JOURNAL otthe AMERICANVIOLA SOCIETY Chapte r of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion of Viola Performance and Research

Vol. 6 No. I Spring 1990

Features

3 Hermann Ritter and His Viola Alta Daniel Thomason

7 Exploring Sound on the Viola Yizhak Scholten

11 Henri Vieuxtemps' Solo Literature for Viola David Kerr

16 A Practical Approacli to Viola Technique Darrel Barnes

19 Heidi Castleman Rosemary Glyde

27 Survey of the XVII International Viola Congress Ronn Andrusco

37 New Officers

42 AVS in the USSR The Journal of the American Viola Society is a publication of that organization, and is produced at Brigham Young University, " 1985, ISSN 0898-5987. The Journal welcomes letters and articles from its readers. / Editorial office: BYU Music, Harris Fine Arts Center, Provo, UT 84602 , (801) 378-3083 Editor: David Dalton Assistant Editor: David Day

Advertising office: Harold Klatz, 1024 Maple Avenue, Evanston, IL 60202 , (312 ) 869­ 2972. Deadlines are March I, June I, and October 1 for the three annual issues. Inquiries can be made to Mr. Klatz. Copy and art work should be sent to the editorial office.

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Payment to "American Viola Society" c/o Rosemary Glyde, treasurer, P.O. Box 558 Rt. 22, Golden's Bridge, NY 10526. OFFICERS

David Dalton Presid ent Brigham Young University Provo, Utah 84602 (801) 378-3083

Louis Kievman Vice-Presid ent 1343 Amalfi Dr. Pacific Palisad es, CA 90272

Harold Klat z Secretary 1024 Maple Ave. Evan ston , IL 60202

Rosemary Cl yde Treasurer Po. Box 558, Rt. 22 C olden's Bridge, N Y 10526

Ma urice W Riley Past President 512 Roosevelt Blvd. Ypsilanti , M I 48197

EXECUTIVE BOARD

Paul Doktor M ilton Katim s Donald M clrmes Robert O ppelt Joseph de Pasquale Dwight Pounds Thomas Tatton Ma rcus Thom pson Francis Tursi Karen Tuttle Ann Woodward

COORD/NAroR WITH CANADIAN VIOLA SOCIETY

A. Baird Knec htel

FOUNDER

Myron Rosenb lum

HONORARY PRESIDENT _.. ~ e.

Will iam Prim rose (deceased)

cf('cr:J;f Chapterof the Internaiionale Viola -Gesellschaft PUBLISHERS OF MUSIC FOR THE SERIOUS VIOLIST

STUDIES FIOCCO SCHMIDT Allegro $3 .00 Alla Turka $3.00 ARNOLD Cadenzas for Telemann FRANCOEUR SHU BERT Viola Concerto $ 1.40 Sonata in A Major $4.50 The Bee $3.00 ARNOLD GLUC K TARTINI Th ree Octave Scales Melody from "Orfeo" $3 .00 The Devil's Trill $6.00 And Arpeggios $4.50 Sonata Angelique ...... $6 .00 HANDEL BLUMENSTENGAL Sonata in D $4.50 TCHA IKOWSKI Viola Scale Techniq ue Canzonetta $3.00 V ol. I · lst Pos $4.50 HUBAY Melodie $3.00 Viola Scale Technique Hejre Kati $4 .50 Serenade Melancholique $4.50 Vol. II · lsr to 5th Pos $4.50 Valse Senrirnentale $3 .00 JOPLIN TARTINI Pineapple Rag $3 .00 VITALI The Art of Bowing $6.00 Solace $3 .00 Chaconne $6 .00 KREISLER VON W EBER Praeludium and Allegro $4.5 0 Andante and Hungarian REPERTOIRE Sicilienne and Rigaudon $4.50 Rondo $4.50 Liebesleid $4.50 ARNOL D Uebesfreud $4.50 WIE NIAWSKI Basic Bach ...... $6.60 Recitativo and Scherzo Caprice Legende ...... $3 .00 Mozart Miniatures ...... $6 .60 (U naccompanied) $3.00 Scherzo > Tarantella $4.50 The Young Violist Bk. I $6 .60 The Young Violist Bk. II $6.60 MASSENET WO EHR Meditation from "Tha is" $3 .00 Bachiana $6 .00 BACH Chromatic Fantasy and MATTH EWS Fugue $4.50 Fantasy $6.00 ENSEMBLES BEETHOV EN MENDELSSOHN Fur Elise $3.00 Sonata in E Rat $4.50 BACH Fifteen Two > Part BOCCHERINI MOUSSO RGSKY Inventions $6 .00 Music Box Menuet $3.00 Hopak $3 .00 MOZART BOH M MO ZART Duo Sonata in Bk. K.292 $4 .50 Sarabande $3 .00 Adagio K.261 $3.00 Twelve Duets K.487 $4.50 Menuetto Divertimento BRAHMS K.334 $3.00 PACHELBEL Scherzo $4.5 0 Rondo K.250 $4.50 Canon for Th ree Violas and Piano $6 .00 CHO PIN Serenata Cantabile K.283 $3.00 Nocturne for Viola $3.00 NOVA CEK TELEMANN Perpetual Motion $4.50 Concerto # I in C for Four CO RELLI Violas $7.25 Saraba nda, Giga and PAGANINI Concerto #2 in G for Four Badinerie $4.5 0 Six Sonatas Bk. I Violas $7 .25 Sonata # 12 • Follia con Nos. I. 2. 3 $6.00 Concerto #3 in F for Four Variazioni $4.50 Six Sonatas Bk. II Violas $7 .25 DANCLA Nos. 4. 5. 6 $6 .00 Variations on the G String $4.50 VIVALDI Carnival of Venice $4 .50 Co ncerto for Four Violas and PUGNANI DEBUSSY Piano $9 .00 Gavorta Variata $4 .50 Girl with the Flaxen Hair $3 .00 La Plus Que Lente $4.50 RACHM ANINOFF Vocalise $3.00 DVORAK Available from : Romance Op . II $4.5 0 RIES VIOLA WORLD Sonatina Op . 100 $6 .00 Perpetuum Mobile $4.50 PUBLICATIONS 14 FENWOOD ROAD FAURE RIMSKY • KOR SAKO FF HUNTINGTON STATIO N Fantasy $6.00 Right of the Bumb le Bee $3.00 NEW YOR K 11746 HERMANN RITTER AND were taken over by the cello in its higher 3 ranges and later a bass instrument doubled HIS VIOLA ALTA the cello an octave lower.)

by Even into the 19th century, the alto viola was the only middle voice, and it Daniel Thomason underwent the same changes that the violin and cello had endured up to this point-­ Throughout the long history of the the flattened contour introduced by violin family, the viola has been the one Antonio Stradivari and other Italian makers; instrument for which permanent the longer, restructured neck; and the mathematical dimensions have not been higher bridge, with sound post and bass bar formulated. Lionel Tertis once said, "It modifications added early in the 19th [the Tertis model] is 163/4 inches long, and century. Yet, the viola generally still this I consider to be the maximum length retained its small size. This small size, the for playing under the chin, and, at the same result of the incorrect geometrical pro­ time the minimum from which to hope for portions of the the instrument in relation a re~lly satisfactory C string sonoritv."! to the dimensions of the violin and cello, William Primrose commented, "The ideal resulted in the so-called nasal sound so size is between 16 inches and 16 1/2 much sought after in the 19th century, inches";2 and Paul Doktor added, "Soloists and which today is accepted as the viola as a rule, like to play on instruments as sound (described by Berlioz as "husky'l"). large as they possibly can handle. The advantage which the large instrument has, Small, Weak Violas as far as additional volume of tone and Most viola players in European possibly more depth is concerned, is orchestras of the 19th century played on lessened by the continuous strain on the left very small, weak instruments; the viola hand.,,3These three comments illustrate the sections were often ridiculed as the weakest 20th century belief that the instrument of the strings, and violists were labelled as must be comfortable to play while those who played a "pensioner's instru­ producing the volume and the characteristic ment." Violinists ready for retirement, and viola sonority violists all seek. Though this even non-stringed instrument players due is evident, it was not so obvious to violists to retire soon, were given a viola to play in the nineteenth century, for whom the out their remaining years." Richard Wagner situation was quite problematic. Violists noted, "In the majority of our orchestras then were used to small, weak instruments the viola players do not constitute the with hardly any projection, and with almost flower of bow[ed] instrumentalists.r" It useless C strings. Berlioz observed, "Con­ became generally apparent that the viola ductors should absolutely prohibit the use situation had to be remedied. The dauntless of these mongrel instruments. Their weak Hermann Ritter, in an effort to find a sound deprives the orchestra of one of its remedy, tried to produce a viola equal in most interesting tone elements and robs it sound and tone to the other stringed of sonority, especially on its deep tones."! instruments.

