·_~

AMERICAN VIOLA SOCIETYAmerican Chapter

of the

INTERNATIONALE VIOLA FORSCH~NGSGESELLSCHAFT

April REWSLETTER 28

CON G RES_ S ~:. 9

·Tbe 9th Aanual International Viola CODgr.al

June 11· - 14, 1981

The Ua1vers1tl of To~t.,<~;Q__a..

1981

By now you must have rece1ved the brochure announclag the 9th Internation­al Viola Con~re•• to take place June 11-14, 1981 at the Unlveralty erToront., Canada. Heated by A. Baird Kaechtel, chapter head of the Canl..dlanehapter of the IVFG, the Canadian chapter, and the Unlveralty er Toronto,th1a cODgreaa .bould equal, it net ex••l, previous ee~rea8.a. Featuredwill be aeme of Callada'a aad Amer10.'a out.tanding violist. and teacherawho w111 otter a vs.r1et1 of OODcerta. ma.ter 01a8 ••8, lectures J a.ndlecture..recital.. The canad1an artlat.1ncludeRalph Aldr1ob., steven Dann, ft1vkaGolalll-El'deaz, Haas-Karl Piltz, and Robert Verebel. Lilliaa Fuehl, RaphaelH1111er, Jerzy KOimala, DeDsld MoIrm•• , Wil11a .. Prlmre.e, Franc1 I Tur.1,sDd Be raard Zaalav make up the AIDe r1ean c:oatla!••t. Allo appear1.~a·r.

M1ro~ ResenDIu. and Taomaa Tatt•• from tn. U.S.A., Ulr1o~ ~O. Wreche.trom Germany, I.ad Fraaz Zeyrlae:er wk. will p.'r:r.rufw.1tJ1·lt1T.~-r~.MaBy .rthe artl.t. appear1ag at tbe oan!re •• will b. dei.g· 10 for the first time.

. Ta••• ··-·l••-1uc1. all the CaDadl.n pertermera, M18e Fucha, and :Mr. zaalav.Other features or the oongreaa ·~lD.e.lud. an exb,1bl t er violaa and bowl;

exhibit. or music ~.r 'vlela, r.eord1aga or v1ela mus1., bcoka oa the vi.1A,••d atudent v1.1. mualc; a !roup performaDee of mus1c fer mult1ple vlelaa;ceremoa1al' dlRm.era; aad a t.ur of tbe Un1veralt, er Toro.te, campul and t.eel t)' .r Teroate.

Ameri.aD member. of the IVFG ahould be aware tRat ••• Amer~ean dollar'buy. olle dollar and. twenty ••ate of Canadia. me••" •• all t ••• IDd eoatawill ~. le88 tbaa it may appear on tbe information sheet.

It you bav. aot received a broohur. and would l1ke to attend thl. i.­pert.at v1ela event, wr1t. immediately t. Congr••• 9, A. Baird, K••chtel,103 Nertb Drive, I.ll:agtoa, Canada M9A 4R5. D.~'t mla8 ttlla important viela

AMERICAN VIOLA SOCIETY, INC.: Dr. Myra. Rose.blum, President, 39-23 47th st.,Suanya1de, N.Y. 11104; Dr. Hau~1oe Riley, Vlce-Presldeat. 512 Roosevelt Blvd.,Yps11aatl, MI. 48197; Dr_ AIUl Wood.ward, Treasurer, PO Box 1134, Chapel Hill,NO, 27514.Editor of' the American Chapter Newsletter: M1roa Roseablua. ~

IRteraatloaale Viola Feraohumgs!8sellachatt (IVFG): A-S820 salzburs, c/oHochacnule ttuozarteum," Auatr1a.

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happe.i.!_ s•• lOU 1. Tereat.:

* •• • • • • * •SOME OTHER EVERTS OJ' INTEREST TO VIOLISTS:

aOI:AL COISJUlV'!ORYOF MUSIC. fOIlOBTO: DOIALD ltCIINES, VIOLA DSTKR OLASSl.rll(~::n;iI9f'" Jail. .twe dal. It.tere ti. !>ill Iateraa,tl,.,....t, Vie,1a. Cc~r••• ,

erca • wI ,••t',tb.l....ter .1•••• Fer later••ti•• , writ. t. rt0Jal,C••-••Mater, er KUlle, 273 Bloer'Street W••t, fereate, OAtarle, Ca.ada .58 lW2.

SOOTIA nSTIVALOF 'MUSIC-, JUHI 14-281198~:;.Y:8:lLHOUSII ARTI!PTRI. HALIFAX.BOVA .SCOTIA. CANADA : Am.a! . the ••, perteJ-.... ".lIlaar. a~...t.r eta.a••Wl1l tie a vi.i. ma.ter 01••• 8J Walter Trampler. Writ. t. Admlalatrater, ' ,S••ti. FeatlYal er Mu.ie, P.O. Bex 831, Arlldal•• leva S••tl-, Caa.da B3L 415.

SCOTTISH,-VIOLA INTEmtA'l'IONAL: Tal••••••d ••m1aar w111 take ~la•• Au!ult22-25, lJBl at ti. ftQJa1 S••tt1ah Aea4••1 .t'KUll. aad Dra•• In· Glaa!e•• 'The ••I.llt •••••rt. 01a18, ao.at••1•••• tea.hi_! wGrklhep, aad ohamber.ad mederD Dlu.1e werkallG)t'w1'll b. led Dr aaaDa Erde171 • Kiebel Bre.'.a,aDd Jam•• Durraat. Fer laterm.ti•• , writ. t. Seer.tar)', a.V.l.,., Viet.riaC1reuI, Glal!ow G12 9LI t S.etlaad t U.I.

TENTH ANNUAL I!T!ERB~TIOIAL STltIJ1G WORISHOP. JULY 2i-AU!.u.t " 1981;HONOLULU, HAWAIi. L.ul. KI.vlDaaw11i.tt.r a wori••]1 fer v .flat•. Wr1teti. fatera.ti••aI Werkanop., Depart••at .t Mu.1.,~, ':UIl1v8ra1t1 .r Wi•••••ill-Milwaukee, Milwauk•• , WI 53201.

SLOKSTED! OONDUCTING INSTITUTE. STRING !fAS!ER CLASSES, CHAMBER MUSIC,;;g{ 6-23, 1981.LOMA LINDA UNlVERSffY. LA SIEDA CAMPUS, 1.UVERSIDi: OA~g515. .Loui. Kl.Viii wlll •••dult a .lo'li ..It.r ela... F.r I.termatI.a.~ t. n••• ld W. Taur••r, Dept••r MUI1e, Lema Llada UBiTer.1t" River-81de, CA 92515. .

