnrry Fink. Leroy Jenkins was born on Mard1 DuSable High LI , 1932 in C hicago, and was School bands of the scholarship to play bassoo n in his exposed to gospel, jazz, ;md blues venerable Captain Walter H. concert band. Jenkins accepted the from an early age. When he was Dyett, whose students included offer, but decided to major in violin seven, Jenkins developed a keen Nat King Cole and tenor saxo after hearing the university's violin interest in the violin after hearing phonist Johnny G riffin. professor, Bruce H ayden. Jenkins one of his aLmt's suitors perform T hroughout high school, Jenkins recalls, "Bruce was the first black Monti's Czdrdds. Jenkins soon began played clarinet in D yett's marching violinist 1 heard who played with studying violin with 0. W "Fess" band, bassoon in the concert band, such authority. H e was a genius. He Frederick, who taught hour-lo ng les and saxophone in the jazz band. taught and played classical violin, sons twice a week for fifty cents a O n his own, Jenkins continued to but he was also playing jazz li ke lesson. At the time, Frederick's violin study violin, which he played fo r Stuff Smith and Eddie South." studio included Ellis McDaniel m oney at teas and social events. (a.k.a. Bo Diddley) and futme clas After H ayden left the university, sic.'ll flute virtuoso Harold Jones. When Jenkins was a high school Jenkins continued his studies with senior, Dr. William P. Foster of Elwin Adams, w ho introduced Frederick's students performed for Florida A & M University c.:'Un e ro Jenkins to ]. S. Bach's Sonatas and weekly services at the Ebenezer Chic.1go and offered Jenkins a full Partitas. "Elwin was from y OLUM E 2 1 NUM ~B~E!..!.R~l______25 ing, performing, At the AACM, Jenkins began to and recording se ri explo re ways to get unconventional ous, original and unprecedented timbres out of music."1 Jenkins his violin and viola: remembers the concert vividly: I was copying the saxophones, [Anthony] Braxton mostly. All the Roscoe Mitchell saxophonists were getting all these Photo by Linda Harris. was playing saxo new .rounds on their instruments, so phone with a band I tried to do the same. I 'd experi Cleveland, but he studied in that had two drummers, two bass ment more and more every day. !'d Belgium with a student ofYsaye. players, tenor sax, and trumpet. discover sounds as I played, but The Queen of Belgium gave him a They were playing works that had wouldn't know what they were violin, but when he got back to their heads {motifi], and they were unless it was recorded. By looking America he couldn't do anything just going from one thing to another back on recordings, I'd figure out [because of racial barriers], so he to another and it was so beautifUl. how I did it, then practice and try took a job at Florida A & M." It wasn't like they wae playing reg to extend it. ular jazz. It felt classical. Jenkins stayed in Florida for ten Jenkins formed a trio with fellow years, studying violin, viola, and cello After the concert, Hayden introduced AACM musicians Anthony at the university and playing saxo Jenkins to Muhal Rid1ard Abrams, Braxton and trumpeter Leo Smith. phone in blues bands on the side. ln founder of the AACM. Abrams invit After recording an album, the 1961, Jenkins accepted a job in ed Jenkins to hear an AACM rehears ensemble went to Paris in 1969 Alabama as strings instructor for the al. After listening to the first half, and stayed for a year. In Europe, Mobile County schools. As an itiner Jenkins rook out his violin and played the trio enjoyed critical and finan ant music teacher; Jenkins taught stu for the rest of the rehearsal. From that cial success and recorded several dents at thirteen schools eve1y week. point, Jenkins was a member, and he records for BYG. During this time, began performing exclusively on vio Jenkins met Ornette Coleman, After four years, fmancial pressures lin and viola. Archie Schepp, and other modern and Mobile's social tensions caused jazz virtuosi. Jenkins to return to C hicago where According to Jenkins, the musicians he taught band instruments in the of the AACM viewed themselves as In 1970, Jenkins moved to N ew C hicago public schools. Jenkins often modernists rather than traditional York C ity where he and several composed and arranged new music jazz musicians. Talcing their inspira ocher AACM members introduced for his students: 'They didn't like the tion from modern jazz innovators the city to the innovations they regular stuff they had in their study Ornerte Coleman and Cecil Taylor had forged in C hicago. While the books, so I had to write some music as well as classical composers such as jazz establishment largely disowned that had a blues beat. They loved it!" Anton Webern, Arnold Schoenberg, Jenkins and his colleagues, New and Karlheinz Stockhausen- the York's thriving new music scene Meanwhile, Jenkins' former teacher AACM worked to create a new enthusiastically embraced them. Bruce Hayden had also moved back musical idiom that combined strict Jenkins in turn became one of the to Chicago to work as a free-lance composition, modernist syntax, and founders of Meet The Compose1' musician. Hayden invited Jenkins to free improvisation. At the same and the Artistic Director of The a concert presented by the newly time, the AACM sought to "pay Composers Forum. formed A~sociation for the homage to the diverse styles of Advancement of C reative expression within the body of Black Jenkins continued to bolster his Musicians, "a collective of musicians Music in the USA, Africa, and reputation through his dynamic and composers dedicated to nurtur- throughout the world." 1 solo concerts and his work with the ------J--=0=-U~Rc:=NAL OF THE AMERICAN VIOLA SOCIETY 26 Yamaha Strings is proud to offer a professional quartet of Silent Electric String instruments at a price even recreational string quartets can afford. Quartet in truments feature a professional studio quality pre-amp, dual piezo pickups positioned under the feet of the bridge, maple neck, spruce body, acoustic-li ke feel and ergonomics, abili ty to use any standard shoulder rest (violin and viola), and the unique Sile tice fea ture allowing the instrument to be played with headphones. The Silent Electric String Quartet series has a uniform look, feel, and sound- a perfect blend of tradition and technology. For more information on availability and prici ng, Q YAMAHA contact your local Yamaha trings dealer or visit us onli ne at www.yamaha.com/strings. Strings Ya maha Corporation of America 6600 Orangethorpe Avenue · Buena Park, CA 90620 D EPEND ON YAMAHA «:12005 YAMAIIA C ORJ'ORATION OF AMI RICA Revolutionary Ensemble (bassist Now, you may not even know how to The thing about playing fee is actu Sirone and drummer/pianist improvise; espfcially ifyou d.on't ally it's not [totally} free- usually you Jerome Cooper). The ensemble know, you have to practice. have a p&ce where you're coming performed, toured, and recorded improvisation has to be practiced, ftom and a place where you're going. extensively until 1977, 1 after just like anything else. That means Between those two poles, you have to which Jenkins led several of his you have to get with yourselfand try make it interesting, you ha11e to own ensembles, including his to do something interesting ftom one build peaks- ups and downs. That's Mixed Quintet, the amplified point to a11othe1: It could be open the challenge. ensemble Sting, and the trio Equal ended. .. it doesn't always have to Interest wirh Myra Melford on have a motif it could be just ram lfyou know where you're corning piano and Joseph Jarman on winds. bling tlt first, jwt to get used to being from, that's the springboard, and if out there by yourself you know where you're going, that's Throughout the '80s and '90s, the destination. The destination is Jenkins increasingly turned his lfyou want to improvise, you have to what keeps you going. The spring arrention ro composition. Jenkins have some kind ofidea ofwhat your board will keep you going for a little received commissions and granrs improvisation wilL sound like, even if while, but after a while, ifyou don't from numerous organizations you can't do it. You have to get with know where you're going, you'll start including the National Endowmcnr in yourselfand your music and dis meandering. for the Arts, Lincoln Center Out of cover yourself 1 had to do it. r was Doors, The Brooklyn Philharmonic, once not an improviser in the sense r Sometimes things will ha11e to fall in the Cleveland Chamber Symphony, am now. r used to go by chord order to get back ~tp again. After all, the New York Foundation for the changes and stufflike that. When 1 you can't expect to wail right through Arts, the Rockefeller Foundation, became fteer- not free, but fteer- r everything at top speed in top form and the Guggenheim Foundation. had to practice. i had to dig into my all the way. You'll need to come Jenkins' major works and operas own musicality and bring out what I down and recoup: relax, take it easy, were presented by the Kronos thought would be interesting- inter don't try to push anything, and let it Quartet, the Soldier String Q uarter, esting to tne- because ifit's not inter flow... Usually, when you recottp, elect ric violist Martha Mooke, New esting to me, it's not going to be inter you sort oflet go, and let it just York City O pera, Houston Grand esting to the people who are listening kind ofbuild on its own. Afler a Opera, rhc Kennedy Center, and to it. r have to be able to smile and while, a germ will come- something Carnegie Hall. SaJ 'Yeah/' to myself f really have to. will happen . .. something interest 1'11e got to be }liSt that egotistical and ing. It 'll come every time, that's just While so me of Jenkins works arc enjoy it. the art ofit all. It'll come, and entirely composed, most of his when it comes, you just jump right works require improvisation on rhe Ifyou don't mjoy it, it's not going to on it. You say, 'That's it!' and you parr of the performer. Jenkins be good. And it's not going to be build from it, but you just have to rakes the following approach when enjoyable at first, because jwt like take it easy until that happens. teaching the improvisational aspect anything, you've got to crawl before of his wo rks: you walk. So you just ha11e to keep "Making Ugly Beautiful" doing it. That's what i did 1 don't One of the best ways to get to Usually, 1 tell people that when i think that r would ask you to do know rhc improvisational mindser ask them to improvise, Tm not ask anything less. of Leroy Jenkins is to study and ing them to play jazz. I'm asking perform his works. Big WOod, a sta them to improvise in their own Though Jenkins gives his perfo rm ple of Jenkins' solo co ncerts, show way. They have to think in terms of ers considerable improvisational cases his jazzy sensibilities, as well their own inner mechanisms, their latitude, he does insist on coherent, as his extended techn iques and own musicality, what they think well-paced, and emotional solos expanded viola timbres. The piece would be great. that fir the context of a given piece: was ori ginally composed as an -~J-:0=-'=U RN 1\ L F T H E AMERI C AN VI 0 LA SOCI ETY=-=------28 interdisciplinary collaboration wirh note and rhe darting string cross have an understated quality to dancer I choreographer Felicia ings.4 Let the open D and G stri ngs them. The scales are Auid and lega Norton who danced in reaction ro resonate as you cross, and draw rhe ro, although for co nrrasr, Jenkins rhc onsrage Jenkins, who played audience in by holding your breath occasionally plays rh ern detache or rhe role of a viola-playing shaman. and freezing ar rhe end of rhe pas with swing when he repeats. "Big Wood" is rhe nickname rhar sage. Relax when rhe whole note Helene Kahn (wife of Jenkins' for returns. Each repetition can build For rhe first solo section, Jenkins mer manager) gave ro Jenkins' dis in intensity and volume. as k~ rhe violist to improvise "using tinctive 15 1/2-inch viola crafred spaces." Essentially, rhis olo should by an anonymous maker. The "Wolfin"' section, also repeated consist of brief gesrures ~md phrases rhree rimes, alternates syncopated, separated by shon rests. When first For rhe opening passage, make a repeated notes with smoorh whole learning ro play this solo, ir is best ro dramatic difference berween the tone scales. Like rhe opening whole improvise using the "wolfin"' emmionally cool, sustained subtone note, rhe