As the violin family emerged in the Hermann Ritter, born in 1849 in Wismar, mid-16th century, the voicing eventually Germany, studied violin, theory and music followed the vocal distribution--2 violins, history at the New Academy of Music in 2 violas (small alto, 39 em = 15 1/2", and Berlin. While municipal music director in large tenor, 48 em = 19"), and cello (and/or Heidelberg, he continued to study art a bass instrument). The smaller alto viola history and philosophy. It was there that was certainly easy enough to handle by Ritter became interested in the viola. He most players, but the larger tenor was also became aware of the precarious extremely cumbersome; even so, the two position of the viola and its players, and sizes of violas existed until the beginning decided to reform matters. However, he of the 18th century. As composers moved seemed more interested in redesigning the away from five voices to the four-voiced viola than chastising the players. (Also very string section, the alto survived and the concerned with the education of new, tenor fell by the wayside. (The tenor parts young violists, he became an influential 4 teacher.") When Ritter moved to Wurzburg initially two violas altas were used in the to teach at the Royal Music School, he had Wagner orchestra. (I have heard that at already begun designing a viola with a body some time during the Festival Series at length of 48 ern (approximately 18 7/8"). Bayreuth, at least twelve violas altas were He called his new viola the viola alta, and played at one time, but I have been unable it was built in Wurzburg by Karl-Adam to document this.) Horlein (1829-1902). Even though Ritter claimed to have invented this new viola, it Word spread and others accepted was in fact a rebirth of the old tenor viola. Ritter's technique and replaced the old The correct proportions for a true small violas with their high-arched bellies alto/tenor voice would be on a ratio of 3:2 and weak tone with his new invention. to the violin--in other words, half again as Among those influenced by Ritter's long (including all other related measure­ development were Franz Liszt, Anton ments) as the violin. Ritter was a very large Rubenstein, and Hans von Bulow. Liszt man, so an instrument measuring the wrote the Romance Oubliee for Ritter and required 54 em (approxi-mately 21 1/4") his viola alta; von Bulow and Richard would not have been impossible for him to Strauss encouraged the use of the violas play; but at the urging of Horlein, Ritter altas in German orchestras. Ritter often settled for a ratio of 4:3, bringing the body toured as solo violist, promoting not only length down to a reasonable variance his instrument, but also his own between 18" and 19".9 compositions for the instrument, as well as many transcriptions. The itinerary for the As we can enVISIOn, the viola alta tours included Germany, Switzerland, moved away in sound from the traditional Holland and Russia. Eventually Ritter nasal viola tone to that of the old tenor. returned to Wurzburg, where he remained The volume is greater, and gone is the as a viola teacher until his death in 1926. customary nasal A string. As this instrument approaches the cello in timbre, The popularity of these large violas it is much more similar to the timbre of the was enormous, in spite of all those violists tenor violin--which is tuned G, 0, A, E, who complained that the new violas were sounding one octave lower than a violin­ very uncomfortable because of the long -than to the customary viola timbre. reaches.P The Ritter-Horlein violas According to Ritter,10 this was effected by continued to be built until 1902, when the aid of the rules concerning Horlein died. Another violin maker from measurements established by Antonio Wurzburg, Phillip Keller (1868-1949), a Bagatella in his book Regale per la cellist, took over the Horlein shop and, in Construzione di Violine, Viole, Violoncelli, collaboration with Ritter, continued to e Violoni (Padua, 1782). The viola alta was build the violas altas, but in a slightly in effect a tenor viola. different configuration; for example, a viola alta built in 1905 (#99--now in the Ritter and Wagner possession of the Hans Weisshaar violin Ritter showed his viola alta to Richard shop, mentioned later in this article) has Wagner, who was enthusiastic. As Wagner a scroll that is cello-like in design. was preparing the opening of the Bayreuth Theatre (1876) with Der Ring des Restructuring the Quartet Nibelungen, he asked Ritter to join the Ritter developed his interest from orchestra with his new viola. After hearing enlarging the viola to also restructuring the viola alta for the first time, Wagner the string quartet. He tried to do so in wrote to Ritter, "I feel certain that the order to equalize and distribute the voices universal introduction of the viola alta into in proper mathematical relationship to each our orchestras would serve not only to other. In 1898, he added a fifth string to throw a proper light on the intention of the viola alta--the violin E--to compensate those composers who had to content for difficulties playing in the higher themselves with the ordinary Bratsche positions because of the height of the while they required the true alto violin bouts. In 1905, his new string quartet was tone,... but that it might also bring about introduced; the instrumentation was as an advantageous change in the treatment follows: viol in; a 5-stringed viola alta that of the string quartet."n We know that replaced the second violin, and extended downward the range of the second voice; Ritter's Compositions 5 a viola tenore, which replaced the old viola Ritter's pioneering pedagogical work is and was a true tenor voice (body length 72 as important for the viola player as his em [28 1/2"]) tuned G d a e' (the same as efforts in transforming the viola are. Not the old tenor violin) and played cello style; only did he compose a large amount of a viola bass, tuned like and having the same original music for the viola alta, but he range as the cello, but with a larger body made many transcriptions, edited many than the cello, made in strict violin form orchestral study books, and wrote a (narrow ribs). Unfortunately, this systematic method for viola instruction. His experimentation did not yield totally studies and transcriptions are too numerous satisfactory results,13 and Ritter did not to include here, but certain original receive much support for this venture. compositions for the viola alta should be noted: As yet there is no account of how many violas altas were built, but the number is Concert Fantasie No. I for viola alta presumably in the hundreds. I have a Ritter with piano or orchestra Horlein viola alta, No. 207, built in 1894; accompaniment as mentioned, he continued building the Concert Fantasie No.2 for viola alta with instruments until 1902, when he passed piano or orchestra accompaniment away. A violist colleague of mine in Los Italian Serenade for viola alta and piano Angeles, Mr. Verne Martin, also has a Melodie for viola alta and piano Ritter-Horlein viola alta, undated and Elfengesang Op, 7 for viola alta and unnumbered. I know of two other violas piano altas--one the Ritter keller model with four Schlummerlied Op. 9 for viola alta and strings in the collection of Hans Weisshaar piano or orchestra accompaniment Musical Instruments, in Hollywood, Jag dstiick Op. 27 for viola alta and piano California; and the other a five stringed Auf den Wellen Op, 27 for viola alta and Ritter-Horlein in the Stoelzer collection at piano Adelphi University in Garden City, Long Spinnerlied Op, 28 for viola alta and Island, New York. The Ritter-Keller belong piano to the Weisshaar shop has a body length of Zwei Stucke: Pastorale and Gavotte, 1m 43.3 em (17 1/32") and has a reddish-orange Traume varnish. Verne Martin and I have compared Nach slavischen Eindrucken: Elegie; all the specifications of our respective Introduction and Mazurka instruments, and found them to be nearly Erinnerung an Schottland: Fantasie mit the same: Beniit zung altschottisher Weisen 14

Verne Martin's Viola Alta In examining and playing the Ritter Body length 47.9 em (18 3/4") violas, we develop an appreciation of String length 42 em (16 3/4") Ritter's efforts to design an instrument that Upper bout 21.2 em (8 3/8") would meet all the requirements for the Lower bout 26.4 em (10 3/8") middle voice of the strings: adequate Midsection 14.5 em (5 3/4") volume, and open sound, ease of playing. Color dark red-brown As a result of Ritter's work, later Tone quality open, full, dark experimentation in the building of large lower register violas occurred; consequently, today's instrument builders, by changing the Dan Thomason's Viola Alta dimensions of the upper and lower bouts Body length 47.2 em (18 1/2") and by heightening the ribs, while retaining String length 42 em (16 3/4") a comfortable fingerboard and body length, Upper bout 20.9 em (8 3/16") produce violas with large airspaces in the Lower bout 25.8 em (10 3/16") body. Midsection 14 em (5 1/2") Color golden honey FOOTNOTES Tone quality open, full bright in all 1. Lionel Tertis, My Viola and I (London: ranges Elek Books Ltd., 1974), p. 164. 2. Samuel and Sada Applebaum, The Way They Play (Neptune City, New Jersey: Do you play violin, viola, cello, or bass? Subscribe to STRINGS "One can't imagine a more follow the market, compare prices, save authoritative, better-written money. magazine than this for the And there's more. See STRINGS for yourself: A "first class music journal with stringed instrument enthusi­ numerous well-illustrated articles on the ast," says LibraryJournal. violin, viola, cello, and bass," in the words of Choice: The Magazine for Col­ Each issue of STRINGS takes you to a lege and Research Libraries. "Master Class"-with the Guarneri Subscribe by returning the coupon. String Quartet, violinist Sigiswald Kuij­ ken, the Tokyo String Quartet, cellist r------STRINGS POBox767 Zara Nelsova, and many other world­ 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 workshops . . . higher just $20.00. D Payment enclosed. education for young string players ... Bill me later. SIZ ideal places for summer study ... D 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 City State ZIP auctions with complete results. You can ..._------_... _------Please allow 6-8 weeks for your first copy. Paganiniana Publications, Inc., 1972), he took his master's degree and doctorate 7 Book I, p. 244. under Sanford Schoenbach at the University 3. Ibid., p. 228. of Southern California. He has published 4. Hector Berlioz, Treatise on "The Viola d'Amore Music ofCarl Stamitz." Instrumentation. Enlarged and Revised He has been a member of the Dallas by Richard Strauss, trans. Theodore Symphony and the Carmel Bach Festival. Front (New York: Edwin F. Kalmus, and plays currently with the Glendale 1948), p, 74. Symphony. and evenings at restaurants as Violists in German orchestras, at a "strolling gypsy violist.". least, usually played rather small violas (39 em = 15 1/2"); the C string was very flabby, and weak and the instruments had very EXPLORING SOUND ON limited capabilities for projection. THE VIOLA 5. Ibid., p. 60. 6. Maurice W. Riley, The History of the Viola, (Ann Arbor, Michigan: Maurice by W.Riley with Braun Brumfield, 1980), p.211. Yizhak Schotten 7. Hermann Ritter, Die Viola Alta oder Altgeige (Leipzig: Carl Messeburger, The viola, perhaps more than any other 1885), Anhang I, p, 38. string instrument, comes in a vast variety Maurice Riley, op. cit., 231. of sizes and shapes. The smaller viola 8. Maurice Riley, op. cit., Appendix I p. obviously possesses a brighter, more 3I7, Balling; p. 348, Meyer; p, 350, violinistic type of sound, and a bigger Neuberth. instrument has a darker, alto quality. 9. Hans Bender,"The Tenor Violin-- Past, However, a violist's approach to sound Present and Future," trans. John production should be the same even though Christie, American String Teacher, instruments can differ so much in timbre. XIX, No.4 (Fall, 1969), p. 24. In fact, the same basic principles apply to 10. Hermann Ritter und Seine Viola Alta, playing all string instruments--finding the ed. E. Adema (Wiirzburg: A. Stuber's correct sounding point, bow pressure and Buch- und Kunsthandlung, 1881), p. speed, and enhancing the tone with the 6. appropriate vibrato width and speed. II. Maurice W. Riley, op, cit., p. 229. Because string instruments respond Hermann Ritter, Die Viola Alta oder differently (even from one viola to Altgeige (3rd ed.; Leipzig: Verlag von another), each player has to know how to Carl Merseburger, 1885) Anhang I, p. apply these fundamentals to his own 38. instrument in order to bring out its "true 12. Riley, op. cit., p. 212. voice." I am 6 ft. tall and find my Ritter­ Horlein not uncomfortable. My I have found that most viola students colleague, Verne Martin, is understand these principles in theory yet considerably taller than I, and he in general are often unable to achieve the says his viola alta feels quite best results when they put them into comfortable. Once, I took my viola practice. The two most common problems alta to a symphony rehearsal, and are having a sound that is dull and one of my section colleagues, who lackluster, or the opposite extreme, too is very tall, played it and exclaimed harsh and edgy rather than a desirable tone in obvious glee, "Oh! This is that is focused and ringing in all dynamic Heaven!" levels. 13. Hans Bender, op. cit., p. 25-26. 14. Hermann Ritter, op. cit., Anhang II, I still remember hearing William p.51-62. Primrose play on the radio in Israel when I was a teenager. His beautiful sound was Daniel Thomason is co-director and 1':0­ so gripping that I was inspired to switch founder of the Viola d'amore Society of from violin to viola. Later, while studying America. His main teacher was Paul Doktor; both with him and Lillian Fuchs, I came to realize the importance of a clear, sounding point and the bow pressure and 9 centered and resonant sound. I feel that it speed, using all the dynamics. In doing so, is imperative for students to have the right it is important for them to watch the bow sound in their ear in order to produce it. in the mirror, observing where the various Students should be encouraged to listen to sounding points are, and to make sure the great string players of all instruments both whole bow is drawn parallel to the bridge. in live performances and on recordings. Keeping the elbow low makes it easier to Who cannot be affected by the beautiful, take advantage of the arm weight. focused, and vibrant tone of a Heifetz, Rostropovich, Perlman, and of course, The following general guidelines will Primrose? help students in their practice; but above all, they need to constantly listen to The sound is primarily controlled by the discover their own personal sound. Soft bow arm. The bow should be close enough dynamics should be played with a focused to the bridge (sounding point), sustained sound, using a slow bow centered into the strings (bow pressure), with the approximately between the bridge and appropriate speed in order to bring about fingerboard, and without too much the overtones necessary to project a pressure. Only in pianissimo or for special sonorous tone. These elements are closely color effects should the bow be played related and are constantly changing from near or over the fingerboard and with no note to note, string to string, and from one pressure. In the louder passages, a slightly dynamic to another. When the balance is faster bow closer to the bridge and with offset by varying one element and not more pressure should be used. A tilted bow adjusting the others accordingly, it will for all these dynamics will create more result in the problems mentioned above. resonance because less of the string is blocked by the hair, and the bow can be Helping Students closer to the bridge when desired. Using There are many ways to help students a tilted bow also gives the feeling of improve their sound, and in my experience "scooping" the sound toward the bridge. the following practices have been In fortissimo or in playing loud chords, a particularly effective. I have students draw fast bow with flat hair should be used not the bow, holding it with the thumb and the quite as close to the bridge and with the middle finger only and using as much arm most pressure. A bow with flat hair in this weight as possible to get the fullest sound case is stronger and more resilient, and (this was one of Primrose's favorite there will be plenty of resonance because exercises). The bow should be parallel to of the bow speed. Tilting the bow would the bridge at all times and be slowly pulled cause the wood to touch the strings and from the frog to the tip and back. It is thus interfere with the sound. better to start with the A string, since it requires the least amount of pressure, and It is more difficult to get a good sound then work down to the C string. This is on the lower strings, since they are heavier very strenuous, and most students will have and less responsive. Using less bow and a weak tone, particularly at the tip where playing as much as possible in the lower gravity cannot help. Therefore, until they half of the bow, even in piano, will focus develop more strength, they must use and project the tone. This contrasts to using caution not to overdo it. Before their hand more bow in the upper half on the A and gets fatigued, I allow the students to put D strings. Also on the lower strings the bow the rest of the fingers down on the stick should not be quite as close to the bridge without stopping the bow. This helps focus as when playing on the upper strings. On the sound and enables them to find the faster notes, especially in the low register, core. It is good practice to execute this and digging into the strings by using a circular other exercises on open strings first and wrist and finger motion creates a very clear then with vibrated notes. sound. Playing in the strongest part of the bow closer to the frog uses more of the arm As students develop an awareness of weight and helps to get the best sound out core sound, they need to spend a great deal of the G and C strings. This is achieved of time drawing the bow on each string, by playing the downbow on the lower side experimenting with the relationship of the GEOFF REY OVI NGTON