JOHANNESEN INtERNATIONAL SCHOOL .Q[ mARTS. JULY 14-J.IJGUiT 25, 1981. st.~:iiICHAELS UNIVERSITY SOHOOL , VICTORIA, SRYfiSH COLUMBIA ,CABADA: Am0D! U.".J .utlta.d1.~ performer••aa tea.h.ra vb.. will partlel,ate in ttll •••hoel are .:t·bj-'~,:-,Yl:.11,.t,. William Prl~re•• , Gerald ,~sta.l.k, aad S1.o•• Fe'1r­abe.d. Write t. J ••an•••n Iatel'llatl•••1 Seh••l 't tlle Art., 1-'-'737 Oakstr••t, V•••ouver, B.C.V6H 2M4.caaada.

iOWDOII 'SUMMER MUSIC DSTIVAL MUSIC SCHOOL, JUIE 2. - JULY ~11 1981.-)BIUISWICI, MiIII:, 'all .Iu.mer mUI18 .".81 Ii. aa i.pr••live 11.'£ ot 1&­teraatloaal17 re..owaed perter.era ••d te.eb.era oa .Ita taeul,t,. Pa121 Dekterlead. t.e ~1.1a ar.a aDd will _. lavel••d 1. l ••••n., r.perte1re .tadl•• ,1I••ter .1••••••ad lhamber Jlu.1.. For tur.ther i.formati •• , write t.Happy K. Duan, Admln1atrater, lewd.i. Summer X••l0 Fe.t1val.';1~.o.Hall,

, Bru••wl.'k, Mal•• 14111.

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FRANCOIS OX BEAUMOIlT: VIOLA DISCCGRAPHY! 4th EDITIOH. Dr. d@ BeaU_Gat. ea.et eur i.it ardent viola '."'Y.ialta .a aD expert 011 v1.1a dl•••srapR1,'hal jU8t releaaed al. 4tk edltlen .t t.e vlela dlseo!rapaJ. Tal. edltl••will be available at a speoial prlee te •••~.r••r t.e IVPG (~rl •• to ~.

; . or

baaed e. the number of order. re.eived). AI 'OOR •• the A.eri,aa Vl.1a50elety oomplete. lta ele.tl••a (a•• ~.l.w). the aev .e.retary v1ll haRdl.th11. The next .ewa1etter vill bave .pecif1' detail. about thil •

•.• * • * * * * *RECORDINGS OF VIOLA MUSIC: Aa tke aumber ot reoord1a!1 devoted to v10la~o1d an~ new, iRorea••••v. try to 1atorm you .t al maDy a. pOI.lble.The rollowl~ .hould be ot iatereat"(-ve try to IU}tply a. much iator_tloD _about ea.h record1.! when p.aslble. It •• re••rdla! aame .r Dumber i8 liltedthfltlnforDlQ.tloR. va. ·not ava11alale) IBARTO~,Vlol~ Q••certo and !!!XDEMI'tH,"DerSeh!anendreb.erlt

: Dall181 Benyalilal.vloU.-_ - OreIielltre de Parl.,- !Saar.t Baren.lm, .aiel.Gier.

DITTERSD0!!!.tSeaa!!. t.r Vlo1a aad c.ntra~!.!! . a~ SPERGElh~0J!atal 1 an~~for vI.ra anaooDtra;a••·~· Fra'DZ Be1er, yI.la:,·.~ 'au! Breuer, eontraba•••...---.. e- ..

BRUCH, Ei~1at Piece. f!rClari8et, Viela, aad .Pla.0L-!p. 8, and R.-!SCHUMANB,"lilre 'l1erzl~~eDJ." .p.~.l.,1 tor clar1aet, vIola, aad ,Ia•• : Joe weipad,clarInet; EmaauiI Vardl, viola; Frank We1Dlt••k, pia... MUa1eal Herlta!.Soclet7,MHS 4130A (disc); MHC 6130" (ea.sette).

B!~.Q~, Hareld in Italy: "laud~! Dll~r~~_.g. viela. ·stralbeur! Phl1harlDoal.Orch.•• tra. Afal. Lembard, loadueter: .X••leal Herl ta!8 S••1et" MBS '0481'-(dise)j MHO 50~8H (easaette).

RALPH VAUGHAN WILLIAMS, Suite tor Viola aad Piaa. and BLISS, S••at. torViela an! PIa•• :. EmaJlue1:vaNl, vle1a, 'rami WeI••to.lt, ,raR•• KUlIo&!HerIta~e sooIety. MRS 4043T (diso); MHO 604'3\'1 (.aaaette). The above threeitems ean b. erd.red from Musical Herlta!. S.o1ety, 14 Park Road. TlatoaFalla, N.J. 07724.

* • * * * * • * •SOME 1~5IC OF NOTE:TIBOR SERLY, CONCERTO FOR VIOLA. Tail i.pert.Dt v10laeoneerto 1a aial1able in a ,raii reauctloa trom wItty Str1eklaad 1nH••p­~tead, New York. Tb. C.lt 1. 112.50 plul 11.50 fer p••tage and halld11a!.Caeek.· .hould, be made ,a18'b1. "0 Wl111 Str1ekl.a4. Oreh••tra part. aDd ••oreare a1•• available •• reatal. Te erder, write te Willy Strlekl.ad, 54William stre.t, Hempstead, N.Y. 11550.

JOSEPH SLECHTA, MODEfti ORCHESTRAL VIOLA TECHBIQUE. Tala ••w addltloa te~1.1. pea.~.!1 1••a lmpresafve 0••• Fer a.tail., lee tae adv.rtl •••••t att~e ••d or t~. New.letter.

G. BBUNETTI, Sonata in D .aJar rer Vielaaad 5a8ao Centl.uo (er Vlola andCell.), .a. UlrIc' DiI.ir aD wIlly Hesl.---

;·4,.~;~:.B11iB, Sea.t1aa tor Vi.ia aad Pia•• , .p~ 88.- ---- -----w. PIeHL, Duo in Ii flat majer, 02. 18, .!.!.:..~; 12!! !.! I major, er. 18, De • .-tor vI.ii. a~~ Vlola. .

