Journal of the American Viola Society Volume 23 Number 2 Theme and Variations Adelaide Congress Alan Shulman’S in Review F Eatures

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The Journal of the American Viola Society Fall 2007 is published in Spring and Fall, and as an Volume 23 Number 2 online-only issue in Summer. The American Viola Society was founded for the promotion of viola performance and research. REGULAR DEPARTMENTS © 2007, American Viola Society From the Editor ISSN 0898-5987 From the President Editor: Matthew Dane Letter from 2008 Arizona Congress Host Alternative Styles: Juliet White-Smith Announcements At the Grassroots: Louise Zeitlin Violists “On the Move” AVS Retrospective: Dwight Pounds AVS Meeting Minutes Fresh Faces: Lembi Veskimets Alternative Styles: The World of the Baroque Viola In the Studio: Karen Ritscher Sample Score: Roman - Assaggio #1 in C Minor Meet the Section: Michael Strauss In the Studio: Barbara Westphal Modern Makers: Eric Chapman Fresh Faces: Jonah Sirota New Music: Ken Martinson New Music Reviews: Concerti AVS National Board of Directors Recording Reviews At the Grassroots Officers NOTE: I did not see Helen Callus, president FEATURES any board member Juliet White-Smith, presi- Adelaide Congress in Review changes on outline dent-elect Kenneth Martinson, sec- Portrait of Alan Shulman and his Theme and Variations retary Michelle Sayles, treasurer Board Members Claudine Bigelow (2006) Matthew Dane Kirsten Docter (2008) Susan Dubois (2007) Barbara Hamilton (2007) Nokuthula Ngwenyama (2007) Michael Palumbo (2008) Dwight Pounds (2008) Carol Rodland (2009) Kathryn Steely (2007) Lembi Veskimets (2008) Bernard Zaslav (2009) COVER ART Louise Zeitlin (2009) – Dr. Dwight Pounds is a frequent contributor to the JAVS as a writer and AVS General Manager photographer and has served on the AVS Executive Board for over 25 years in Madeleine Crouch various capacities. He was the third AVS Vice President, first IVS Executive Secretary, and is author of The American Viola Society: A History and AVS National Office Reference. He earned his doctorate from Indiana University where he studied 14070 Proton Road, Suite 100 viola with William Primrose and Irvin Ilmer. Dr. Pounds is Professor Dallas, TX 75244 Emeritus from Western Kentucky University. (972) 233-9107 ext. 204 The David Dalton Viola Research Competition Guidelines

The Journal of the American Viola Society welcomes submissions for the David Dalton Viola Research Competition for university and college student members of the American Viola Society. Entries must be original contributions to the field of viola research and may address issues concerning viola literature, 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 2007. The American Viola Society wishes to thank AVS past president Thomas Tatton and his wife, Polly, for under- writing first prize in the 2007 David Dalton Viola Research Competition.

Send entries to: AVS Office, 14070 Proton Road, Suite 100, Dallas, TX 75244. 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: $300, sponsored by Thomas and Polly Tatton 2nd Prize: Bartók’s Viola Concerto by Donald Maurice and Facsimile edition of the Bartók Viola Concerto 3rd Prize: An Anthology of British Viola Players by John White and Conversations with William Primrose by David Dalton

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

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

JOURNAL OF THE AMERICAN VIOLA SOCIETY 2 FROM THE EDITOR

Prize winning article looks at one enjoyed the experience of editing, of the past century’s more viola- meeting new people, and learning friendly composers, Alan Shulman, about many new things, it has and his Theme and Variations. come time for me to put my ener- Spencer Martin’s article on Barbara gies into other projects. I have put Westphal gives a look into her much effort into continuing to teaching activities and philosophies, develop JAVS content by soliciting while Jonah Sirota is profiled in new writers on specific article top- our “Fresh Faces” colum. This ics. I look forward to seeing the interview also appears on the AVS evolution of JAVS in the future! website, as Jonah is our new web Details for applying for this position Travel Writer. are found in the Announcements section. Furthermore, I would be In a change of pace “Alternative happy to answer any questions Styles” goes back in time for this potential applicants might have via In this issue, you will find riveting arti- issue, specifically to the world of email: [email protected]. cles that focus on a wide variety of per- Baroque playing, and what can sonalities and issues that have to do hold for the violist. Our sample Sincerely, with our instrument. As always, read- score goes with this as well, reprint- Matthew Dane ing about our annual Congresses are a ing a transcription of a complete JAVS Editor great place to start. In this issue, we solo work by Swedish composer include both a letter from 2008 Johan Helmich Roman. Ken Congress Host Nancy Buck about the Martinson focuses on recent The American Viola Society plans being laid, as well as a thorough Concerti in the New Music seeks the next Editor for review of the 2007 Congress in Reviews. Ken also compiled a list of the Journal of the AVS. Adelaide, Australia. The Congress violists who have recently been Editor is chiefly responsible review is written by a consortium com- offered positions in US orchestras for soliciting/collecting arti- prised of some of our most experi- and universities, appearing in the cles, working with the peer- enced Congress-goers and AVS/IVS announcements. Unlike the Union review panel, deciding on personalities: Dwight Pounds, Tom paper’s “On the Move” list, Ken has content, and copy-editing Tatton, Carlos Maria Solare, Ann gone to great lengths to make this for three issues annually- Frederking, and David Dalton, no less! list as complete as possible. Thank two printed, and one online. The result is considered review with you Ken- we hope to make this a The Editor is currently not the benefit of great context and organi- regular JAVS feature. Finally, we responsible for graphic lay- zational hindsight. We are also pleased have all sorts of interesting reports out or advertisements.This to present recording reviews written by in the Grassroots: viola camping is a paid position.Applicants Solare in this issue- his experienced adventure in Idaho, for example! should submit, via email, perspective in this area is a great feature both a letter of interest and to be able to offer in JAVS. As you will see in the a writing sample to Announcements, this Journal is Madeleine Crouch at Other articles here focus on particu- now searching for a new editor, [email protected] lar people. 2007 Paula Krupiczewicz’s starting with the Summer 2008 by January 15th, 2008. Dalton Research Competition First online issue. While I have greatly

VOLUME 23 NUMBER 2 3 JOURNAL OF THE AMERICAN VIOLA SOCIETY 4 FROM THE PRESIDENT

us with their much-needed dona- I was very pleased recently to be a part tions. While we re-evaluate our soci- of the rebirth of the Chicago Viola ety to ensure a strong foundation for Society, now called the Great Lakes Viola the next 30 years, we ask that you Society. A number of former members take this time to make a special TAX and new supporters came together in DEDUCTIBLE donation to the October at the Music Institute of Chicago AVS to assist us in keeping the new to restart the chapter. The Music Institute programs alive and supporting the has generously stepped in to support much beloved Journal, competi- the chapter and they already have a tions, and congresses. With your world class list of events (all informa- additional help, membership dollars tion can be found on our web site can go towards the supporting of all www.AmericanViolaSociety.org) that those great programs and grants we will start the chapter off and running provide. If you value what the AVS in style! You will notice in this issue of JAVS is doing in our community please that there is a fundraising letter take this time to make a donation to We can also report that the International included for you to read. This is a the society. We need your help. Viola Congress for 2010 has been very important fundraising drive as awarded to the University of Cincinnati the AVS enters its 30th anniversary Like you, the AVS has been very on behalf of the College-Conservatory year! In preparation for this landmark busy these past few months, gear- of Music with Professor of Viola, event in our history, we have taken ing up for the new year and the Catharine Carroll as host. The proposal steps to review every aspect of the wonderful events we have planned the school submitted was one of the society to see if there are ways we can to include the International Viola best we have ever seen at the AVS and move forward that are more financial- Congress in Pheonix, Arizona we feel sure it is an indication that the ly realistic and that will give the AVS (http://www.violacongress2008.co quality of the event will be remarkable. a firmer long-range financial footing. m/); The Primrose International Part of that review was to create an Competition and all of the BRATS The Viola Bank has received a number annual budget forecast - the first of its Days and Viola Days we are help- of exciting donations and we hope to kind that should allow us to manage ing to support all over the country. have the program available for our our accounts and be more efficient We have a very diverse membership members starting January 1st 2008. with the limited amount of resources and with special thanks to our we have. It will also hopefully allow board and in particular our new As always, it is my pleasure to serve us to retain our general management Secretary, Ken Martinson, we were you as president and I hope to be and with the generous support of able to start a number of new chap- able to serve my last year in office by Madeleine Crouch and the IVS, we ters all over the country as part of building the society to ensure its are working towards that financial our new initiative to have a chapter future for us all. plan over the next six months. in every state. If you want to start one where you live just log onto Helen Callus It has been some time since we have the web site and follow the instruc- AVS President asked our members to go that little tions to start your own chapter - it’s bit above and beyond by supporting very easy to do!

VOLUME 23 NUMBER 2 5 JOURNAL OF THE AMERICAN VIOLA SOCIETY 6 2008 ARIZONA CONGRESS LETTER FROM 2008 ARIZONA CONGRESS HOST

Greetings from the Grand be performed is Joan Tower’s Please go to this website, Canyon State of Arizona! recent viola concerto (performed www.violacongress2008.com, for by Paul Neubauer), with addition- the most updated information. Mark your calendars now to al performances by Kim Bookmark it, and check back attend the 36th International Kashkashian and Paul Coletti. often, as it will be the official Viola Congress, to be held on the The weekend promises a delec- source of information for the campus of Arizona State table banquet dinner and the live Congress. See you in June! University in Tempe, Arizona, performance of finalist competi- from June 4-8, 2008. It will be a tors in the 2008 Primrose fun-filled festival for viola enthu- International Viola Competition. – Nancy Buck, host chair, siasts and professionals, with per- The audience will have a chance 36th International Viola Congress formances, presentations, play-ins, to vote for their favorite violist, concerts, lectures, and master- and prizewinners will be classes given by violists from all announced that evening. Sunday, over the world. The first day of June 8 will then come upon us all the Congress celebrates Arizona too quickly and the 36th and starts off with a special day International Viola Congress will devoted to viola resources and officially end. Throughout it all, teaching in the schools (BRATS you will have the opportunity to Day). Headed by the Arizona see and observe many, many vio- chapter of the American Viola lists, as old and new friendships Society, this particular day is are reunited and formed, and pick designed to help viola teachers up on new ideas and concepts as recruit, work directly with, and they are so freely shared in the reach out to large groups of viola name of the alto clef. students in their communities. The evening concert will be a If you have not yet attended a recital by Phoenix-based violist Viola Congress, I invite you to Nokuthula Ngwenyama. experience your first in the Following that, the second day of Southwest. With the Grand the Congress is all about two, and Canyon only a few hours north many of the recitals that day will by car, and Phoenix being the highlight duos and duets. The day fifth largest U.S. metropolitan city culminates with a pair of violists (home of Southwest Airlines and performing the evening concert: US Airways), this is your oppor- Misha Amory and Hsin-Yun tunity to see one of the great Huang. On Friday, June 6, wonders of the world, before or Congress attendees will be treated after witnessing the wide range to an evening of concerto per- our instrument offers in perform- formances. Among the works to ance, pedagogy, and research.

VOLUME 23 NUMBER 2 7 JOURNAL OF THE AMERICAN VIOLA SOCIETY 8 ANNOUNCEMENTS

AVS Moves to Electronic Voting In an effort to make our annual election process more efficient, and as a way to further trim operation costs, the AVS board has voted JAVS WELCOMES to hold the society’s next elections via electronic ballot. Electronic voting will save a considerable amount of money that is spent in ARTICLES FROM ITS printing and mailing costs, and will also make voting more conven- READERS. ient for you, the AVS constituency.

SUBMISSION DEADLINES ARE Please be sure that your email address is up to date with the AVS office by contacting DECEMBER 15 FOR Madeleine Crouch at [email protected].

THE SPRING ISSUE, – Michael Palumbo, Chair AVS Nominating Committee APRIL 15 FOR THE

SUMMER ONLINE ISSUE, AND

AUGUST 15 FOR JAVS Editor Vacancy, Starting Summer 2008 The Board of the American Viola Society is seeking an Editor for THE FALL ISSUE. this publication, effective with the summer issue of 2008. Those interested in the position should submit a letter of interest and a SEND SUBMISSIONS writing sample by January 15th to Madeleine Crouch at [email protected]. TO THE AVS Dalton Research Competition Results and EDITORIAL OFFICE, Announcement MATTHEW DANE, The AVS Board is pleased to announce that Paula Krupiczewicz [email protected] is the first-prize winner of the 2007 Dalton Competition- her article on OR TO Alan Shulman’s Theme and Variations is found in this issue. MADELEINE CROUCH, 14070 Congratulations Paula! By Andrew Duckles.

PROTON RD., The 2008 Competition’s guidelines and timetable will be similar to past year, with a postmark date of May 15, 2008. For more infor- SUITE 100 mation, please see the announcement advertisement in this issue on page 2 or the AVS Website. Any further questions should be direct- DALLAS,TX 75244. ed to JAVS Editor Matthew Dane.

VOLUME 23 NUMBER 2 9 Call for Nominations A minimum of ten years of Service to the AVS (can Nominations are being solicited from the AVS mem- be waived) bership for the following awards, each of which is Outstanding Teaching followed by its eligibility criteria. Outstanding Scholarship or Composition Philanthropy 1. THE AVS CAREER ACHIEVEMENT AWARD Distinguished Performance, if considered secondary for Distinguished Contributions to Viola to the above. Performance and/or Teaching Criteria: The AVS Career Achievement Award 3. AVS FOUNDERS AWARD for Performance, requires a minimum of thirty years service to the viola Scholarship, Composition, Instrument in Performance (Orchestral, Chamber, Solo and/or Building, Philanthropy, or Service to the AVS Recording) or in Teaching, usually to be given at the Criteria: This award is based upon evidence of distin- time of announced retirement. The award will read guished service to the viola and/or the AVS worthy of Distinguished Performance or Teaching combined with acknowledgment. It shall be presented without reference any additional areas of distinguished service, including to age, years of service, or occupation. It may be present- Composition, Scholarship and/or Service to the AVS. ed to individuals, schools, businesses, or other organiza- tions at the discretion of the AVS. Multiple presentations 2. The MAURICE W. RILEY VIOLA AWARD for are permitted, although it is recommended that this Distinguished Contributions to the Viola in number not exceed five recipients in any one congress. Teaching, Scholarship, Composition, Philanthropy, or Service to the AVS If you wish to submit names in nomination for any Criteria: Nominees for this award must demonstrate of the above awards, please visit the AVS Website at least one of the following: and click on 2008 Award Nominations.

Weaver’s Violin §hope

JOURNAL OF THE AMERICAN VIOLA SOCIETY 10 Martha Hughes of Gilbert, Arizona In Memoriam and was told the instrument was Dr. Donald Herbert Sandford, still for sale if interested. 89, succumbed to an acute bout of pneumonia in June, 2007. A While visiting her aunt Hazel longtime AVS member, Sandford DeLong-Zwicker in Mahone Bay, earned degrees from Wayne State Nova Scotia, Melanie relayed the University, and the University of story of her interesting internet Michigan. He served 34 years as a find. Upon hearing the viola was faculty member at Northwest for sale, Hazel excitedly contacted Missouri State University in Burpee C DeLong, great grandnephew of Ms. Hughes in hopes of purchasing Maryville, where he taught music viola’s maker. the instrument as her son Burpee history and strings. During this C. DeLong is the namesake of the time he performed as principal Viola Comes Back To Its Roots viola’s crafter. Her hopes were violist with the St. Joseph A viola, hand crafted in Worcester, met, and the viola arrived in Nova Symphony Orchestra, with whom Massachusetts in 1932 by Burpee Scotia in late July, 2007. he often soloed. He often played E. DeLong recently returned to recitals with his pianist wife of 62 its maker’s roots in Nova Scotia, Hazel DeLong-Zwicker is thrilled years, Mary Jane. He is survived Canada. Burpee E. Delong, born that the viola returned “home” to by his wife, two daughters and in Barss Corner, Nova Scotia in its DeLong roots and it is current- their families. 1880, was a fine carpenter by ly displayed in her music room. trade. He was also a violinist and amateur photographer. – Melanie Mader Burpee E. DeLong moved from Barss Corner to Worcester in 1919 and in 1932 crafted the viola for his daughter Frances who became a professional musician. The instrument was later traded for services provided to Frances by a foot doctor. Frances DeLong died in 2004 and two additional stringed Heritage Insurance services instruments, believed to be crafted by her father, were donated to 1/4 page a university music department in Spokane, Washington.

