AMERICAN VIOLA SOCIETY (former ly Vio la Research S o c i e t y )

American Chapter

o f t h e

INTERNATIONALE VIOLA FORSCI.IUNGSGESELLSCIIAFT

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November NEWSLETTER 17 1979 ----- - - - ----I-

"YOU'VE COME A LONG WAY, BABY! "

A REPCRT ON TH3 SEVZKTE INTERXATIC'NAL VIOLA CONGRESS

PROTJO, UTAH

The Seventh I n t e r n a t i o n a l Viola Congress, which took p l ace J u l y 12 , 13 , and 14 on the canipus o f Eriehan; Young U n i v e r s i t y , was a very e p e c i a l event on s e v e r a l counts . Sponsored by t h e American Vio la Soc i e ty and Brieham Youne U n i v e r s i t y , t he congress was he ld i n t.he F renk l ln S , Har r i s Fine Ar t s Center--& superb ccmplex t h a t o f f e r e d f i r s t - c l a s s concer t h a l l s , l e c t u r e roous , and e x h i b i t i o n g a l l e r i e s .

Two c e l e b r a t i o n s , important t o v i o l i s t s , took p lace d u r i n e the congress. The f i r s t was an a n t i c i p a t o r y musics1 and b i o g r a p h i c a l c e l e b r a t i o n of t h e 100th b i r t h d a y of E rnes t Bloch (born 1880) , manifested b y performances of a l l h i s worke f o r v i o l a and a t a l k on h i s l i f e and music by Suzanne Bloch, h i s d sueh te r . The second was t h e 75 th b i r t h d a y o f William Primrose.

The v i c l i s t s heard du r ing t h e t h r e e days r ep re sen t ed a s tunning and c o n s i ~ t e n t l y h igh l e v e l of p e r f o r m a n c e - - s o ~ e t h M t h a t has become more and more t he norm f o r v i o l a p lay ing today and synonymous wi th American s t r i n e p lay ing i n e e n e r a l .

D r . David Dal ton, t h e hoe t cha i rpe r son o f t he congress and a mezber o f BYU's ffiusic f a c u l t y , d i d a n ou ts tand ing Job of oreaniz infr and oversae ing the congress, a ided by t h e u n i v e r s i t y ' a Music Department f a c u l t y and s t a f f . No l a r g e meetine can be wi thout f l aws , but t h i s cane re s s was one of t h e smocthest and least-blemished e v e r wi tnessed by t h i s w r i t e r .

After b r i e f , I n t roduc to ry remarks by r e p r e s e n t a t i v e s of Brigham Y O u r @ U n i v e r s i t y , the American Violz S o c i e t y , the I n t e r n a t i o n a l e Viola F o r s c h u n ~ s ~ e s e l l s c h a f t , and the V l o l l n Soc i e ty o f American (which had a n impressive e x h i b i t of r e c e n t v i o l a s b y l u t h i e r e i n con junc t ion wi th t h e c o n g r e s s ) , t he ccne re s s got u n d e r way wi th Suzanne B loch ' s l e c t u r e , "Ernest Bloch and t h e Viola. Me, Bloch 'a i n fo rma l , rhapsodic t a l k d e a l t

- A M E E I C E N V I O L A SOCIZTY, INC, : D r . Myron Rosenblum, P r e s i d e n t , 59-27 47th S t . 1

Sunny s i d e , N.Y. 11104; D r . Maurice R i l ey , Vice-Pres iden t , 512 Roosevelt B l v d . , Y p s i l a n t i , M I . 48197; Marna S t r e e t , S e c r e t a r y , 3 Allegheny Cente r , P i t t s b u r g h , PA. 15212; D r . Ann Woodward, T r e a s u r e r , PO BOX 1134, Chapel Iiill, N.C. 27514 E d i t o r cf t h e American Chapter Newsle t te r : Myron Rosenblum. I n t e r n e t i o n a l e V i o l a F o r s c h u n ~ s ~ e s e l l s c h a f t ( I V E 1 : A-5020 Salzburg , c/o Hochschule "Mozart e urn," A u s t r i a .

wi th h e r f a t h e r ' s e a r l y v i o l i n s t u d i e s , h i s p r e d i l e c t i o n f o r t h e v i o l a (which she s a i d B loch cons ide red " t h e v o i c e o f ma tu r i t y and wisdom" i n mus ic ) , and h i s c o n t a c t s w i t h ~ s a y e and o t h e r mus i ca l f i p u r s s of i ~ p o r - t ance . The o r i e i n s of B l o c h ' s v i o l a works were mentioned e s 1.rell a s t h e d e t a i l s of the f i r s t performance o f t h e famous S u i t e f o r Viola and P iano e s performed b y v i o l i s t Lou is B a i l l y and p i a n i s t Harold Bauer. A few words were spoken abou t t h e unaccompanied v i o l a s u i t e , composed s h o r t l y b e f o r e the composer d i e d i n 1959.

Vio le r e c i t a l s ( l i s t e d he re i n c h r o n o l o ~ i c a l o r d e r ) were e i v e n by YPZHAK SCHGTTEI (Bocche r in i Sone ta i n A , Schumann's Mgrchenb i lde r , B loch ' s S u i t e Hebralaue , and Roy H a r r i s t S o l l l o c u ~ and g a n c e E m m T L L Y ~ R ~ l ~ u n a c c o ~ p a n i e d c o n c e r t c o n ? r r ~ ~ o f ~ ~ o c ~ ' 8 ~ u i t e , Thea Musgrave ' s From One t o Another f o r v i o l a and t a p e , Feodor Druzh in in ' a S o n a t a , and -- ~ i m d e m i t h 5 S o n a t a , ope 11, no. 5 ) ; KAREN TUTTLE ( B l o c h t s M e d i t a t i o n -- and P roces s iona l - - t he performance of which was d e d f c z t e d t o t h e memory of t h e l a t e ~ r n ; i i r q a l l f i s c h , Bach 'a S u i t e No 3 i n C , Alan ~ c h u l m a n ' 8 Theme and V a r i a t i o n s , and Vaughan Wil l iams ' S u i t e No. 1) ; and JOSEPH DE PASGUALE ( s o n a t a s f o r v i o l a and p i ano b y Shos t akov i ch and George Rochberg, and B l o c h ' s S u i t e f o r Viola and P i ano ) .

