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Journal of the American Viola Society Volume 24 Number 2 P o wer-Plays inMozart’s Sinfonia 11th Primrose International Concer Philosophies onthe Genre 36th International tante:A Question of tante:A Viola Competition Congr ess Review Viola Features: Viola V25 N1 3/16/09 12:36 PM Page 102 Viola V24 N2 10/20/08 10:34 AM Page 1

Journal of the American Viola Society A publication of the American Viola Society Fall 2008 Volume 24 Number 2 Contents

p. 3 From the Editor

p. 5 From the President

p. 7 News & Notes: Announcements ~ On the Move ~ AVS Meeting Minutes ~ IVS News Feature Articles

p. 17 11th Primrose International Viola Competition: Dimitri Drobatschewsky surveys the scene at America’s premier viola competition

p. 21 36th International Viola Congress Review: David M. Bynog and Tom Tatton report from Tempe, Arizona

p. 29 Power-Plays in Mozart’s Sinfonia Concertante: A Question of Philosophies on the Genre: Is the work a concerto, a symphony, or chamber music? Andrew Filmer, the 2008 first-prize winner of the David Dalton Viola Research Competition, makes his case Departments

p. 39 AVS Retrospective: Tally Turner gets to know Maurice Riley while organizing his collection at PIVA

p. 45 Alternative Styles: David Wallace reveals the six principles of interactive performance

p. 51 In the Studio: Barbara Sudweeks shares her experience teaching a blind violist

p. 55 Student Life: Adam Paul Cordle introduces AVS’s new Facebook page

p. 59 Orchestral Training Forum: Robert Vernon on Brahms’s fourth symphony

p. 63 New Music Reviews

p. 67 Recording Reviews

p. 73 At the Grassroots On the Cover:

Pietro Paolini (Italian, 1603-1681) Young Man Playing a Viola Oil on canvas 33.38 in. x 27.5 in. (84.77 cm x 69.85 cm) Chazen Museum of Art, University of Wisconsin-Madison, Gift of the Samuel H. Kress Foundation, 61.4.14 Viola V24 N2 10/20/08 10:34 AM Page 2

Editor: David M. Bynog The Journal of the American Viola Alternative Styles: David Wallace Society is published in spring and fall At the Grassroots: Ken Martinson and as an online-only issue in summer. AVS Retrospective: Dwight Pounds The American Viola Society was Fresh Faces: Lembi Veskimets founded for the promotion of viola In the Studio: Karen Ritscher performance and research. Meet the Section: Michael Strauss ©2008, American Viola Society Modern Makers: Eric Chapman ISSN: 0898-5987 New Music: Ken Martinson Orchestral Training Forum: Lembi Veskimets Recording Reviews: Carlos María Solare Student Life: Adam Paul Cordle JAVS welcomes AVS National Board of Directors articles from its Officers Juliet White-Smith, president (2011) readers. Submission Nokuthula Ngwenyama, president-elect (2011) deadlines are Kenneth Martinson, secretary (2010) Michelle Sayles, treasurer (2010) December 15 for the Helen Callus, past president (2009) Spring issue, April 15 Board Members Claudine Bigelow (2009) for the Summer online Sheila Browne (2010) issue, and August 15 David M. Bynog (2012) Kirsten Docter (2011) for the Fall issue. Send Michael Fernandez (2009) David Holland (2010) submissions to the Kathryn Plummer (2011) AVS Editorial Office, Deborah Price (2010) Carol Rodland (2009) David M. Bynog Ann Roggen (2011) [email protected] Marcus Thompson (2011) Lembi Veskimets (2010) or to Louise Zeitlin (2009) Madeleine Crouch, AVS General Manager Madeleine Crouch 14070 Proton Rd., AVS National Office Suite 100 14070 Proton Road, Suite 100 Dallas, TX 75244 Dallas, TX 75244 (972) 233-9107 ext. 204

The JAVS offers print and web advertising for a receptive and influential readership. For advertising rates please contact the AVS National office at [email protected]

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FROM THE EDITOR

PIVA welcomes assistance on making you will take a moment to join our group. these materials available to violists every- Or if Facebook is new to you, this is a where. If you are interested in more great opportunity to check out what all information on these opportunities, of the social networking buzz is about. please see the contact details at the end of her article. We are also continuing a look at the 40th Anniversary of the International We also present our regular coverage of the Viola Society by sharing reports from International Viola Congress and the several of our sister organizations. There Primrose International Competition, which has been wide growth in the last couple were both held over the summer in Tempe, of years with new organizations forming Arizona. The Primrose Competition fea- in several countries, as well as growth of tured a high-level of artistry from the com- our own local chapters here in the petitors, and the IVC was a huge success. United States. You can read about all the Our thanks go out to all who dedicated recent activities in the IVS News and At their time and talent towards producing the Grassroots sections. such high-quality events. Welcome to the Fall 2008 issue of the Lastly, as usual, we provide you with JAVS. In the following pages I believe Another familiar face, Robert Vernon, new music and recording reviews to you will find a nice mix of the new and covers Brahms’s fourth symphony in our keep you informed of the best, new viola the familiar. There are several new faces, Orchestral Training Forum. The article is music available. Enjoy both the new and including a new Editor, new President, part of a new book that he is working on, the familiar! and a new Departmental Editor for which is eagerly anticipated by violists. Alternative Styles. We are also introduc- Cordially ing a new department, Student Life, On the topic of the new, Barbara aimed at our student members of the Sudweeks writes about a teaching experi- David M. Bynog AVS. There are still plenty of familiar ence that was new for her—and would JAVS Editor faces and departments that I know you be for most of us—teaching a blind stu- will continue to enjoy. dent to play viola. The story is inspiring! It reaffirms the love and joy of music- Andrew Filmer, this year’s winner of the making to the extent that many people David Dalton Viola Research are willing to overcome obstacles to be Competition, certainly tackles familiar part of the experience. ground with his article on Mozart’s Sinfonia Concertante. While the topic is In our Alternative Styles column, David familiar, you may come away with some Wallace talks about new approaches to new ideas about the piece after reading performing with his six principals for his thoughtful entry; I certainly did. interactive performance. I recently read Congratulations to Andrew on his win- David’s book on the subject and found ning article. I hope students will contin- his methods of engaging audiences to be ue researching viola topics and welcome thought-provoking and achievable on submissions to the 2009 Dalton any level. I am sure many readers will Competition. reflect on these principals in planning future concerts. Tally Turner also discusses a name famil- iar to violists, Maurice Riley. Riley’s con- Adam Paul Cordle inaugurates our new tributions to the viola are immeasurable, Student Life column by presenting and we are grateful that his family AVS’s new Facebook group page. The donated his research (and effects) to the Board of the American Viola Society is Primrose International Viola Archive. excited about this new tool and the Tally introduces us to the Riley opportunity it provides us to communi- Collection and discusses her work cate and reach out to violists everywhere. organizing the collection. Further work If you are already on Facebook, we hope is still needed on the collection, and

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The David Dalton Viola Research Competition Guidelines

The Journal of the American Viola Society welcomes submissions for the David Dalton Viola Research Competition for university and college student members of the American Viola Society. Entries must be original contributions to the field of viola research and may address issues concerning viola lit- erature, history, performers, and pedagogues. Entries must not have been published in any other publication or be summaries of other works. The body of the work should be 1500–3500 words in length and should include relevant footnotes and bibliographic information. Entries may include short musical examples. Entries must be submitted in hard copy along with the following entry form, as well as in electronic format for either PC or Mac. Word or WordPerfect format is preferred. All entries must be postmarked by 15 May 2009. The American Viola Society wishes to thank AVS past president Thomas Tatton and his wife, Polly, for under- writing first prize in the 2009 David Dalton Viola Research Competition.

Send entries to: AVS Office, 14070 Proton Road, Suite 100, Dallas, TX 75244. A panel of viola scholars will evaluate submissions and then select a maximum of three winning entries.

Prize categories: All winning entries will be featured in the Journal of the American Viola Society, with authors receiving a free one-year subscription to the Journal and accompanying membership to the American Viola Society. In addition: 1st Prize: $300, sponsored by Thomas and Polly Tatton 2nd Prize: Bartók’s Viola Concerto by Donald Maurice and Facsimile edition of the Bartók Viola Concerto 3rd Prize: An Anthology of British Viola Players by John White and Conversations with William Primrose by David Dalton

David Dalton Viola Research Competition Entry Form Please include the following information with your submission to the David Dalton Viola Research Competition. Be sure to include address and telephone information where you may be reached during summer. Name ______Current Address ______Te l e p h o n e ______E m a i l a d d r e s s ______Permanent Address ______Telephone ______Email addre s s ______University/College ______Academic Level: Fr / So / Jr / Sr / Grad Topic ______Word Count ______

Current AVS member? Yes / No If you are not a current AVS member, please join AVS by including $22 student membership dues with your submission, along with a membership enrollment form, which can be found in the current issue of JAVS.

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FROM THE PRESIDENT

who was elected to the position of president- umbrella organization, to establish a elect. Lembi Veskimets, who just finished a Congress Trust Fund. This fund will be three-year term on the board, will complete used to support the Congress Host Chair the final two years of Thula's at-large posi- in the rare instance of a deficit. You will tion. We say goodbye to Bernard Zaslav, see a slight increase in dues beginning who resigned one year early due to chal- January 1, 2009, ($1 for student members; lenges to his eyesight. Completing his term $2 for all other levels of membership) to will be Michael Fernandez. The four open help support this effort. The AVS is join- at-large positions on the board have been ing several other international sections, filled by Kirsten Docter, Kathryn Plummer, including the Australia/New Zealand, Ann Roggen, and Marcus Thompson. Many Canadian, and English Viola Societies in thanks to those rotating off the board at this the establishment of this important fund. time for their service, in particular Carol Rodland and Dwight Pounds for their years In closing, I wish to express my sincere grati- of service and dedication to the organiza- tude to Past-President Helen Callus. She tion. (NOTE: This was the first time the bal- worked tirelessly these past three years to lot was conducted online. A record number of establish a stable and secure organization members participated, and the process proceed- and to create practical initiatives for the Dear AVS Member, ed successfully and without a glitch!) AVS, including the BRATS program and the Viola Bank. She continues to be an active By the time you receive this publication, the More news of note: part of the American Viola Society and has United States will have elected a new presi- • The 36th International Viola Congress, held already been a welcome advisor and mentor dent and vice-president. No matter the out- in June on the campus of Arizona State to me as I continue my service to the organi- come of the election, history will have been University in Tempe, was an enormous suc- zation in this new role. made, and there is no denying that this will cess. Congratulations to Host Chair Nancy be an event that is remembered for years to Buck for organizing an outstanding event! Finally, I want to extend my gratitude to come. Kudos is also extended to Nokuthula you, the members of the American Viola Ngwenyama on a successful Primrose Society, for the trust you have placed in me Just as history is being made and change is International Viola Competition held in to lead you these next three years. I consider being celebrated in the arena of national pol- combination with the congress for the first it an honor to serve the organization, and I itics, this issue of the Journal of the American time since the Guelph congress in 1999. look forward to a productive term as your Viola Society marks several milestones. We • Make plans now to attend the upcoming president. welcome a new Editor, Mr. David Bynog, to International Viola Congress in South the JAVS. David brings a high level of Africa, which will be held July 27-August Warmly, expertise and a sincere love for the viola to 1, 2009, at the University of Stellenbosch this important job. He is currently Assistant outside Capetown. More information will Juliet White-Smith Head of Acquisitions at the Fondren Library be posted soon at www.miagi.co.za at Rice University in Houston, Texas. He • The next North American Congress will be holds an undergraduate degree in viola per- hosted by Catharine Carroll June 16-20, formance and a master’s degree in library sci- 2010, at the University of Cincinnati ence from Louisiana State University, and a College-Conservatory of Music. master’s degree in viola performance from • The American Viola Society is pleased to Rice University. The Board wishes to express announce the opening of our new AVS its sincere gratitude to Dr. Matthew Dane Online Store. Please visit the website at who served as Editor through the Spring www.cafepress.com/amervlasociety and 2008 issue of the Journal. We wish Matt all purchase merchandise to celebrate the 30th the best in his future endeavors. anniversary of our organization. You’ll find t-shirts and other items with the AVS logo The Executive Board of the American Viola that you can purchase for yourself or as Society has seen some changes in conjunc- gifts for the upcoming holiday season. tion with the election this past June. • There has been a recent decision by the Congratulations to Nokuthula Ngwenyama International Viola Society, the AVS’s

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ANNOUNCEMENTS

Flooding in Iowa AVS Online Store Announces Grand Opening Christine Rutledge, Viola Professor at University of Iowa, wrote to the AVS about the recent flooding: The American Viola Society Online Store is now "Thanks to everyone for your offers of help after the open for business! Merchandise celebrating the 30th recent devastating floods here in Iowa. We really Anniversary of the AVS, including shirts, mugs, hats, appreciate it very much. The music building, as well and more, is now available for purchase at www.cafe- as all of the buildings along the Iowa River, were press.com/amervlasociety. All proceeds from the sale severely damaged and will not be ready for occupan- of merchandise will go toward the General cy for at least a year. The university and local com- Operating Fund of the AVS. Please show your "viola munity have been very supportive and worked tire- power" and support the organization by making lessly to make sure that no classes or programs had your purchases today! to be canceled. The entire first floor of the music building was destroyed, including sixty-six pianos and all of the organs. Our recital hall and Hancher Auditorium were destroyed as well, and I am not sure when those venues will be ready again, as teach- ing facilities will be given priority for reconstruction. Our music library was saved, and my studio was unharmed. But I have no access to it at the moment. If anyone would like to help with gifts of support for the reconstruction there is a link at our website at www.uiowa.edu/~music."

Dalton Research Competition

The AVS Board is pleased to announce that Andrew Filmer is the first-prize winner of this 2008 David Dalton Viola Research Competition. His article on Mouse pad with the 30th Anniversary logo. One of many Mozart’s Sinfonia Concertante appears in this issue. items available at www.cafepress.com/amervlasociety. Congratulations Andrew!

The 2009 Competition’s guidelines and timetable will be similar to past years, with a postmark date of May 15, 2009. For more information, please see the announcement in this issue or visit the website at http://www.americanviolasociety.org/Competitions/d dvrc.htm. Please direct any further enquiries to JAVS Editor David M. Bynog.

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VIOLISTS ON THE MOVE

Compiled by Ken Martinson

Arizona Opera Orchestra Assistant Principal Viola Vivi Erickson Colorado Music Festival (Boulder) Principal Viola Matthew Dane Delaware Symphony Associate Principal Viola Kristine Grossman Section Viola Amy Leonard Glens Falls Symphony (NY) Principal Viola Yi-Ping Yang Grand Rapids Symphony Section Viola (2) Leanne King McDonald Paul Swantek Grant Park Orchestra Assistant Principal Viola Laura Helen Fuller Hartford Symphony Principal Viola Michael Wheeler Kansas City Symphony Principal Viola Christine Grossman Lansing Symphony Principal Viola Roman Kosarev Louisiana Philharmonic Orchestra Section Viola (2) Matthew Carrington Amelia Clingman Louisville Orchestra Section Viola (4) Rebecca Barnes Joel Gibbs Jonathan Mueller Meaghan Kasper Milwaukee Symphony Assistant Principal Viola Erin Pipal Mississippi Symphony Orchestra Principal Viola Ausra Jasineviciute NE Pennsylvania Philharmonic Assistant Principal Viola Katrina Smith Section Viola Sadie de Wall Opera Pacific Orchestra Section Viola (2) Pam Jacobsen Phillip Triggs Phoenix Symphony Associate Principal Viola Mark Deathrage Assistant Principal Viola Bonnie Yeager Section Viola Christopher McKay Rhode Island Philharmonic Section Viola (2) Stephanie Fong Sarah Darling Richmond Symphony Assistant Principal Viola Elizabeth Jaffe Saint Paul Chamber Orchestra Section Viola Maiya Papach San Antonio Symphony Section Viola Courtney Filner San Francisco Opera Orchestra Section Viola Joy Fellows Spokane Symphony Section Viola Anita Perkins Eastman School of Music Viola Professor Carol Rodland University of St. Louis Violist- Arianna Quartet Joanna Mendoza

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2008 AVS BOARD MEETING MINUTES AND REPORTS

Annual Board Meeting of the American Viola Society F. Chapter development Arizona State University, Music Building, Room W218 G. AVS/ASTA Tuesday, June 3, 2008, 6:30-9:00 p.m. H. deVeritch Project: project is complete, and his Wednesday, June 4, 2008, 9:00-11:30 a.m. CDs are now for sale, with a percentage of the proceeds benefiting AVS. Tuesday, June 3, 2008, 6:30-9:00 p.m. I. Possible locations for Congress 2012 Officers present: White-Smith (President-Elect), II. Secretary’s report (Martinson) Martinson (Secretary) A. E-mailed minutes from internal discussion Officers unable to attend: Callus (President), Sayles (2007/08) distributed. (Treasurer) B. Membership report: The 2007/08 annual mem- Board members present: Browne, Bynog, Docter, bership was distributed to the AVS Board. Holland, Pounds, Price, Zeitlin III. Chapters report (Martinson) Board members unable to attend: Bigelow, A. Distributed current state chapters established Ngwenyama, Palumbo, Rodland, Veskimets, Zaslav before 2007, broken into lists with activity Guests present: Thomas Tatton, former AVS president reported and no activity reported. B. New chapters for (2007/08) Meeting was called to order by President-Elect White- C. Possible new chapters Smith at 6:33 p.m. IV. Facebook (Zeitlin) A. Letter from Adam Cordle was distributed to the I. President’s report (Callus-presented by White-Smith) board. A. Financial B. Cordle has created an American Viola Society B. Primrose Competition group in Facebook. C. 2010 Congress C. After existing for only five days, the group had 1. Callus visited Cincinnati Conservatory of ninety-seven members. Music to see the facilities and have discus- D. Discussion ensued about the Facebook group sions with host chair Catharine Carroll and Cordle has created, and the unanimous consen- Maseo Kawasaki. sus was to embrace this creation. The board dis- 2. Facilities are exceptional, and organization cussed ways in which this could be a networking has been excellent. tool to reach more violists. 3. Callus has confidence that this congress has a V. Awards committee (Pounds) good team and will be a success. A. 2008 awards D. Suzuki International Conference 1. Career Achievement Award: William Preucil E. Membership drives 2. Congress Dedication: William Magers 1. Membership drive letters went out this year, B. Eligibility of the Career Achievement and which brought in some significant income. Congress Dedication Awards (clarification) 2. 30th year celebrations should continue, and C. Special awards summary and recommendation more fundraising letters should go out each VI. Congress trust fund proposal from IVS (White- year. Smith/Martinson) 3. Perhaps a larger event could be planned in A. The IVS has asked every section to consider the fall to signify this important year in our donating $1-$2 per member toward a congress history. trust fund.