Melanie Mader (great-niece of Burpee E. DeLong) while surfing the internet for DeLong family genealogy, happened upon an advertisement in the American Viola Society Newsletter for the sale of a 1932 viola with the label reading Burpee E. Delong. Melanie contacted the seller

VOLUME 23 NUMBER 2 11 Potter VIOLIN

JOURNAL OF THE AMERICAN VIOLA SOCIETY 12 ORCHESTRAL VIOLA AUDITION RESULTS

Compiled by Ken Martinson

Akron Symphony Orchestra, Section - Amanda Verner Alabama Symphony Orchestra,Assistant Principal - Kenny Kim; Section - Tyler Hokanson Allentown Symphony, Principal - Kathleen Overfield Canton Symphony Orchestra, Principal - Jonathan Kim; Section (2) - Juliana Day, Rebekah Newman Colorado Springs Philharmonic,Associate Principal - Isaac White; Section - Ekertina Dobrotvorskaia Dayton Philharmonic, Section - Dale Kim Duluth-Superior Symphony, Section (2) - Huldah Niles, Jennifer Farrian El Paso Symphony, Section - Jesus Hernandez Eugene Symphony,Assistant Principal - Yoichrio Etsuki Ft. Collins Symphony, Principal - Ethan Hecht Hudson Valley Philharmonic, Section - Christopher Jenkins Kalamazoo Symphony Orchestra, Intermediate - Roman Kosarev Kansas City Symphony, Section (2) - Jennifer Richison, Joanne Wojtowicz New Haven Symphony, Section - Cesselin Todorov North Carolina Symphony,Assistant Principal - Christopher Fischer Oklahoma City Philharmonic, Principal - Royce McLarry Pittsburgh Opera Orchestra, Section (2) - J. J. Johnson, Joshua Kelly Pittsburgh Symphony, Section - Erina Laraby-Goldwasser Santa Rosa Symphony, Section - Alexander Volonts South Bend Symphony, Section - Adam Davidowitz Southwest Florida Orchestra,Assistant Principal - Jean Phelan; Section (2)- Shawn Sneider, Gail Picha Tacoma Symphony, Section- Eva Sheie Windsor Symphony, Principal- Joshua Greenlaw

New Academic Faculty Appointments Metropolitan State College of Denver – Matthew Dane University of Alabama - Daniel Sweaney University of Oklahoma - Joanna Mendoza University of West Virginia - Maggie Snyder

VOLUME 23 NUMBER 2 13 JOURNAL OF THE AMERICAN VIOLA SOCIETY 14 2006 AVS BOARD MEETING MINUTES AND REPORTS

Annual Board Meeting III. Treasurer’s Report (Sayles) AVS National Office Headquarters, 13900 Proton Road, A. Bank Account Switch Suite 100, Dallas, TX B. Executive Summary Friday, June 15, 2007, 3:30-5:30pm, 7:00-9:00pm 1. Net Operating Income Saturday, June 16, 2007, 9:00am-1:00pm 2. Total Net Worth 3. Future Sustainability Officers Present: Callus (President), White-Smith C. Budget and Future Planning (President-Elect), Martinson (Secretary), Sayles (Treasurer) IV. JAVS Editor’s Report (Dane- submitted by e-mail) Board Members Present: Bigelow, Dubois (Saturday A. Financial Summary only), Ngwenyama, Palumbo, Steely, Veskimets, Zeitlin B. Content/Submissions Board Members unable to attend: Dane, Doctor, C. Dalton Competition Hamilton, Pounds, Rodland, Zaslav, Benson (at-large), D. Relationship with Website, E-newsletter Kruse (advisory), Strauss (advisory), Temple (at-large). V. Committee Reports Guests present: Madeleine Crouch, General Manager A. Publications Committee (Dane- submitted by e-mail) Meeting was called to order at 3:33 pm by Callus. 1. Current scope of AVS publications I. Presidents Report (Callus) 2. Expanding AVS Publication offerings A. Membership Drives B. Technology Committee/AVS Website (Steely) B. New Programs 1. AVS Website- Main templatechange 1. BRATS- Callus unveiled the BRATS 2. New Items posted since 2006 Board Meetings Resource Notebook, a handbook to help aid 3. Ongoing Projects- Summer 2007 in planning BRATS events for viola con- 4. Future Projects gresses and chapter meetings. C. Congress Committee (Callus) 2. Viola Bank 1. Twelve locations were targeted by the 3. Membership Policy Congress committee as possible hosts for the 4. Orchestral Violist Services 2010 International Viola Congress. C. Chapter Development 2. Of these twelve locations, four of these pro- D. AVS at ASTA duced proposals for consideration by the E. Other business AVS board, the AVS Board members 1. Questionnaire for JAVS reviewed each of these four proposals, dis- 2. Recording Royalties for Gardner Viola cussion about each proposal ensued. works recording 3. Bigelow made a motion that the AVS Board 3. Summer Music Programs accept the proposal bid from the University 4. IVS Questions/Comments for Adelaide of Cincinnati as the 2010 International 5. Nomination of candidates for future elections Viola Congress host. Steely seconded the F. Sponsorship motion. ACTION: The AVS Board voted in 1. JAVS favor of accepting the bid proposal by the 2. String Donations University of Cincinnati to be the next host 3. Individual program support for the 2010 International Viola Congress. II. Secretary’s Report (Martinson) A. E-mail minutes from internal discussion (2006-7) Meeting adjourned at Friday, 9:02pm. B. Membership report C. Election results- New Board members elected Meeting was called to order Saturday at 9:05am by are as follows: President Callus. 1. Sheila Brown D. Nominations Committee Report (Palumbo) 2. David Holland E. By-laws Committee Report (Veskimets) - 3. Nokuthula Ngwenyama (re-elected) Discussed making the AVS Constitution avail- 4. Deborah Price able to all AVS board members, as well as hav-

VOLUME 23 NUMBER 2 15 ing it posted on the AVS website. Several pos- three years experience as an officer or sible revisions of the AVS Constitution were Board member within the last nine years discussed: as of the date assuming office.” 1. Article III: Membership, Section 2, Part B c. ACTION: The AVS board approved this a. Discussed the restriction on students pay- change to be put the AVS membership ing student membership price for a maxi- for ratification. mum of 6 years, which would prevent a 3. Article IV: Officers, Section 1, Part E student who becomes a member at age 12 a. Discussed making an allowance for the to retain that status through college years. Secretary to step down from the responsi- b. Proposal: Remove “:(1) they shall be eligibility of administering the election process ble for student membership for a period (as what happened in last year’s election), no longer than six years; (2)”. and having the election be administered c. ACTION: The AVS board approved this by the Nominations Committee Chair. change to be put the AVS membership b. Proposal: Change the last sentence to read for ratification. “The Secretary shall also administer by 2. Article IV: Officers, Section 1, Parts A and B mail elections and balloting, except in the a. Discussed the oversight in clarifying the pre- case when he/she is running for re-elec- requisites for President and President-Elect tion, in which case the Chair of the in regards to previous service to the AVS. Nominations Committee shall administer b. Proposal: Move the final sentence of Part by mail elections and balloting.” A, the description of the President to be c. ACTION: The AVS board approved this the final sentence of Part B, the descrip- change to be put the AVS membership tion of the President-Elect “A member is for ratification. eligible for election to the office of AVS F. Chapters Committee Report (Zeitlin) President[-Elect] upon having completed 1. Chapters reporting to Chapter Committee

JOURNAL OF THE AMERICAN VIOLA SOCIETY 16 2. Chapters not heard back from yet 1. Overall outlook 3. Student Chapter- University of Northern Colorado 2. Permanent home for competition 4. 50-State Push 3. International Standing- possible entry into G. Membership Committee Report (Zeitlin) WFIMC H. Awards Committee Report (Pounds- submit- 4. Future Growth and Goals ted by e-mail) 5. Repertoire 1. Honorary Membership for Donald Maurice 2. Publishing Nominations Form in JAVS Meeting adjourned at 1:16 pm. 3. Nominations for Congress XXXVI a. Congress Dedication Respectfully submitted, b. Maurice Riley Award Kenneth Martinson, c. Honorary Membership Secretary to the American Viola Society d. Founders Award I. Fundraising Committee Report (Hamilton- submitted by e-mail) J. Education (ad hoc) Committee Report (White- Smith) K. Viola Bank (ad hoc) Committee Report (White-Smith) L. Gardner (ad hoc) Committee Report (Kruse)- no report. M. Dalton (ad hoc) Committee Report (Pounds)- included in Dane’s JAVS report. N. Primrose Competition Committee Report (Ngwenyama)

VOLUME 23 NUMBER 2 17 University of FL

JOURNAL OF THE AMERICAN VIOLA SOCIETY 18 INTERNATIONAL VIOLA CONGRESS XXXV ADELAIDE, SA,AUSTRALIA, 29 JUNE-3 JULY 2007

Compiled by Dwight Pounds Mayor of Adelaide at the Adelaide Town Hall and with contributions by the congress dinner. In the David Dalton, Tom Tatton, following pages you will Carlos María Solare, and Ann read the accounts of and Frederking reactions to the congress from five contributors, Unless otherwise noted, all pho- themselves representing tographs by Neil Shepherd four countries. Three recitals for viola and per- International Viola Congress cussion ((Deborah Lander, XXXV convened 29 June-3 July Roger Benedict (both of 2007 at the Elder Conservatorium, Australia) and Kathryn University of Adelaide, Adelaide, Lockwood (USA)) per- SA, Australia. The program was haps were unique to this international indeed, with presen- congress, as were two pre- ters not only from Australia and sentations ((Louise New Zealand, but with Austria, Lansdown (South Africa) Germany, Finland, Canada, China, and David Hume (UK, South Africa, Switzerland, the Australia) on the restora- United Kingdom, and the United tion of historic instru- Photo by Dwight Pounds. States well represented in the 38 ments. The congress includ- featured programs over five days. ed six world and three Day 3)) but very adeptly managed These included seven lectures, two Australian premiers. You will a variety of styles in the three “seminars,” one panel discussion, notice repeated comments regard- demanding programs for which he and one “workshop” interspersed ing problems inherent in double collaborated. Then there was between recitals and concerts. A booking. The pianists-David Richard Haynes, an Australian very efficient schedule of events Brunell (USA), Larissa Schneider clarinetist performing with violist had been established by our hosts (Australia), En-Chi Ho (USA), William Lane (Day 3), who very and was followed strictly. Social Benjamin Martin (Australia), subtly but deliberately played the occasions were welcome and lively- Michael Ierace (Australia), and opening two phrases of the our hosts had scheduled breaks Leigh Harrold (Australia)-were Brahms E-flat, Op. 120, as part of where people could meet over integral to the success of the con- his warm-up while the delegates morning or afternoon tea and pas- gress, particularly Benjamin were shuffling around and visiting tries and talk shop or visit exhibits. Martin who not only contributed prior to the next recital. No one Other social events included a civic as a composer ((Serenade (2005), seemed to react in the slightest, reception hosted by the Lord performed with Paul McMillan on but one has to acknowledge what-

VOLUME 23 NUMBER 2 19 ever combination of nerve, effrontery, or prankish Showing Gothic and Tudor touches, the rafters and humor that would prompt a clarinetist to quote a ceiling of the very vertical recital chamber were rich in couple of phrases of the Opus 120 in a room of vio- natural wood though sparsely ornamented, and with lists, even inattentive ones. His statement was very tall, slender windows. Its arched ceiling, which easily brief and very subtle, but I took notice…it was also suggested an upside-down sailing ship with deck very legitimate. planking removed, caused one to suspect that it had been designed by a master boat-builder-turned-archi- Day One: Friday, 29 June 2007 tect. Two smaller recital halls were more than ade- – Dwight Pounds (USA) quate for our purposes and were within very reason- able walking times of the central facility.

The opening programs of Congress XXXV featured two concurrent lectures: an updated version of David Dalton’s The Art of Primrose and Serious Games and Best Tips by Lila Brown. Dalton’s subject appears to be timeless and both those who are largely uninformed about the great violist’s career and those who cannot get enough information still approach David following his lectures for additional information and discussion. Lila Brown, who has worked in Germany for many years, presented a series of mental games and exercises designed for the improvement of intonation and technique. Even experienced players and teachers Australian viola duo Deborah Lander and Daryl Pratt. who volunteered to assist with Brown’s presentation sometimes required a second or third attempt to suc- cessfully complete the challenges. She performed a recital for solo viola (Day 5). Jürg Dähler (Switzerland), principal violist of the Musikkollegium in Winterthur, opened the performance portion of the congress with solid readings of Schumann’s Märchenbilder, Bloch’s Suite for Viola and Piano (1919), and Hans Ulrich Lehmann’s The Viola in all moods and senses for solo viola. Dähler was guest soloist two days later in the world premiere of Charles Bodman Rae’s Concerto for Viola and Orchestra (Day 3).

Prior to the evening’s public concert, Mr. Michael Harbison, The Lord Mayor of Adelaide, hosted a very-well attended civic reception for the delegates in Viola Viva, viola ensemble from Wellington, NZ. the Queen Adelaide room at the Adelaide Town Hall. The chain of office surrounding the Lord Mayor’s col- Congress host Keith Crellin opened the congress in lar and various coats-of-arms of European royalty on the Elder Conservatorium Recital Hall and personally the walls lent a touch of the old world that settled this escorted delegates on a very helpful walking tour of continent to an already elegant occasion. the facilities set aside for recitals, lectures, master classes, and panels. The acoustics were excellent and the Deborah Lander (Australia) and Jutta Puchhammer- room itself was quite interesting architecturally. Sédillot (Canada), strong players both musically and

JOURNAL OF THE AMERICAN VIOLA SOCIETY 20 technically, were featured soloists in the evening pro- Browne, one of several American participants, played gram, as was VIOLA VIVA, a viola ensemble from a single work with piano, the concerto Approaching New Zealand. Lander is by no means intimidated by Northern Darkness by Kenneth Jacobs. This is a work the unconventional-she teamed with percussionist- of Brucknerian length that presumed much from this composer Daryl Pratt (USA/Australia) to present his listener’s attention span. The afternoon concert intro- Shadow Play for viola and vibraphone, setting the duced to me-and I suspect others in the audience-the proverbial stage for two additional recitals combining artistry of violists Peter Barber (New Zealand), viola with percussion. Fresh from hosting Congress Timothy Deighton (USA), and Mark Neumann XXXIV last summer in Montreal, Jutta Puchhammer (Canada). The program consisted of four modern (in my opinion, one of the best-kept secrets among works, two premieres. truly outstanding violists) began her first of three Adelaide congress appearances with Alan Belkin’s Following, we were fascinated by a program of the Sonata for viola. New Zealand’s VIOLA VIVA-nine notable violist, Hartmut Lindemann, who in recent players from the New Zealand Symphony Orchestra years has divided time between Australia and his and augmented by Anna Dawson, Donald Maurice, native Germany-and he didn’t play a note. Instead, he and Craig Utting-portrayed once again the warmth held our attention with his commentary and recorded and beauty of violas in ensemble with Mr. Utting’s musical examples exemplifying “Expressive devices of Collages, York Bowen’s Fantasie Quartet for four violas the great string players of the Shellac era.” and Brett Dean’s Testament. Mechanical means, i.e., portamenti and vibrato, and well as more subtle means, such as fantasy and charm, Day Two: Saturday, 30 June 2007 were contrasted in the playing of such musical indi- – David Dalton (USA) vidualists as Joachim, Sarasate, Elman, Kreisler, and The campus of the University of Adelaide reflects the Thibaud. Lindemann gave his views as to why such architectural metamorphoses it has undergone, typical players were distinctive as contrasted with the more of many university sites of venerability that don’t “homogenized” character of today’s string artists. choose to consciously adhere to a particular style. Two mid-morning events were held simultaneously, one in Attendees were presented the rarely heard quintet for the neo-Tudor Elder Hall; the other in another venue, strings by Anton Bruckner. The Australian violist and housed in a modern utilitarian building. Elder Hall composer, Brett Dean, formerly of the Berlin has a lovely ambiance as well as acoustics, but unless Philharmonic, served as the other violist to the one was seated close to the stage, some of Roger Australian String Quartet. It was a personal pleasure to Benedict’s valuable instruction in his master class was hear the solemn and noble slow movement played so lost. (The hall was finely suited to the evening concerts expressively. A late afternoon seminar given by Heng that sometimes featured larger ensembles.) After taking Ching Fang (UK) on Tertis’s interpretive aesthetics much of his training in the UK, Benedict has served demonstrated in the Arnold Bax sonata written for the since 2002 as principal violist of the Sydney great violist, was most informative. (For any who have Symphony. About a five-minute brisk walk away, Jutta had difficulty recently in purchasing the Bax, it is Puchammer-Sédillot, the Montreal Congress’s hostess, available in a new “Centenary Edition,” Chappell offered a workshop on “Mental Visualization of move- Music, Ltd., Sole Selling Agent: Studio Music Co.) ment in playing,” an intriguing subject. Reports were enthusiastic, and my regret was that I only saw the last I should mention that two other programs took place quarter of her presentation, wanting to become better during the second day: A lecture recital by Dr. Diane acquainted with Benedict’s approach, while at the Phoenix-Neal (USA) on music by Georges Migot, same time wishing I were at Jutta’s workshop. Hence, and a seminar by Robyn Brookfield (Australia) about the dilemma imposed on congress participants when the 2007 Viola Syllabus of the Australian Music double-scheduling is imposed. Examinations. I chose other events competing in the Later in a morning recital, the fine violist, Sheila same time slot.

VOLUME 23 NUMBER 2 21 Addendum to Day 2 by Dwight Pounds Day Three: Sunday 1 July 2007 Violist Diane Phoenix-Neal and violinist Joan – Thomas Tatton (USA) Griffing (both USA) presented a lecture recital Day three - July 1 - began with a brisk walk under on the viola music of a relatively unknown overcast skies to the beautiful burgundy draped French composer, Georges Migot-specifically a Hartley Concert Room where some thirty viola stu- violin-viola duo. This composer apparently was dents, amateurs, and professionals gathered for the quite popular in the 1920s and 30s but is virtu- 8:30 a.m. Congress Viola Ensemble rehearsal. There ally unknown today. Ms. Phoenix-Neal’s good sat Lawrence Jacks, a portly, bristle faced, fatherly command of French made it obvious that she gentleman, reputed to be “… one of Australia’s most was well prepared for this type research and the subject was worthy of her efforts. Migot, considered a “group of one,” was influenced musically both by Debussy and the much older French melodic tradition and by his love of nature. The Suite for Violin and Viola (1957) was an excellent example of his distinct and personal compositional style which featured distinctive bird calls and “the ebb and flow of the two intertwining voices.” The very tonal Suite itself came nicely to the ear and-if not necessarily profound-nevertheless was one of the finest “new” (in the sense of hitherto unknown) pieces of music presented at the congress and certainly aroused curiosity about Migot’s other viola Percussionist/Composer Daryl Pratt adjusting equipment while compositions which include a solo sonata. Roger Benedict introduces.

One of the greatest challenges for a congress host is to program, and instruct presenters in such a way, that time constraints are observed. Keith Crellin, the congress host did admirably in this regard. His wife, Ruth, and a group of mostly student assistants administered a smooth flow of events.

