The Journal of the American Viola Society is a publication of that organization , and is produced at Brigham Young Un iversity. e 1985, ISSN 0898-5987. The Journal welcomes letters and articles from its readers. / Ed itorial office: BYU Music, Harris Fine Arts Center, Provo, UT 84602 , (80 1) 378-3 083 Editor: David Dalton Assistant Editor: David Day
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Payment to "American Viola Societ y- c/o Rosemary Gl yde, treasurer, P.O. Box 558 Rt. 22, Golden's Bridge, NY 10526. OFFICERS
David Dalton President Brigham Young University Provo, Utah 84602 (BO l) 378-3083
Louis Kievman Vice-President 1343 Amalfi Dr. Pacific Palisades, CA 90272 Harold KIntz Secretary 1024 Maple Ave. Evanston, JL 60202
Rosema ry C lyde Treasurer P.O Box. 558. Rt. 22 Go ldens Bridge, N Y 10526
M aurice IN: Riley Past President 512 Roosevelt Blvd. Ypsilanti. MI 48197
txtamvt BOARD Paul Dok tor Milton Katims Donald McIn nes Robert Oppelt Joseph de Pasquale Dwight Pounds Thom as Tatton Marcus Thom pson Francis Tursi Karen Tutt le Ann Woodw ard
COORDINAWR WITH CANADIAN VIOLA SOCIETY
A Baird Knechtel I FOUNDER
Myron Rosenblum
HONORARY PRESIDENT
William Primrose (deceased)
.~Cf:Y Chapterof the lniernationale Viola-Gesellschaft
XVII INTERNATIONAL VIOLA CONGRESS June 21-25,1989 The University of Redlands, Redlands, Californ ia
WEDNESDAY, JUNE 21 FRIDAY, JUNE 23 9:00-1 2:00 pm FINALS-Primrose Comp etition 8:00- 6:00 pm EXHIBITS OPEN DURING T HESE 12:00- 3:00 REGISTRATION-Chapel Narthex HOURS 3:00 MASTER CLASS- Kare n Tuttle (on 8:00 BREAKFAST AND VISIT T HE viola pedagogical techniques) EXHIBITS 5:00 SOCIAL HOUR 9:30 LECTURE-Hans Weisshaar, Violin 6:00 DINNER AND OPE NING Maker CEREMONY: Welcome, Philip 10:30 BREAK Swanson, Director, School of Music; 10:45 CON CERT: Paul Coletti-Ame rican David Dalton, President, Ame rican music Viola Society; guest speaker, Gunter 12:00 LUNCH AND VISIT TH E EXHIBITS Ojsterjek, President, International 2:00 LECTURE/MASTE R CLASS: Alan de Viola Society Veritch. Discussion will include a brief 8:30 CONCERT-Csaba Erdelyi overview of career paths open to the 8:00- 9:30 pm Exhibitor set-up violist with the primary focus on THURSDAY, J UNE 22 preparation for an orchestral career. 7:30- 8:30 am Exhibitor Set-up-Orton Session will also feature a master class 8:30- 6:00 pm EXHIBITS OPEN DURING TH ESE cover ing some standard orchestra l HOURS rep ertoire for the violist. 8:30- 9:30 BREAKFAST AND VISIT T HE 3:00 VISIT T HE EXHIBITS EXHIBITS 5:00 SOCIAL HOUR 9:30 CON CERT-Bernard and Naomi 6:00 DINNER Zaslav: The 20th Century Viola 6:00 Exhibits close 10:30 BREAK 8:30 CONCERT- Yuri Bashmet, Russian 10:45 LECTURE-RECITAL-Dr. Pamela Violist Goldsmith: "The T ransition to the SATURDAY, J UNE 24 Tourte Bow and its effect on Bowing 8:00- 5:00 pmEXHIBITS OPEN DURI NG TH ESE Articulation (wi th demonstrations of HOURS the changes in the viola literature) 8:00 BREAKFAST AND VISIT T HE 12:00 LUNCH AND VISIT THE EXHIBITS EX HIBITS 1:30 MASTER CLASS-Nannie Jamieson: 9:30 LECTURE-David Sch wartz on the Preparing student s for compe titions recording industr y and studio work 3:00- 4:00 VISIT THE EXIIIBITS 10:30 BREAK 4:00 CONCERT-Lucille Taylor-viola, John 10:45 MASTER CLASS AND LE CTURE Walz-cello, including Lutoslawski: Csaba Erdelyi Bucolics; Beethoven: Eyeglass duo; 12:00 LUNCH AND VISIT THE EXHIBITS new work: Miam i Jean VanAppledorn 1:30 LECTURE-Paul Siefri ed, bowmaker: 5:00 SOCIAL HOUR AND VISIT THE "What to Look for When Choosing a EXHIBITS Bow" 6:00 DINNER 2:45 CONCERT- New International Music 8:30 CONCERTO CONCERT: with for the Viola: Clyn Barru s, Franco Redlands Symphon y Orchestra, Dr. Belgian music; Ro berto Diaz, Latin / Jon Robertson , conductor. Rosemary Ameri can music; Gunter Ojsterjek Glyde: Road to Hamelin by Paul (Int'l Viola Society Preside nt), Sonata Ramsier for viola and narrator; for Viola and Piano to Franz Primrose Competition winner plays Zeyringer ,Op. 12 ('58) by Yugoslavian Bohrnstedt Concerto Premier; Martha composer Moroslav Milet ic Strongin Katz and Lyndon Ta ylor 4:00 CONCERT OF EXHIBITOR'S perform the Suite for Violin and Viola INSTRUMENTS, Paul Coletti and String Orchestra Op. 19, No. I by 6:00- 8:00 pm Exhibit Dismantling Kurt Atterburg, rev . 1946; Roberto 6:00 FINAL BANQUET-Speaker: David Diaz performs Robert W. Jones Dalton , President of th e American Concerto for Viola and Orchestra Viola Society; Henri Temi anka, Guest Spea ker 8:30 CONCERT- "Look What I Bratsche!" Nick Ariondo, accordion, John Acevedo: Kalamatiano for accordion and viola by Ariond o; Pamela Goldsmith: Colgrass work for viola and percussion; Debussy Trio performs Le Solei! Multicolore by Jacques Bordon; June Sunrise. Blue S ky, Symphonic Study for 12 Soli Violas by Kenneth Harding SUNDAY, JUNE 2S 8:00 BREAKFAST-Commons 9:00 MEETING: American Viola Societ y, Canadian Viola Societ y 10:30 BREAK 10:45 CONCERT-Martha Strongin Katz vrei. e A S i X C O R D ES 12:00 PICNIC LUNCH-Quad 1:00 PLAY-ALONG CONCERT-6th Fee squc du vicux r- hd teau de Forcb hei m, Frnnco nic Brandenburg Concerto, Stam itz Duets, [xrve ou xvc steele), Bartok Duets, etc. Tom Tatton, coordi nator
Program subject to change.
COMPETITION FINALISTS
The fifteen audition tapes for the Primrose Scholarship Competitio n were evaluated on March 12 by a jury comprised of violists Pamela Goldsmi th , David Schwartz and Virginia Majewski. The following were selected as finalists by this panel of judges:
Dan iel Foster, age 19 Obe rlin,OH Student of Jeffrey Irvine at the Oberlin Conservatory
Lisa Mood y, age 21 Vancouve r, BC, Canada Student of Ge rald Stan ick at th e University of British Columbia
Lisa Nelson, age 25 Golden Valle y, MN Student of Robert Vernon at the Cleveland Institute
Min g Pak, age 22 Oberlin,OH Student of Jeffrey Irvine at the Oberlin Conservato ry / Kai Tang, age 25 Honolulu , HI No curre nt teacher or educational affiliation CONGRESS REGISTRATION Name _
Add ress _
City/State/Zip _
Phone Present Posit ion _
'Are you an American Viola Society, Canadian Viola Society, or International Viola Society memb er ? ==:-cYes (Include membership verification) No (A dded $20 required. This additional fe e br ings to the ap plicant automatic mem bership in the AVS.)
Re turn to: XVII INT ER NATIONALVIOLA CONGRESS, Universi ty of Re dlands, School of Mu sic, P.O. Box 3080, Redlands, CA 92373-0999 Phone: (7 14) 793-2121, ext. 3260
Check app ropriate registration fee. (Incl udes all events EXCEPT banquet)
Full Confere nce fees:
Regular: Before May IS: $75 Students: Befo re May IS: $40 _ _ _ After May 15: $90 After May 15: $50
Dail y fees: Check ind ividual date(s) you play to atte nd.
___June 2 1 _ _ _ June 22 _ _ _Jun e 23 _ _ _June 24 _ _ ---'June 25
Regular: Before May IS: $25/day Students: Befor e May IS: $15/day _ __ After May IS: $30/ day After May 15: $20/day
___ -.Meals for entire Congress: $85 (Wed. ba nque t thru Sun . lunch; breaks/social hrs. extra) _ _ _ Opening Banquet/ Cerem ony: $15- Wed nesday, June 21, 6:00 p.m., Orton Center _ _ - Closing Banquet $ 15- Saturday, June 24, 6:00 p.m., Or ton Center _ _ _ Vege ta rian meals preferred
+If not attending all 4 days of the Congress, you may purchase meals sep arately on campus at the Commons , Orange Mill Cafe or local restaurants.
On-camp us housin g fees: Age _ _ ---'Sex Roomma te _
_ _ , Single Room: $25 per night _ _ _,Doub le Room: $20 per person/night _ _ _June 2 1 June 22 _ _ _June 23 June 24
_ _1_ 1will bring my viola in order to pa rticipa te in the pla y-along concert.
' To tal Pay ment enclosed:$ (Re member to include the required ad ditional $20 memb ership fee if not a Viola Society member). Make che cks payable to University of Redlands. No fees will be refunded after June I. Complete information will be sent upon receipt of registrat ion form with fee. XVII CONGRESS AT REDLANDS
Redlands is nestled at the base of the San Bernardino Mountain Range sixty- five miles east of Los Angeles on Interstate 10 in Southern California. With an average high of eighty-five degrees and an average low of forty deg rees, it is an ideal location between deserts and beaches. Ontario International Airport is the nearest served by commercial airlines.
Transportation between Ontario International Airport and Redlands may be arranged with Empire Airport Transit , (714) 877-4130, or Stage Coach Airporter , (714) 794-6066.
Housing Information
On-Campus housing is available on a first-come, first-served basis. If you desire on-campus, dorm-type lodg ing, please indicate so on your regi stration form. Include the amount in your check and your space will be confirmed by return mail.
The following hotel information is presented for your convenience. If you prefer to stay off campus, please contact facilities directly to secure a room. Those using off-campus accommodations must make their own arrangements for transportation to and from the U niversity of Redlands.