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rw s t o.f the string and the upbow on the higher there are many other possibilities to 11 side of the string, as if crossing strings. explore. As Mr. Primrose once told me he himself was always searching for ~ew Martele and other short strokes such as sounds and colors on his viola. In our own colle and up-bow staccato help to accustom personal way, we can all undertake this the student's ear to listening for the challenging Quest. resonance. Students should start from the string with a strong attack, using a Quick Yizhak Schotten is professor of viola at the bo",: and a complete release to get the note University of Michigan, where he was Host to rmg, Chairman of the 1987 International Viola Congress. He is a former member of the Role of the Left Hand Boston Symphony and principal of the The left hand should complement the Cincinnati and Houston Symphonies. Also, right hand in order to achieve a focused his recordings have been honored by High sound. It is very important to have a correct Fidelity Magazine.• h.and position, because playing with curved fingers allows more of the string to ring and ~ets the hand vibrate more freely. Accuracy ~s of t~e utmost importance, since good mtonation is essential for a centered tone. HENRI VIEUXTEMPS' SOLO P.racticing d.oub!e stops and a variety of LITERATURE FOR VIOLA finger exercises In different positions with as ~any f.ingers down on the strings as by possible WIll help develop good intonation and correct hand position. It is important David Kerr to listen to the sound the bow draws out of the string and use the vibrato to color and Henri Vieuxtemps (1820-1881) is best complement it with the correct width and known for his artistry as a violin virtuoso, speed. Vibrato should be applied on every as a teacher of and influence on a note, but playing without vibrato can be generation of virtuosi (including Eugene planned for special musical or coloristic Ysaye), and as a composer of many elegant reasons. For beautiful legato, vibrato should contributions to the violin solo repertoire. not be stopped between notes and shifts. He also, however, wrote two cello concerti a "Duo Brillant" for violin, cello, and Many students press too hard with orchestra with piano, an overture with the fingers of their left hand, especially when Belgian national anthem for chorus and trying t? project the louder passages. The or.chestra, three string Quartets, a piano VIbrato IS not as free, and the tightness can trio, and five works that can be caus~ harm or an injury after prolonged documented as having been composed playing. I have students practice the same specifically for viola.' Four of these last loud passages in pianissimo, using minimal compositions are for viola and piano the pressure with the fingers, but with full, remaining piece for viola alone. ' relaxed vibrato. As the left hand gets accustomed to being more relaxed, I have Quite apart from the compositions students gradually increase the weight with Vieuxtemps is said to have been Quite fond the right until they get the volume needed. of the viola--he "would sometimes execute The left hand stays relaxed and needs only solo compositions for viola and the solo for a slight increase in finger pressure. viola ... from Meyerbeer's opera Les Huguenots, and from time to time he would For resonance, I also advocate the use ~t~ings, play the viola part in a quartet.:" Indeed, of open harmonics, and playing in he was apparently one of the pioneers in first posrtion when musically appropriate. the introduction of Quartet playing to the Crossing strings in the lower positions will g~nera! public. His earliest training was also project better musically than awkward WIth hIS father, and Vieuxtemps made his shifts to higher positions. public debut at age six. At age eight he became a student of Charles de Beriot who .I have discussed very briefly the basic taught him for three years. In '1833 Ideas of sound production. Beyond this, INDIANA UNIVERSITY SCHOOL OF MUSIC Charles H. Webb, Dean

VIOLA DEPARTMENT

Csaba Erdelyi 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 informat ion music 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 Bloomington, IN graduate assistantships,' and other 47405 financial aid available (812) 855-7998 Vieuxtemps toured Germany, where he had a five-year sojourn in Russia. After 13 heard a number of the great contemporary a short-lived improvement in his condition, violinists, including Joseph Mayseder he resumed teaching on a limited basis at (1789-1863), Wilhelm Bernhard Molique the Brussels Conservatory until he was (1802-1869), and Louis Spohr(1784-1859). forced to resign in 1879.6 Vieuxtemps spent He and his father spent the winter of 1833­ the final two years of his life in Algeria, 34 in Vienna, where apparently he was killed by a rock thrown by a drunk. where he studied counterpointwith SilTIOn Sechter and entered a circle The Vieuxtemps' compositions for viola of musicians who had been close to demonstrate no appreciable difference in Beethoven. He undertook to learn style or approach than is evident in his Beethoven's Violin Concerto, at that works for violin. The clarity of texture time virtually forgotten, and after and elegance of melodic line which only two weeks of preparation characterize his works for the violin are performed it with immense success also present in the viola pieces. As with the (16 March 1834). The conductor, violin pieces, the viola works lie quite well Eduard von Lannoy, director of the for those who have sufficient technique to Vienna Conservatory praised his play them. One difference in Vieuxtemps' performance as "original, novel, and treatment of the two instruments is that yet classical.t''' he did not write in the extremely high range of the viola as he did for violin. In His tour continued with performances in the five pieces under consideration in this Leipzig (where Schumann compared his article, only rarely do any of them venture playing with that of Paganini) and London, beyond fifth position (in the "Elegy," Opus where he heard Paganini. In Paris during 30 for viola and piano, there are two brief the winter of 1835-36, he studied excursions to a D flat above the treble composition with Anton Reicha. It was staff). However, some passages require from that period that his Concerto in F­ exceptional bow control in addition to the sharp minor (later published as his opus 19) demands on the left hand. dates." If (for lack of a better option) the opus Vieuxtemps in the U.S.A. numbers are accepted as a fair guide to Until a stroke forced his retirement in chronology of Vieuxtemps' viola works, the 1873, Vieuxtemps toured extensively in the first composition he wrote was the afore­ civilized western world. Nicholas Slonimsky mentioned "Elegy," thought to have been relates the following anecdote: initially published c. 1854 by Offenbach. It is written in F minor and is cast in When Vieuxtemps played engage­ ternary structure, with the middle section ments in Mexico, the interest of the in A flat. It opens softly with a simple Mexican public in violin virtuosos melody in common meter; the second theme was slight. To boost financial uses the opening rhythmic figure, but returns, and to attract greater includes shorter note values and some attention, his manager finally hit extended sixteenth-note triplet figuration upon a happy scheme. He had full­ not found in the first theme. A brief length pictures of Vieuxtemps hung cadenza leads into the middle section in A upside down. The natives, eager flat. After an impassioned statement of the with curiosity , filled the hall-- they new material, including an abundance of expected a real circus performance. sixteenth-note triplet figuration, there is But Vieuxtempsdisappointed them a return to the opening tune, which is by not standing on his head. followed by a vigorous coda that requires However, there were few excellent right- and left-hand technique. complaints: the artist's agility with the violin satisfied the most circus­ His Sonata for Viola minded among the audience." The Sonata in B flat, Opus 36, is described as: During those years before the stroke, he made three tours of the United States, and MEMBERSHIP ENROLLMENT FORM