G.P. TELEMANN, Dutt 18 A 115itr ter 'lute and Vle1a (Gallba) tr•• the""Getreuen MUllkmellter,". ed.\i1 NlielauaDeilua., .G.P. TELEMANN, po.ata in! jajor t!.!' Flute and V1.la, edlted by Fraak Mldl.elG•.P~TEIE~.ANH~.~- Trl!. soUt·. -!,~B·.~lQiIl8~.. !!!_ V1Ql1D. Viola, ~Ba8•• Continue,.~d:·1ted.-b1 .. Ul'r1ch': Dr~~'~r a~~~.~~~.• r ,L·utz·~ ~. • .

W.HESJh ID!,!. ill Flute ~ Vlola, ••• 89 (1977).

F DOMMER.• ..'tt.!!la F maj.r .ill Pla.o, Vi.la, .!E Viol••••ll., .P. ,2,.wolted 61J o"i"tlil"iiaela; ~

A. ROLLA, Duo Co••ertaat, ep••, ne. 2 (••la.!!) .!!r Violl.~ Vlola., .. .

L. GATTI, 6 SOllataa ~ Vlo11._ aad Vi.la, edited'tlJ1 W. RIll.er.

We' de aot know the de"tail. or the ad1tl0•••r the abev. work.' (Ii.runettl,Busb, Plehl, Tele mann , H.sa, Kremmer, Rella, and Gatti), lIuttouDd th••lilted 1. reoent oatale!uea er MU81kbaY8 DebllB!er 1. Vienna. Write t.Mualkhaus Debl1n!er, I, Dorotheer!a••• 10, P••ttach 882, A-lOll V1enna,Au.tria.

._.****CONCERTS: HAROLD COLETTA performed Alan ShulIlRn'. Theme and Var1ationsand tbe "Handei" Co.o.rto laB mi.or fer y101a and orohe8tra wIth theRockla,nd SultQr~all Slmphony and the Merrick Symphony.ANN WOODWARD !ave a reo1tal at the Bruno ~"alter 'Auditorium at Lincol.Center and performed the Sboatakovlteh loaata, the Part1ta for solo ViolaDy P. Rho·des, Gee~e Roc'b.'ber!'a SOllaia for Viola and Piano, and the ,firstNew York performance otHenze 1 8 Bona ta fer Viola and Piano, wrl tten 1. 1979.JOHN WHITE ~ave the flrat London pertormanee of GordeR Jacob'. sonata tarViola and·Piano (1978) at the Purcell Reoll 1n. LondoD..WALTER TRAMPLER performed the Rolla Trio for V1ola, Baa••oa. and Cell. ata concert or the Chausr .al·o:" ·Soe,l-ety .r LiRo.a Center.N013AKO lMAI was the viola .elo1.t in the premiere perferma••• ot MichaelTippett'. Triple COlleerto tor Violin" Vi oIa, alld Ce lIe last Au!uat t 1980.aBABA ERDELn ~ave a re.1tal laat October, 1981 in the Pureell ROOII, LOD.donand drew the follow1n6 notice: ''V1011at a.aDa Erde111 .utters· the doublehandicap of an unproullleabl. aame and a eomparat1vely unpopular 1.atruIleDt;..a a SUlldalTlmea Ir1t1e put 1t: 'Were b. a violin1st or cell1at be wouldbe talke<! or In the lame breath as Krelaler or Caaal•• In (Tile Strad, ,"coa­o.·rt~·I,.'i •• ~'~ Dee•• 1980. P. 543).

* * * * * ... .. *IVFG YEARBOOK: Taa 1980 Yearbook whl•• 1s beln~ pUbl1aaed b1 Blrenrelteraas Seen delayed &8aln but wilY-now appearln earlJ Apr1l. Aa ••0Da_the AVS receivel them, each member will be lent 0•••a IOOD asp.lsible.,The 1981 Yearbook may be combined with tae 1982 Yearbook and appear 1.early 198~ as a single volume. '

* ... * * * .. * *LOUISVILLE CHAPTER: Jack Griffin and Virginia SclUle1der wao are arf1liatedwIth the unIversity of Louisville and active as j)erforlluJr's bave "formed: tllefirst ehapter or the American V1ela Soc1etr_ Tae1r By-Law. have been leDtto the member. ot the Board of Directors fer approval. Wit.. a alzeablememberah1p and aupport from the University ot Leulav111e, they have alread1ud SGIIIS netabl. achievements which include maater ola8ses and reo1 tala'by Walter Trampler, Emanuel Vardi, and Robert and Nlelaolas ~£nn. We look.for¥ard to their future accomplishments and Rope tail may pave tb8 way ferotasr local or regional chapter••

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ELECTIONS: Wlth tala Heva1etter 'OU wl11 re••l •• a ak.tt of .andidatea' .runnIa~ fer electlon ter tie aew otfleera of the Amerlean Viola society.a ballot sheet, aad a returD e••e1ope. Klnd1y make your .kel••• on theballot .beet aDd retura it 11l ttl....velope prGvlded•. Prer. Jlte'bert .Slau!hter luIa a!reed to ta1l1 tae reau1ta. W. aak that you return tILeballot .8 later taaa MAY". 1981. Ballet. reeelved after that datewill net be valid.

* * * .. .. * •THE VIOLA IN THE 21tll CENTURY- .- ------

'by Ha••)' Ueeker*

Tae develop.eat er the Y101a preeeeded •• '.at eve. early in the 21taeentury 1t nad emer!ed &1 a prom1aeat ••1•• 1. tke or••eltral, ehamDer aDd1010 repertorl••• In tai. article the idiomatie u.e .r the vlela 11 d.l~er1bed and illustrated u.11l~ •• i •• ted eOlllt••1t18118 ,. display differ.at ellar-acterlatl•••

DebuI.,. uled the v101a &1 a prominent vo1ee 1. hla pre-20t.....atu·rl StrlD!Q.uartet (1893) aDd later in tb.e Senata tor nute, b.a.rp and vlela,.,(191S). AIin tb.e Debu8sy quartet, Maurlee Ravel'. Str1~ quartet(1902-') feature. theviola 1n importaat melodl. p.a.s.!.,. Albert Reu•••l included the v1e1a 1.bis chamber works, SereRade, .,. '0, for flute.,- har~J Violin, viola a.ndcello (1925), and in the Trl., .P. 41, ter flute, v1eIa and .e11e (1929).Thls I.at work 18 teohn1caill .hallengl~ tor the vlo11lt, with double stoPI,har.en1•• ana faat pa.s.g.~wGrk throughout tae p1eoe. Darlua Ml1haud wretetwo 80Dataa and tW8 eoaeerte. tor tne v1ola, &1 well as aumeroua chamberwork, whleR iDC lud.e tn. viola.