Obi Sngl Obi Sngl *Inland Empire Hilton $59 $59 *Goodnight Inn $31 $26 285 East Hospitality Lane 1675 Industrial Park Avenue San Bernardino, CA 92408 Redlands, CA 92373 (714) 889-0133 (714) 793- 3723
Best Western $43 $39 Mot el 6 $31 $25 1120 West Colton Avenue 1160 Arizona Redlands, CA 92374 Redlands, CA 92374 (714) 793- 2001 (7 14) 792-3175
Redlands Inn $34 $29 *The Inland Empire Hilton and Goodnight Inn are offering 1235 West Colton Avenue special rates for all those identifying th emselve s as participants Redlands, CA 92374 in the XVII International Viola Congress. This offer is valid (714) 793-6648 Tuesda y, June 20-Sunday, June 25, 1989.
Above room pri ces are rounded and include tax . All pri ces are subject to change.
AVS MEMBERS AND JA VS SUBSCRIBERS, K INDLY NOTE:
You have all received a notice through the mail in February that du es for 1989 should be submitted immediately to Rosemary Glyde, AVS Treasurer, P.O. Box 558, Rt. 22, Golden's Brid ge, NY 10526. If your dues are not rec eived by latest June I, your name won't be ente red on the mai ling list and you will not receive the summer and fall issues of JA VS. Please send du es now if you hav en't done this alre ad y. Your support is greatly apprec iated.
We have been assured by Barenreiter Publishers in Kassel, West German y, who produ ce the Viola Yearbook, that this publication will be sent to our members this spring. APPLICATION FOR MASTERCLASS PERFORMANCE FOR XVII INTERNATIONAL VIOLA CONGRESS
The International Viola Congress sponsored by the American Viola Society and the University of Redlands is featuring the following masterclass artists: Csaba Erdelyi from Hungary, now teaching at Indiana University, June 24; Nannie Jamieson of London, England, June 22; and Karen Tuttle from the Curtis Institute, June 21. In addition, Alan de Veritch, former principal of the Los Angeles Philharmonic, will give a masterclass and lecture, June 23, on preparing orchestral auditions. Masterclasses are open to performers from the ages of 15-30. Each artist will be prepared to work with four to six students on a broad spectrum of repertoire from the different style periods.
Students are encouraged to take advantage of this unique opportunity to perform for these distinguished artists and all violists will be inspired by watching them teach the performers. Please reserve your space in these masterclasses immediately by returning the following application form.
Fee for performers: $25, or fee is waived to persons enrolled for the full congress, June 21 25, 1989.
Name Phone
Address City/State Zip
Send with this application a recent cassett e tape which reflects your performing ability.
Please indicate compositions you would like to present for a masterclass and include a typewritten biography of your musical experiences, teachers, which competitions won, and repertoire list for the past few years.
Make checks payable to University of Redlands
Mail to: Lucille Taylor, Viola Congress School of Music University of Redlands P.O. Box 3080 Redlands, CA 92373-0999
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Tnomp ne de .I[ll.l:imilietl. p(lr Albert Durer .'( \" 1" ~i" · d (" , . Oxford======.1 Subscribers I!IIjoy a special 20% discount " Tllis volume is an inualu Playing the Viola able contribution to the strillg Con versatio ns with w ilha m Primrose player's bookshelf. The clarity PLAYING THE D,\\'ID DALJO ;-": , Hri,\llI1Il1 )ill/II\, U III' ,\T~ l t li with which Mr. Dalton has Foreword by JA ;'\.'OSSTA RK ER' . Ad'lln' the death , in !lJi'\2, (If the T(' 11 0\\" I1I'd distilled the idea s of thegrea t \'jolist William Pnmros e. David Dalton VIOLA l' n g'l,gl'd th ...' m u sician in ,1livclv ~l'ri ,,-' s III William Primrose forms a co nvcr sanous that tou ched \ )11 ;llmpsl ,III aSpl'Cb llf \'iOl'l tcch .uq uc. ~~l· r i o rn l ,l ncl" too nderi ul basis for a technical repertoire.r l'cIHd lllg , and Ill... torv Th i.. bOt'l-. approach a l l both violin and rs ,rtranscnpuon o t tha t l h ,l !tl glll', co nt
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(4 15) 861-5535 For eeeertpuve circulars or further Informati on wrtte to: dampits, inc. Box 493, Radio City Station. New YOrk , NY 10101 U.S.A. MILTON PREVES He never formally auditioned for th e 9 A Remarkable Musical Caree r CSO. Mischa Mischakov, the orchestra' s concertmaster at the time, had ruffled by some feathers by going outside the symphony to chose Preves as violist for his SCOTI WOOLLEY quartet, and the "rookie" came to the attention of Frede rick Stock at a house concert given by Mischakov's quartet. (This should have done this long ago," said "I house concert, incidentally, was hosted by Milton Preves as we sat down in a small Ralph Norton, an orchestra tru stee who dressing room below the stage of Ch icago's owned th e fine Montagnana viola Preve s Orchestra Hall. He has bee n wan ting for played for man y years.) Based entirely on some time to record some of the thousands what he heard that night, Stock offered of memories of his career as one of the Pre ves the next viola vaca ncy: "They put nation's leading orchestral musicians but me on the last chair. I was ver y insulted ," "somehow I can't make myself sit down he recalls. He laughin gly refers to that first and write it all out." A gentlemanly and season as his stint as "concertmaster of the congenial man approaching eighty, Mr. percussion," and he did not re mai n at the Preves was eager to reminisce about a back of the sectio n for long. musical ca reer that centered around his fifty-two seasons, until his retirement in Soloi st with th e CSO 1986, as a ma instay of the Chicago Symphony Orchestra's viola section . An The first of many appearances as soloist astonishing forty -seven of them were spent with the orchestra is particularly memorable as principal violist. And reminisce he did to Pre ves, It was at the Ravinia Festival, about CSO conductors from Frederick then as now the north sub urba n summer Stock to Sir Georg Solti, about colleagues home of th e CSO, soon after his appointment as principal. "Ormandy was and composers and soloists, about pla ying CI\OI.lT H ... S IX (: O.D J:$ chamber music and teaching and all the conducting Strauss's D Oli Quix ote, and myriad activities that occupied him during Feuermann was the cello soloist. 1 was, of his long and productive career. course, a relative unknown, but I must have done pretty well," because after the "Some of my colleagues have accused me performance Or mandy raved to the of playing in the orchestra under Theodore orchestra management abo ut this new Thomas (the founder, in 1891 of the violist. Chicago Symphony)," says Mr. Preves as our conversation begins with the question Pre ves naturally had man y opportunities of his tenure with the orchestra. In fa ct to solo with the CSO. He was an eloquent he was invited by Frederick Stock to j o i~ exponent of the Bartok Concerto, and cites the viola section in 1934, and was appo inted a performance of it condu cted by Carlo principal violist five year s later after three Maria Giulini, who serve d for a time as th e seasons as assistant principal. And though CSO's Princ ipal Gu est Conductor and remains one of Preves's favor ites as a he was not present during Mr. Thomas's th ~ directorship, his forty-seven years as highli ght. He also not es that last principal constitu te, as far as anyone installment of Fritz Rein er's complete knows, an unprecedented tenure in that recorded cycle of Bartok's orchestral work position with a major orchestra. "Well, yes, was the recording of the Viola Concerto 1 thinkythat iset a record," he modestly with him self as soloist. agrees. The viola repertoire has been enr iched A native of Ohio and a Chicagoan fr om by a number of compositions written for age twelve, Preves began his musical Preves, notably some pieces by Ernst Bloch. training as a violinist, and attended "During Kubelik's reign here , we had a conservatories in Chicago as a teenager. Bloch festival week where I per formed the "One night, the cons ervator y orchestra Bloch Suite and got a ver y nice mention needed a viola player, so I tri ed to sit down from him about how 1 did it, thank and play the viola.... The clef was G ree k goodness. At the end of the week I asked to me, but after that, I sort of went for it." him if he would conside r writing some He had found his nich e. pieces for viola along the lines of his Baal INDIANA UNIVERSITY SCHOOL OF MUSIC Charles H. Webb, Dean
VIOLA DEPARTMENT
Csaba Erde lyi Abraham Skernick Professor of Music, Viola Professor of Music, Viola
Mimi Zweig Associate Professor of Music, Viola
INDIANA UNIVERSITY SCHOOL OF MUSIC OFFERS YOU: • Internationally recognized faculty • Over 900 performances annually by students, faculty, ensembles • Four symphony orchestras, chamber / orchestra, new music ensemble, chamber For more information rnusrc contact: Dr. John Nagosky • Complete programs of study leading to Director of Bachelor's, Master's, Doctoral and Artist Admissions Assistant Dean Diploma School of Music • Scholarships, associate instructorships, Indiana University graduate assistantships, and other Bloomi ngton , IN 47405 financial aid available (812) 855 -7998 Shem suite for violin." Bloch responded a often played Mozart's string quintets. "Stock 11 year later with a suite called Five Jewish would never play first viola. The famous Pieces, three of which he later orchestrated G Minor Quintet has an eight-bar rest for as Suite Hebraique, Two of the five pieces, the second viola, and Stock would always Meditation and Processional, are dedicated miss his entrance. He said, 'There should to Preves. "I was very honored," he says be a cue there!'" simply. He also singles out an unaccom panied suite for viola (1953) dedicated to Solti's Successor him by Alan Shulman, "a very fine compos Preves offers mostly unreserved praise er" who was also a cellist with the NBC for the musicianship of the CSO's music Symphony, which was composed after directors under whom he played: Desire Preves had for many years championed Defauw, Artur Rodzinski(whose one-year Shulman's Theme and Variations for Viola tenure was "a stormy one"), Raphael and Orchestra, "a gem of a piece." Kubelik, and Jean Martinon, Sir George Solti's immediate predecessor, who was a CSO Music Directors violinist and composer as well as a Much ofour conversation dealt with the conductor, and whose Symphony No.4 colorful series of music directors who stood "Altitude" was composed to include solo on the CSO's podium during Preves's career. parts for most of the CSO's principal He was effulgent in his praise for Frederick players. But the years 1953 to 1963, under Stock, whose tenure lasted until 1942. "He Fritz Reiner (about whom more later), was a great conductor, and a great writer were for Preves a golden period, and the LYllA. and arranger of music, which most conduc orchestra "has clearly reached its peak" Vonuscrit de Saint·Blait~ tors don't do nowadays. In those days , he under Solti , who is in his twenty-first (IXe eieciet, did all the concerts: popular concerts, season with the CSO and will retire after children's concerts--well, maybe he took the orchestra's IOOth season in 1991. He a week or two off during the season, but gives a warm vote of confidence, too, to he was here all year and was very civic Daniel Barenboim, whose appointment as minded, which is another unusual thing. Music Director Designate and Solti's And in those days we had the reputation successor had been announced the day of having the biggest repertoire of any before our discussion (after having been a orchestra in the country. Stock would start badly-kept secret for months). Barenboirn the season, I remember, rehearsing with a has been a frequent CSO guest conductor pile of newly composed music, and we for twenty years, and Preves rejects the would just read it, and if he didn't like argument of Chicago's music critics, who something he would drop it on the floor. uniformly and vociferously preferred But, a lot of music was performed. He Claudio Abaddo, that Barenboim, while a would invite composers to conduct their fine pianist, is "unseasoned" as a conductor. own works, as well--Milhaud, Stravinsky, Preves is highly optimistic about the of course, Prokofiev, Rachmaninov.... He orchestra's future under its new director. was very strong in the standard German repertoire, but he played French music Apart perhaps from Toscanini, Fritz wonderfully, too . We went to New York on Reiner has probably inspired the greatest the orchestra's fiftieth anniversary, and one wealth of anecdote of any conductor, critic said 'a great German orchestra' and mostly centered on his fiery temper. Even another critic said 'a great French when gently pressed, Preves is reluctant to orchestra." Stock was especially popular add to that lore, though he no doubt could. with the musicians who played under him Instead, he offers a story to illustrate during the Depression. The orchestra's Reiner's "very quick mind." "When guest season then was only twenty-six weeks per conductors came, I wouldn't rub out our year, and Stock went to great lengths to bowings, but when any guest conductor arrange as many extra jobs as he possibly wanted a different bowing, I would put it could for the mus icians. in parentheses above ours, and I would make a note in the margin as to which Preves felt a particular kinship to Stock conductor had requested the different because Stock was a fellow violist. At one bowing. Once, when Reiner was conducting point there were weekly chamber music a rehearsal of the Academic Festival evenings which Stock attended, and they Overture, we came to a repeated figure of The BostonConservatory MUSIC 0 DA CE0 THEATER INTRODUCING: Faculty Artist EDITION PAX
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\ I; , ; Il l. l .\ I; \ 1; L \ \"I I' · ii·,·Il- .