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B. The benefits and needs of this proposal were dis- B. In complying with the AVS Bylaws, eight nomi- cussed by the board. nees were eventually slated as candidates for C. ACTION: The AVS Board approved this pro- these positions: Meng-Chun Chi, Kirsten posal by unanimous vote (on motion by Zeitlin Docter, Michael Fernandez, Connie Gee, and numerous 2nds). An agreement was made Kathryn Plummer, Ann Roggen, Marcus in concept to have this start calendar year 2009. Thompson, and Lembi Veskimets. Continued participation would be contingent C. Two candidates were chosen to run for the office on the participation of other sections as well. of President-Elect: Michael I. Strauss and Nokuthula Ngwenyama. Meeting adjourned at 8:57 p.m. D. This year’s election was done for the first time by online voting, with notifications sent out via Wednesday, June 4, 2007, 9:00-11:30 a.m. e-mail and via postcards by regular mail. Officers present: White-Smith (President-Elect), XIII. Congress proposals for 2012 Martinson (Secretary), Sayles (Treasurer) A. Some brief preliminary discussion on interest Officers unable to attend: Callus (President) expressed by various individuals Board members present: Browne, Bynog, Docter, B. Formal proposals will be solicited during FY Holland, Pounds, Price, Zeitlin 2008 for review by AVS board at its June 2009 Board members unable to attend: Bigelow, annual meetings. Ngwenyama, Palumbo, Rodland, Veskimets, Zaslav Guests present: David Dalton, former AVS president The meeting adjourned at 11:34 a.m.

Meeting was called to order by President-Elect White- Respectfully submitted, Smith at 9:03 a.m. Kenneth Martinson, Secretary to the American Viola Society VII. Committee assignments (White-Smith) A. Interest sought from board members for the var- ious committees B. Membership of each committee was established. C. Tasks and actions were established for each of the committees. VIII. Viola bank-appraised values of instruments need to be given to Martinson and Sayles. IX. Treasurer’s report (Sayles) X. Online store XI. JAVS report (Dane-presented by Bynog) A. Financial summary B. Content/submissions C. Dalton Competition D. Relationship with website and E-newsletter XII. Nominating Committee report (Palumbo-by e- mail) A. The following board members were scheduled to rotate off the board at the end of May 2008: Kirsten Docter,Michael Palumbo, Dwight Pounds, and Lembi Veskimets.

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IVS NEWS SECTION UPDATES

In honor of the 40th Anniversary of the International Viola Society, we are catching up with news from other IVS sections.

Australian and New Zealand Viola Society

The Australian and New Zealand Viola Society (ANZVS) has a thriving Australasian membership of 170, plus a few ex-pats in the northern hemisphere. Two of our members have been very highly honored nationally this year: Member of the New Zealand Order of Merit (MNZM) was awarded to Gillian Ansell, violist of the NZ String Quartet; and the Queen's Service Medal (QSM) to Michael Vidulich, the IVS President, for services to music in the voluntary sector.

We publish two ANZVS Journals each year; Issue no. Official logo of the Australian and New Zealand Viola 23 came out in June. Our journals feature concert Society. reviews, articles and reviews on music written for the viola (one or two of these have been of a very humor- ous nature), practical issues about looking after your ENGLISH VIOLA SOCIETY instrument, and viola happenings around New Zealand and Australia. The latest journal also features The English Viola Society was formed in September new viola student ensemble music with a Carl Orff 2007 after initial discussions with Dr. Michael approach. The next issue is due in Vidulich during the Adelaide International Viola October/November. Copies of most backissues are Congress in July 2007. I traveled back from Australia available from the secretary/treasurer, Neil Shepherd. to England with a multitude of ideas, but not know- ing quite how to actually found the English Viola Last year the 35th International Viola Congress was Society. Since the Welsh Viola Society was formed hosted very successfully by Keith Crellin at The only a short time before the EVS, I decided to give University of Adelaide. This was the second them a call asking if they wanted to join ranks. International Viola Congress hosted in the Southern However, it seems the most pragmatic and fruitful Hemisphere (Odyssey 2001 in Wellington was the prospect to remain independent but support one first). Australians and New Zealanders like to travel, another! After an exciting phone call with John White and there will always be ANZVS members present at to ask for his blessing and support as Honorary every International Viola Congress. President, the stage was set for action. So, in early September 2007 the EVS was born. With Dr. – Neil Shepherd Michael Vidulich’s help I drew up a constitution and Secretary/Treasurer, ANZVS began to formulate plans, including choosing a secre-

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Mass Viola Ensemble Session, Tchaikovsky 1812 Overture. The launch of the English Viola Society at the Royal Northern College of Music, Manchester.

tary and treasurer, contemplating a website, and I represented the EVS at the International Viola Congress beginning the arduous hunt for members. held in Tempe, Arizona from June 4 to June 8, 2008, delivering a paper on Hindemith’s Sonata for Viola Suddenly, a wave of congratulatory e-mails started fill- and Piano, op. 11, no. 4. Many more plans are afoot, ing my inbox from the various sections all over the particularly more events in 2008-2009. Please visit world. The EVS website was very kindly designed and our website at http://www.englishviolasociety.com for is still maintained by my very dear friend Liam Abramson more details; we are only just getting started! (a cellist dare I say!), who lives in Boston, Massachusetts and faithfully updates and adds information whenever – Louise Lansdown needed. The dedicated treasurer and secretary, Amy President, English Viola Society Macpherson and Thomas Foster respectively, are two of my senior viola students at the Royal Northern College of Music in Manchester where I teach. Nigerian Viola Society

We are still very small, but extremely enthusiastic, and Kindly help us to say a big thank you to the president growing a little every day. The official launch of the of the English Viola Society, Louise Lansdown, for English Viola Society occurred at the Royal Northern inviting the Nigerian Viola Society’s president, Titus College of Music on April 27, 2008, as part of the Ogunyemi, and vice president, John Bello, to be part Annual Viola Day. Simon Rowland-Jones gave a of the official launch of the English Viola Society in recital of all English viola music, including some of Manchester on April 27, 2008. It was a great oppor- his own compositions, to kick off the launch. We tunity and exposure for us to be part of viola activities managed to quadruple our membership numbers dur- in other developed countries. Unfortunately our vice ing the day! I am also delighted to announce that a president was unable to attend because of his work- member of the Nigerian Viola Society flew to load in school. But thanks to Louise Lansdown for all England especially for the launch of the EVS and her kind support, ensuring that I was at the event. joined me for a week at the RNCM to discuss collab- oration and viola-teaching methods. Our newsletter is I was given the privilege of observing classes and due to come out in the fall, and we hope to showcase meeting some of the students as a way of bridging the a few of the society’s initial eminent members. divide between the two viola sections. I was also

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Titus Ogunyemi, President of the Nigerian Viola Society.

introduced to the Head of the Strings Department of Royal Northern College of Music and some other prominent dignitaries of the school. We are therefore appealing to other viola sections to kindly inform us of various viola activities coming up in their countries. It is through this sort of educating, inspiring, and motivating exposure that we can learn and promote viola activities in our developing nation.

Music is getting better everyday here in Nigeria, and a lot can be achieved if adequate support is forthcoming from viola players and societies in the developed nations. We are seriously working hard in developing young players and promoting classical music as a whole. We need more training in the area of acquisi- tion of techniques and general viola playing.

Once again, we sincerely appreciate the International Viola Society for voting for the establishment of the Nigerian Viola Society.

Viola Greetings! – Titus Ogunyemi President, Nigerian Viola Society

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11TH PRIMROSE INTERNATIONAL VIOLA COMPETITION

by Dimitri Drobatschewsky

Under the auspices of the American Viola Society, the 11th Primrose International Viola Competition, a triennial event, took place on the premises of Arizona State University in Tempe, Arizona, during the first week of June 2008. Occurring simultane- ously with the 36th International Viola Congress, the event drew a large audience of musicians and music lovers, as well as seventy con- testants from eighteen countries spread over four continents (North and South America, Asia, and Europe). The event was also 2008 Primrose International Viola Competition Jury. Left to Right: Amir Shiff, streamed live online, a first for a Carol Rodland, Bruno Pasquier, Claudine Bigelow, Ensik Choi, Steven Tenenbom, viola competition, allowing many Eugene Sarbu. music lovers to follow the competi- Utah, in 1982. He was one of the winners may not always be the tion from afar. It offered prizes val- most famous violists of his—or best musicians. There have even ued at more than $30,000 in cash, any—time; he also was a distin- been some much-discussed “scan- including a viola by Carlo Testoni, guished pedagogue and promoter dals,” such as the 1980 Chopin the Italian master luthier, and gold- of his art. He has served as a role Competition of Warsaw, in which mounted bows by Arcos Brasil. model to all viola players, notably pianist Martha Argerich abruptly Based on the quality of the musical through his numerous personal left the jury because a candidate, performances and the youthful appearances on the world’s concert the Croatian pianist Ivo enthusiasm of those who played in stages, and through his recordings. Pogorelich, whom she declared “a the various events (the contestants’ genius,” did not win a prize. But top age was twenty-nine years), the Despite the excitement and enthu- competitions have far more success competition was a huge success, siasm they generate, musical com- stories than criticisms, primarily largely due to the astute managerial petitions are not without contro- because they ensure the winners skills of its director, the renowned versy. Many musicians feel that renown and a lucrative career that violist Nokuthula Ngwenyama, music is not a competitive art, and they may otherwise not have. who makes her home in the books on the subject, such as Besides, who will ever forget the Phoenix area. Joseph Horowitz’s The Ivory Trade, First (1958) Moscow Tchaikovsky have suggested that candidates Competition, which was won by William Primrose, whose name the tend to perform to the judges, the American pianist Van Cliburn competition bears, was born in rather than express their own during the height of the Cold War, Glasgow in 1904, and died in musical ideas. Thus, they say, the and earned him world-wide

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acclaim and a Broadway tickertape parade upon his return home.

The Primrose International Competition has taken its place among these events. Based on attending most competition per- formances as well as many so- called “signature events” (concerts performed by attending viola pro- fessionals), I found it easy to come to the conclusion that the artistic level of this competition and the concerts of the Viola Congress attained the highest imaginable Dimitri Murrath. level. Competition director Ngwenyama won First Prize, which netted him watched all performances on $5,000 cash, a viola by Italian The preliminary rounds required closed-circuit TV, to be available to master luthier Carlo Testoni, a ten-minute performances of the break unlikely ties. gold-mounted Arcos Brasil bow, candidates, with piano accompani- and select concert appearances in ment. The competition supplied Candidates would appear onstage the U.S. and Europe. He also won three renowned pianists for the in their evening attire (even at the Liben Music Prize for best per- candidates’ accompaniment: morning or afternoon concerts) formance of New Orleans Andrew Campbell, Eileen Buck, and, upon entering the stage, violist/composer Scott Slapin’s and Walter Cosand. The distin- would take a bow, whether there Recitative for Solo Viola. “I am guished jury panel was composed was applause or not (there usually thrilled beyond belief; this is an of Claudine Bigelow (chair), was applause at the conclusion). unbelievable moment,” Murrath Korean violist Ensik Choi, French The pieces most prominently in said in his native French, and violist Bruno Pasquier, Romanian- evidence in the first rounds were again in slightly accented but flu- born violinist Eugene Sarbu, Bela Bartók’s Concerto, op. Posth.; ent English. Israeli-native violist Amir Shiff, Paganini’s La Campanella; and var- and American violists Carol ious Zimbalist arrangements of Second Prize ($3,000 cash and an Rodland and Steven Tenenbom. Sarasate pieces. All semi-finalists Arcos Brasil bow) went to twenty- performed Recitative for Solo Viola four-year-old American violist by Scott Slapin, commissioned for Emily Deans, and Third Prize this year's competition, in con- ($1,000 cash and a Brasil bow) junction with a sonata, a Bach went to twenty-one-year-old work, and a second Primrose tran- American violist Molly Carr. The scription. In the final round, the Linnet Music Prize for an out- Bartók Concerto was the favored standing performance of a Bach work, and was performed five work was awarded to the German times, while the Walton Concerto violist Barbara Buntrock, and the was played once. Primrose Prize for an outstanding performance of a Primrose tran- Belgian violist Dimitri Murrath— scription was awarded to Yiyin Li twenty-six years old and a soft-spo- of China, and to the second-prize ken and courteous individual— winner Emily Deans. Finally, the Ensik Choi. JOURNAL OF THE AMERICAN VIOLA SOCIETY 18 Viola V24 N2 10/20/08 10:34 AM Page 19

cash prizes awarded to Victor de Almeida and Nathan Schram, both from the U.S; and Hansong Jiang, Keju Wang, and Weijing Wang, all from China.

The next Primrose International Viola Competition will take place in May 2011.

Dimitri Drobatschewsky was born in Berlin to musician parents and received his musical education at the Conservatory in Luxembourg. During WW II Dimitri served in the Free French Forces (after playing viola in From left to right: Molly Carr, Emily Deans, Dimitri Murrath. the orchestra of the Foreign Legion in North Africa) and saw combat in Sonata Prize for an outstanding performance of a Tunisia, Italy, France, and Germany. He came to the sonata was awarded to Victor de Almeida of the U.S., United States in 1947 and was the music critic for the and to the first-prize winner Dimitri Murrath. Arizona Republic from 1976 until 1996. He now free- Robertson and Sons Violins, a major underwriter of lances for London's Opera magazine and other various this year’s competition, also sponsored five additional publications, including The Arizona Republic.

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INTERNATIONAL VIOLA CONGRESS XXXVI TEMPE,ARIZONA,JUNE 4-8, 2008

William Magers, a colossal figure in viola pedagogy, who was long associated with ASU. The 12:30 lecture by Jeffrey Irvine was unfortunately canceled, so the 1:30 p.m. master class with Heidi Castleman kicked off the musical events. Heidi worked with several Primrose competitors. Displaying her own unique style she had students speaking rhythms, singing, and danc- ing, while targeting specific performance issues.

The 3:00 p.m. event was the Tribute Recital in Honor of William Magers, featuring former students and vio- lists from the southwestern United States. The high quality of playing was testament to the ability of Magers as a teacher. Kim Fredenburgh led off with an expressive interpretation of the second group from the Suite for Viola by Vaughan Williams. Jacquelyn Welcome sign outside the ASU Music Building (all pho- Schwandt followed with a work for solo viola, Krakow tos courtesy of Dwight Pounds). Variations, by Joel Hoffman. This work by Hoffman, by David M. Bynog and who is Professor of Composition at the University of Tom Tatton Cincinnati's College-Conservatory of Music, was written in 1999 and is based on material from his Days one to three – David M. Bynog

For five days in June, violists gathered on the campus of Arizona State University (ASU) in Tempe, Arizona for the 36th International Viola Congress. The event overlapped with the 11th Primrose International Viola Competition, which drew a record number of entrants. Nancy Buck, this year’s host chair, assembled a remarkable crew to keep the events running smoothly. The weather even cooperated nicely, barely reaching into the low 100s on a couple of days. The Phoenix area offered a host of things do, and several congress attendees took advantage of the close prox- imity to the Grand Canyon to do some sight-seeing. Opening ceremony participants: Back row, left to right: Kimberly Marshall, Director, ASU School of Music; Juliet White-Smith, AVS President-elect; Michael The congress began on Wednesday, June 4 at Noon Vidulich, IVS President. Front Row, left to right: Leslie with the Opening Ceremony and Congress Straka, University of Oregon; William Magers, Congress Dedication. This year’s congress was dedicated to Dr. dedicatee; Nancy Buck, Congress Host Chair. VOLUME 24 NUMBER 2 21 Viola V24 N2 10/20/08 10:34 AM Page 22

piano that the performers grouped together to form a kind of suite. Compositionally, the piano pieces were superior, and Ms. Artymiw played them with equal parts bom- bast and finesse. After intermission, the pair played Shostakovich’s Viola Sonata, op. 147. Ms. Kashkashian approached this work from a con- temporary point of view, which is understandable since it was written only thirty-three years ago. The most effective technique was exten- sive use of nonvibrato—a tech- nique vastly underemployed by string players—which helped impart a barren quality to the sound. The pair also de-empha- Kim Kashkashian. sized the familiar quotations so that even the Beethoven “Moonlight opera The Memory Game. Peter ticipants—middle and high school Sonata” sections were scarcely rec- Rosato gave an inspired perform- violists who participated in various ognizable. In all it was a thorough- ance of the now-standard Viola clinics throughout the day. The ly enjoyable interpretation. Sonata by George Rochberg. performance featured several Hong-Mei Xiao rounded things enjoyable works for multiple vio- Thursday’s activities began at 8:00 off nicely with dynamic perform- las, notably two pieces commis- a.m. with a viola ensemble play-in ances of the fourth movement of sioned specifically for the occasion: led by Ken Martinson; the first Hindemith’s Viola Sonata, op. 11, Fanfare, by Kyle Malkin; and La reading of several multiple-viola no. 5 and Frederick Jacobi’s Cunita, by Henry Flurry. works, culminating in a recital on Fantasy for Viola and Piano. Sunday. At 9:00 a.m. Matthew Inclusion of the Jacobi was nice The 8:00 p.m. signature event was Jones found a packed house await- owing to his regional connection a recital by Kim Kashkashian with ing him for his presentation on to the Southwest, though the Lydia Artymiw on piano. applying Alexander Technique and Fantasy dates from a later period Kashkashian performed several yoga/meditation to viola playing. in his life. Ms. Xiao performed songs, including works by Matthew began by discussing how both pieces from memory, an Ginastera and Buchardo, tran- his own physical problems became increasing rarity these days, which scribed for viola and piano. These so severe that he could barely prac- was a nice touch. works were delightful and ideally tice for ten minutes without pain. suited for the viola. From the stage, He learned various techniques— The early evening events were Ms. Kashkashian read the texts of including the Alexander Technique devoted to BRATS (Bratsche the songs in English translations, and yoga—to conquer the prob- Resources And Teaching in the which assisted in an understanding lems. He has since been teaching Schools) events, including a master of the music. The first half con- the methods for several years. He class at 4:30 p.m. with Christine cluded with several short works by demonstrated with an audience Rutledge and a BRATS perform- György Kurtág. These comprised a member on proper posture when ance at 7:00 p.m. These events mixture of works for solo viola playing, and the entire audience capped a full day for BRATS par- alternated with works for solo participated in several yoga pos-

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tures. Matthew gave great advice and suggested that performers need to “minimize the effort and maximize the efficiency of body movements.”