Tae 20th-eentur,'. leatralEuropean .ol1peaera made a significant contr1-­Dut1•• t. the exlat11l! viola repertor,. Max Re!er wret, tbree 8u1tea fer ••10vi.la. two trio8 for violin, viola and ••110, and two aerenades fer flute,vi.lin and viola. GUltav Mahler'a " •••drive teward.a an eyer .ere lateR••lelf-expre.slon in ala lalt work•••• "l 18 refleoted in a vials theme'vb,ie.opena hl. last (tenta), unt1nlshea IY-P.O&1_ Paul· Hiademit. va. prollf1.in b.lloontr1.utloll of viola work•• The Viola S••ata., op. II" •••• 4 and 5(1919), reprelsnt an early ata!_ or Rla work. The SOData, Op. 11, DO. 4, rer

. viola and piane, reveall the lnflueD.•• sf l'wpre8.1onl.a, and the Soaat., .P.11, DO. 5 for unao••mp...led v10la hal a part 10ularly uIl1que final ••vemententitled Palsaca!11a, walcb has been pertor••4 .1 a aeparate work. 2 Hi. otnerunaccempan1ed werk, the sonata, OPe 25, no. 1 (1922), 18 extremely popularwi th viola performers or th.l. de.ad. al 'i. his last work for viola, theSonata for viola and piaBo (1939). faa Kammermualk No.5 (1927), ~onzert­mus1k, .P. 48 (1938), and Dar SOQwaaendreher (193Sj-a!I~?eature the violain a 1010 oapacl ty with oribelltra .Rii · tlii··itlaIlDer mUll. idiom, Hinde m1 tb.wrote five strlll~ ,uarteta., Die SerenadeD, 0'. 35, for 8opraDo, eooe. violaand eell. (1925), two trio·a' ter v!otrn;-i101a and cello (1924,1934),Blld atrio tor viola., laxQphone and piano (1929). In his Octet for atrln!a andwind. (1957), he use. a atrlng ensemble of violl., two v101aa, 0811. aDddouble 'baa••

... Ttll. article is extracted from Nanty U·.~cllerta doctoral d1••ertatlon· inprogress on the n1stery of the viola.

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Erae8t BloelJ. ",rete -.1.1. werk. whi•• bave been !lv•• an imports.at Jtla•• 1nthe repertory. Hi. be.t kaewD pl••• rer tbe 1.ltru.eat 11 t~. Suite ter Y101aand erea••tra (or with plaao •••ompaa1..nt) of 1918-19. a.bert stra••Dursment1••• d•••r1ptlve title. whloh 11••• !ave to ealh of the 8ulte'. tourmovement.: "Ill the JUD!le (Lit. in t.ePrlalt1ve Wer14)" , "Gret'.flu•• (S1­mian sta!e)tt. t1xoctura.t•• aDel "La.dot the Sua (Cll1aa)". fa.aa title. werelater eliminated 18 the puDllab.ed edltlelll et the work. strasalturs'.· oomment ••• tlle orctleatratloJl of 'he lulte ··.are: .

Po••ibly B1e.h waa aot entirely a.t1.rled w1ta the orl!lnal.ver..aJ.,.n of the V·lola Suite, tor ae erch••trated the workfollow1B! it. prei!~~. at the Berkah1re Obaaber Mua1. r••tlyalor 1919.1D the eroa••tra ~er.1oa, the 8010 1••trumeat ma1ntain.1 ta auprell&el thrOU!Rout the reur ••v.meat•• Beoa·u•• the fiDe11·wr.u!~t lnatru••ntat1•• ~are11 overwRel•• the 8.1e lnatrumen\. .the' Suite retaina 1taeba."ber muala eharaeter, dsaplte Bl.eb.'.emp10Ylient of the aalle type of large orob.e.tra u.ed tor Seb..1oa•• 3

In 1921 BleoD quoted a statement Dy O. G. Bonn••k aheut the work: "Brn••tBloelana. !lvenu8 the !reatelt work fer viola 1n musical 11 terature and what11 more lmp.rtaat. one. of the meat pewe rful and s1!nlflcaatwerk. ot ourtime ••• ". Ta. I.at work Bl••• ever wrote va. an unaee••pan1ed Vlela Suite(1958) which bal beeD eompared \0 the Baa•••10 8.natal aDd partltaa. He didnot complete the last movement or tb.l. lulte.

His ener!lea failed him as he .treve to eomplete the coda.Nevertbele.a, the laat four _ara lontain an expresllon ofhi. 1ndomltaDl. will, for the .tr0B!11 a •••nd1n! melodl1leap. in a manner lu!geatlve of hi. vl!oroua perlonallt1and uDwaver1D! desire to tra.n8.end mortal I1m1tatlons. 4

En!llan comp••ere of the 20th eentur, hay. paid tribute to the v101~w1th

an abu.daRt eontr1butlon to the repertery. CODlp••lt1enf ha·•. ·o.tten CJo1ncldedwith the knowledge that there 1. lomeone ready to perferm it. In ~En!land,

this "someone" was Lionel Tartia, tor whom mueh early 2'th-e~ntur1 violamusi, wa. writteh. Ralph vaughan Willlama dedicated bia Fl•• oam,l fer ao10viola, chamber eholr and chs.riber orcheltra (1925) and theSulte or 801eviola and oreaeatra (or plane)(1934) to Tertia, WaG !ave tne worka their flratperformancea. Th.Four ryma, fer tenor, viola and organ (or piane) (1914)

.. ~~ • .xe,PlP·11·'1 vaugaanWI!l a.. lolo1atl. u•• ot the viola in chamber mu.i •• Tb,l •. work 1. l1Jlked D1 It The modali t1 of ttle ha.rIDoRY and th..prollinene. of the

v1ola••• "5 te 'lea Campi, fer whlch 1 t ml~ht 'be .onaldered a "pointer".William Waluawrote one of tb.e major viola work. of tb.•••ntury, hi. V10la

Conoert_, 1n 1928-9. Though written tor Tertia, ita premiere ·"wae !lvsn 'byH1ndemltJa at a London promenade con.art ill 1929. Terti. recall. the c1reum­ataacea 8urreund1n@: hia retu8al of the flrat performance:

One work or which I did net give the first performancewaa Walton's masterly loiiirte. With aham. and lontrlt1oDI admit that when the lompoaer offered me the first per~

formanee I declined 1t. I was unwell at the time; but whatis alia true 18 that I bad not learnt to appreciate \;alton t •