D'cpree Ie Parnass e Francoie de T itan du Tillet. an eighth note followed by a sixteenth rest Scott Woolley is an attorney who writes 13 and a sixteenth note, and we were using an about the arts whenever he gets the chance. 'up, down-up, down-up' bowing that His wife Alison Dalton , a violinist. joined Reiner didn't like. He asked me, 'Where did the Chicago Symphony shortly after Milton you get that bowing?', and I told him it was Preves 's retirement.• from Krips, 'It gives me the creeps,' Reiner shot back," Quartet Playing MARKING ORCHESTRAL While the Chicago Symphony was the STRING PARTS center of his career, Preves's work with the orchestra by no means precluded other by musical activities. As has been noted, his love of,quartet playing began early, and EDWARD PETTENGILL the Chicago Symphony String Quartet, composed of the orchestra's principal string In one of our local orchestras, a new players , afforded him ample opportunity to pursue that interest: for many years the pr incipal violist arrived who was a recent quartet gave fifty concerts per year. With graduate of a rather pre stigious school of mu sic. As this person's stand partner I a changing of the guard in the orchestra . .. ' over the p~st several years, the membership rmtiated a discussion about marking the of the Chicago Symphony String Quartet parts, I was cut off with,"I write books in has changed, but Preves, along with my parts!" After the rehearsal I wondered recently retired co-concertmaster Victor if his school had also taught painting by Ait.ay ~nd two current CSO players, are number. This was the "last straw"--the active in what they have named simply the culmination of years of frustration with Symphony String Quartet. They continue over-marked parts. \ I i·. I . I . to pre sent a series of concerts begun over .\ CI:'\'! C I '1I01 :~ Pu t'l l, il tw:nty years ago by the ChicagoSymphony When I was first introduced to the violin my teacher explained that the bow move; occi de n ta l .t., Ia String Quartet at the Chicago Public eut hc d rulc de Library. in two directions, up and down, and that L hur-tres the direction is indicated by two signs:V (..'(11" .. ii.·clt" . As if a full-time orchestra position and and n . She also explained that the up active chamber music schedule weren't bows follow down-bows, and down-bows enough, Preves was also a popular teacher follow up-bows. In the second lesson I ju ggling as many as forty students at ; learned that if a piece or phrase starts on time. He also conducted two amateur the first beat the bow goes down, and if it orche stras in the Chicago area for many starts on the last beat the bow goes up, years. That he was able to maintain such unless marked otherwise. Judging by the a pace so energetically for so many years, way many seemingly competent professional and to do everything with good humor and string players overmark the bowing in the ir true professionalism, is nothing short of parts, we can only assume they never ama zin g. learned their first lessons.
As has been demonstrated by his ongoing I was taught fingering by carefully going ch~mber mu sic activity, Milton Preves's ove r each note in each position on each retirement from the Chicago Symphony has string and learning what finger to use in not meant retirement from the musical each circumstance. I was also taught that community. He still maintains close a fingering was marked only to indicate relati ons with his erstwhile colleagues and what position started the piece, when a attends CSO concerts regularly. He obvi ous change of position was indi cated, or when ly intends to take an active part in the city's a substitute fingering was needed. The way musical life in the years to come. The pace many supposedly professional string players ~ may have slackened, but the remarkable overf'inger their parts: ' .J .. career of this remarkable man goes on and ~r=J Chicago is the richer for it. ' y ,J / Ytf/3 o " Do you play violin , viola, cello, or bass? Subscribe to STRINGS " One can't imagine a more foll ow the market, compare prices, save authoritative, better -written money. magazine than this for the And there's mor e. See STRINGS for yourself: A"firstclass musicjournal with stringed instrument enthusi numero us well-illustrated articles on the ast," says LibraryJournal. violin, viola, cello, and bass," in the words of Choice: The Magazine for Col Eachissueof STRINGStakes you to a lege and Research Libraries. "Ma ste r Class"-with the Guarneri Subscribe byreturning the coupon. String Quartet, violinist Sigiswald Kuij r------ken, the Tokyo String Quartet, cellist ST RI NGSPOBox 767 Zara Nelsova, and many o ther worl d San Anselmo, CA 94960 class artists. Send me a year's subscription-4 You get the player's point of view on quarterly issues-to STRINGS for chamber music workshop s . . . higher just $20.00. 0 Payment enclosed. education for youn g string player s . . . Bill me later. SIZ ideal places for sum mer study . . . o Insider's advice on selecting a new bow. Common sense instrument care. Name The best insurance. Medical tips for mu SICIans. Address Plus reports of instrument and bow Ciw State ZIP auctions with complete results. You can I. .L_~:~~~: :!:~~~~~:~~~~~~ _
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Sidney Curtiss Leonard Mogill Michelle LaCourse Emanuel Vardi Evelyn Jacobs Luise Ira Weller
DEPARTMENT OF INSTRUME NTAL ENSEMBLE STUDIES THE N EWSCH OOL I NSTITUTE Richard Brodhead. Chair, Executive Director Helen Kwalwasser, Artistic Advisor forStrings Luis Biava., Artistic Director andConductor, Temple University Symphony Orchestra
FOR INFORMATION, PLEASE CONTACf: PROGRAMS Doctor of Philosophy Walter Weidenbacher Temple University, Box VLA Bachelor of Music Undergraduate Diploma (215) 787-8328 Esther Boyer College or Music Masterof Music Graduate Professional Studies Philadelphia, PA 19122 Doctor of Musical Arts in Performance
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L.P.S. Publications. Inc. P.O. Box 6046 • Ann Arbor. MI 48106 313/971-5744 help you be recognized as a most know ON TEACHING 17 ledgeable marker of parts. Never, never An Interview with Csaba Erdelyi by scribble /J;v ~n1t- through the cut bars. the British Violist Michael Ponder Someone else in the future might want to play all the music the composer wrote. Q: Tell me something about the way you Behold the mighty arrows! Remember teach? your Norton Scores with their ~? A A: A student may come to me with the diagonal arrow is great for reminding us of attitude, "I've paid my fees . I just want important printed markings we are prone your knowledge, so give me your know to overlook. Which would you prefer: J ledge . I bought your knowledge." This ? cannot work because in music the whole or s . G'rve me my arrows! Horizontal-----7$p person is involved. When someone says arr~ ws are also great for indicating tempo "Please teach me technique so I can play changes -'and-. There is nothing music," it is not possible because if wrong with rw't; or per"/' but the arrows somebody has talent, the music is there a are faster and neater. Contrary to popular priori. If someone says, "I'm bursting with belief (mine), I am not perfect. I tend to mu~ic but I have a problem," that's much make dumb mistakes, so I need a few key easter to remedy. I can say, "Look, I want (no pun)ntended). words t.o keep me on to show you what you do again st yourself. Another way would actually be more track . L {1tf1t ~ 11/11 «-, "7/I/Nt. 1j'Jrd- j/:s. should help us to eliminate th~ farci~al . natural to you." That's technique. The best way, I think, to teach a young b~' player is to make him realize that he is I realize I have not covered every aspect responsible, that the teacher cannot do it of music marking--one could write a small for him. He is already the most active force book about it.lnstead,1 have outlined what in his own life and must learn to rely on that fact. The teacher can show by example I consider professional, neat, knowledge " OT t: able, concise, and considerate markings. but must leave it to the student whose Cb " l' i l~ A Il de S. i" t - G~ r ll''''' choice it is to follow or not. de Bo. cbenille What we do with our own music is Our ' '( II' ~ i k lf.l . business, but what we do to orchestral parts that will be played by countless others over Q; Do you have a particular method of the years is not merely our own business. viola teaching? Non-professional marking is selfish incon A: I think one has to adapt the method to siderate, and displays ignorance.' Let us the student and I do have a method which clean up our marking and starta movement is based on body gravity. Everything is toward neater music and, consequently, concerned with lifting and dropping weight. better performances. So, I am a.ware of our anatomy, and I have a clear picture of what the joints do in Edward Pettengill graduated from the playing the viola. I am very conscious of Eastman School ofMusic , where he studied freedom in breathing as this makes the viola with Francis Tursi. He has played handling ofgravity and also hearing easier. with the Rochester Phi/harmonic Orchestra, Most of us who hold the instrument under and has also participated in some Eastman the chin are in danger of lensing our neck Rochester Symphony recordings and con ~n~ hea? muscles. When we do this, hearing certs. He lives in New York where he IS impaired. The stereo effect of two ears performs with the Binghamton Symphony. hearing in space is constricted. Freedom in B.C. Pops. and the Tri-Cities Opera. He is hearing is a most important technical also a piano technician.• consideration. I have' played without a shoulder rest. Some students of mine have retained their shoulder rests, and many of them have discarded them and now play without. I have patented a chin-rest that is most ~ ~ suit~ble for playing without ashoulder rest . - --- _ ..... lt grves you the necessary engagement of the chin while still allowing free neck and head movements and both shoulders to be free without concern. These chin-rests are r~...¥"'-~-.Jf"'_~_"1t7"...k""':..""a..~-..Jr..J:-1'_~ ~ ~.f%~ ~ ~ Violin Maker and Restorer ~ ~ WE BlN AND SELL g ~ VIOLINS, VIOLAS, ~ ~ CELLOS, DOUBLE ~ ~ BASSES AND BOWS. ~
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.' X GES .'I l; S IC I E XS F I . i ~e p ro jetee p' lll l' 111. r-athed rn l e de S trfls oQu rg- XI'·" "iecl,..' . made for me by Alexa nder Accessories in viola. I remember in my Phil harmonia 19 Eng land and in three different heights days, I often fo llowed the cellos as to what because peo ple have longer and shorter part of the bow to use which caused some necks. consternation among thos e people who wanted to ape the concertmaster. Although Q: You don't like shoulder rests because we hold the violas as the violin, abo ve you fee l they restrict playing? heart level, we often need to handle the A: I fee l there is much more joy in having bow more as a cellist. a pair of arms free to make movements Using a high elbow on the violin can like a pair of win gs than having a con sometimes be successful whereas this would strained left and right hand. produce a scratch on the viola. A viola playe r in order to get the best bite and the Q: How do you help some students get roundest sono rity out of the viola, needs to ove r the fear that the viola will fli ck out bend the wrist, needs to drop the elbow and from under their chin? raise the upper arm to that height where A: By showing that I can shift on any the armpit feels it would brush the strings string, an y distance, simply by using the from above . That's where the whole arm lift of the left arm and the weight of the arrangement is light and powerful at the head. Th e sound is much more open. All same tim e. Th ese things can only be de tha t is necessar y is that on e accepts th at veloped by years of viola playing. you don't have to feel th e instrument clamped securely betw een your shoulder Q: It's interesting you should say this. and your head. People should realize that Have you heard Nigel Kenned y's Walton their vibrato is inevitably tight because of Concerto, the record he made of the two the restriction of the left arm, th at th e Waltons--the violin and the viola concertos? ~l t L £ R O ~D £ ~ ~ E C C H ~~ IL L £ ~ shoulder jo int holding the viola causes a He's got a very good left hand-i-he's a very E ~ £OR~ £ D E LtT U tensio n and an exaggerated arm vibrato fine violinist. But in the viola concerto one '''mus"nt d~ r fni..