The International Viola Society held a general meeting at 10:00 a.m., followed at Noon by a lecture on viola music at the Spanish Royal Chapel by Luis Magín Muñiz. His lecture focused on a dozen manu- scripts—primarily dating from 1778-1807—that he has been researching. Most of the works were written as sight-reading pieces for musicians auditioning for the Spanish Royal Orchestra (for more details see Ulrich Drüner’s article, Bruce E. Miller and Kenji Bunch. “A Rule for Probation-playing from 1801” in the 1979 issue of Die work by her husband, Three Short The 2:00 p.m. offering, Michael Viola). Muñiz played recordings of Pieces. The two joined forces for Alec Rose's and Kathryn selected works and ended the lec- Patrick Neher’s Canons and Plummer's lecture-recital on the ture by performing a few contem- Dances, a beautiful, lyrical work. viola and Jewishness, was a delight! porary Spanish compositions. Scott returned solo for move- Rose spoke animatedly and elo- Audience members were eager to ments I and II of Frank Proto’s quently about what constitutes get their hands on some of the Soundscape No. 1 for Solo Viola. Jewish music in viola repertoire by works from the Royal Chapel, but He managed to recover from a Mendelssohn and Bloch. He made Muñiz said that the manuscripts broken string during an excited daring comments on the “sup- were “held under lock and key” pizzicato passage. Before leaving posed” Jewish qualities in Bloch’s and the music was not likely to be the stage to replace it he remarked Suite Hébraïque. He argued that available anytime soon. that he was not accustomed to while the piece contains minor sec- performing in such a large hall onds, Phrygian cadences, double Husband-and-wife duo Scott and mentioned to his wife that leading tones, and other seemingly Slapin and Tanya Solomon gave a they would need to play a little Jewish traits, other factors work joint recital at 1:00 p.m., per- louder than usual, but that he had against such Jewish qualities of the forming solo works and several perhaps gotten carried away! The music. These include the rhapsodic duos written expressly for them. duo returned again for A Day in nature of the first movement Slapin began the recital with a Acadia by David Rimelis, which (undermining the simple nature of transcription of the Adagio and featured musical sounds from Jewish song), the developmental Fugue from Bach’s Sonata No. 1 Louisiana (the two lived in New nature of the theme, and the ironic for Violin. This was a simply Orleans before being displaced by centrality of Wagner's "Tristan" stunning interpretation, and I was Hurricane Katrina). It was obvi- chord to Bloch's harmonic lan- amazed at how still he remained ous that the two perform together guage. The two concluded the while performing! Tanya next extensively since their sounds recital with movements from showed her considerable viola meshed so well when playing as a Rose's first and second sonatas for prowess in a performance of a duo. viola and piano, which contained

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imagination, helping instrumental- ists become more attuned to understanding and evaluating his- torical issues when interpreting music. Klorman’s style is pragmat- ic, not dictating a rigid “perform- ance practice” mandate, but intro- ducing key documents and style issues that can help performers make more informed musical choices. Klorman used recordings (including one by Joachim) and documents to illuminate his lec- ture, and he quickly discussed the Nokuthula Ngwenyama. application of some of his key points to Carl Stamitz’s Viola traits that he personally associated even greater than the sum of the Concerto No. 1. with Jewishness. His presentation parts; this is a first-class viola was intriguing, and he and ensemble. Paul Coletti made a The 8:00 p.m. signature event was Plummer made pleasant musical guest appearance performing Paul a brilliant evening full of spectacu- partners. Chihara’s attractive Concerto lar viola talent. Performed in Frank Piccolo. The highlight of this con- Llloyd Wright’s Gammage Other commitments kept me from cert for me was Nancy Roth’s Auditorium, all of the works fea- the 4:30 p.m. luthier demonstra- arrangement of Puccini’s tured orchestral accompaniment, tion with Paul Neubauer (always a Crisantemi, originally for string with the Congress Festival treat) and the 8:00 p.m. signature quartet. Puccini reused the theme Orchestra conducted by Stephen recital with another husband-and- from this quartet in his opera Burns. Nokuthula Ngwenyama wife team, Misha Amory and Manon Lescaut, where it is written began with Darius Milhaud’s Viola Hsin-Yun Huang. I also missed the for the viola section. Consequently Concerto, op. 108, followed by majority of Friday’s events, which Roth’s arrangement reminded me Hsin-Yun Huang’s rendition of included Mark Braunstein’s lecture more of the opera than the string Steven Mackey’s Ground Swell. on rehabilitation after dystonia; a quartet (where the first violin has Paul Coletti performed two works, composers’ forum with Kenji the melody). The concert conclud- Bruce E. Miller’s Chaconne for Bunch, Bruce E. Miller, Scott ed with Bevan Manson’s Hotel Viola and Chamber Orchestra, Slapin, and Joan Tower; a master Viola. The composer “imagined an and Irving Schlein’s Andante and class with Karen Ritscher; a entire floor of the Ritz-Carlton Dance from the Sonata Hebraica. Primrose Laureates’ Recital with solely occupied by violists … and Paul Neubauer completed the pro- Che-Yen Chen, Kirsten Docter, how the hotel would respond.” I’m gram with a work dedicated to and Jennifer Stumm; and a lecture sure the hotel would celebrate and him, Joan Tower’s Purple Rhapsody. from pianist Yi-Fang Huang on send complimentary champagne! The composer notes that “In the collaborating with violists. [work], I try to make the solo viola At 2:00 p.m. Edward Klorman "sing"—trying to take advantage I did make it to Friday’s 1:00 p.m. suffered from some technical issues on occasion (not always) of the concert by the Southern California delaying the start of his lecture on viola's inherent melodic abilities. Viola Society Choir. This group Viola Performance and Historical This is not an easy task since the includes some formidable individ- Information. Klorman has been viola is one of the tougher instru- ual violists and the whole seemed lecturing extensively on historical ments to pit against an orchestra.

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Day four – Tom Tatton

June 7, 2008—a day destined to be very long—began with a short walk across Apache Boulevard in the bright morning sun, slight comfortable breeze, and a cloudless azure sky. I walked past the impressive ASU Gammage Auditorium, one of Frank Lloyd Wright’s later projects, which appears bold and round like a magnificent pink birthday cake! Then on to the music complex of the Herberger College of the Arts. Gammage Auditorium with Paul Neubauer (inset). The 8:00 a.m. viola ensemble ses- In fact, for my orchestration of this sages) with a little more ‘leverage.’” sion directed by Kenneth work, I left out several instruments The single-movement work was a Martinson and me included some (horns and oboes) to thin out the nice climax to an extravagant twenty-five eager viola students, background to allow the viola to evening. amateurs, and professionals. I come forward (even in strong pas-

Geoffrey Ovington

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humor, we heard about bow arms, bow grips, posture, pulse, and style. Jerzy spoke directly and per- sonally with each student. We were not engaged in the conversation, but were privileged to witness this gracious master teacher teach.

I missed the last of Kosmala’s mas- ter class in order to attend the 11:00 a.m. Duo Repertoire Recital held in the first-floor Smith Music Theatre. While I still missed the Frank Bridge Lamento played by J. David Arnott and Coca Jutta Puchhammer-Sédillot. Bochonko, I enjoyed the perform- ance of Two Pieces for Two Violas worked the Poco maestoso and the scratching your back, walking, by Richard Cornell and Music for Allegro vivo from Gordon Jacob’s sawing wood, etc., and how one Two Violas by Alexandros Suite for Eight Violas; “The can relate these very natural Kalogeras played by Shelly Arrival of the Queen of Sheba” by motions and movements to viola Tramposh and Scott Woolweaver. Handel arranged for six violas by posture, position, and balance. The two performers, who obvious- Michael Dennison (edited by John Jutta sparkles and percolates with ly liked making music together, White); and a fabulous arrange- energy, always a twinkle in her eye, beautifully played the enjoyable ment by Joël Belgique (Principal with an infectious smile and but not profound pieces. I particu- Viola of the Oregon Symphony expressive hands when she plays larly enjoyed the Scherzetto by and leader of the famous “The and talks. It’s a delight to be in her Cornell for its wonderfully quick Four Violas”) of Elgar’s Nimrod, audience. Because the sessions viola repartee. Ken Martinson and variation nine, from the Enigma were intended to be overlapping, I John Largess concluded this con- Variations. Ken went to work on missed Jutta’s final selection, cert with two newly published his energetic, youthful composi- Ballade, op. 8 by Leo Werner. duos by Alessandro Rolla. These tion, Viola Fantasy for twelve vio- well-matched players gave us a las. All went well—and, pending The 10:00 a.m. master class with sparkling rendition of these venera- Sunday’s review, the concert will our longtime friend Jerzy Kosmala ble Rolla pieces. go well also. was held in the Recital Hall on the third floor of the sister building to After a quick lunch I returned to The 9:00 a.m. lecture-recital in the the ASU Gammage Auditorium. Katzin Hall where the renowned beautiful Katzin Hall was per- The Recital Hall was a wonderful- violist Bruno Pasquier held forth. formed by the indefatigable Jutta ly intimate and well-appointed Bruno thought he needed some Puchhammer-Sédillot from the location for Jerzy. He shared a life- translation help—he didn’t need Conservatoire de Musique de time of experience at the highest much! He worked with six out- Montréal. After a short introduc- level of music making. His com- standing Primrose competitors. tion she played Suite, op. 11 by ments came quickly, immediately, Bruno eloquently spoke and pow- Charles Tournemire (1870-1939). and honestly with each of the five erfully demonstrated viola tone Jutta then talked about natural Primrose competitors in the master and musical expression. He body movements—reaching, class. Laced with his sly sense of became excited when each student produced the sound, color, or

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expression he was seeking. Bruno’s tone was huge and beautiful; and, the audience enjoyed his enormous pedagogical skills!

I left early to attend the opening of the 2:00 p.m. Louise Lansdown talk on Hindemith, op. 11, no. 4. The talk, back in the Recital Hall, was replete with rare photos, early sketchbooks, and several pieces by the young Hindemith as a visual artist. Hindemith enjoyed a huge imagination and a sense of humor that made his artwork sometimes vulgar and rude. This, of course, Pamela Goldsmith and Michael Vidulich present the Silver Alto Clef to would have made no difference Donald McInnes. had Mr. Hindemith not become a singular force that helped shape series of video spoofs of the Baron) the course of music for half a cen- and nothing in Baker’s. The piece, Roland worked with five Primrose tury. The lecture was interesting, played well by Carlos, was interest- competitors. He was positive, com- thorough, and most insightful. I ing in its historical context—a fun plimentary, and yet able to zero in did not stay for the conclusion as I piece; nothing new. New is the on the very technique or musical made my way to Smith Music Trio for Viola, Clarinet, and Piano idea that would immediately Theatre for the 3:00 p.m. by João Guilherme Ripper per- improve the student’s performance. Repertoire Recital. formed by our University of Note that these young Primrose Minnesota friend Korey Konkol competitors are already at a dis- The recital opened with Pamela and two colleagues. Ripper, a tinctly high level. Roland talked to Goldsmith playing 4 Cappricci per young Brazilian composer, sets this the audience, included us, and Solo Viola by the female Polish piece in a liberally traditional har- joked with us. His facial expres- composer Grazyna Bacewicz monic idiom devoid of expected sions and body motions, anything (1909-1969). These pieces, played Brazilian folkisms and sporting to make a pedagogical point, are brilliantly, are a virtual compendi- energetic rhythmic interplay, coun- incredibly like the 1950’s comedi- um of string techniques from the terpoint, and fresh melodic materi- an Sid Caesar. It was wonderfully first half of the twentieth century. I al. Korey was the perfect performer instructive and entertaining. asked Pamela some time after her for this work. He played with a performance if she used her rich, but sensitive tone, passion, Our Gala Banquet was held in the Gaspara de Salò. She exclaimed, and a sense of joy that infected the Old Main Building—the oldest “For heaven sakes no! I used my audience. I missed David and among the first buildings used copy.” Understood. Second up Holland’s performance of the 1999 by ASU when it was a Teachers was our friend Carlos María Solare Suite for Viola and Piano written College. The Carson Ballroom is with an obscure sonata by August, by the sensational new composer nicely appointed, featuring a high- Baron of Münchhausen. The Kenji Bunch to make the 4:00 beamed ceiling and a comfortable Baron, an amateur composer, is so p.m. master class offered by world- open quality with a multitude of obscure that I find no listing on class Roland Vamos in the Katzin lovely light-giving windows. After the Internet (other than a recent Concert Hall. a fine buffet meal, the three princi-

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pal activities included celebrating thank you Nancy Buck for an out- performed Tchaikovsky’s None but the Congress Honoree Dr. William standing International Viola the Lonely Heart and the first Magers, a giant of a teacher who Congress! movement of Rochberg’s Viola has dedicated a lifetime to his stu- Sonata. dents and to our beloved viola; Day five – David M. publicly presenting the Silver Alto Bynog At 2:00 p.m. Claudine Bigelow Clef to Donald McInnes (awarded gave a lecture on the Primrose in 2007), a world class performer, Unfortunately, I missed the better International Archive. The heart of a master-teachers’ teacher, and a part of the final day of the con- this sparsely attended lecture was genuinely gracious human being; gress as well, including Donald Tally Turner’s superb presentation and, publicly thanking Nancy Maurice’s lecture-recital on George on organizing the Maurice W. Buck for organizing a wonderful Enescu; Donald McInnes’s master Riley Collection. For a detailed congress! class; the American Viola Society account of her work, please see her Recital with Carol Rodland, Juliet article in this issue of the JAVS. Last on the agenda for Saturday, White-Smith, Sheila Browne, and Claudine also gave updates on June 7 was the 8:00 p.m. final Susan Dubois; and the Play-in PIVA including information on round of the 11th Primrose Viola Ensemble performance. the acquisition of the Ulrich International Viola Competition Drüner collection, a wealth of in Smith Music Theatre. I did attend the 1:00 p.m. original editions of early viola Originally this round was to Primrose Winners’ Concert. music. include three performers, but we Dimitri Murrath, first-place win- had six to enjoy. The performers, ner, displayed a marvelous tone 3:00 p.m. saw the final event of Dimitri Murrath (Belgium); Emily and sense of phrasing in Brahms’s the congress. Violists Roland Deans (USA); Lambert Jun-Yuan Sonata in E-flat Major, op. 120, Vamos and Viacheslav Dinerchtein Chen (Taiwan); Wei-Ting Kuo no. 2. Emily Deans, second-place played the 44 Viola Duets by (Taiwan); Molly Carr (USA); and winner, followed with a vigorous Bartók (originally for two violins Barbara Buntrock (Germany), each reading of Hindemith’s Sonata, op. and transcribed by William stood out as extraordinarily special. 25, no. 4. Her tone seemed very Primrose). The works are delights This round did not end until after forced, perhaps her interpretation in miniature, and the performance 11:00 p.m. and the final decision of the wild and savage style often reveled in Bartók’s folksy dance by the panel, ably led by Claudine associated with both of rhythms, jovial wit, and classic Bigelow, did not reach final deci- Hindemith’s op. 25 viola sonatas. melodies. In all it was a great con- sion until after 1:00 a.m. (please Molly Carr, third-place winner clusion to an outstanding congress! see the article on the 11th Primrose International Viola Competition for details on the winners).

I truly appreciated re-connecting the Primrose International Viola Competition and the congress after several years of separation. Nokuthula Ngwenyama, herself the 1993 Primrose winner, did an amazing job as Primrose International Viola Competition From left to right: Michael Vidulich (IVS President), Richard Mapp, Director. Thank you Thula and Donald Maurice, Anna Brooker (ANZVS President), and Robert Harris.

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POWER-PLAYS IN MOZART’S SINFONIA CONCERTANTE: A QUESTION OF PHILOSOPHIES ON THE GENRE

by Andrew Filmer poser could, if he desired, free him- these power-plays can flow. The fol- Winner of the 2008 self from the constraints of patron- lowing discussion into the range of Dalton Research Competition age and appeal to ‘an anonymous perspectives and interpretations community of audiences.’”1 The includes a look at several recordings For performers of classical music, sinfonia concertante in the late and addresses choices performers there is rarely a question of democ- eighteenth century was able to cre- make when dealing with what racy within the ranks; it seldom ate new audiences because of its Ronald Woodley terms “treacher- exists. In large orchestras the con- ability to grandstand: “The sym- ous” genre classifications,4 when in ductor directs the performance, in phonie concertante was specifically power-plays of their own. smaller chamber orchestras the con- tailored for this milieu. Its com- certmaster takes charge, while in posers consciously wooed the con- most string quartets a primarius is cert-going public by writing the Sinfonia-Focused appointed. When a soloist takes the most melodious, scintillating, and Philosophies stage, the orchestra’s role—and thus instrumentally-varied works within that of the conductor as its leader— their power.”2 Two approaches—based on the is to follow and support. Rarely do sonata and symphony—form a phi- power-plays change these relation- While the baroque concerto grosso losophy that focuses on the sinfonia ships, cemented over centuries-old and the Classical-era multiple- aspect of the Sinfonia Concertante. performance traditions. soloist concertos can provide a basic This philosophy departs from view- model of how the performers ing the genre as an extension of the It is in this context that Mozart’s should interact, the issue of connec- concerto; rather, viewing it as an Sinfonia Concertante for Violin, tions between these genres is con- extension of the symphony or Viola, and Orchestra, K. 364 poses tentious, and the etymology is com- sonata. Claude Palisca remarks that unique uncertainties of how this plex. The lack of a complete auto- the term sinfonia has etymological leadership hierarchy functions. The graph of Mozart’s work adds further roots in the sonata: “Sinfonia, at sinfonia concertante genre flour- problems; only a few fragments first synonymous with sonata was ished and dissipated in the short exist in folios with sketches of the retained in the second half of the span of sixty years, and few of the cadenzas. Correspondence from century particularly for the first works are performed today. Mozart about the work is inexis- number of a suite of dances or for Historically, the power-plays in the tent; Christoph-Hellmut Mahling pieces with fuller texture.”5 Brook genre were not between soloists and notes that as it was likely composed also notes the possible use of the conductor, but rather between com- in Salzburg, there was no reason for French term symphonie concertante poser and patron. Barry Brook him to write about it.3 The abun- instead of the Italian sinfonia con- observed that the sinfonia concer- dance of recordings of Mozart’s certante, which lets us consider a tante genre was an instrument of Sinfonia Concertante allows for focus on the symphony instead of freedom from the reliance on a sole insight into the wide-ranging opin- the sonata.6 In this sinfonia-based employer: “By the 1770's, any com- ions of performers regarding how approach there is still quite a range