The sona t a b y Druzh in in ( t h e v i o l i s t t o whom Shos t akov i ch ded i ca t ed h i s Sonata f o r Viola and P i ano ) was g i v e n i t s f i r s t American performance by H i l l y e r and proved t o b e a w e l l - w r i t t e n , q u a s i - p l a y f u l , i n t e n s e work which g i v e s t h e pe r fo rmer ample o p p o r t u n i t y f o r v i r t u o s i c d i s p l a y with p l e n t i f u l double s t o p s , harmonics, and l e f t - h a n d p i z z i c a t o .

The Rochberg s o n a t a , ded i ca t ed t o William Pr imrose , was commissioned e x p r e s s l y f o r t h e cone re s s b y Brigham Young U n i v e r s i t y , t h e American Viola S o c i e t y , and F r i ends of Pr imrose and was g i v e n i t s world premiere b y M r . de Pa squa l ee On f i r s t h e a r i n g , i t s t r u c k t h i s l i s t e n e r a s a major work c o n t a i n i n g f u g a l and rhythmic s e c t i o n s , pervaded by a n o v e r a l l i n t r o s p e c t i v e mood.

L e c t u r e - r e c i t a l s were e i v e n by MARCUS THOFZSGN and GUILLi3m0 PZRICH. Thompson's " ~ u s i c f o r Viola b y American ~ o m p o s e r s " was f a s c i n a t i r q i n i t s d i v e r s i t y and i ~ p r e s s i v e i n h i e h l i f ~ h t i n g t h e American c o n t r i b u t i o n s t o t h e v i o l a r e p e r t o i r e . M r . Thompson's most i n t e r e s t i n g program c o n s i s t e d of Michael C o l g r a s a ' - V a r i a t i o n s --- - f o r -- Four -- D r u m s and ~ i o l a , - ~ . J. ~ n d e r s o n ' a

7- V a r i a t i o n s - - - on a -- Theme 2 T b a n Bert, Bar ry Vercoe 8 Synapse f o r Vio la and Coaputer , H a l l Overton 'a Sonata f o r V io l a and P iano , and David ~ m r a m ' s The Wind and t he Rain. --

~ m e r m o rrich7a "Nusic f o r Viola by S p a n i s h and Latin-American ~ o m p o s e r s " a f f o r d e d t h o s e i n t h e audience a r a r e oppo r tun i t y t o h e a r v i o l a music t h a t most were complete ly u n f a m i l i a r with. A l t e r n a t i n g be- tween l i v e performances and t aped c o n c e r t s , works by Ponce, Orrego-Salas , P e l l e e r 1 , Fle t a -Po lo , de l a Veea , and Corder0 r e f l e c t e d a n i n t r i e u i n g v a r i e t y of s t y l e s and moods.

The p l ay ing b y a l l t h e s e a r t i s t s i n r e c i t a l s and l e c t u r e - r e c i t a l s was l i t t l e s h o r t o f s e n s a t i o n a l . Those a t t e n d i n e t h e congress were t h r i l l e d and somewhat overwhelmed b y hea r i ng s u c h c o n s i s t e n t l y g r e a t p l a g i ~ . A s I n p a s t cong re s se s , 0r.e of t h e more f a s c i n a t i n f a s p e c t s of h e a r i n e s o many g r e a t a r t i s t s was t he e r e a t v a r i e t y of sounds and c o l o r s produced on o l d and new v i o l a s . C o n t r i b u t i n g g r z a t l y t o t h e s u c c e s s of t h e s e r e c i t a l s were t h e f i n e , p i a n i s t i c t a l e n t s of S e t h C a r l i n , Ka the r i ne C o l l i e r , E r i c Dalheim, and Vlad imi r Sokolof f .

I n a d d i t i o n t o t h e ~ o l o r e c i t a l s , two i n t e r e s t i n e c o n c e r t s o f t h e v i o l a i n chamber music were heard : "Music f o r Soprano, V i o l a , and Piano" and "Music f o r V i o l a , C l a r i n e t , and Piano." DONNA DALTON, s cp rano ; D A V I D DALTON, v i o l a ; and CHRISTCPmR GILES, p iano performed B l i s s ' Two Songs,

Robert ~ a n o o k i n ' s H e f l e c t i o n s on a H mn ( w r i t t e n f o r the c o n g r e s s ) , --, --+ L o e f f l e r ' s Q u a t r e Poems and Janace 8 Nurserx Rh mes. Donna ~ a l t o n ' s -9T s t r o q , l y r m o p r a n o vo ice brought out t h e b e s t n ~ a n o o k i n ' s t u n e f u l

Re f l ec t i ons and h i g h l i g h t e d t h e i m p r e s s i o n i s t i c q u a l i t y of t he l ove ly L o e f f l e r songs.

The Zeyr ineer Trio--FRAIZ ZEYRINGER, v i o l a ; JOSGF P ~ T T L E R , c l a r i n e t ; and lNGE ERTEL, p iano--f resh from A u s t r i a f o r t h e cone re s s , played works f o r t h i s combination by two A u s t r i a n composers (Franz Kor inge r ' s Sonata Profana 2 and Al f red Uh l ' s Kle ines ~ o n z e r t ) and one American (Richard Lane 's T r i o ) . This s t r i k i n g C o m b i n a t i o n , eo beloeved b y v i o l i s t s ( t h a n k s t o Y.A. ~ o z a r t ) , con t inues t o impress a s a s u c c e s s f u l chamber muaic medium, An unexpected enco re , "The F i r s t Viola Fox Trot t ' (we suspec t from t h e pen of t he enseir:blels v i o l i s t ) proved g r e a t fun w i th i t s amusine mixture o f Aus t r i an and American f o l k f l a v o r s .