~('d n " 5 ; ~d~ . instead of a relaxed wrist vibrato. Fingers can hear very clearl y that he's a violinist need to align themselves with the finger playing a viola. board from above the shoulder lever. If A: I actually wrote a letter of protest about we consider Pr imrose, he had fa ntastic thi s. First to the Controller of Music at the posture. He didn't use any sho ulder rest. In BBC, saying that I am a friend and admirer fact, he said that the ultimate aim is not of th is violinist, but I find it damaging and to have a chin-rest and to be able to pla y lackin g in understand ing of what the mean witho ut having the chin on the instrument. ing of a viola player is in th is century. I He could do it. So could Nathan Mi lstein . have a fa ntas tic friend who is a double He could simply do it by balancing with bass virtuoso, Wolfgang Gurtler. He can the left arm. It is possible and on certain play the Dvorak Concerto on the cell o but days, I can do it myself. Surely we don't I don't think he would accept a contract to need shoulde r rests for the security of the record it. hold. It' s secure without it. It's morally wron g fo r a violini st who has made a name as a soloist on the violin just Arches not Angles to pick the viola up as a side adventure and Q: You've been talking about the shoulder play it publicly . It is absolutely wonderful rest and symmetry- - gravity and we ight. that violinists play viola. As for those You say that th is is the technical basis of violists who refuse to play violin, I doubt yourteaching, Would you want to enlarge their competence. But it's one thing to do on that into other areas like bowing? it for enjoyment and another thing to make A: We mentioned circular shapes. I find it a pu blic eve nt whi ch actually obscures it very important th at no part of the bod y th e ide ntity of who is a viola player. should be angular. We should use arches I think the viola is a string instrument rather than angles. By the way, it is ver y equal to others and with a unique sonority. important to distinguish between violin and It is not simply an excuse to fill a gap . Th e viola technique. If th e player is talented , viola today is among stringed instruments a violinist can pick up a viola and make a the most personal direct human voice. If it good show of it up to a points But the is played as an apology, it's j ust as bad as bowing ar rangements that work for the if it were do ne as a condescending tempor violin don't produce the best result s on the ary excursion. The viola is a way of life and THOMASTIK DOMINANT THE NEW STANDARD OF EXCELLENCE
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The Northwest School A COLLEGE PREPARATORY SCHOOL grades 6 through 12 Announces a Full Scholarship Program Beginning Fall 1989 for its HIGH SCHOOL STRING ORCHESTRA
We are currently auditioning American and international applicants. Scholarships include full tuition costs (plus room and board where applicable). For more information please write or call: The Northwest School Founded 1978 Ellen Taussig, Admissions THE NORTHWEST SCHOOL HAS WON LOCAL AND NATIONAL 1415 SummitAvenue _ Seattle, WA 98122 RECOGNITION FOR ITS TEACHERS Telephone: 206·682·7309 AND FOR ITS ACADEMIC AND ARTS PROGRAMS. Fax: 206-467-7353 it is a heroic way of life, especially because as a goal to survive, it is soul-destroying. 21 of the desert that surrounds it in some I th ink that competition is always exciting. people's minds. Yet, when the viola is It bri ngs out the best in people at a young played in acco rda nce with its nature, and age. You see, a competitive societ y is an the message is communicated with techn ical adolescent society. So it's a tragedy when efficiency , it is equivalent to the violin or people who are gro wn- up still believe that any other instrument, and the listener has a com petitive society is the right kind be a unique experience. Many people from the cause they j ust want to maintain a feeling audience come to me and say they have of comp ari son instead of relying on what heard many violin recitals but that this was they produce as being the ir best. I find that very special. They want more of it! human nature is such that wh en one feels there is no disapproval and no fear , then Viola Timbre after an initial period of uncertainty (there Q: Why do you think that is? Is it beca use is an initial period of doubt, of feelin g of the timbre of the viola? lost), you suddenly find that you can blos A: In trad itional classical music, the som on your own. Those who believe in soprano part was always the most domi nat competition can then learnsomething from ing, most personal and beau tiful. At that you. You cannot put a price on the under time the viola was mostly fi lling harmon y. standing and acceptance of your own Th is started to change with th e equalization values. With in the mar ket system, there is of voices within the orchestra. In the really no pri ce fo r this kin d of value! As romant ic period, the viola was given long as we are in a competitive mode we specific acting roles to describe people's see an enemy in one another. As long as I cha racters: in Harold , "The Romantic see an adversary in you, I cannot produce Hero;" in Don Quixote, "the funny, busy my best. I can make a very good effo rt to guy who also likes to drea m." In Pierrot outdo you, and yet I am going to feel rather Lunaire the viola is given yet another tense and sick inside me while I am doing special charac ter. Today, we have no more it. heroes and no more prop hets. Today is the Compact Hand age of the individual who needs cou rage \"II" : L ~: A C [:O;:I} C OR U ES to express moral values, define problems Q: I'd like to hear more about the Por l"il and also believe in ult imate success . technical details of your viola teaching... de I'ubbuye de Saint -Denis The viola is in my opinion the archetypal A: I find a compact left hand very im ( XIlC sit-d e). instrument for the twentieth centur y, the portan t. Any disorganization within the most direct musical instrument that speaks hand must be eliminated. I always establish to people. But people who want to live in the whole hand in one position with the the past don' t reali ze this. People who want f irst and the fourth fingers down simul to play safe won't reali ze it. People who taneously. A compact hand means thateac h want to share present concerns about them fi nger has to have an equal touch toward selves and the problems of th e worl d come the thumb and to the lowest point of the to viola recitals. They identify with it. elbow, th e elbow point. Goo d intonation I give classes in many countries which depends not just on the right finger being att ract people on th is basis. I'm glad that on the right spot on the string, but also on more and more young people, talented, and the oppositio n felt in mee ting the thumb who are real musicia ns of their own choice, through the wood , and the feeli ng that the choose the viola because they simply like finger falls directl y int o the elbow through the sound. the tendo ns that run down th e fore arm. So your secur ity of position is reinforced by Q: Livi ng now in America, do you fi nd fee ling th is three point contact all th e time: the attitudes of musicians generally dif finge r, thumb, elbow. This way you will ferent to what you found in England? neither twist your elbow inward too much A: Yes. They are more competitive. They or hang it out on the left side . Your elbow go for it! must serve as a plinth to the hand. I like to prac tice semi- tone shift ing Q: T hat is a symptom of our socie ty, which goes like this: 1-1-4-4, 1- 1- 4-4, etc. presume. up to the octave on each string. You use the A: If we take competition as a game, I whole arm to shift , yet you keep th e com think it is healthy. If we take compe tition pac t hand together so that you never lose MEMBERSHIP ENROLLMENT FORM
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Send to: Rosemary Glyde, Treasurer P.O. Box 558, Rt. 22 Golden's Bridge, NY 10526 the 1-4 relationship. I adv ise prac ticing The Mental Approach 23 scales across the fourstrings in all positions S ometimes we don't like something in so that one can develop tonal hearing as our playing and we fee l we can't solve our well as getti ng used to the changi ng inter own problems. A way to overcome th is is vals within th e hand. I also like to go to the to consciously do the wrong thing, to extreme in tensing the muscles so that exaggerate what we don't like. If you are afterwards one can do maximum relaxation. stiff and you don't have a relaxed wrist This is a yoga principle. You can go to an vibrato, for instance, then exaggerate th.e ------extreme, like sticking out your left wrist stiffness in the left ar m. Really make It - - - as far as possibl e and at the same time pull dou bly stiff! Th en let it go. To accept a back your left shoulder so there is an problem is a way to fi nd a solutio n for it. absolute double stretch. Hold and relax. Now do the opp osite. Brin g in the wrist as Q: In your teaching experience, have you fa r as you can against the neck of the fou nd that most of your students have instrument and push your shoulder forward. reac ted in a similar fashion to your Feel the tension of the bice ps. Feel th e teaching? Or , are you quite surprised tension of the shoulder at th e back. Relax. sometimes by their level of acceptance? Play whole bows and turn as far left as A: When I arrived at Bloomington last possible while continuing playing. Your year, I was give n a class. Very few people knees remain the same, but everything else knew me. It was a difficult peri od for all stretches as far as you can. Then swing back of us at th e beginn ing. I knew that what to the opp osite side, stretch and feel what I was teaching had worked in the past and happens to the muscles in the back aro und I had trust in my approac h. There were a the shoulder blade s. few students who were afraid that what I Finally, when you swing back naturally, was teaching was going to upset them and you will find the best medium balance. that they would have to change. Basically, Pract ice in front of a chair, standing. Th en there were two groups of people. One just bend your knees and continue playing. group said, "I' m glad I'm here. I'm in the Alternate between standi ng up and sitting rig ht place." The oth er gro up, whic h was down. Play continuously. Your bac k must much smaller, was somewhat distu rbe d. be the same, whether you are in an orchest ra or quartet, playing solo, or Q: What did you do? sta nding up. If you are used to th is, much A: I explained that we share a common back and neck ten sion disappears. purpose and that it is a great joy and Regarding the right hand, I like to responsibility to play the viola and be v I v. L E establish in the student the feel ing that all musicians. That a teacher is not a Big .\ '! l: .\ TR~ o ~· CI :-'[ C lJH 1J ":; I tone is generated at the point where the arm A Dad dy who provides all the goods . Chu pitc uu d~~ . ' extends from the trunk. You need to feel teacher is an older colleague and the teach Sa ill t-(;CO('ges de 13 (> ~ r1 W l'\ illc that you put your armpit directly onto the er's responsibility is to respect a student's XIIC sii·d,- . string that is being played . Once you do abili ties and, when necessary, sugges t this, you will find, like cellists, that the changes based on experience. It is the knuckles of th e right hand are more or less student's responsibility to conside r and parallel with the bow and not fa voring the accept these changes even if the y may be index finger. Even towards the tip , one unfamiliar. This acce ptance is proof of the should tr y to maintain a parallel medium student's tru st in the teacher. If that trust position of the knuckles over the bow . isn't th ere, then the student shouldn' t be Playing,! spiccato alternately touching the with that part icular teacher. stri ng, and playing an inch above, silently, is a very good way to ensure that you are Q: Do you have any set studies wh ich you not dependent on the string. Whether you teach ? are in the ai r or on th e string, make sure A: Yes, I do teach the Flesch scale system, that the bow and hand are engaged in the Sevci k opu s 1, 2 and 8, and Schradieck left same actio n. Th en you are controlling the hand techniques, and also the ten etudes in bow. T his is also very good for practicing changing positions by Lukacs, whi ch is a long notes, piani ssimo. fa ntastic treasure tr ove of diffe rent ways Samuel Koistein & Son Ltd.