• tyle. The Innovati••• in hl1 mus1cal language, which nowleem .e lo~lcal and 10 truly Intb.e main-stream of musle,thea atruck me as farfetched. It took .e time to rea11zewhat .'tower of atren!th in the literature of the viola 1.thl. ooneerto, aDd how deep the !rat1tYde that we who playthe viola ahould feel toward. the eompOler--tn8 !rat1tude,

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too, te B•••bam fer baV1R! au!!e.tea t. Walt•• t.eoompoa1tloD of a ~1.1a ,oD••r'~ tor •••6

Terti. aug@"elted H1ndemlth .a a repl......t. 'but wben he heard the pertor'ID&noehe felt "!reat d1.appe1ntmea'". tithe .ot•• , ••rtainly,· we're all there, butthe to•• was .01d and uRP1.a.1D!••• ·7. a__••oa Clarke recalll 81ttln! nearTertia durin! tbi.' pertor_n•• and wateta.11l! bl.:"B1ad••1tla, who probablydidn't practl•• very lIutll, vaan'1; UI1D.! vlbrat.. Aa Terti. vat.b.ed Illm,his own fin,era tw1tched:" She aurm1aea that 1t va. Tert1.' dea1re to havethe pIe•• p%aled more expreas1ve1l whien led hi. to perform the work aub••-quently.B ,

Arnold Bax wrote tour worka teaturlD! the viela: the So.ata tor viola and,pl:a'no (1921), Lelend tor viola and plane (1929), PhaDt.ay Sonata ter violaand harp (1928), ana tne Ele!a10 Tr1. ter tlute, vlela and har, (1916). Tkesonata rer v10la and piano (1932) -1 Artbur ill.8 va. yet anotaer work writ­ten tor Tertia, who reealla pract181n! d1ffioult treble pa••a!•• in the ,1••• ,an indication that teohn1e.l demaad. on the 1a.trument had advan.eda

I do rememDer that when I vaa eontr••ted vitb paala!•• h11Dup in the vl.1D1~7 of the 'br14S., I would dOD a very h••vl,volumino.a, mota-eat•• fur Goat while pract~.ln! at h••• ,whioh made these dlzz7 he1skt. mueh more difficult te rea.b,•• tb.at when I had .eca.loB to perform thea in pu'b11e, 1 t 'felt Dltle. ealler to alcollpl1ah theD. when I w•• e1ad in allordinary tbln jaeket. 9

Other English eomp8aera writing tor the viola early in the century includ­e4 Be_Jam1n Dale, York EO,W,e. and ReDe. coa Clarke, who.e sona, ta, t,!r Ylo,.laalldpiano (1919) ••me •••ond to Bl•••'. winn1a! Suite in tile .olD"~LUQD:'··t.rviola eomposltloll1 Ipons.red by E11zabeth Spra!ue Coollde;. in 1919. Her otherwork. for tb.e viola are a Palaac&!11a and an ullPub.llahed duet tor viola andclar1net: PrelUde, Alle!re and Paatorale. Terti. arraDled wGrk. luch alEdward El!ar'a Cello Concerto and Del1ul' COD•• rto for violin and oe118 torthe v1ola, w1th tall approval and enthu81aatl0 prai•• trem the rea)HJctlve."Il,.aerl.

In more reoent ED!118h musio, Benjamin Er1ttenwrete a work tor v10la andpiano .nt1t1ed Laeary•• : He fle.tiona on a SO;! .fDow1aad .C 1951>; PI'terRacine Frioker wrote a Viola. concer'E. T!951-3 ; iiid Alan ftawlthorae eon- ,trlbuted • Viola Sonata (1970).

C.mp.sera from Ealtern European eountr1ea hav.'wr1tten a1!D1t1cant 21tk­eentwry worka tor viola. Bart.k made an 1.portant contr1bution with hi. ViolaOODQerto and the Sixth string Q,uartet. Beyond that, all 81~ of h1s atria!quartet. employ the tour 1Datrumental parts with oomplete .~ual1t1, and bi.orcheltral 'muI1c often features the viela premlnent11. T.e CODeerto tor Or­.he.tra (1943) 1neorporatea a melody for the vlela aeet10Di the Mlraeulou8Mandarin (1918-19, 1924) .ontain. 8.10. for tne v1ela aect10Di aDd the DaD••Suit. (I923) lneludes a 8010 viola melody .e.empanled ~1 harp near tb.eendor fie work. . ,

Iodaly wrote a Serenade tor two violin. and vio'la (1919-20) a8 well a8two itrln! quartet., aDd 1ncluded all important viola 8010 in Bary Jan._(1925-7). BohualavMSrtln6 wrete a Sonata tor Viola and piane (1955). d.dl~oated to Lil11an rueh., and Three Madr1f-1. for Y1ol1n and v10la (1947),dedioated to Joseph and LillIan rue'•• ~t waa their performan•• of a Mozartduo that lnaplred MartlaG to write Ris. Another Hun!arlan lomp••er, BrR8tvon Dolmanyl, wrete an exposed and musieally challenging aolo ter the violain the aeeond movement sf hi. Serenade f~r violin, v10la and oe118 (1912).

-8-

The Ruaalan oont1ngent or eompeserl have oontr1buted an important 2Gta~.oentury repertory tor tb.e v1ola. Ser!8 Prokof1ev'l Qulatet tor .violin, vlo1a·,~·.·r..baa., oboe and clarinet (1924) 18 innovative 1n 1Bstrumentat18D and often!1vea tb.e viola an important role in the p1eee, alteraatl~ the, melod1 withother instruments. His orcb.eltral music, such as the Classical SYIIRonz(1915-17) and ttle Romeo and Juliet ballet musio (1936'. allo liael ·8.viola.1n a melod1c capacI'£y.I!_r stravInlk1 prevlded b.ls Ellg1e for viola 8010(1944) &8 well as various chamber music works: Three SOCf§ trom WilliamShakespeare (1953)', Ce••ertlne (1921) and Three Pie'fls 14)for ItrIngquartet. the Septet (1952-3.) and Ragtime (1§!8). 1ft lils orchestral repertor1.six 8010 v10las are featured in QlectIon of Le aacre dupr1ntemps (1911-13).Dmitri Sbostakov1ch, in addition to hi. large-output it chambermu81c,wrote hie last work tor viola, the Sonata rer vls1a and piano, OP. 147 (1975),bearln! a dedication to Fjoder Druahlnln.