The Southern C a l i f o r n i a 'Jiola Ensemble, Thomas T a t t o n , d i r e c t o r , gave a concer t of rcusic w r i t t e n s p e c i f i c a l l y f o r mu l t i p l e v i o l a s , Two composi- t i o n s f o r f o u r v i o l a s and two f o r e i g h t v i o l a s r e s u l t e d i n a most i n t e r - e s t i n e musical exper ience . The o u a r t e t e by Guido P a p i n i ( l a t e -19 th - - e a r l y - 2 0 t h c e n t u r i e s ) and Richard Lane (contemporary) showed t h e s i n g u l a r sound p o s s i b i l i t i e s of t h i s medium a s w e l l a s t h e ba l ance and dynarriics hu rd l e s t h ~ t must be d e a l t with. David s a r g e n t t s I n t e r l u d e - f o r e i e h t v i o l a s , corn- missioned b y BYU, was a n i n t e r e s t i n g work of g r e a t t ens ion , The l a s t work, Gordon J a c o b ' s S u i t e f o r Zipht Violas i s a r i c h , sonorous p iece w i th a s t r o n e f o l k element that s u c c e s m shows the p o t e n t i a l of t he v i o l a ensemble medium.

The only pane l d u r i n e the congress toqk p l ace on the f i r s t day. RALPH ALDRICH ( p a n e l chtlirpe rs on) , DCNA1,D KCIRNES , 'WILLIAM PREUCIL, and ALAN D E VZRITCH had i n t a r e s t i n e t h i n e 8 t o say a s performers and t e a c h e r s on such t o p i c s a s t he adva ntapes and d i sadvantages of conserva tory vs. u n i v e r s i t y o r co l l epe music e d u c a t i o n , t h e op t ions f o r the 128s - t a l en t sd i n s t rumen ta l - i s t , and t h e va lue of c u l t u r s l v i s i t s t o Xuropean c o u n t r i e s a s one f a c t o r i n he lp inc t o f o r a t he coap le t e music ian and a r t i s t ,

Master Clasoss by MILTON THCMAS and JCS3PH DT PASCUAI.3 gave thosa p r e s s n t the chance t o h e a r pe rcep t ive comrrents by t h e s e two f i n e performers and t eache r s and a l s o t o wi tness t h e e x c e l l e n t p l ay ing by some of t h e many t a l e n t e d v i o l a s t u d e n t s i n America today.

Two conce r t s f g a t u r i n e works f o r v i o l a and o r c h e s t r a , a s w e l l a s music f o r s t r i n g o r c h e s t r a , took p l ace on the second and t h i r d evenines and f ea tu red tne United S t a t e s A i r Force Symphony Orches t r a , conducted b y Capta in Lowell Graham, MILTCN THCW.S and THEODORS ' s R I G H T , f l u t i s t , per- formed B loch ' s seldom-played Concer t ina f o r F l u t e , Vio la , and r r c h e s t r a . V i o l i s t JERZY KOSMALA gave t h r p G s r e of Maurice Gardne r ' s RhapsoQ - -- - f o r V io la and Crches t ra (commissioned by t h e T*i l l iam Primross L ibra ry a t BYU and ded ica ted t o M r . Pr imrose)- -a l a r g e work t h a t e i v e s t he s o l o i s t p l en ty t o do. Both v i o l a s o l o i s t s performed vary impress ive ly .

The second o r c h e s t r a concer t f e a t u r e d K e r r i l l Bradshaw's HomaEfes f o r Viola and Crchea t r a , a n o t h e r comrciesion by BYU, and T ibo r 5 e ~ y 7 s ? o n c e r t o f o r Viola and Orches t ra wi th Emanuel Vardi a s a o l o i e t , Vardi performed t h i s d i f f i c u l t and irnprssaiva work v i t h v i r t u o s i c e a s e , and f o r those v i o l i s t s a t the cone rz s s , i t was a no t - too- f r squsn t oppor tun i ty t o h e a r M r . Vardi , one o f t h e e a r l y p ionee r s t o c o n c e r t i z e on t h e v i o l a . The evening was made mora memorable by t h e presence of M F S . S e r l y , t h s l a t e composer's wife.

The n i g h t , however, went t o Jun Takahira and h i s b r i l l i a n t performance of the Bradshaw work. Takah i r a , a 19-year o l d s t u d e n t o f M r . P r imrose , i e a s t a s g e r i n g t a l e n t who undoubtedly has a b i g fugure. ~ r a d s h a w ' s -- H o m a w i s a three-movement work honoring Hindemitb, T e r t i s , and Primrose. The composer mana~ed t o s u c c e s s f u l l y c a t c h t he musics1 s t y l e o f Hindsmith aa

w e l l a s T n ~ l i s h and S c o t t i s h f l a v o r s i n t h e musical f a b r i c of t he work. I t i s a we l l -wr i t t en , v i r t u o s i c p i ece t h a t de se rves more performances.

The r e c i t a l on Friday a f t e r n o o n p r s sen t ed Gera ld ine Wal ther , winner of t he 1979 t ~ i l l i a a Primrose I n t a r n a t i o n a l Viola Compet i t ion which prs- ceded the congress . M s . w a l t h e r s t u d i e d w i th L i l l i a n Fuche and Michael Tree and i s c u r r e n t l y p r i n c i p ~ l v i o l a of t h e San F ranc i sco Symphony. I n S c h u b e r t ' s A r w x i o n e Sonata and the Bart,& Concerto f o r Vio la she proved h e r s e l f t o =a seiiiiTtive perfor,mer capab le of much drama. I n h e r sub- aecusn t pe r f orinance of the B a r t ok Concerto wi th tha Utah Symphony ( p a r t of t h e f i r s t - p l a c e p r i z e ) , Pau l Wetzel, music c r i t i c of The S a l t L a _ b Tribune wrote: "Miss ' - ra l ther ' s psrformance was d i v e r s e i n i t s moods and . - --A

s u b t l a t i e s . A t t imes she c r e a t e d f r e n z i e d anergy , a t o t h e r s a f r a e i l e t r a n q u a l i t y , b o t h wi th impress ive success . Her t e chn icue was c l e a n , s o l i d and economical. I n s h o r t , h e r p lay ing wae i n s i g h t f u l , i n s p i r i n e , thought- f u l l y conceived and beau t i f u l l g executed. "1

One of t h e l i ~ h t e r moments of t h e congreas took p l ace on t h e second evenine when approximately 80 v i o l i s t s marched on a t age w i t h v i o l a s and bows i n @and ready t o play th rough ~ t a m i t z ' Duet i n C and s e l e c t i o n s from the Ba r tok Duos ( o r i g i n a l l y f o r two v i o l i n s and. a r ranged f o r v i o l a s by W. Pr imrose) . Zxper t ly l s d by Meesrs. Primrose and Da l ton , t h e ensemble produced a d e l i c i o u s sound while exuding e l e c t r i c exc i tement and a wonder- f u l s p i r i t .