syncopated nores should rhythms and whole rone scales as you r basic material. As you become Big Wood more F.:uni liar with Jenkins' language and idiom (as well as your own Piey ~x !':"\ improvisational language), you can depart from Jenkins' written materi al more freely. Jenkins rend to avoid a ronal center by emphasizing whole tone melodies and melodic contours thar outline rrirones. The " low" section of Big Wood begins wirh one ofJ enkins' more plaintive melodies. Play rhis rune forwards, backwards,' rhen forwards again, finishing wirh inrensity. For rhe second solo, the performer must build "something interesting" out of rwo of Jenkins' signature extended techniques: scratch tones and "Jenkins' pizzicaro." Pity :Jx: first fhncforw.. ds , second lime rorrogrtde, third llrneforwords. (Don·r reiterate rhe first note on rhe repeers.) In Jenkins' music, scratching is never about crushing the insrrumenr. I? Improvisation (short bow scratches, so( t plzz.) Jenkins explains his scratch tech nique and philosophy a~ follows: '" v ,---6- With my scmtch stuff, I can get 11 Lot ofove rtones. r can ho!tl the bow down and press it a certain amount, /.P and 11 Lot ofstuff comes out. Notes just pop out Like sparks- sometimes 0 1969 Jenkiru MuJ~c Company (SI:.SA(') they make waves. Felicia hated it ~------L-=-LU ME 2 1 N L1 M BER 29 and said it was ugly. I said, 'Youi-e To make this timbre improvisation Joseph )annan-Leroy Jenkins, Out of right! It will always be ugly, but work, be patienr, build slowly, the Mist. Ocean Reco rds (OR sometimes ugly can get very benuti become absorbed with the unusual 106), 1997. ful.' That's what 1 was trying to do: sounds, constantly project an emo Thenlt'S and Improvisations on the make ugly beautifid. tion, and trust the audjence to enrer Blues. CRT (CD 663), 1994. your world. When your olo subsides, Leroy Jenkins' Sring!, Urban Blues. In Jenkins' pizzica to, you simulta bring d1e audience hack with Jenkin ' Black Saint (120083), 1984. neously pluck the strings with rhythmically free final melody. A~ he both hands, partially muting the puts it, "Go Olll like a lamb!" r; Leroy Jenkins Mixed Quintet. Black strings at times with your palms. aim (120060), 1983 (reissued 1997). As Jenk ins describes it, "Your fin A faculty member ofthe Juilfiard Leroy Jenkins fcarwing Muhal Rich;m:l gers are fumblin g; there's not Schoof and the Mark O'Connor Abrams, Liftkmg Ambitions. Blad< Saint much ound coming our. It's a Strings Conference, Dt: David (120033-2), 1981 (reissued 1993). pitter and a palter. People have to Wallace currently holds the New really lean forward and listen; yo u York Philharmonic's Hafee and Leroy Jenkins wirh Andrew Cyrille draw them in . It's a sexy thing." David Baldwin Teaching Artist and Anthony Davis, The Legend of Chair. His viola teachers include Ai Glatson. Black Saint (120022), During this solo, pizzicato and Karen Ritschn; Larry Wheeler, and 1978 (reissued 1993). scratch tones can be played simul Kat-ell 7itttle, for whom he was R.1Shied Ali and Leroy Jenkins, Swift taneously or alternately. It's fine to Teaching Assistant from 1997-1998. are the Winds ofLife . KnirCia.ssics play a few normal pizzicato tones (3026), 1975 (reissued 2000). or ro bow an occasional note to Select Discography: Revolutionary Ensemble, The add pitch. To rea ll y ca pture the Equal Inr erest, J::quaf Interest. Psyche. Mumble Music (m utable essence of thi solo, it's best to lis OrnniTone ( 12001), 2000. 175 14-2), 1975. ten to how Jenkin does it. His mesmerizing effects are best experi Solo. Lovely Music Ltd. (L D ENDNOTES enced live, but the Leroy Jenkins 3061 ), 1998. I . Association for rhe Advancement of 5"olo recording of"Big Wood" Creative Musicians Hisrory [webpagel clearl y conveys th e idea. (accessed June, 2004); available from http://aacmc hicago.org/h isrory. hem! . 2. ibid. 3. In 2004, rhe Revolutionary Ensemble reunited and released a new CD, And Now ... , on Pi Recordings. DE . \LERs~ 1\;lrstci.\\S, CoLLECTORs, MAKEI{S ... 4. "SubLOnes" arc soft, quasi-ponticello notes played on the surl·:1ce of rhe Specialized Insurance Coverage for the string. Feel free to let rhe pitch split Classical & Vmtage Musical Instrument Trade inro ir.' various ovenones. Someti mes Jenkins begins rhe piece wi th the • The most comprehensive ELLIS W. HERSHMAN second bar for an arresting beginning. protection at reasonable cost. Heritage Insurance Services, Inc. 826 Bustleton Pike, Suite 203 5. When retrograding, begin the retro • Underwritten by a financially grade fi·o m rhe preceding note. In sound A-rated company. Feasterville, PA 19053 other words, once you get to the E • Call Toll Free today for 800-289-8837 information and quotation. natural at rhe end of the bar, stan FAX: 215-322-5854 the retrograde with rh e preceding Eb; when yo u get back to rhe first E, play ir only once. On his Solo recording, Jenkins omits the retro grade alrogerher. J0 U RNAL F T l I E AM E. Rl CAN Vl=-=-=-=---=::....= 30 MODERN MAKERS TSCHU HO LEE,A SECRET EXPOSED Tschu Ho, as he is affectionately such an elite school in a foreign known by his friends and colleagues, country created many challenges. has a distinct plan for rhe sound of From the moment he arrived how each instrument based on the wood, ever, his talents as a player and his archings, and graduations; his mod potential as a maker were noticed els are often his own designs, bur quickly. He became a regular at each is based squarely on the classic chamber music sessions in the home Italian instrumenrs. A millimeter of Josef Kantusher, one of Europe's here or there is always carefull y co n great makers who would become the sidered as th e instrumenr is tailored mentor for his Masters Diploma. to meet acoustical goals. Among his student peers, he became a legend by producing so many Few makers in America have co n instruments both in and out of tributed as much to the art of violin school. Mittenwald 's 3 1/2 year pro making as Tschu Ho Lee. Whether gram requires students tO complete as a maker, restorer, or teacher, his is 7 instruments for graduation; after indeed a distinguished career. Born completing 14 instruments, Tschu in eoul to a sculpror father in Ho graduated in 2 112 yea rs. 1932, he grew up in an artistic fami ly. His violin studies began at the With mutual respect and a musical age of 10. Tschu Ho was in his sen relationship already established ior year of high school when the between them, Tschu Ho bega n his governmenr formed a military Master's apprenti ceship with orchestra as parr of the buildup for Kantusher. K1.nrusher's exacting the Korean War; joining it seemed standards proved a very valu able By Eric Chapman like a good option given his back model, while Lee pur ued his own ground on the violin, so Tschu Ho distinct style and artistic goals. In a Nestled in a cozy condo commu signed on the staff Ii ne . Ar the con program normally requiring a four nity north of C hi cago is the shop clusion of the military conflict, the year apprenticeship ro a certified ofTschu Ho Lee, a maker in love government then created the Korean master, Tschu Ho received his with his work. Each creation Broadcast Symphony (KBS), which Master's certificate from the German evolves in an effortless manner he joined to further hone his skills. government in only one yea r. that refl ects hi s gen uine under standing of the process and the Through the kindness of his Diploma in hand, Tschu Ho faced a goal. While his workshop is German-trained violin teacher, ca reer choice. Would he open a des igned for efficien cy and preci Tschu Ho was given the opportuni shop in Germany as he was now sion, one gets the di stinct feeling ty to study violin making at the entitleJ to do, or would he accept a that i r is a relaxed coffee shop Bava rian State School ofYiolin job offer at Kagan & Gai nes in where one can take in all the Making in Mirtenwald . While he hicago? In the 1960s, a majority of am bience of the instruments, had tried his hand at violin repair the world's great Italian masterpieces wood , and tools. on a small scale in Korea, moving to were in the United Sta res. With VOLUM · 2 1 NUMBER 31 many clients, an unusual arrange which each is creared and finished; ment ror a major shop (where very for Tschu Ho, there is no such often employees are kept out of thing as seco nd quality. sight) . Acoustical feedback rrom many great musicians proved to be Tschu Ho has several favorite viola one of the most valuable experi models, including a 16" ences he would have. Guadagnini, a modified Primrose Cuarneri with a body length of 16 T he earl y 1970s saw the dawning 3/8", and a model of his own. All of several American organizations have a very manageable string dedicated to violin making, includ length just over 14 I /2", arc user ing the Violin Making School of friendly, and set up ro the highest America and the Violin Society of standards. Violas are currently America. One of the laner's origi priced at $15,000. The viola pic nal goals was to create an Ameri can tured in the article is number 327 school ded icated ro the craft, a and measu res 16 3/8". The string vision shared by Kenneth Warren; length is 372mm (14 5/8"), and in 1976 he founded the Kenneth the varnish is a lush red brown. Warren School ofViolin Making. Warren's obvious choice ror Tschu Ho's ded ication reso nates Oirccror of the school was Tschu strongly in the arena of Ho Lee. Several years later Tschu America n violin maki ng. His Ho pu rchased the school, and it many lovely instruments and was renamed the Chicago School well-trained students wi ll conrin of Violin Malcing. The man who uc to enrich the music world fo r origi nally had no plans for a career generations to come. r: in music was now head of the vio lin making school that would A founder and current Board mem become the largest in Ameri ca. ber ofthe Violin Society ofA merica (VSA), Eric Chapman owns Eric In January 2005, Tschu Ho fin Chapman Violins, Tnc. in Chicago ished his 333rd instrument. What and serves as Vice President ofthe more than 40 insrruments now is his secret ro success? One could Chicago SchooL oJVioLin Maki11g. completed, Tschu Ho felt the need certainly mention rhe warm th of He has been commended for distiu for further stud y. T he opportuni ty sound and the elegance of the guished service by both the AVS and ro analyze benchmark instrumenrs craftsmanship. lt also doesn't hun the VSA. or rradiva rius, del Gcsu, and oth when musicians like Sarah Chang ers was compelling enough to own you r instruments and usc move to Chicago. Following a them for concert wo rk. The wood brief stint at Kagan & Gain es, the is meticulously selected for its firm of Kenneth Warren & on acoustical properties as we ll as offe red him rhe opportunity to beauty. He allows the wood to sea work with Zenon Pctcsh, one of so n about 30 yea rs before usc, the most highly regarded restorers speeding up rhe brea k-in period in America. Moreover, the working for the instrument. Perhaps rhe environment at the Warren shop most admirable quali ty of hi allowed him ro work directly wirh insrrumenrs is the dedication with JOURNAL r: T il E AM E RICAN VIOLA SO l ETY 32 ORCHESTRAL T RAINING FORUM BRAHMS SECOND SYMPHONY, OP. 73 By joel Belgique phrase. T he different inrervals "pull" in varying strengths from the high E. Awareness of these tensions The Brahms Symphonies arc a staple of tring audition helps create a long, smooth line. In addi tion, one reperToire lisrs. As standard works for the symphony must execurc smooth string crossings and consider the orchestra, they are found on every orchestra's schedule overall musical phrase. I suggest starting with a down nea rly every season. They are undoubtedly terrific bow so that the octave jump to the high E ca n he choices for aud ition excerpts, bur why? A major com "finessed " at the tip. T he most awkward interval is in ponenr of presenting a fine audition is being able ro m. 23, with the marked fin gerings. [ think ol the first demonstrate applied knowledge of a variety of musical note as th e end to a mini-phrase, and the econd note styles. Making Mozart sound like Mozart, and trauss is the beginning of the ncxr, so a slight release of like Strauss, can sometimes be a challenge. T he music sound works well and makes it possible to skip rhe D of Brahms falls in the middle of this continuum, and string gracefull y. The whole excerpt should look and for this reason requires a unique and balanced feel like Brahms's own phrase marking: one long arc. approt1ch to tone and sound production. This passage also benefi ts from a co ntinuous, gentle vihraro. 