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Send to: Rosemary Glyde, Treasurer P.O. Box 558, Green Hill Road Golden's Bridge, NY 10526 expressive in its melodies [sic] and The last two works to be discussed were 15 [as] correspond[ing] well to the both published within three years of peculiarities of the timbre of the Vieuxtemps' death. viola. The instrumental technique is very natural, and the virtuoso "Capriccio," for solo viola, was released devices are more modest that as the final selection in a collection entitled those in [the] violin composi- Six Morceaux pour Violon seul, suivis d'un tions." Capriccio pour Alto seul, opus 55, no. 9 des Oeuvres posthumes, by Brandus in 1883. It is written in three movements: 1) This composition is anything but whimsical Maestoso: Allegro; 2) Barcarolla. Andante in nature: it is in C minor, and it opens in con moto; and 3) Finale Scherzando. a very restrained, if not dolorous manner. Allegretto. The first movement, in B flat, The tempo indication is "Lento, con molta opens with a thirty-five measure Maestoso, espressione." The rhapsodic character and which is partially restated just before the technical requirements of the piece require coda. The allegro section, if the metronome a high level of musical maturity for marking ofJ= 160 is Vieuxtemps', is a tour successful performance. de force for the viola, regardless of the comparatively low extent of the upper An Unfinished Work range for the instrument. Vieuxtemps wrote If Vieuxtemps had completed the the second movement in the key of G unfinished sonata, originally published by minor; it opens in 6/8 meter;, = 48, moves Jobert in 1884 as ALLEGRO ET SCHERZO into a 2/4 Allegretto tranquillo section, to / pour PIANO et ALTO concertants / an Animato in 6/8, followed by a varied (Premier et deuxieme morceaux / d'une reprise of the opening material, closing Sonata inacheveet." it would probably have with a coda, which recalls the second been of mammoth proportions, and would section. The finale, marked J = 116, and have required nearly Herculean strength to in the key of B flat, has some very perform. Even as they are, the two demanding passages involving the use of movements require great stamina because chords and arpeggiated double-stops. The of their technical demands. The Allegro, entrance of the viola near the beginning of in B flat, is approximately eleven minutes the movement is marked by material long, and the performer is not given a full reminiscent of that used by Vieuxtemps in measure of rest at any point in the the scherzo of the Violin Concerto No.4, movement. The second movement, in F Opus 31, in D minor. Because clarity is minor, is an extended scherzo with two extremely important in a successful trios. In the approximately eleven and a performance of this composition, I half minutes required for performance, the recommend that it be approached as a violist has a six-measure rest--three sonata by Beethoven might be, rather than measures before each of the trios. The as a sonata of Vieuxtemp's contemporaries. available edition requires one of the following: 1) a prodigious memory; 2) a According to Leonard Mogill, the page turner for the violist; or 3) a number "Etude" for viola and piano was found in of page duplications and a substantial an apparently undated manuscript in the amount of hinge tape. Brussels Museum byProfessor PeterSwing, of Swarthmore College. It is a very Because of his predilection for the flat effective quasiperpetuum mobile type keys, and the technical and musical concert etude written predominantly in C demands of the pieces, Vieuxtemps' minor, though it closes in C major. literature for viola is suitable for Vieuxtemps apparently wished to performance by very advanced players only. accentuate the differences in character The stamina required for performance of between the upper and lower registers of the two sonatas puts them beyond the range the viola b~ creating a dialogue between of most immature players. Likewise, the them. At ~ = 104, it takes approximately technical difficulties, especially in the 4:20 to perform. coda, of the "Elegy" make it an unwise choice for less experienced students. However, the "Capriccio," in spite of some of its difficulties, could, because of its 16 brevity, be a useful vehicle on an advanced ---. Unvollendete Sonate fur Viola student's recital, as could the "Etude." und Klavier. Winterthur/Schweiz: Amadeus Verlag, 1986. FOOTNOTES Zeyringer, Franz. Literatur fur Viola, 1. Mention is made of a "Romance," Opus Hartberg, Austria: Verlag Julius 40, No.1, in Zeyringer's Literatur fur Schonwetter Jun., 1985. Viola, and in Michael D. Williams, Music for Viola (Detroit: Information David Kerr is Director of Orchestral Coordinators, Inc., 1979), but research Activities at Stephen F. Austin State indicates that the piece was originally Unviersity in Nacogdoches, Texas. He has written for violin, and I have been studied viola with David Dalton, Sally Peck, unable to locate a copy of the and Donald Mclnnes. He has a Doctor of composition in a version for viola. Arts in Conducting from the University of 2. Lev Ginsburg, Vieuxtemps (Neptune Northern Colorado.• City, NJ: Paganiniana Publications, 1984), p, 97. 3. Boris Schwarz, "Henry Vieuxtemps," A PRACTICAL APPROACH The New Grove Dictionary ofMusic and Musicians, Stanley Sadie, gen. ed., 20 TO VIOLA TECHNIQUE vols. (London: Macmillan Publishers, Ltd., 1980), 19: 752. by 4. Ibid. 5. Nicolas Slonimsky, "Etude Musical Darrel Barnes Miscellany," Etude 67 (January 1949): 14. During my twenty-seven years as a 6. Schwartz, "Viexutemps," New Grove, 19: professional violist (twenty-one in 753. symphony orchestras), I have learned a 7. Ginsburg, Vieuxtemps, p. 97. variety of approaches to the problems created by performing on this very SELECTED BIBLIOGRAPHY difficult instrument and have finally Bachmann, Alberto. An Encyclopedia of the arrived at an approach that is free from the Violin. New York and London: 1925; kinds of stress which can create injury, reprint ed., New York: Da Capo, Inc., while at the same time maximize the 1966. possibilities for artistic expression. Ginsburg, Lev. Vieuxtemps. Neptune City, NJ: paganiniana Publications, 1984. A practical approach requires an Riley, Maurice. The History of the Viola. understanding of three basic concepts. The Ann Arbor, Michigan: Maurice W. first is Ergo Dynamics: the relationship Riley, 1980. between the player and the instrument. Sadie, Stanley, gen. ed. The New Grove Simply stated, the viola must be in correct Dictionary of Music and Musicians. 20 proportion to the bone length of each vols. London: Macmillan Publishers individual player (the specific formula for Ltd., 1980. Vol. 19: "Henry this proportion will be dealt with in a Vieuxtemps," by Boris Schwartz. subsequent article). This basic idea means Slonimsky, Nicolas. "Etude Musical that there is only a limited range within Miscellany." Etude 67 (January 1949): which there are no detrimental effects to 14,. 16. the sound and eventually to the muscle Vieuxtemps, Henri. "Capriccio," Opus and tendon tissues as well. This concept posthumous. Mainz: B·. Schotts Sohne, was overlooked by many musicians back 1973. in the sixties and early seventies when ___. "Elegy," Opus 30. Winter­ playing large violas was in vogue. The thur/Schweiz: Amadeus Verlag, 1976. result there was an inordinate number of ___. "Etude." New York: G. Schirmer, tendon and spinal related injuries. 1975. ___. Sonata in B-flat, Opus 36. Once the proper sized instrument has Adliswil, Switzerland: Edition been chosen, the performer must deal with Kunzelmann, 1974. the nextconceptofAngular Physics, which dictates how the body should relate to the instrument. Therefore placing of the viola should have forward tilt of about 5°. In 17 becomes critical in creating the angles that most cases this can be achieved by placing will minimize stress to the muscle tissue. wooden blocks under the rear legs of. the I find that the best placement for the viola chair. This tilt takes the stress off of the is directly on the shoulder, with the head lower back and removes the need to lean dropped to the leftand touching the middle back in the chair. of the instrument as a counterbalance (the Flesch chinrest works well for this Another way to reduce both physical positioning; also, no shoulder pad or sponge and emotional stress is through swimming, need be used, only a small piece of chamois in particular the crawl and the backstroke. to preventslipping). Placed in this position, Swimming helps to maintain muscle tone the viola requires minimal pronation and and prevents excessive buildup of lactic rotation of the left arm, and the right arm acids in the muscles, while relaxing the can reach the tip of the bow much more mind. I find that forty-five minutes to an easily, alleviating the stress on the elbow hour ofswimming twice a week works well and wrist joints usually caused by for me. However, it is important that there overreaching. be an interval of one to two hours after swimming before playing the viola. The last concept, linked directly to the principles of Angular Physics, is the idea One final word of caution: of necessity, that the strongest tissue within a given the concepts outlined here are general in muscle group should do the most work; the nature, and the specifics will vary from weaker tissue should be used only for fine person to person. However, with a clear tuning (i.e., small angle adjustments) and understanding of the individual's require­ subtle nuances. For violists this means ments and with sufficient practice to using all the soft tissue (muscles and achieve proper execution of these concepts, tendons) that are directly involved in one can enjoy a much more relaxed and movements of the upper arms and considerably longer career as a violist. shoulders. For the right arm this means using the large muscles of the shoulder and Darrel Barnes is the Principal Violist ofthe upper body to move the bow at all speeds Indianapolis Symphony Orchestra and and for all articulations and bowstrokes, Adjunct Professor of Viola and Chamber while the elbow and wrist are used for Music at Butler University. He was formerly minor angle adjustments and the fingers with the Detroit Symphony and Philadelphia for nuances and colors of sound. Orchestra before becoming Principal Violist of the St. Louis Symphony. His viola The Left Hand teachers were William Preucil, Nathan The left hand is pushed into playing Gordon and Joseph de Pasquale. Mr. Barnes position by the muscle group at the is indebted to Mr. Ron Robinson, sport shoulder which supports the hand for every consultant and trainer, for some ideas finger combination and position on the expressed in this article.• instrument. The fingers simply stop the string with the minimum of pressure necessary to make the pitch (this is their crempfng jig 42 thick only proper function). To achieve this level ofrelaxation of the left hand while playing, it is orucial for the player to be aware of for both the angle at the armpit. If this angle is not viole5 opened sufficiently, it is impossible to have a relaxed left hand.

Violists tend to sustain a great many injuries, both physical and emotional. One possibility for diminishing physical stress pepered is in the choice of a chair. The chair joint should allow the body to assume right angles at the hips and knees--a chair tepe neither too high nor too low. The seat THE VIOLA

AT BRIGHAM YOUNG UNIVERSITY CLYN BARRUS is a graduate of the Curtis Institute, theVienna Academy, DAYIDDALTON stud ied at the Vienna Academy, the Munich Hochschule, and the University ofMichigan wbereheearnedhis doctorate in viola. Hewas and took degrees at the Eastman School and Indiana University where he principal of the Vienna Symphony and for thirteen years occupied that sarne earned his doctorate in viola under William Primrose. He collabor ated with position in the MinnesotaOrchestra. He has been heard frequently as a soloist his teacher in producing the Primrose memoirs Walk on the North Side and and recording artist, and is now director of orchestras at BYU. also Playing the Viola. He is president of the American Viola Society. The Primrose International Viola Archive, the largest repository ofmaterials related to the viola, is housed in the BYU library. BYU gradu ates find themselves in professional orchestras and as teachers at institutes of higher learning. B.M., B.A ., and M.M. degrees in performance-pedagogy are offered to viola students atBYU. BYU is one of the best buys in college education. For information, write: Walter Birkedahl -Edward B. Fiske Department of Music, C-550 HFAC The New York Times Brigham Young University Provo, UT 84602 TEL 801.378.3294

Franz Zeyringer Literature for Viola

New edition 1985 German - English - French Contents: Foreword Introductory article "The Viola and its Literature" Newmaking to Order, 14.000 works for viola: Sales, Repairs, Appraisals. Viola solo 750 Viol ins -Violas - C elli - Bow s -Acce ssories 5000 Duos with viola Tuesday through Sarurdav Trios with viola 4300 1: 00 to 5 :\0 p.m . Viola with orchestra 1300 Double, triple and quad ruple concertos 600 Recorder and viola 50 Voice and viola 1200 Various comb inations 200 Michael and Rena Weisshaar Methods, studies and exercises 600 167 Cabrillo Street Index of 1000 publishers Costa Mesa, California 926 27 Index of 5000 composers (714·) 5"4 8- 1287 Price: 470,- Austrian shillings, 70 German marks, $ 28 US Publisher: Julius schonwetter jun. Violinmakers A-8230 Hartberg, Michaeligasse 26 , Austria HEIDI CASTLEMAN The titles of the four classes were 19 patterned after the one on Bach, "Tartini: by The Art of Bowing, an Artist's Primer," "Choosing Fingerings," and finally, simply, Rosemary Glyde "Performance Class." Each class had lecture-demonstrations in addition to Editor's Note: This is a fifth in a series of student performances. articles by the author on prominent violists and those who have had influence in our Heidi first addressed the dance forms field. as found in the suites and analyzed them with reference to cause and effect. In comparing the modern and baroque bow, I first met and heard Heidi Castleman she said, "The stroked pop out with the in her master class at the Viola Congress at modern bow. We must find a way to be the University of Michigan in 1987. I was less aware of the stroke and more award of drawn to her both as a teacher and as a the melodic configurations." The melodic person, and my affection forher has grown line is her raison d'etre, and her clarity in with subsequent meetings. ferreting out line and technique to achieve line is a strong theme in her session. Heidi Professor of Viola at the Cleveland took each dance form and discussed it in Institute of Music, Heidi came to Aspen at detail. "The bowing conventions and dances the invitation of the Aspen Music Festival were assumed knowledge at the time," she and School. In the space of one week, she stated, as was the performance of notation. gave four separate master classes on her approach to music and the viola. She is Thus, she explained her fascination with generous both in her humanity and her the many different editions of Bach knowledge. It was a special encounter for available. "Frustration is a wonderful all involved. teacher. I looked at the many editions of Bach and the different conclusions that Heidi is 5' 5" tall, although she seems have been drawn." She characteristically taller than she is. She has a saucy, Sassoon­ added, "I am not an expert in baroque like haircut, turned under, ofsandy blonde music. I am just curious at these many hair. Her blue eyes sparkle as she laughs editorial differences. Knowledge can be from both mirth and mischief! As she gives a friendly ally to support the intuitive her comments to students after they play, within us." After a detailed description of she has a marvelous idiosyncracy: she waits the earliest copies of the suites, she for a few seconds to ponder, and as she exhorted us to "choose an edition that is does so she rolls her eyes skyward for an minimally edited." instant.' It is an endearing characteristic, and students wait for her to do it. Of particular note was her comparison of the French and Italian styles of The four master sessions were held movements. The French style, "based on during the summer of 1989 on the music music by Lully, his contemporaries and school campus. Nestled on the green successors, is courtly and polite, of musical between the mountains, the building is decorum and good taste; every movement simple, rustic, ample. Her first class was is of a definite mood." The seventeenth entitled "Do I Really Need a License to Play century was dominated by the French style. Bachz" (referring to a statement by The eighteenth century, however, has a Primrose). Heidi had just arrived in Aspen much stronger Italian influence. The and trekked through rain and mountain Italian, "less sophisticated and mannered, mist to reach the classroom in time. It was imitates the vocal, is very virtuosic, direct, an auspicious beginning. and unrestrained. Strings are well suited to this style because of their similarity to Her Master Classes the voice." Where the French "always My comments on the classes will be respect an underlying rhythmic pattern-­ brief. Heidi has detailed the classes in the a gestalt--the Italians will take rhythm as American String Teacher magazine (Winter a point of departure for figuration." Heidi 1990. Vol. XL, No.1). emphasized the importance of being aware THOMASTIK DOMINANT THE NEW STANDARD OF EXCELLENCE