Kaurice R i l e y ' s l a c t u r e , "The Earlq; Development o f t h e V io l a by L u t h i e r s of the B r e s c i a n and Cremonese Schools t r a c e d t h e e a r l y c e n t e r s o f v i o l a rcakinp i n Cremona and Bresc i a . Ex t r ac t ed froni R i l e y ' s soon-to-be-published book on the h i s t o r y of t h e v i o l a and a ided b y e x c e l l e n t s l i d e s of many of t h e g r e a t e x t a n t v i o l a s , i t was f a s c i n a t i n g t o s ee and l e a r n about t h e s e g r e a t i n s t rumen t s b y Amati, Gaspar da S a l o , Mariani , Maggini , S t r a d i v a r i u s , and Guarnar iue .

Honoring t h e 7 5 t h b i r t h d a y of Y i l l i am Pr imrose , t h r a e s p e c i a l even t s took p l ace i n which Pr imroee ' s c o n t r i b u t i o n s a s v i o l i s t , t e a c h e r , a u t h o r , r a c o n t e u r , and "movie s t a r ' ' were h i g h l i g h t e d . The f i r s t was a conce r t of P r imrose ' s v i o l a t r a n s c r i p t i o n s performed by h i s s t u d e n t s . A s l i s t e d i n the program, they were: Haydn's Diver t imento and Brabms1 S o f t S t r a i n s of Music D r i f t = (Karen T u t t l e ) ; Beethoven 's Not turno (Alan d e m h ) ; S c h u b e r z ' a f i a n f o r A l l s o u l s ' D a g and Ar thu r Benjamin 's J a z a i c a n Rhumba (Yizhek S c h ~ f d ; - ~ r o d i n ~ ~ ' ~ ~ t u r n e and Scherzo ( J u n ~ a k a h i r C T n h - V i l l a Lobos' Ar ia from Bachianas B r a s i l i e r a s No. 5 and P a g a n i n i t s La Campanalla (Donald KcInnes). ~ h e ~ - ~ h t f u ~ p i e c e s were w o n d e r f x l y per- ---- formed b y t he se f i n e a r t i s t e .

Fol loving the conce r t were two films : a 1946 f i l m , ' ' ~ i l l i a r n Primrose-- V i o l i s t " and a TV documentary, "A V i o l i s t ' s Legacy." Unknown t o most p r e s e n t , t he 1945 f i l s shovsd Primrose a t t h s h e i e h t of h i s c a r e e r ! dazz l ing ly and b e a u t i f u l l y p lay ing Beethoven 's Yolona ise , Schuber t s Kar i a , and P a e a n i n i t s Caprice No. 24. The TV documen'tary i s a c r e d i t t o M a r k c o l l i e r of t h e BYU Motion P i c t u r e S t u d i o who produced t h e videotape. This w i l l remain an important document on one of t h e g r e a t e s t v i o l i s t s and musicians of t he 2 0 t h century .

M r . P r imrose ' s t a l k , ' ' ~ u m i n a t i o n s on t he Vio la , " g i v e n on the f l n a l day of the congre s s , was a d e l i g h t f u l one d e a l i n g w i th h i s e a r l y childhood and musical expe r i encea , advice t o youneer v i o l a p l a y e r s , h e l p f u l h i n t s on

1 Paul Ve tze l , " V i o l i s t Sh ines a t Snowbird," The S a l t Lake - Tribune .- -L J u l y 15 , 1979, E 11. Reprinted w i th p e r m i s s i o n o ~ h e ~ t - _--- ___ Lake _ - _ - Tribune.

t u n i n e and s t a g e comportment, h i s s t r o n g f e e l i n e e about v i o l i n i s t s who "moonlightt1 a s v i o l i s t s , and h i s g e n e r a l optimism about t h e f u t u r e of v i o l a p lay ing . Those who have heard M r . Primrose t a l k a t p rev ious congressss a r e f a m i l i a r wi th h i s i n t e n a e f e e l i n g s about " t h e moon- l i g h t i n g f i d d l e r . " He pointed out t h a t , a l t hough many of t he g r e a t v i o l i n i s t s such a s ~ s a y e , K r e i s l e r , and H e i f e t z played v i o l a (and enjoyed do in^ e o ) , they were c a r a f u l not t o t r e s p a s s on those who earned t h e i r l i v i n e s a s v i o l a p layere .

I n remarks t o youncer p l a y e r s , he adv ised them t o expand t h e i r l i m i t e d knowledee of the v i o l a r e p e r t o i r e , not t o play t h e same works r e p e a t e d l y , and t o t ake advantaee of the f a c t t h a t v i o l i s t s are not bound t o t h e f i xed r e p e r t o i r e demanded by t h e p u b l i c a s v i o l i n i s t s a r e . Hia s a t i g f a c t i o n about t he c u r r e n t s t a t e o f the v i o l a world (wi th a n under lying optimism f o r i t s con t inued , hea l thy grothrth) was voiced by M r . Primrose h imse l f b y a s imple s t a t e m e n t : "you've come a l o n e way, baby ! "

Myron Rosenblum

THE WILLIAM PRIMROSE INTERNATIONAL VIOLA COMPETITIOJ - -- ---- ------ -- by D r . Maurice Ri ley

The Vi l l i am Primrose I n t e r n a t i o n a l Viola Competi t ion was he ld a t t h e b e a u t i f u l s k i r e s o r t i n Snowbird, Utah, which i s e i t u a t e d 30 a i l e s south- e a s t of S a l t Lake C i t y , on J u l y 8-11, 1979. The compe t i t i on was organized t o c o n s i s t of f o u r success ive s t a g e s . S t age I was completed p r i o r t o t h e meeting a t Snowbird th roueh a u d i t i o n t a p e s submit ted by a l l a p p l i - c an t s . Seventeen h igh ly t a l e n t e d v i o l i s t s , ages 18 - 30, were s e l e c t e d t o compete a t Snowbird i n Stage 11. They inc luded I d a G o l d s t e i n and Neal Gr ipp from Canada; Makiko Kawahito* and Jun Takahira* from Japan ; Joen Vasauez o f Venezuela; Robert B r idgea , Vincent Comer, James C r e i t z , * Judson G r i f f i n , Toby Hoffman,* P a t r i c i a McCarty ,* Ah Line N e U , Madeline Prager ,+ David Sills,+ Benjamin Simon, Thomas Turne r , and Gera ld ine Walthe* of t he United S t a t e s .