01 th e fou r symphonies ol Brahms, the ccond is the symphony most often found on viola audition lists, followed closely by the Fourth and First. It is com mon for orchestras to ask ca ndidtltes to prepare an entire symphony of Brahms, or at least an entire movemenr, without specified excerpts. The Second Symphony has some significanr passages that ca n be used to eva luate an audition ca ndidate, including the production of a beautiful and ri ch tone, spinning our long, sustained lines, and clea rl y articulating rhythmi ca l passages at all dynamic levels. These challenges are part of what makes playing Brahms so enjoyable for the violist. Figure 2 Four bars hefore rehearsal letter E begins an other I. Allegro non troppo tri cky excerpt [fig. 2]. This section emphasizes the adept handling of rhythm. Practicing rhis passage Johuaeo Brabmo, Op. 1ll req uire a lot of time devoted to rhythmically sub dividing down to the 16th note. To practice this, the bow should play straight 16th's while the left hand plays what is on the page. The result should be a keen sense of rhe inner rhythmic motion. A common prob lem in this passage is devising a bowing rhar fee ls nat The first ten measures of the viola part may look ural. Although so me conductors may ask that the simple [fig. 1] , but they arc worth careful study. bowing not be hooked starting in m. 128, I find that TPitch is extremely import:mt in this passage. I have it is perfectly acceptable to do so. The fi rst fou r meas found it usefu l in practi cing this passage ro feel the ures should crescendo nicely, with a warm and ri ch inrervallic tension between each of the notes in this tone, intensi fying the vibrato to rehearsal E. At letter ------~O~l,UME 2 1 N V MI3E R 33 E, Brahms' markings should always be clearly execut be enough. In our orchestra's performances of the pas ed. The sf's, even on an up bow, need to he hea rd . sage at lcrter I [fi g. 4], I have chosen to break up T he ben mnrcnto marking tells us rhar there should be Brahms' phrasing wirh more bow changes. l feel rhar some space between all the notes, even the note in we violists need to err on rhe sid e of using roo much m. l26 and at the end of m. l30. When in the lower bow. Since rhis is a igni fica nr viola moment, I think half of rhe bow, ir is important to stay in the lower it is completely appropriate to use one bow per bar. half of rhe bow near the frog. T hi s will give an extra As before, straightforward phrasing makes this pa.~sage bite and crispness to the articulation. Likewise, it is bea utiful, ::t nd rhe feel of a "swing," or a slight release important to use quick, full bows when possible. in the sound, also works very nicely here. II.Adagio non troppo Figure 3 This gorgeous seco nd movement has some very lush Figure 5 Figure 4 moments fo r the viola, rhe first of which begins in srrate the ability ro play loudly, with a lot of strength , m. 45 [fig. 5] . Aga in , T have chosen to break up the whi le not being so rough that th e passage becomes original phrase markin gs to allow for an unco nstricted harsh or overly aggressive. Technicall y, this passage sound. The first part of rhis excerpt leads to rhe hi gh presents no great challenges. What, then, could a vio 0 -sharp in m.46, and continues down to the low - list do with this excerpt to set him elf apart from oth sharp in the nexr bar. These first two measures should ers? f irst, show your musica li ty in phrasin g. Knowing be extra ri ch and warm , as should rhe last two bea rs the relati ve importance of each note is crucial. Begin before rehearsal C. Each eighth-note grows in intensi this passage by simply following the shape of the ty, leading al l the way to the downbeat. The ties ar nores, coming down slightly in the second har, then lcrter C should be played wi th some release of sound, bringing out the harmonic rhythm, F-sharp in the as we discussed in rh e prev ious passage, using full third bar, the B-natural on rhe thi rd beat, and in the bows. The first beat of the second bar afrer letter C next bar the C-natural. By emphasizing those notes needs an extremely slow bow. Starting from th e frog just sli ghtly, it wi ll show an understanding that this is at the beginning of the second measure of letter C, a hemiola, and also of harmonic interest. By bringin g allow enough bow so the high B can be hooked into out the seco nd eigluh note in m.2 16, you will show the same bow. The nexr Ftve 16th notes need a lor of that you understand that this is where the LUne is bow again , fo llowed by an equal amount for the single restated. Even though in m.21G ir says piu f, by the 16th note on the J ow n bow. In the fo urth bear, rhe third measure (m.2 18) this should feel like the begin- up bow should go all the way to the frog so that the ning of a huge crescendo all the way to the top G at G minor chord ca n be played as strongly as possible. rehearsal letter G, rhen phrase off in rhat fin al bar; Playi ng just the top notes of the double-stops is not too much, just the thought of it will most likely acceptable, though playing th e entire chord in m.51 J OURNAL F T H E AM E RICAN V I O LA SOCI ETY 34 wi ll sound good. The downbeat of m. 53 should be Quick, crisp bows are very appropriate here. Phrase played measured 32nds, nor tremolo. Be sure that the this passage by coming back a li ttle on the eighth phrase extends all the way down to the low C-sharp. notes in m. 55, then lead into m.57. Just the hint of a hairpin over mm.61-62 before the subito pp is also Ill. Allegretto grazioso (quasi very effective. One of my favo rite viola moments in andantino) this symphony are the four accented open C's in mm.71-72. Bring the m our just a bit to show that Brahms was havin g a li ttle fun here. It is also fun to see if the maestro du jour is "o n board" with the moment- hopefully so! IV. Allegro con spirito Figure 7 The fourth movement is very tricky. It has some of T he third movement requires a controlled bow stroke the most challengi ng sections of the enrire symphony thar is rh ythmic and accurate. At the Presto lfig.6J, in terms of sound production and rhythmic clarity. sta rring rhe bow stroke from the string is very impor The mai n challenge of the opening passage [fig. 7] is tant for a clean beginning. It is important also to stay choosing a dynamic level that is both comfortable and close to the string, and not to let the bow travel appropriate. Inva riabl y, in rhe context of a lu ll string towards the rip during the accented notes on the section, conductors will want tl1is played so softly that fourth eighth notes of the bars. I like to usc the feel of you can hardly hear yourself Though this is often a rhe rest to rhythmically place the hair of the bow on good way of gauging the amount of sound to use th e string before starting the next series of eighth when playing very sofr passages in the orchestra, play notes as in m.4 l. Placing the bow directl y on the ing this passage ;~ l o n e is a different marrer. One must strin g at the second beat will add a sense of coordina consider the size ol rhe audition space and the lower tion to the motion. The placement of the bow serves limit of the instrument's dynami c range. It is often as a physical action off of which the fo llowing note better ro play this passage just a bi t louder than it is rebounds. I would encourage this technique whenever marked to ensure thar the passage speaks well and a possible, even in mm.49-5o. At rehearsal letter A it is good, clear sound is maintained tl1rough the excerpt. probably not a good idea to play double-stops, bur I h is possible ro do the original phrasing/bowing here, have no problem hearin g the open A string on the as long as there is a plan for rhe use of the bow. Bow seco nd bears of the fir rand third measures, il it is distribution is of paramount importance in rhe pas done with some grace. (No whacking allowed!) sage; you must know exactly where you want to be in VOLUME 2 1 NUMB --._R 35 the bow at rhc end of the fourth measure. If the first is important ro highlight rhat the nexr marked /stays four measures arc played wirh less rhan 60% of the sustained, leading th e phrase leads into m.l 02. In bow, the next two measures can be played in very mm.l 02-105 every nore should be on the short side, small bows in the lower third of rhe bow. These two while still articulating rhe difference in length measures then swing, propelling the phrase rhrough between the quarters and the eighths. The off-beat rhe beginning of m.9. What about using open A at cighr- nores in mm.l 09- 11 3 should be played lightly the end of m.4? As long as rhe phrase is released at and with case, nor labored. Rhythm is of criti cal that moment, an open A will not sound our of place. importance in the subito fat the end of m.lll. Phrase with Brahms' markings, especiall y toward the Feeling the impulse of the downbeats in m.l 12 and end of this excerpt. There is a misprinr ar rhe end of m. I 13 within the tied-note is vital, but it should not this passage: m.l9 is, of course, a C-natural. Why this receive an accent. The Ben mamr.to marking specific has never been fixed in any of the existing editions is the desi red articulation; rhe subsequent half notes a mystery. should be we ll -marked, but there should he no spaces between rhese notes. Other significa nt passages in rhis movem ent are at rehearsal G and the recapi tulation at m.244. These require similar approaches ro the excerpts already dis cussed. All violists should love ro play the music of Brahms, as his compositional technique shows off our instru ment to irs best advantage. When preparing this music for an audition, remember that it is nor an crude! It is critical that your passion for music co me our in your playing. This will do much ro help you stand our in a crowded field of applicants. Enjoy! n joel Belgique's three girls nll have the uncanny ability to sing whatever their daddy is practicing, whether that be a Brahms symphony or Berio s SequenZI1 Vi. When not at horne, he is principal violist with the Oregon Figure 8 Letter C [fig. 8J is one of those moments where vio Syrnphony, nnd on fomlty nt Portland State University. lists are tempted ro (and often do) play a big and In his spare time, he enjoys creating wacky de-range beautiful forte. Unfortunately, with respect Brahms ments for The 4 Violas. indications, this passage is only marked mp, and then the analogous passage at lcrrer M is marked poco forte. It is possible that mp is too soft a dynamic for an audition situation. However, keep in mind the dif ference in dynamics between rhe two passages when makin g a decision. The original bowings work well in mm.82-86, but care should be taken to fir the down beats into the phrase shape. Going into rehearsal D , it is important to taper the phrasing of the last four eighrh no res so that the forte on th e seco nd bea t is, by conrrasr, quire substantial. Phrasing away from the sf's ------..J.J...:.C::..._)U=-:R....:...:...... N/\L OF THE AMERICAN VIQLA SQ __: TETY 36 RETROSPECTIVE NOTES ON THE COOLIDGE €GMPET ITION AND BERKSHIRE F EST IVAL OF I 9 I 9 /Editor's Note: This article was origi music through commissions, pub York (music editor of The New nally published in AVS Newsletter lic co ncerrs, and festivals (e.g., rhe York Times from 1902-1923), and #28, April 1985, pp. 12-16} Coolidge Festivals held in George Copeland of Boston Coolidge Auditorium at the (pianist and exponent of ava nt By Ann M. Woodward Library of Congress). garde music of the time). The announcemenr goes on to say that The year 19 19 may mark a revolu The March 22, 1919 issue of the prize-winning work would be tionary change in the composition Musical America carried an performed by Mr. Bailly and Mr. of works for viola. In the preceding announcement of the Coolidge Copeland (who wa~ fo r some century relatively few imporrant competition. The following were unknown reaso n replaced in the works had been written rhat rea listed as members of the jury: performance by the reknowned cured the viola as a so lo instru Louis Bailly of Paris (violist of the pianist, Harold Bauer) ar the sec ment, perhaps due to the rather Flonzaley Quartet and later to be ond Berkshire Festival. The com unsatisfactory tone of the small the first viola reacher