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DISTINGUISHED VIOLA FACULTY

Sidney Curtiss Leonard Mogill Michelle LaCourse Emanuel Vardi Evelyn Jacobs Luise Ira Weller

DEPA RTMENT OF INST RUMENTAL ENSEM BLE ST UDIES Tnz N EW S CIIOOI. I NSTI TUTE Richard Brodhead, Chair, Executive Director Helen Kwalwasser, Artistic Advisor for Strings Luis Biava, Artistic Director and Conductor, Temple University Symphony Orchestra

FOR INFORMATION, PLEASE CONTACT: PROGRAMS Doctor of Philosophy Walter Weidenbacher Temple University, Box VLA Bachelor of Music Undergraduate Diploma (215) 787-8328 Esther Boyer College of Music Master of Music Graduate Professional Studies Philadelphia, PA 19122 Doctor of Musical Arts in Performance of these French and Italian elements in the bass notes so you can fulfill their 21 suites in order to bring out the appropriate expectation at the resolution." characters. Miss Heydt had taken the original Notation bowings, using the modern bow and Heidi While discussing notation, "notes felt the original bowings were not serving inegales,' Heidi referred to the slight the music. Heidi used her term, lengthening of the first note in a pair of "articulation silence" (a bowing stop that diatonic eighths, and the shortening of the Lillian Fuchs had referred to as a "lift"). second. She discussed the assimilation of dotted rhythms into the dance, and the Sonatas "reprise d'archet," also known as the On August 5, Heidi coached the Brahms "retake," two successive down-bows. She E-flat Sonata. Throughout the session she mentioned the dance steps, the elan and repeated some favorite musical concepts: repos, movement and rest, and the qualities "Bring out the bass, the line is being of the French sixteenth-note upbeat and the generated from the bass. Generate from Italian eighth-note upbeat. Her sources a very cello-like bass." She also emphasized included The Interpretation of Music, using the bow with the "point tipped up for Thurston Dart; World History ofthe Dance, pinkie balance" for stronger sound (what Kurt Sachs; and "17th Century Dance I refer to as circular motion before the Patterns," by Barbara Ann Garney Seafran stroke); she also mentioned that one should (dissertation at the University of Michigan). play with the shape of the stick (raise the Many students seemed to have been elbow at the tip for more leverage). In enlightened by this class. discussing sound, she spoke of looking for a "pleasingly irritating sound. As we shorten On August 3, violist Anrati Hemmings, the string, we have to come closer to the winter student of Marcus Thompson and bridge for the same sonority." In regard to summer student of Yizhak Schotten, opened the vibrato she counsels, "practice without the class with the Prelude and Fugue in C vibrato, then add and make sure it is there minor. He chose to do the original tuning to ornament the bow stroke." Practice the (A down to G) for more resonance. Heidi phrasing without the bow. In string suggested research into the difference crossings, "the elbow leads. The inside of between the subject material, the episodes, the wrist leads on the up bow." She also and the cadential material. "Listen to the introduced the concept of "endless bow" to beginnings of slurs and strokes, and that get the feeling of bowing beyond the ends you throw them off the way you mean to" of the bow into the air. So many of Heidi's she advised. personal "truisms" are instinctively and musically on the mark; she presents her "The viola is different from the violin ideas clearly, showing sensitivity to the because you have to have hold of the string students. before you let go." She suggested using the same bowings for each statement of the The last sessions dealt with choosing sequence. "Sometimes the melisma were less fingerings, or, as Heidi called them, "the vocal than I would have liked. Sing the violist's vocal chords." She gave general notes; be award of intervals and feel glue guidelines to follow for building accuracy in your voice. Keep the voice as the model and consistency: for what you want." --"The fingers are tactile sensors. Student Allison Heydt played the C Awareness of how the string buzzes under major Prelude, and Heidi mentioned the the finger is very important. Visualize emphasis she gives to the bass, which is a before you play how the finger is going to recurrent theme in all her classes. "Think be massaged." of the positioning of the bass line in the pieces. Exhale on the first C. Phrase to the --Articulation is "double-action, bass more. Vibrate on the bass more. dropping and releasing. Keep your hand Crescendo to the bass, not diminuendo, for relaxed. If it's comfortable, one remembers a longer line. Announce the sequences the fingering." more clearly. Have the listeners hear the ;?C::te=~~::::::::!!S;;;:~~~;> l ~ Shar Violin Shop

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L.F.S. Publications, Inc. P.O. Box 6046 • Ann Arbor, l'1I 48106 313/971-5744 --Intonation: "think of a pitch and aim --Play with the shape of the stick. The 23 for a point, not just a general area." bow arm should take the same shape. - - Be clear on ballistic or sustained --"The sequence between hearing, strokes. It is far too easy to fall into the feeling, and playing is very important." middle too often.

In regard to accuracy and consistency, --Be aware of bow placement to help Heidi stressed the importance of using an passages speak clearly. appropriate size of instrument. The hand should be relaxed and comfortable, and Heidi spoke a great deal on inflected organized in tetrachord patterns. She and uninflected sound, a definition that advocates the use of extensions in the was interesting to discuss, since there are higher positions, and contractions in the different perceptions of the words. lower. In hearing the slow movement of the In "building a tactile vocabulary," she Schwanenreher, she said, "When you didn't emphasized six different areas: 1) specific like something, you came back within intervals, (2) color, (3) legato, (4) open yourself instead of listening to yourself strings, (5) fingering passagework, and (6) from the back of the hall." This idea of role of slides. imagining oneself in a hall came up several times in reference to creating sound and In regard to specific intervals, she concept. advocated using different fingers for successive intervals of one fifth: "Think of how you listen to yourself in a hall. While practicing, think of a favorite 2 ~ 3 2 1 hall and then listen to and imagine yourself in that favorite hall."

She demonstrated her own warm-up Color constitutes "a phrase or a unit on the exercise: a drone of the chromatic scale (1) same string. The choice of string is a up the A string wounding the D string, (2) musical choice." In legato playing, she finds up the D string with the G string, and (3) it important not to change strings on a up the G with the C string. semitone. But, yes, shift on a semitone. In legato playing, "avoid open strings because #~~~~ eL­ ..f • • ;V.... cc. of the nonvibrated sound. Open strings can be used" for color and to facilitate ~~g-- passagework. She advised shifting on strong beats and executing sequential fingerings for sequential writing.

Tartini's Opus A favorite pedagogical work ofHeidi's is The Art of Bowing by Tartini. Other of Regarding chords she said: "Find the her favorite works for the "vocabulary of shortest string length and determine the strokes" are Sevcik, Ope 2, and the early sounding point of that note. Then apply to etudes of Kreutzer. Her lecture on the the rest of the chord": Tarti'ni featured copious details. A few salient points include these: Shortest string length.play close --The stick is the extension of the bow­ to bridge arm, or, as Primrose said, "the second elbow." Finally Heidi made a wonderful comment about nervousness: "Being nervous --Be aware of where the weight of the is like any other feeling that comes over us, tip and the weight of the frog are [string which doesn't mean we can't think or crossings]. function well when it happens. Be sure ERIC CHAPMAN VIOLINS,INC.

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604 Halstead Avenue Mamaroneck NY 10543 914-381-4616 that ninety per cent ofyour listening power music symbolized the whole wide world­ 25 is on the piano." -the promise of something out there that I was going to explore." Later Heidi and I met early one morning at the Pour La France cafe on Heidi first studied at Wellesley, then Main Street in Aspen. We talked incessantly "majored in the New Haven Railroad" as for an hour, and then we were joined by she studied with Dorothy Delay in Nyack her husband, Dr. David Klein. David grew and at Juilliard. Later she received a up in Cleveland and is a urologist by Woodrow Wilson fellowship in musicology profession. However, his life is not limited at the University of Pennsylvania, where to medicine. He is the first chairman of the she taught with Paul Doktor. board of Chamber Music America, and it 1 was through his work with CMA that he The reason behind her decision to teach met Heidi. was Dorothy Delay. Heidi's first couple of J months with Miss Delay was an instructive David is an amateur violinist who experience. Miss Delay was a strong studied with Joseph Knitzer and Donald influence in Heidi's life, and as Questions Weilerstein. Not only was he president of grew, Heidi was made to feel "Yes, it's the Cleveland Opera for eight years, but possible, sugar." Her influence on Heidi lay also he was notably "father" to the in the logic and accessiblity of her ideas, Cleveland Quartet, for they literally started her love and appreciation of people, and by performing in his living room. A warm the clarity of her mind. "I think that the and enthusiastic man, he attended Heidi's view she gave me, a positive view of what's sessions at the school, and by his attitude possible, has been consistent in how I he revealed his devotion to Heidi. approach students. The student is the star. My job is to challenge all students to be Her Background fully themselves." Heidi, nee Waldron, grew up in West Nyack, New York, a town forty-five Heidi has taught at the Philadelphia minutes away from New York City on the Academy of Music (her first graduate was west side of the Hudson River. Her family Jeffrey Irvine), where she played in the was Quite scientifically and academically New York String Sextet. Then she moved oriented. Her father's career was in systems to Rochester, where she taught at Eastman, at Cyanamid International Pharmaceutical in addition to traveling to the New England Laboratories. Her mother was devoted to Conservatory. her four daughters, Heidi being the third. The older sister, once a school teacher, is In 1983 she became president of now a dairy farmer with seven children. Chamber Music America. The time she The second sister is the chairman of the devoted to this position meant she had to undergraduate biology department at the leave the New England Conservatory. She University of Pennsylvania. The youngest remained at Eastman and later went to Rice is a computer programmer. Two of the and the University of Miami as a sisters attended Harvard. The overall commuter. About four years ago she started emphasis in their home was clear thinking. to teach at the Cleveland Institute of Music, , At an early age they were not told what to in addition to Eastman. As of September think but rather how to think. Their mother 1989, she will be teaching only at the encouraged all of them to study an Cleveland Institute, the first time she has J instrument, therefore, Heidi started the not commuted to teach, and therefore she violin at age five. As she progressed into hope to become more involved with her her teenage years, her high school orchestra local community. She will also be at teacher, Dr. Edward Carney (Laurie Sarasota, Banff, and will be a guest artist Carney's--second violin, American String with the Hancock Chamber Players, Quartet--father) took a special interest in Philadelphia. Her favorite project now is her. At fourteen she had no Question about to help the role of chamber music in the what she wanted to do. "The magnetic pull elementary and secondary schools through of music came from an instinctive drive to CMA. This project is a logical outgrowth balance the rational with something ofher work with her first husband, Charles intuitive and spiritual. As part of a dream, Castleman, with whom she founded the 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

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795 Foxhurst Road, Baldwin, New York 11510 Phone (516) 546-9300 Fax # 516 546-9309 quartet program of the Great Woods SURVEY OF THE XVII 27 Festivalin Norton, Massachusetts. This was a summer program for high school and INTERNATIONAL VIOLA college-age string students based on the CONGRESS premise that the string quartet is an invaluable vehicle for training musicians, by be they soloists, orchestral, or chamber musicians. Ronn Andrusco