Addendum to Day 2 by Carlos María Solare: The evening concert featured Canadian, Steven Dann accompanied by Ben Martin. This concert brought a great revelation in the shape of Pierre de Bréville’s Sonata for viola and piano. Bréville was a student of César Franck, and it shows more often than he might care, but the piece is a beautiful addition to Australian violist William Lane our repertoire, being much better suited to the viola than any adaptation of the Franck Sonata will ever be experienced violists.” Asked why the congress ensem- (it also has a secod subject to kill for!). Both players ble was important Mr. Jacks responded “All come to did the piece full justice. Dann finished his program, hear great artists perform new and familiar repertoire. which also included short pieces by Christos Hatzis This ensemble is an opportunity for the attendees to and Toru Takemitsu, with another Romantic rarity: be active participants and an integral part of this 35th Julius Röntgen’s Sonata in C minor. International Viola Congress.” They worked on a

JOURNAL OF THE AMERICAN VIOLA SOCIETY 22 Bizet Minuetto for four violas arr. by R.A. Cohen, the University of Manchester, spoke in the Schultz build- Bartók Duet # 28 “Sadness” published by Boosey & ing lecture hall about Cecil Aronowitz (1916-1978.) Hawkes, Mobile Matilda arr. by Graham Powing and She shared wonderful photographs, rare recordings Handel’s Arrival of the Queen of Sheba published by and an enormous amount of insightful information Comus Editions. As one would expect the ensemble on this less than fully appreciated pioneer of our sounded rich and full with Mr. Jacks quietly but firm- instrument. Of great interest was the viola played by ly sharing his observations on the sound regarding Cecil Aronowitz which Ms. Lansdown graciously phrase, line and tone. Smiles and positive acknowl- shared with her audience. The label reads “David edgement came from all, well knowing their part in Tecchler - 1732” but Charles Beare (renowned British the success of the entire congress adventure. dealer) and others believe the instrument is French made circa 1750. Back in the Hartley Concert Room Time between events gave me opportunity for a quick at the same time, Deborah Lander, who holds a PHD stop at the “Trade Fair” (exhibits). In an adequately from the University of Newcastle in Australia (she spaced room there where some eight or nine makers, performed wonderfully at our opening concert) dealers and music stores. “A little cold in the room” presided over a Master Class. She heard three students remarked one vendor but noted that it was Sunday - each allotted twenty minutes. Ms. Lander’s formula the temperature was probably set by computer and was simple: make positive comments to put the stu- had not yet been adjusted. dent at ease and then offer one or two observations that the student could try, remember and then put The bane of our congresses - double booking - was into practice. Her style was warm and supportive and the order of the 10:00 am sessions. her cogent comments wonderfully directed to the stu- Louise Lansdown, a doctoral candidate from the dent with the audience included.

VOLUME 23 NUMBER 2 23 For the weekend (with the small cafeteria closed) the Congress hosted tea and cookies/sandwiches at the 11:00 am and 4:00 pm hours. This was a wonderful 45-minute opportunity to mingle and chat. Seeing the likes of Dr. David Dalton and Jutta Puchhammer- Sédillot chatting with budding, youthful students seemed to me the quintessential essence of our international congresses.

The 11:45 am recital was in the Hartley Concert Room. Paul McMillan, a large, muscular, red-headed home town violist with a broad smile and a soft voice filled the seats with friends, admirers and those that would soon become same. The Hindemith Sonata (1939) was predictably strong and forceful. Intimate Decisions by Brett Dean (in attendance) showed a more sensitive McMillan. Something about this piece worked. The final selection Serenade by Benjamin Martin, who presided at the 1930s vintage Steinway baby grand piano, belied the verbal and written descriptions but was an intriguing piece nonetheless.

After lunch luthiers gathered in the Hartley for the traditional play-in. Jutta Puchhammer-Sédillot, Paul McMillan, Steven Dann and Donald Maurice each played a different viola and a different piece (as opposed to the usual marathon experienced at other congresses, in which one and the same excerpt is played on each instrument). This is a wonderful way to entice the audience to try the instruments at the exhibits, but not an effective way to compare them.

The 3:00 pm concert, in Elder Hall, gave Roger Benedict opportunity to share his ample technique and sumptuous tone. The several brief movements of the Hans Werner Henze Serenade for solo viola were wonderfully played. The Sonata for viola and percussion by Australia’s pre-eminent composer Peter Sculthorpe was replete with outstanding counterpoint and wonderful colors - percussion and viola is truly an exciting combination. Naturale, for viola, tape and percussion by Luciano Berio uses the actual taping of a Sicilian folk singer. The extended sections without viola vibrato, the nasal, almost harsh taped vocal sections evoked a near eastern or Moorish quality not unlike an Islamic call to prayer.

JOURNAL OF THE AMERICAN VIOLA SOCIETY 24 The 5:00 pm concert organized by Australian violist Day Four: Monday, 2 July 2007 William Lane featured members of Grenzenlos – Carlos Maria Solare (Argentina, Germany) (without borders), a multi-national group of musicians dedicated to the avant-garde. Other members Being less interested in instrument-making matters included Richard Haynes, clarinets, Dianna Gaetjens, than I should perhaps be, I decided not to start Day 4 horn and Eugene Ughetti, percussion. These musi- with David Hume’s report on “The repair and restora- cians are on a mission - a mission to explore the lim- tion of an Amati viola,” but rather with Meng-Chun its of musical tone and technique. The musical selec- Chi’s lecture recital, in which she introduced her tran- tions were changed from the booklet. The tamest scription of Fauré’s Violin Sonata in A Major, Op. 13. piece on the program was the Berio Sequenza VI. It This being one of my favorite pieces of music in any was some twenty-five minutes into the program before I recognized a traditional viola tone. It was an extremely rare note in the 90-minute performance that Lionel Tertis or William Primrose would have described as having a beautiful tone! That, my readers, is precisely the point of our congresses. Eventually some of these sounds and techniques will find their way into the viola lexicon and become a normal part of the musical vocabulary by youthful violists and composers, perhaps not yet born.

The evening’s full orchestra concert was remarkable - not so much for the pieces or the performers, although they played wonderfully, but for the David Hume during Amati lecture. Photo by Dwight Pounds. orchestra that Keith Crellin (congress organizer) conducted. The cohesive ensemble was put together for the congress yet they played with sensitivity, colorful shape and line and a balance one would expect in a standing professional orchestra. First on the program was Elegy by Peter Sculthorpe with UK/Australian violist Francis Kefford. This selection is not nearly as tightly constructed as the Sculthorpe Sonata we heard at the 3:00 pm recital. Though the violist played with excellent tone and with technique equal to the task, the music mean- dered and lingered much too long. The premiere performance of the Concerto for Viola and Orchestra by Charles Bodman Rae added four wind players. The violist, Jürg Dähler, was again excellent but German viola virtuoso Hartmut Lindemann. the music wandered and seemed much longer than the 28 minutes announced in the program notes. The Mozart Sinfonia Concertante K. 364 bright- genre, I was looking forward to it, and very much ened the evening with wonderful sense of line, sen- wished the transcription to be a success. However, in sitive phrases and outstanding balance. The tight spite of all the work Ms. Chin has put into it (and of ensemble from violinist Terence Tam and violist her mentor Michael Tree’s collaboration), the tran- Tobias Lea brought the evening and the day to a scription can at best be considered a mixed success. sparkling conclusion. Too many compromises had to be made in the voice

VOLUME 23 NUMBER 2 25 leading, jumping an octave down whenever the line There followed a Round Table on that old subject gets too near to the “eternal snow” region. Ms. Chin that is always new and, like the poor, will certainly was certainly conscious of the problem, to which she always be with us: namely the usefulness, necessity or has given a lot of thought. The piece badly misses that otherwise of using a shoulder rest. Tim Deighton and E string, though, the melodic line having to shine Jutta Puchhammer led the pro-faction, with Steven through a piano part that can be quite thick. The Dann and Hartmut Lindemann argumenting against slow movement, which needed the least intervention, it. As could have been anticipated, both parties agreed worked best, while the Scherzo sounded most akward. to disagree and went their separate ways with no one The first and last movements were - to my ears - on or off stage having switched allegiances. much too compromised by the “compression” of the solo line. I left the session wondering about the alter- Of the two masterclasses on offer after lunch, I native possibiltiy of researching the original repertoire dropped into Tobias Lea’s, who worked on orchestral from the fin de siècle period. Only two days earlier, excerpts (he is, of course, principal viola of the Vienna the Sonata by Pierre de Bréville had proved a revela- Phil). It was in a way reassuring to see that - as the tion. Surely there must be other original viola litera- saying goes - “water is a pint a pound, the world ture written for the likes of Théophile Laforge and around”;be it the Vienna Phil or the Southern North Maurice Vieux? Dakota Symphony, they all look for the same basics of rhythmic exactitude, intonation, and tonal quality. Dwight Pounds, commenting in my absence on David Hume’s repair and restoration of an Amati An afternoon recital brought a reacquaintance with viola, writes: Kathryn Lockwood, whom I remembered from a It was said of British Prime Minister and part- Primrose Competition way back in 1993. With her time painter Winston Churchill that he had the partner, Yousif Sheronick, she presented a fascinating confidence to alter a Rubens. Perhaps something program for viola and percussion. The composers similar could be attributed to British luthier having drawn their inspiration mostly from non- David Hume, an (at least partically) self-taught Western music, we were treated to a colorful feast of luthier, who gave an intriguing and detailed World Music, with percussion instruments from the account of how he had purchased the Amati and Middle and Far East as well as from South America. decided to restore it himself. This, the procedures The highlight was for me Zhao Jiping’s Summer in the selected for its restoration, the major problems High Grassland, in which the viola plays at being a encounered, and the solutions employed were Mogolian Morin Khuur (horsehead fiddle). presented in fascinating detail, including something so simple as filling a worm-hole with a The IVS Annual General Meeting was - as is usually compound purchased at a local hardware store. the case - attended only by the hardest of the hard Mr. Hume’s Powerpoint presentation was well core. Since minutes are being printed elsewhere, I will organized and detailed, despite technical difficul- go on to report that the traditional Banquet, held in ties that required some time to resolve. Was the Ayers House, did proud to South Australian cuisine. restoration successful? To the delight of the dele- Even host Keith Crellin and his wife Ruth, the weight gates, Mr. Hume remained a good half-hour fol- mostly off their shoulders by now, were able to sit lowing his lecture and invited anyone so inclined back and enjoy a convivial evening. to come forward, play the instrument, and decide for themselves. I heard no complaints standing The day wasn’t over yet, however: The evening con- there in line with several others, waiting my turn cert brought a deliciously old-fashioned recital by and enjoying every note. Playing a superb Amati Hartmut Lindemann and Ben Martin. Lindemann, viola with a Sartori bow was absolutely heady-a a long-time resident of Australia, has been based in delightful and rare experience. his native Germany for over ten years now. Practicing what he had preached in his presentation

JOURNAL OF THE AMERICAN VIOLA SOCIETY 26 two days before (see Day 2), Lindemann pulled out all stops for a program that included the sonatas by Arnold Bax and Charles Villiers Stanford. The latter, originally for clarinet, was played in the transcription by the English violist, H. Waldo Warner (Primrose’s predecessor in the London String Quartet). This heady stuff was leavened with morsels by Pugnani-Kreisler, Bach-Tertis, Sarasate- Zimbalist and Vieuxtemps, with a Debussy transcription added as an envoi. The whole evening was a jaw-dropping demonstration of playing in the Grand Manner, and in my opinion the high point of the week.

Day Five: Tuesday, 3 July 2007 – Ann Frederking (Canada) The final day of the Congress XXXV began, as they always do, with a sizeable group of violists rehears- Neil Shepherd in rare moment of not taking photographs. ing ensemble music. This time, however, it was on Photo by Dwight Pounds. the stage of Elder Hall in preparation for their concert in the afternoon. And since I would hear them Elizabeth Morgan who was unable to be present for a later, I opted not to attend the rehearsal, but rather lecture on Sevcík. I chose to attend Lea’s presentation. to visit the University computer lab for the last day of free Internet. Lea is now one of the solo violists of the Vienna Philharmonic and he talked about his education, his career, and dealing with performance nervousness. It was really two lectures in one and the part about how he made the switch to viola and began his orchestral career in the Vienna State Opera (as a sub with no rehearsal), shed a fascinating light on a system that is quite different from what most of us know in North America. After a stint as Principal Violist in Milan, he was able to return to Vienna in a similar role - one which he has held for 14 years.

Now he also makes a career of helping people to overcome nervousness and prepare for auditions. This was the focus of the second part of the talk, but time didn’t permit him to develop it as much as many would have liked. But a few points were made: Mark Smith with an illustration used in his lecture, The Viola • Increase the level of security by practicing a lot and Pomposa. Collage by Dwight Pounds. knowing everything 130% so that when you lose At 10:00 am, we once again had to make a choice. 40% due to nerves in an audition, you will still Dr. Mark Smith from Australia presented a lecture on play at 90%. “Bach’s violas of cello pitch.” And at the same time, • Practice phrasing, musicality and EVERYTHING Adelaide- born-and-raised Tobias Lea filled in for so that it’s automatic.

VOLUME 23 NUMBER 2 27 • Work out what your individual problems are. It pieces I particularly liked were Ibert’s Aria and Eric may be necessary to play several auditions. Coates’ Souvenir (written for Tertis and now pub- Examine yourself under pressure and play for peo- lished in original form by Weinberger). Several other ple you respect. pieces by Dillon, Giampieri and Groh rounded out • Practice getting oneself into the anxiety-producing the program. experiences. • Practice relaxation -deep breathing or whatever After afternoon tea, we once again had to decide works. Slow down vibrato and practice breathing between two offerings. I chose to hear a recital by a before playing. promising young Australian violist, Yilin Zhu. Included on her short program were Andrew Ford’s Addendum to Day 5 by Carlos María Solare: Swansong and Hindemith’s Sonata, Op. 11/5. I was Mark Smith, who has made a thorough study of particular impressed with her musical presentation the mysteries surrounding the viola pomposa of the Hindemith. and the violoncello piccolo, shared some of his findings with an attentive audience. Curiously, I asked Tom Tatton to attend and report on the con- he didn’t seem to want people to actually see the current event, a presentation for viola and live elec- viola pomposa that was briefly played at the tronics by Max Savikangas from Finland, knowing beginning of the lecture and then put away. I that he wanted to support Max with his attendance. found Mr. Smith’s lecture fascinating, even if it These are his thoughts. was delivered in a dry-as-dust manner. I was very grateful for a detailed handout, which Have we completely abandoned the notion of included a long bibliography on the subject. music as the aural expression of an idea, story, mood, feeling, emotion, color or texture? Are we After morning tea, Lila Brown’s solo viola recital in so liberal that a simple definition of music as Elder Hall which featured old and new repertoire organized sound will suffice and no further intermingled in an interesting way. Included were explanation is necessary? Signs, Games, and Messages by Kurtag and Ligeti’s Sonata for solo viola, interspersed with Bach’s The bar was set high at our previous Congress Andante from the second solo violin sonata and XXXV concerts and again at the final concert. Gigue from the third partita. Brown teaches in Performer(s) and composer met on stage in a Düsseldorf, Germany, and is also the artistic director marriage of superb technical accomplishment of the “Music From Salem” chamber music festival. and sublime inspiration where music made was the prism for listeners to experience the per- At 2:00 pm, we were finally treated to the concert of formers’ understanding of the composers’ story. the ca. 35-participant Congress Viola Ensemble. There was a real possibility of failure or success Following daily rehearsals under the able direction of for the entire adventure and thus a heightened Lawrence Jacks, they were in good form and present- awareness that something beautiful and unique ed arrangements by the Absolute Zero Quartet, two was happening. Bartók Duos, and Michael Dennison’s Queen of Sheba arrangement. It was great fun to hear them. Art music has (or should have) high aspirations with a goal to touch the soul, stir the emotions, This was followed by a recital with violist Deborah move the body or tap the toe, to dance, pray, cry Lander (Australia) and David Brunell (USA) on or conjure up a picture, story or feeling. What we piano. This delightful program included the world heard from Mr. Savikangas was not art music. premiere public performance of a piece commissioned for the wedding of Ms. Lander’s sister and Now, one might contrast my receptive response which contained many personalized references. Two to Mr. Lane’s concert (review of day three) and

JOURNAL OF THE AMERICAN VIOLA SOCIETY 28 my rejection of Mr. Savikangas’. I believe that Mr. Lane was attempting to expand the violist’s palette - a legitimate goal at our viola congress. On the contrary, although Mr. Savikangas is a bright and engaging young man, I find no redeeming qualities in his performance, only hurtful pain. I do not believe we should collectively acquiesce; we should expect, especially at our congresses, that the music presented be of the highest order. I therefore do not consider the performance in question to be a legitimate part of Congress XXXV.

The day and the Congress concluded with an evening concert of chamber music involving the viola. Included on the program were Debussy’s Sonata for viola, flute and harp, performed by Tobias Lea, flutist Geoffrey Collins, and harpist Suzanne Handel; Max Bruch’s Eight Pieces for viola, clarinet, and piano, with Caroline Henbest, clarinetist Peter Handsworth, and pianist Leigh Harold; and Mozart’s Quintet in C major, with Steven Dann and Timothy Deighton, violinists Terrence Tam and Graeme Norris, and cellist Janis Laurs. The program was enjoyable, but I felt the Bruch performance suffered acoustically and even visually because the violist stood to the right of the stage with f-holes and viola tone directed away from the audience and toward the piano. Surely the balance would have been improved had the violist stood to the left of the piano and the clarinet to the right. This arrangement would not have affected the clarinet’s sound at all and improved that of the viola.

This concert (as with several others during the Congress) was recorded by the A(ustralian)BC for broadcast on ABC Classic FM http://www.abc.net.au/classic/audio/ I do not know whether the performances are archived and available through Internet, but it may be worth a look.