The judges, D r . Pr imrose , Joseph de Pasoua le , and Ralph A l d r i c h , e l imina t ed n ine of t h e c o n t e s t a n t s i n t h e S tage 111 compe t i t i on , wharein each per former was reou i red t o play a baroque conce r to o r sona t a and a romantic sona ta . I n Stage I11 t h e remaining e i g h t c o n t e s t a n t e performed a n unaccompanied work and a 20th-century p i ece f o r v i o l a and piano. Three v i o l i s t s survived t h i s e l i m i n a t i o n and were e l i e i b l e f o r S t a e e IV, i n which they could choose t o play e i t h e r t he ~ar to 'k Viola Concer to , Hindemith's - Der -- Schwanendreher, o r t he :?!alton Viola Concerto. I t s o happened t h a t the t h r e e f i n a l i s t s a l l chose t o p lay t h e ~ a r t & concer to . D r . Primrose d i s c u a l i f i e d h imss l f a s a judge f o r Stage I V becuase one of the f i n a l i s t s , J u n Takahi ra , i s h i s s t u d e n t , and a l s o because o f h i s long aseoc ia t i o n wi th t h e B a r t & c o n c e r t o , b e l i e v i n g t h a t h i s concep t ion of the work mieht c o n f l i c t w i th t h e i n t e r p r e t a t i o n of t he two f i n a l i s t e who had s t u d i e d wi th o t h e r t e a c h e r s .

The f i n a l round proved t o be very c l o s e . A l l t h r e e c o n t e s t a n t s eave consun;nate performances. Gera ld ine Walther, p r i n c i p a l v i o l i s t o f t h e

* Staee 111 c o n t e s t a n t .

San Francisco Symphnny was awarded f i r a t p r i z e ; Jun Takahira , the 19- year old Japanese v i o l i s t rgceived second p r i z e ; and P a t r i c i a McCarty, v i o l i s t of the Lenox Q u a r t e t and a mezber of the Chicaeo Symphony, placed t h i r d .

The winner, Mrs. Val ther , received #2,500.00 and concert engagements ir , Utah during the coming year. She a l s o performed a t the 7 t h I n t e r - na t iona l Viola Congress i n Provo, Utah on J u l y 13th. The second place con tes tan t , Jun Takahira, received &1,500.00, and the t h i r d p lace , P a t r i c i a ;/icCarty, %500.00.

ihe V i l l i a m Primrose I n t e r n a t i o n a l Viola Competition s e t a precedent of high s tandard of musical and t e c h n i c a l performance, worthy of com- parison with o t h e r p res t ig ious music contes ta . I t i s unique i n t h a t i t was l imi ted t o t h e ,most unpublicized and l e a s t apprec ia ted instrumsnt of the v i o l i n family. D r . Primrose, by lending h i s nave and suppor t , and by serv ing a s chairman of the j u r y of a d j u d i c a t o r s , gave the competi- t ion world-wide s t a t u s and recogni t ion ,

D r . Davi3 Dalton, Professor of Viola a t Brigham Young Univers i ty , e f f i c i e n t l y organized and ably adminis tered a l l proceedings of the competit ion, A l l v i o l i s t s a r e indebted t o him f o r h i s ded ica t ion and the many hours of work he cont r ibuted t o make the competit ion such an unqual i f ied success . D r . Dalton was ably a s s i s t e d by h i e wife, Donna,

F inancia l backing f o r t h i s worthy event came f r o a Brigham Young Uni- v e r s i t y , the Snowbird I n s t i t u t e , the Utah Arts Council , and Geoffrey Hughes. This s i e n i f i c a n t competi t ion, hops f u l l y , w i l l be only the f i r s t of a cont inuine ser ies - -a s e r i e s much needed by v i o l i s t s worldwide.

A M 3 R I C P . N ---- - V I O U SOCIETY --- - NEW: Five members of the Board of Directors of the A'JS r~?naT McInnes, Maurice Ri ley , Myron Rosenblum, Robert S laughter , and l a r e n ~ u t t l e ) met during t h e @rove Viola Congress and discussed some iuiportant items r e l a t i v e t o the soc ie ty . The proposed c o n s t i t u t i o n f o r the soc ie ty was discuseed and changes suggested. The proposed c o n s i t u t i o n w i l l be p r in ted and s e n t t o each member of the soc ie ty f o r r a t i f i c a t i o n . Myron Rosenblum discussed the importance of having e l e c t i o n s i n 1980 ( see below). Maurice Riley ta lked about the cu r ren t s t a t e of a v io la a rchive . Four academic i n s t i t u t i o n s have expressed i n t e r e s t i n housing the archive . They a r e the Universi ty of Connecticut, the Universi ty of I l l i n o i s , the Universi ty of Iowa, and Brigham Young University. Negotiat ions a r e going on with these i n s t i t u - t i o n s and we w i l l keep you informed on movement and progress . 'de hope i t won't be too long before we can have a l i b r a r y of v i o l a music i n a cen t ra l ly - loca ted place t h a t w i l l be a v a i l a b l e t o members of the AVS f o r s tudy, research , and performance purposes. The Board endorsed and w i l l encourage the formation of chapters and would l i k e t o hear from any member who can muster 10 o r more violiot-members on a s t a t e o r more l o c a l l e v e l t o c r e a t e such chapters . Maurice Riley was receiving ad- ver t isements f o r fu ture Newslettere which w i l l mutually b e n e f i t t he AVS and the a d v e r t i s e r . An e l e c t i o n for sl new Board of Di rec to r s wae ta lked about and the implementation of such an e l e c t i o n . A nominat iw committee would be formed and subsequent e l e c t i o n held t o e l e c t t h e new governing Board.