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of hierarchical variations even with- Anderson critiqued: “The main trou- partner to the violin soloist was in in the same philosophy: from an ble here is the size of the accompany- itself an innovation for the era. equal partnership of orchestra and ing orchestras. Mozart ceases to smile soloists with a primarius-type lead when faced with too many double- J. Arthur Watson further notes the of the violin soloist, to an interpre- basses, and like many things in this extensive use of dialogue between tation and direction by a conductor. world, his textures suffer when the two solo instruments, another The common element is that the thrown to the crowd.”9 element of chamber music: orchestra functions not merely as “Analysis shows that of this [first] accompaniment, but as an integral The effectiveness of this approach is movement (excluding tutti pas- melodic partner. seen in several sections. The most sages) 72 per cent is dialogue (run- important comprises bars 326-27 of ning occasionally into canon) while Sinfonia’s Roots as the first movement (ex. 1), where in the second and third the propor- Sonata:A Chamber the solo viola is often lost in the tions are 70 and 68.”12 Gerhard Music Approach crescendo on recordings employing Croll offers further support of a a larger orchestra: chamber music perspective, arguing Though any orchestra requires a that the movement bears a resem- figure of particular authority to Mozart’s choice of writing an blance to Michael Haydn’s D- navigate the turns and corners, the accompanying part for the viola Major sonata for violin and viola, “a Sinfonia Concertante may be treat- solo in this example is indicative reminiscence that cannot fail to ed, nonetheless, stylistically as cham- of a chamber music approach, have struck Haydn himself and any ber music. This has a tangible connecting the sixteenth notes in listener familiar with his works…. impact on the role of the orchestra, the solo parts to the following such borrowings were thought of as since a certain level of trust and orchestral sixteenths. Had the examples neither of plagiarism nor autonomy in dynamics and phras- composer intended a distinction theft but as the exact opposite, since ing is granted to orchestral musi- in the solo parts, he could have quotations were considered a sign cians. This is especially so when maintained the violin-viola imita- of particular esteem, a tribute paid melodic content is superimposed tion as follows (ex. 2): by one composer to another.”13 This over virtuosic and often arpeggiated opinion is supported by the fact passages in the solo parts, for Further support for this approach that the two violin-viola duos instance in the development section lies with Mozart’s use of the viola, Mozart composed four years later of the first movement. which was not often considered a were to help an ailing Michael solo instrument at this time. “The Haydn fulfill a commission and Recordings of interpretations with fact then that Mozart wrote no solo were based compositionally on the this philosophy have often chosen work for the viola is immaterial; four previous Haydn duos. smaller orchestras closer to those dur- what is significant is that he han- ing Mozart’s time, thus better allow- dled it with a daring and originality Another essential element of cham- ing the winds to break through the which in his day must have seemed ber music is the pendulum between 10 strings.7 This can be amplified by a revolutionary.” The importance of blending and contrast. On one end “period” interpretation employing an this is seen in greater relief when Watson views the use of contrast as even smaller string section, dictating viewed historically by Stanley Sadie: integral in chamber music, compar- only the first desk of upper strings, “Before 1740 the viola was seldom ing the use of discords in the one cello, and one double bass play- treated as a soloist in any context, Sinfonia Concertante to the ing in sections marked “solo.”8 In this generally being banished to the Dissonanzen Quartet composed six manner, melodically interesting sec- decent obscurity of the accompani- years later.14 Others prefer a view of tions in any of the string parts can ment, realizing the harmony of the chamber music with an emphasized also enjoy a full forte without fear of middle parts.”11 Thus, the role of cohesion of the solo violin and losing bounce or lightness. Robert the viola as an equal chamber music viola. In this perspective, Sadie

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Example 1. Mozart, Sinfonia Concertante, movt. I, mm. 324-27.

Example 2. Mozart, Sinfonia Concertante, movt. I, mm. 224-27, with alternative solo viola part.

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noted that the Sinfonia phrases forward, but Bashmet pre- structed work with solo instruments Concertante was scored such that ferring a held-back rubato. (similar but not identical in form to “the natural brilliance of the violin the concerto)” connected with the is somewhat muted, while the natu- A Symphonic Mannheim School.21 This connec- ral reticence of the viola is some- Approach to the tion is further highlighted with the what brightened and amplified,”15 Sinfonia Concertante use of an orchestral crescendo in the particularly by Mozart’s choice of first movement, an innovation of key and the use of scordatura tun- If a connection can be made the Mannheim School. ing for the viola. between the sinfonia and the sonata, an equal case can be made for a The prevalence of symphonic ele- These differing interpretations of connection between the sinfonia ments can also be seen when con- chamber music in the Sinfonia and the symphony. Paul Myers trasted to another work by Mozart Concertante are demonstrated in notes that Mozart “used the term that employs multiple soloists, the two recordings: the Salzburg Sinfonia Concertante rather than Concerto for Flute and Harp, K. Academic Camerata with Augustin ‘Concerto’ because it implies a large- 299. A clear distinction is seen when Dumay and Veronika Hagen as scale orchestral work of symphonic comparing their first movements. soloists; and the London proportions in which soloists are The orchestra of the Concerto for Philharmonic, with Anne-Sophie featured, rather than simply a vehi- Flute and Harp has little if any Mutter and Yuri Bashmet. cle to highlight the skills of violinist melodic interest while the soloists Chamber music specialists Dumay and violist.”18 Myers mentions cer- play; the Sinfonia Concertante has a and Hagen emphasize a blending tain compositional elements more greater balance towards the orches- of the solo parts, leaving the cre- apt for a symphony than a concerto: tra. The issue would then be how ation of contrast to soloists and the size of the orchestral introduc- the second and third movements of orchestra. This is in line with tion in the first movement, and the the Sinfonia Concertante compare Johannes Jansen’s views: “In con- sharing of musical themes between to the Concerto for Flute and Harp. trast to the older form of the ‘con- the soloists and orchestra. He also A middle-ground argument can cer- certo grosso,’ in which the solo comments that in the second move- tainly be made that the Sinfonia instruments are treated separately ment, “the composer’s cadenza, Concertante begins as a symphony from the tutti, in ‘concertino’ rather than being an instrumental even if it ends as a concerto. An style, the ‘sinfonia concertante’ display piece, might be better argument for the concerto aspects of requires a skilful combination of described as an intimate conversa- the last movement would be that solo and ensemble elements, creat- tion between the two soloists before the refrains in the Presto are taken ing instead a dialogue between the the return of the orchestra.”19 from the orchestra and given to the soli and tutti.”16 soloists, leaving the orchestra with The sharing of musical themes pro- fewer melodic interests. The Presto, Mutter also makes chamber music vides further support to the sym- nevertheless, provides examples of the focus of her interpretation, “it’s phonic view. Volker Scherliess symphonic elements: chamber music without ever lean- described it as “the polyphonic ing back in the chair … with the interplay of the two solo parts and 1. The orchestration during the violin LPO I don’t play as a soloist, but as their joint dialogue with the orches- solo in measures 114-19 has a a member of the ensemble, as a first tra, whose wealth of coloring (espe- purely accompanying role. In con- among equals.”17 In this recording, cially when the oboes and horns are trast, the orchestration of the reply- the conversation between the two brought into play) makes one forget ing viola in measures 122 to 128 soloists (not just between a unified that only modest instrumental provides a countermelodic role (ex. team of soloists versus the orches- forces are used.”20 He also describes 3). A type of mirror image occurs tra) is clearly discernable from their the genre as “a symphonically con- in the repeat of this secondary first entry, with Mutter pushing theme in measures 289-92.22

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Example 3. Mozart, Sinfonia Concertante, movt. III, mm. 113-28.

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Example 4. Mozart, Sinfonia Concertante, movt. III, mm. 168-71.

Example 5. Mozart, Sinfonia Concertante, movt. III, mm. 136-39.

2. The triplets by both soloists in 3. The final tutti return of the viola parts in particular as a support measures 168-79 are distinctive orchestra provides the same for the solo viola, but it can also be because this is the first time in melodic autonomy to the winds seen as providing balance in the this movement when the soloists as in the first movement. In con- orchestration. play a common rhythmic pattern trast, the winds in the Concerto (ex. 4). However, it is hardly an for Flute and Harp are overshad- The recording with Pablo Casals original statement, considering owed by the soloists until the conducting the Perpignan Festival the subtle foreshadowing by the end. Orchestra, with Isaac Stern and upper strings of the orchestra in William Primrose, is a prime exam- measures 136-51 (ex. 5). The unique orchestral instrumenta- ple of the power-plays between a Furthermore, the dotted-rhythm tion, especially when contrasted conductor and soloists, and how a motif first introduced by the with the violin concertos, is note- symphonic approach may emerge. winds and used by the strings worthy since there are two viola This is, in part, because of the his- throughout the movement parts and independent lines for cel- torical account of Primrose asking remains exclusively orchestral. los and basses. Some see the two for a quicker tempo in rehearsal,

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Casals agreeing, and in the end con- thematic material, and perform- lematic because of the equally var- ducting just as slow if not slower. ing extended cadenzas. The ied form of the concerto grosso— “Years later he [Isaac Stern] orchestra provides the (often the role of the string soloists as remained convinced that Casals was meagre) accompaniment, a back- chamber musicians in Bach’s unable to change his tempo, so pro- ground for the solo group, and a “Brandenburg” Concerto No. 3, foundly was it anchored in him. frame out of which the soloists BWV 1048 contrasting with the Since he was successful in making it may glitter…. To some extent, it more soloistic roles of the flute, vio- ‘live,’ in keeping the flow of the represents a fusion of elements lin, and harpsichord soloists in the melody and the coherence of the from the divertimento forms (ser- “Brandenburg” Concerto No. 5, discourse, it was up to the soloist to enade, concertino, cassation), the BWV 1050. In addition, Levin’s take up the challenge and succeed symphony and, especially, the comparison does not account for in turn.”23 solo concerto.”26 why Bach’s “Double” Concerto for Two Violins, BWV 1043, and his This symphonic approach also Robert Levin takes a more straight- Concerto for Oboe and Violin are brings out orchestral solos with forward view of Mozart’s choice of categorized as concertos and not more distinct articulation and more terminology for his works with concerti grossi. prominent melodic lines and is less multiple soloists, noting that he preoccupied with giving way to used the term sinfonia concertante Ambiguity of terminology can, soloists. In the words of Casals, when the solo instruments were however, also be in favor of a con- “That’s not passage work: it’s a regular members of the orchestra, certo-esque interpretation. Denis wonderful melody!”24 whereas the term concerto was used Forman noted the similarities in the when the solo instruments were construction for the Concerto for A Concertante-Based drawn from outside the regular Two Pianos, K. 365,29 written in the Philosophy orchestral families—such as the same key and around the same time harp and the piano.27 He further as the Sinfonia Concertante. This A philosophy based on the concer- adds that had the two-violin comparison is shared by Hermann tante aspect is sometimes called a Concertone, K. 190/K. 186E been Abert30 and Louis Biancolli,31 which “concertizing” approach and views composed when the genre had would support Levin’s concept of the Sinfonia Concertante as a larger gained a larger popularity, it would the sinfonia concertante as an concerto. The etymology of concer- probably have been termed as a sin- extension of the concerto. tante is complex; Barry S. Brook fonia concertante. mentioned ambiguity with like The use of scordatura tuning in terms such as ‘solo,’ ‘obligato,’ ‘réci- This is, however, not without its Mozart’s Sinfonia Concertante can tant,’ and ‘principale.’25 In any case own grey areas. In support of his support a concertante-based philos- this approach clearly focuses on the idea that “a symphonie concertante is ophy. While Roland Würtz dis- soloists as the main protagonists nothing more than a concerto for cussed a symphonic approach, he with the orchestra in a more sec- two or more instruments,” Levin also mentioned that the scordatura ondary role. Brook noted a particu- points out—in opposition to tuning for the viola up a half step lar distinction from the Baroque Brook—that “the distinction was meant to “bring the tone of the concerto grosso: between the titles concerto and sym- viola closer to that of the more bril- phonie concertante is parallel with liant violin, producing a better part- “In the symphonie concertante, the Baroque terms concerto and nership between the two soloists the forces are usually unequal; the concerto grosso and suggests a his- and clearly separating the alto solo group is master, maintaining torical relationship between concer- instrument from the tutti.”32 itself in the forefront much of the to grosso and symphonie Likewise, Myers notes that the scor- time, hoarding the important concertante.”28 This becomes prob- datura tuning gives “the instrument

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extra brightness and greater projec- showing an acceleration of dialogue soloist, orchestral players with col- tion…. In this work it gives the in measures 113-35 from eight-bar leagues, and both with a conductor solo viola a unique sound and bril- sections to one-bar repartee,37 a or soloist/director) are the defining liance of its own.” He further men- technique still popular today in vir- factors that create a varied range of tions: “When discussing this, tuosic jazz riffs. colors, phrasing, dynamics, and Nobuko Imai said that it gave her articulation. instrument ‘another dimension,’ David and Igor Oistrakh’s two and the added tension allowed her recordings with the Moscow A listener thus takes in not only an to achieve notes ‘with so much less Philharmonic and the National interpretation of the work, but a force, and yet with greater securi- Radio Orchestra of France are hint as to how the different partners ty.’”33 indicative of this concerto in that work have come together. It approach. Interestingly, articulation is this dynamic human connection, Brook’s extensive study of the genre rather than dynamics is a differenti- interplays and power-plays, compe- also raises interesting generaliza- ating element. In Casals’s recording tition and conversation, that truly tions: a sinfonia concertante is the soloists were more legato and embody the spirit of Mozart’s rarely ever in a minor key, the num- the orchestra far more punctuated; Sinfonia Concertante in both its ber and variety of solo instruments here the opposite is true. Both construction and its performance. is greater than that of the concerto orchestras for the two Oistrakh grosso, and that “although it may recordings are far more legato with sometimes include a poignant articulation, while the Oistrakhs Notes andante, its mood is usually relaxed, have moments of extremely power- gracious and happy. Rarely is it very ful staccatos and accents that bring 1Barry S. Brook, “The Symphonie dramatic, never somber or out the soloists from the orchestral Concertante: Its Musical and intense.”34 Adélaïde de Place texture. Sociological Bases,” International described the C minor second Review of the Aesthetics and movement as “one of Mozart’s most Conclusions Sociology of Music 6, no. 1 (June sorrowful movements” and that it 1975): 20. “exudes an almost desperate sad- In Mozart’s day, the sinfonia con- ness: the three notes of the principal certante was a fascinating new genre 2Ibid., 24. This view is echoed in theme are breathed up by the with influences from Paris and Adena Portowitz, “Art and Taste in orchestra like a stifled lament, taken Mannheim. Its brief lifespan, and Mozart's Sonata-Rondo Finales: by the soloists, then developed and the various philosophies of the Two Case Studies,” Journal of varied in a dialogue full of meaning of “sinfonia concertante,” Musicology 18, no. 1 (Winter pathos.”35 In this respect, Mozart’s lead to power-plays between the 2001): 144. work contrasts with the trend of the various musical forces of soloists, genre, in a manner more consistent orchestra, and conductors, and even 3Christoph-Hellmut Mahling, with a concerto than a sinfonia composer versus patron. introduction to Sinfonia concertante. Concertante in E-flat Major for In a practical sense, ensembles are Violin, Viola and Orchestra, by Another significant point is Mozart’s unlikely to select any one perspec- Wolfgang Amadeus Mozart, trans. rescoring of the first movement tive to solely base their playing. Gabriele Thalmann (Kassel: cadenza. In the 10th measure of the Instead, a compromise is likely, Bärenreiter, 1975): VII-VIII. cadenza the violin part was moved with a performance not fitting neat- up an octave,36 thus making the sec- ly into any one category. In any 4Ronald Woodley, “Mozart and the tion more virtuosic. Concertizing approach, however, the elements of Sinfonia Concertante,” program elements are also seen in the third contrast and cohesion (soloist with notes to Sinfonie Concertanti, K. movement, with Portowitz’s analysis

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297b & K. 364, by Wolfgang A. Sinfonia Concertante, K. 364, by 19Ibid., 6. Mozart, Orpheus Chamber Wolfgang A. Mozart, Berlin Orchestra, with Todd Phillips (vio- Philharmonic Orchestra, Claudio 20Volker Scherliess, program notes to lin) and Maureen Gallagher (viola), Abbado, conductor, with Rainer Sinfonia Concertante für Violine, compact disc, Deutsche Kussmaul (violin) and Wolfram Viola und Orchester, KV 364 and Grammophon, 429 784-2, © Christ (viola), compact disc, Sony Concertone für 2 Violinen und 1991. Classical, SK 66859, © 1996, 7. Orchester, KV 190, by Wolfgang A. Mozart, Israel Philharmonic 5Claude Palisca, Baroque Music, 3rd 14Watson, 44. Orchestra, Zubin Mehta, conductor, ed. (Englewood Cliffs, N.J.: with Itzhak Perlman (violin) and Prentice Hall, 1991), 149. 15Sadie. Pinchas Zukerman (viola), compact disc, Deutsche Grammophon, 415 6Brook, 14-15. 16Johannes Jansen, program notes, 486-2, © 1982. trans. Deborah Hochgesang, to 7Notable cases include recordings by Sinfonia Concertante in E-flat Major, 21Ibid. Augustin Dumay and Veronika K. 364 and Concertone in C Major, Hagen, as well as Anne-Sophie K. 190, by Wolfgang A. Mozart, 22A notable case is that of Nikolaus Mutter and Yuri Bashmet. English Chamber Orchestra, Harnoncourt, in conducting the Raymond Leppard, conductor, with Vienna Philharmonic Orchestra 8Mahling, VIII. Cho-Liang Lin (violin) and Jaime with Gidon Kremer and Kim Laredo (viola), compact disc, Sony, Kashkashian as soloists, who brings 9Robert Anderson, review of Violin SK 47693, © 1991. out this second area of symphonic Concerto in G, K. 216; Sinfonia interest by increasing the orchestral Concertante, K. 364, by Wolfgang 17Michael Church, “Anne Sophie- dynamic beyond the written piano. A. Mozart, Cleveland Orchestra, Mutter’s ‘Mozart Project’— George Szell, conductor; London Rediscovering the Concertos,” pro- 23Bernard Meillat, “Casals and Symphony Orchestra, Isaac Stern, gram notes to The Violin Concertos, Mozart,” trans. R. Cushman, pro- conductor; with Isaac Stern (violin) Sinfonia Concertante, by Wolfgang gram notes to Sinfonia Concertante, and Walter Trampler (viola), LP A. Mozart, London Philharmonic K. 364 and Violin Concerto No. 5, K. record, CBS, 72662, Musical Times, Orchestra, Anne-Sophie Mutter, 219, by Wolfgang A. Mozart, December 1968, 1126. conductor and violin, with Yuri Perpignan Festival Orchestra, Pablo Bashmet (viola), compact disc, Casals, conductor, with Isaac Stern 10J. Arthur Watson, “Mozart and Deutsche Grammophon, 0289 474 (violin) and William Primrose the Viola,” Music & Letters 22, no. 2172, © 2005. (viola), compact disc, Sony, SMK 1 (January 1941): 41. 58983, © 1993. 18Paul Myers, program notes to 11Stanley Sadie, ed., The New Grove Sinfonia Concertante in E-flat Major 24Ibid. Dictionary of Musical Instruments, and Concerto for Violin, s.v. “Viola.” Piano, and Orchestra in D Major, by 25Brook, 15. Wolfgang A. Mozart, NDR- 12Watson, 46. Sinfonieorchester, Christoph 26Ibid., 12. Eschenbach, conductor, with 13Gerhard Croll, “Different Types of Midori (violin) and Nobuko Imai 27Robert D. Levin, Who Wrote the Symphonic Form,” trans. Stewart (viola), compact disc, Sony, SK Mozart Four-Wind Concertante? Spencer, program notes to 89488, © 2001, 5. (Stuyvesant, NY: Pendragon, Symphonien Nr. 23 & 36 “Linzer”; 1988), 98.