Once again, we had come to the end of a memorable five days of music-making for the viola. It was time to say farewell to new and old friends, except for a relatively small group that participated in a tour the next day to the wine region of McLaren Vale. Next year we meet in early June in Tempe, Arizona. Be sure to save the date and plan for it now!

VOLUME 23 NUMBER 2 29

PORTRAIT OF ALAN SHULMAN AND HIS THEME AND VARIATIONS

By Paula Krupiczewicz, Shulman and his significant contri- Winner of 2007 Dalton butions to the viola repertoire. It Research Competition will conclude with a comparative analysis, showing the subtleties of The viola repertoire is not as textures and colors found in each extensive as that for violinists and of the three orchestrations of his cellists. Lionel Tertis and William most successful work, the Theme Primrose, forerunners in promot- and Variations (1940). ing the viola as a solo instrument, had many new works composed Shulman was a graduate of The for them during the early twenti- Juilliard School, studying both cello eth century. In addition, Vadim and composition. An active per- Borisovsky, William Primrose, and former, composer, and arranger in Emanuel Vardi aided in expanding classical and commercial music,1 he the literature by transcribing short played with the National Broadcasting violin compositions for perform- Company (NBC) Symphony ance. It cannot be said that the Orchestra under Arturo Toscanini viola’s repertoire is minimal, but from the orchestra’s conception in many works are still widely 1937 to its disbandment in 1954, unknown. Twentieth century com- taking leave to serve in the U.S. posers found a new voice in the Maritime Service during World Used with permission of Jay Shulman. viola, providing works that War II. During his time with the demonstrated the instruments Symphony, he and his violinist characteristics and capabilities. brother Sylvan co-founded the musician. In addition to perform- Alan Shulman (1915-2002) was Stuyvesant String Quartet, which ances with the Stuyvesant Quartet one of these composers who was became known for its performances and the New Friends of Rhythm, attracted to the unique tonal quali- and recordings of contemporary he performed with the Kreiner ties of the viola. Shulman is lesser works including Ernest Bloch’s First Quartet, the Philharmonia Trio, the known than some of his contem- Quartet and Dmitri Shostakovich’s Vardi Trio, and the Haydn Quartet. poraries, however his contributions Piano Quintet.2 The quartet then After the disbandment of the NBC to building a reputation for the formed a group called the “New Orchestra in 1954, Shulman viola as a solo instrument are sig- Friends of Rhythm,” playing jazz, helped found the Symphony of the nificant. His composition, the original compositions, and jazzy Air, which performed until 1963. Theme and Variations for viola and arrangements of classical melodies He was a founding member of the piano, with its subsequent versions by adding a guitar, double bass, Violoncello Society of New York in for full orchestra and strings and and harp. They were affectionately 1956, serving as President from harp, is a work of gaining popular- called “Toscanini’s Hep Cats” 1967-1972. He held teaching posi- ity that exemplifies the instru- around NBC, selling over 20,000 tions at Sarah Lawrence College, ment’s range and tonal characteris- records in the first ten months of Julliard, SUNY-Purchase, Johnson tics. This research will provide a their existence.3 State College (VT), and the biographical sketch of Alan Shulman was an avid chamber University of Maine.

VOLUME 23 NUMBER 2 31 Shulman began composing at the string orchestra, chamber ensem- elements of classical, jazz, and pop- age of ten, first composing simple bles, documentary films, and ular song. He knew the great charts for the family piano trio to works for piano, violin, viola, and American composers Jerome Kern, play, which included his brother cello. His first complete composi- George Gershwin, and Cole Porter Sylvan and sister Violet, a pianist. tion, incidental music for Hans and was further influenced by the Growing up in Baltimore, Christian Anderson’s Chinese sounds of Igor Stravinsky, Maurice Maryland, he was exposed to Nightingale, was completed in Ravel, Ernest Bloch, and Paul numerous musical events: the large 1934; a critic for Variety described Hindemith, to name a few.7 theatre orchestras that accompa- the music as possessing “humor, Composing during the height of nied silent films, evening band mood, and taste.”6 His principal the radio era, Shulman’s music was concerts, and performances of the compositions include the Theme intended for the radio listening Baltimore Symphony.4 Shulman and Variations for viola and piano audience, setting himself apart considered himself to have (1940) and A Laurentian Overture from the serial and minimalist “sponge-ability,” the ability to for full orchestra (1951). Another composers. He describes his musi- “soak up” the various musical composition worth noting is the cal style as follows: styles to which he was exposed, Concerto for Cello and Orchestra whether it was classical or jazz, (1949), dedicated to the People of In my youth, I was tremendously incorporating many of these ele- Israel and premiered by Leonard taken by French Impressionists. ments into his compositions.5 Rose. These works embody many Subsequently, I have been influ- of the characteristics of Shulman’s enced by many national schools. I Shulman’s compositional output compositions, including a strong feel that the fewer notes I put into includes works for full orchestra, Hebraic feel; others incorporate a score, the better I like it. I do not

JOURNAL OF THE AMERICAN VIOLA SOCIETY 32 approve of the school that camou- Katims, Louis Keivman, Tibor and Bartók’s Viola Concerto (1945, flages a paucity of musical ideas Serly and Emanuel Vardi, to name published 1950), commissioned by under a barrage of orchestration. I a few.11 The presence of these fine Primrose to expand the viola reper- also feel that there is too much violists apparently inspired toire and for the advancement of “intellectual” music being written Shulman to compose for the viola, technique, were the main orchestral today. That doesn’t mean that one which ultimately resulted in a total works composed for viola during should necessarily “write down” to of six works: Homage to Erik the century. All of these works an audience; it means that the lay Satie (1938), A Piece in Popular were heavily orchestrated, leaving person (who represents the majori- Style (1940), Theme and Variations violists fighting for their voice to be ty of music lovers) wants an aural (1940), Suite for Solo Viola (1953), heard. Shulman was very sensitive satisfaction, which will arouse his Variations (1984), and Two to this problem, believing that the emotions; he must have something Episodes for Viola Quartet 1. Night, full orchestra was too heavy for any to grasp and retain - namely, a 2. Ancora (1976). viola soloist, and therefore preferred tune.8 to use a chamber orchestra or wind During the early twentieth century, octet.13 While Shulman did score Before 1940, Shulman had written the viola was struggling to become the Theme and Variations for full several string orchestra pieces, but known as a solo instrument and orchestra, his use of the group is most of his compositional activities violists were “hungry for reper- highly selective throughout; his up to 1940 consisted of writing toire.”12 William Primrose, Vadim orchestration utilizes differences in and/or arranging works for the Borisovsky, and Emanuel Vardi tonal color more than it creates bal- New Friends of Rhythm, which first began transcribing short violin ance problems for the soloist. formed to perform a satiric version pieces to showcase the instrument’s of Tchaikovsky’s Andante Cantabile soloist capabilities during perform- As Shulman began sketching the at a musician’s party in 1938.9 ance. For instance, Vardi per- Theme and Variations, violist They subsequently recorded and formed and recorded all 24 Emanuel Vardi learned of the renamed their musical rendition Paganini Caprices on the viola and work. Vardi liked what he saw, “Drosky Drag.” The group was Primrose is credited for many telling Shulman that when he fin- such a hit that they added other arrangements for viola and piano ished it, he would play it on his “reinterpreted” classics to their including Tchaikovsky’s None but upcoming recital.14 The viola and repertoire including “Bach Bay the Lonely Heart and Borodin’s piano version was completed on Blues” (Bach’s “Little” Organ Nocturne: Andante from String November 13, 1940, and Emanuel Fugue in G minor), “Shoot the Quartet No. 2. Borisovsky is credit- Vardi premiered the work on his Schubert to me Hubert” (ballet ed for compiling a catalogue of 1941 debut recital in New York music from Rosamunde), “Riffin viola repertoire, Literaturverzeichnis City’s Town Hall with Vivian Raff” (Joachim Raff’s Cavantina), für Bratsche und Viola d’amour Rivkin.15 Toscanini was in atten- and the “Barber’s Hitch” (Overture (1937), and to his contribution of dance and told Shulman upon to the Marriage of Figaro).10 253 transcriptions to the literature. hearing the piece, “Semplice, ma bene” (simple, but good).16 Vardi The NBC Orchestra’s roster The twentieth century was a turn- wrote, “[the Theme and Variations] included many great instrumental- ing point for spotlighting the viola was the hit of the concert. ists: violinists Oscar Shumsky, Josef as a solo instrument. William Toscanini was there and loved it.”17 Gingold, and Mischa Mischakoff; Walton’s Viola Concerto (1928-9, cellists Frank Miller and Harvey rev. 1936-7, 1961), written for Shortly after the premiere, Emanuel Shapiro; and violists William Tertis (though he didn’t premiere Vardi took the work to Dr. Frank Primrose, Carlton Cooley, David it), Paul Hindemith’s Der Black (1894-1968), the general Dawson, Nathan Gordon, Milton Schwanendreher (1935, rev. 1936), music director of the NBC radio

VOLUME 23 NUMBER 2 33 network and guest conductor for the orchestra.18 Black, ond, a network broadcast to the domestic public. an accomplished pianist, played through the work with Apparently, there was a lot of response from the lis- Vardi and asked that Shulman orchestrate it.19 Shulman teners, resulting in additional broadcasts of the work recalls from this event: in front of a live studio audience on April 1, 1941 and February 3, 1942, both again with Vardi as When [the Theme and Variations]was subsequently soloist. Vardi’s performance remains definitive and the orchestrated, [NBC violist] Manny Vardi went to work’s success is due in large part to his championing Frank Black and said “look, this man, our col- of the work.21 Some 66 years after he premiered the league, has written this piece, and I’d like to play work, Vardi, at 91, still shows as much enthusiasm and it.” So we had an audition, and Black said “finish it gratitude towards this work, one that he describes as “a up” - it was only half-finished at the time - he said great piece of music.” “finish it up and we’ll put it on.”20 When Milton Preves, the principal violist of the The Theme and Variations, subsequently re-scored for Chicago Symphony Orchestra, heard Vardi’s 1942 viola and full orchestra, was completed in the early broadcast and was impressed with the work.22 He sent months of 1941 and first performed on a new radio a letter to Shulman who, in turn, sent Preves the series featuring young composers called “New score. Preves performed the work with the Chicago American Music.” The inaugural broadcast of the full Symphony Orchestra, in December 1943. Shulman orchestra version was presented on March 11, 1941 procured a leave from his military duties and traveled with Vardi as soloist and Black conducting. This by train to Chicago to meet Preves and attend the evening boasted two broadcast performances; the first, performance.23 Felix Borowski’s review for the Chicago a short wave broadcast to South America and the sec- Sun states:

“this artist [Preves] was given music to interpret which was more immediately effective than any in which, up to now, has been heard. Alan Shulman wrote gratefully and, on occasions, brilliantly for the instrument. He knew its strongest points and made a great show with them; but he knew the orchestra as well, and caused it to be more than a mere background.”24

In 1954, Joseph de Pasquale, then the principal violist of the Boston Symphony, approached Shulman, suggesting that he make a string arrangement of the Theme and Variations. In Boston, there was a small chamber ensemble called the Zimbler Sinfonietta, which de Pasquale thought was the perfect outlet for this orchestration. After several conversations, Shulman suggested to de Pasquale that a harp be included in the orchestration, which de Pasquale liked.25 Shulman, in turn, re-orchestrated the Theme and Variations for viola, strings, and harp. The first performance took place at Jordan Hall in Boston on November 10, 1954.26 The Boston Globe review of this performance states,

JOURNAL OF THE AMERICAN VIOLA SOCIETY 34 Mr. Shulman’s idiom is decided- if Primrose had recorded this work Congress in Ann Arbor. ly conservative, and there is - which he promised Shulman much in the seven variations, twice but never did - it would be Ms. Richburg has performed the chorale and postlude that brings more popular today because of work in all three of its versions. In back certain Frenchmen of the Primrose’s extensive performance her experience, each variation has late 19th Century. The use of and recording career. its own unique qualities depending the harp is both unusual and on the supporting instrumenta- effective.27 After the original version for viola tion. When she performed the full and piano was completed, the sub- orchestra version she remembers all The review from the Boston Herald sequent orchestral version was of the really interesting colors that describes the work as follows: scored for pairs of flutes, oboes, were explored in some of the faster clarinets, bassoons, four horns, a variations with the inclusion of the …a conventional work but one pair of trumpets, three trombones, winds and brass, colors that cannot more deeply felt and more truly tympani, percussion, harp, and be produced on the piano. When musical in its essence and its strings. The published viola/piano asked what her favorite version urgency. Based on a fine theme version incorrectly suggests that it was, Ms. Richburg stated she liked of a Warlockian character, its is a reduction of an earlier orches- the version for strings and harp, seven variations are now glowing tration. When it was printed, the believing this orchestration is just in lyric, now warmly elegiac, idea of the publisher “beautiful,” because it is more inti- again lively and vivacious, all Chappell/Warner - and probably mate when performed with the culminating in a very moving Shulman’s as well - was that they smaller ensemble.30 postlude. Mr. Shulman shows a wanted it to be considered an marvelously sympathetic attitude orchestral piece that one would Before comparing the orchestra- to the strings and obviously learn from the piano part.29 The tions, it will be helpful to give a knows all their mysteries.28 printed edition was made available brief overview of the work. The for sale in the 1950s, nearly ten piece begins with a simple, lyrical In short, the Theme and Variations years after the premiere, and this is theme that is developed in seven was highly regarded among violists why it reads as it does today. distinct variations. The variations and music critics. Violists of the feature, in turn, characteristics of a mid-twentieth century, including Although the Theme and Variations waltz, stately rhythms, a light Emanuel Vardi, Joseph de Pasquale, was held in high regard in the grazioso, a siciliana, a spirited Milton Katims, Nathan Gordon, mid-twentieth century, many vio- vivace, a soulful reminiscence of Karen Tuttle, and Walter Trampler, lists today are relatively unfamiliar the past, and a thrilling chase. The many who knew Shulman person- with the work. Violist Lynne finale opens with a Bach-like ally, embraced the Theme and Richburg of the New Century chorale that flows directly to the Variations, accepting it as part of Chamber Orchestra in San cadenza, concluding with a tran- the repertoire. Performances con- Francisco was introduced to this quil postlude that ends peacefully tinued around the world, includ- work in its original version for and in question. ing ones by Louis Kievman, David viola and piano, not realizing that Dawson, and Carlton Cooley, and it had been orchestrated. In 1987, The versatility of the Theme and four additional performances by she entered the Primrose Viola Variations is accomplished through Milton Preves and the Chicago Competition and chose this work its textures, musical colors, and Symphony Orchestra. William from the repertoire list. She won orchestral settings, as can be found Primrose toured North and South first place and subsequently per- in the comparison of the three America with it from 1944 to formed the work, with Shulman orchestrations. Few pieces have 1946. It is highly conceivable that present, at the 1987 Viola three orchestrations written by the

VOLUME 23 NUMBER 2 35 original composer, and this author ple 3. This is also present in the instance, in variation IV, Alla is unaware of any other piece in strings and harp version with the Siciliana, of the strings and harp the viola repertoire having so addition of a simple motive in the edition, the string orchestra is many. Differences amongst the harp, also in fifths, which enters playing with mutes, con sordino. In three orchestral settings, although whimsically. See example 4. The addition, Shulman instructs the subtle, occur throughout the work, full orchestra version yields the first violins to play ponticello in while the solo viola part is left most obvious change with this ver- the second half of the variation, essentially intact. One of the more sion ending with only the viola producing a glassy sound, which obvious changes is in the opening solo holding F#. In his manu- adds a mysterioso feel to the varia- of variation VII. In the original script, Shulman originally scored a tion. See Example 5. version as well as in the strings and part similar to the original version harp version, the variation begins for tuba, and low strings. Variation VI, the most passionate with a single eighth note. (See Shulman, however, later removed and soulful variation, has the most Example 1.) In the full orchestra these parts. Toscanini, who significant textural changes. These version, the tuba and timpani play received a score from Shulman, occur in the animando middle sec- two eighth notes. (See Example 2.) heard the performance and asked tion with the addition of overlap- The latter version is a more secure Shulman afterward, “What hap- ping rhythmic patterns in the way of starting the variation for pened to the tuba at the end? I orchestra’s voices. The basic struc- tempo with an ensemble because it didn’t hear it.” Shulman replied, tural outline is taken from the sets up the tempo immediately for “Maestro, the texture was to thick, piano version but expanded upon. the orchestra. so I made it tacit.”31 See example 6.

The other obvious difference The majority of other changes The full orchestra score includes occurs at the very end of the work. occur in the use of different sextuplets, syncopations, and six- The original version concludes orchestral colors and textures, teenth notes, while the strings and with the solo viola supported by something that cannot be fully harp version employs tremelo, syn- open fifths in the piano. See exam- expressed on the piano. For copations, sixteenth notes, and Example 1 Example 3. Postlude, final bars of viola and piano version.

Example 2 Example 4. Postlude, final bars of viola, strings, and harp version.

JOURNAL OF THE AMERICAN VIOLA SOCIETY 36 Example 5. Variation IV of viola, strings, and harp version. share this role, providing the orchestra with their own tutti. See Example 9.

Although many of the differences amongst the three versions are subtle, each musical texture and color takes the music to another emotional level. Violists today can compare each of the three settings on recording, which yield only Insert Example 6. five to date. The earliest commercial recording dates from 1989 with Yizhak Schotten performing the string orchestra version with the Great Lake Chamber Orchestra. Emanuel Vardi’s 1941 premiere performance with the NBC Orchestra is available in a re-mas- Example 7. Variation VII, reduction of full orchestra version. tered version, as well as other more recent recordings in the original version by Joseph de Pasquale, Cathy Basrak, and Robert Glazer. These recordings are valuable resources to study and compare, enabling musicians to expand their knowledge of the work and understand all the intricacies of each of the orchestral settings.