GENZRAL I'J1EETING 02 THE AY'iRICAiil VIOL4 S O C I E T Y : A meeting of t h e membership m a c e on the second evening of the congress a t Provo following the day ' s f i n a l event. Those present were informed about t h e proposed c o n s t i t u t i o n , formation of chap te r s , the v i o l a a rch ive , and e lec t ions .

With r eea rd t o e l e c t i o n s , Kyron Rosenblum s a i d , t h a t , s i n c e he has been involved w i t h t h e v i o l a s o c i e t y from i t e i n c e p t i o n , and has been i t s p r e s i d e n t f o r f o u r y e a r s , he f e l t i t was t ime f o r new l e a d e r s h i p t o t ake over. Any member who f e e l s t h a t he o r she would l i k e t o run f o r a n o f f i c e should submit a l e t t e r t o t h a t e f f e c t as w e l l a s a curr iculum v i t a e t o Prof.Robert S l z u g h t e r , 1705 N. Ri ley Road, Muncie, I N D . 47304. P l ea se i n d i c a t e what p o s i t i o n you would b e i n t e r e s t e d i n ( p r e s i d e n t , v i ce p r e s i d e n t , s e c r e t a r y , t r e a s u r e r ) . P rof . S l a u g h t e r w i l l submit t h e s e t o a nominatine committee (from the c u r r e n t ~ o a r d ) who w i l l t h en make UP s l a t e s of candida tes .

Another item d iscussed involved problems t h a t v i o l i s t s a r e having over t h e i r v i o l a s boarding a i r p l a n e s and f i n d i n g s u f f i c i e n t s t o r a g e on board t h e plane. J u l i a H a r r i s and Mary E l l i o t Ja.mes vo lun teered t o l ook i n t o t h e problem and what might be done about i t . J u l i a H a r r i s ' r e p o r t fo l lows below:

V i o l i s t s -- Air - T r a v e l -- Since t h e v i o l a c o r q r e s s i n J u l y , I have been Zn touch wi th

P e t e r Spurbeck ( c e l l i s t ) of ASTA and Nathan Kahn from t h e I n t e r - n a t i o n a l Soc i e ty of B a s s i s t s , The have been c o o r d i n a t i n g e f f o r t s t o s ecu re some r e l i e f from t h e Fefleral Av ia t i on Assoca t ion f o r t r a v e l i n g with t h e i r ins t ruments . A f t e r s e e i n e a suminary of the d i f f i c u l t i e s they have faced i n t r a v e l i n g , I am c e r t a i n l y g l a d I have a v i o l a i n s t e a d o f a c e l l o o r base .

I t i s c l e a r t h a t we cannot change f e d e r a l r e g u l a t i o n s r ega rd ing car ry-on baggaee. But, while we cannot move a mountain, we can t r y t o f i nd some ways around it. This i s where I need your help . There a r e sorze a i r l i n e s wi th which we have b e t t e r l u c k t h a n o t h e r s . Some provide overhead compartments which f i t o u r v i o l a s . Others d e s i g n t h e i r a e a t s s o we can stow v i o l a s underneath. Some a i r l i n e s a r e happ ie r t h a n o t h e r s t o accomodate carry-on i tems i n t h e i r hanging baggage compartments. When a l l t h i s i s l a c k i n e , some people a r e c l e v e r enoueh t o manage t o keep t h e i r i n s t rumen t s on t h e p lane anyway.

I w i l l be p repar ing a l i s t of d o ' s and d o n ' t ' s ( h a l p f u l h i n t s f o r t h e t r a v e l i n g v i o l i s t ) f o r t he next i s s u e . I w i l l a l s o i nc lude a l i s t of good guys and bad guys based on your r e p o r t s . P l ea se send me your sugges t i ons , p rob l ea s you have f aced , and auccess s t o r i e s . Now i s your chance t o s h a r e you r expe r i ences w i t h your f e l l o w v i o l i s t s and t o gind your axe if you have had bad ones. Let me know which a i r - l i n e s have been good t o you s o we can g ive them credi t . . .and woe unto t h e a i r l i n e which has g i v e n u s a hard t ime.

Send comrcents and sugges t ions t o : J u l i a H a r r i s , 3409 Yillowood Drive , B a r t l e s v l l l e , OK 74003,

1979 VIOLA YEARBOCK: The f i rs t annua l Yearbook of the I n t e r n a t i o n a l Vidla Research s o c i e t y has come out a n d x n - b e s e n t f r e e of charee t o a l l rneabers of the s o c i e t y . I t i s a n impress ive i s s u e i n b o t h German and Ene l l ah and con ta in s f a s c l n a t i n ~ a r t i c l e s on o r r e l a t i w t o the v i o l a , The s o c i e t y ' s s e c r e t a r y Marna S t r e e t r ece ived i s s u e s f o r t h e AVS only r e c e n t l y and w i l l soon be sending them t o you.

FRANZ ZEYRINGER'S THE PRCBLEM OF VIOLA S I Z E , t r a n a l a t e d b y Louise Goldberg and publ ished by t h e ~ r n e r i c a n E o m c f e t g i s a l s o a v a i l a b l e t o members of t he A V S . hose-roembers who were a t t h e P ~ O V O v i o l a congress were a b l e t o p ick up a copy. The r e r c a i n i n ~ members w i l l be r e c e i v i n e i t i n t h e mai l soae time a f t e r t h i s News le t t e r reaches you. --