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28Ibid. 34Brook, 12. Violist Andrew Filmer graduated this past spring with a Master of 29Denis Forman, Mozart’s Concerto 35Adélaïde de Place, program notes, Music degree from the Ernestine M. Form: The First Movements of the trans. Hugh Graham, to Sinfonia Raclin School of the Arts at Indiana Piano Concertos (New York: Da Concertante, K. 364; Rondo, K. 373; University South Bend, where he Capo, 1971), 140-2. Concertone, K. 190, by Wolfgang A. was a scholarship recipient and Mozart, Portland Baroque manager of the Arts Ensemble 30Hermann Abert, W.A. Mozart, Orchestra, Monica Huggett, direc- Library. He served on the strings trans. Stewart Spencer (New tor and violin, conductor, with faculty at Mahidol University in Haven, Conn.: Yale University Pavlo Beznosiuk (viola), compact Thailand for two years. His article, Press, 2007), 573. disc, Virgin Classics, 7243 5 45290 "A Bangkok State of Mind" was 2 3, © 1998, 5. published in Strings magazine in 31Louis Biancolli, ed., The Mozart 2006. His varied interests include Handbook: A Guide to the Man and 36Mahling, VIII. jazz and postmodern improvisation, His Music (Cleveland: World and he remains an active supporter Publishing, 1954), 440. 37Adena Portowitz, “Art and Taste in of the Penang State Symphony Mozart's Sonata-Rondo Finales: Orchestra and Chorus in his home- 32Würtz. Two Case Studies,” Journal of town of Penang, Malaysia. Musicology 18, no. 1 (Winter 33Myers, 6. 2001): 148.

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AVS RETROSPECTIVE THE MAURICE W. R ILEY COLLECTION AT PIVA

by Tally Oldroyd Turner the estate, and collected the mate- Bigelow received a Research and rials to be sent to PIVA. Upon Creative Activity award from the In the Foreword to The History of receiving the materials, Dalton BYU College of Fine Arts and the Viola, William Primrose wrote: commented: “The Riley materials Communications in the amount “I have no way of perceiving how arrived at the BYU Library in of $7,500.00 to create the many documents passed through seven very large cartons. When I Maurice W. Riley Collection Riley’s hands, or crossed his desk, opened the boxes and glanced within PIVA. In the summer of but I am persuaded that he made inside, I said to my colleague, 2006, following my first year of full use of them. Nothing has Claudine Bigelow, ‘Close them.’ It graduate school at BYU, I was been wasted.” was immediately obvious that the chosen as the graduate assistant to sons, under duress, had simply work on this project. At that time Thousands of documents contain- done their best to load everything the collection filled twenty-seven ing research, correspondence, in the boxes that seemed pertinent cardboard boxes, which had been music, and other materials passed without any opportunity to assem- stored in the basement of the through the hands of Maurice ble things in neat or logical order.” Harold B. Lee Library at BYU. Riley as he set forth to write the These boxes were full of the drafts unprecedented The History of the Claudine Bigelow later examined for The History of the Viola, old Viola. For the past two years those the contents of the boxes and literal- music periodicals, manuscripts of materials have been sorted, organ- ly “took out the trash,” placing the Riley’s arrangements for viola and ized, and archived to create the materials into smaller boxes, organ- orchestra, hundreds of letters, Maurice W. Riley Collection izing them into general categories. materials from past viola congress- within the Primrose International Viola Archive at Brigham Young University.

BRINGING THE COLLEC- TION TO BRIGHAM YOUNG UNIVERSITY

At the 1989 International Viola Congress held in Redlands, California, Maurice Riley and David Dalton discussed Riley’s desire to have his viola library and papers donated to PIVA following his death. Riley passed away less than a decade later, and following the passing of his wife Leila, the Riley sons John, Ben, and George sorted through the house, settled Riley Collection in organized boxes.

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es, several books, photos and collection was organized. Each America, and other international recordings, and a ton of research. section of the collection (with the string societies); Music; Media; Scattered throughout the materi- exception of research, correspon- Research; and Correspondence als were family pictures, dence, and media) was then trans- (over 1,000 letters). Christmas cards from old friends, ferred to acid-free archival boxes love notes to his wife Leila, and and folders. The first completed section of the even a few coloring books Riley Maurice W. Riley Collection con- shared with his grandchildren. THE MAURICE W. RILEY tains the research for the instru- COLLECTION ments mentioned at the begin- The summer months were spent ning of Volumes I and II of The going through each box; docu- The Maurice W. Riley Collection History of the Viola. To collect the menting and summarizing every at PIVA is divided into several sec- information, Riley sent out several item within the collection, result- tions: Violas; Biographical Files hundred questionnaires to promi- ing in twenty-seven large spread- (528 of them); International Viola nent violists, violin dealers, and sheets. Great effort was taken to Congresses; Drafts of The History of museums throughout the world. keep things as close to their “orig- the Viola (Vols. I/II); Riley’s These questionnaires asked for inal order” as possible. After over Lectures & Presentations; specific measurements, maker five hundred hours of sorting, Administrative Materials (American details, owner history, photo- summarizing, and labeling, the Viola Society, Violin Society of graphs, etc. The collection con- tains information on around eighty violas—measurements, appraisal certificates, owner histo- ry, and quality photographs of several violas by Guarneri, Stradivari, da Salò, and many other luthiers who were pioneers in viola-making. Summary sheets found at the beginning of each file consolidate all the informa- tion within the file onto one page and indicate where the instru- ments are located in The History of the Viola.

The 528 Biographical Files have their roots in the Appendices of Volumes I and II of The History of the Viola. To find these individu- als, Riley perused dozens of pro- fessional orchestra rosters and wrote to every management com- pany in the United States and Europe, asking for the names and addresses of every violist he could find. In 1978 Riley created a biographical questionnaire that Informational sheet on a Guarneri viola. was sent to nearly five hundred

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violists throughout the world. have been organized by chapter FUTURE PROJECTS WITHIN These questionnaires asked per- and volume. The final proofs and THE RILEY COLLECTION formers to detail their educational plates (photos/illustrations) have background, performance history, also been separated by chapter Archiving the Correspondence favorite viola, and any other and are included in these files. section of the Riley Collection is information of pertinent interest. This section of the collection also one of several projects remaining Completed questionnaires were contains the drafts and corre- to be completed. Hundreds of returned to Riley, often including spondence that led to the Italian photos of violists and résumés, promotional materials, translation La Storia della Viola International Viola Congresses concert programs, photos, and (translated by Elena Belloni have been organized by year and several personal letters. The accu- Filippi). Several letters noting event, but digital copies need to mulated documents were kept in corrections were sent to Riley be made for archiving and greater individual files, each bearing the from violists around the world accessibility. Some individuals and name of an important violist or and have been kept in this section events in the photos need identifi- composer who contributed to of the collection. cation. Recordings, microfilm, viola literature. These files, from and reel-to-reel films from several Abell to Zukerman, have been Through his communication with viola competitions, lectures, and preserved in their original folders several hundred violists around panels also need to be digitized and take up as much room as all the world, one can imagine the and organized. Another interest- the drafts and proofs for Volume I amount of mail Riley received ing project entails going through of The History of the Viola. (and sent) throughout his life; Riley’s collection of books, includ- especially while researching and ing his own copies of The History The International Viola Congress writing The History of the Viola. of the Viola. Post-it notes, inser- section fills four archival boxes, The letters have yet to be official- tions, and bookmarks need to be containing Maurice Riley’s sou- ly counted, but it is estimated removed from these books and venirs and notes from every that there are over a thousand let- properly archived. These books International Viola Congress he ters in the Riley Collection deal- are fascinating to thumb through; attended throughout his life ing with topics from the length- showing the intense toil and thor- (almost every congress held until ening of fingerboards to the budg- ough editing Riley gave his work. 1995). Riley was the man respon- et of the American Viola Society. sible for bringing the Many of these letters are from his- The “beast” of the collection that International Viola Congress to toric performers and public fig- remains to be tamed is the massive American soil when he hosted the ures, from William Primrose to collection of research accumulated 1975 IVC at Eastern Michigan Jimmy Carter. Most of the letters by Riley throughout his lifetime. University. Due to the success of have been organized by date, but This portion of the collection is that congress (the first one all of the letters need to be sum- perhaps the most revealing into the Primrose attended), Riley was marized and recorded into an life and work of Maurice Riley. consulted regularly for advice and accessible database. This task Currently the research fills two help in organizing future con- would be suitable for any violist large cardboard boxes—stacks of gresses worldwide. seeking a project for a grant, dis- notes, copied articles, excerpts from sertation, or graduate work. It is books, bibliographies, etc. The The largest section contains all hoped that these letters can be amount of research is staggering, the drafts, proofs, and plates for archived and stored in a similar and the individual or individuals The History of the Viola. fashion to the letters found in the who take on this task will have to Thousands of pages of drafts— Primrose and Coletta Collections use his or her best judgment as to some typed, many handwritten— at PIVA. how to best organize the materials.

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The important thing is that the Maurice W. Riley Collection be accessible to violists, possibly by creating an index or table of con- tents to make information easy to find for violists coming to PIVA to do research. Eventually this collection will need to be accessi- ble online through the BYU Library catalog or PIVA website. Riley’s purpose in writing The History of the Viola was to share the viola’s history with as many people as he could, and there could be no better way to honor his life than by ensuring that his Leila Riley’s Viola Groupy t-shirt. research and materials be made available to violists worldwide. Maurice to Leila. It was touching me, and after the two years spent to see the love that existed going through his papers he LESSONS FROM MAURICE between the two. Rarely did Riley became a dear friend. I felt the RILEY attend a viola congress without frustration he must have as I read One can imagine the intimidating his wife. From my observation it several rejection letters from pub- task of writing the history for an appears that almost everything he lishers (the Rileys ended up pub- instrument that had never been published or presented was typed, lishing the book themselves and properly recorded. In a time with- edited, or at least passed through turned their home into a shipping out the convenience of the the hands of Leila. She was obvi- office) and understood his joy as I Internet, Riley relied on travel ously as committed to viola schol- sorted through hundreds of and correspondence to acquire the arship as her husband. Some of requests for a copy of The History information he needed. Trips to the greatest treasures found in the of the Viola. Hundreds of receipts International Viola Congresses Maurice W. Riley Collection are and bills made me realize the became research expeditions to the two shirts worn by Leila at financial sacrifices Riley made— foreign libraries, music schools, several International Viola though not a wealthy man—in and the homes and libraries of Congresses, bearing the words order to attend almost every viola famed viola pioneers like Vadim “Viola Groupy” and “It’s No congress, publish his own Borissovsky and Franz Zeyringer. Treble.” research, and just pay for all those Collecting biographical informa- stamps! tion on several international vio- When I started this project I lists brought him new contacts experienced tremendous stress and Were there another comparable who were able to visit places and panic as I realized how large this book more thoroughly researched obtain information he couldn’t get collection really was. Though I or written by someone more on his own. had never met Maurice Riley, I prominent in the academic world, had enjoyed reading The History it might explain why demand for While sorting through thousands of the Viola as a young viola stu- The History of the Viola is so low. of pages of research, drafts, and dent. Going through the thou- Yet with such low demand the concert programs, I found several sands and thousands of docu- price of a volume (both volumes notes written in margins from ments made him come to life for are now out of print) can range

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University. She currently freelances and teaches in Las Vegas, Nevada where she is determined to disprove every viola joke and convert every wayward violinist to the viola.

If any AVS members are interested in working on the Riley Collection, please contact Claudine Bigelow at:

Claudine Bigelow E-545 Harris Fine Arts Center School of Music Brigham Young University Provo, Ut 84602

Maurice Riley, photo courtesy of Dwight Pounds.

from $50 to more than $300. instrument. May we read and Perhaps a new updated edition is share it with those who are unfa- in order, or a third volume, but miliar with it and follow the these two much underappreciated example of Maurice Riley—to volumes need to be read. They find the contribution we can need to be available again. The make in the viola/music world vast number of topics covered can and make it, regardless of the toil seem an intimidating read, but and sacrifice it may require. In the Riley’s writing style makes them words of William Primrose: surprisingly easy to follow and at “Time has taught me that when a times even entertaining; violists man troubles himself to search the simply need to know the story of record … with perseverance and a their instrument. As Riley stated: burning desire to expose it, there “You do not need to be working results what we have here—a true on a college degree, or writing a story, a history, in this case of book to become profitably ‘Cinderella No More,’ as Tertis so involved with viola research. The cogently observed. And we violists more you know about the viola can be duly grateful to Maurice and its music, the more enjoy- Riley for having undertaken, and ment and satisfaction you will for having so ably fulfilled his derive as a performer or as a lis- mission.” tener.” Tally Oldroyd Turner received her How grateful we violists should Music Education degree at BYU- be to have such a wonderful Idaho and her M.M. in Viola record of the history of our Performance at Brigham Young

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ALTERNATIVE STYLES AN ALTERNATIVE APPROACH TO THE TRADITIONAL RECITAL

by David Wallace Inventing a New Approach:A Tale of Two Elegies I have a confession to make. To the best of my recol- When I was a master’s degree student, I once per- lection, I have not played a “standard recital” in over formed Igor Stravinsky’s Elegie at a community cen- ten years. I am not just speaking of repertoire; I am ter in Manhattan. Midway through the piece, some- speaking of my entire approach to presenting music one started moaning. As Stravinsky’s counterpoint to an audience. Although there is nothing “wrong” became more dissonant, the moaning grew ever with a traditional concert format, I have become louder until it culminated in a cry of “I CAN’T convinced that most listeners benefit from active STAND IT!!!” The moaner stood and exited as I dis- exploration of the artistic processes and aesthetics of tractedly tried to finish the fugato. At the end of the the works I choose to perform. piece, applause was sparse. Based on people’s facial expressions, it appeared that most listeners shared As a musician whose solo repertoire ranges from the sentiments of the woman who left. classical to free jazz to traditional fiddling to heavy metal electric viola to avant-garde new music, I have The experience haunted me. As I reflected on what discovered that as eager as listeners may be to happened, I drew three conclusions: embrace or understand the music I play, they may • Much of the music I love is not readily understood not have the tools to do so. Or as one audience or welcomed by the vast majority of the American member put it at my final traditional recital in public. December of 1997, “That was a great concert— • Even if I play everything perfectly and expressively, except for that stinkin’ Hindemith!” there is no guarantee that the music shall speak for itself. As violists, we face more obstacles than most musi- • In order to truly communicate the essence of a cians when it comes to sharing our repertoire. The particular style or work, I must actively help my vast majority of our music is from the twentieth cen- listeners to become successful hearers. tury and beyond, so the language is not always readi- ly understood by an uninitiated listener. Because our A few years later, I offered Stravinsky’s Elegie to instrument is subtle, sophisticated, and less suited to another uninitiated audience. This time, however, I mindless Notenfresserisch virtuosity, presenters and preceded my performance with an in-concert mini- managers tend to gravitate more towards pianists workshop. and violinists; consequently, we even have to fight for our right to be on the solo stage. I asked audience members to think of a time in their lives where they went through a grieving process. I pro- These challenges make it all the more imperative vided a few reflective questions to help them recall and that when we do have opportunities to perform as visualize the experience. We examined the thoughts soloists, our presentation must communicate the that pass through the mind of a grieving person and music in a way that has a profound impact on our shared some of the words and actions that sympathetic listeners. Good enough is just not good enough. individuals might use to console the bereaved.

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We brainstormed the physical manifestations of grief singing it. We reflected on the difference in emo- and tried embodying some of these qualities in our tional quality and discussed why a composer might bodies and faces. Next, we explored how grief can want to employ this subdued tone to express grief. affect one’s vocal tone, and we tried out various sobs, whispers, and tremulous qualities. Before people Finally, I introduced the piece: knew what was happening, I segued into call-and- response singing of Stravinsky’s Lento melody. Elegie, by Igor Stravinsky, is a musical depiction of a grieving process. In this piece, I play two distinct So far everything was going well, but if the Elegie musical lines that represent two voices grieving performance was to be a success, I knew that I still together in sympathy. Occasionally, you may hear one needed the audience to be able to process the ten- voice by itself, but usually, I’ll be playing both voices sion and release caused by the dissonance and reso- simultaneously. Listen to how these voices interact lution of Stravinsky’s vertical intervals. I turned to throughout this grieving process, and see if you notice the audience and announced, “In a moment, I’m any parallels to the experiences we’ve shared today. going to be grieving with my viola, but I’m going to need your empathy.” I gave the audience three During this performance, everyone listened with rapt instructions:1 attention, and I received a lengthy ovation. People 1. Using the syllable “oh,” everyone would sing were eager to share what they heard in the music and a continuous middle C drone while I sus- many made connections to life experiences. After the tained other notes on my viola. (I also played concert, a woman in her forties quietly told me, the middle C to keep people on pitch.) “Your performance described exactly what I went 2. Using their fingers, everyone would rate the through when I lost my two-year-old daughter. There intensity of our combined notes on a scale of is such a truth to this piece. Thank you.” one to ten (one being fairly relaxed, ten being almost unbearably intense). Six Principles for Interactive 3. For true sympathy, I needed audience mem- Performance bers to adjust their voices to reflect the tim- In both of these Elegie performances, the music was bres they were hearing from my viola. If I identical. However, the experience the audience and I grew hushed, they should support me by had of the music could not have been more contrasting. responding in kind. If I grew angry or With the second performance, I took the risk of actively strained, they should adjust accordingly. Grief engaging my listeners, and they joined me. As we comes in waves, and I needed them to sup- invested ourselves in a serious exploration of our experi- port me and my viola through the various ences and Stravinsky’s musical language, we became pre- waves of emotions. pared to immerse ourselves fully in his masterpiece.