In her teaching, her main concerns Editor's Note: The author, a professional involve the educational setting--a setting violist in Toronto, volunteered to survey to create time and space for music. "There participants at the Redlands Viola is a danger in our lives of being Congress. He has provided an excellent overscheduled, a dilemma that music service to planners of the 1991 and future schools frequently have to address." She also congresses. Portions of the results of the feels it important to help students make survey are printed here. the transition to present-day expectations. "A performer can't sit back practicing and Abstract playing and not be involved in society. My The International Viola Congress has concern is that someday there may be no been held during the odd numbered years audience! The musician has to be active in in a location in North America beginning people's lives." She also believes in in 1975. The American Viola Society is a memorizing a balance ofcontemporaryand sponsor of this event. During the 1989 standard repertoire with entertaining pieces International Viola Congress held June 21­ as well. 25 at the University of Redlands in Redlands, California, a survey of registrants Having recently married, David and participants who attended was excitedly said that I should look inside undertaken by the American Viola Society Heidi's wedding band. Inside I found to provide an opportunity for attendees to engraved a small and perfect alto clef. It express their thoughts on the Congress and was a charming and poignant moment in other activities. Of the approximate two­ our meeting. I was sad our meeting had to hundred participants in the congress, end, but looked forward to their friendship seven-one responded to the survey. and continued influence on many within their music circle. Executive Summary -48% of the respondents attended their first Rosemary Glyde received her doctorate of Congress in Redlands Musical Arts from the Juilliard School -one of the respondents has attended all under Lillian Fuchs. She was violist with the Congresses held in North America Manhattan String Quartet and has taught -about one in six of the respondents knew on the faculties of Manhattan School of of the Congress from more than one Music, the Yellow Barn Festival, Sewanee source Summer Festival, and as an assistant at the -82% of the respondents endorse the month Hartt School of Music. Last year she was of June for the Congress appointed to the faculty of the Aspen -58% of the respondents were satisfied with Festival. She also serves as treasurer of the the Congress format American Viola Society.• -58% of the respondents stayed at campus / accommodation -37% of the respondents are professional musicians -14% of the respondents are students - 79% of the respondents belong to the Please patronize our JAVS ad­ vertisers who help make this AVS/CVS -68% of the respondents are women publication possible. -59% of the respondents came from California, Utah, and New York BOSTON UNIVERSITY SCHOOL OF Phyllis Curtin, Dean, School for the Arts MUSIe Robert Sirota,Director

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For descriptive circul ars or lurther informati on write to: dampUs, inc. Box 493, Radio City Station, New York , NY 10101 U.S.A. Summary and Conclusions It is not clear that the Journal is the 29 This study has provided a wealth of main vehicle for the dissemination of information that was unavailable to the Congress activities. Is this a result of American Viola Society until this time. limited Congress advertising, members not Many of the respondents went to a great reading the Journal carefully and length to provide the AVS executive with completely, or something else? Does the constructive opinion, views, and comments. Journal require some review to see if it is The respondents believe in the AVS and meeting its objectives? would like to see it flourish. This survey provided the means by which attendees had Participants who have been to more an opportunity to express themselves in than one previous Congress obtain writing. information from the Journal or other people. Are these long time members and Membership of the AVS/CVS requires who are the other people? some review. Although seventeen states plus Distance is not a factor for attendance D.C. and three provinces were represented contribute~ at the congress, what about the other thirty­ although the host state one continental states and seven provinces? significantly to the total attendance.

Five categories of members exist, The two to one ratio of women namely, professional musician, amateur respondents to men respondents requires musician, teacher, students and some review. One could speculate that instrument/bow maker. The A VS/CYS must women will complete questionnaires more ensure that the organization has something readily than men, or that this ratio is a to offer potential members and something reflection of overall registration/partici­ to maintain their interests, once they are pation in the Congress. One would want to a member. compare Congress participation to the general membership of the AVS to see if There would appear to be potential the ratio is similar. growth in all areas with students an obvious priority because of early involvement and Canadian participation was weak at the a potentially long lasting relationship with Congress. Should the CVS continue to be the AVS/CVS. Teachers should be the main a separate organization? source of encouragement and source of information.

Professional violists playing in ..... orchestras are a well-defined group of potential members also. In Canada, the Organization of Canadian Symphony Musicians (OCSM) could possibly provide the window for distribution of literature information, etc. '

Participants do not feel an obligation to join the AVS/CVS even after attending a Congress, Students, previous non-member attendees, and first time non-member attendees should be targeted for memberships at the Congress in a persuasive manner. The non-member registration fee at the congress became the member's registration fee in the A VS plus the one­ year's dues. The non-member then automatically becomes a member for that year, and will hopefully continue. Frequency Distribution of Current Position ======Cumulative Frequency Percent Percent

Professional Musician 16 22.5 22.5 Teacher 9 12.7 35.2 Amateur Musician 11 15.5 50.7 Instrument/Bow Maker 5 7.0 57.7 Student 10 14.1 71.8 Musician & Teacher 10 14.1 85.9 Other Combinations 9 12.7 98.6 Missing 1 1.4 100.0

Total 71 100.0

V~./«TDtv ~ ~ d- \.'- \.... /j~ Dv..4./~u ,-

,.J

AVS/CVS Membership and Congress Awareness Source

Journal r------_.....J Teacher~~~~~~ Other~~~~~ss::s::s:s~ Co 11 eague ~~~~~SSl Comb i na t ion Journa1 ~~r------I ~~s:sssssss In te rna t i ona 1 Mus icn (~\ No Return -: Combination Non Jour ~ Non -membe r ...... ~...... "...L.J..l..u..L...L...L.J..l.u..u..uE:::::jMemb e r o 5 10 15 20 25 30 Per Cent

Sketches of participants at Redlands Congress by Archer Ames, 147-R Calle ojo Feliz, Santa Fe, NM 87501, artist and violist. Congress Attendance Histor~ Number Zero Congresses ~~~~~~~~~ One Congress Two Cong resses ~~~ Three Congresses Four Congresses Five Congresses Six Congresses Seven Congresses Missing

o 10 20 30 40 Per Cent

Accommodation Preference

In-Campus Hous i ng ~~~~~~~~~ Suggested Hotel ~ Other Hotel With Friends / Home (Local) Other Combination -...... ""'-'--I-"""--I...L..L....L...L...I...I...w.....&....&.....L.J ~ Respondent o 10 20 30 40 50 60 Per Cent Member 79.0%

~1I1I~21.0% Non-member

Vs Membership of RegistrantsAVS/C at 1989 Congress

- i

.:I} /1" / 1/

/ / /

32.4% Male

Gender u. S. A. 93. 0% c::::.====---======::J

7.0% Canada

Country of Origin of Respondents

Age Groups

Under 25 25 to 34 35 to 44

45 tel 54

55" to 64

65 and Over ~ Respondent

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PLAYINGTHF VIOLA Conversations with William Pnmrose

Playing the Viola Conversations with Willianl Primrose DAVID DALTON, Brigham Young University "The instrument's supreme spokesman and his ideal collaborator-together they have brought us a work of rare insight and commitment. My special thanks to Mr. David Dalton for his unique contribution to the viola world:'-Michael Tree, Guarnieri Quartet. "A testament to the great artistry of William Primrose. This book should be read by all string players:' -Josef Gingold, Indiana University "I found Dalton to be the consummate interviewer... and marveled at Primrose's style, wit and wisdom. This effort was not merely a technical expose, but also a labour of love:' -The Strad "Dalton's [book] is a loving and brilliant composite of the man, his art, and his humanity, and a meticulously detailed analysis of his technique....A tremendous contribution and a much-needed affirmation of our own best instincts:'-Karen Tuttle, lulliard School ofMusic and Curtis School ofMusic. "Dalton's book is a profound exploration of William Primrose the man. the artist, and the violist. His narrative forms a galaxy of observations by a gentleman whose erudition is an enlightening, inspiring force for all string players:'-The Violexchange. 1989 264 pp.; numerous music examples paper $19.95 Prices and publication dates aresubject to change andgoodonlyAllill in the u.s.

Shar Products Company To order, call Toll-Free 1-800-248-SHAR PO Box 1411 Ann Arbor, MI48106 Oxford University Press 200 Madison Avenue .... New York, NY 10016 ==~ 1989 Redlands Viola Congress U.S.A. Residence of Respondents

Frequency Ranges

D 0 ~ 1 o r 2 • 3 o r 4 • 5 to 25

o C> ~<;) {)

, .P"'" 37 From the Presidency

We are pleased to announce the results of the election for new AYS officers and board members. All votes were tallied that had a postmark of 10 March 1990 or before. We thank those colleagues on the nominating committee who aided with time and advice. Those elected are the following: t / OFFICERS (4-Year Term From July, 1990-July, 1994)

PRESIDENT Alan de Yeritch VICE-PRESIDENT Harold Coletta SECRETARY Pamela Goldsmith TREASURER Rosemary Glyde (appointed to continue) PAST PRESIDENT David Dalton

BOARD (Newly Elected to 4- Year Term From July, 1990-July, 1994)

Louis Kievman William Magers Kathy Plummer William Preucil Michael Tree Emanuel Yardi Robert Vernon

(Retained to complete term of office until July, 1992)

Donald McInnes Dwight Pounds Thomas Tatton Karen Tuttle Ann Woodward

We congratulate those who have been elected to these positions. We are confident that they represent strong leadership and direction for the Society in the coming years. At the same time, we express appreciation to all those who had their name placed in nomination. It was heartwarming to know that there are so many excellent violists and members of our Society who are willing to give of themselves in support of the ideals of the AYS. 38

ANNOUNCEMENTS by P. Gallois, P.R. Xuereb, and F. 39 Pierre.

Lecture by Etienne Vatelot: "The Viola-­ OfInterest Past and Future." LILLE VIOLA CONGRESS Concert of works for solo viola, two, and three violas by Henri Pousseur, Tristan Murial and Eric Sprogis performed by The program has been announced Jean S~lem, Garth Knox, and Michel for the XVIII International Viola Michalakakos. Congress in Lille, France, May 31 to June 3, 1990. Those interested in Concert by the Trio a Cordes of Paris in receiving more information regarding works by Milhaud and Roussel. the congress, housing, etc. should contact: June 2 "A Day in Brussels" Concert by the viola class of the Brussels Bernard Goudfroy Conservatory in works by Vieuxtemps, 11 bis, Rue Neuve Saint Germain Jongen, Legley, Poot, Longree, and 92100 Boulogne Michel. France Tel. 33 120 74 17 31 Lecture on the "Franco-Belgian School of Violin and Viola of J. P. Muller." The congress stands under the title "The Viola in French Music and the Franco­ Audio Lecture on the Bart6k Concerto, Belgian School." as performed by Primrose, and the Milhaud Concerto, as performed by May 31 Maurice Vieux. Lecture by Frederic Laine: "The Viola in France during the 19th Century" Tour of the Brussels Musical Instrument focusing on Chretien Urhan and Casimir Collection and an exhibition by Belgian Ney. luthiers.

Concert: Sonata for Viola and Piano by Concert by T. M. Gilissen and J. C. Jacques Castiride performed by Marie Vanden Eynden of works by Therese Chailley. Trio by Maurie Vieuxtemps and the Piano Quintet by Durufle for Flute, Viola, and Piano Franck. performed by Patrick Gallois, Bernard Gaudfroy, and Alain Raes. Work for June 3 Electric Viola by J.C. Dewaele. Seminar with French composers, S. Nigg, C. H. Joubert, and B. Joas, and a Concert by the Brigham Young hearing and discussion of their works. University Chamber Orchestra, Clyn Barrus, director. Brandenburg Concerto Other composers works to be heard No.6 by Bach with Nancy Call and Joel during the congress include A. Belgique, soloists. Elizabethan L ~rics by Bancquart, E. Chausson, N. Bacri, J. Merrill Bradshaw for Soprano, VIola, Martinon, A. Lemeland, A. Jolivet, A. and Strings with Donna and David Honegger, B. Jolas, C. Koechlin, and P. Dalton, soloists. Variations for Viola and D. Q. Bach. Orchestra by Alan Shulman, Clyn Barrus, soloist. Suite from the "Three­ Other performers will be J. F. Benatar, Cornered Hat" by de Falla. T. Coman, L. Verney, J. Dupouy, P. Lenert, J. B. Brunier, E. Cantor, O. June 1 Seube, S. Toutain, and B. Pasquier. Master class with Serge Collot: "The Franco-Belgian Technique."