The members of the Second Viennese Sob.ool, eapee1ally Schoenberg and Ber!,1noarporated the viola into a aophl1t1eated style of wrlt1a!t for examplethe Schoenber! String Tr10 and the Be~ LJr1c Su1te. Karl Wei~l,a pre-12­tone Viennese eompOler, wrote his Sonata or vIola and piano (1940) in aconventional form refleoting shades of Romanticism. ,

Re!1nald' Sill til llr11ldle eta te I that "Tl1e rhythm of cb.an~e I}.n contempora r1lIul1~ has been trenetle"ll alac8 1945. AI th. world 'becolle••maller wlthadvanced DIode. of travel and more frequent lnterchaD!.e of 1deal, cate!orlea'or eompoa1 tional Ityle are no lOD.g,erdlttersat1ated 'by natlona11 tland !ee-~raph1cal location, but rather 8y a BORoal of thou~nt d1reotlD! a partioulareompo.er. SUlb is the 0&88 with many American 2Gth~.enturJ compolera, whoreprelent a variety of compoa1ilonal ldeolo~1.8. Alan Saulman'a Tn.me andVariations .(1941), fer example, 1. or a oompletely different GompoaliIonat10&001 tian Milton Babbittg work or 1950, 0.ap••1t108 tor v10la and piaao.which present. extremely eoaplex rhythrile Il1teraei!oli tor the two lnatrumentl.

Michael Col~ra.a wrote h1s work Varlat18nl for Four Druma and Viola (1950)at the request sf violist Emanuel Vs,ra1. fhe bIiid----eT.ound attained li.tweendrums and viola 11 a unl~ue a.peat of the work. Col!rass' later .e.position,Hew Peoele tor Viola, Mezzo and Piano (1976), was eOlllllisaioned by the LincolnCinter hamliier MusIc soele'£,Ci1 New York:. Here the viela 1softea called uponto Uactout tt the text of the 81n!sr. Stephen Wolpe'. Ple •• tor Violin Alone(1969) was transcribed by Jehn Graham, be.GlIlin! Piece tor Vim A1one-(1910).andrepr••ent. yet another eempoaltlonal approaeE. Morton Fe1a.an and JohnCa!8 are Doted fer their use of s11eDce al an 1mpertant element in. theirreapectlveeompoaltloD8. Feldman's The Viola!! HI Life, 1. 2, 3~.and4 (1971)put. the v101a, into varyl.! mualeal Doniextl, rane;1i!trolla vl01a" and,.:planoduo to a work for viola and orcneatra. In Rothko Cnapel (1972). &1 1n rl.a

. campi, Feldman write. for tbe viola with chamber ohoir; in this oa8e aCiOmpa-Died by an ensemble of pereu••lon. Ca!8 '8 26 1

• 1.1499tt for a String Plaler(1955) oan be ada.pted for 8010 viola. In thevlolajirt from-b.Ii:Plano Con­oerto (195~) the violist 11 re~u1red to make non-playin! sounda auch aa h1t­t1D! the·god1 of the viela or apeakl_!, with note. printed otf the atart.Great diversity of style 1. exemplified in thea8 etber poat-195' Amerleanviola work.: Walter Piston'. Viola Co.eerto (1957); Ralph Shapey'. Duo torviola and piano (1957); Hall Overton'. Sonata tor viola and plano (1960);Hugh Wood'a Variatio.s (1958); In!olf Dahl'a D1vertimento (1948)i Urau1a .Mamlok's Marl, for Four: Flute Oboe, Viola and PerellB8ion (1968n and herXuaio tor V o.a and ¥aGI 11:961);""'Eii1ey BLackwood's s'onata tor viola andpiano T!9591; E'manue ,-entia Entelec1?-1 (1963); Harvey Sellberger'. 0011,••1­tion for viola and piano (1965); Luias FOSS' or~heus for viola and orcheatra~'); Vincent Perllchettl's Infanta Marina li 61); and his later workParable for v10la 1010 (1975). · T --.-

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P08t-1951 werk. tor v10la from other parts of the world alao reflect di­versity or style. G1aoome Soelol bas devlaed an innovative notation in h1.worka tor strin!ed instruments. In Mallto tor solo Viola (1967) tour ataveaB.re used, each tor a different .trllle-.,~Lu.r••..-Jirr. iaa wr1 tten .a aerie. ofetude-11ke work. tor var10ul inatru1Mnta and velee, 1nclude se~uensa VI tor801e viola t in whlob the eempoaer ol1alleD!•• 'the audlenee to 1 .ten 1Da newway t. an 1ntenae Dody or .ound. vb.i.a hal no pb:raaea te 81ar1fy 1t or' breakit into smaller, .ore palataBle unite. Beri.'. ol1amber work., Dlfferel1eel,(1958-9) and Folk son,! (1964)~ala. feature the viola proal.entI,.

Gylr!1 L1g~U:.ntrodu.ed1nnoYatlsIlI into atrln@; writ1.! in 20th-oeD-'tury mua1•• In hie Hamitioat1eR. for, 12 iGle Str1!!1, tw. !reupa of atrlngedIn.trument. are tufted appr.xIi4teV.~uarter-\oD.apart rer the entire wo'rk.Another chamber work 1ncorporst1D.! 11ml1ar tecbDlqu•• 1a ala Str1ng Quartet,~

Ie. 2 wh1ch uti11zes lndetln1.te pi tch variat1on•• I,rYlt.r Pendereckl t I atrln!Quartet (1960) includes p.laa!81 wh1e~ are' played on the ta11p1eee or the ID­Itrumentl. In hie notat1Qn, "A tt represent. the Bol•• of 111ttlag the atrln!8,wtll1e "rt. 1ndicate. normal lou.d••