i r IOLA RLTSIC: ghe Moravian -,.-.-- -- Music - Foundation ---- -- has announced an e d i t i o n of Johann-Zel G r i m m s T r i o i n D f o r v i o l a , Violoncel lo , and Fondamento a as so). This t r i o ( s e e the AVS ~ a w s l e t t e r 14, A p r i l , 1978, p. 4 ) was wr i t t en between 1742 and 1747 an-anrnteresting a d d i t i o n t o the v io la l i t e r ~ t u r e , The e d i t i o n comes with p a r t s f o r v i o l a and c e l l o and a score and can be performed with harpsichord. The cos t i s 86.80 ($5.80 f o r reproduct ion and $1.00 f o r postaee and hand l ing) ; the e d i t i o n can be ordered d i r e c t l y from The Xoravian Music Foundation, P.O. Drawer 2, Salem S t a t i o n , Winaton-Salem, M.C. 27108. JOHN BIGGS' Invent ion f o r Viola and Tape and Concerto f o r Viola , Wood-

wTnd5 , a n d ~ e = a K a r e a v a i l a b l e from Mark Fos ter Music Co, , Box 4012, Champaip, I L 61820. The Invant ion (which Paul Doktor performed 1 ~ 1 t h g r e a t success a t the 1978 London viola concress) i s pr iced a t $7.50. The Concerto i s a v a i l a b l e on r e n t a l only. MRS. H.H.A. BEACH'^ 1896 Sonata f o r Viol in and Piano has been t ranscr ibed

f F v i o r a n d l j T a n 6 by Prof. Roger Hannay of the University of North Carolina. Prof. Hannay hopes t o see t h i s published i n t h e near fu ture . We w i l l keep you informed about t h i s work. THS AMZRICAN MUSIC CENTER has e iven awards t o i n s t r u m e n t a l i s t s t o commie-

s E n w o i % s ? S ? o ~ o m p o ' ~ $ ~ o f t h e i r choice. V i o l i s t John Graham was among those c iven awards f o r a work f o r v i o l a and "ghost e l e c t r o n i c s " by Morton Subotnick. irfe hope t o be able t o hear one of the t h r e e performances t o be s iven under the condi t ions of the award. - VIOLA '.!ORLD PUELICATIONS i s inc reas ine i t s e d i t i o n s of v i o l a t r anac r ip - ---- ----- --- r----- t ions . I f you don t have t h e i r most recent ca ta logue , wr i te t o Viola

World ~ u b l i c a t i o n s , 14 Fenwood Drive, Huntineton S t a t i o n , N.Y. 11745. CLELWNT TLWER i s making h i s l a t e s t v i o l a composition, " ~ o l d i n g and

~ X o l d i n g F S o n a t a f o r Viola and Piano (1979) a v a i l a b l e t o members of the AVS f o r q63.00. wr i te t o Clsment Turner, 3700 Sutharland # T - 1 0 , Knoxvills , TN, 37919

RARITIES-FOR-STRINGS --- -a-4 PUBLICPTIONS cont inues t o b r i w out i n t e r e s t i n g e d i ~ ~ ~ s o f v i o l a music. ~ h e i r T g 0 catalogue l i s t s the following f o r v i o l i s t s : G. Don ize t t i : Concertino i n D minor f o r Vio l in , Viola and Orchestra (Piano reduct ion) @ $6.50; G.B. Pergolea i : S i n f o n i ~ f o r Viola and Piano 9 4b4.00; A. Rol la: Rondo i n G f o r Viola and Orchestra (Piano reduct ion) 1i3 t5.00; the same 'dark--score end p a r t s $7.50 ( e x t r a p a r t s #1.00 each) ; A . Rolla: Concerto i n B f l a t f o r Viola and Orcheetra (Piano reduct ion) & $7.00; 0. Gibbons: Two Fan tas ia s f o r 2 Violas 43 03.00; G. Papini: Guartet f o r 4 Violas (ecore and p a r t s ) @ #10.00; A . Yranitzky: Cassat io i n F f o r 5 Violas ( s c o r e and p a r t s ) @ 410.00; A . Rolla: Tr io f o r 2 Clar ine t s and Viola @ # ' J . ~ O . I n p repara t ion a r e R o l l a ' e Serenata f o r Vio l in and Viola and 2 Tr ios f o r Vio l in , Viola , Cello. The publ i shers a r e o f fe r ing AVS members a discount of 25% on a l l these l i s t e d p r i ces . Af te r deducting y o u r d i scoun t , add 5% of the t o t a l cos t t o cover rnailirq and handling. Texas r e s i d e n t s must a l s o add 5% s a l e s tax. Write t o R a r i t i e s f o r S t r ings Pub l i ca t ions , 5531 Dyer S t , , S u i t e 215, Da l l a s , TX 75206.

RECORDINGS: M U S I C FOR P ~ A E J O , VIOLA and CLARINET: Mozart ' a Tr io i n E- f l a t ) ?aSF , B F G Z ~ ~ ~ B S T ~ F Z G ~ T ~ C E G ~ Schumannl s Miirchen- ~rzHhlunpen, performed b y Boris Kroyt, v i o l a , Murray Perahia , piano, and ~ a r o l d Wright, c l a r i n e t . TURNABOUT TV-S - 3451-5;

SHCSTAKOVICH, Viola Sonata , 0p.-I&7, and v i o l i n Sonata, OP. 134, per- ----- formed by Fedor Druzhinin, v i o l i s t , Mikhail Muntyan, p i a n i s t ; Gidon Kremer, ; i o l i n i s t , Andre ~ a v r i l o v , - p i a n i s t . - COLU~BIA -- _--- M 35109.

IN MEMORIAM - - REBECCA CLA &E m85- 1979-7

REBECCA CLARKE, v i o l i s t and composer, died on October 13, 1979 i n New York C i t y . Born i n Harrow, England, she s t u d i ed a t the Royal Collsge of Kusic, Niss Clarke was a c t i v e a s a performer, most notably i n the English gnsemble, a piano q u a r t e t which was well known i n Suropean music c i r c l e s . As a coapoaer, Miss Clarke es t ab l i shed h e r e e l f a a a cotrpoaer of msrit and was the r e c i p i e n t of two Coolidge Cornpetition Pr izes . Her 1919 Sonata f o r Viols and Piano i s a s u p e r i o r work and an important a d d i t i o n t o the s o l o v io la r a p e r t o i r e . Miss Clarke had an indomitable s p i r i t and was ksenly i n t e r a s t e d i n v i o l a matters up t o the very end of ha r l i f e ,

ROBERT C OURT 73 7m- ~ r n r

ROEERT CCURTE, Universi ty of Michiean p ro fessor emeritus of music and v i o l i s t emeri tus of the Stanley c u a r t e t , died on Cctober 1, 1979 i n Ann Arbor, Michigan. Courte was a v i o l a s tudent of Leon van H o u t a t the Brussels Conaervatoire where he graduated with the Diplome Superieur. A f t e r eraduat ing he succseded h i s t eacher , van Eout, a s Professor of Viola a t the Conservatoire and a s p r i n c i p a l v i o l a of the Brussels Opera Crchestra. He was a l s o v i o l i s t i n the ce lebra te3 G e r t l e r and Ar t ia S t r i n e Cuar te ts .