The Theme and Variations triplet figures. In example ¬7 and ritmico, of both orchestrations, remains a hidden treasure 8, the right hand of the piano is in Shulman removed the viola pizzi- in the viola repertoire, being dis- the harp and the left hand is now cato from the score in the second covered by many young musicians in the cello in both orchestrations. half. In the version for full orches- who are looking for something tra, the low strings, cello and bass, besides a dense Romantic sonata or There is only one change in the and the horns cover the part. a lengthy concerto. Pedagogues solo viola part from the original While in the strings and harp ver- such as Emanuel Vardi, Joseph de version. In Variation VII, Allegro sion, the harp and low strings Pasquale, Karen Tuttle, Yizhak

VOLUME 23 NUMBER 2 37 Example 8. Variation VII, reduction of strings and harp version. everyone else that has helped me, in the completion of my disserta- tion titled: A Historical and Pedagogical Guide to Alan Shulman’s Theme and Variations (1940) for Viola and Piano with an Introduction to Variations (1984) for Viola, Strings, and Harp.”

Bibliography Borowski, Felix. “American Composers Featured by Symphony.” Chicago Sun, 17 December 1943.

Campbell, Margaret. “Affinity for Example 9. Opening of Variation VII for viola and piano. Strings.” Strad xcix (November 1988), 891-5.

______. “Shulman, Alan.” The New Grove Dictionary of Music and Musicians (Accessed 10 December 2006), http://www.grovemusic.com.

de Pasquale, Joseph. Interview by author, 20 January 2007, Schotten, Masao Kawasaki, and – Paula Krupiczewicz is a candidate Philadelphia, PA. Tape Recording. Catharine Carroll are passing for the Doctor of Musical Arts degree down this work to the next gen- in Viola Performance at the Dinger, Gregory. “Alan Shulman: erations of violists. With its University of Southern Mississippi in Fifty Years in the Music three versions available to the Hattiesburg, MS. She holds a Master Profession.” Woodstock Times, 31 performer, the Theme and of Music from the University of October 1985, 38-39. Variations can be performed suc- Akron and a Bachelor of Music from cessfully in a solo recital or on Western Michigan University. Paula Durgin, Cyrus. “Music: Berger, the concert stage. It is through has been a long-standing member of Shulman Pieces Played by this research that the society of the American Viola Society, Sinfonietta.” Boston Globe. violists can learn more about American Federation of Musicians - 11 November 1954. Alan Shulman as a composer and Local 56, and is a member of the his work the Theme and Theta Chi Chapter of Pi Kappa Elie, Rudolph. “Music: Zimbler Variations in its three orchestra- Lambda National Music Honor Sinfonietta.” The Boston Herald. tions. The Theme and Variations Society. “I would like to publicly 11 November 1954. is a particularly successful exam- thank Dr. Hsiaopei Lee, Dr. Ewan, David. “Shulman, Alan.” ple of his compositional output Christopher Goertzen, and Dr. American Composers: A Biographical that accomplishes his goal for Edward Hafer for their guidance Dictionary. New York: G.P. pleasing the audience and not and assistance in preparing this Putnam’s Sons, 1982. just for critical acclaim. article and for their support, and

JOURNAL OF THE AMERICAN VIOLA SOCIETY 38 Meyer, Donald Carl. The NBC Shulman, Alan. “Writing for Viola, 2Margaret Campbell, “Shulman, Symphony Orchestra. Ph.D diss., Not Against It.” Journal of the Alan,” The New Grove Dictionary University of California-Davis, 1994. American Viola Society 4 no. 1 of Music and Musicians (Accessed (1988), 7-11. 10 December 2006) Modi, Sorab. “Black, Frank (J.).” http://www.grovemusic.com. The New Grove Dictionary of Jay Shulman. Interview by author, American Music, Vol. 1. Edited by 12 December 2006, Claverack, 3“Rhythm’s New Friends.” Time H. Wiley Hitchcock and Stanley NY. Tape Recording. Magazine Vol. 35, No. 24 (10 June Sadie. New York: Macmillan 1940), 46. Press, 1986. ______. Interview by author, 11 January 2007, San Francisco, 4Margaret Campbell, “Affinity for Preves, Milton. Personal letter to CA. Tape Recording. Strings,” Strad 99 (November Alan Shulman, 6 March 1943, 1988), 891. Glenview, IL. Manuscript. Vardi, Emanuel. Interview by author, 4 February 2007, Port 5Dinger, 38. Richburg, Lynne. Interview by Townsend, WA. Tape Recording. author, 7 February 2007, 6David Ewen, “Shulman, Alan,” Sacramento, CA. Tape Recording. Shulman Endnotes American Composers: A Biographical “Rhythm’s New Friends.” Time 1Gregory Dinger, “Alan Shulman: Dictionary, New York: G.P. XXXV, No. 24 (10 June 1940), Fifty Years in the Music Profession,” Putnams (1982), 599. 45-46. Woodstock Times, 31 October 7Alan Shulman, “Writing for the 1985, 38. Viola, Not Against It,” Journal of the

Geoffrey Ovington

VOLUME 23 NUMBER 2 39 American Viola Society Vol. 4 No. 1 (1988), 9. 16Meyer, 190.

8Ewen, 600. 17Jay Shulman, “The Music of Alan Shulman,” Compact Disc. 9Jay Shulman, interview by author, 11 January 2007, San Francisco, CA, tape recording. 18Modi, Sorab, “Black, Frank (J.),” The New Grove Dictionary of American Music Vol. 1, Edited by H. 10Campbell, “Affinity for Strings,” 893. Wiley Hitchcock and Stanley Sadie (New York: Macmillan Press, 1986), 224. 11Donald C. Meyer, “The NBC Symphony Orchestra,” (Ph.D diss., University of California-Davis, 1994), 470. 19Emanuel Vardi, Interview with author, 4 February 2007, Port Townsend, WA, tape recording. 12Jay Shulman, interview by author, 11 January 2007. 20Meyer, 191. 13Alan Shulman, “Writing for the Viola, Not Against It,” 7. 21Jay Shulman, “The Music of Alan Shulman,” 14Jay Shulman, “The Music of Alan Shulman,” The Compact Disc. Music of Alan Shulman: The NBC Symphony Orchestra, Bridge 9119, 2002, Compact Disc. 22Milton Preves, personal letter to Alan Shulman, 6 March 1943, manuscript. 15Ewen, 599. 23Jay Shulman, interview by author, 11 January 2007.

24Felix Borowski, “American Composers Featured by Symphony,” Chicago Sun 17 December 1943.

25 History of the Viola Joseph de Pasquale, interview with author, 20 January 2007, Philadelphia, PA, tape recording. 1/4 page 26Jay Shulman, e-mail correspondence with author, 1 March 2007.

27Cyrus Durgin, “Music: Berger, Shulman Pieces Played by Sinfonietta,” Boston Globe, 11 November 1954.

28Rudolph Elie, “Music: Zimber Sinfonietta,” The Boston Herald, 11 November 1954.

29Jay Shulman, interview by author, 11 January 2007.

30Lynne Richburg, interview by author, 7 February 2007, Sacramento, CA, tape recording.

31Meyer, 191.

JOURNAL OF THE AMERICAN VIOLA SOCIETY 40 ALTERNATIVE STYLES FAREWELL,MY “MODERN” FRIEND: HELLO MY “OLD” PAL

By Christine Rutledge

For years I have been more-than-interested in Baroque performance practice, especially Bach. Let’s just say my interest borders on fanaticism! (Ask my students and anyone who knows me.) This kind of enthusiasm coming from a violist might seem a bit odd, especially to the well-seasoned Baroque crowd -- because I do not play violin, Baroque or otherwise. "Why," they might ask, "would you want to perform on an instrument for which virtually no solo repertoire exists?" Perhaps because it is my innate nature as violist to champion the underdog, this challenge spurs me on with even more ferocity.

Unfortunately violists in the Baroque era suffered from discrimination, too. In Quantz’s 18th-century treatise On Playing the Flute, this is pretty obvious:

The viola is commonly regarded as of little importance in the musical establishment. The reason may well be that it is often played by persons who are either still beginners in the ensemble or have no particular gifts with which to distinguish themselves on the violin, or that the instrument yields all too few advantages to its players, so that able people are not easily persuaded to take it up. I maintain, however, that if the entire Paul Hart Baroque viola. accompaniment is to be without defect, the violist must be just as able as the second violinist. for other instruments, either by the composer or the performer. J. S. Bach did so many times (for instance Ouch! But there had to be at least a fair number of vio- transcribing the fifth cello suite for the lute). I have a lists who were strong players and even soloists. Any vio- hunch that violists of the time played many cello, violist who has played J. S. Bach’s Brandenburg Concerto lin, and even flute and oboe parts, but simply read No. 6 or any of the viola parts in his cantatas and other them in their original versions. (Musicians of that time works knows that these parts are not for the faint of were much more facile in this area.). Or they changed heart. And if you do some digging you will find a the parts for their personal use only, and these tran- number of works by lesser-known Baroque composers scriptions were never published or saved. (especially German) that are chock-full of fantastic and challenging parts. It was also very common during the Last year, my curiosity about viola repertoire and vio- Baroque era (as well as other eras) to transcribe works lists in the Baroque era came to a peak. After teaching

VOLUME 23 NUMBER 2 41 humanities symposium in Honolulu, Hawaii. (Strongly recommended as the start to any sabbatical!) Then to Colorado, where I presented recitals and classes on period practices. The last leg of my journey was a five-week trip to Europe. Based in London, I traveled around Europe and the UK hearing concerts, meeting musicians, and conducting research for some of my transcription projects. Other than having a thoroughly delightful travel experience, it became apparent the differences in the musical cultures of the US and Europe, especially in period per- for over 15 years without a break, I My primary goal was to create edi- formance. The most obvious dif- finally mustered up the courage to tions that closely adhered to man- ference was the fact that almost all take a sabbatical semester. The uscripts and/or the best scholarly schools of music have period per- plan was to put my beloved mod- sources possible. As violists know, formance curricula as the norm ern viola in its case for a long many of the editions available to and offered degree specializations “nap” and totally immerse myself us have been so over-edited and in that area. The other obvious dif- on Baroque viola. I knew that if I marked that it is hard to recognize ference was the enormous wealth ever wanted to become a serious any semblance of the original of period performance ensembles Baroque violist that this was sources. Furthermore, trudging and concerts around Europe, and absolutely necessary; the two tech- through the process of finding reli- not just in large metropolitan niques are that different. When able sources and then marking up areas. playing the Baroque instrument I your own part is not only a pain, have to make sure that I mentally but makes for a very fine mess to and physically make the switch, or read. I was convinced that vio- else things get a bit “thorny,” to say lists, like violinists and cellists, the least. It is sort of like convincing were hungry to understand yourself that you are reading the authentic performance practices same music but playing the bassoon and to have good parts available (or saxophone, or flute, etc.). that are specifically for viola. So, the path was set; now to take The plan for the six-month those first steps. odyssey was to travel around the US and Europe playing, teaching, My Burgess viola, who has been observing, and generally absorbing my good and faithful friend for as much of the early music culture so many years, was temporarily as I could. During that time I also retired. And my Paul Hart planned on completing and pub- Baroque viola was now enlisted lishing several transcriptions for as my partner in my new jour- viola of Baroque masterpieces that neys. The first stop was a lec- were written for other instruments. ture/recital at an arts and

JOURNAL OF THE AMERICAN VIOLA SOCIETY 42 After the traveling was finished I Fantasias for solo violin; Biber’s chinrest, no shoulder pad, and a hunkered down to the grueling task Passacaglia for solo violin; Swedish small bass bar and endblocks. The of putting all of these great ideas and Baroque composer Johan Helmich woods used for the fittings are also information I had gathered during Roman’s 6 Assaggi for solo violin lighter than ebony. The bow is my travels into performance editions. (to which I was first introduced at lighter and more flexible, there is The centerpiece of my project (and the Rekyjavík Viola Congress); no “grip,” and the hair is looser and goal many years in the making) was Pisendel’s Sonata for solo violin; “spongier.” There is also no set to create a performance edition of the and J. S. Bach’s Partita for solo position of the bow hand on the Bach Cello Suites in a “workbook” flauto traverso. I felt that this was stick - each player has their own format; that is, an edition into which at least a good start in adding to “sweet spot.” The strings are for the the performer could easily insert their the published repertoire for both most part gut (the C and G strings own interpretative markings. What modern and Baroque viola. Other are typically wound with silver), the Bach edition ended up being was works keep coming to my atten- and respond much differently than a 3-volume set: Volume I was edited tion, so the project will be on- modern strings. They are strung and marked using the Anna going; so much so that I even start- with less tension, and the touch Magdalena Bach manuscript copy as ed my own “in-house” publishing with the bow is more intimate and my guide; Volume II was a facsimile company to distribute these tran- gentle. Overall, Baroque technique copy of her manuscript copy; and scriptions. [See Roman’s First is more flexible and gentler, which Volume III was a completely Assagio as the Sample Score on was a wonderful break for me (and unmarked copy. I also included a page 51.] my body). preface that gives the violist an extensive list of resources to explore regard- Today I am sitting at my computer Much of what I did on my ing Bach and performance practices in my office typing up this article. Baroque instrument has had a of the time. It is my fourth day back at the tremendous influence on my mod- University after my leave period has ern technique as well as my inter- After a presentation on Bach inter- ended, and I have been back to pretation of music from all eras and pretation at the Montreal Viola playing modern viola since the end genres. I learned that technique Congress two summers ago an audi- of July. I missed modern viola after does not have to be so rigid and ence member asked, “Why another all of those months. (What’s life regimented. Players need to ques- Bach edition?” My somewhat face- without Brahms and Hindemith?) tion more often their reasons for tious first response was “Well, per- The transition back to modern playing and interpreting in given haps we don’t!” But in truth I had technique has not been the easiest. ways. They should be much more always felt the need to have a more Playing modern viola involves so aware of period practices and tech- in-depth edition for viola that was much “equipment” and the instru- niques and not walk blindly into a closely based on the Anna ment and bow are just so darned piece, operating on instinct alone, Magdalena Bach copy, which is con- heavy. But these differences are or just following their teacher’s sidered by many musicologists to be necessary in order to play music instructions. Why does the bow the most reliable source. Also, it written after the 18th century. have to always be held so close to would be great to have a “clean” And the modern viola is so won- the frog? (When the Tourte-design part, like the cellists have in the derfully loud and rich (and the bow was first introduced many Bärenreiter editions. strings stay in tune for more than musicians still held the stick much ten minutes!). The modern instru- higher up.) Should we depend so With that project finished and ment is just a vastly different beast much on the use of shoulder pads printed, I moved on to the other from its Baroque counterpart. and chinrests? (Not that I advocate works I felt needed to available to their elimination, just simply ask- violists in accurate, clean, scholarly- The Baroque viola is very light. It ing why and how we use them.) based editions: Telemann’s 12 has a small tailpiece, no tuners, no Why do we always play soft pas-

VOLUME 23 NUMBER 2 43 The Primrose International Viola Archive announces a generous gift by Peter Bartók of several hundred copies of the Facsimile of the Autograph Draft of the Viola Concerto by Bela Bartók

• Hardback in black, 12 by 16 inches, 84 pages including photo page. • Preface by Peter Bartók & Commentary by László Somfai (Text in English, Hungarian, German, Japanese, and Spanish). • Fair transcription of the draft with notes prepared by Nelson Dellamaggiore.

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 sages at the tip? Why do short my physical and brain powers to a students, who have sometimes notes have to be bounced or stac- whole new level. Opening up my looked at me a bit cross-eyed cato? What do the markings in mind to new ideas and thoughts when I got into one of my long- the music really mean? How are was liberating and inspiring. I winded proselytizing sessions on ornaments different in the have found that the two styles of Bach and Baroque interpretation Baroque era than in subsequent playing are not that separate after (and rightly so, I might add). ones? These are just some of the all, and can coexist happily. I also Maybe now I will make a bit many questions that I was forced enjoyed working on the new edi- more sense! And perhaps Baroque to confront in my own playing tions (especially the challenges violists will have a bit more to do when returning to the modern and nuances of the Sibelius(r) as soloists and not just ensemble instrument. software program). After having players. these ideas rattling around in my Overall, this experience- other head for so long, to finally have -Christine Rutledge teaches at the than being the life-saving time off the printed parts in my hands University of Iowa and is a former that I desperately needed- was one gives me great satisfaction. member of the AVS National of the greatest events in my life. I Board. loved the challenge of learning a I look forward to passing on my new instrument and of stretching experiences and inspiration to my

VOLUME 23 NUMBER 2 45 Heifetz

JOURNAL OF THE AMERICAN VIOLA SOCIETY 46 SAMPLE SCORE:

VOLUME 23 NUMBER 2 47 JOURNAL OF THE AMERICAN VIOLA SOCIETY 48 VOLUME 23 NUMBER 2 49 JOURNAL OF THE AMERICAN VIOLA SOCIETY 50 IN THE STUDIO BARBARA WESTPHAL

By Spencer Martin

During the summer of 2006 I had the opportunity to work with Barbara Westphal in a variety of venues. In addition to having lessons with her myself, I was able to observe her teaching at the Musikhochschule in Lübeck and at the Oberstdorfer Musiksommer, a music festival in the Bavarian village of Oberstdorf.

Biography Barbara Westphal has taught viola at the Musikhochschule in Lübeck since 1989. Her teachers have included Fances Mason and Broadus Erle as well as additional studies with Siegfried Führlinger and Michael Tree. A former member of the Delos Quartet, winner of the 1981 String Quartet Competition in Colmar, France, Ms. Westphal also won both the Munich International Competition and the Busch Prize as a solo artist in 1983. Westphal working with Karoline Wehse.