Helaz Holl1!er 18 included among the Eurepeaa eomposera of the moat recentera in 2tth-century music. In his Tri. for viola, eDoe (and En!11ab horn) andharp (1966) It ••• each lnatrument 18 trea ted as an ind.!via ual II. The Str11l!Quartet (1973)' be!lna with a hl!h, electric ten.ion, •.nd end. with "'Dloe4preasure red,uced". The aeordatura written lD.to the music pertray. tne It .lowdeath, suttoeat:lon" at the end or the work: the viola p18·Y8 a B Dslew thelowest atrln!. Holl1!er's ohamber opera Come and Ge, written in 1977 and firstperformed in 1978, hal unique 1Dstrumentatlon:-ilii.·lnge':rI, three flutes,three viola. and three clarinet•• A!aln, Icordatura 1& employed, althou~h theeomp08sr describe. the wrl tin! a8 It trad1tl 011111". Ia an interview Holl1~er toldme l1e -~'feuDd the follow1n! 20tll~century worka tor, or 1nclud1n! the viola to beor particular 1nterest: B.A. Zimmerman'. Antltene for viola and orcheatra(1962);11 H.W. Henze's Compales (viola .co.llc.ertoJ. (1970); Ilaua Huberta OhDeGreute und Rand tor vloa-an020 lDstrumentl (1958) j liang Yun t I Elihi RiCesfor vloIflaIidjlane (1960s); Tadeusz Balrd t I Coneerto lUrUbre fer v 0 a andorcneatra (19608); Andre Jol1vet ' a Five E.~.!ues for v!o a Solo (1967); and5alvatoreSclarrlno's Three Netturnl (1911.'. - ~ ,

V1nko Globokar has written a 8010 p1eoe tor viola, entitled Lim1te (1975).In th1s work left and right handa are playlnl! in different meter. and areforced to be1ndependent of eaoh other. The eoapoler atatea 1118 intention: .'1Lett and righ.t b.anda ara doing different thin!. to make the performer thinkand ule his head. '1'80 often tb.e performer playa only \)1 reflex". III Globokar t Iercheatral 1'1e8e Etude pour tolklor1ca, thelnstrumental11ta are called uponto ain! while they play, a tecfinlque.ror which Globokarb.aa used hla own no­'tatloD. In add1 t1on, the .010 vlal1at, 11 occ.alona,lly required to playaYu!ollavlan tolk instrument t the !Oi11 t 'instead ot tho v101a.

Karlb.e1nz Stockhausen has uaede ectrlc viola in Pr.zel.1oD(1967) and 1nKurzwellen (1968), whee. ensemble 8110 include. radio receiver.. In addition,he told me that he had adapted bi. 8Gl0 clarinet work for 8010 viola.

In this aurvey I have attempted to cite examples ofa wide ran!e of Ityleaand. technique. which ehs.raete r1ze tb.e viola mUile of this oentury. H. H.Stuckenschmldt (1n Twentieth Century Mus1., aee footnote 1) haa detined eOID...positional trend. or inis era: " ••• the twentieth century hag reshaped music'.'9al1. lIaterlal--lts Bounds, its notation, even ita instruments. The teehn1ea.lmeans of wrl tin! B.nd playlll~ music are at!ll in 8 flux. Even the rela t10n thecompoaer shares with. h1, public and society has ehane:ed". In the context.rthese developmenta, thev101a he.s come into it. own as a respected lnltrumentwith its own literature and, virtu.a. performer••

NOTE.§

1. ll~Hw. St'Uckensehm1dt t 'Twentieth centurl Musil , trans. Rlcb.a,rd Deveson J

-10-

New York, HcGraw'-Hl11, 1969-72, 16.

2 Tne vlo11n11t Oaear Shumaky performs the Pa••aea!11a aeparately.

3 R. strala'burs. Ernest ~l••a, Voice 1n the Wilderness, LOI AD!ele.a,· Ca11-fornia state UP. 1977 ~ --'52'-'3. .. - -

4~. 96.

5 M. Kennedy, Record Note. tor Ralph Vau!han lNl111aml I Four Hymn. tor tenor,viola and plano, T6e MusIC Group or LondoR, EM! Recorda. HQS r3~5J London,1974.

6 L. Tertia, M1 Viola and !t London, Elek, 1974, 36.

7 ~.

8 Personal interview with Rebecca Clarke, Gompeaer and viela pls1s r , New York,April 11, 1978.

* * * ... * * *MUSIC AND 1tECORDING OFFERINGS OF THE IVFG: As you know, the society haa beenable t~tfer lntereatin! v1ela-musi.-ana recordln!8 at prl••• lower than inmOlt music .hop.. We have not ••11e1 ted any or-ders reoently and theAVS b.ailnot been able to till those ordera placed "by member. in t-he past y'ear, ·.....wl·ngt. loglat1cal problema, one or whioh has been the abaence otaome of ourofficer.' poa1t1ona. w1th the forth.o.1n! sleetiona and new adalnlatratlon,we look forward to resumln! auch activit1es. In the meantime, here is'thelist of lIualc and discs currently ava1lable b1 the IVFG. Price. are givenin Deutache marka j the COlt in American dellara will be a,ppro%lmstell-y haltthe amount give.·ta &ermaa mark••

MUSIC

'K. Sauter,

A. Lldel,

sonata fer ••10 viola

3 Duet. for violin and viola

DM 6.00

w.!. Mozart, 2 Duel, K. 423. ~24 for violin and viola

O. Freudenthal, 12 Verlnderungen tor oboe and v1ela

A. Arl••tl, :5 Steckholmer sonataa tor viola d.' amore (viola)and baa•• continuo, vol.• ' II 12.8'

G.P. Telemann, Scherzi melodlctl1 for violin, viola, and8aaso continuo, vol. I 20.8'

G.p. Telemann, Scherzi melod1chl for vi olin, viols;, andbal80 continuo, vol. II ~ 21.01

L. HottllalUl,

A. v. Toazegbl

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Trio rer viola, cello, aDd eontraba••

Quartet, .,. 18,DO. , tor 801. viola aDd.trlng trl. .

Qulatet, ep. 19, DO.' tor flute, viola,and .trill! trio

aCORDIIGS

plays H1ndemlth (sonata_, ep. 11, DO. 4;.,. 25, no. 1; Up. 25, no. 4; Trauerat:Ja.!!i

. Kedltat1on),

play. K. BIOCR, Suite bebra1fue andBerlioz,.Harold h ~tal1 {p-ano arrange­ment b 1 Franz L11zt

DM 7.51

19.81

BOOK I -- CHROMATIC SEQUENCES

Joseph Slechta2719 Belvedere AvenueCharlotte, NC 28205

A comprehensive practical system of twelve· ... tonefingering for the orchestral violist. The pat­terns of continuous semi-tones include: ascend ...ing and descending intervals on each string;;octave scales across the str~ngs; two- andthree-octave scales; chromatic arpeggios fromthe minor third to the major sixth; variationsfor the practice of arpeggios. This system isderived from the demands of orchestral litera~

ture, and aids directly in the execution ofmany difficult passages found in viola partsfrom Berlioz to Stravinsky and beyond.S'end $7.00 ($10 Airmail U.K.) to:

Forthooming New.letter. w1ll inform you how to go aBout orderln! the ••a. well aa announoe .aalt1onal works.