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Los An geles, CA 90049 At better music stores Of write for i nlor ma ~ o n to: SUPER ·SENSITIVE MUSICAL STRING CO. 6121 Porter Rd., Sarasota, FL 34240-9542 "Over Half-a-Century of Musical Product Excellence" of shifting. Each exercise teaches you a A span of more than thirty-five years 25 different shifting technique and then a separated my lessons. So while busily combination of these techniques. Eventually engaged as a law teacher and practicing you can play with ease fingerings that at lawyer and writer of professional articles first sight you would have felt were just not and books, I experi enced the joys, pains, a part of your technique. You de velop a and difficulties of learning to play the maste ry of the fi nger- board, playing viola. Lukacs. For teaching style I use Hoff meist er and Carnpagn oli up to the contem What did that experience do for me , for poraries Lilian Fuchs and Maurice Vieux. my students, my clients, and my law yer colleagues? Playing the viola, or any Q: Your predecessor at Ind iana University musical instrument, is a skill activity. But was Kim Kashkashian. Who preceded her? for me as an adult it is also a highly A: Ge orge Janzer. Although he retired as int ellectual activity. It so happens that law viola professor , he still teaches chamber school professors recognize certain intel music. Before him , was Primrose. I'm lectual pursuits of law, but generally teaching in Primrose's studio, wh ich is a disdain the skill aspects of law yering. (In great honor. Recently, there was a string this short piece you will have to ta ke my competition and the finals were held in word for it.) When I was a student in law Bloomington. The standard was very high. school many years ago, it was not uncom I heard six viola players who represented mon to hear a professor remark that law the States and Canada from the west to the schcols are here to teach the students to east coasts. Everybody performed well. It think. Stud ents will learn "how to do," i.e., was beautiful. There was a general feeling perform as a law yer when they get out that the viola is in good shape. I am lookin g int o practice. Law professors still say that forward to my stay in America. although there ar e somev- rnyselfincluded
- who have gotten the idea that lawyering, \ J i I I" n \".\ 1. 1·: .\ l I " ' ! Csaba Erdelyi received his early training like playing a musical instrument, involves in Budapest under Pal Lukacs. He later knowledge, thought, mentalconcentration, I );, ~ - I · .-I ; , · f d.- 1" ;g' l i ~ , ' d (> XIII-,,'\ studied with Yehudi Menuhin and Bruno and j udgment. '~ C il h a d " ..:. \ 111'- ..i;·d,' . . Giuranna. In 1972 he became the only viola player ever to win the Carl Flesch Inter Armed with the experience of a viola national Violin Competition. He was prin stude nt, I began try ing to apply th e musical cipal violist o] the Philharmonia Orchestra performing process both to teaching in London and a member of the Chilingirian law yering and to the practice of law. String Quartet. lIe was professor of viola at the Guildhall School o] Music and now Principles Involved teaches at the University of Indiana where The law office in which I was a partner he will be conducting a masterc/ass July 31 at the time was a gro wing, developing August 5.• office. I took on the responsib ility of training some of th e new lawyers. That was, for the most part, a one-to-one rel ationship much like the relat ionship of LAWYERING AND LEARNING music teacher to stude nt. I was driven to THE VIOLA find th e general rul es and principles of lawyering just as I was driven to acquire I by knowledge of th e general principles of performing a musical instrument. LOUIS M. BROWN At th at time , I read everything I could get my hands on that desc ribed, di scussed, am a lawyer turned law professor and I illustrated, and explained playing a stringed back and forth from professor to law yer. instrument. Just recently, I read th e While those activities were going on I excell ent book Playing the Viola: Conver began, seriously at the age of fifty, to take sations with William Primrose by David lessons, to learn to play the viola . Yes, as Dalton (Oxford University Press 1988). I a youngster, I had about 150 lessons on tried to find in the art of lawyering the the violin. Then with some delight, I qu it. general principles of that musical art, and BOSTON UNIVERSITY SCHOOL OF Phyllis Curtin, Dean, School for the Arts MUSIC Robert Sirota, Director
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Violinmakers Publisher: Julius schonwetter jun. A-B230 Hartberg, Michaeligasse 26, Austria explain the parallels to young lawyers. Competitions 27 Lawyering is not just doing, and practicing N ext, the activity of music performance the viola is not just playing. It is play ing competitions intrigued me. So, through a with intelligence, understanding , and with chai n of events, I devel oped a Client inward drive. In fact, I soon learned that Counseling Competition which essentially practic ing can be as bad as it can be good. is the performance for successive consul The notion that one learns by practicing is tati ons of the same client. That has grown largely a fal se notion. Practice can be to be an international competition involving repetition of mistakes. So, too, with more than half the law schools in United lawyering. One does not learn by doing States, Canada, and England. The most alone. One learns by applying the general difficult aspect of that activity has bee n princi ples of good lawyering to the act ivity the development of the standards for of lawyering. judging the performance of a lawyer. Often I have alluded to the judging of music Of course, there are people who have an competitions, the standards for which I innate ability for playing a musical have never seen. (Are ther e published instruments as some lawyers do for lawyer standards?) There are now published ing. I do not know much about my innate standards for judging th e performances in talent for lawyering, but I do know that I the Client Counseli ng Competition. have little innate talent for viola pla ying. And maybe that, for me, has been a bless I have also foc used some atte ntion on ing in disguise because I have had to learn lawyer performance in the law office not step by step. I have had to break th ings only with respect to the highly significant down into small parts and learn each part. lawyer-client counseling act ivit y but also That may have been both a pain and a 'Ill. ' , " ' ~ ' ! •.U ~ IH. ~ to other aspects of lawyerin g. I regard the P."-!,,,l .1.' " . ' :: l ; ~ , ' d~ }[.,i. _,,,· , ,, - . i;....l" pleasure to my music teacher, the late law office as a laboratory for study and Armand Roth, who was in the viola section research, and so I go back and forth from of the Los Angeles Philharmonic. We both law office to law school. enjoyed the mental exercise of finding those small parts, those small steps, and Not the least of the important observa putting them together to get the result that tions that comes directly from music is the per forming demands. art of listening, so important in music performance. I learned to apprecia te its One of the vital performances of a lawyer importance in indi vidual practice and in in the law office occurs during the lawyer pla ying chamber music. Theart of listening client relationship. I began in law teach ing must be stressed to lawyers in the lawyer to concentrate attention on that relationship client context. Almost from the start, the which, at the time, was something relatively growth of legal counseling education has new in law school teach ing. How could I laid claim to the importance of the tech make it par t ofclass work? Two techniques nique of listening which I have come to in music education came to my rescue . One believe is a complex activit y. In this was the class lesson which, to a limited country we require graduation from college amount, I had experi enced. I could put my as a prerequisite to law school entrance. students through the experience of being Although we do not specify or require any a "lawyer" for a "client" in a simulated par ticular courses or major in college, we setting. It became a class exercise when I generally ind icate that English, History, applied the music performance class Political Science, Mathematics, Philosophy, techn ique. Each student was required to be and some other areas are acceptable or prepared to be a "lawyer" counseling a recommend ed subjects. I have never seen client in some general subject matter. One music performance listed among the recom student was called on to be the "lawyer" mended subjects for pre-law study, with othe r stude nts obser ving the act ivity. although it should be. Th e stude nts learned in a kind of vicarious way much as do students in a class lesson Th is opinion arose out of a personal in music. experience in becoming acquainted with "QUARTET" by Homer Clark
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Payment to: PRIMROSE C-550 HFAC BYU Provo . UT 84602 a law student who had been a major in 29 violin performance. I learned something that should really be self-evident, The concentration, the habit of practicing, the ability of self-criticism and some of the other qualities gained from a music pe rformance background are quite similar to the attributes of a good law stude nt. They are equally fine characterist ics of good lawyering.