at rhe Curtis petition was to close on 15 July. sized violas in use for most of rhar Institute in Philadelphia), Henri period. The late nineteenth centu Raboud of Boston (eminem In the competi tion, the remarkable ry brought changes in the concept French co mposer, conductor of the number ol seventy-two manu of viol a size and tone, and with it Bosron Symphony O rchestra for scripts were entered anonymously. came the first appointment of a the 1918-1919 season, and direc (The large number was lamented violist (as opposed to a violinist tor of the Paris Conservatoire from by Mr. Goldmark in a lener to violist) to the facul ty of a conse rva 1922 until 1941-Mr. Rabaud was Mrs. Coolidge, in cl ud ed in her tory. In early twenrierh-cenrury forced to resign from the jury at correspondence at rhe Library of England, rhc legendary violist rhe end of Ap ril due to co mmit Congress.) In the end, the judges Lionel Terris began to emerge as a ments in Paris; and was replaced were deadlocked in their decision proponenr or solo viola music and by George Longy of Boston between two pieces. Mrs. Coolidge as a reacher of a rising generation French oboe virtuoso, first oboe of had previously invited the judges of violists. In 191 9 an important the Boston Symphony O rchestra and perhaps a few others to a private factor in encouraging the co mpos i from 1898-1925, and founder in hearing of the prize-winning co m tion of viola and piano works wa~ 19 16 of the Longy School of position scheduled a month before a chamber-music competition for a Music, Cambridge, Massachuserrs), the festival. lr was she who d1en broke sonata or suite sponsored by frederick Srock of Chicago the tic. The winner wa the Suite Elizabeth Sprague Coolidge. The (engaged in 1895 as first viola of of Ernest Bloch. Much to everyone's prize was $ 1000 and a perform rhe Thomas Symphony Orchestra amazement, the second co mposi ance at the second Berkshire later rh e Chicago Symphony tion was the Sonata of an unknown Chamber Music Festival on South Orche tra-and in 1905 as conduc yo ung woman, Rebecca Clarke. Mountain in Pinsfleld, Massa tor, a post that he held until his chusetts. The festival was run by death in 1942), Rubin Goldmark Rebecca Clarke's Mrs. oolidgc from 1919 until of New York (composer and Sonata 1925, at which rime she endowed teacher who was appointed head of the Eli zabeth Sprague Coolidge composition at the Juilliard School Rebecca Clarke was born in Foundation ro promote chambe r in 1924), Richard Aldrich of New England, studied composition with ------Y~O~L!:..'=U"-'ME 2 l NUMBE R 1 37 Charles Stanford and viola with The sonata, while by no means the sonara was finished in July, Lionel Tenis, and came ro the mmic ofsigna l import111rce or flppre 19 19. Miss Clarke herself per United States in 1916. At rhe time cinb!e disti11ction or originality, is yet rorrned the work early in 1920 in a of the competition, Miss Clarke a product ofhenlthy and agreeable New York Ciry concert ro which was an acquaintance and neighbor talent. conceived in real sincerity of she invited Mrs. Coolidge. of Mrs. Coolidge in Pittsfield . spirit and exewted with no inconsid Judges Aldrich and Srock- both of erable adroitness. It betrays few evi Bloch's Suite whom apparently had favo red the dmces ofl abor and its lack oft edious Clarke Sonata for the prize-com music-making is accenturtted by a The Swiss composer, Ernest Bloch, mented ro Mrs. Cooli dge in letters very pmiseworthy conciseness. /he studied violin and composition in immediately after the hearing that work IV/IS begun, it appears, in borh Swirzerla nd and Germany ;~r it is as well rhat rhe award went ro Hmvrtii and finished in Detroit. It rhe end or rhe n in ereen rh century. Mr. Bloch. Had ir gone ro Miss hrts a poetic motto, two lines from de He came to the Un ited Stares in Clarke, it would be said that it was Musset's Nui t de Mai: "Poete prmds 1916 as conductor for a dance given, ro quote Mr. Aldrich, ton luthe, In vie de In jeunesse co mpany and taught borh private "through influence or friends hip or Fennente, cette nuit dans les veines ly and at rhe Mannes School in some orher morive thar has no de Dietl. "("Poet take thy lute, the New York during the years 1917- place in such a competition." He lifo ofyouth pulses tonight in t/)(' 1920. He ap parently had been expressed the fear that a judgment wins ofGod.') contacted by Mrs. Coolidge about in favor of Miss Clarke would have her viola competition, for on 27 had a disastrous if nor fatal effect Upon the subjective progmm herein May 1919, he wrote her noting on the integriry of rhe Coolidge n.lforrled, Miss Clarke has written rhe suggesrion she had made ro competition. three movemellts ofwhich two are him several monrhs berore and couched in a kind of vehemmt smti asking lor the regu lations of her The first public performance of mentnlism with an evocative and competition. The Suite was given the Clarke Sonata rook place at capricious scherzo serving as colt irs first public performance on 27 Pittsfield on 25 September 19 19 ar tmstive interlude ... In hnnnonizn- Seprember 1919 ar rhe Berkshire rhe second Berkshire Festiva l with t ion ofher material. .. the composer Festi val in Pittsfield, agai n by Bailly Lo uis Bailly, violist, and Harold quickly demonstrates how e./Jectun/ly and Bauer. The other works on the Bauer, pianist. The other works on she has absorbed Delmssy and his program were the Saint-Saens String the program were the Beethoven disciples tlnd apostles, even to our Q11artet in G major, Op11s 153, and String Quartet in A minor, Opus very ow1r Charles Martin the Beethoven Septet in £-flat 132, and the Elgar Striug Quartet Loeffler... Best ofall, the sonrtttt is mrtjor. Optts 20, performed by th e in H rnin01; Opus 83, perrormed by writtm with /IS finn grasp ofthe Berkshire quartet and guests. the Berkshire String Q uartet of viola's capabilities (it is Miss Clarke's Peyser, in the Musical America which Bailly was a member that imtmment) and fl piano part of review of 4 October, is ecsraric: yea r. Herbert E. Peyser in Musicrtl independent richness and amplit11de. America, 4 October 1919, wrote or In the balance and coordination of The suite is not only grent music, it the festival: the two will be found one oft!Je is epoch-waking. It will be played in gratijji11gjeatures ofthis ingratiat New York tbis winter-perbnps even ... And ofa tr-uth, Miss Clarke could ingly s11pnjiciaf work. The stt11111ing twice, rmd the composer is preprtring hardly have achieved more notoriety perforrnance by Messrs. Bauer and tlll orrhestml tmnslntion ofthe lllxll had she Cflrried o./Jthe prize money Bailly would have exalted ll'lltth lm rilllll piano part. There will be occa itself.. lt was liberally applauded and interesting mllSic. sion thm to delve more deeply into earned the young Englishwornan an its secrets and analyze more pmetmt or;ation when she came out to bow at The manuscript (preserved in the iny,fy its meanings and methods. For the finish. Library of Congress) indica res rh;~r first j11dgmmt on mch rt creation is ______JOURN/\L or- T il F. 1\MF.R_I C:/\N V I O l ./\ SOCI ETY 38 • Clll CLEVELAND INSTITUTE OF MUSIC David Cerone, Pre ident IW ANY MEASURE. EXCI::PT IONAL The ' leveland ln titutc of Music is a leading inrermuiona l conservatory thm is dt ~ tingui ·h ed by an exceptiona l degree of collaboration between ~ tud c nr s and teHcher:,. The viola faculty at the lcvdand Institute of Music includes *Robert Vernon, head of the deparunent, K i r!>tcn Docter, JcfTrey Irvi ne, *Mark Jackohs, * ~ ntnley Konopka, t~nd *Lynne Rnmsey. ~ Cb ·dand Or~hc,tr.o Mcmher Bachelor of Music Master o f Music Doctor of Musical Arts Artist Certificate Artist D iploma Professional Studies For further in format i V LU M l ~ 2_1_ NU M 13 C: R:.-=.. ______39 prone to be faLLible in aLL but the cer 191 7 or 1918, the Suite was com bilicy that Hindemi th's Sonata, tainty ofgreatness. pletely written in New York in Opus 11, No. 4- written and first 19 19; it was begun in Februa1y, performed in 1919--found its way Ofsenmous charm and aLLurements interrupted in March by a bout across the Atlantic? Politica 1 ci r thereof there is none in this music of with influenza, resumed in Ap ril, cumstances of the time make it awfol grip and terrific concentration. and completed in May. The sketch seem improbable despite indica The mood in the first movement is of the last movement perhaps gives tions that the contest was in terna drastit~ cutting, bittet; with exotic an indication of his joy of recovery tional in scope. Did Louis Bailly suggestiveness- an exoticism ofthe from influenz.a and the end of win (as he mentioned he might in a Far East-that ofthe second unutter ter as he wrote "sun and fl owers!" letter to Mrs. Coolidge) bring abLy satumine. I find it impossible to at the beginning. The final score compositions from France to be dissect and consider the thing from bears a motto that is not incl uded entered in the competition? the standpoint ofharmony or the in rhe printed version: "Sapienria, Perhaps these speculations will matic material Yet the structure is as med itatio non morcis, sed vitae." eventually bring some answers. If solid as the foundations ofthe uni ("Wisdom, contemplation nor of not, the search itself wi ll have been verse and nothing is wasted or over death, but of life.") intriguing enough. £J manipulated ... The third is a Len to ofmystic introspectiveness and What were the other Violist Ann Woodward joined the boundless nobility ofconception a seventy works? music faculty ofthe University of movement weighted with fathomless North Carolina at Chapel Hill in beauty. The suite will be caviar to all A little more sleuthing is necessary 1967. She has published articles in but those who instinctiveLy fie! its ro ascertain this information. music journals, books, and in both primeval force. All honor then, to Hugo Kortschak, first violinist of the Grove Dictionary ofMusical those whose vision was sufficient to rhe Berkshire Quartet and the per Instruments, and New Grove award it the palm. Mr. Bloch was, I son who coordinated the efforts of Dictionary ofMusi c and Musicians must repeat, ten times fortunate ir1 the juty, may have been the only (2nd ed.). She served as AVS the interpreters he had at his service. person to know the names of tl1e Treasurer for several years. In retire competitors. Thus fa r, I have ment (life after viola), Woodward According to Bloch's notes in the found no conclusive evidence has traveled wideLy in Asia and sketches (preserved in the Library about other entries. Did the com Europe, written poetry, and played of Congress), except for the first petition inspire Arthur Foote to jazz bass with her husband, trum rwo measures that come from ear revise his Cello Sonata ( 1919) into peter (and retired musicologist) lier wo rk done in New York in a viola sonata? Is there any possi- Howard Smither. @ RAPKIEVIAN Fine Violins David Ludwik Chrapkiewicz Maker of Fine Violins and Violas International Award Winning Sound Silver Medal, 2002 VSA International Competition Expert Tone Adjustment and Bow Rehairing 404 Brown Street, Washington Grove, MD 20880 • (301) 519-2021 • (301) 461 -0690 cell [email protected] JOURNAL Ot: THE AMEH.lCAN V10LA OCIETY 40 SEARCHING PIVA ONLINE T he Harold B. Lee Library at The Internet URL for the BYU AND, OR, and NOT can be Brigham Young University is home library homepage is used to combine keywords. to the Prim rose International Viola www. li b.byu.edu/newhomc. html. 4. Then click on the SEARCH Archi ve. Their library catalog sys Anyone with access to the Internet EVERYTHING button. If your tem can be accessed via the should be able ro usc the catalog. choice of keywords is limited to Internet by violists throughout the Some users who receive their the composer's name or ride only, wo rld. The fo llowing in tructions Internet access from America then click on the corresponding explain how to search for viola O nline have reported problems AUTHOR or TITLE button. materi als in the catalog and making the connection. To usc the describe procedures for requesting online catalog it is necessa ry to SUBJECT SEARCH specific tides through the interli have either In ternet Explorer ver Subject searching can be more com brary loan process. sion 4.x or Nerscape version 3.x plicated. Subject information in the (or a higher vers ion of either) run catalog is based on the Library of PIVA is the