Ms. Westphal is a highly sought-after teacher whose day. “As long as I play concerts and demonstrate in students are engaged with top orchestras in Germany lessons in such a way that it helps my students, I need and abroad, and several of her students have won to be in shape myself.” awards at international competitions. Ms. Westphal regularly presents master classes in Europe, the United In observing Ms. Westphal’s teaching in Lübeck, I was States, and Asia, and adjudicates at major competi- impressed by her straightforward approach and by her tions such as the Munich International Competition attention to detail. When asked about the structure of and the Geneva International Music Competition. lessons, Ms. Westphal responded that she feels most comfortable when she has at least 90 minutes to spend Teaching with each student, and that she paces the lesson In addition to maintaining a busy performing career, accordingly. As I observed a number of lessons, it Barbara Westphal teaches 14 viola students at the became clear that Barbara Westphal is a teacher who Musikhochschule in Lübeck. Each student receives a builds a technical foundation as well as provides artis- weekly 90-minute lesson, and the level of the students tic guidance for her students. To assist her in her teach- in her studio is very advanced. When I commented ing of technique, she calls upon many etudes from the on her heavy teaching load, Ms. Westphal confessed repertoire. She does not require students to go through that she is teaching two more students than would complete volumes of etudes, but assigns specific etudes constitute a full teaching load. “I have a hard time and exercises for particular technical reasons. saying no to a talented student.” I asked her how she finds time to practice. “I get up early.” She tries to It was also enlightening to watch Ms. Westphal teach practice for two hours before she begins teaching each violists who were not her regular students in master

VOLUME 23 NUMBER 2 51 to work with great motivation. She adds, “But there is no way that anyone will learn better or faster by taking themselves too seriously.” She does not believe in comparing students with each other, and tries to motivate without pressuring them too much. “It is important that we try to see each individual as a special person that we can all learn from.” She adds, “I have learned so much from my students over the years.”

Ms. Westphal strives to help her students realize their individual potential and to help them grow artistically. She tries not to superimpose her own ideas, but gives them the chance to develop in their own unique way. While she has strong musical convictions, she does not want her students simply to copy her. “I try to make the students think for themselves by asking a lot of questions. Independence is a great gift, and I try to help them be as self-sufficient as possible.” She admits Westphal and author. that sometimes this process takes longer, but believes that the students learn much more by discovering classes at the Oberstdorfer Musiksommer, a music fes- things on their own. “For me this is more than just a tival that is held each year in the picturesque Bavarian teaching philosophy, but really something political. In mountainside village of Oberstdorf. At the beginning my opinion, the world needs independently thinking of the first master class, Ms. Westphal commented to people who are capable of forming their own opinions the entire class that she is not a teacher who will just and who know why they think what they do.” address musical matters, but who will attend to core technical matters as well. She explained that it was I observed one of Ms. Westphal’s weekly studio semi- not her intent to contradict the student’s primary nars in Lübeck, and noticed that her students basically teacher, and that in most cases, she was probably say- run the class. She explained that she prefers that the ing the same thing in another way. She continued to class operate in this way. Since the students will be explain that when she was suggesting something dif- required to comment, they will listen in a more specif- ferent from the student’s primary teacher, then it was ic way in order to provide suggestions after their peers the student’s responsibility to consider the options perform. “I do not want them to just say that they and then make a choice. were wonderful; of course that is welcome if it is true, but the constructive part is the most important.” She After spending a substantial amount of time observ- has observed that some teachers will lavish praise upon ing her teaching, I was compelled to ask Ms. students in master classes even when the affirmation is Westphal about her teaching philosophy. The follow- unwarranted. “There is no need to say, ‘That was real- ing comes from several interviews that I conducted ly awful,’ but on the other hand, I think that there is a with her: way of addressing each student honestly.” She chooses her comments carefully so that even when a student Barbara Westphal believes that a nurturing environ- may not have played very well, she offers the student ment is necessary for someone to blossom, and aims constructive criticism. “I think that giving undeserved to create an atmosphere where students feel accepted. praise damages my credibility as a teacher. I want my She advises her pupils that four years is very little students to trust me, and I think they will not trust time, and that jobs are hard to get, so it is important me unless they can count on my honesty.”

JOURNAL OF THE AMERICAN VIOLA SOCIETY 52 While she works diligently to provide sincere feedback to her students, she does not want her students caught in the trap of constantly seeking her approval. “After concerts, I have noticed that some of my students will come up to me with a demeanor that shows that they are long- ing for me to say, ‘You did really great!’ I have talked to those people and said, ‘Do not wait for my approval, because you know if you played as well as you could right now or if you did not quite reach up to what you might have been able to do. Then again, if you did not play as well as you had hoped you would, the world is still standing; tomorrow is another day.’ This is a dangerous game: for students to wait for a teacher’s approval.”

She admits that the biggest reward for her as a teacher is to see her students flourish. “Once in a while, I have had very touching expressions of gratitude when people graduate. Some will write a letter; others will say something that shows that they believe that they came to the right teacher at this stage of their development.” Ms. Westphal has had the opportunity to perform with former students who have since become colleagues. “To be on completely equal footing with a former student, like with [Volker Jacobsen of] the Artemis Quartet is really something special. At first I thought, ‘How am I going to feel?’ I was nervous about it, but it felt nothing but wonderful!”

Recording Ms. Westphal has created a notable discography of important viola literature. I first became acquainted with her playing from her complete recording of the Bach Suites. I asked her about the recording process.

“My relationship to recording is not altogether without its problems. My first recordings were with my quartet years ago, still before CDs even came out. We recorded some Czech music, Dvorák and Suk, and it was beautiful music. It turned out that for a variety of reasons we did the editing ourselves. That was horrible because

VOLUME 23 NUMBER 2 53 everybody just wanted to have the it is diminishing returns and it This experience has caused me to places fixed where they made a does not get any better.” think about the goals and philoso- mistake. The recording is fine, and phy of my own teaching. I am very I am not embarrassed by it, but When I asked her how she record- thankful to Barbara Westphal for after that experience I never wanted the Bach Suites, she responded, her time and for making this proj- ed to make another recording. I “I did the entire recording in two ect possible. felt so awful about this whole sessions and I had time in process. Later I thought that if I between, but that had partially to Discography am going to do it again, the way I do with difficult personal circum- Bach: Six Cello Suites, BWV want to do it is to have maybe a stances. You might not normally 1007-1012. Bridge 9094 A/B couple of run-throughs, almost do that unless you have played like a concert, and then just get them before extensively.” Reger: Sonatas for Viola and the parts that went badly, a couple Piano, with Jeffrey Swann, piano. of notes here and there. There has Response Bridge 9075 to be a sense of performance about In addition to being one of the it, otherwise it can sound sterile greatest contemporary violists and Viola Sonatas by Clarke, very quickly. I think that the more pedagogues, Barbara Westphal is Vieuxtemps, Enesco, with Jeffrey sophisticated that this process has an extremely kind and generous Swann, piano. Bridge 9109 become the more tempting it is to person. She was especially welcom- patch together a recording. I think ing to me, a person previously Brahms: Sonatas for Viola and it has spoiled our ears very much. unknown to her, who spent nearly Piano, with Ursula Oppens, piano. Spoiled not in the good sense, but one month observing her teaching. Bridge 9021 it has actually ruined our ears and I also witnessed her benevolence our expectations too. In a concert towards her students, both in her Beethoven and Mozart: String performers are human beings, they teaching and her interactions with Trios - Da Salò Trio, with Ani are not computers, and they do them outside of lessons. Kavafian, Barbara Westphal, make mistakes. I think that people Gutave Rivinius. Helicon KL5138 have expectations that cannot be After observing Barbara Westphal lived up to anymore. I also believe teach a number of students, it that they lose their sensitivity for became evident that she really does what happens in a concert only- live and teach by her own philoso- magic you will never find on a phy. I witnessed her teach several disc. So I think that a little editing students who were playing the goes a long way. I do not believe in same repertoire, employing diverse making tons of recordings. bowings and fingerings for differ- However, if I find music that I ing yet valid musical and technical think would otherwise not be results. I also observed her uncan- heard so much, or that I feel I have ny ability to communicate with something very personal to say students at a variety of levels. Her with a well known work, then it work with each violist was com- does interest me-but only under pelling, and each student seemed the condition that the process be to leave the lesson with clearly very finite. I would give myself defined objectives. Her honest and maybe two days, with six hours direct approach bears no hint of each day, because you cannot con- pretentiousness, and her students centrate longer anyway. After that respect her greatly for it.

JOURNAL OF THE AMERICAN VIOLA SOCIETY 54 FRESH FACES: JONAH SIROTA

By Matthew Dane first impressions? JS: I attended Greenwood the JAVS and the AVS website are summer of 1990, the first of four pleased to welcome Jonah Sirota as summers. I had visited the summer our new online Travelogue writer. before and had been totally Jonah is the violist of the Chiara impressed by all of these people String Quartet, ensemble-in-resi- seeming to have such an intense dence at the University of and fun time with music. I Nebraska and recently chosen as remember hearing a concert and Blodgett visiting artists-in-resi- then seeing people up at the main dence at Harvard University for house afterwards gathered around 2008. As a soloist, he has won sev- a piano, singing Beatles songs and eral solo competitions, including other things- but doing it really 3rd prize in Naumburg last year, well, with the pianist actually play- performed concertos with several ing the real harmonies. I should orchestras, and commissioned have probably been the most many new solo works along the impressed by the concert- but I way. It is his life experience in think the fact that the concert was chamber music however that tells really great, plus the fact that his story best. The interview focus- everyone seemed to let the spirit of es on the two most significant their performances permeate their Photo by Anthony Hawley. aspects of chamber music in entire lives together, was amazing Jonah’s life: his deep-rooted con- and new to me. reminding us that the melody nection with Greenwood Music rarely belonged to most of us!). Camp, and the evolution of the MD: What did you immediately Every moment of that movement Chiara String Quartet culminating learn from being there? made me want to cry. I still feel in their most recent performance JS: Before my first year there, I that way about it. focus, “Chamber Music in Any had hardly played any chamber Chamber.” Greenwood is a cham- music. Every piece I played was a MD: What inspiration has lasted ber music camp in Cummington, revelation. I didn’t even know longer and become part of your Massachusetts of long tradition, enough to know what pieces I was musical beliefs? with two summer sessions of supposed to want to play! The JS: It’s amazing how much of approximately fifty campers each: a first week I played 4th violin in what first seemed important at two-week “kiddie camp” for ages the slow movement of the Greenwood has stayed important 8-13, and a five-week “big camp” Mendelssohn Octet. Not a bad on further reflection. The idea for ages 14-18. Jonah’s experience way to start! I will always remem- that a group can become some- as camper, counselor, and faculty ber that experience--eight of us thing more than the sum of its are all as a part of the latter. crowded into a small practice parts; more specifically the idea cabin and trying to create some that in chamber music, interac- MD: When did you first attend semblance of balance (I think a tions themselves are more impor- Greenwood, and what were your counselor in the group kept tant than any one voice. I believe

VOLUME 23 NUMBER 2 55 that strongly. Also the idea that putting great energy into something you care about deeply can make you happy. This is a good lesson for an adolescent to learn. I feel very lucky to have figured this out as early as I did. Greenwood was, and continues to be, hard to get admitted to- but once there, there was very little competition. You can’t have a real chamber music experience and stay in competition with those around you.

MD: Are there specific moments/situations/performances from this time that you consider pivotal to your musical life? JS: I was assigned the slow movement of Op 132 Beethoven my last summer as a camper. We performed it twice and also in a masterclass for Joel Krosnick. That piece made me decide to pursue a music career. It was like “Knowing that music like this exists, how can I not play it?” Also, I started as a violinist at Greenwood. It was John Ziarko, a coach and viola teacher at the camp, who recommended that I try the viola, and then was my first teacher. He also assigned me that Op 132. So I owe him, and Greenwood, a debt for finding the viola at all, and then finding a reason to need to play it.

MD: How has your relationship with the camp developed over time? JS: I went through the obligatory withdrawal after my time as a student, and felt that MY experience as a camper was somehow special, and that these new campers just didn’t understand... Then I was a counselor for a year at the end of college. That was a different view. I came back as an alumnus to play some informal recitals once my quartet got going. I was always amazed at how certain core things about the place stayed very constant, even as my own relationship with it was subtly changing. At first, I was upset that I wasn’t experiencing everything for the first time anymore. Then I started realizing how special it was that the place still provided those experiences for new generations every year. The constancy of that I really attribute to the incredible leadership of Deb Sherr (only the second camp director in Greenwood’s 75 year history) and the great idealism of the camp’s founders, Bunny and Dwight Little.

JOURNAL OF THE AMERICAN VIOLA SOCIETY 56 MD: Since the quartet started forming when you were all fairly young, how did its development fit in with your own individual development? JS: Honestly, between Greenwood and the quartet, there was never very long that chamber music wasn’t at or near the center of my focus. The solo stuff, a great orchestral training at Rice, these were very important and useful- but I think I tried to approach them all with a chamber music sensibility. Chiara took some time off later on, but I chose to go Chiara Quartet. Photo by Anthony Hawley. other chamber music festivals (Yellow Barn, Norfolk, and MD: How does teaching at Also, I had known one of the Marlboro) during those times. Greenwood inspire you? violinists, Rebecca Fischer, prac- JS: It recharges me. The kids tically my whole life as her par- MD: Your quartet was chosen for knock rust off of their chamber ents were close friends with my The Juilliard School’s Lisa music chops during the first week own. The summer after my fresh- Arnhold Residency. What sorts of of camp, and then from there on man year in college, I went with opportunities and responsibilities out they are surging into often the group (which then consisted did the quartet have in this posi- unexplored depths of awareness of Greg, Rebecca, and violinist tion? with incredible repertoire. I find Rachel Noyes) to a couple of fes- JS: At Juilliard we got to work that they create the standard of tivals. We loved working togeth- closely with the Juilliard Quartet, integrity and feeling which I er, and even though we were who really have been our most spend the rest of my year seeking spread throughout the country important mentors. We also to recreate. When I ask students (Rebecca in NYC at served as teaching assistants for there to do something in the Columbia/Juilliard, and Rachel the chamber music performance music, they make it a life-or-death at the Cleveland Institute) we class run by Earl Carlyss. The resi- goal. They are dream students, knew that we wanted to try to dency also included a major Alice and really understand the point of continue working together. My Tully Hall recital each year. It was chamber music. first summer with the group was a really important, great experi- really fun. We were all just so ence for us. happy to find people who cared MD: Talk about the Chiara so much about quartet playing. I MD: What have been the quartet’s Quartet’s beginnings. think that made us feel very most influential experiences since JS: I joined the Chiara Quartet a lucky and motivated us to try to leaving Juilliard? What are your couple of years after they formed keep the group going. We audi- current interests as a group, and at the Musicorda Festival. I had tioned during the next year for what is the idea behind “Chamber already started my undergrad the Aspen quartet program and Music in Any Chamber”? degree at Rice, and gotten to were really flabbergasted when JS: The quartet has been through know cellist Greg Beaver there. we were accepted! several stages. When we finished

VOLUME 23 NUMBER 2 57 our individual Juilliard degrees, real concretizing career. rather than trying to give them a we started playing with Julie Yoon, It was more recently that we start- passing sprinkle. That’s how our whom we met at Juilliard, and ed to feel that these two sides of club performances, “Chamber right out of school we got a CMA our career- the formal “concert” Music in Any Chamber,” got start- rural residency grant to live in side and the “outreach” side- were ed. These are real concerts, just in Grand Forks, North Dakota for artificially separate. We started a different format and setting, and two years. This was a great chance feeling that all concerts should the experience we get out of it has to just hunker down and learn to reach out to the audience, and that been edifying- we believe that the play as a professional quartet, “outreach” was sometimes used to audience’s experience is, as well! learn rep, etc. At the same time, mean getting “underserved” people Generally we also play a lot of new outreach was an important part of educated about a “high” art tradi- pieces, because our experience of the residency, and we loved learn- tion, something which kind of playing quartets is that it is a liv- ing how to bring Brahms (or assumed the audience’s ignorance. ing, breathing tradition, and we Berg) to audiences of many differ- We started wondering whether enjoy sharing that. Our perform- ent types (school kids, mall-goers, there could be a better approach, ances in “non-traditional” venues nursing home residents, beet one that would let people experi- have also influenced our concert farmers, etc). After our time there, ence a concert wherever they were hall dates, by how we talk to the we moved back to New York (for at, without condescension. While audience, and by inviting audi- the quartet’s residency in Juilliard), it is true that quartet music is a ence-members on stage at inter- won the Astral Artistic Services deep pool of aesthetic experiences, mission to chat with us about the audition, won first prize in we began to think the goal should music. Fischoff, and started to build a be inviting newcomers to jump in,