As the audience combined their voices with my While not every audience interaction needs to be as viola, the atmosphere of the room became charged. I complex or sophisticated as this particular plan, noticed how various people evaluated the different effective audience interaction relies on the following intervals I performed. People began to develop a pal- six principles: give the audience an entry point, pable sense of consonance and dissonance. By the engage the audience with hands-on experience, tap time I tested a few of Stravinsky’s intervals and reso- competence, use multiple intelligences, reflect, and lution patterns, everyone was responding similarly, project your personality in your performance. albeit individually. Give the Audience an Entry Point: I repeated the activity, but this time I added a subtle Every work of art has specific elements that are change: I put a mute on my viola and asked people essential to understanding and perceiving it. With to close their mouths and hum middle C instead of Elegie, I concluded that successful listeners must be

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able to hear contrapuntally, not that it is best to choose an entry thing else, for that matter—may just harmonically. I also believed point that is exciting to the per- not do anything for anyone’s ears. that they must allow Stravinsky’s former, relevant and interesting to I could have defined the terms modern musical language to con- the specific audience, and central “elegy” or “fugato”; I could have nect to their own experiences and to the musical work. While it may talked about how Stravinsky’s preconceptions of grief. By pairing be possible to combine multiple piece was written in memory of the musical entry point of counter- entry points within one presenta- Alphonse Onnou of the Pro Arte point with the emotional entry tion, it’s generally best to focus on Quartet and premiered by fellow point of grief, I framed my exercis- an in-depth experience of one quartet member Germain Prévost; es around an inquiry: How does the entry point rather than try to I could share what the piece per- two-part counterpoint in Stravinsky’s share every possible hook in hopes sonally means to me or talk about Elegie depict a grieving process? As I that something will catch the my own experiences with grief; I studied the score with this ques- audience’s interest. could even provide arcane details tion in mind, I began to form of how the Library of Congress ideas and activities that would Engage the Audience has Stravinsky’s draft of a two- invite listeners to explore Elegie with Hands-On viola version of Elegie, which through this question. Experience: would have solved the confound- In order for the audience mem- ing challenges of trying to per- There is no one right answer bers to really “get” an entry point, form his two contrapuntal voices when it comes to choosing an they need to experience it. Talking on one viola. However, none of entry point. However, I’ve found about an entry point—or any- these typical ways of introducing

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a piece or an entry point would “intelligences,” with which people presentation, I planted reflective have a deep impact on listeners’ process the world.2 In theory, we opportunities at all stages of the perceptions and emotions. True all possess each of these intelli- workshop because grieving in interaction must give the audience gences to a greater or lesser itself is profoundly expressive and the opportunity to perform, cre- degree, but people have definite contemplative. It is worth noting ate, and reflect in ways that strengths and preferences. that the audience members enhance their musical perceptions. • reflected from their own person- Because every audience member al experiences; Tap Competence: has unique ways of perceiving and • used their bodies and voices to In order to engage through processing information, it is express elements of their obser- hands-on experience, we must tap important that our interactions vations; the competence of our audiences. engage the different intelligences • actively reflected by evaluating The Stravinsky presentation drew and skills. Verbal individuals may their subjective experience of upon the audience’s ability to do respond well to spoken interaction, interval intensity; the following: but a visual learner may not find • grappled with a reflective assign- • Reflect on an experience of grief explanations as helpful. To provide ment as they listened to Elegie; or loss more audience members with a • had the opportunity to share • Share personal experiences and way into the Elegie, I designed and extend their observations empathize activities that included all but one after the piece was performed. • Do the “actor’s studio work” of of Gardner’s intelligences.3 embodying emotions physically Most importantly, the audience’s • Observe one another’s facial While it may not be necessary to perceptions and experiences expressions address more than two or three of impacted me as a performer. The • Sing, hum, and sustain one Gardner’s intelligences when audience input I received height- pitch as a group preparing an audience to hear a ened my own sensitivity to the • Subjectively rate the consonance particular piece, within the span piece, deepened my understand- or dissonance between two of an interactive concert, it is ing, and inspired me to be a more notes helpful to address each intelli- engaged performer. At its best, • Musically adjust one’s perform- gence at least once. It is impor- reflection is not just an internal ance in response to my viola tant to note that musical intelli- one-way process. • Keep a specific focus in mind gence is a distinct capacity in while listening to a performance itself, and we want to make sure Project Your that this part of our listeners’ Personality in Your Each of these capacities is relatively minds is awake. Within our con- Performance: simple, but each provides a direct certs, we want to involve listeners The music we present and the experience that connects to my in simple music-making in a way way we choose to present it chosen entry points for Elegie. The that is interesting and challenging depends to a large extent on who activities awoke exactly the innate without being scary. we are as individuals. As you artistic skills necessary to be suc- interact with your audiences, let cessful for entering into the piece. Reflect: your passions about the music be In his landmark book, Art as known. Suit your interactions to Use Multiple Experience, educational philoso- your personality and your com- Intelligences: pher John Dewey asserts that if fort zone. Use any presentational In his book Frames of Mind, we are not reflecting, we are not strengths you bring into the Harvard professor Howard learning. Reflection deepens per- room, be it singing, improvising, Gardner identified seven distinct ception. In crafting the Elegie dancing, communicating a com-

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plex analysis in layperson’s terms, communicating and interacting Bibliography: composing and developing a with audiences, as well as helpful twelve-tone row with your audi- anecdotes from numerous leading Booth, Eric. The Teaching Artist’s ence, or something completely violists in the field. Bible. London: Oxford University unique to yourself. Often audi- Press, 2009. ence members respond to us as Dr. David Wallace is a faculty individual personalities before member of the Juilliard School and Dewey, John. Art as Experience. they respond to us as musicians. a Senior Teaching Artist for the New York: Minton, Balch, & Being yourself helps to establish New York Philharmonic. He has Company, 1934. rapport with your listeners and scripted interactive concerts for the also can increase comfort with the Los Angeles Philharmonic, the New Gardner, Howard. Multiple performance situation. York Philharmonic, Young Intelligences: The Theory in Audiences, Inc., and has recently Practice. New York: Reaching Out: been spotted using his approach to Basic Books, 1993. create a viola-centric universe in SHAMELESS PLUG WARN- elementary schools in Tokyo and Wallace, David. Reaching Out: A ING!!! ONLY READ THE FOL- New York. Musician’s Guide to Interactive LOWING IF YOU WOULD Performance. New LIKE TO KNOW MORE York: McGraw-Hill, 2008. ABOUT INTERACTIVE PER- Notes FORMANCE. 1 In concert, I incrementally built My experience performing and this activity one instruction at a designing interactive performanc- time, and we practiced in order es for many organizations and to be successful. It’s important ensembles over the years led me not to overwhelm an audience to write a book: Reaching Out: A with too many directions or Musician’s Guide to Interactive instructions at once. Performance. In it, I expound on the above six principles in greater 2 As first articulated by Gardner, depth, describe the interactive the intelligences are visual / spa- performance planning process, tial, verbal / linguistic, logical / share about some of the foibles mathematical, bodily / kines- and challenges I have encountered thetic, musical / rhythmic, inter- in the field, and include five tran- personal, and intrapersonal. For scripts of actual interactive per- a complete understanding, con- formances, including solo, cham- sult one of Gardner’s many ber, and orchestral events. books on the subject.

I am also pleased to announce 3 As a challenge, see if you can that in January of 2009, Oxford identify the missing intelligence, University Press shall publish my and think of a way you might educational mentor Eric Booth’s incorporate it in this presenta- fantastic resource, The Teaching tion! Artist’s Bible. Eric’s book contains invaluable information about

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Colburn School

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IN THE STUDIO UNEXPECTED PLEASURE

by Barbara Sudweeks

After having taught viola for thir- ty-five years, having been Associate Principal Viola of the Dallas Symphony Orchestra for thirty- three years, and teaching on the college level at Southern Methodist University, I never envisioned myself teaching a young, aspiring, blind violist. I was aware of the aging population of baby boomers and their loss of vision, as well as an expanding population encom- passing a myriad of special-needs individuals. However, never did I Barbara Sudweeks and Rebecca Glass. consider what role I might play in bringing the joy of music—and role model for those following in I quickly learned much about the specifically the viola—to a young her footsteps. education of blind people. My sug- woman eager to embrace this gestion to sighted teachers working instrument regardless of the barri- With any student, a teacher’s role is with a visually impaired student ers that might stand in her way. to ascertain what teaching methods for the first time would be to or techniques can be adapted to best "relax." I came to realize that if I Rebecca Glass came to my studio fit the individual student. At first I was uncertain on how to approach in 2005, her freshman year in high was at a loss as to how to approach a problem, I could simply ask the school. She had made Texas All- this task with a blind student. student rather than second-guess- State Orchestra at this early age Unfamiliar with available adaptive ing how to tackle it. With and was eager to pursue advanced technology, I assumed it would be Rebecca, I soon learned words in levels of training in order to pre- necessary to explore all possibilities my vocabulary like "look" and pare for a career in music. Rebecca in order to consider what might be "see" were not a taboo subject, and has been almost totally blind since useful teaching devices. I soon I did not have to avoid words hav- birth, having only a limited learned the greatest tool was simply ing to do with vision. As a teacher, amount of light perception. my playing. Rebecca’s hearing, as is I simply had to be receptive to the Rebecca learns her music by ear, the case with many visually fact that teacher/student commu- although she is fluent in Braille impaired individuals, was exquisite. nication would totally involve music notation. Her desire was to She perceives even minute variations alternative forms to vision, such as improve her playing by receiving in pitch and readily follows my lead. touch and hearing. instruction on her musicality and My apprehension soon turned to technique. Rebecca’s ease as she quickly grasped notes, Learning by ear has proved to be long-term goal is more complicat- phrasing, and pitch and amazed me the most time-efficient way for ed; she hopes to be a resource and with her attention to detail. Rebecca to learn viola repertoire.

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Braille music is time-consuming and difficult to navigate with end- less numbers of symbols. Braille music—as well as regular Braille—roughly consumes three or more twelve by twelve inch pages to one page of print. Thus, one small piece of Braille music is bulky and cumbersome in com- parison to print music. Rebecca has reported that Braille music often has discrepancies in the notation depending on the source and the transcriber. New tech- nologies sometimes rely on scan- ning print music and transcrip- tion by computer. Based on Rebecca's experiences with Braille piano music, she feels computers frequently misinterpret markings the composer intended, and mis- takes are usually numerous in more difficult pieces. Finally, it is impossible to read Braille music and bow at the same time. Regardless of the downside of Braille notated music, I felt it Braille piano music. might be valuable for Rebecca to have a Braille copy of the music Without the benefit of Braille her attention. Once at home, she was studying for reference. I music, we realized early on that the Rebecca removes the compact flash was concerned that without use of a recorder could be an card from the recorder and makes Braille music, individual interpre- invaluable tool. Currently, we a CD of what I have recorded for tation of a piece might be lost. employ a small digital recorder her to learn, or of our weekly les- Sadly, upon checking with the with a compact flash card available son. The CD can then be used to Library of Congress, I found at any sound shop. We record each study any part of the music that is almost no viola Braille music to lesson, and Rebecca makes and in question. The recording acts as exist, unlike the copious amount catalogs a CD to prepare for a les- an instant reference tool for prac- of piano music archived there. son the following week. When I ticing current lessons. Rebecca Some early or beginner viola begin teaching a new piece, I finds that the CD library she is books are available, but nothing record segments of the piece for building is of value as well, review- past an elementary level. her to study. Usually, I begin the ing lessons from the past that Currently, they have only three recording by playing through the involve repertoire she wishes to pieces of advanced Braille viola piece so that she has an idea of bring back for competitions and/or music and those are quintets! where the piece is headed. I play auditions that require pieces she Thus, it is easy to understand why the piece at tempo, and then play learned earlier. The CD has proved I teach Rebecca with words, it slowly followed by comments on to be the most efficient and space- demonstration, and recordings. specific measures I want to call to saving recording medium as tapes

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or mini-discs become difficult to simply taking the instrument—or processes were as she learned new store in large quantities. Another perhaps her arm—and placing it in music. I could not imagine how useful format for recording and the proper position worked won- she proceeds through difficult pas- storage is that of an MP3 file, derfully. Interestingly, having never sages and myriads of notes without thereby making the recording seen an artist perform, Rebecca seeing them. As we discussed this, I available on an MP3 player or remained in a fairly rigid position discovered that learning a new iPod. for her playing. So, conversely, piece of music for her is quite dif- after feeling my arm and shoulder ferent than the manner in which a In addition to listening to the at work as I demonstrated playing sighted person might approach a recordings I have made for her, I for her, she was able to change her work. Rebecca states that she sees have encouraged Rebecca to breathing and movements to a music for what it is, the sounds immerse herself in listening to considerable degree. Initially, I did and the rhythms, and not through artists' recordings of the pieces she harbor some concern over correct the "middle man" of print music. is working on. Although this tech- bow placement on the viola. Her attention is totally focused on nique is frequently used for Without the benefit of seeing listening rather than on visually younger students, I have found it where the bow was placed on the attempting to interpret the notes is invaluable at advanced levels as strings, Rebecca did lose some ori- on a piece of paper and play them well. For example, she has been entation. Once again I physically simultaneously. Without the dis- able to find several earlier record- placed my bow as a guide while traction of reading music, she is ings of William Primrose playing she was playing, and within a short able to totally focus on tone, pitch, the Bartók Concerto. Listening to time she was firmly grounded in and dynamics. the recordings, Rebecca is able to where she needed to be for proper follow the interaction of the viola placement and sound. Unlike many blind musicians who with the orchestral parts, as well as prefer to perform as soloists, listen to Primrose's style and treat- As time progressed and Rebecca Rebecca soon expressed an interest ment of the work. Rebecca, in her and I became accustomed to work- in playing with a full orchestra in search for recordings, has found ing together, my curiosity increased addition to solo work. She audi- that often the best recordings are as to what exactly her thought tioned and won a chair in the ones on old vinyl records. Excellent recordings not available on CDs, or records not found in the United States, are easily found online. "Retro" record players and turntables are once again available Heritage Insurance services at many stores and offer a link to hearing the music played as the 1/4 page artist and/or composer intended.

Along with employing Rebecca’s listening as a teaching aid, I readily grasped the importance of teaching her by physical demonstration of instrument, bow, or body position. Unlike students who can visualize how to place themselves and mimic my correct posture, I found

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Greater Dallas Youth Orchestra. tests will now be archived in and preparing her for a career as a Little adaptation was needed to Austin, Texas and will be available violist has indeed been a gift and a insure her keeping up to pace with for future blind student/musicians unique opportunity. She has the orchestra. I requested that the living in the state. To date, taught me that music knows no conductor obtain the music in Rebecca has won or placed in bounds. advance so that I could record the many international and regional viola parts for Rebecca. I was competitions alongside her sighted amazed at the rate at which she counterparts, and she has upcom- Barbara Sudweeks is Associate could memorize her parts, as ing performances, including one Principal Viola of the Dallas orchestral viola music is often diffi- with the Fort Worth Symphony Symphony and has been a member cult, not always carrying the Orchestra. of that orchestra since 1976. A for- melody. For example, Rebecca mer member of An die Musik, she accomplished memorizing Rebecca’s path to my studio has has recorded and concertized exten- Mozart’s “Haffner” Symphony in been a colorful one. Her desire to sively throughout the U.S. and an afternoon. The quality was play the piano at a young age and Europe. Before coming to Dallas, indeed adequate to take to rehears- being rejected by innumerable Ms. Sudweeks was Principal Viola of al, where it could be refined along teachers is heartbreaking; her first the Hamilton Philharmonic with the rest of the section. teacher was the family's Austrian (Ontario, Canada) and a member of During rehearsals and performanc- piano tuner because no one else the Utah Symphony. She also teaches es, Rebecca asked her stand part- would take a young blind child! viola, chamber music, and orchestral ner to gently tap her foot to cue But slowly, she has been recog- repertoire at Southern Methodist her as to when to play parts after nized for what she is, a dedicated University. particularly long rests. Rebecca had and determined musician. The no trouble following the conductor piano led her to chamber music, either; she indicated she could easi- which led to the viola. She states, ly tell passages in the music by his “I am a violist because it is the breathing and motions, and even lush contralto of the viola that the expressions she could hear him stirs my imagination and touches convey with his face! my heart."

Although music theory is impor- Those of us accustomed to and tant in Rebecca’s work with me, I reliant upon print music in our am currently working with her daily lives can experience a reawak- only for performance. Rebecca ening when confronted with a new took AP Music Theory in her way of experiencing music. Our school as well as studied theory in professions and our lives become conjunction with her private piano so entrenched in routine we often studies. She is the first blind teen forget that music is indeed from to take the Texas Piano Theory the soul. I would encourage each Tests in Braille at high school lev- and every violist/teacher to els. Permission to have the tests embrace an opportunity to work administered in Braille required with a blind or disabled individual significant effort since they did not committed to music in order to yet exist in that format. Rebecca is experience music from a new per- pleased to have paved the way. The spective. Working with Rebecca

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STUDENT LIFE THE NEW FACE OF THE AVS

Facebook Viola Group page (image used with permission of Facebook).

by Adam Paul Cordle a tool for college recruitment as professors and admin- istrators have begun to create their own profiles. Facebook gives people the power to share and makes the world more open and connected. – Mark Zuckerburg, The American Viola Society has joined into this mode founder of Facebook. of networking with the creation of an AVS group page, which any Facebook user can join. How does Social networking websites have exploded into the this impact a national organization such as the everyday lives of individuals all over the world as the American Viola Society? The first obvious benefit of Internet has gained greater prominence in the realm an AVS group on Facebook is that it will enable any of social interaction. Such websites, including individual logged onto Facebook to know about Facebook and MySpace, have become useful resources events in the viola world. After the International Viola for high school and college students across the U.S. Congress this summer, individuals posted pictures and Recently they have also become resources for profes- information to the AVS group, which were dispersed sionals as a greater number of users have opened to Facebook members. Information and photos about forums in online communities to connect on a profes- the Primrose Competition were also circulated. Other sional level. Even more recently, Facebook has become information currently available includes information

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on new viola works and music publishing companies, viola world and what they would like to see from the links to musical performances featuring the viola, and AVS and the Journal of the American Viola Society. By other aspects of viola performance and education. The enabling high school and college students to have a group page has the potential to serve as a fast and easy say in what they want to see, a greater number of way to distribute information to violists everywhere. individuals can take ownership in the society and make it their own, which is the ultimate goal of any Facebook is also a fantastic resource for the distribu- national organization of the magnitude of the tion of AVS information because of the specific age American Viola Society. group that it reaches. Many individuals on Facebook are high school and college students, individuals who Social networking is just one area of the Internet that may not yet have a membership to the society or may is gaining attention from violists. Other features of not be in an area where they can receive the informa- the Internet that individuals have been taking advan- tion about viola society events in their communities. tage of includes the blogosphere (the online commu- By distributing the information over Facebook, it is nity of diaries or journals, known as blogs), listservs hoped that more individuals can easily become (an e-mail service where individuals can enroll their e- involved in the society and perhaps even bring the mail address to receive e-mails about specific topics), society to their community. As of September 2008, and the professional networking service LinkedIn. In the Facebook group had more than five hundred addition to these resources, many more are coming members. into existence every year. Facebook is certainly a great online resource because of its ability to consolidate A great aspect of the Facebook online community is our many online activities and the ability for mem- that individuals can easily express their interests in the bers to easily share information. As new ideas and

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methods of organization into online communities increase, violists will find more and more resources for connecting to one another and more opportunities for collaboration.