official archive of the ning on your computer. The cata Congress Subject Headings and the International and the America n log may not function properly Zeyringer classification scheme fo r Viola societies. We wish ro be user with earlier versio ns. viola music. If you arc fa miliar with friendly and to aid you in yo ur either of rhesc systems enter key needs regardin g the viola reper Once you have made rhe co nnec words (e.g., "viola AND duets") and tOire. The holdings of PIVA now tion to the BYU Library home then cl ick on the SUBJ ECI burton. consist of approximately 5,000 page, select the option LIBRARY If you are not certain of terminology scores that feature the viola. Some CATALOGS-BYU LIBRARY. used in the subject head ings, then of the old er editions and manu The catalog can be searched in enter common descriptive terms for sc ri pt scores can be photocopied four different modes. BAS IC musical genres and click on for a modest fee . Although many SEARCH and ADVANCED SEARCH EVERYTH ING. The scores are protected by copyri ght SEARCII are the two most useful truncation symbol of the dollar sign and may not be phorocopied, search modes for PIVA. (e.g., "sonar$") retrieves sonara, PIVA is able to loa n rhese materials sonaten, so nates, etc. through in ter-li brary loan. BASIC SEARCH The results of the search are first Using the Catalog To use BASIC SEARCH (the displayed in a list showi ng only call default mode) follow these steps: number and title page information. The catalog will display all of the 1. Leave LIBRARY pop-up menu published scores and ound record set at ALL To view rhe full ci tation for the ings in the viola collection. Most of 2. Leave the SELECT SEARCH item, cl ick on the VIEW button the published scores are available to TYPE option set to KEY on Lh e left side. In the ful l cira borrow through interlibra1y loan. WORD. Lion display titles, author names, Commercial sound recordings are 3. Enter keywords from the com and subj ect terms arc highlighted nor loaned at present. Manuscript poser's name and title of the and underlined in blue. Clicking scores, rare editions, and materials in wo rk. For example, "bloch AND on any of rhese highlighted phras fragi le condition are also not avail suire" (upper and lower case arc es will ini tiate a new sea rch on the able for loan, but in most cases may nor important). Common corres ponding author, ride, or be photocopied for a modest fee. boolean operators including subject. y_q L.U M · 2 1 NUMB E R _l'------41 To prim the results of a seard1 you l. Pop-up menus in the left-hand your local library and ask rhem to must fi rst rag cirarions by clicking in column let you specifY th e care send the request to the fo llowing the d1eckbox positioned at the upper gory for the keywords you enrer. contact ar1d address: left. Click on the PRINT CAPTURE 2. Pop-up menus in the right button and follow the prompts to hand co lumn let you select a In terlibrary Loan modifY the display and soning of the boolean operator. Attn.: Andy Spackman records. Note the option to send the 3. In the SEARCH LIMITS area of Harold B. Lee Library resul ts ofyo ur scard1 ro an e-mail the display leave the LIBRARY Brigham Young University address or to save to a disk. pop-up menu set to ALL. Provo, UT 84602 4. Use the ITEM TYPE pop-up T EL: (801 ) 378-4 155 Just for fun, try entering the key menu to limit the search to a FAX: (80 I) 378-6347 word search "primrose AND viola specific type of media such as a OCLC Symbol: UBY AND archive" and click SEARCH CD or SCORE, etc. e-mail: andy_ [email protected] EVERYTHING. Experiment with rhe different Tf the request is sent by regular ADVANCED SEARCH options and pop-up menus to mail, please ask your library to The ADVANCED SEARCH modi fY your search. T he interface make the request on their official mode allows greater fl exibili ty in is generally simple and intuitive. library letterhead. The response combining keywords and permi ts cime for these requests varies ar1 d limiting a search to a specific Requesting Materials through depends mostly on how quickly media format. Here are so me tips Interlibrary Loan your library can process the for advanced searching: request. The BYU in terlibrary loan T he BYU library is office (ILL) is usually very effi cient able to loan most of and prompt. There is no charge for its published scores loans from our library. In some and books through cases the item you request cannot THE AMERICAN VIOLA SociETY interlibrary loan. be loaned bu t may be photocopied. A HISTORY AND REFERENCE Almost any type of ln iliese cases the ILL office will library will qualifY: notifY you in advarlCe of the cost. SECOND EDITlON academic, public, or orchestra. The Requests for copies of marmscript by library does loan scores and assista nce with archival Dwight R. Pounds materials to foreign materials can be sent directly ro librar·ies in all parts the Archive at the address below: of the world. $24.00 Spiral Bound Unfortunately, we Myrna Layton $28.00 Hard Cover do not send materi Primrose International Viola (recommended for Library Use) als to private Archive libraries. Brigham Young University Dwight R. Pounds The interlibrary Harold B. Lee Library 17 13 Karen Street loan process is nor Provo, UT 84602 Bowling Green, KY 42104 complicated. Tel: 801 -422-4334 [email protected] Simply bring the Email: [email protected] 502-843-4820 information you received from searching the online catalog to J OURNA L OF THE AMERICAN VIOLA SO I ETY 42 FRESH FACES: ANTOINE TAMESTIT TURNING MYTH INTO REALITY rn ternational menrs, which is unusual among Competition of the violists. ARD, the 2001 William Primrose International Finding a place for the viola in Viola Competition in today's musical world still requires Chicago and the 2000 him to stay "open-minded about Maurice Yieux always discovering new things." International Viola This might include playing a whole Competition in Paris solo viola recital at the Louvre has given him an Museum in Paris of works by impressive calling ca rd ; Stravinsky, Ligeti , Bernd Alois however, it is wi nning Zimmermann, and Reger, or per the 2003 Young Concert forming residencies in schools Artists International throughom the U.S. He enjoys Auditions that has pushing the lim its of viola tech helped to fill his conce rt nique and has been exploring new schedule with attention music since his youth. He grew up garnering debut recitals. listening ro rhe works of his father, Tamestir acknowledges composer Gerard Tamestit, whose that being presented by works he now champions, and with YCA at the Kennedy whom he can now "share ideas Center in Washington, about sound, instrumental possibil the Isabella Stewart ities and improvisation." Recently Gardner Museum in A. Tamestit has enjoyed working Boston and the 92nd with pianist Markus Hadulla, who StreetY in New York is collaborates mostly with singers, a "priceless gift." The because Hadulla has encouraged future also promises him to create longer musical lines Photo by Christian Srdne1: debuts across Europe. and to breathe in his phrasing as By Lembi Veskimets He says that ht: always singers do. The closest he has come dreamed of playing concertos as a to following in the conducting As someone who wanred to be a young musician (he started on the footsteps of his former teacher Jesse comic book writer when he was violin when he was six, switching Levine has been leading a co nduc growing up, Antoine Tamestit has to the viola at age ten) and that ro rl ess Munich Chamber O rchestra instead sketched a musical see- competitions were a way to "show in the Hoffmeister Concerto in D nario for his career that the vener my real desire to be on my own." Major, Op. f. able Wil li am Primrose described He is attracted to the freedom of as the "Myth of the solo violist." being a freelance musician and is Having srudied and performed Winning such intern ati onal com giving himself every chance to live both in Europe and in America, petitions as the 2004 Munich a life free of professional attach- Tamestit finds these countries to YQLUME 2 1 NUMBER 1.:....______43 be very different in rhe opportu rure. He plays a French vio la, nities given to the solo violist. made by Eti enn e Varclot in American orchestras are most 1999, as do his former reachers likely ro feature their own prin Jean Sul em and Tabea cipal violist in co ncertos, whi le Zimmermann. Tamestit England and Germany "a re not describes the personali ty of the ar all afra id to rake risks wirh viola as "sometimes dark, bu t fresh faces, different instru also at rimes seducing." mems, or programs." BBC Radio is sponsoring Tamcstir for While he continues to amaze his three solo recordings, concerto audiences with the sound and recordings with BBC orchestras works of the viola, in the bad< of rh rough out the UK (such as a his mind Tamestir is thinking about li ve reco rding of the Walton someday becoming a professo r. ln Concerto with th e BBC that future scene, he will be telling Philharmonic Manchester), and his students about d1e time a yOLmg recital engagements. As soo n a man dispelled Primrose's myd1. r; the weather gets warm enough though, you arc likely to find Lembi Veskimets is n tJio!ist in the Tamestit back in Paris, the city CLevelttnd Orchestra and is cur of his birth, riding his bike and rently serving as President ofthe Photo by C!Jristirm Steinel: admiring rhe beautiful architec- Ohio Viola Society. jQURNAL r- T I-lE 1\MJ::IU AN VI LA 0 I ETY 44 ~ NEW MUSIC REVIEWS By Kenneth Martinson two voices seems ro be fo llowing Soul Garden for Solo This issue's column features the vioLa each other very closely in a man Viola and String in chamber music. ner similar co two opera singers ~uintet (2 violins, both telling the same story, fillin g VIola, and 2 cellos) Fantasy Piece for in the gaps for each other, and (2000) always being in a harmoni ous Clarinet, Viola, and erene Piano (2003) relationship. All egro con moto; Adagio; Allegro By Derek Bermel This one movement work has th ree con moco (b. 1967) distinct sections, the first of which Difficulty: Level 6 is reprinted as a sa mple score. The By Christian Duration: 13 minutes Ellenwood (b. 1970) middle section is much slower and explores darker colors, with the Difficulty: Level 3 When 1 listened to this work, 1 was clarinet often staying below the Duration: 9 minutes immediately struck by the beautiful viola in register. The third section poignant colors in the opening returns to the brightness of the This work is one of the most with the upper strings moving opening section with similar the beautiful examples of chamber slowly in unison rh ythm in plain matic material that is transfo rmed music written in the early Romantic chant fus hion. The viola enters lyri harmonically. A stringendo prepares Period style by a co mposer of our cally with irs "mourning" melody the piece's effective climax, and own time. It is striking how unaf wri tten over the triple meter. The the piece ends in a slow fade-away, fected Ellenwood is by today's opening lyrical section is character which is entirely welcomed as it music when he wrote this gem. ized with scoops, dips, and slides adds to the beauty and charm of This piece would make an excel done freely over notated quarter the wonderfully attractive work. lent companion piece for anyone toned passages. The quarter-tone wishing to put together a recital usage in this work is as beautifully T hi s work was commiss ioned by of well-known works for the same done as in any work I have heard. the MacDowell Music Club of in strumentation, such Bruch's Acht It seems that Bermel was seeki ng to Janesvill e, Wisconsin to com Stiicke, Mozart's Kegelstatt Trio, or expose the beauty of rhe quarter memorate the organization's Schumann's Mdrchenerzdhlungen. tones, rather than their potential I OOth anniversary. harshness as in many other pieces. T he viola writing is often very The lyri cal writing here is highly The complete piece is available lyrical, and it mimics the clarinet influenced by the African through the composer directly ar: sound. Overall, the writing is we ll American gospel vocal style, and Dr. Christian K. Ellenwood suited for all three instruments, very attractively done. and this work should prove to be Associate Professor of Clarin et University of Wisco nsin straightforward co put together. As this work progresses, the viola Whitewater The interplay between the clarinet line becomes more intense