Louis III. Brown earned his A.B. f rom the University of Southern Calif ornia. 1930; J.D. at Harvard University. 1933; and LL.D. f rom Manhattan College. 1977. He is Professor of La w Emeritus. University of S outhern Calif ornia and in Counsel with Sanders. Barnet. Jacobson. Goldman & Mask in Los Angeles.• IJ II O T !! \ "iln il de 1. u lb o' drnle de Tro" o ,'" 1< s i...· I~ l . - SVEN HELGE REHER ORIGINAL COMPOSITIONS Twelve Studies for Intermediate Viola Hig hland Music Company Twelve Studies for Viola Highland Music Company Sonata for Solo Viola Highland Music Company Cuenca-Rapsodia Para Flauta Y Viola Union Musical Espanola Essay for Viola and Piano Union Musical Espanola ARRANGEIIIENTS AND TRANSCRIPTIONS Christmas lIIusic for Two Violas 39 Pieces For Viola (In The First Position) with Piano Accompaniment FOR FURTHER INFORMATION, PLEASE CONTACT: MR. SVEN REHER 258 W. Ala mar Ave. # 2 Santa Barbara, CA 93105 TEL (805) 687-2770 ASPEN MUSICFESTIVAL AND SCHOOL 40 YEARS OF EXCELLE CE Excellent performers, excellent teachers in an environment that inspire 0 0 • the standard which has prevailed from the very beginning ofthe Aspen Music Festival and School. Join us for our 40th Anniversary celebration. Applications and information: Aspen Music Festival & School, 250 W. 54th St., 10th floor East, New York, NY 10019, (212) 581-2196. Gordon lIardy, President Jorge Mester, Music Director 0 1 10 B E R N A R D C A M U R A T \ 0101.1 1\. VIOLA. CELLO A:":D ACCES.-ORI E.- RARE :\1\D CO :" T E ~ I P O RA R Y RESTORAT IO NSA:'\D REPAIRS n ·ESDAY - ox N. O RAl GE G ROVE AVE. T HR LOSANGELESo SAT RDAY CALl FO RI IA 90()--i6 Ill--! 2 1;1l .6SH.H95 7 '-D LI -----J1D From the interest as serious students of the 31 instrument. I try and interest any music related businesses in advertizing in Presidency JAVS, and I know of other members who do the same. Then there are those of you who share your enthusiasm and endorsement of what the AVS is trying Dear Colleagues, to do, which results in new memberships from among your circle of friends. This I look forward with great ant icipation is all appreciated. to the XVII International Viola Congress June 21-25, at the University of Membership solicitation fliers are Redlands, California. As you see from available for your use from my office on the advance notice of the congress in your request. Last year over one this edition of JAVS, a splendid program thousand of these were sent out with has been put together by Lucille Taylor , good response. This year we wish to host chairman, Louis Kievman and concentrate on and reach most violists Donald McInnes, our AVS representa who play in U.S. orchestras, both tives on the planning committee. To professional and amateur. Before I leave these colleagues is due special thanks office, I would be gratified to know that and acknowledgement for the consider my successor would have the support of able time and work they have devoted an organization one-thousand strong. toward this congress. That is a goal and, I think, not an unreasonable one. Besides the lure of the congress itself, the 1989 site is located in one of the I hope to see a strong representation prime vacation areas of our' country. I of our members at the congress in June. mention this because there seems to be As I read through our membership list, I every reason for us to gather up our recognized many names as close students, family, and friends and go to associates, friends, or acquaintances. Southern California in June. For some Then there are those of you whom I v I ?: I. E A I) E r X c: ,. 1\ n E ~ years, the administration of the don't know. A congress is the place to Yitrui l de luhbuvc d,' Il,,"-Po,·t :'\'"'111 11 ,,,Jip. . ' XI II " si..·t- le. American Viola Society has sought a meet. Please give me the opportunity to host institution on the West Coast for our gathering, and now we have it. ~~~ When I took office as AVS president about two years ago, there were three David Dalton, AVS President hundred members. We now enjoy twice that number. This growth is gratifying and is attributable in part to the excellent support of members of the AVS presidency and board. With greater financial resources from which to OfInterest operate, we are able to strengthen the AVS Endowment, move from the brink of penury, and contemplate undertaking some worthwhile projects, such as ZEYRINGER PORTRAIT commissioning new works. Our members give encouragement and support of these On 10 February 1989 in the Musik aspirations through their continued Hochschule of P611au in the province of membership. Can members contribute Styria, Austria, a celebration was held in even more to strengthening our honor of Professor Franz Zeyringer, organization? Yes, and in a variety of past president of the International Viola ways. My class of viola students--from Society. Sponsors of the occasion were teen-ager through college age- -all the IVS and the City of P611au who were belong to the AVS because I emphasize honoring Zeyringer as the founder of that membership is really in their both the International Viola Society and ERIC CHAPMAN VIOLINS,INC. VIOLINS • VIOLAS • CELLOS • BOWS Sales • Restoration • Accessories Bow Rehair While You \\fait • Appraisals 604 Halstead Avenue Mamaroneck NY 10543 914-381-4616 the Mu sic School in his hometown, and North German Rad io Orchestra 33 who had recently retired from the c/o Landesfunkhaus Niedersachsen d irection of both organizations. The Verwaltung, Rudolph-von-Bennigsen celebra tio n, which too k on the form of a Ufer 22, 3000 Hannover I, musical offering by friends and W.Ger many associates, include d wri tten and spoken tributes in recogn ition of Profes sor Hamburg Ph ilharmonic Orchestra Zeyringer's contributions on a local and c/ o Orchesterburo des Phil international basis , and were given by harmon ischen, Staatsorchesters, 2000 the Burgerrneister of Pollau and Hamburg, Staatsoper, West Germany Professor Gunter Ojstersek, president of the IVS. West German Radio Orchestr a c/o Programmbereich It was suggested last year d irectly to Musik/ Orchesterburo, Postfach the Biirgermeister of Pollau by David 101950, 5000 Kal n I,W.Germany Dalton, AVS president, that a fitting me morial be established in the Assistant Principal community in behalf of Zeyringer, and Tulsa Philharmonic that with the approval of the AVS c/o Phillip Wachowski, Personnel pres ide ncy, the AVS would make a Man ager , TP, Harwelden , 22 10 South donation toward that end. The Mai n, T ulsa OK 74114 USA Burge rrneister replied that the ci ty wished to commission a port rait of Se ction Professor Zeyr inger that would hang Cit y of Birmingham Symphony Orch. permanently in the Musik Hochschule c/o Michael Buckley, Asst. Chief ' 11l.L I: D r , ... :. , • ••• r .. , '",n, . l:o a Dl. which he directed fo r over three Ex ecutive, CBSO, Paradise Place, ~1 " l'IluC'rI ' d~ I. lJibh...lh '·~ lI ~ nOll;oa.l.. decades. The Canadian and West German Birmingham B3 3RP \I , .. .. j.·d f . chapters of the IVS also contributed to this portr ait which includes a plague of Mi nnesota Orchestra recognition of th e contributors. The c/o Ronald Balazs, Personnel Manager evening's comme mo ration in February Mi nnesota Orch estra, I I II Nicollet culminated in th e presentation of the Mall, Mi nn ea polis, MN 55403 USA portrait of Zeyringer to the school. Li ncoln Symphony Orch estra c/o Dr . Robert Emile, School of Mu sic Univer sity of Nebraska-Lincoln, VIOLA ORCHESTRAL Lincoln , NE 68588 USA VACANCIES Virg inia Symphony Orc hestra Principal c/o Robert W. Cross, Artistic Ad min. Tulsa Philharmonic P.O. Box 26 c/o Phillip Wachowski, Personnel Norfolk, VA 2350 1 USA Man ager , TP, Harwelden, 2210 South Main, Tulsa OK 74114 USA Granada Chamber Orchestra c/o Centro 'Manuel de Falla', Paseo de Vanco uver Symphony Orchestra los Ma ntires, Granada, Spain c/o Mic hael Wall, Pe rsonnel Manager VSO. At the Orpheum, 60 1 Smithe St. orth G er man Rad io Orchestra Vancouver, BC Ca nad a c/o Orchesteri nspekt or, Roth enbaum chau ssee 132- 134, 2000 Virgi nia Symphony Orchestra Hamburg, West Germany c/o Robert W. Cross, Artistic Administrator, P.O. Box 26 Berlin Philharmonic Orchestra Norfolk, 23501 USA c/o Matthaikirchstrasse I, 1000 Berlin 30, West German y orth German Rad io Orchestra c/ o Orchesteri nspektor, Rothenbaumchausee 132-134, 2000 Hamburg 13, West Germany 34 AUCTION RESULTS 1,061 Hawkins "A General History S am & Rie Bloomfield Foundation of the Science and Practice Collection of Violins and Bows sold at of Music" Sotheby's , London, Wednesday, 23 2,972 Hill "Antonio Stradivari His November 1988. Life and Work" (#1 of 100 cop ies) $ 140,118 Nicolas Lupot violin 2,335 Hill "Antonio Stradivari His 1,103,960 Joseph Guarneri del Gesu Life and Work"(# 12 of 100 violin" copies) Nicolaus Kittel silver 1,698 Hill "Antonio Stradivari His mounted bow Life arid Work" (#29 of 100 46,706 Francois Tourte silver cop ies)' mounted bow 2,547 Hill "The Violin Makers of 137,995 Jacob Stainer violin the Guarneri Family" (#92 of 8,916 Remerus Kiessern, Baroque 200 copies) violin bow 637 Hill "The Violin Makers of 152,856 Francois Tourte gold the Guarneri Family First mounted violin bow" Edition" (with signatures of ~~ 89,166 Jean Baptiste Vuillaume Yehudi Menuhin-Albert violin (The Caraman De Spalding-Issac Stern-Benno ~ Chimay) Ra binoff- Josef Gingo ld) 244,145 Premsyl Otaker Spidlen C I ~ Q v i r e ... e c e e e e "The Violin Makers of the e violin \"itrnil de. Grand. Cordtliert de In rue Gu arn eri Fa mily" rtf! Lcureine (u · . iklel. 