Some sites of interest:

http://www.facebook.com/group.php?gid=137731967 32 American Viola Society Facebook group page

http://www.therestisnoise.com/ Alex Ross’s blog (Classical Music Critic of the New Yorker)

http://www.viola-in-music.com/viola-blog.html Viola in music blog: advertising viola sheet music

http://www.oregonviola.org/ Oregon Viola Society blog

http://launch.dir.groups.yahoo.com/dir/1600032119 Complete list of yahoo listservs dedicated to viola

http://www.americanviolasociety.org/ http://www.viola.com/ http://music.lib.byu.edu/piva/ Other significant websites for the viola

Adam Paul Cordle, master's degree candidate at the Eastman School of Music as a student of Phillip Ying, recently earned his bachelor's degree from the Baldwin- Wallace Conservatory of Music, where he studied viola with Louise Zeitlin and chamber music with Merry Peckham. Dedicated to the performance and pedagogy of viola and chamber music, he is a faculty instructor at the Hochstein and Kanack Schools in Rochester, New York and at the Olentangy Summer Strings Festival in Columbus, Ohio.

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List of Donors to come???

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ORCHESTRAL TRAINING FORUM BRAHMS SYMPHONY NO.4

by Robert Vernon

Robert Vernon, long-time principal violist of the Cleveland Orchestra, is currently writing a book on viola orchestral excerpts. JAVS takes a sneak-peek of his work with a few excerpts from Brahms’s Symphony No. 4, op. 98.

Symphony No. 4 Johannes Brahms (1833-1897) ~ Movement II ~

Priorities: 1.) Sound 2.) Articulations 3.) Musical direction 4.) Shape and quality of sound

Suggested tempo: eighth note = 80

Bars Comments

All No dots = long; dots = long with slight separation; wedges = short notes

64-71 a.) Play with musical shape and direction. b.) Play more than p. c.) Play with a full, sustained, gentle and seamless sound. d.) The shifts should be silent. e.) The dotted sixteenth note followed by a thirty-second note should be square (in time), and sustained.

Example 1. Brahms, Symphony No. 4, movt. II, mm. 64-71.

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Symphony No. 4 Johannes Brahms

~ Movement IV ~

Priorities: 1.) Musical shape 2.) Intonation 3.) Proper articulation

Suggested tempo: quarter note = 108 (flexible)

Bars Comments

41-56 a.) This passage must be shaped dramatically, with flexible rhythm. Follow the edited shaping in the part. b.) Play with a full, sustained and lyrical sound, with great energy and passion. c.) In bars 42 and 44, delay the diminuendo until after the second beat. d.) Play the last eighth note in bars 42, 45, and 46 long so the phrase doesn’t come to a stop during the eighth rests. e.) The quarter notes on beats one and two in bar 56 should be played long, with a slight space.

57-61 a.) Play this passage in the lower half of the bow. b.) Bars 57-63 should be played absolutely square (held and deliberate). c.) Articulate well in the left hand.

62-63 a.) Make a very slight space between the double-dotted quarter notes and sixteenth notes and between the dotted eighth notes and sixteenth notes in these bars. b.) Play in the lower half of the bow.

64 Play this measure legato.

66-68 a.) Play these bars in the lower half of the bow. b.) The sixteenth notes should be played on the string.

69-72 Play these bars quietly, with sustained sound.

73-76 a.) Play in the lower half of the bow, on the string. b.) Make a very slight space after each eighth note in bars 74, 75 and 76.

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Example 2. Brahms, Symphony No. 4, movt. IV, mm. 41-77.

Robert Vernon was appointed Principal Violist of the Cleveland Orchestra in 1976, and has appeared as a soloist with the orchestra in over one hundred concerts at home and abroad. He serves as chair of the viola department of the Cleveland Institute of Music and was recently appointed to the faculty of the Julliard School.

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Back issues of the Journal of the American Viola Society are available for purchase through the AVS National Office. Single issues: $5 per copy. Back Issue Bonus Pack: $50 for collection of all issues currently in stock. For more information or to place a back issue order, contact AVS General Manager Madeleine Crouch Email: [email protected] Phone: 972-233-9107 ext. 204 Address: AVS National Office, 14070 Proton Rd. Suite 100 Dallas, TX 75244

Weaver’s Violin ßhope

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NEW MUSIC REVIEWS

by Ken Martinson around the low “E” on the C string. Suite for Solo Viola This work is idiomatically written (1958) by Ernest This issue’s column includes works for the viola, and interestingly Bloch (incomplete) for viola solo by American Viola Tietze chooses rhythms with odd- Andante; Society members. numbered beaming groups (triplets, Moderato; quintuplets, septuplets, and nonu- Andante; Yamim Noraim: plets), which seem to add to the Allegro deciso Reflection for Solo improvisatory feel. The rhythm Viola (2000) seems to be the most difficult aspect of this piece, as the notes really only Conclusion to the Difficulty: Level 4 stray from first position once, going Suite for Viola Solo Duration: 5 minutes as high as the G in third position (1991) by David L. Sills on the A string. Shoah: Lamentation Conclusion to the for Solo Viola (2001) The Shoah (Holocaust) is a bit Suite for Viola Solo more demanding technically, with (1989) by Marshall Fine Difficulty: Level 5 many more double-stops and more Duration: 6 minutes dissonant harmonies, often featur- Difficulty: Level 6 ing minor seconds and major sev- Duration: 9 minutes, 11 minutes By Philip Tietze (b. 1957) enths. This work is a musical with the completion (both versions) I was immediately struck by the response to the events of 9/11, serv- emotional and reflective moods of ing as a musical depiction of the I have been somewhat mystified by both of these attractive pieces upon horrors and atrocities of genocides this work for a while now, having my first hearing. The fine recording throughout human history. The owned the music since I was in I heard is by Philip Tietze himself, opening dissonant minor second college. I never put in the effort to viola professor at Ball State (G-sharp against open A string) really learn it, mostly for practicali- University. The music is best suggests an initial turmoil and con- ty reasons. Due to the fact that it is described as a hybrid of styles of flict, from which the rest of the unfinished, it never seemed like a Bloch and Hovhaness, in particular music is spun. This work is certain- good programming option. the simplicity of Hovhannes’s ly filled with anguish as the disso- Having played through it a few Chahagir for solo viola, although nant intervals dispersed throughout times, I also admit that this work Tietze’s work is more complex and suggest. Down-bow accented notes seems a bit more abstract then the compositionally interesting. The also suggest anger and inner frustra- other familiar viola pieces by Yamim Noraim is written without tion. The work ends softly and very Bloch, like the Suite (1919), the barlines, “freely, in an improvisato- hopelessly on a minor ninth—an Suite Hébraïque (1951), and the ry manner.” This work was origi- open C string with a D-flat above Meditation and Processional nally written to be performed dur- it—leaving the listener in despair (1951). But because I knew the ing the High Holy Days, either and in need of healing of the soul. other viola music of Bloch so well, Rosh Hashanah or Yom Kippur. It I thought there must be some sounds a little bit like Jewish plain- These two pieces are available directly musical merit to this Suite for chant in the beginning, and stays in from the composer: Viola Solo. It has continued to the Phrygian mode, centering E-mail: [email protected] intrigue me enough to get to know

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the work more and write a review of the two fairly recent “conclusions” that many violists may be unfamil- iar with. There are several very good recordings of the “incomplete” version violists can listen to including one by Paul Cortese [ASV Digital CD DCA 1094], and one by Daniel Raiskin [Arte Nova Classics ANO 807930]. Ironically, the final, incomplete movement is my favorite movement and seems to be the most cohesive of the four movements.

I first heard the completed version by Marshall Fine at the International Viola Congress XXIII in Bloomington, Indiana, where I first met him. He informed me that he had composed an ending to the Bloch Suite for Viola Solo. I was very intrigued and asked him to play it for me. I was almost completely unfamiliar with the music, having only read through it maybe once or twice. As I listened to him perform it, I attempted to tell at what point the Bloch manuscript ended and his composed ending began; the music went together seamlessly enough that I was not able to tell. I was very impressed with how well he was able to continue the established style Bloch had been writing in.

The unfortunate challenge in taking up the task of completing this work is that there are only twenty-five measures of given material in the fourth movement, Allegro deciso, from which to build off of. Fine does an excellent job of using this material and the established style, and he nearly maximizes the possibilities without being too repetitious. I believe Fine is correct in contin- uing the quick sixteenth note driving and decisive char- acter throughout the movement. Given the brevity of the given material, Fine had to include some original compositional material, but the notes Fine composes are enjoyable to play and stay within the established driving character. The ending has a Meno mosso coda that quotes from the first movement before accelerating into the Allegro deciso tempo again. Fine ends the piece on a C minor chord, which seemed an appropriate end- ing, given the darker, eerier moods in this work. Fine’s version is in a hand written manuscript form.

The other conclusion is by David L. Sills. It is published by Broude Brothers, the publisher of the original, unfin- ished version by Bloch. Playing this conclusion, there are three things that struck me as less successful than the Fine version. The first was the very first note after the

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incomplete manuscript. He chose a high D-flat half note, which didn’t seem a logical next step composition- ally to me. The next was the last note—he ends the piece on a C major chord—which also seemed out of place given the mood of the rest of the piece. Lastly, the entire conclusion seems to lose the drive that was estab- lished in the first twenty-five measures, including several measures of triplets that help to slow down Bloch’s estab- lished driving force. In the comments at the bottom of this published conclusion, Sills mentions that some sketches for the remainder of the Suite for Viola Solo do survive, and it was upon those sketches that he based his Conclusion to the Suite for Viola Solo. This was done with the assistance of Suzanne Bloch. This version is certainly worth buying for curiosity’s sake.

After studying this piece even more intensely, and having played through both Conclusions a few times, I feel com- fortable enough to say that when I do eventually learn this piece to include in my recital repertoire, I will certainly be including the Fine ending (multiple puns intended).

The Bloch Suite for Viola Sola and the David L. Sills conclusion are published by: Broude Brothers Limited 141 White Oaks Road Williamstown, MA 01267 Phone: (413)458-8131 Toll-free: 800-225-3197 Fax: (413)458-5242 www.broude.us

The conclusion by Marshall Fine is available directly from the composer at: E-mail: [email protected]

Key to the Difficulty level chart: 1 Very Easy 2 Somewhat Easy 3 Intermediate 4 Somewhat Difficult 5 Difficult 6 Very Difficult

Please send all scores for review consideration to: Kenneth Martinson 2751 SE 24th Place Gainesville, FL 32641 JOURNAL OF THE AMERICAN VIOLA SOCIETY 66 Viola V24 N2 10/20/08 10:35 AM Page 67

RECORDING REVIEWS

by Carlos María Solare if barlines didn’t exist. Chase’s violist, Michael Ponder, is credited tempo is a shade hasty, but he as the producer of this lovingly Benjamin J. Dale: Music for Viola holds the long movement together presented recording. – Suite, op. 2; Phantasy, op. 4; in an exemplary way and, in the Introduction and Andante, op. 5; suite’s outer movements, meets English Dance. Roger Chase, viola; the music’s outrageous technical D’Amore. Music by Knox, Michiko Otaki, piano. Dutton demands head on. Unfortunately, Marais, Moser, Hume, Ariosti, CDLX 7204. Chase has overlooked an obvious and Huber. Garth Knox, viola misprint: eight bars from the end, d’amore; Agnès Vestermann, vio- As pedigrees go, this recording has the first five notes of the run loncello. ECM New Series 1925 an unimpeachable one: Roger should be read in the alto clef, 476 6369. Chase was a student of Bernard and two bars later the second note Shore, himself a disciple of Lionel should be an E, as in the parallel In this recording, Garth Knox Tertis, for whom all the composi- passages. Otaki is a tower of presents a panorama of music for tions included here were written strength, coping gallantly with the the viola d’amore ranging from in the early years of the twentieth orchestrally conceived piano part. the seventeenth to the twenty-first century. As if this were not Dale’s one-movement, twenty- centuries, and even further back enough, Chase plays the minute Phantasy, op. 4 (1910) is in time if we count the medieval Montagnana viola previously written in the same vein. A song Malor me bat, attributed to owned by both Shore and Tertis. delightful and rare encore is Dale’s Johannes Ockeghem, which is the Benjamin Dale wrote, according English Dance, written originally basis of Knox’s own composition to his teacher at the Royal for the violin and heard here in an of the same title. The piece opens Academy of Music (RAM), “fewer arrangement for viola by the com- with a virtuoso cadenza for the and better works than any English poser’s fellow student, York viola d’amore, and portions of the composer of his generation.” Bowen, himself a violist and the song keep appearing in a dream- During his years at the RAM, creator of much marvelous music like manner. JAVS readers will Dale was persuaded by Tertis, the for the instrument. Introduction like to know of an alternative ver- institution’s viola teacher, to write and Andante, op. 5 for six violas sion of Malor me bat, in which for the instrument (as were also was written in 1911 for Tertis and the viola d’amore is accompanied Arnold Bax and York Bowen his class. Some post-Wagnerian by five scordatura violas, the open among others), and the results are harmonies therein strongly recall strings of which add to the reso- included in this CD. Chase has a Arnold Schoenberg’s recently pub- nance of the viola d’amore’s sym- complete understanding of the lished Verklärte Nacht. The sixth pathetic strings. Knox performed music’s unashamed Romanticism. viola is required to tune the this version at the 2005 He uses fingerings in the style of fourth string to B-flat, and to go International Viola Congress in Tertis’s extremely personal ones even further down near the end in Reykjavík to mesmerizing effect. and is not afraid of portamento. order to contribute a low A-flat to The Romance from Dale’s Suite, the final chord. Keeping in the Both Tobias Hume’s unaccompa- op. 2 (1906/07) was once record- spirit of the piece’s premiere, nied piece, A Pavin (1605) and ed by Tertis himself. The “endless Chase leads five of his former stu- Marin Marais’s Les Folies d’Espagne melody” of its first subject flows dents in a radiant, beautifully bal- (with cello accompaniment) are undisturbed for forty-plus bars, as anced performance. Yet another originally for the viola da gamba.

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Knox’s arrangements are utterly of Speaking (2006) intriguingly Dumka (violin, viola, and piano); convincing, which is also true of experiment with unorthodox tun- Two Pieces (viola and cello); his arrangement of Attilio Ariosti’s ings—even including micro- String Quartet movement; 1st Lezione. This piece was origi- tones—for both the playing and Adagio; Combined Carols “Get ‘em nally written for scordatura violin the resonating strings. True to his All Over At Once” (string quartet). as a “lesson” for learning to play reputation as a passionate advo- Kenneth Martinson, viola; the viola d’amore. Knox transpos- cate of contemporary music, Christopher Taylor, piano; Jay es it from E-flat major to the viola Knox performs both these pieces Zhong, violin; Andrea Molina, d’amore basic key of D major, with authoritative aplomb. To cap piano; Moisés Molina, cello; The and this enables him to add some a most enjoyable recital the viola Julstrom String Quartet. Centaur idiomatic double stopping. It may d’amore sounds unexpectedly Records CRC 2847. be argued that this procedure convincing in some Celtic tunes, contradicts the piece’s origin as an idiomatically arranged by Knox. Ken Martinson has done it again, “etude”; however, the results are The recording quality—you can and twice over. After his beautiful stylishly convincing, and anyway even hear the resonance of the Milhaud CD, published by there are many examples from the sympathetic strings!—and the Centaur in 2001, here we have Baroque age of this kind of presentation do ECM proud. neatly packaged recordings of the arrangement. Klaus Huber’s chamber music with viola of, …Plainte… was written in 1990 respectively, Bohuslav Martinu in memory of Luigi Nono. Both Bohuslav Martinu: Chamber and Rebecca Clarke. All of this composition and Roland Music with Viola – Three Martinu’s pieces were inspired by Moser’s even more recent Manners Madrigals for Violin and Viola; his meeting Lillian Fuchs and her Duo No. 2 for brother Joseph in 1947. On the Violin and Viola; wake of hearing the siblings per- Sonata No. 1 for forming Mozart’s B-flat Major Viola and Piano. Duo for Violin and Viola, AVS History & Reference Guide Felicia Moye, vio- Martinu came up first with the lin; Kenneth Three Madrigals (premiered that 1/4 page Martinson, viola; same year) and then, in 1951, Christopher with the Duo, which he tidily Taylor, piano. numbered No. 2. After the Centaur Records Rhapsody-Concerto, which was CRC 2852. commissioned by George Szell, Martinu wrote his last viola piece, Rebecca Clarke: the sonata to which he optimisti- String Chamber cally gave the No. 1, in 1955, Music – Lullaby; again for Lillian Fuchs. I suppose Lullaby on an it is not quite PC to say this, but Ancient Irish Tune; yet again I can’t escape the feeling Morpheus; Untitled that Czech players have an movement; unbeatable head start when it Chinese Puzzle; comes to performing the music of Passacaglia on an their compatriots. The first move- Old English Tune; ment of the sonata is quite tricky I’ll Bid My Heart rhythmically, with 3/4, 5/8, 3/8 Be Still (all viola etc. constantly alternating. and piano); Brilliant as Martinson’s playing is

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all through the CD, you can feel and cello, one of the few compo- The latter was written in America, that he and Taylor are counting sitions of Clarke’s to be published on a commission from the Library for their lives. I have a recording during her lifetime), and especial- of Congress. A further point of made in the 1970s by Josef ly the Combined Carols for string contact with these particular play- Kodousek and Jan Novotny, and quartet, a hilarious romp that ers is that the piece was written in here the rhythms swing effortless- brings the CD to a light-hearted memory of Hans Kindler, the ly, showing unequivocally that the conclusion. Martinson and his NSO’s first Music Director and a players are conversing in their colleagues of the Julstrom cellist himself. Hardy, a laureate mother tongue. Ditto regarding Quartet, paired in different com- of the Seventh Tchaikovsky the Three Madrigals, the compari- binations, make an excellent case Competition in 1982, commands son being here with Jiri Novak for the rediscovery of Clarke’s a beautifully malleable tone, but I and Milan Skampa (from the music. do miss an intangible idiomatic Smetana Quartet) in the 1950s. quality that the best Czech players With both LPs long unavailable, The Beauty of Two. Duo per- seem to bring to their country’s however, we can rejoice in the elo- formances by The Kennedy music. Toshiko Kohno writes in quent and enthusiastic perform- Center Chamber Players. Grieg: the liner notes about her learning ances by Martinson and friends, Cello Sonata; Hindemith: Viola the Poulenc Flute Sonata from the which are technically brilliant. Sonata, op. 11 No. 4; Poulenc: source, as it were, when she took The informative liner notes, put- Flute Sonata; Martinu: Cello part in a master class with Jean- ting the pieces in the context of Sonata No 3. David Hardy, cello; Pierre Rampal, who had played Martinu’s American exile, are by Daniel Foster, viola; Toshiko the piece’s premiere with the com- the violist himself. Those in the Kohno, flute; Lambert Orkis, poser at the piano. Kohno’s per- Clarke CD are by Liane Curtis, piano. Dorian president of The Rebecca Clarke DSL-90705. Society, and are uniquely authori- tative in their clarification of the This recording fea- genesis of these works. This par- tures principal Dampits ticular selection of pieces, useful players of the as it is for including most of National 1/4 page Clarke’s chamber music for strings Symphony (except for the Viola Sonata and Orchestra, the Piano Trio), is best sampled in Washington, D.C., short doses: there are just so many and is dedicated to soulful, slow-moving, modally the memory of tinged pieces one can listen to Mstislav back to back. Some of the viola Rostropovich, who and piano pieces have been was the orchestra’s recorded previously by Helen Music Director Callus, whose uniquely sensuous from 1977 to playing Martinson cannot quite 1994. Accordingly, match. There is definitely room it is cellist David for both, however, and anyway Hardy who gets the the present CD includes numer- lion’s share of the ous rare offerings. Among all the CD’s running time, viola-related soulfulness, Clarke’s with expressively sense of humor comes through in eloquent readings movements like the Grotesque of the Grieg and (second of Two Pieces for viola Martinu sonatas.