Concert: Trios for Flute, Viola, and Harp by Debussy and A. Louvier performed 40 VIOLA ORCHESTRAL accurate, Milton Thomas's February 17th recital with pianist Brent McMunn at VACANCIES USC was the only such effort at the prof;ssional level. Two violists have Principal appeared with chamber orchestras: Sacramento Symphony Geraldine Walter, the principal violist Tracy Alan Davis with the San Francisco Symphony, Sacramento Symphony Association ventured south to appear with The 77 Cadillac Drive Orange Country Chamber Orchestra, Sacramento, CA 95825 Micah Levy, conductor, and violinist Diana Halprin, in the Mozart Tulsa Philharmonic Concertante. Miss Walter also played the Philip Woachowski, Personnel Trauermusik by Hindemith on the same Manager, The Tulsa Philharmonic program, which was presented twice in Harwelden 2210 S. Main two Orange County locations on Tulsa, OK 74114 November 5th and 6th. In February, Kim Kashkashian appeared with the Los Associate Principal Angeles Chamber Orchestra in Pasadena, Tulsa Philharmonic playing the Trauermusik, and in Philip Woachowski, Personnel December of last year, Richard Elegino, Manager, The Tulsa Philharmonic L.A. Philharmonic violist and local Harwelden 2210 S. Main resident, played at the UCLA Mozart Tulsa, OK 74114 Concertante with violinist David Stenske and the American Youth Symphony; Sacramento Symphony Mehli Mehta conducting. Tracy Alan Davis Sacramento Symphony Association This is not to give the impression 77 Cadillac Drive that violists are denied opportunity or Sacramento, CA 95825 exposure here in Lotus-Land. There is an extraordinary amount of chamber Calgary Philharmonic Orchestra music presented in the course of the T. Rawlings, Personnel Manager musical season in the Los Angeles area, Calgary Philharmonic Society so much that to keep accurate track of it 205-8 Avenue S.E. all, failing full-time attention, is . Calgary, Alberta hopeless. Professional chamber mUSIC Canada T2G OK9 ensembles, either touring or local, are preserrted by various sponsors, often Section serving specific localities, such as Sacramento Symphony "Chamber Music at the Taper" (the Tracy Alan Davis Music Center, downtown), "Laguna Sacramento Symphony Association Beach Chamber Music Society," 77 Cadillac Drive "Fullerton Friends of Music:' the Sacramento, CA 95825 venerable "Coleman Concerts" in Pasadena, the Ambassador Auditorium series, also in Pasadena, the Music Guild concerts at the Wilshire Ebell Theater, to mention a few.. Then there are the various colleges and universities, the About Violists larger churches, and the several chamber music series sponsored by the L.A. Philharmonic and the Orange County THE VIOLA TODAY Philharmonic Society. AROUND L.A. The following is a list of string During the October to March quartets, (mostly) which have appeared this year, up to March: Ames Piano season, in and around Los Angeles, the Quartet, Ardetti, Arroyo Piano Quartet, solo violist has been the next thing to an Audubon, Bartok, Budapest String Trio, endangered species. If research is Calvarola String Trio, Chapman String Quartet and Orchestra was given 41 Chamber Players, Emerson, Franciscan, by the Guarneri Quartet and the Guarneri, Juilliard, Kronos, Lark, Lyric Philadelphia Orchestra at the Academy Piano Quartet, Orford, Prague, Pro Arte, of Music in Philadelphia with Eric Quartetto Beethoven di Roma, Ridge, Leinsdorf conducting. On Tuesday, Shanghai, Stanford, Tokyo, and March 13th the Davidovsky was Unnamed (yes, "Unnamed," Michael repeated by the same group in Carnegie Nowak, violist). Hall, New York.

Special mention should be made of The Borodin Quartet gave its only some stand-outs in this array or riches. New York concert this season at Alice The Juilliard Quartet is giving a five­ Tully Hall. The compositions performed concert presentation of the seventeen were Mozart's Quartet in D Minor, KV Beethoven Quartets, at Ambassador 421, Webern's Five Pieces, and Auditorium, scattered throughout the Shostakovich's Quartet No.5. season. The Chamber Music in Historic Sites series will sponsor no fewer than The Melos Quartet, which has not fifty concerts by various groups at been heard in New York since 1978, interesting and unusual locations around appeared in Alice Tully Hall. The the city, e.g., the hundred-inch telescope Quartet performed the Mendelssohn on Mr. Wilson, Rutabegorz restaurant in Capriccio for String Quartet, Ope 81, Tustin. The Calvarola String Trio gave No.3, the Schumann Quartet in A, Opus the premier of Inventions for String' Trio 41, No.3, and the Brahms Quartet No.2 and Tape by John Biggs at the Santa in A minor, Ope 51, No.2. Monica Unitarian Community Church, Lynn Lusher Grant, violist. The Cleveland Quartet appeared in --Thomas G. Hall Tully Hall playing Schubert's Chapman College Quartetsatz, Schoenberg's, Quartet No. 4, Ope 37 and Beethoven's Quartet, Ope 59, No.2. THE NEW YORK SCENE All violists planning to perform in the New York area in the future are invited During March and April a number to send particulars for inclusion in JA VS of concerts took place in New York City to: which were of interest to violists. Robert Glazer, Musical Director Violist Mimi Dye presented a recital c/o New York String Symphony featuring works by Rebecca Clarke, 16 Moos Lane Ernest Bloch and Paul Hindemith, all Bergenfield, NJ 07621 written in the year 1919. The concert was given at the Church of the Redeemer in Manhatten. IN MEMORIAM Pinchas Zukerman, as violinist and violist, and Marc Neikrug appeared in We note with sadness the passing of an all Schubert program in Avery Fisher two of our colleagues and members of Hall. 'Dhey performed Sonatinas in G the AVS in recent months. Both had Minor and A Minor, the "Arpegginoe" participated in international viola Sonata, and the Fantasy in C. congresses, and in the case of Nannie Jamieson, she had to decline an Yuri Bashmet, was soloist with the invitation to conduct a master class at Moscow Philharmonic Orchestra, Dimitri Redlands because of a lingering illness Kitaenko, conducting, in Avery Fisher which contributed to her demise. Hall. Mr. Bashmet performed the Bartok Concerto. Nannie Jamieson, who was born in 1904, passed away on 18 January 1990. Her The world premiere of Mario long and varied career encompassed Davidovsky's Symphony Concertante for playing, teaching, and organizing, and THE AVS IN THE USSR

A message from President David Dalton:

The American Viola Society has been invited through U.S. EXCHANGES, a priva te company with offices in Grosse Pointe, Michigan, to und ertake a concert tour of the Soviet Union in 1990. U.S. EXCHANGES, whose director is Dr. Robert C. Eve rett, specializes in sponsoring tours and cultural and scientific exchanges between the United States and the USSR and the People's Repu blic of China. This past spring, for instance, a group from the American Flute Association und ertook a reward ing tour to the Soviet Union und er the sponsorship of U.S. EXCHANGES where they enjoyed interac tion with their Soviet counterparts.

I have received a response to my inquires about such a tour fr om Mr. A. Ko zachuk, First Deputy and Chairman of the Moscow Musical Society, who has relayed through Dr. Everett the word that his society would look favorably upon such a visit and make on-site arrangements as necessary. I have proposed a format of master classes, lectures, viola ensemble concerts, and solo viola con certs-­ where possible featuring rep ertoire by American composers--in three cities, including visits to the Leningrad, Moscow , and Ki ev conservatories. The tour is to tak e place in the USSR 19-30 September 1990.

Cost is about $2,550.00 per person , based on double occupancy. Included is round trip airfa re f rom JFK in New York on KLM Royal Dutch Airlines, transfers, porterage, programs listed , and three meals each day within the Soviet Union. There will possibly be a stopove r in Amsterda m en route and in Vienna on the return from the USSR. If desired by the AVS group, a concert may be arranged in Vienna plus a couple of da ys stay after which the group will disband and individuals will have the option to stay longer on their own in Europe before traveling to Amsterd am for return home .

There are still about a dozen openings that can accommodate as man y violists on what prom ises to be an exhilirating tou r. Please give notification immedi ately.

_ _ _ I wish to apply to go on this AVS tour to the USSR.

____ My partner will come.

As a violist I can offer the following to the tour:

Name _

Address------

Telephone Number _

Send a copy of this form immediately to: David Dalton, AVS President, C-550 HFAC, Brigham Young University, Provo, UT 84602, TEL 801.378.4953. her remarkable musical and human 43 qualities enabled her to be at home and successful in all those activities. She was devoted to her students and lavished unlimited care and concern on them, and was always ready to help her friends and colleagues. New Works

In the early 1930's, Jamieson went to Sonata for Viola and Piano, Opus 12, by Berlin to study with Carl Flesch, and Robert Casadesus. International Music with his young colleague, the violinist Company, Inc., 1989. $8.50. and teacher Max Rostal. Later, Nannie made it possible for Rostal to leave Nazi Robert Casadesus's (1899-1972) Germany and settle in London. In 1939 musical reputation rests in this country, she became a member of the Robert at least, almost solely on his pianistic Masters Piano Quartet. These and other abilities. However, in France he was also young musicians came to the notice of quite well-known as a composer. (As a Yehudi Menuhin and became founding student at the Paris Conservatoire, he members of his Festival Orchestra. won the Premier Prix in harmony at age fifteen.) He wrote six symphonies, Nannie began her teaching career at several concerti, vocal music, and the Guildhall School of Music where she chamber music including a string trio, taught to the end of her life. She guided most of which are still apparently in the development of countless viola manuscript. players of the European String Teachers Association, she became a driving force The Sonata is dedicated to his uncle, in its activities throughout Europe. Henri Casadesus (an eminent violist, and composer of the viola concerti he Carolyn Kenneson served on the faculty ascribed to J. C. Bach, and Georg of the Department of Music at the Frideric Handel). There is no University of Missouri-Columbia from information in the edition about the date 1972 until her death in November 1989. of the composition, but it was Kenneson received her bachelor's and undoubtedly composed prior to Henri's master's degrees from the University of passing in 1947; in all probability it was North Texas and University of Texas­ written in the thirties (perhaps earlier) Austin respectively. She pursued her because Robert's opus numbers appear doctorate in music at the University of to be chronological, rather than Texas-Austin. according to date of publication, and the Sonata for Two Pianos, Opus 36, was Among her honors were two published in the early 1940's. commendations from the National Society of Arts and Letters and Stylistically the Viola Sonata seems to appearances as soloist at music festivals be akin to the abstract intellectual idiom at Banff and Purbeck and at the IX one might associate with Roussel, or any International Viola Congress in Toronto. of a number of other early 20th-century French composers. Though the upward A memorial fund to assist string range for the viola never exceeds A-flat students has been established in her above the staff in the treble clef, and name at the Department of Music, 140 the piece is written idiomatically for Fine Arts Center, University of both instruments, it is not a student Missouri-Columbia, Columbia, MO work. There are difficult rhythms for 65211. both players, ~nd the fast tempi i~ the second and third movements of this three movement work mitigate against performance by any but advanced players. Casadesus provides interesting textural allusions in the second movement (marked "Vivo" and based on 44 a very catchy syncopated melody), in words should reflect the seasons or at which he directs the piano to play "quasi least refer to nature. In this case they are trombone" and "quasi tromba," and the feminine, in the best sense of the term, viola to play "quasi sassofono." and romantic as well.