JOURNAL OF THE AMERICAN VIOLA SOCIETY 58 NEW MUSIC REVIEWS

This column features three new viola This work is comprised of seven existence. It consists of seven continu- concertos written in the past five years. movements, all played without ous movements: pause (another similarity to the La Llorona: Tone Poem for Viola Bartok Viola Concerto). The whole I. Slumber: It is just minutes after and Orchestra (2007) work treats the viola solo not so the llorona has lost here human life “concerto-like”, but as a vehicle for and crossed over into the new realm. I. Slumber telling the story, and it happens to Not fully conscious, she is still in the II. Awakening be somewhat virtuosic at times, very fog of a supernatural sleep. III. Flight similar to the treatment of the viola II. Awakening: After the quiet IV. Danza de las Chullpas line in the two works by Giya orchestral tutti which builds, the solo V. Canto de la Luna Kancheli (Styx and Vom Winde viola’s entrance signals that the VI. Flight beweint) I reviewed for this sum- llorona has sprung to new life. VII. Coda mer’s online issue (see , go to online new reality and tries to escape, liter- Difficulty: Level 5 issues of JAVS). Frank very success- ally. Irrationally, she runs here and Duration: 20 minutes fully writes this work from an there, crying for what was. Premiere: Wayne Brooks with “Impressionist’s” mode of operation, IV. Danza de las Chullpas: In the Houston Symphony Orchestra and she includes a program guide course of fleeing her fate, the llorona for what is happening in each of the stumbles upon a scene of other spirits By Gabriela Lena Frank (b. 1972) movements which is as follows: normally unseen to humans. The chullpas are ancient spirits (hailing This piece was fascinating to listen Dedicated to my old friend, Wayne from Peruvian culture) in the form to from beginning to end. At times Brooks, “La Llorona: Tone Poem for of skeletons hobbled over from hav- in the piece I almost felt like I Viola and Orchestra” is inspired by the ing been bound into fetal positions as could be listening to the Bartok many existing myths in Latin America mummies.The llorona reluctantly Viola Concerto No. 2, which is regarding a female spirit known as “La begins to realize that she indeed has actually a huge compliment, not a Llorona”, or “crying woman”. crossed over into another realm. critique for lack of originality, since Somewhat similar to female ghosts from V. Canto de la Luna: Revered in many great composers in their other cultures (such as the “Rusalka” many cultures, the moon is often a youth relied heavily on strong from Russia or the “Kuchisake-onna” female deity that communicates with models as a basis for their works from Japan), the llorona generally humans and spirits alike. Here, the (the most famous example in my comes about as the result of a violent moonlight sings to the llorona, asking mind being Beethoven’s Symphony death: drowning, suicide, childbirth, her to find acceptance. No. 1 which could be dubbed as and murder at the hands of a lover are VI. Flight: The llorona cannot find Mozart’s Symphony No. 42 because common causes. The riverbanks are typ- it in herself to accept, and tries once of its strong reliance on the Mozart ically the places where one might again to escape. Symphony No. 41 “Jupiter”). The encounter the llorona, for these are fre- VII. Coda: The llorona slowly chromatic language and the rhyth- quently the sites of the tragedies that retreats into the shadows to join the mic material also were pleasant took away her human life. other spirits unseen by the rest of us. reminders of Bartok’s style, as well It is the acknowledgement that tragi- as the opening of the two “Flight” This programmatic work is a por- cally, she simply can’t change what’s movements, which reminded me trait of the internal shift that hap- not hers to change. of the Bartok Violin Concerto. pens as the llorona accepts her new – Gabriela Lena Frank

VOLUME 23 NUMBER 2 59 I found the opening to be mystical, and effective with her orchestration, only using the lowest sounding instruments of the orchestra, beginning with cel- los and basses, and the low register of the harp, and later adding the bass clarinet, and then the low regis- ters of the horns and clarinets. The orchestration of the whole work is clean in general, and always very transparent when the solo viola is playing. She uses a somewhat large orchestra [2 Flutes (2nd with Piccolo), 2 Oboes (2nd with English Horn), 2 Clarinets (2nd with Bass Clarinet), 2 Bassoons, 2 Horns, 2 Trumpets, 2 Trombones, Timpani, 3 Percussionists, Piano/Celeste, Harp and Strings], but it never overpowers the viola. In fact the whole scoring is remarkable impeccable. A highly recommended work in my opinion, and I very much look forward to the future output of this talented young composer.

The score for this work is available at: G. Schirmer Inc./AMP 257 Park Avenue South, 20th Floor New York, NY 10010 Tel: (212)254-2100 Fax: (212)254-2013 E-mail: [email protected] www.schirmer.com

Konzert pro Violu a Orchestr (2003-4)

I. Lento ma non troppo II. Allegro con spirito III. Lento ma non troppo. Allegro vivo Difficulty: Level 6 Duration: 28 minutes Premiere: Raphaël Oleg with Czech Radio Symphony Orchestra

By Jindrich Feld (1925-2007)

As I was researching some background information on Feld, it was with great surprise when I discovered the large output of this composer; he is also well known in his home country of the Czech Republic, and is generally regarded as one of the Czech Republic’s most important composers after Janacek and Martinu. At a young age, Feld studied violin and

JOURNAL OF THE AMERICAN VIOLA SOCIETY 60 viola with his father who was a renowned teacher at the Prague Conservatory, and his intimate knowledge of the viola shows immensely in this concerto. Although Feld has written a few other works for viola previously in his life, is seems that he has chosen to IVS Congress join the ranks of many great composer who have for some reason saved writing a major viola work the last or one of the last works of their life (i.e. Bartok Viola Concerto, Shostakovich Viola Sonata, Brahms Viola Sonatas). My belief is that these composers were looking to express themselves with a darker sonority to reflect possibly the reflections of the composer’s own death.

This work is written with dodecaphonic (12-tone) principles, which I suspected on my first listening and then confirmed by analyzing the score and reading the program notes from my recording of this work [Praga Digitals PRD/DSD 250 239] with Raphaël Oleg and the Czech Radio Symphony Orchestra. I have to admit a bit of a prejudice against dodecaphonic music (as I think history is proving that these works have generally less of a popular appeal), but lis- tened to it with as much of an open mind that I could, and I did find myself enjoying several aspects of the work, much on the same level as I enjoy the works like the Henze Viola Sonata or the Roslavets Viola Sonatas, especially in some of the wonderful colors Feld creates with his orchestration. It is certainly a cerebral work, and the performer will have to live with it for a long time to fully comprehend it. It is also extremely challenging, but by no means unplayable as proved by the well done recording mentioned here. He also seems to be abandoning the idea of “12-tone = non-tonal” as the work is clearly in “D” with the sustained notes in the bass. The second movement features an extensive and attractive cadenza that utilizes several virtuoso techniques like col legno, left hand pizzicato, and several natural harmonics. The ending of this movement was strikingly “very cute” as the whole movement is so incredibly challenging and heavily involved, and he tosses the ending off at the end with some “button-like” pizzicatos that evaporate into the thin air.

I highly recommend that violists get to know this work, and it is certainly an appealing choice for the

VOLUME 23 NUMBER 2 61 JOURNAL OF THE AMERICAN VIOLA SOCIETY 62 violist who is willing to undertake a major “avant- garde” project into their fingers. Other viola works by Jindrich Feld include his Sonata for Viola and Piano (1955), Little Sonatina for Viola and Piano (1974), and his Concert Music for Viola and Piano (1983).

The score for this work is available for rental at: Editio Bärenreiter Praha (American Contact) 224 King Street Englewood, New Jersey 07631 Tel: (201)569-2898 Fax: (201)569-7023 E-mail: [email protected] or [email protected] (rental department) www.sheetmusic.cz

Concerto for Viola and Orchestra (2004)

I. Andante con moto: Flowing II. Adagio III. Allegro vivace

Difficulty: Level 6 Duration: 33 minutes Premiere: Jethro Marks with Ottawa Symphony Orchestra

By Steven Gellman (b. 1947)

I very much enjoyed the convincing performance of this work I heard of the premiere with Jethro Marks and the Ottawa Symphony Orchestra, a remarkably good-sounding orchestra for a part-time group. Ann Frederking, long time secretary of the Canadian Viola Society and former secretary of the International Viola Society as well as a member of this orchestra, made me aware of this work, and I am very glad she did.

This new work was by no surprise well-received by the audience (their enthusiastic applause was evident in the recording provided to me by the CBC). I couldn’t help but wonder if there might have been some influence of the Bartok Viola Concerto, not in material, but in the basic skeleton of the piece. Actually, I think this is a good strategy in writing a

VOLUME 23 NUMBER 2 63 viola concerto, as is seems that the always good, transparent when the Bartok is becoming to most often soloist is playing, and very full The score for this concerto is avail- played and celebrated concerto when it is not. Gellman uses a full able free by loan through: among violists. The basic tempo compliment of winds and brass [2 Canadian Music Centre structure seems to be the biggest flutes (2nd with piccolo), 2 oboes 837 Davie Street influence. These three movements (2nd with English Horn), 2 Vancouver, BC are not performed attacca like the Clarinets, Bass Clarinet, 2 CANADA V6Z 1B7 Bartok, but the tempos are strik- Bassoons, 2 Trumpets, 3 Horns, 2 Tel: (604)734-4622 ingly similar, as well as the basic Trombones, Tuba] and a variety of Fax: (604)734-4627 feel of the movements. The first percussion instruments. The E-mail: [email protected] movement, Andante con moto: counting shouldn’t be a problem in www.musiccentre.ca Flowing has a similar flowing feel this work, as it is mostly in 4/4 like the opening Moderato of the meter with some 5/4, 6/4, 3/2, and Key to the Difficulty level chart: Bartok. Both concertos have 7/8 mixed in. The form of these 1 Very Easy Adagio second movements with movements is basically through- 2 Somewhat Easy sustained string chord accompani- composed, but there is some repe- 3 Intermediate ments (the Bartok is labeled Adagio tition and motivic material that 4 Somewhat Difficult religioso, though we now know that gives each movement some indi- 5 Difficult the “religioso” was added by Serly). viduality. The first movement con- 6 Very Difficult Both works also have a middle sec- tains two cadenzas, the first one tion that features a fast middle part being a short one with percussion, Please send all viola scores for with “buzzing bees” in the accom- and the second one being more review consideration to: paniment. The last movements of extended. The second movement is both works are also marked as strikingly beautiful in the opening, Kenneth Martinson, Viola Allegro vivace, with fast, furious and features an attractive English Professor 16th notes and an upward climb at horn solo that is later joined in University of Florida the very end of the work, ending duet with a solo bassoon, all School of Music, 300B AUD in bravura fashion. There are also against the transparent sustained P. O. Box 117900 some swift downward chromatic notes in the strings. The third Gainesville, FL 32611-7900 passages that are similar in contour movement features a fantastic tim- to the downward chromatic pas- pani part with glissandos, and is sage and the end of the Bartok first one of the most interesting timpani movement of the concerto. With parts I have ever heard. The Holst all of that being said, the work is influence is heard even stronger in completely original-sounding in its this movement, especially in the voice, and does not sound to me brass writing. The solo part sounds like Bartok at all, or any composer like great fun to play, featuring for that matter, except in some some very flashy octave glissando hauntingly beautiful spots where I passages and lots of fast 16th notes. am reminded slightly of Holst, There is a slow cadenza in the mid- especially The Planets. dle of the last movement which is later broken up by the return of The solo part features a large num- the fast material. The ending is ber of idiomatic slides. The viola flashy and concludes with a big writing is often lyrical which is bang, which will certainly bring later juxtaposed with flashy virtu- the audience to their feet every osic material. The orchestration is time.

JOURNAL OF THE AMERICAN VIOLA SOCIETY 64 RECORDING REVIEWS

By Carlos Maria Solare Asturiana – Songs from Spain ever, an occasional “woodiness” of and Argentina. Music by Falla, tone sounding perfectly appropri- Bach: Suites 1-3; Three Chorals. Granados, Guastavino, ate for Falla’s Andalusian exhuber- Jean-Marc Apap, viola; Quatuor Ginastera, Montsalvatge and ance. Granados’s Majas – alterna- Terpsychordes. Zig Zag López Buchardo. Kim tively sorrowful and coquettish – Territoires ZZT051103. Kashkashian, viola; Robert suit the viola’s voice better. The Levin, piano. ECM 1975. only problem I had listening to Jean-Marc Apap was a name new this recording is that, having to me, and after reading this CD’s There is a long tradition of tran- grown up in Argentina, I have liner notes I knew why: he comes scribing for a string instrument known these songs since child- from the Jazz and World Music music intended for the human hood, and missed the words most scenes, with which I can’t claim voice. August Wilhelmj, for exam- of the time! Kashkashian’s consis- more than a nodding acquaintance ple, arranged a number of tently expressive phrasing suggests at the best of times. Apap studied Schubert songs (the most famous in a couple of places that she isn’t at the Curtis Institute and is on one being Ave Maria) and arias thinking of the songs’ text but sees this showing an outstanding play- from Wagner’s operas for the vio- the melodic line abstractly (the er, with lots of things to say. His lin, and Leopold Auer’s Schumann evocatively illustrated booklet conception of Bach’s music is song transcriptions were champi- quotes Arnold Schönberg advocat- unequivocally based on its rhyth- oned by his student Jascha Heifetz. ing precisely this!). It would be mic, dancing aspects. Courantes The present arrangements by Kim nice to think that violists, goaded and Gigues breeze by, and even Kashkashian and Robert Levin on by this beautiful CD, might go the slower Preludes and were tried out by them in many on on explore, say, the viola sonatas Sarabandes gather a momentum performances, and work very well. by Torrandell or Guastavino. that gives them a sense of The viola sometimes takes over inevitability. Not that anything material from the piano, and effec- Telemann: 12 Fantasias. Patricia sounds forced of hurried: it is one tive double stops are added, in the McCarty, viola. Ashmont Music more side of Bach, the solemn best tradition of the old-timers Ashmont 9306. Thomaskantor for once relaxing at mentioned above. Some songs his local Leipzig pub. Apap has work better than others: I was Telemann’s Fantasias for unaccom- taken good notice of period per- much taken with Guastavino’s La panied violin are less ambitious in formance practice, and there are rosa y el sauce (of which the com- their scope than Bach’s cello Suites, lots of resounding open strings, poser once authorized a violin ver- let alone his Sonatas and Partitas, bariolage effects and embellish- sion) and Ginastera’s Triste (there is but they show an equally keen ments. Some unexpected slurs and a cello version by Pierre Fournier). musical mind at work, with many the odd alternative reading sur- Falla’s Canciones populares are often movements that recall parallel pas- prise the listener (this one at performed in Pawe Kochaƒski’s sages in Bach’s sets (for example least), but this is an exhilarating violin arrangement, upon which the Vivace of the D minor traversal of the first three Suites. the present one is based. All these Fantasia, with its echoes of the They are separated on the CD by songs are an inexhaustible treasure Gigues in Bach’s Second and Sixth a couple of the so-called “Leipzig” trove of tunefulness on which both Suites). On the other hand, fugal chorales, arranged for string quin- players revel. Kashkashian’s breadth movements betray Corelli’s influ- tet to beautiful effect. of tonal colouring is as amazing as ence: Telemann was a master of all

VOLUME 23 NUMBER 2 65 trades! For her recording on the Hoffmeister: Viola Concertos in technical requirements. Using vari- viola, Patricia McCarty uses a B flat and D; Twelve Etudes for ously sonata, dance and variation modern set-up while playing in an solo viola. Ashan Pillai, viola; form, Hoffmeister’s Etudes are historically aware way, with sparing Gulbenkian Orchestra; Christopher agreeable showpieces for a player use of vibrato and clear articula- Hogwood, conductor. of Pillai’s considerable talent. He tion. She stays “authentically” in does an excellent job, his remark- low positions, but uses less open This well-filled CD conveniently ably sweet tone remaining so in strings than a period player would. contains all Hoffmeister’s composi- the face of every obstacle. McCarty’s stylish embellishments tions for solo viola. The D major to the solo line are on the discrete concerto is of course extremely Viola Swirl. Music by Bunch, side: more could have been made popular, but this is only the third Coleman, Theofanidis, Gershwin of the dissonant potential of trills, recording known to me, and the (arr. Deborah Holden-Holloway) and some triplet rhythms should first to use the original text, since and Porter (arr. Bunch). Carol have been adjusted. However, on Atar Arad (Telefunken LP, 1976) Rodland, viola; Tatevik Mokatsian, the whole I find her interpretation had to make do with the old cor- piano. Crystal Records CD834. very convincing. The recording, rupt edition, and Hariolf made at the Meadowmount Schlichtig (Tudor CD, 2002) used Now in the faculty of the New School of Music (where McCarty a completely rewritten orchestral England Conservatory, Carol teaches), is warm and welcoming, score by Franz Beyer. Pillai and Rodland is a multiple prize-win- the one annoying point being the Hogwood have thankfully trusted ner in the US and the Isle of lack of track numbers for the indi- Hoffmeister – whom Beethoven Man. Her debut CD adventur- vidual movements. called his “brother in the art of ously features three contemporary music” – to know compositions followed by virtuoso what he was doing transcriptions of Americana by (Pillai can even be Gershwin and Cole Porter. heard playing along Rodland delves deep into Kenji AVS History & Reference Guide in the tuttis, which Bunch’s Suite, taking her time the composer sure- over the jazzy Scherzo, and turn- 1/4 page ly expected, as they ing the Lament into the work’s are written into the emotional core. In Dan Coleman’s viola part). Pillai’s atmospheric Summer, the viola handling of the rhapsodizes at some length over a solo part betrays quasi-minimalist piano back- Hogwood “period” ground. Christopher Theofanidis’s influence, being unaccompanied Flow, My Tears clearly articulated, was written in 1997 in memory almost “spoken”, of the composer Jacob with none of the Druckman. It is a mesmerizing all-purpose phras- study in tonal colors, which ing one often hears achieves an almost unbearable in this repertoire, intensity in Rodland’s heartfelt and plenty of open performance. In Rodland’s hands, strings. The B flat Gershwin’s pieces (Fascinatin’ concerto proves a Rhythm, Summertime and I Got worthy companion Rhythm) lack some of the insou- of comparable ciance of a Grapelli, Benedetti or quality and similar Heifetz, but she is more attuned

JOURNAL OF THE AMERICAN VIOLA SOCIETY 66 to the urbane music of Cole plays a trill in sixths at the half Solomon are a tried and true Porter (From This Moment On, close before the A minor fugue. He musical partnership, and their Begin the Beguine and Anything has a welcome light touch for the repartee in these two agreeable Goes), and is helped by the witty third Partita, which can potentially pieces is admirable, with echoing arrangements of Bunch, who is sound heavy-footed a fifth lower. phrases tossed back and forth himself a violist. Like Deborah The flute Partita, a work of a between the players. In Holden-Holloway’s Gershwin lighter character, is also played a Hindemith’s op. 25 Nr. 1, Slapin transcriptions, they are in the tra- fifth lower, in D minor. That there surely breaks a speed record in the dition of the “free arrangements” is room for it at all is due to (in)famous fourth movement, of Borisovsky or Primrose, and Slapin’s fresh tempi and to the which appropriately segues into bring this highly enjoyable CD to omission of some repeats. The the finale. Here Slapin unfortu- its foot-tapping close. recording reproduces beautifully nately perpetuates a misprint 11 the masculine tone of Slapin’s bars before the end (it should be a Baroque Preludes, Dances and Iizuka viola. trill between D flat and E flat). Fugues. Scott Slapin, viola. Eroica More famous players have fallen Classical Recordings JDT3304. Recital on the Road: What We into this particular trap, but sure- Did On Our Summer Evacuation. ly by now word should have got Behind the above title hide our old Hindemith, Bruni, Paganini, around! More’s the pity, because friends, Bach’s Sonatas and Partitas Bach, Rolla. Scott Slapin, Tanya the performance as a whole is for unaccompanied violin and Solomon, violas. Eroica Classical beautifully shaped and passionate- their less well-known cousin, the Recordings JDT 3265. ly played. Partita for solo flute. They are all performed on the viola, in a tour The CD’s title is to de force by Scott Slapin. Amazigly, be taken literally: this is Slapin’s second stab at this Slapin and music. I am not familiar with his Solomon (husband first recording of some ten years and wife) fled hur- Dampits ago, but the present one is an ricane Katrina and impressive record of his long occu- spent six months 1/4 page pation with some of the greatest on the road until music ever written. The technical they could get back hurdles in which this pieces aboud to inspect the are even more treacherous on the remains of their bigger instrument, but Slapin house. This music emerges almost unscathed from is – as Slapin writes the fugues and the Chaconne, even – “what kept us if one can disagree with some of going”. I don’t his solutions to the arpeggiato pas- know how one sages. At some places (especially in goes about review- the dance movements), the rubato ing or even critisiz- and agogic get in the way of the ing a CD made music’s flow, but never leading to under such condi- mannerism. I like very much the tions, but for what way some movements segue into it’s worth I must the following ones, like the say that I enjoyed Chaconne almost emerging from the duos by Bruni the preceding Gigue. Like Heifetz and Rolla best. – and almost nobody else – Slapin Slapin and

VOLUME 23 NUMBER 2 67 That off my chest, I can only admire Slapin’s digital flexibility in Paganini’s murderous stretches (Caprice Nr. 3) and his courage in tackling the Allemande from Bach’s 6th Suite in the original key. However, I am not completely convinced by the result in the latter case, since the permanent use of very high positions makes for tonal tensions of the wrong kind (the piece is written for a five-stringed instrument, and Bach makes full use of it!).