and Dept. of Music and the viola is also stimulating. rhythmic uly active with some inter 800 W. Main Street Sometimes the viola will imi tate esting contrapuntal parts with cello Whitewater, WI 53 190 the clarinet line, while other I. The 9/8-meter i maintai ned for [email protected] u times, the two instruments play in the first quarter of the piece; as the unison rhythm. In general the ______y LUME 2 1 NUMBER 1 45 ------music beco mes more rhyrhmica ll y mactic fas hion, with the final solo ing ro genre (solo viola + chamber charged and rough, Bermel inter notes ending on rop of the somber, group), blll also in musical lan sperses 7/8, 5/8, 8/8, 6/8, and 10/8 sustai ned accompanying strings as guage. bars (a Ia Copland or Bernstein) in rhe opening. th;"tt add 10 the energy and drive. A~ SouLGarden was commissioned by rhe piece becomes more inrense, T his work will certainly prove chal rhe Chamber Music Sociery of chalk:nging double stops arc added, lenging to learn , bur the viola writ Lincoln Cenrer for violist Pau l as is rhe exploitation of the upper ing is stri kingly comfo rtable, a~ if ir Neubauer, with cell is t Fred Sherry register (highest note G- same a1. were wri ucn by a violist. T his work and rhe Miami String Q uartet, and the highest nore in the Bartok Viola is a welcome addi tion to our reper was premiered on April 16, 2000 at LOI/certo). The piece ends in a el i- to ire, filli ng a void not onl y accord- Alice Tully Hall, New York City. This work is published by: Peer lnrernarional Corp (BMT) Peermusic Classical 8 I 0 Seventh Ave. New Yo rk, NY I 00 19 (2 12) 265-3910 x16 f ax (2 12) 489-2465 cl ass [email protected] www. pccrmusic.com/classical Exotic Etudes for Solo Viola and Piano Quartet (2000) Energetic Dark and Austere Shimmerin g Melodious Vibranr By Stephen Paulus (b. 1949) Diffl cul ry: Level 5 Durati on: 22 minutes I had the pleasure of being intro duced ro th is work by Michael Hall , when he invited me to per form it with him as a member of rhe accompanying Piano Quarrer ar the 2004 International Viola PETER ZARET & SONS VIOLINS, INC. Congress in Minneapolis. This 1-888-VIOLIN2 (846-5462) work was wholl y enjoyable to pm together and the performance was 5767 Mayfield Rd., Cleveland, OH 44124 well received by audience members. email: [email protected] j OU R N /\L 0 1; TH E AM£ 1U AN V T LA S O C I ETY 46 This work is comprised of fi ve tech and often the solo viola line joins careful to put rhc viola in a regis nically challenging movements, each the ac tion of the group as a fi ft h ter conrras ling wit h rhe violin so of which exploits a different "exotic equal member of d1e ensemble. rhar the viola can project through ;md unu$ual" character. When I first Another challenge of the texture is rhe ensembl e, either far below or came across both tlus work and the deal ing with rwo like instruments, far above in pi tch. Paulus on the Bermel Soul Garden, I was pleased one solo and one supporting. other hand seems to di mi nish the ro know that tl1crc arc now pieces Paulus seems to GEOFFREY OVINGTON MAKER OF VIOLINS, VIOLAS AND CELLI Instruments of Distinction Played Internationally G EOFFREY 0VINGTON VIOLINS STANTON ROAD SHUSHAN, NY 12873 U.S.A . 518-854-3648 ViENNA PiiiLI IARMONIL (Pit Vt.s.) Los AN\oFLES CIIAMBER 0RCIIES11\A Ol'j,J\A 0RCHio!>'Tl\A OF LA ScALA (Pit. YLII.) ALBAN BeRO STRINU QuAR I H RUFFAI 0 I'IIILIIARMONIC OsLO I'Hii.HARMONir i)f.UTSCHE KIIMMER PII I LII ARMONI~ l.AFAYFTTF Q\JARTE1 ViENNA RADIO SYMPHONY NEW YORK I'HILIIARMONIC BAVARIAN RADIO YMPIIONY (PR YLII.) NORWEGIAN 011\MJJa\ 0 RCHEl>'Tl\A ) OACHIM· KOEOIERT Q\JART£1 ST CKILIA CliAMREJI 0RCIII'SI'RII Gon.noiiO SYMPHONY PROMETHEUS QuARTfT T HE KONZERTOEBAU (AMSI. ) \'Q L U ME 2 1 NUM BER 1 47 happen for the most part by the Vibrant makes for an exciting Fax (65 1) 6467-6488 bar. The solo viola later enters closer, in which the Copland-like information @stephen paul us.com with highly emotional and lyrical rhythmic writing is again www.stephenpaulus.com lines in the upper register. employed. This closing movement Shimmering begins amusingly intensifies near the end and fin Key to the Difficulty level chart: with piano "noodling" with the ishes in an exciting manner that is 1 Very Easy pedal down that reminds me of sure to bring the audience to their 2 Somewhat Easy the trolley music of M1: Roger's feet, a trait that is surely wel 3 Intermediate Neighborhood; nonetheless, a very comed by violists si nce li ttle of 4 Somewhat Ditftcult charming color is produced that our repertoire has that effect! 5 Difficult later intensifies ro a more robust 6 Very Difficult locomotive-type sound. There arc This work was premiered March moments in this movement that 12, 2000 by Cynthia Phelps at Please send all viola scores for seem to hint at the second move rhe Tucson C hamber Festival and review consideration to: ment of the Shostakovich Viola was commissioned by the Sonata in the rhythmic motive of Minnesota Commissioning C lub. Kenneth M artinson the repeated rwo 16th's plus 8th Western Illinois U niversity note motif Melodious introduces Exotic Etudes is available through: Music D epartment- Browne H all a rocking lullaby theme with is Paulus Publications 1 University Circle Dr. highl y romanticized later in the 17 19 Summit Avenue Macomb, IL 6 1455 movement, a Ia Brahms or Saint Paul, MN 55 105 Schumann. The last movement (65 1) 647-9612 l-Ith' (!uullt\ l n.rtrumf'nH arul Bo M 1 Ht'J'•W 1 Rrmah At t t' \\IJ,.,t'\ .\ Jwt•t Mti\H FOR ALL YOUR BOWED INSTRUMENT NEEDS (505) 889-2999 • FAX 1505) HM9-7790 • (800) 284-6546 3201 Carlisle, NE Albuquerque. New Mexico 87110 SAMPLE ScoRE: EXCERPT FROM ELLENVVOOD-FANTASY PIECE lr ~ ...... l .. l·~)oj ...... -- .. 2 f'f liw'll'l~II,,, M, , ,_t l< _; l u•t•~tlk IJi 1M •t\il! ...... ·''"'' ~ .• Fantasy Piece FJ ' I• ' for - Clarinet. Vio l ~•. and Piano ' ~ - ..1 ...... ?.'):. ·, . ( _ .- ~- -. - :: ~- ) t r :: ( :: Chn<~~UJn "-.. I llt!n"•notl -: ~ - ;' . .... ~ . ~· .. .. \ rloan•u•""• • fU "~·~''"' ~ .' ~ ' . ~ .• '" ' . =· ... \I If'"' ~I'll UM>IH • Ill \ "' f (Dl3I') l .-- •• • ••~ p •••- • ')< . -,... - r- ··...... I'I.W.I - #!" ')'I p ~- - llff------= ~ ~ - r-;;; ,r - ) ,. ~ ~ · .,.,...- 9:1 a • • . . • • . • • . . ---• • •· . "'. p~ l •. •. , .,. •. • ...... -::::::=-- ) ...--. - .1··. ')'I --... .~. . . •. ~-· 6', ,.--- • , . J • 6 ' . I - .. . ., ) ' .--- . 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IJ •• ,__.. ~· PI''Wh"• -- - - - ) Is •_D • -_o ~. 1.! ~. ~. ~ ·' •• •• ,...... ·~• I• ~ .. .-. . - ,. •• ..-- . --. - I f rl . .. ,. .. ..; FJ I I• I• • ,. . . ~ ' .. . ,.,. __ - J - -:::. f (.1 •• ~ s - ~- ~- ~ - '· ·~A~. · · ~ · ·~ ...... i• '" •• . ~ (0 ------. •• -- --- f pp ,... ~... f ) - ~" ~-~. •• .- . .- . ,. ·- · ·- · I• OLUM E 2_1__ NUM BER 1 51 11 12 I• - , - ; I• .. .. -. ~ -· H " - " 1!1 I ··· ·- ·- · J] '" " \ I•• ? ' I ~ ~ S IJ 8 .-u .•'•, j --L! • • • • j--:.···.j- ...... ,. .~ . . . jj :...- :::::- --__:::- -::._::::- -- -, ....-::::::::--- ) .,,, -. ::;. .:=:=- . . -=--. .- .. • •_f1 . . -. ·-· ·--· . - ~- .. -. F.,,' -· FJ' . ~ •• ~. , •• ~ k. ?• I j : • . 1• • • • • • I • • " I · ~· ------.__ --- ~ ~ --~--...... --p ' ------) ')'I • .- - . ·-- ,... ,...... _. .. . ~- .. ~ .. ;., ,...... ::_===:-:-: B' ,\ l l.itllll, h."nt'hti! K"III~·l" \•lfl 11)1 ..01 · -~"' --. " . 9 I - --'). • ~.> · • • -~ · ~- £1 . . . . - . ' I . . -:::::::::::::;--... . .- ~ · 0 , ;.~·· - ·-- -·. ~: . . ,,. .. ., . . ~ · •'""'""' l - • PP \1< ...--.J · --;; . p- pp __...., ------=::::-- ,::;:::::;;.. ) ~_..,. . ... ,::;:::::;;. _ ?•• -. - -.- · -...... )~. ·-.· . ~ . .. .--- -· -----. ---.: ..- - - www.music.uiuc.edu School UNIVERSITY OF ILLINOIS MUSIC AT U R BANA-CHAMPAIGN lourian Loufmon cello KA RL KRA M ER , DIR EC TOR Tltt· , cltool o f Music is proud to announce the addition o f the members of the Pacifica Quartet Pater Scnoffar violin to its distinguished full-Lim t" fa culty. Masumi Per Rostad, viola Simin Ganatra, violin Brandon Vam os, cello Sibbi Bernhardsson, violin College of Fine and Applied Aru ..I UNIVER&nY OF ILUNOI& AT URBANA.CHAMPA.IGN __j OURNAL OF THE AMERIC AN V I C L/\ S O l E TY 52 AT THE GRASSROOTS PLease send items ofintere st regarding Augustin was the winner of a one Local Viola Societies Ariwna Viola Society viola activity at the grassroots to: year student membership ro the AVS; Pmrid a Co:,;anJ, p n:~ id c nr pcoso> ld@hOi onail .com Louise Zeitlin, AVS Secretary, we arc very appreciative of this dona 4!!0-!!97-1954 H 480 ?21-J308W LouiseZeitlin @oberlin. net. tion from the AVS for our event! Chicago Viola Society Mochael H.tll , l""'idcm -Sarah Bylander Montzka mhalll @iwu.cdu Chicago Area Idaho Viola Society l.inda Kline Lamar, prcsidcnr Idaho lkline@boi><:.\ldte.edu 208-426-3665 Iowa Viola Society Greetings from the Idaho Viola ocicty! Chri>tinc Rutledge, president chri s li ll c- rudcdgc~P IIii owa .cdu 3 1 9-.~41 - 03 11 On December 21st, a group of25 Minnesota Viola Society J. David Amott, prc,idcnr young violists gathered for a morning viol:onodn(!>aol.cnm of viola caroling. Organized by Idaho North C.'U"Oiina Viola Society Scon Rawls, prc..,ident Viola ociety secreta ry Jennifer [email protected] Drake, the enthusiastic group visited .H6-288-2990 Northem California Viola Society three nursing homes, spreading good Tom Heimber~, prc.,idcnr [email protected] cheer and viola power everywhere. 510-526-8390 Ohio Viola Society Lemhi Ve;kimcl\, prc.ident "It was a fun community outreach klve.;ki@1ao l.com project. I do a lot of volunreering, 440-356-0265 Oklahoma Viola Society Faith Augustin shows of!her Vio!apa fooza prize but this was really rewarding, because M.mloew Dane. ptesidcnr everyone was very happy ro see us. It [email protected] - a one-year AVS student membership! 405 325 0428 Oregon Viola Society The Music Tnstitute of Adoienne Brown , president .lltbviola@>aol.cnm Chicago hosted Violapalooza!, (503) 697-9662 Palmello Viola Society Februa1y 20-2 1,2005. We Kathryn Dey, prc..,idenr had about 35 young violists [email protected] 864-467 1751 ages 5-18 participating and The Philadelphia Viola Society coming from as far away as D.,vid Yaug, prc...; idcnr phil.ddphiaviola@e:onhlink.net Tennessee, Kentucky, and 215 627 7622 Rocky Mountain Viola Society Texas. Highlights included a Marg.oreo Miller, president gucs r artist recital by Juilliard no.org.orel m@ladcl ph ia. net 303 44 2-1004 student Laura Seay and a mas- Tdaho Viola Society Carolers spread hoLidny cheer. Southern California Viola Society terclass given by Mark Jackobs Loro lve>, president ivc.,iw(!'lcarrhlink.net (Cleveland O rchestra). felt like we made a difference in their 8 1R 262-374 1 day." said Erin Carver, a violist from Utall Viola Society Cl.oudine Bigelow, president To help the children gcr ro know Boise's Timberline High chool. t [email protected] 801 422-131 5 each other and build a sense of the Sixth grader Nat Steven sa id, "I liked Viola Club of MD/DC &VA "viola community," we ran a small being able to play with the older Lou i>e Hildreth-Grasso. presideon viol."l''cenlouisc J O URNAL F T I I E A M E RI C AN VI O LA SO l £ 1."Y 54 (sec rhe JAYS arriclc on Mr. Lane; Fall 2004, volume 20, number 2) . This concert fcawred music for viola ensembles: duos (Bridge's Lfl rnent and movemenrs from Lane's Eight Duos), quarreLs (Lane's Quartet and Rosemary C lyde's Wei-jt), a scxrct (L1ne's 1i·iptych) and Gordon Jacob's Suite for viola octet. Performers on this cxtrava gam.a were Daniel Avshalomov, Ell en Hill, Christine lm , Judith Lnsell , Veronica Jacobs, Olivia Koppell, Nancy Eliot Mack, Rebecca Osborn, Melissa Reardon, Ann Roggen, Naomi Graf Rooks, Peter Sfot11ik cOflcbes the Ohio Vio!fl Society team through Super Sundfly. Myron Rosenblum, Karin Sarra, Jessica Troy, Paula Washington and ed and cxpe nly guided the musi rosin ;" this experience remai ns Lisa Whitfield. Held as a free event cians through newly published unforgettable, despite my many ar the Donnell Library Ccmer of works whose technical and inter artcmpts to subject it to selective The New York Public Library, this pretative challenges ran the gamut amnesia. A special mention should was a great chance for members to fi·o m minimal to virruosic. be made of a work tided Sirbfl a4 play for, and hear, their colleagues, Widely di parate experience levels by Dave Ta n·as, arranged by D. and w expose a new audience to represented by young beginners Golden, an ex uberant work some wonderful