As with some of International's other The three sections of the cycle editions, there are some apparent certainly reflect the three lines of the editorial errors, such as open allargandi, poems, but the 5-7-5 relationship does and some unworkable fingerings (until not seem to be present in the music. The one places the finger numbers over the composer's sense of proportion is correct notes). One might assume that probably too strong to bend to the the fingerings are those of Henri dictates of arbitrary form. Casadesus, since, as mentioned above, it is dedicated to him. (For the reviewer's The harmonic vocabulary is atonal, taste there is too much self-conscious but not harshly dissonant. Harmonies avoidance of the fourth finger, but often grow out of melodic presentations, many players will find these fingerings and often chords are constructed of suitable.) With a suggested time of fourths or triads with one dissonant performance of fifteen minutes, this factor present. The texture is sparse so work is a worthwhile addition to the that harmonic and melodic content is published 20th-century sonata repertoire distinct and obvious. The meter of the for viola and piano. poetry has dictated the rhythms of the --David Kerr music and set the length of phrases so Stephen F. Austin State University. that the result is remarkably satisfying prosody.

Haiku, a song cycle, for soprano, viola The performers on the tape are and harpsichord, by Marilyn J. Ziffrin. artists of the first rank, but the writing Text by Kathryn Martin, unpublished. for this unusual combination Inquiries by the composer, P.O. Box 179, demonstrates a sensitivity that is at the Bradford, NH 13221. same time restrained and imaginative. The viola and the voice do not compete; Last year the Primrose International they compliment. The harpsichord does Viola Archive was enriched by the gift not accompany; this is real chamber of the score and a tape of Haiku, a song music for equal participants. The cycle by Marilyn Ziffrin. The soprano part calls for a singer who can performance is by Patricia McCarty, sing accurate half and whole steps from viola; D' Anna Fortunato, mezzo­ b to a", with a well developed sense of soprano; and James David Christie, softer dynamics. The viola writing is harpsichord. This is a wonderfully lyric idiomatic throughout, with some high piece of chamber music, beautifully passages, but most of it is in the alto crafted for the instruments and voice, clef. which certainly deserves the wider circulation that publication would Haiku, a song cycle is a lovely provide. eighteen minutes that would add interest and contrast to traditional recital The work is a setting of twelve programming. Marilyn Ziffrin has done English language haiku by Kathryn us a favor. Martin; four poems in each of three sections, which only vaguely contrast in mood. The work ends with an Interlude Three Inventions after J.S. Bach for TlVO where the voice is textless, treated like Violins or Violin and Viola by Allen another instrument, and Epilogue which Brings. Mira Music Associates: Wilton, recalls the text and setting of the first Connecticut, 1982. poem. The form of haiku is three lines, one of five syllables, one of seven These very short pieces (37, 33, and syllables and a closing line of five 48 measures) are exercises in dissonant syllables. Rhyme is not a factor, but the twentieth-century counterpoint. The texture, though for only two present these Caprices to the public, and 45 instruments, is dense and unrelenting. probably fewer would want to. Following the fast-slow-fast pattern, these pieces bear little obvious resemblance to the familiar Bach style, Concerto in D Major, Opus 1, for Viola being completely atonal, filled with and Piano, by C. Stamitz. (Milton dynamics and other expression marks, Katims, editor) International Music and making use of extremes of tempo. Company, New York City, 1989. The technique is counterpoint, but the style and spirit is far from baroque. This new edition of the repertory staple Stamitz Concerto is easily the most The last Invention makes use of a practical, stylistically apt, and great many "hairpin" crescendo­ thoughtfully edited one available. This is diminuendo marks, as many as four in a a performance edition, filled with the two-four measure, marked 116 to the editor's opinion as to the best way to quarter-note. The intention here is not solve performance problems, so it's not clear. In fact, little of the writing seems an "urtext" by any means. But these are to be idiomatic for strings. The viola very well informed opinions, and very part is a literal transposition of the violin tasteful. Bowing is straightforward and II part into alto clef. The C-string lies uncluttered. Ornaments are present, but fallow. not excessive. The fingerings are modern (i.e. the fourth finger, 2nd and 4th position are used, etc.), and often Caprices-Etudes, Opus 18, for Two presented with two suggestions as to the Violas, by Henri Wieniawski. solution of a problem. Also, they follow International Music Company, New to a logical conclusion, so that you are York, 1989. not led into some fanciful path without a suggestion as to how to leave it. The International Music Company fingerings and bowing are clear and brought out several new editions for the useful. violist last year, and we are grateful to them for doing so. One of the more The cadenzas to the first and second interesting items is this transcription of movements are a welcome addition also. Wieniawski's opus 18, Eight Etudes­ They are harmonically and stylistically caprices, for violin with violin consistent with the composer's style. accompaniment, of 1863. The Perhaps the first movement cadenza is a transcription was done by Elinor bit long, but this is easily fixed. There Horvath, with editing by William Lincer. are no cadenzas written for the Rondo, These are etudes in the Paganini­ which is a curious omission in an edition virtuoso style for the first viola, and the which is otherwise so fine. second truly functions as accompanist with much more modest technical There are niceties which deserve demands. mention. The Rondo makes use of da capo in both the piano and viola parts so Without wishing to belabor the that page-turning is at a minimum. The aesthetic questions that surface when measures are numbered throughout. 19th century virtuoso music appears, this There is an optional cut indicated in the edition is most expertly prepared, and piano part to shorten the first exposition. Mr. Lincer's solutions to the thorny The paper is high-quality. Suggested technical problems are worth price is just $7.00, a good investment, considering, studying, and admiring. for sure. Few of us would argues this is great or profound music, but at the very least it's fun, and most certainly will get the New works should be submitted kinks out of ones hands. Truth and to the editor by composers and honesty require the statement that very publishers for possible review few violists will develop the technique to in JA VS and deposit in PIVA. Order a gift membership at the rate of $25.00 for three AVS Journals and the annual Die Viola o YES, I want to give a year's membership in the AVS to the individuals named below. o In addition to gifts, o or in place of gifts, please renew my own for 1990 at the regular rate of $25.00.

I enclose my payment totaling $___ for __gifts or my renewal.

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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, Green Hill Road Golden's Bridge, N.Y. 10526 3 Sonatas for Viola and Piano by J.S. movement are given, the paper is heavy, 47 Bach (edited by Milton Katims and Bela and measures are numbered, the editing Siki). International Music Company, is artistic and responsible, the price is New York, 1989. $12.00; it's a general improvement. --Thomas G. Hall This is a new edition of the 3 Chapman College Sonatas for Viola da Gamba and Clavier by J.S. Bach (BWV 1027, 1028, and 1029). In a Preface, the editors state that this is the way they play the sonatas, and that the dynamics and tempo marks and such are not original. That is a good point of departure, as the added performance indications in this edition Recordings look a bit like the Busoni editions of the Bach keyboard works. This is not to quarrel with their validity, but it should We note with pleasure the reissue of be accepted as the opinion of two artists an early recording of William Primrose, who are recreating music written for and the first release of two broadcasts. different instruments about 270 years All recordings listed on CD. ago. Certainly these Sonatas are repertory and teaching regulars, and this BRAHMS: VIOLA SONATA presentation of them is quite different NO.2 IN E-FLAT, and an improvement from the previously available editions. OP. 120, NO. 2

Aside from the carefully thought-out William Primrose, viola, and practical fingerings, the most and Gerald Moore, piano welcome aspect of this edition is the lack (recorded 16 September 1937) of arbitrary octave transposition from Archive Performances by the original, in the viola part. Some Biddulph Recordings. editions write the viola up an octave, Biddulph Lab 011 presumably for greater brilliance, at the oddest places. This practice seems to be Also contained are other Brahms avoided as much as possible, preserving sonatas for violin and cello, with Jascha a more gamba-like spirit. Unless the key Heifetz, and Emanuel Bay, and Emanuel of the Sonata is changed, there must be Feuermann and Thea van der Pas, made extensive octave transposition in the G­ in 1936 and 1934 respectively. minor Sonata, because of range limitations. But this is the only place where Mr. Katims has done so. BERLIOZ: HAROLD IN ITALY

The ornamentation found here is also William Primrose, viola, an improvement from previous and Arturo Toscanini and performance editions. Great care has the NBC Symphony (recorded been taken to keep the ornaments 1939)/Music & Arts. ATRA-614 consistent between the piano and viola parts, and many of the ornaments which are vague rhythmically have been BARTOK: CONCERTO notated clearly. FOR VIOLA The viola part of the G-minor Sonata is presented so that three pages William Primrose, viola, and open out. The page-turn problems of the Orchestra National conducted both the first and last movements then by Ernest Bour (recorded 1950). are solved for you without having to Mode Laser. Vogue/INA, 1987 Vogue. resort to the familiar and awkward VG671 672 006. "xeroxed" page. Timings of each Glyde Recitals Ltd.

announces the

First Annual

GLYDE VIOLA SCHOLARSHIP AWARDS

Juried Competition

Thursday, May 24, 1990

Two $1,000 awards or four $500 awards

for study with Rosemary Glyde

Qualified candidates may call Glyde Recitals Ltd. (914­ 232-8159) for an audition appointment in New York, or send a tape and brief resume to P.O. Box 558, Green Hill Road, Golden's Bridge, New York 10526.

Rosemary Glyde is on the faculty of the Mannes College of Music and the Aspen Music School. She holds the Doctor of Musical Arts degree from the Juilliard School of Music. GOULD MORTON: CONCERTO by Quad-City Arts, Davenport, Iowa, 49 and a commissioned work written FOR VIOLA AND ORCHESTRA specifically for the artist. Second prize will be a $2,500 award and third prize Robert Glazer, viola with will be $1,000. A cassette recording Lawrence Leighton Smith conducting screening will be held in March, 1991, The Louisville OrchestralAlbany by a preliminary panel of judges. Live Records Troy 013-14 (available also preliminary auditions, semi-finals and on Louisville LS-788) finals will be held May 3- 8, 1991. The finals to be held in Town Hall will be "The concerto is superbly crafted and open to the public. The judges may eloquently played by Robert Glazer." ithhold any or all awards. Application forms may be obtained by writing to:

BLOCH, ERNEST: SUITE The Walter W. Naumburg Foundation, (1919), CONCERTINO FOR Inc., 144 West 66th St., New York, FLUTE, VIOLA, AND NY 10023, (212) 874-1150 PIANO (1950) ,SUITE Please enclose a self-addressed stamped HEBRAIQUE (1950); envelope. Application forms and a MEDITATION AND cassette recording of no less than 30 minutes of satisfactory listenable quality PROCESSIONAL (1951); must be received at the Naumburg . AND SUITE FOR VIOLA office no later than March 1, 1991. ALONE (UNFINISHED)

Pierre-Henri Zuereb, viola, Jean­ Louis Haqueneur, piano, and Andras WAMSO Adorjan, flute. ADDA 581106 (2 vols.) Michael Strauss, a native of Iowa City, Iowa, became the first violist to win the first prize of the WAMSO (Women's Association of the Minnesota Orchestra) Competition. The contest took place November 18 and 19 and was open to all orchestral instrumentalists under age 25 in in a five-state area. Michael is a senior at the Curtis Institute Competitions of Music where he studies with Karen Tuttle. His teacher in Iowa was William International Viola Preucil. The prize includes a $2250 cash award and a solo appearance with the Competition Minnesota Orchestra. . The Walter W. Naumburg Foundation announces an International Viola Competition May 3-8, 1991 Graphics from Violine, Klangwerk­ honoring the memory of Paul Doktor zug und Kunstgegenstand: Ein Leit­ and Sol Greitzer. This competition is faden fur Spieler und Liebhaber von open to musicians of every nationality. Streichinstrumenten, Breitkopf & The competitors may not be under 17 Hartel, Wiesbaden, 1985. years of age or more than 33 years of age as of May 1, 1990. First prize will consist of the following: cash award of $5,000, two fully subsidized recitals in Alice Tully Hall, orchestral and recital appearances, a recording with Musical Heritage Records, one week residency