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formance is refreshingly restrained, refusing to make too much of a meal of the work’s more emotional moments. NSO’s principal viola, Daniel Foster, is a Primrose Competition first-prize winner and an occa- sional JAVS contributor. He garners attention with the first phrases of the Hindemith sonata, played with an exceptionally dark and full tone. This beginning is a harbinger of good things, and indeed this is an unusually compelling reading, with every detail in the score relished and made sense of. The soul of this recording, which was obviously a labor of love for all concerned, is pianist Lambert Orkis. Unfortunately, in Germany (where I am based) he appears almost exclusively as the long-suffering accompanist of violin diva Anne-Sophie Mutter, so it was a pleasure to meet him in more agreeable terms. Orkis is also credited as the CD’s producer, and writes eloquently in the book- let on the art and practice of duo playing. He achieves a beautiful fusion of minds with each of his partners, while finding different sound-worlds for the four works on hand. One longs for a last piece of music uniting all participants, but, as Orkis himself puts it in his liner note, with “only two people expressing opinions, progress seems quicker!”

Poetic Inspirations. Works for Oboe, Viola, and Piano – Klughardt: Schilflieder, op. 28; Loeffler: Two Rhapsodies; White: The Nymph’s Complaint for the Death of Her Fawn; Yano: Modinha; Hindemith: Trio for Viola, Heckelphone, and Piano, op. 47. Alex Klein, oboe; Richard Young, viola; Ricardo Castr, piano. Cedille Records CDR 90000 102.

Though the repertoire is perhaps less well-known than the combination with clarinet, the pairing of viola and oboe with piano accompaniment has yielded some attractive compositions. Interestingly, three of the works included here were inspired by poetry, hence the CD’s title. August Klughardt’s Schilflieder (Songs of the Reeds) is based on typically melancholic poems by the German Romantic, Nikolaus Lenau, which are printed in the score as an inspiration to interpreters. They also appear in the booklet, albeit only in an English translation that, while serviceable, is not absolutely accurate. Musically, the five movements remind me of Schumann’s late style, especially of the Märchenerzählungen. Maurice Rollinat’s Symbolistic poetry inspired

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Charles Martin Loeffler, the Berlin-born Alsatian who became a principal member of the Boston Symphony Orchestra, for his Two Rhapsodies. These are expan- sive pieces of a luxuriating Romanticism, which illus- trate vividly the decadent images of the text (also offered in English translation). Richard Young achieves here particularly expressive moments on his Peregrino di Zanetto viola from ca. 1560, drawing from it a truly amazing rainbow of tone-colors. He also writes eloquently about these compositions—and about the Hindemith Trio—in the carefully produced booklet. Axel Klein, former principal of the Chicago Symphony, draws a bitter-sweet, plangent tone from his oboe. I was intrigued to see that the bass oboe Klein uses in the Hindemith was built by the same French maker (Lorée) as his regular oboe. Its seduc- tively “Gallic” sound is quite different from that of the Heckelphone (built by the German company, Heckel) that Hindemith had in mind, but none the worse for it. The instrument comes into its own in Part I’s “Arioso” second movement (the piece’s longest sec- tion), after which it is joined by the viola in a viva- cious “Duett.” The final section (about half the piece), titled Potpourri, packs quite a wallop, thoroughly enjoyed by the three players before they land on Hindemith’s trademark final unisono. The longish title of the Englishman Felix White’s composition is that of the poem by Andrew Marvell that inspired it. The piece won a Carnegie Award in 1922, and was appar- ently admired by Ralph Vaughan Williams. It exudes a haunting melancholy in its outer sections, contrasted by a scherzo-like middle part. Melancholy spills over into the mournful Modinha, a short Brazilian morsel written for Klein (who was born in Brazil). This is a most enjoyable CD, truthfully recorded in an agree- able acoustic. The eloquent playing contained therein will hopefully encourage adventurous players to try out this most rewarding repertoire.

VOLUME 24 NUMBER 2 71 Viola V24 N2 10/20/08 10:35 AM Page 72

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

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

Any donor, past or future, contributing $150 or more to the Primrose Endowment will receive this handsome book as a gift from Brigham Young University.

Send your donation to: Primrose Account BYU Development Office C-389 ASB Brigham Young University Provo, UT 84602 Viola V24 N2 10/20/08 10:35 AM Page 73

AT THE GRASSROOTS THE 50 STATE-50 CHAPTER PUSH Local Viola Societies by Ken Martinson contacted many more than the ten I Alabama Viola Society needed and twisted the arms of my Daniel Sweaney, president Over the past few years, inspired by own students to come to the meeting [email protected] the initial vision of our past president and join AVS to ensure I had the Arizona Viola Society Peter Slowik, we have had several number needed. We had sixteen there, Jaquelyn Schwandt, president states form local chapters of the so we met that requirement without a [email protected] American Viola Society. I remember problem! We have had about six Central Texas Viola Society attending a board meeting at the events since our inception. Our new (includes Austin, San Antonio, San Marcos, 1999 International Viola Congress chapter has been able to raise aware- Waco) when the idea of the local chapter ness about the viola at the local level, Martha Carapetyan, president [email protected] was very new. Some very successful as well as awareness of the American chapters were doing remarkable and International Viola Societies, and Florida Viola Society things, notably the Chicago Viola I expect that more people will become Ken Martinson Society with its wide membership aware of the International Viola [email protected] base and its sponsoring of the Congresses as well. Great Lakes Viola Society Chicago Viola Competition. I have Sarah Montzka, interim coordinator also been very impressed with the Recently, we have had successful new [email protected] New York Viola Society and the chapters join us, including the Gulf Coast (Mississippi) Viola Society newsletter and collegial concerts they Tennessee Viola Society (Kathryn Hsaiopei Lee, president hold. They also have a very nice web- Plummer, president), Alabama Viola [email protected] site at www.nyvs.org with an excellent Society (Dan Sweaney, president), resource on viola recordings. After Idaho Viola Society Gulf Coast (Mississippi) Viola Society Linda Kline Lamar moving from upstate New York to (Hsaiopei Lee, president), Indiana [email protected] Illinois, I eventually became Vice- Viola Society (Philip Tietze, presi- President of the Chicago Viola dent), Louisiana Viola Society (Matt Indiana Viola Society Philip Tietze, president Society and Treasurer of the Iowa Daline, president), and a newly revi- [email protected] Viola Society. I was able to observe talized Great Lakes Viola Society from these positions the wonderful Chapter (formerly Chicago Viola Iowa Viola Society service these groups provided to the Society) and the reorganized South Christine Rutledge, president [email protected] viola community. Carolina Viola Society (Constance Gee, president). We are very close to Louisiana Viola Society In summer of 2005, I accepted a new having new chapters join us from Matthew Daline [email protected] viola professor position at the Arkansas and Connecticut, and also University of Florida, and then real- have contacts working to form new Minnesota Viola Society ized that Florida was the most popu- chapters in Michigan, Georgia, J. David Arnott, president lous state without a state chapter of Missouri, Wisconsin, Puerto Rico, [email protected] the AVS. After being there one year, I Kansas, New Mexico, West Virginia, North Carolina Viola Society decided it was time to form a Florida Nebraska, Hawaii, Alaska, and Sheila Browne Viola Society Chapter. I was pleasant- Vermont. [email protected] ly surprised at how painless the whole Northern California Viola Society process was. The biggest obstacle was I am looking for contacts to help start Ethan Filner securing at least ten people to attend chapters in New Jersey, [email protected] the initial organizational meeting. I Massachusetts, Kentucky, Nevada, VOLUME 24 NUMBER 2 73 Viola V24 N2 10/20/08 10:35 AM Page 74

Maine, New Hampshire, Rhode a demonstration-recital. A fasci- opportunities to violists interested Island, Montana, Delaware, South nating look into the world of solo in learning more about their Dakota, North Dakota, Wyoming, baroque viola performance, it was instrument, its repertoire, and per- Guam, Virgin Islands, N. Mariana a delight to see and hear formance possibilities. Islands, and American Samoa. Christine’s skilled and enthusiastic Please contact me at presentation. She explained the – Martha Carapetyan [email protected] if you are from differences in baroque and modern one of these instruments, and demonstrated on her own baroque viola how Gulf Coast Central Texas baroque compositions call for completely different physical and The Gulf Coast Viola Society was Based in Austin, Texas, the Central musical techniques than those of formed in the spring of 2008 at Texas Viola Society was formed as the modern era. Each of the mas- Loyola University in New Orleans, a chapter of the AVS in the winter ter class performers made signifi- Louisiana. Violists from the of 2005. In its first two years, the cant changes and was inspired by a Louisiana Philharmonic Orchestra CTVS offered educational out- new understanding of baroque and students and teachers from reach opportunities, including All- performance practice. area universities attended the first Region and All-State audition meeting. Our elected officers are: workshops for area high school In December 2007, members of students, an open rehearsal with the CTVS and friends gathered to Hsiaopei Lee, President Nokuthula Ngwneyama and the do some “viola caroling” at two Bruce Owen, President-elect Austin Symphony, and a series of local convalescent homes in Paula Krupiczewicz, Treasurer ensemble-playing social events. Austin. At each one, we talked Julia Howell, Secretary We kicked off the 2007-2008 sea- with residents and answered ques- son in September by offering our tions, as many were unfamiliar Our past events included a viola 3rd annual All-Region and All- with the instrument. These per- recital and a master class with State audition workshops, taught formances were meaningful not Bruce Owen (Loyola University) at by CTVS members Ames Asbell, only to our audiences, but gave the University of Southern Martha Carapetyan, and Bruce members a way to bring our Mississippi and a viola master class Williams. Workshop attendance ensemble playing into the wider with Roberto Diaz at Loyola increased for the third year in a community. University. Upcoming events row, and the students were bright, In the 2008-09 season the CTVS include a viola master class with well-prepared, and interested in looks forward to many varied Matthew Dane at Loyola learning the ins and outs of activities including seminars on University in November; a recital preparing for auditions. We are improvisation for violists and by Hsiaopei Lee (USM) perform- proud that most of the students movement techniques for healthy ing works by Shostakovich, who attended the classes were suc- playing. Sibelius, Bridge, and Clarke in cessful in their auditions. November in Hattiesburg, Congratulations to all who partici- At present we are primarily com- Mississippi; and a Viola Day in pated! posed of violists in the Austin met- spring 2009. The Gulf Coast Viola ropolitan area, but hope to include Society plans to set up a website, In November 2007, the CTVS communities within driving dis- newsletter, regional viola competi- hosted its first visiting artist. tance. At the crossroads of many tion, and a viola recital series in Christine Rutledge, Associate different types of music and per- the near future. We hope to extend Professor of Viola at the University formers in Austin, the Central our recruiting efforts to violists of Iowa, gave a master class on Texas Viola Society is making its from the regional area of Southern baroque viola playing, followed by own mark and offering valuable Louisiana, Mississippi, and

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Ohio Viola Society Jeffrey Irvine, president [email protected]

Oklahoma Viola Society Donna Wolff Cain, secretary [email protected]

Oregon Viola Society Miriam English Ward, president [email protected]

Philadelphia Viola Society Shelley Beard, president [email protected]

Rocky Mountain Viola Society Jim Przygocki, president Roberto Diaz with members of the Gulf Coast Viola Society. [email protected]

Southwestern Alabama to join our our grand vision for the future of the Seattle Viola Society society, and we welcome further viola in the state of Indiana—the Mara Gearman advice to make the GCVS better!! newest state chapter of the American [email protected] Viola Society was officially up and South Carolina Viola Society – Hsiaopei Lee running! Constance Gee [email protected] We had our first official activity as an Southern California Viola Society organization this past Labor Day Jennie Hansen, president Indiana weekend in the form of a potluck- [email protected] barbeque picnic at the home of Tennessee Viola Society Thirteen violists from around the Theresa Lagdon, Indiana Viola Kathryn Plummer, President state of Indiana convened at Society charter member and a violist [email protected] Indianapolis Violins on a beautiful with the Indianapolis Symphony. Sunday afternoon in May to form the After a delicious round of hot dogs, Utah Viola Society Claudine Bigelow, president Indiana Viola Society. Two hours hamburgers, and veggie burgers— [email protected] later— after collecting dues, estab- along with the traditional potato sal- lishing our by-laws, and discussing ads and desserts—we retired to the Virginia Viola Society Johanna Beaver, president [email protected]

Viola Club of MD/DC & VA Louise Hildreth-Grasso, president [email protected]

Student Chapters University of Northern Colorado Heather Buffington, president [email protected]

Alan de Veritch conducts members of the Indiana Viola Society.

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living room, where Alan de Veritch many exciting events coming up in gonviola.org, where you can find a lead our intrepid group in the future for our group—we'll complete list of our upcoming impromptu performances of select- keep everybody posted! events. We put together a newslet- ed viola ensemble music, including ter and are getting an excellent Alan's own arrangement of – Philip Tietze response from both professional excerpts from the third act of La and amateur players. We are look- Bohéme. Overall, about a dozen ing forward to connecting violists violists participated, including a Oregon across the Northwest. good portion of our charter mem- bers plus students from around the The Oregon Viola Society has new – Miriam English area and the state. On October 7, leadership organizing some excit- 2008, we plan to attend David ing play-ins, master classes, and Dalton's lecture at Indiana concerts for this fall. The season Tennessee University on William Primrose, gets going with a laid-back (typical where we plan to spread the word Oregon style!) play-in in down- Fall will be a busy season for viola about our exciting new organiza- town Portland and a viola day in activities in the great state of tion and hopefully attract new Salem a week later. The Salem Tennessee. Things kick off members. event includes a master class with September 27 and 28 in Knoxville Joël Belgique, principal violist of at the University of Tennessee's Indiana has long had a distin- the Oregon Symphony; and FEAR Viola Celebration, organized by guished history of viola scholarship no MUSIC, a demonstration of Hillary Herndon. The response and performance, and it is only fit- little-known works and a play-in. has been so great that we've had to ting that there is now a state chap- Charles Noble has recently re- add extra classes! We are now up ter for this region. There will be launched our website at www.ore- to seventy participants with stu-

JOURNAL OF THE AMERICAN VIOLA SOCIETY 76 Viola V24 N2 10/20/08 10:35 AM Page 77

James Fellenbaum rehearses the Pizzicato Polka with over sixty violists in the All Viola Orchestra at UT’s Viola Celebration.

Georgia State University student Rick Neff in a master class with Jeffrey Irvine.

dents coming from as far away as University. On October 6, Dr. David Miami and Dallas. Lilly Sutton will Dalton will present a lecture entitled present an introduction to the “The Art of William Primrose,” and Alexander Technique, and Jennifer on November 5, Edward Klorman Bloch will offer a Suzuki workshop. will present a lecture entitled “Viola Jeffrey Irvine and Katrhryn Plummer Performance and the Historical are our special guests, and new teach- Imagination” and give a master class. ers include Deborah Lander and We invite violists from around the Kathryn Dey. state (and the nation) to see the fan- tastic viola offerings in Tennessee! Later in the season two exciting lec- – Hillary Herndon tures are in store for violists at the Kathryn Plummer Blair School of Music, Vanderbilt

VOLUME 24 NUMBER 2 77 Viola V24 N2 10/20/08 10:35 AM Page 78

Ad Index Aspen Music Festival ...... 62 Indiana University School of Music ...... 10 AVS History & Reference Guide ...... 68 MIAGI ...... 8 Banff Centre ...... 57 North American Viola Institute ...... 44 California Summer Music ...... 70 Potter Violin Company ...... 16 Charles E. Harman, Luthier ...... 70 Primrose International Viola Archive ...... 72 Claudia Lasareff-Mironoff...... 71 RBP Music Publishers ...... 78 Cleveland Institute of Music ...... 20 Robertson & Sons ...... IBC Colburn School...... 50 Rutgers State University ...... 78 Connolly & Co., Inc...... BC San Francisco Conservatory of Music ...... 6 Dampits, Inc...... 69 Southwest Strings ...... 65 David Dalton Competition ad ...... 4 University of California...... 66 Donald Maurice ...... 19 University of Northern Colorado ...... 38 Eastern Music Festival ...... 71 USC Thornton School of Music...... 56 Eastman School of Music ...... 15 Vanderbilt University ...... 47 Gems Music publications, Ltd...... 76 Weaver's Violin Shop ...... 62 Geoffrey Ovington ...... 25 Heritage Insurance Services...... 53

JOURNAL OF THE AMERICAN VIOLA SOCIETY 78 Viola V24 N2 10/20/08 10:35 AM Page 79 Viola V24 N2 10/20/08 10:35 AM Page 80

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