works from this and professional players did not inspired by the Klezmcr sryle. inrriguing repertoire. deter Maestro Slowik's enthusiasm for eliciting the maximum level of A special thank-you is extended to For more information abour these musicality from each playe r. His Catherine Jarjisian , director of the and other events, vis it the New insightful comments and sugges Baldwin-Wallace Conservato1y, for York Viola Society's website: tions were nor limited to specific her cooperation in allowing us to www.nyvs.org. measures in the music, blll were an usc the faci li ties, and also to Louise - Knmeth johllsol/ exemplary demonstration of peda Zeitlin, professor of viola, for her gogical rcchn ique. efforrs in organizing the event and Ohio her inspired selections of icc cream Outstanding among the eight and roppings wh ich were enjoyed Baldwin-Wallace College in Berea works selecrcd ro be read were by the participants afrer rhe ses- was the site of the annual Super arrangements of the Pie }eSII from ion. Many Super Su ndaes were Sunday reading workshop on the Fau re Rfquiem by Tracey Rush created on this Super unday! January 9th from 2 to 4 p.m. 20 and the variation movement from - Mflrgfll'f!t Lawless partici pants ranging in age from Haydn's l:..i11peror Qnflrtet arranged I 0 to don't-ask-and-make-me-lie by D. M. Levenson. Harold Oklahoma assembled in Ga mble Auditorium Lieberman's challenging version of to read works written or arranged Sousa's Stars flnci Stripes Forever fca The Oklahoma Viola Society held for viola en emble. Peter Slowik, tUI'CS 1he piccolo obbligaro played its second annuaJ Viola Day, host viola professor at the Oberlin by rhe flm viola sccrion in what ed this year by Jeffc1y Cowen at onservatory and past pre ident of Ralph Vaughan Williams described the University ofTulsa. the American Viola Society, direct- as "the frozen reaches of the etern al Approximately fony violists from VOLUME 2 1 NLJMBER 55 Seattle Our fall activities included a won derful debut recital by Melia Watras who just joined the University of Washington faculty. Also , a seco nd Viola for Violinists workshop was hosted by the Academy of Music Northwest. everal violinists have made "the switch" since attending! The Scanlc Viola Society's own website version of 'Meet the Section' high Beaming after the Oklahoma Viola Society's Violtt Day- (f tor) Peter Slowik, li ghts the Bellevue Philharmon ic, Phil Lowry, Phil Wachowski, Viola Day Host jeffery Cowen. an eastside professional orchestra. around the state and beyond gath process' effi ciency. After a dinner ered for a fuJ I day of activities. The break/social hour we concluded with We arc loolcing forward to several day began with a m a~ te r class given a concert focusing on rhc broad spring acrivities including a viola by guest arrist Peter Slowik. Fou r range of viola repertoire wri tten in day, Bach Sui re recital and attending OKVS members gave strong per the twentieth century. more viola solo performances. We form ~m ces, :md excellem advice was hope those in rile area wi ll be able to given that each of u can use. O ur chapter continues to grow. We join us. Please check our website for Following the master class, we all look forwa rd to sponsoring a recital dera ils and dates as we will be post took ofT our shoes for a Yoga class in the F.ll l, and again holding Viola ing updated information: given by yoga reacher and tuhisr Day 2006 next winter. www.viola.com/svs/. Also, we arc Ted Cox. After we were all "ground -Donna Wolf/Cain excited about the new look for our ed" and relaxed we rook out ou r website, to be un vei led early spring. vio las for a Viola Ensemble Play-In , Rocky Mountain - LeeAnn Morgan led by Donna Cain . We read works in two-, three-, four-, and five-parts. T he Board of Rocky Mountain Southern California We all agreed that there is nothing Viola Society met in December, better than a roomfitl of violists fill 2004 ro fin alize plans for the fifth The South ern Californ ia Viola ing the world with music! Viva Ia Viola Day to be held in Ft. Society held a Holiday Play-In ollins, olorado on arurday, Pany on Sunday, December 19, Lou is Lynch, of the Tulsa Violin Ap ril 16, 2005. The day will include 2004. Pamela Goldsmi th hosted Shop, continued the day by leading viola ensembles coached by area the event in her lovely home high an interesting instrument demon viola professors and private teach in rhc mountains, with the lights srr·ario n. Matthew Dane played on ers, plus a master class for Uni vcrsiry of Los Angeles twinkling below. each of the dozen instruments, which students. This year's guest artist is The music included the West were mai nly from contcmpora1y Carol Rodland from New england Coast premiere of the Viola Fight American makers. We had fun dis- Conscrvat01y. T here will also be Song for viola quartet by Michael cussing the differences in the violas coaches coming from Massachusetts Kimber. lr was much appreciated and picking om fuvo rites. Peter lowik and North Carolina. The day will by the more rhan 15 violists who rhen returned for a fa~c in at in g lee- also provide an opporruni ry fo r attended. fn addition to rhc rure titled "Mental Sequencing," University viola students to work Kimber quartet there was a grand whid1 dissected d1e process by wirh younger violists and talk with reading of Gordon Jaco b's Suite which one prepares for musical per- them about studying viola in college. for 8 violas, as well as other viola formance, and how to maximize this - Margaret Miller j OURNAL or: T il E AMERICAN VIOLA SO l ETY 56 rri os and quarters. T he evening concluded MUSIC AT RUTGERS wirh delicious refreshments char were Mason Gross School of the Arts enjoyed by all. Activities for th e CYS may be foll owed on its website: STRING FACULTY http:/ /Sourhern California ViolaSociety.com. Arnold Steinhardt, violin -Lori lves Matthew Reichert, violin Lenuta Ciulei, violin Virginia Paul Neubauer, viola Elizabeth Chang, viola We are pl eased to report that we have offi Jonathan Spitz, cello David Grossman, bass cially begun our new chapter of the AVS, the Virginia Viola Society! We had our first Instruction on major instrument, and in musicianship, offi cial meeting on Hall owee n 2004, at rhe theory, and history. Performance in the Rutgers University of Virginia in Charlottesville. We Symphony Orchestra, Philharmonia, early music opened our ga thering wi th a performance of ensembles, chamber groups, and solo recitals. Degree programs: BM, MM, AD, DMA. Merit based scholarships. PDQ Bach's Sonata for Viola Four Hands, by Lianne Campbell and Constance Gee on Hear Rutgers at Carnegie Hall March 2, 2005! rhe viola and Professor Michael Slon, (choral conductor at UVA ) at the harpsi Audition/application information at www.masongross.rutgers.edu chord. After the performance was a master class, jointly taught by Molly Sharp, Lianne n•IWI.....,..IVOO,.WA.,V IM G RUTGERS Sc~~~Rh~ Arts ross Campbell, Constance Gee, and Berry Gross. The high school and Uni versity parricipams performed bea utifully. Our master class was followed by so me viola SOLOS·DUETS ensemble playing and a rehearsal ofTerry Ri ley's i n C, in preparation for our biggest TRIOS · QUARTETS event this spring: "Violas on the Lawn"! This ALL NEW TRIO SERIES! will be a performance of In Con April 23rd, 2 Volumes from 3-5pm, outside on the "Lawn", a green area ar th e center of Thomas Jefferson's Interchangeable Parts famous Academical Vi ll age. Consider your selves invited! In the meantime, we will have our second meeting on February 6rh where we'll hear a performance of Michael NEW VIOLA olgrass' Variations for Viola and Four WEBSITE! DUETS Drums, play some viola ensemble music and of course, rehea rse fn C! - Constance Whitman Gee NEW T-SHIRT DESIGNS! Fitted French Style • Men & Women Alto Clef Angel • Clef Signs in Crystals & More! 15 Great Designs • Look for Website Specials! WEDDING • SACRED • CHRISTMAS LAST RESORT MUSIC PUBLISHING 800.762.0966 Fax 818.956.1521 www.las tresortmusic.com .Y_OLUM E 2 1 N U MBER I 57 STRINGS Piano Ptr Voi A((ompanyi Jau Wood ind Brass (ondudin Guitar (ompositi Harp Organ MANHATTAN 5_CHOOL O F MUSIC Mana Istomln. Pre~ldc nt jOU RNAL OP THE AMERT AN V I ) J.A SOC:I ETY 58 MEET THE SECTION ST. LOUIS SO, IN -:f:RANSITION scnrs a commitment to our rejuve nation. The urge ro grow is grind ing against the inertia of recent past, however. The last few yc ------...L...:==L...,U""'M E 2 1 NUM -"'B"-'l'-".:..!-R~l ______59 for jriwd &' co«eae ue Cftar(ie Weiser Charlie's Waltz Christian Woehr Allegro moderato UniSOn Viola p Choir J. 4. Ltll!)t:L~~-1+-~.L!J::t= -----J-0=-=U ..:....:::R ..:.....:;N .;_;_AL OF THE AMERJ ~ AN V I OLA S I=E ..c=..-TY=--- 60 OLUM E. 2 1 NUM B~ERs...Jl'------61 of virtually sold our concens in the 21, fresh from magna cum laude After winning the National heart of the season (including a studies ar USC wi th Eudice Federation of Music Clubs compe week with Robertson and his wife Shapiro, Milton Thomas, and both tition in 1983, Ms Kier headed O rli Shaham) leaves us all bafficd. Charles and Heidi Castleman. She back ro school at the Cleveland We are ready to play, and to grow. is well into her third decade on the Insri tute, under ex-SLSO violist lf the musicians arc successful , t. first stand here. Getting a chance Robert Vernon. (Vernon is remem Louis will become one of the great ro shine as principal since the 2003 bered as the hitter of possibly the orchestras of the world . Tf not, the retirement of longtime principal longest softball home run ever, evaporation of priceless personnel, Thomas Dumm, it is wonderful se ri ously impressing the SLSO musicianship, camaraderie, and to watch her blossom. game's manager that year, ex creativity will leave this special Cardinal legend Stan Musial.) band as a pleasant memory. Perhaps the city's most sought-after In addition ro her soloist activities, (Editor's Note: Since the writing ofthis chamber and solo violist, KT and of course our daily harvest of article, the lockout hm been resolved) spends a chunk of each summer as immense quanrities of orchestral principal viola of the Aspen repertoire, Susan is an extremely The Players Festival O rchestra. She always has acti ve chamber musician, includ a pro fessionally managed group ing having been a member of the Kathleen Mattis is Acting going, such as Trio Cassatt or the Amici Q uartet in residence at Sr. Principal. A player with every Amabile Q uartet. The musicians of Louis University. She is a cheerful thing: sound, technique, style, the SLSO play as much chamber and willing powerhouse ol a player brains, ea rs, radar, experience, and music as anyone. KT stays in the (one nickname she has acq uired is sanity. She joined the orchestra at thick ol it, co nstantly complai ning "The Howirzer"), active on com about practice time mittees and at the poker rable. vs picking kids up This season she is sharing acting from school. An assistant principal duties with: aficionado of sports ranging Morris Jacob. He also is a from beer-fuel ed Cleveland Tn sti ru te graduate, float trips to gruel studying violin with David Cerone dam pit® ing triathlons, Kacy and viola with Robert Vernon. Pat No 3 407 700 is the quintessential After earning his Masters degree in the sensational Supermom. She 1977, Mr. Jacob audi tioned for the humidifier for plays on one of Columbus (Ohio) ymphony and VIOLIN e VIOLA e CELLO e BASS three Max Frirsz String Q uartet, which is where I We recommend the Damplt enthusiastically. violas in our sec- first encountered Morris. Four damplt provides perfect protection non. years as associate principal viola in against damage from a dry atmosphere. Columbus sufficiently prepared damplt proved itself 1 00% effective in Susan Kier and motiva ted Morris to gun for scientific sensor measurements. FREE Room Humidity indicator with Gordon joined the rhe Sr. Louis job in 198 1. each damplt. band in 1987. Morris is also a very active cham Violin $8.95 • Viola $9.50 She was a student ber musician; like many violists Little Violin $7.95 • Cello $11 .50 of Jerzy Kosmala in here he essentially has his own Bass $12.50 Louisiana, where fluid-personnel quanet. When the AVOID FAKES, AVOID MISTAKES. she played in the occasion arises, Morris also jumps A genuine Damplt has the Damplt neme on the black top. Ah' poelage ••lei htlndtlng ou~ USA and Canada 11.00 per unit. Baton Rouge in as soloist. A musician of high tn USA .net C.O.de ~.... add $.55 per untt. Box 483, ~k) Chy St.tJon NV, NY 10101. String Q uartet standards, great experience, an d from 198 1-83. well-developed orchestral radar, ------...J.J-=-.::::U:....:R~N.:.:A..::....L OF T H E AMERI ' AN V I OLA S-__,::::.""'I E::::.