42,460 The Ex-Lipinski Francois 2,972 Hill An ton io Stradi vari His Tourte silver mounted Life and Work violin bow 382 Hjo rth "Danish Violins and 29,722 Francois Tou rte violin bow , their Makers" gold mounted 1,316 L'Esposizione di Luteria 97,658 Nicolas Lupot violin Antica a Cremona Nel 1937, 31,8 45 Silver mounted Francois Catalogue of the 1937 Tourte violin bow (The exhibition in Crem ona Ex-Sedlak) 679 Lutgenforff "Die Ge igen und Go ld and Tortoise shell Lautenmacher" Nicolaus Kittel violin bow 1,130 Lyon and Healy "Th e Hawley 435,2 15 Domenico Montagnana Collection of Violins" Violi n 849 Max Moller "The Violin 36,091 Francois Tourte, silver & Makers of the Low Countries" tortoise shell mounted 1,103 Music Loan Exhibition, The violin bow (EX-Albert Retrospective catalogue of the Spalding) London 1903 Exhibition 42, 460 Francois Tourte silver - 530 Poidras "Dictionary of Violin mounted violin bow (Ex- Makers Old and Modern" Tobin) 1,698 Roda "Bows for Musical Doring "How Man y Instruments of the Violin Strads?" Family"# 84 of 200 1,804 Doring "The Guadagnini 1,804 Vatelot "Les Archets Family of Violin Makers" Francais" (2 volumes #103 of 40 Herbert Goodkind "Violin 250) Iconography Antonio 637 Vatelot "Les Archets Stradivari" Francais" 530 Hamma "Die D'Egville-del 637 Werro '''Lady Blunt' Gesu" Stradivarius-Violine" (#3 of 424 Hamma "Meister Deuttsche 200) Geigenbaukunst" Werro "'Lady Blunt' 2,335 Hamma "Meisterwerke Stradivar ius- Violine" (#29 of Italienischer 200) Geigenbaukunst" 35 1,486 Wurlitzer "Rare Violins, About Violists Violas, Violoncellos of the Seventeenth, Eighteenth and Nineteenth Centuries of the Wurlitzer Collection," Special THE VIOLA TODAY, Binding embossed with the IN GREATER L.A. name of Nathan Posner 637 Seventeen separate volumes related to Violin Technique Is a violinist who plays Mozart's Fourteen volumes related to Sinfonia Concertante with two different Violin Technique violists in less than a month, pro Seventeen volumes related to miscuous? Kathleen Lenski did it and Violin Technique in public, too; first on 8 October 1988 679 Thirty Volumes relating to with Brian Dembow (that name keeps the Violin World, cropping up a lot lately) and the Orange Biographies and books County-based Mozart Camerata chamber written by Violinists orchestra, at the seedy but great 637 Twenty-Nine Dictionaries acoustics Santa Ana High School and Volumes relating to the Auditorium, and second, 12 November Lives of Violin Makers and 1988, with Janet Lakatos and the Los their Techniques, their Angeles Mozart Orchestra, at the Instruments and reference Wilshire-Ebell Theatre. Works related to the Violin Making Schools Between the first part of October and nt LE A. Ql: A.T I\ E CO R DE S Twenty-One volumes the first part of March, no fewer than a )l nnuilC'r it des AdoRn "xve , j;'dfo. relating generally to Violin dozen string quartets have given concerts History, trade and in the Los Angeles area: the Talich construction Quartet (whose violist is named Jan 637 Twenty-Two volumes Talich) and The Panocha Quartet, both relating to Violin History, from Czechoslovakia, a second-genera trade and construction tion Fine Arts Quartet, (with Jerry 637 24 Volumes relating to Horner, violist) a Quartet from the Violin History, Trade and Pacific Symphony, and one from the Construction L.A. Philharmonic Chamber Music Five Volumes on Fiction and Society, the New World Quartet, the General Em erson Quartet, to name a few. A Four Monographs cynic might say that the same 150 people Twenty Catalogues are scuttling around town providing 2,972 W.E. Hill & Sons Satinwood audience for all these groups, but it Violin Bow Case for six probably shows there is a thriving bows interest in the art of chamber music in Southern California. *These represent the highest prices ever paid for stringed instruments at an One of the more entertaining series is auction. Previously a "Lady Blunt" Chamber Music in Historic Sites, which Strad ivarius violin from the same owner presents concerts in different locations had garnered the highest price. around the city. On November 13th, the Angeles Quartet , a new group, (Kathleen Submitted by Louis Kievman Lenski and Roger Wilkie, violinists, Brian Dembow, violist and Stephen Erdody, cello) played an Historic Sites concert in the Chandelier Room of the Please patronize our JAVS advertisers Turf Club at Santa Anita Race Track. It who help make this publication possible. must have taken nerve, but they pro grammed Haydn's "Horseman" and Mozart's "Hunt." On 8 February 1989, on the same series, The Tokyo Quartet whose violist is Kazuhide Isomura, gave 36 a resounding Schubert program, by pianist Kirsten Taylor. This recital including the C Major Quintet, with was, evidently, not reviewed by the L.A. Carter Brey, cellist, in the Crystal Times, which gives cause for concern. Ballroom of the Biltmore Hotel. When a corps of critics who are often deprived of pulchritude in the course of In late February and early March, the their duties, decline to review the efforts Schoenberg String Quartet played all the of two ladies who look so good and who Schoenberg string quartets at the play so beautifully, one could justifiably Schoenberg Institute as part of the question basic good judgement. Perhaps U.S.C. Schoenberg Festival. Somehow, they thought Miss Phelps' publicity it's hard to imagine a Schoenberg pictures were of someone else. "Festival." On March 5th , again at U.S.C.'s On November 20th, under the Hancock Auditorium, Milton Thomas is auspices of the Laguna Beach Chamber scheduled for another recital, this one to Music Society, the Debussy Trio (Angela include the Sixth Brandenberg Concerto Schmidt, flute, Christopher Redfield, by Bach. viola, and Marcia Dickstein, harp) performed, appropriately enough, the A group called American Chamber Debussy Sonata for that combination. It Players, affiliated with the Library of is not heard often, and , of course, has a Congress Summer Chamber Music luscious viola part. Festival was scheduled to give a local debut program at the Bing Theater on Samuel Rhodes, violist of the Juilliard Wednesday, January 18th. When their Quartet, won critical recognition for cellist fell ill, last minute changes excellence in performing the Janacek included violist Miles Hoffman playing Second Quartet and was singled out for the D Minor Cello Suite by Bach. Of REa t e Vilro il de l'tglise de BeoufAiD) critical praise for his performance on course, violists play these Suites all the (lVl· "ieele], " February 26th, at Cal Tech. time, but not often in public concert. Los Angeles has been treated to four Finally, is it possible that Heiichiro viola recitals this season. Milton Thomas Ohyama, the peripatetic principal violist opened with a U.S.C . appearance on of the L.A. Philharmonic, will have to November 6th. Ayke Agus was the turn in his viola button? During the pianist and a new work by Paul Chihara, first two months of 1989, he has led the S ymphonia Concertante for violin and orchestra in two complete sets of regular viola, was presented with Yukiko subscription concerts. That's a lot of Kamei, violinist. podium time for an Assistant Conductor. Congratulations are in order. In a new theater, Pierson Playhouse, in Pacific Palisades, Peter Hatch gave his Courtesy of Thomas C. Hall. annual viola recital on January 29th, with Francesco Bencivenga, pianist. Mr. The Editor is looking for other cor Hatch has been doing this for some years respondents who will report regularly on now and shows real bravery in happenings of interest to violists in programming. This year's line up: major cultural centers of the U.S.A. Vieuxtemp's Sonata and Elegy; Joachim's Hebriiische Melodien; Enesco's Concert Piece. The "straight" work was Hindemith's Sonata, Opus 11, No.4. He titled the concert "The Magic of the Rosemary Clyde, AVS Treasurer, played Viola." on March 13 a recital at Alice Tully Hall, Lincoln Center. Diana Kacso, On February 22nd, at the Leo S. Bing pianist, collaborated in works by J.C. Theater of the Los Angeles County Bach, Shostakovich, Brahms, Kreisler, Museum of Art, Cynthia Phelps, and two transcriptions by Ms. Glyde of principal violist of the Minnesota pieces by W.H. Squire and Zarzitsky. Orchestra, was heard in recital assisted She also offered the premiere of Shatin's Doxa. Karen Ritscher gave a recital at Merkin Violas (transcription), June Sunrise by 37 Concert Hall, New York City, on March Kenneth Harding, Gordon Jacob's Suite 19 with Jeffrey Cohen, pia nist, and for Eight Violas, the Sixth Brandenburg, Sylvia Rosenberg, violinist. The Irish Melody by Hampton, and others. program featured 20th century music by Persichetti, Harbison, Martinu, Editor's Note: Announcements regarding Hindemith, and the premiere of the professional activities of violists is Adolphe's Dreamsong: appreciated. Paul Neubauer, principal of the New York Philharmonic, will be leaving that New Works post after this season to pursue his career as a soloist and chamber musician. Two from the West Coast Donald Mclnnes and Brooks Smith, Sonata lor violas·ano. opus 44 pianist, played a Primrose Memorial ( 1986) by James eale. Publisher: Concert and conducted a master class at American Compose lliance, 170 West Brigham Young University on April 6/7. 74 Street, New York, NY 10023. Works featured were by Marais, Britten, Hindemith, Brahms-Primrose, Haydn, and Loeffler (the latter with Donna T wo pieces for viola, dating from Dalton, soprano). 1986, by American composers based on the West Coast, could hardly be more different. Sonata by James Beale is Lynne Ramsey, teacher of viola at rooted in the Brahms-Hindernith Oberlin College since 1986, has been academic tradition and is defined by appointed to the Cleveland Orchestra as fo rmal principles which identify it as a (; I: 1 G E associate principal. o t: sona ta, albeit one wit h two movements. R r u E , : .\ I. I. E ~I. \ x n Kalamatiano combines the accordion and T he Aspen Music School announces the viola, which is cer tainly not a common appointment of new viola faculty: occurrence, and is a folk- dance related Rosemary Glyde, Patricia McCarty. Ellen fantasy with an urgent, unpredictable Rose. Yizhak Schotten. Heidi Castleman and explosive personality. will conduct a week long series of special viola master classes. (Ms The Beale Sonata is interesting, Castleman will be joining the faculty of logical, well-crafted music, couched in a the Cleveland Institute of Music.) Other solid twentieth-century idiom. Atonal, viola faculty at Aspen are Atar Arad , with obvious exceptions, dissonant, but Lawrence Dutton, Lillian Fuchs, John not self-consciously so, motivically and Graham, and Masao Kawasaki. melodically rich, it is exceptionally well planned from the standpoint of P hilip Clark reports from Ithaca, New ensemble. This is real Viola Music, with York of Viola Extravaganza ll: Viva the piano part functioning almost like Viola which he organized. Twenty-seven accompaniment. The piano texture is violists found themselves on Barnes Hall thin enough so that the viola does not stage of Cornell University to perform struggle to be heard. as they/did last year works for viola ensemble. These teachers and students of Despite some awkward leaps and viola, mostly from the public schools, double-stop progressions, the work is perform in the Cayuga Chamber pleasantly accessible to the violist for a Orchestra, Syracuse and Binghamton number of reasons, not the least of orchestras, or teach or are enrolled at which is the rhythmic content. The Ithaca College, Cornell University, or rhythmic texture is full, rich, and varied SUNY, Binghamton. in the twentieth-century tradition, but these rhythms are notated with simplic Works performed on the prog ram ity and clarity, so that the player does included Telemann's Concerto for Four not need advanced mathematical skills to be sure of the composer's intentions. 38 The first movement is almost a three (repetition, harmony, melod y, counter part song form, and ends strongly in the point, etc .) are not used to provide tonality of C. (There is a striking continuity or musical interst. We rely on resemblance between this end ing and the unexpected sonic occurrences, often close of the Shostakovich Sonata, opus deli vered in spasms of dexterity at 147.) The viola part exploits wide nanosecond speed. This is a fine example register changes, combined with a of the "What was that?!" style. reiterated ascending whole-step , high on the A-string. The second movement is The relationship between the dance essentially an allegro. It uses, as thematic rhythms imp lied in the title and the material, a tune we had heard as a rhythms which actually occur is some surprise near the end of the first thing of a mystery. Occasionally, the 7/8 movement, and we are treated to some rhythm is sustained long enough to be cautiously approached fingered perceptible. Rh yth mic content, if not harmonics as well as effective mute use. completel y free, certainly gives the impression of being rhapsodic. The The work is sixteen minutes long, and harmonic vocabulary is almost triadic; could be usefully presented as the there are tonal centers, and the work twentieth-century member of a recital. begins and ends in C, without question. The audience will not leave "humming Still, there is no obvious formal plan. the melody," but it should enjoy wome well-written viola music . Kalamatiano lasts something over G Ir.t:F. seven min utes, and it projects an urgent .