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Concert & Recital Programs Concert & Recital Programs Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 1-23-1925 Concert: Ithaca Conservatory Symphony Orchestra Ithaca Conservatory Symphony Orchestra Patrick Conway Edith Kimple Viola Wasterlain Catherine Miller See next page for additional authors Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca Conservatory Symphony Orchestra; Conway, Patrick; Kimple, Edith; Wasterlain, Viola; Miller, Catherine; Brigham, Alfred; Dunlop, I. Knox; Burchill, Marion; Faris, Clarence; and Putman, Arnold, "Concert: Ithaca Conservatory Symphony Orchestra" (1925). All Concert & Recital Programs. 2229. http://digitalcommons.ithaca.edu/music_programs/2229 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Authors Ithaca Conservatory Symphony Orchestra, Patrick Conway, Edith Kimple, Viola Wasterlain, Catherine Miller, Alfred Brigham, I. Knox Dunlop, Marion Burchill, Clarence Faris, and Arnold Putman This program is available at Digital Commons @ IC: http://digitalcommons.ithaca.edu/music_programs/2229 ITHACA CONSER VA TORY OF MU SIC THIRTY-THIRD YEAR CONCERCf By Conservatory Symphony Orchestra Patrick Conway, Conductor SOLOISTS EDITH KIMPLE, Pianist VIOLA W ASTERLAIN, Violinist VOCAL SEXTET CATHERINE MILLER, Soprano MARION BURCHILL, Contralto ALFRED BRIGHAM, Tenor CLARENCE FARIS, Tenor I. KNOX DUNLOP, Baritone ARNOLD PUTMAN, Bass Conservatory Hall Friday Evening, January Twenty,third Nineteen Hundred and Twenty-five 8:15 o'clock A 'F ~h ,· ,, e.s 10'/r>J ,qa~ PROGRAM 1. March Brilliant-The King's Hussars ..... ..L eonard 2. Piano Solo-Les Djinns Cesar Frauck (With Orchestra) MISS EDITH KIMPLE 3. Overture-William Tell ..... .Rossini 4. Sextette from Lucia .... ... Donize tti (With Orchest r a) • Catherine Miller, Soprano Clarence Faris, Tenor Marion Burchill, Contralto Knox Dunlop, Baritone Alfred Brigham, . Tenor Arnold Putman, Bass 5. Violin Solo-Zigeunerweisen .. Sarasate MISS VIOLA WAS'l'ERLAIN 6. Hungarian Dances V and VI .... ...... ... ... ......Brahm s PERSONNEL 1st. Violin 2nd. Violin Viola Wasterlain, Viola Adamus, Eugenia Angell, Lester Bartoli, Lino Marsh, Sara Scotchmer, Warren Kuersteiner, Karl Keilocker, Leo Chartier, Donald Williams, Phillip Chauncey, Marion Kimple, Kathleen Morrell, Berenice Cello Bleil, Regina Musto, Max Dager, Thos. Erickson, Edwin Porter, Stanley Matson, Richard Sweet, Alma Kantor, Bessie Robertson, John MacArthur, Frances Kuersteiner, Dorothy Bass Scott, Ruth Rounds, Wellington Hutchinson, John Unkrich, George Stuart, Gladys De Boni, Paul Fusco, Salvatore Zeigler, Anna Tuba Flute Walter, Lewis Lynch, Mrs. Trumpets Kirchner, Lorayne Smith, Sandy Horn Smith, Ro_b't. Beeler, Orville Clarinet Bowman, Harry Delgado, Angel Llewellyn, Russell Trombone Howard, Geo. Francis, Howard Derrico, Thomas Ostling, Acton Drum Bass Clarinet Allen, Geo. Piano Bave, Eddie Noble, Mrs. Kimple, Edith .
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  • What Size Viola?
    From Violins and Violinists December 1943 What Size Viola? VIOLA EXPERIMENTA By Robert Dolejsi When the Violin finally reached her destiny in the ideal instrument that knows no peer today, and was recognized as the stringed mistress of the soprano family, it fell to the unfortunate lot of that hapless maiden Viola to become the subject of avid experimentation. In their search for an instrument of identical design and superb characteristics, makers, luthiers, artisans and, (indirectly through suggestion) composers and players, conducted intense experiments to find a medium of deeper register that would represent the alto and tenor voice and thus complete the quartet of strings. There is ample ground in all instrumental bibliography to support the theory that experimentation was one of the chief causes for the numerous sizes in fiddles that marked instrument making in the viola category from the 17th century onward. That generic English term Viol designated the instrument that succeeded the medieval fiddle. In literature at least, though not in actual invention, it preceded the violin family; for it must be emphasized that contrary to general conception, the viol was more the precursor and not the predecessor or direct ancestor of the violin. This distinction in progenitorship belongs to that branch of the instrumental tree represented by the rebec and Iyra—and all three branches were growing and developing simultaneously side by side. The experimental premise had already been laid in the highly variegated family of viols. Oddly enough, and paradoxically too, it appears that the viola or tenor ( the names were interchangeable during a period when great confusion in sizes and types existed ), was the first of the viol family to adopt changes in tuning and string number.
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