·T-'----"Y______62 Mo is one of the sectjon's anchors. Leonid Gotman was born in Q uarter, gave Lynn his fi rst vio He is a woodworker ex traordinaire, Moscow, where he studied viola lin. In 1966 Lynn avoided rhe having built most of the furniture with G. TaJaJ ian and chamber draft: by swi tching ro viola and in his house. Seeing his strapping music with R. Dubinsky at d1e served in rhe US fur Force's personage walking from his ca r Gnessin Music Institute. In 1973 Strolli ng Strings and their String carrying a ce llo can be confusing. Mr. Gorman emigrated ro Israel , O rchestra; he played for bomb (Once insid e, he switches instru playing in the Jsracli Chamber wing anniversa ries, co mmunity ments with viola-ca rrying cellist O rchestra, and then to the Uni ted relations dinners, and at rhe Anne Fagerburg Jacob, and aJ I is Stares in 1975. After a year as prin White House. right with the world.) ci paJ viola of the Richmond Symphony O rchestra, he joined 1972 fo und Lynn Hague in the Gerald Fleminger was born in the SLSO viola section in 1976. Sante Fe Opera O rchestra, rhen Brooklyn in 1938, and has the Leonid is yet another frequent the Denver Symphony. He carne accent to prove it. He studied chamber music performer and to St. Louis that next fa ll , and with several well-known NY teach soloist in our impressive section. immediately established himself as ers until scnling in with William Like Morris Jacob, he is also an one of rhe more memorable char Lincer in 1957 at the Manhattan expert woodworker; l am glad to acters of rhe orchestra. Lynn's pe r School. Joining the army in 196 1, report that despi te all of their sonaJity is also high energy, and Mr. Heminger served in the fancy power tools, they still have a he retai ns his distinctive Tennessee U.S.M.A. Band at West Point combined 20 fingers. twang. Lynn's current in terests while continuing studies with include a return to playing violin , Lin cer. He joined the Minneapolis Leonid's is an energetic personaJ i wri ting poetry, and drawing in Symphony in 1964, bur left the ry, and he often rakes orchestra in 1967 to return for yet on the role of class more work with Lincer. Among cut-up. Supposedly, his many free-lance jobs in NY, when he first arrived Jeny played in the Ameri can here, he was able to Symphony, Brooklyn Philharmonia, make very funny The History of the Viola and NYC O pera. He flnaJiy left: jokes with a useful NY fo r rhe SLSO in 1971. As English vocabulary of Volume I and Volume ll enthusiasti c as ever about viola, 12 wo rds. Now with Jeny has recently been compiling a fully functioning by technique book. Alth ough quire mental thesaurus, active for years as a chamber musi Leonid is (depend ing Dr. Maurice W. Riley cian (founding member of Amici on the severi ty of the Q uartet), Jerry has discovered true week's maestro) a To order, contact: love as a teacher/srudem of playing. dangerous stand part- His naruraJ patience and insight ner. Lynn Hague was George Maurice Riley when faced with playing problems born in larksville, 1230 1 Harbour Circle brings our his creative best. Daily, Tennessee, where his Ft. Washington, MD 20744 Jeny comes in with penciled pages father was the head of original extension, shi ft ing, fin of the music depart ger pattern, and double stop exer ment at Austin Pcay Phone (30 1) 292-0177 cises, and 1 co mputer-notate them. State Teacher's Fax (301) 292-0280 His magnificent instrument is College. Mr. Cadek, [email protected] anod1er Frirsz viola. the firsr violin of the Alabama String OLUM E 2 1 NUM BER 1 63 pen and ink. He also volunreer1. Mike Chen, our newest full-rime Dana Hansen (another new play for the Missouri Deparrmenr of member, began here in 2003. er) lor the LA Phil, Bryan will Correctiom, going behind the Mike earned bachelor's and rnns soon be .1ble to .llldition for rhc razor wire at Pacific, Missouri, ter's degree~ from Northwestern temporary spot he now fills so and other institutions weekl y. University, studying violin with beautifully. We wish him the great Blair Milton. Mike served as Co e.'.t .'.liCCeSS. William Martin, my sta nd partner concenmaMer of the Chicago for 14 years (before the S l ~) O Civic Orchewa in 1994- 199'5, Bryan, a native-born Californian, strings went ro full rotation), was and in his rime there had the was raised in Color.1do. After mov born in Norrh Carolina in l91t 1. opponuniry to work with biggies ing to Virginia. he attended the One of the funniest people I know, like Solti, Barenboim, and Mehta. University of Marybnd on a track he is majestically bald like myself. ln 1998 he returned ro schol:mhip. 'lo fill a Maryland Bill came to St. Louis after serving Northwestern University, earning a viola vacuum, Bryan switched on the faculry of Stetson m;mer's degree in conducting with from violin, studying with Daniel Univwiry in Florida from 1968 to reachers Yarnpolsky and Smolij. In Foster. After getting his BM, 1976. He sti ll carries hi~ Stetson 1999 he began viola, first with Li Bryan attended the Royal Faculty [1), the twisted grimace on kuo Chang, and later with Michael Academy of Music in l .ondon, which can scare small children. His Strauss. In recent years, Mike has studying with Paul Silverthorne, reachers included Edgar Onenberg performed with the Chicago and the Cleveland lmtitute of on violin and Den e.\ Koromtay on Symphony, Indianapolis Music with JcfJ' Irvine. During the viola. lie holds a BM from 'Jcmple Symphony. and Detroit current work sroppage, Bryan has University and an MA from the Symphony. He has taught cham returned to Colorado to work as a University of Pennsylvania. 11esides ber music in the Chicago Youth ski in.'>lruuor. I-1 is other great love faking viola parrs of the major Symphony, Chicago Academy For is rugby! I orchestral reperroire with the the Am, and the Western Springs SLSO (just kidding) since 1976, School ofT:1lent Education. On·iJt irm Worhr. Sl SO asJiJttl/11 he has been conductor of rhe principal IJiof,, sinre 19R6, wm born Lionsgatc Ensemble and Kirkwood Mike i~ great to have with us . Tli s in Dallas, lexas in !951 to orchestm Symphony. and on the constant palpable happiness at musicit111 prtrmts. Rt11sed i11 Washington Universiry faculty. being here is a wonderful antidote fli ttdm 1gh, fleiiiiSJf11ffll ia, muf to the inevitable gray stage days tmined til the Eastman School of William is an accomplished com th.tt come and go in ou1 intense Musir, hl' hrtJ been mmposi11gfor the poser, with many pieces of original busine!>s. l li\ eagerness to please tlio!a (aud other le.rs-importallt chamber mtLsic performed here and wi ll probably diminish as he learns instmments) si11ce the age of'tm. elsewhere. Composer Joan '((>wer that we're no better than he is, and l, as a piano/viola duo, pre and/or he gets tenure. miered Bill's Duo for Piano and Viola on our fim group viola con Bryan Florence's arrival in the cert (Violarama!) back in 1987. orchestra this season was so quiet, Recently, his Sessions for six violas it was discovered that B1 yan's name was performed on anorher SL)O was missing from Accounting's viola concert. 1 consider ir a great personnel list. Wide-eyed nryan privilege ro have been joined fit the finally received a check in time to hip for so many precious years with hold onro his apartment, and we our own Socrnrcs!Will Rogers. Our are now trying to hold onto him, margin cartoons continue ns a legacy at least for the year. With a section to all who grace the second srand. opening, due to the deparrure of jOURN/\1 . OF THI:::. AMERICAN VIOL/\ SOCIETY 64 String Studies The University of Oklahoma is proud to have Journal editor Matthew Dane on its String Faculty. String Faculty he University of Oklahoma School of Music, the only Felicia Moye, violin T comprehensive music school in the state, offers Peter Rovit, violin degrees at the bachelor's, master's and doctoral levels in Matthew Dane, viola all areas of performance, composition, music education, Gregory Sauer, cello music history and music theory. Costs are moderate, and Mark Osborn, bass Gaye LeBlanc, frarp scholarships and graduate assistantships are available. The Larry Hammett, guitar University of Oklahoma is an equal opportunity institution. Performance Audition Dates Opportunities February 19 and 21 and March 5, 2005 OU Symphony Orchestra Accademia Filarmonica University of Oklahoma School of Music Cham ber Music 500 West Boyd Norman OK 730 19-207 1 (405 1 325-208 1 • [email protected] http://music.ou.edu ( VIoLAs FoR SALE Seller: Monica Gregory Seller: Linda Kirkwood Phone: 917-653-275 1 Phone: 585-243-4429 Email : Lenodea I @aol. com Email: [email protected] Asking Price: $4,600 Asking Price: $10,000 Maker: Compagnon Maker: James R. Coggin, New York Ciry Date Made: unknown Date made: 1970 (No. 13) Back Length: 40 em or 15.75 inches Back Length: 16-3/4 inches Description: Viola in exce llent condition. Neck and String Length: 14-1/2 inches fingerboard are thin making this the per fect instrument for a player with small Seller: Chris Wienandr hands, or for someone who ~witch es Phone: 8 17-946-8777 (cell) between violin and viola often. Warm, Email: [email protected] open, and beautiful tone. Asking price: $ 15,000 negotiable Maker: Otro Erdesz Seller: Sachiye Day Date made: unknown Phone: 626-403-5653 Back length: 16-1/2 inches Email: [email protected] String length: 14-3/4 inches Asking Price: $7,000 Maker: Anton Died, Mittenwald Seller: Michaela Herrmann/Burl ]. Shetzer Date Made: 1948 Phone: 512-267-3989 Back Length: 17 inches Email: bshetzer@hotmail. com Description: Matching viola and violin for sale in Asking price: $10,000-$12,000 black double case. Maker: Alfons F. Vavra, Prague, Terris type Date made: 1954 Seller: Mara Lise Gearman Description: Viola: Length: 401 mm, Upper Width: Phone: 503-253-05 11 or Schuback Violins, 196 mm, Middle width: 143 mm, Lower Portland (503-9 16-4430) width: 252 mm. Bow: H.R. Pfretzschner, Email: [email protected] Lcngth730.5 mm, Weight: 69.7 grs, Asking Price: $ 18,000 Ebony/S ilver mounting, Parisian eyes, Maker: Marten Cornelisson three-piece adjuster, silver grip and ivory Date Made: 1996, Opus # 446 tip. Price: $2,000 - $2,800. Viola and Back Length: 16-3/8 inches bow in excellent condition. Description: One owner, in excellent condition. Produces beautiful solllld and projects easily Ad Index AVS Hisrory & Reference G uide ...... 42 Manhattan School of Music ...... 58 Berg Bows ...... 6 New York University ...... 16 C leveland Tn sritute of Music ...... 39 Peter Zaret & Sons, Violins ...... 46 Connolly & Co., Inc ...... 18 Primrose Competition ...... 8 D 'Addario ...... 20 Primrose International Viola Archive ...... 4 Dampits, Inc...... 62 Rapkievian Fine Violas ...... 40 David Dalton Competition ad ...... IFC Robertson & Sons ...... 48 Encore School for Strings ...... BC Rutgers State University ...... 57 Geoffrey Ovington ...... 47 San Francisco Conservarory of Music ...... IBC Heritage Insurance Services ...... 30 University of Illinois ...... 52 History of the Viola ...... 63 University of Ok.lal10ma School of Music ...... 65 Joseph Curtin Studios ...... 10 USC T hornton School of Music ...... 44 Last Resort Music Publishing, Inc...... 57 Yamaha Corp. of America ...... 27 JOURNAL OF THE AMERICAN VIOLA SO IETY 66 American Viola Society The American Viola Society (A YS) was founded for U1c promotion of viola performance and research. A V membership includes two print i sues of the Journal ofth e American Vio la Society, published in November and March, and an onl ine only issue released in July. Your per onal and financial support through A VS membership is appreciated! Personal Information (students, please use your permanent address) 0 New Member 0 Renewal 0 Change of Addre s (the Journal ofAVS cannot be fo rwarded!) 0 My address/telephone number/email have not changed since last year. 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ENCO SCHOOL FOR STRINGS junL' ll), JULY 30, 2005 \\'l'sll'rn Rl''-l'f\l' Ar.tdcmy, Hullson, Ohio FACULTY ENCORE ALUMNI Richard Aaron, cello Judith lngolfsson, violin Cavani String Quartet, chmnhcr rnu>Oc Gold Medal, 1998 lmemauonal Vonlon David Cerone, vonl on ompetitttm of lnJmnapolos; performance;,