The Last Rose of Summer. Viola pieces by Kreisler, Radulescu, Kugel, Ernst, Scriabin, Zemtsov, Rubinstein, Haendel. Mikhail Zemtsov, viola; Irina Shishkina, piano. Natural Acoustics NA5001CD.

More than a regular commercial recording, this CD is unashamedly a calling card for the soloist: no information is given on the music (some of which is quite unknown), just a detailed listing of the soloist’s admittedly impressive achievements. Zemtsov – a student of Michael Kugel – follows on his teacher’s foot- steps with a virtuoso recital, recorded live. To my ears, the Rubinstein Sonata is ruined by a recording that confines the all-important piano to an acoustic no- man’s land. Most of the other pieces are either unaccompanied or have a simple piano background, and they work well, in spite of the over-resonant acoustic. Michael Radulescu’s 10-minute, tri-partite rumina- tions and Evgueni Zemtsov’s (a relative? we are not told) tuneful morsel are highly enjoyable. Kreisler’s Scherzo-Caprice sounds quite heavy-footed (and mem- ories of a performance by Nobuko Imai tell me that it’s not because it’s played on the viola). Kugel’s Prélude Ysaÿe finds Zemtsov in his element, as does Ernst’s Last Rose of Summer (in a transcription by Kugel that avoids some of the piece’s cruellest stretches without sacrificing any of its brilliance). It’s hard to see the point of the “Bonus Track”, the so-called “Handel” concerto, as “played by Dana Zemtsov (12 years old)”: this is quite OK as far as it goes, but it’s bound to cause the promising young lady much embarrassment in a few years’ time.

JOURNAL OF THE AMERICAN VIOLA SOCIETY 68 AT THE GRASSROOTS

Please send items of interest regarding Events we have planned for this year Local Viola Societies Arizona Viola Society viola activity at the grassroots to: include an open member’s recital in Jacquelyn Schwandt, president Louise Zeitlin, AVS Secretary, December, 2007 and of course this [email protected] [email protected]. year we are putting much of our Central Texas Viola Society Ames Asbell, president energy into helping plan and run the [email protected] 2008 Viola Congress and BRATS day Chicago Viola Society with Professor Nancy Buck and Michael Hall, president Arizona [email protected] Arizona State University. Idaho Viola Society Linda Kline Lamar, president – Jacquelyn Schwandt, DMA [email protected] Iowa Viola Society Christine Rutledge, president Idaho in two parts [email protected] Minnesota Viola Society Hello, happy violists! J. David Arnott, president [email protected] I have just returned from the first ever North Carolina Viola Society Scott Rawls, president Idaho Viola Camp. It was ablast. It was [email protected] a blast. You can see some pictures at Northern California Viola Society http://picasaweb.google.com/boisevi- Tom Heimberg, president Last row: Joni Bosh, Katie Shields, Stacey [email protected] ola8/ViolaCamp Rhoton, Monica Oechsner. Ohio Viola Society Middle row: Martha Hughes, Dr. Jeffrey Irvine, president [email protected] William Magers, Jackie Schwandt Idaho Viola Camp was a three-day Oklahoma Viola Society Front row: Sara Duce, Sally Taniguchi retreat/camping adventure. Each Matthew Dane, president Day included large viola ensemble [email protected] The Arizona Viola Society has and smaller viola ensembles, scale Oregon Viola Society Adrienne Brown, president become an active chapter after years class, and solo practice time. While [email protected] of dormancy. Last January we had we were camping at a state park, Palmetto Viola Society Constance Gee, president our first event, an evening of cham- classes were held at a church close to [email protected] ber music. We had a great turnout for the park. We were able to leave violas The Philadelphia Viola Society our first event and enjoyed reading in the church overnight so as not to David Yang, president viola duos, quartets, and quartets expose them to undue temperature [email protected] Rocky Mountain Viola Society with piano. It was a great way to get change, etc. Viola activities went Margaret Miller, president violists in Arizona together in an from 9-5 each day. We also went hik- [email protected] informal way and announce the ing and canoeing. Southern California Viola Society Jennie Hansen, president reemergence of our chapter. [email protected] – Jen Drake Utah Viola Society Claudine Bigelow, president In April the society hosted an evening (excerpted from Viola yahoolist posting) [email protected] of reminiscing with William Magers, Viola Club of MD/DC & VA who is Professor Emeritus of Viola at We have no new board members. Louise Hildreth-Grasso, president [email protected] Arizona State University. Those in Our chapter is doing well and we Virginia Viola Society attendance were privileged to hear of have plans to keep things going! Johanna Beaver, president his remarkable viola career and of his Seattle Viola Society LeeAnn Morgan, president great teaching successes throughout In February of 2006, Peter Slowik [email protected] the years. (Oberlin Conservatory) was here in

VOLUME 23 NUMBER 2 69 Boise for several days. We kept The Minnesota Viola Society has favorite years as a young violist, I him busy almost 24 hours a day! been quite busy presenting recitals still have my t-shirt and have He did master classes and taught and master classes! Dr. Michael remained friends with many of lessons at Boise State University Kimber was in town for ViolaDay those “royal” people. and a local performing arts acade- ‘07 and presented a marvelous my, performed a recital (music of array of all things viola including In April the OVS held an event at Bach, Hovhaness, Lane, Gardner, several of his own compositions Lakewood High School for young Rolla, Hindemith, and Reger) and and a fascinating talk on tempera- viola players in Ohio that made also performed with the Boise ment. In June, our past-president, me think back to this time in my Baroque Orchestra. Renee Moore-Skerick presented a life. The event was called “Viola recital with Dominic Dousa which Rocks!” and it was a wonderful In November of 2006, Lenny included music of Schumann, opportunity to develop new Schranze (The University of Clarke, Brahms, and Dousa. One friendships and to inspire young Memphis) gave a master class, of the newest members of the violists. The afternoon started with taught lessons and performed a Minnesota Orchestra, Matthew masterclasses led by board mem- recital at Boise State University Young, will be presenting a recital bers of the OVS in which partici- (music of Stamitz and Brahms). in September. Our new president, pants could perform individually Stella Anderson, has or play in a group. In the class I Best wishes, taken over and is eager to continue led we started the afternoon by – Linda Kline Lamar our strong presence in the viola playing a couple of games to get to world. The Minnesota Viola know each other, and then we had Minnesota Society will be represented at the a sight-reading party. Some of the next congress as well! music was pretty difficult and it was a wonderful opportunity for Respectfully submitted by everyone to learn something new. – J. David Arnott, DMA I really enjoyed how energetic Ohio in two parts everyone was when we were play- When I was a high school student ing, and they had so many ques- the viola players in my hometown tions to ask me about playing the were all very close friends. We viola that we ran out of time and formed a club called the Viola had to finish talking while we walked down the hallway. Renee Moore Skerik and Dominic Dousa Monarchy and we printed up in recital. shirts that had crowns on the front and our titles on the back. There A wonderful concert followed with was a King, a Queen, a Duchess, a performances by Peter Slowik, Princess, and many more… basi- Kirsten Docter, Lousie Zeitlin, cally every royal title that existed. Karen Ritscher, and Lembi There were also the “new bees” Veskimets. It was a rare treat to who had to wear yellow and black hear a performance given by these striped shirts for their first year in wonderful musicians and very the viola monarchy and carry the exciting to hear so many pieces for instrument cases and music stands. viola. After a snack break the after- Our “Monarchy” was much more noon concluded with an orchestra than a group of friends, we also of violas on the auditorium stage rehearsed weekly and gave regular for a group reading session of viola MNVS president Stella Anderson with performances. These were my quartets. Michael Kimber after Kimber’s recital.

JOURNAL OF THE AMERICAN VIOLA SOCIETY 70 I am not sure if any viola kings or miere of Greg D’Alessio’s “Alto Southern California queens emerged afterwards, but Rhapsody for Solo Viola”. The title the day was a huge success. I am of the piece is derived from looking forward to “Viola Rocks!” Brahms’ “Alto Rhapsody.” Of this this spring. work, Mr. D’Alessio writes, “ ‘The – Amber Smithson Alto Rhapsody’ is one of the high points of the literature for low female voice. So it seemed like a fine thing to appropriate it for a solo viola piece since the viola is SCVS ViolaFest the alto voice in the string family.” Ms. Docter played this highly difficult and rhapsodic work with amazing ease and flair. It is a piece that others should consider learning! The first half of the program (from left to right ) James Howsmon, Greg concluded with the Hindemith d’Alessio, Kirsten Docter, Alex Bonus, Melissa Kraut after Docter recital. “Duet for Viola and Cello”. The energetic rendition of this piece On a chilly winter’s evening last was played with Ms. Docter’s cel- February 23, 2007, Kirsten Docter list friend, Melissa Kraut. presented a thrilling recital for the greater Cleveland audience that Intermission for this concert was LA Phil violist Mick Wetzel teaching at warmed the soul! The site of this longer than normal. There was an SCVS ViolaFest recital was the beautiful and invit- amazing buzz of conversation and ing chapel at St. Paul’s Episcopal excitement amongst the members This past season, the Southern Church in Cleveland Heights. This of the audience while they waited California Viola Society had a ban- recital was presented as a benefit with great anticipation for the sec- ner year. We re-wrote our mission for the Ohio Viola Society’s annual ond half of the program. The sec- statement, added many new faces viola competition. ond half was played with pianist to our board, and hosted seven James Howsmon and included the events! And we have plans for lots Ms. Docter is a member of the Haydn “Divertimento for Viola more exciting activities this season. award-winning Cavani Quartet and Piano” and Brahms Sonata and a faculty member at the Op. 120, #2 in E-flat major. Both Our wonderful Board of Directors Cleveland Institute of Music. pieces were played with Ms. includes Piotr Jandula, who has With the quartet she presents con- Docter’s characteristic security of returned to the Board as our new certs all over the world. It was a technique and warmth of tone. Secretary, Andrew Duckles, the tal- special treat to hear her play as a The evening could not have been a ented cartoonist, as our Vice recitalist. Ms. Docter presented a more enjoyable one. If anyone had President, and in addition we have varied program that appealed to all wondered about venturing out on added Brett Banducci, who is in ages. The program opened with the cold winter evening, they charge of composer outreach, Gina the Marin Marais “Five Old returned home with great satisfac- Colletti, who so brilliantly organ- French Dances”. She and harpsi- tion of having heard a spectacular ized our first ViolaFest for kids, chordist Alex Bonus played with evening of viola music! Alma Fernandez, Karie Prescott, great stylistic flair that drew in the Nancy Roth, Daryl Silberman, and audience and announced that great – Louise Zeitlin Rachel Wirth. Our Treasurer, things were to come. A highlight Jamie Griffes, our publisher, Lori of the program was the world pre- Ives, and former Secretary and

VOLUME 23 NUMBER 2 71 guiding light, Mercede Shamlo, Miskolczy’s powerful rendition of Monica High School Viola Section and are still providing the continu- Bloch’s Suite Hebraique. premiering “Leave the Hills Alone,” a ity and support they have given new work written by Bevan Manson SCVS for so many years. Past offi- ViolaFest for kids was a day rich for the occasion. All participants cers and board members Pamela and full to overflowing with musi- wore a ViolaFest t-shirt with artwork Goldsmith, Ray Tischer, Tom cal food for our young viola com- by Andrew Duckles. Plans for this Metzler and Dan Thomason give munity. Gina was a great organizer season’s ViolaFest include a new piece us regular help and inspiration on and inspiration to us all. Sponsors by composer Paul Chihara. our Advisory Board. of the event were SCVS, AVS, ASTA, Metzler Violin Shop, The Southern California Viola In 2006-2007 SCVS hosted seven Lincoln Middle School and the Society embraces a large geographi- events - two collegial concerts, two Santa Monica School District cal area. We try to change venues viola ensemble reading parties, a full- music teachers. Thanks to gener- regularly, so that our far-flung day event ViolaFest for over 100 ous donations from the local com- membership has an occasional young Southern California violists, a munity of professional violists, event close to home. This season, viola improvisation workshop with scholarships were available for all Robert Becker will host an viola day Danny Seidenberg, and a Primrose who needed them, and the Metzler at Chapman College, in Orange party hosted by Pam Goldsmith. Violin Shop provided instruments County, and plans are afoot for a Most importantly, we had many won- for several violinists who were try- “Viola-Cafe,” an open-mic night in derful gatherings of violists, of all ages ing out viola for the day. West Hollywood. Check our web- and persuasions. The reading bashes site for announcements of future are always great fun, and Brett’s com- ViolaFest’s activities included activities, or send us your email poser outreach activities have gleaned rehearsals, performances and a wide address and we’ll put you on our us some new viola ensemble pieces to range of classes. Classes in note-read- mailing list. (scvs@amorepublica- look at this season, and possibly per- ing, switching from violin to viola, tions.com) If you are interested in form on one of our concerts. In addi- improvising, vibrato, shifting, left- programming any of the works we tion we have plans to do some dedi- hand speed, and Bach Suites were have presented this year, please feel cated composer reading sessions. lead by area teachers and professional free to contact us for information violists such as Patrick Rozales, Katie on obtaining scores. We celebrated the viola maker Cavallero, Daryl Silberman, Mark Womack at our first formal Josephine Liu, Mick Wetzel, Pamela Even better still, why not drop in concert last season, by surprising Goldsmith, Karie Prescott, Brett and join us? We always love to him with a performance of Maria Banducci and Kate Reddish. know if any of our AVS brothers Newman’s Four Hymns for 9 vio- Showcased in the middle of the day, and sisters plan to be in town. las, conducted by violist Scott Paul Coletti taught a masterclass fea- Please let us know if you have any Hosfeld, with Maria herself as the turing three of the advanced violists. concerts in our area, so we can let brilliant viola soloist, and per- Then he was joined by Mick Wetzel our members know. The viola ener- formed completely on Womack of the Los Angeles Philharmonic in gy in Southern California is high. violas!!! What a sound! Mark had an inspiring recital, accompanied by Come by and say hello some time! tears in his eyes for about an hour a guest student quartet from the afterwards. The concert also fea- Colburn Conservatory. – Jennie Hansen tured the atmospheric “A Two-For- President, SCVS One Trio” by David Walther for The festival culminated in a concert flute, viola and harp, performed by with all the students performing the Debussy Trio; Pam Goldsmith onstage in massive viola ensemble, and Marlow Fisher performing a playing an arrangement in G of stylish Stamitz Duo; and Victoria Pachelbel’s Canon, and the Santa

JOURNAL OF THE AMERICAN VIOLA SOCIETY 72 VOLUME 23 NUMBER 2 73 Ad Index Aspen Music Festival & School IVS Congress AVS History & Reference Guide Metropolitan State College of Denver Baldwin-Wallace College New York University Banff Centre Potter Violin Company Bard College Conservatory of Music Primrose International Viola Archive Boston Conservatory Purchase College Conservatory of Music/ State California Summer Music University of NY Cleveland Institute of Music RBP Music Publishers Connolly & Co., Inc. Robertson & Sons Crystal Records Roosevelt University Dampits, Inc. San Francisco Conservatory of Music David Dalton Competition ad Sanctuary Classics Eastern Music Festival Stulberg Competition Eroica Classical University of Florida Geoffrey Ovington USC Thornton School of Music Heifetz International Music Institute Vanderbilt University Heritage Insurance Services Weaver’s Violin Shop History of the Viola Yamaha Corp. of America

JOURNAL OF THE AMERICAN VIOLA SOCIETY 74