\ 1.I. E .\1 A :" D f. Kalamatiano: a piece for viola 11 energy and instrumental fluency with D'np res Lu r in ius bass accordion (1986) by Nick 'A rion unusual sonorities. Mr. Ariondo has ~ X \' lI fl siccll'> Availa ble from the composer at: ""-Jl.<.\.Lionel Tertis and Hugo Cole, through Walton, Piston and was first performed two months before Bartok. The chamber music of the composer's death in 1934. The Beethoven and Schubert is also sketches remained unrevised until represented in these fragments. Certainly Holst's widow, Imogen, published a a very useful guide, not for the child corrected viola and piano reduction for beginner, but for any aspiring viola Oxford in 1971. player. Well printed and with clear explanations, there is a comparision book of piano accompaniments. Trevor This edition is the implementation of Williams. Imogen's corrections in the previously untouched full score. Careful compari Courtesy, The Strad. son of the two editions shows meticulous 40 and technical finesse. True, Hindemith's playing (and compositional!) style eschewed the kind of opulent tonal glamour practiced by William Primrose Recordings or Pinchas Zukerman, and--this is a bit surprising--his treatment of the aforementioned movement of Op, 25 No. HINDEMITH: SONATAS FOR I (as recorded for Columbia) is anything but wild , the tempo is more lackadaisical SOLO VIOLA & PIANO (flexible?) and caution goes arm-in-arm with an agreeable, if never particularly KIM KASHKASHIA (VIOLA)/ lustrous, sonority. The conclusion from ROBER LEVI (PIA 0 ) this listener is that although Hindemith ECM LP 1330-32 may have regarded tonal beauty as secondary, he was certainly not insensi F rom a purely technical standpoint, I tive to its adornments when used to can think of few composers so further a musical point. Casals, Szigeti thoroughly prepared as Paul Hindemith. and Huberman were probably more akin It has been said (perhaps apocr yphally) to Hindemith's way of playing than, say that he wrote sonatas for ever y the acerbic Adolf Busch (though there instrument in the orchestra and could are certainly analogous traits between play every note he wrote on the those two as well). instrument he wrote it for. Some of the Hindemith viola sonatas Be that as it may, Hindemith's are here recorded for the firs t time. The relationship with the violas was, to say others have appeared before, in the least, more than a one nig ht stand! performances that range from service As one of that neglected Cinderalla's able to really distinguished. For the most most impassioned advocates of the part, the first generation reco rdings (e.g. generation that led to the Primrose path, the composer's own accounts of Op, 25 he playe d in the Amar Quartet and in a No. I and the 1939 Sonata; Primrose's of now legendary string trio with Szymon Op. II No.4) are not particularly Goldberg and Emmanuel Feuermann. memorable. Part of the problem is the Furthermore until about I939--the lacklustre, drably percussive pianism of vintage date of the last work of this Jesus Maria Sanroma in the two formidable collection--he was also accompanied works. But Primrose's active as a soloist. These sonatas coincide freewheeling, rather casual-sounding with the composer's playing career, and, rubato also misses the point, while the like the violin music of Kreisler and the composer's sturdy way with 1939 and piano music of Rachmaninoff, they were Op, 25 No. I seem a mite prosaic in unquestionably tailored to his own play comparison with what some later ing style and reflective of his technical practitioners have been able to build on and aesthetical preferences. this ed ifice. Hindemith's famous directive for the I recall a truly memorable Op, II No. third movement of Op, 25 No. I, 4 from Francis Tursi and Jose Echaniz composed in 1922 composed in 1922: for Concert Hall in the early days of LP, Rasendes Zeitmass: Wild, Tonschiinheit and roughly a decade later, came finely is Nebensache (Raging tempo. Wild. wrought performances of that truly Tonal Beauty of seconday importance) lovely work and its 1939 successor by has given rise to a somewhat erroneous Walter Trampler and Ronald Turini that notion that Hindemith's own viola somewhat undercut the admirable playing was wildly abandoned and contemporaneous recording of O p, I I abrasively scratchy. When one goes to No.4 by Harold Coletta and Robert the source--fortunately, there are Guralnik (coupled with Coletta's equally representative recordings of his solo as forthright Op. 25 No. I; tonally very well as his ensemble work-s-one close to Hindemith's own). The discovers a player of considerable tonal viola/piano Sonata, Op. 25 No.4 was only recently pu blished (in the late facsimile an d proves a splendid 41 1970s). T ra mpler gave some outst anding adv oca te. performances of it at that time, but the first-- and until now, only--recording In the works where she has was made by Yizh ak Sch otten and competition, Kashkash ian always holds Katherine Collier (still available on LP her own admirably, even if she as CRI 450 ). I ha ve only passing sometimes is a mite overmatched by th e familiarity with the Hindemith best efforts of her predecessors. She is recordings by se veral Czech violinists- finely partnered in the accompanied L. Czerny, J. Kodousek, K. Spelin a- wo rk s by R obe rt Levin, an American who all play with a more prono unced pian ist who has earned deserved fame Romantic cast and are resonantly for his Mozart scholarship. Levin's recorded; and none whatsoever with an bright crystalline so und clarifies . Italian LP of Op. 25 No. I by the Hindemith's knotty co mplexies and renowned Bruno Giuranna. The most elucidation is also hel ped by his convincing and virtuosic Op. 25 No. I, admirably secure rh ythmic sense. Either taken ' live' from a 1973 Carnegie Hall from his own inclination towards co ncert and pressed on a privately astri nge ncy and th e mode of recording ci rc ulated LP , was by G uiranna's (and (probably a combi nation of bo th Trampler's) one time pupil, No buko factors), the pian o tone emerges as Imai. A recent performance by Imai somewhat 'pingy'--no liability at all in suggested that even she can no longer music if innate acerbity, especially as ap proximate that high-water mark. Le vin , like Kashkash ian, is not insensitive to co lour. The American violist, Kim Kash kashian, has a striking affinity for My onl y q uibble in one variation in Hindemith's idiom. He r p laying has Op. 11 No .4: Hindemith's instruction excellent technical assura nce, and for No. VI is Fugato , mit bizarrer although a far greater colourist than the Plumpheit vorzutragen and the nimble composer himself, he r musical aesthetic grace of the Kashkashian/Levin here resists the temptations to over treatment, hardly coincides with my roma nticize (or over prettify). She makes understanding of ' bizarre un gainlin ess' an excellent case for the fanciful, neo (T rampler/ T urini came far closer). Bachian (but thoroughly conternporaryl) Indeed, I find the present treatment of Op, 31 No. 4--which she plays with an this par ticular son ata, as a who le, j ust a S ,\ n c x G I F. impish, ma nic excite me nt an d shade facile an d ligh tweigh t th ou gh irrepressible enthusiasm. One can hear in certainly lyrical and intelligent in its this work-s-particularly its second way. moveme nt- - allusi ons to, and even quotations from, the better known Op. The works are distributed over three 25 No .I of two years earlier (Op. 31 No . LPs and--more conveniently- -two CDs, 4, still unpublished--Kashkashian is one of which contains the four solo playing f rom a facsimile of th e works, the other, the three duo sonatas, autog ra ph-s-was written in 1924).T he ECM's bright, airy sound is a further ot he r unknown sonata was allegedly ad ornment on this not-to-be missed composed in 1937 while Hindemith was compendium: Everyone concerned can travell ing from New York to Chicago by take pride in this important recorded train. He performed it a few days later! milestone. Harri s Goldsmith The composer's st yle is reputed to have changed drastically in the intervening Co urtesy, Th e Strad. decade, bu t I hear only a moderate transformation: the ar dour and See next page for more Ilew record ings. spontaneity of expression are no w more muted; the German "Expressionism" has Graphics from Laurent Grillet: Ancetres become a mite more dogmatic (or du Violon. Librairie G enerate des Arts dogged?). I was most ta ken with the Decoratifs, Paris, 190 I. movement in pizzicato. Again, Kashkashian plays from autograph 42 BERLIOZ: HAROLD IN ITALY; ROB ROY; LE CORSAIRE Pinchas Zukerman (viola)/ Montreal Symphony Orchestral Charles Dutoit CD Decca 421 193-1, LP 421 193-2, TAPE 421 193-4 BRAHMS: VIOLA SONATAS, OP. 120; SCHUMANN: MARCHENBILDER, OP. 113 Nobuko Imai (viola)/ Rober Vignoles (piano) Chandos CD ABRD-1 256, LP CHAN-8550 TAPE ABTD-1256 THE RUSSIAN VIOLA: WORKS BY RUBINSTEIN, GLINKA, GLAZUNOV, STRAVINSKY AND SHOSTAKOVICH Nobuko Imai (violaj/ Roland Pontinen (piano) Bis LP 358 BRAHMS: VIOLA SONATAS, OP. 120; VIOLA TRIO, OP. 114 :L U \ O Il Yuri Bashmet (violaj/ Valentin Berlinsky (cello)/ Mikhail Muntyan (piano) Olympia LP OCD-175 BACH: ADAGIO; BEETHOVEN: VIOLIN CONCERTO & SONATA NO.8; SCHUBERT:'DUO' SONATA IN A; GRIEG: SONATA IN C MINOR; BRAHMS: VIOLIN CONCERTO; KREISLER: STRING QUARTET & SHORT PIECES Fritz Kreisler (violinj/London Philharrnonic/Barbirolli/Sergei Rachmaninoff (piano)/Thomas Petrie (violin), William Primrose (viola) & Lauri Kennedy (celloj/Michael Raucheisen (piano) Biddulph LP LAB 001/3 ~ ep~ r~(L') GIFT SUBSCRIPTION ORDER FORM Order a gift membership at the rate of $20.00 for three AVS journals and the annual Die Viola D YES, I want to give a year's membership in the AVS to the individuals named below. D In addition to gifts, D or in place of gifts, please renew my own for 1988 at the regular rate of $20.00. I enclose my payment totaling $,___ for __gifts or my renewal. First Recipient's Name Third Recipient's Name Address Address City State Zip City State Zip Gift Card to Read Gift Card to Read Second Recipient's Name Fourth Recipient's Name Address Address City State Zip City State Zip Gift Card to Read Gift Card to Read We will send a card to you acknowledging your gift plus a letter to each recipient informing them of your thoughtfulness. The gift membership will start with the annual Spring issue. Many thanks. Rosemary Glyde Treasurer P.O. Box 558,Rt. 22 Golden's Bridge, N.Y. 10526