* *. .. * * * *ATTENTION VIOLA STUDENTst: Til. 9th Iateraat10aal V10la Coagre•• , ,to take"fla•• '.11014 11'~ - '14- fa "'!'ur.ato (aee pR@'e 1), ""a a tew more opea1a!a toradvaaced viola atudeata to participate 1. the .aater c1aas•• bela! !1veaby two ot our, moat preslt~alou. vlo11.ts aad teaehera--W1111all Primroseaad Lil11aa ~uca.. Each maater claas will take place darlA@' the c0A!reaa••d will last ·two hours. TaGle pert.rII1_! a-.d worklag with Mr. Prillrosewill deal with the Bach Sulte. tor Viola 1. Mr. Primrose'. owa ed1tloa(Sch1rmer'a edltloa). Mi•• Fuch. will work with .tud••t. oa the follow1a!works troll the viola repertory: 'relemaaa Coaeerto 11l G; Haadel-Casad.8su8

Co.carte 1. B .iDor; Martla6~~~~~~~~~~~~~~~~~~~~~'lSoaata ter V10la a~ Pla~;

MODERN ORCHESTRAL VIOLA TECHNIQUE MartlaG Madrigala tor Vio11. aad, Viola; ruehl, Soaata Pastorale

for URaccompanIed Vlo1aj Bran.a'Soaataa tor V1ela .ad Pia.o;Mozart'. Duos for Vio11. ~d V10laTrl. tor Clarlaet, V~ela. 'and.Pi••oj sad 51.foaia eoacertaatetor Violla, Viola, .ad Orcheltra.Baird Kaechtel of C.aada haa 1.­formed us that 80me tURd1.! mightbe available to belp defray ex-

. peDse. tor atud••'ta interested 1.part1clpatlag in these malter01&88e8. If ••1 viola studeatwould 11ke to b.~,'.o.81dered fortheae maater 01a8888, he or abeallould wrl ttl immediately to BalrdKaechtel, lQ3North Drive,II11ag,to., Ca.ad. M9A 4ft5. $1llcet1me is short, you 1Il1!l1t wllb. tocall h1m at (416) 248~9668 aad!et the partiCUlars or theae lm-pert.at master c~••ae8.

.......... .,.........12-

LUTHIERS: Tae Teroate V10la Co.gress will &lao i.elude ex1l1blts of viola.a.a vIola bow•• Ta8 coat fer 8JRlblt1ag viola. 1. 115.01 tor tRe t,1r8t .ad610.00 tor the aecoad. The coat ter v1ela bewl 1. 110.00 for the f1rat aad17.50 for the ••ooad (all to be paid 1. caaad1aa tU.da). Please co.tactBaird Kaechtel immediately it you are 1aterested 1. havl'a! your vlo1aa orbOW8 IQowa at the COa!r811 (addreaa give. oa page 1 of tae Newsletter).

****.*.A FE'N" WORD!

With the Newiletter aad ta8 eleotloastor aew officer. 1. the America.Viola Society, my teaure aa its prealdeat and editor will come to aa ead.S1Ree I :first met Frallz Zeyr1.ger 1. AUltrla 1. 1965 aad he augg88ted theidea et aa lateraatloBal viola societY" with active aatloaal chapter., till,concept has ,row.. to sometl'lill~ of impressive prGport1oR•• ua uD1ted I118.Jl1of the world 8 fiDS at viola player., tea.chera, loholara .. alld perb.apa mostlmportaat of all, enthus1astl, wno bave be•• workla! together to elevatethe v10la to ita rightful place as aa 1••trumeat at equal 1mport.ace withthe otaer members of the atria! tam1ly, a.d, throU!A ita Impo~ta.t eveata,haa proved to be a remarkable aucce ••• The e1!b.' 1·Rteraatloaal viola 00.­!re••el--flve 1. Europe aBd three 1. Amerlca--nave bee. meet1a!_ or ai.gu­lar slgR1f1cance, aet omly fer their ~ath8rl.! together aome of the world'.t1aest violists aad strlm! player., but tor their d1vera1ty of conteat andcontr1butloaa to mualcologlcalacholarliUp. Impreaslve to lie was the veryspecial aDd wOllderful aplrlt that prevailed at these meetl.!_, all excep­tloaal .,lr1t that would be hard to t1ad at meet1a!8 ot other ~uslclaft8.

Despite the healthy man1fe.tatlon~ or the viela'. place 1. the world ormus1c,there 1s still work to be dORe. PreJudlce agalllst aad about theviola atl11 exlat••ad we, profel.io.ala aad amateura, must ualte to helpbreak it down. Although I do Bot attend.very vlo1areQ1tal that take.place 11l New York City, I do read the revie",. tb.at appaar ill. the Hew YorkTimes•. T~e critic. of that au.p1c1e~a aewspaper bave their pet phrases-­about viola rec1tall. Oae cOlltl.uallyreadll· about .0 repertolreor 8018.11repertoire or little slgalt1caace, uJI.!ratetul toae, cumbe raoms 1llstrumeat.aDd 10 oa. The rev1ew or Erdely1' a Lo.doD rec1tall. The Strad 1s veryatron!. aot atypical, aad more startl1ag 1n tbat it coi;8 from a eouatr1tbat preduced some or th.e meat 1"mprea81ve viola play1.g in the 20th ceatury.Tb.e public. mU8t still be informed about the ualque beaut1el of tb.e viola;

. more lmportallt, our music erltlca mUlt be eduoated as to the re'i·11"t1e. ofthe viola. its music, ita S1R!ular qualit1es, aDd its important role .1. 20tb.-ceatury mus1ca.l lite ..

The viola eoagresses I bave attended and participated 1. have beeRspecial musical experienoes for me. I know taat the oase ahead will be eve.better. I feel extremely !ratetul to all theae who have supported theviola socIety 1. the past a ad, will cOD.tlaue to do ••• The caad·ldates rumIllllgfor office B,re violist; and teach.ers who are vary comml tted to the v10laaad to tbecODcept of the viola society. I kaow t~ey will coat1nue to addto its growth and be responsible for making it more meartiagful ths.• before •.I wish them great luck. Thank you for le-tt1:ag me be part of tb.is fillebr.otherbood and sisterhood of viola players and for allo\rl1Rg me to sharethese special thlags with you.

MyroR RcseJlblulD