I n 1945, he came t o the United S t a t e s as a founding member of t h e Paganini Cuar te t , He resigned froili t h i s eroup i n 1951 i n o rds r t o J o i n the Kichigan facu l ty and became v i o l i s t with the r e s iden t Stanley Cuar te t , a pos i t ion he held f o r 27 years u n t i l h i s re t i rement i n 1977.

Ross Lee Finney dedicated h i s Sonata f o r Viola and Piano t o Courte and h i s p ianis t -wife , Lydia Courte. 19 1955, he gave the premiere performance of Darius Nilhau8's Concertina d ' ~ t 6 .

with h i s wife , a c o n c e m n m T h e gave many concer t s , playing both v io la and v io la d'amore. They a l s o ed i t ed and t r ansc r ibed many 18th-cen- t u r y works f o r v i o l a and piano.

His v i o l a s tuden t s hold pos i t ions i n leading orches t ra8 and col leges throughout the United S t a t e s . He w i l l be missed a s a musician and a s a f r iend by a l l thoee who knew him.

Maurice Riley

ERNST WALLFISCH, ane of the more a c t i v e v i o l a s o l o i s t s on the i n t e r n a t i o n a l concert scene died on May 8, 1979. I n a d d i t i o n t o h i s a c t i v i t e s a s v i o l i s t , he was highly esteemed as a performer on the v i o l a da eamba and, of l a t e , on the v i o l i n , A p ro fesso r of music a t Smith Col leee , Ernst l4a l l f i sch was well known t o the American Viola Socie ty a s a member of i t s Board of Direc tors and a s one of the key s o l o i s t e i n s e v e r a l of the v i o l a congresses. Of Gerzan b i r t h , ~ ~ r a l l f i s c h spent R good p a r t of h i s l i f e i n ~omania where he met Georee inesco and h i s fu ture wife , Lory. Af te r emigrat ion t o the United S t a t e s i n 1946, Wellfisch beean a r igoroua schedule of recording

and concer t iz inp t h a t took him t o Europe, I s r a e l , North and South Afr ica , South Amsrica, and throuchout the United S t a t e s . He recorded extens ive ly f o r many recording coapanies, amone which a r e some of the lesser-known v io la works by Hummel, Michael Haydn, Joachim, and others. He was a s t ronp advocate of conternporsry music a s witnessed by h i s f r e - quent i n c l u s i o n of such works on h i s concert programs and r e c o r d i w s . He shared h i s knowledee a s a t eacher a t the Lucerne_Conservattrry, 'the .~ozarteum i n Salzburg, and s ince 1964 a t Smith College i n Massachusetts. He cptne i n contact and performed with some of the g r e a t a r t i s t s of our t i n e , includine Pablo Casals , Yehudi Menuhin, and Roetropovitch and was a frequent p a r t i c i p a n t i n many of the major i n t e r n a t i o n a l music f e s t i v a l s . Those who had the p r i v i l e g e of h e a r i q the Brahms' E - f l a t Sonata performed b y Ernst 2nd Lory Va l l f i sch a t the 1975 Eastman Viola Conpress w i l l not f o r e e t i t . Perhaps Paul ~ u r n e ' s review from the Cctober 22 , 1951 Washin ton Post b e s t sums up what Brnst w a l l f i s c h was sa a musician. He w r o ~ + the hands of Zrns t Wallf isch, the v i o l a s i n e s conatant ly. H i s p l a y i w i s of the utmost s e n s i t i v i t y and s u s t a i n s a concept icn of a r t i s t r y held by not too many s t r i n e v i r tuosos of today." Ernst Wallfisch was a g r e a t a r t i s t and a b e a u t i f u l human being, We s h a l l miss him very wuch.

Myron- Rosenblum

PAUL HIIJDEMITH ' S DER SCHWANENDREHER E E VIOLA AlJD SMALL ORCHESZ]@ 7- ----- --

The c r e a t i o n of Hindemith's t h i r d v i o l a concerto, Der Schwanendreher, Konzert nach a l t e n Volksl iedsrn, i n l a t e 1955 marks a T v i d - F % T E ' i i r o f the cornp=ertsartisticcredoand h i s experiences e a r l i e r t h a t gear. A t t h e i n v i t a t i o n of the Turkish government, he had spent a month i n Ankara helpine t o develop a school t h a t would provide advanced krestern musical train in^, inthile keeping i t s s tuden t s i n c lose contac t with t h e i r na t ive mueical t r a d i t i o n s . Cn r e t u r n i r q home t o B e r l i n , he had completed t h e o r c h e s t r a t i o n of -- rvlathis - d e r Maler, an opera about a social ly-conscious s ix teenth-century German a r t i s t . Mathis involves himeelf i n a p o l i t i c a l and humanitarian s t r u e e l e but i s denounced by h i s pa t ron a s a n a r t i s t out of h i s sphere and t o l d t h a t "only i n a r t can you have a f r ee hand." I n Scene 5 , Hindemith s t a t e s thrcugh S t , Paul , the Hermit, h i s philosophy of the hieh call in^ of the a r t i s t and of the need t o respond pre-eminent- ly t o t h a t vocation. This, he ssya , i s the b e s t s e r v i c e t o God and man, Comparisons between Ra th i s ' p o l i t i c a l s i t u a t i o n and ~ i n d e m i t h ' s own d i f f i c u l t i e s under the Nazi regime a re d i f f i c u l t t o avoid.

I n --3 Mathis Hindemith incorpora tes s e v e r a l medieval folksongs within h i s modern musical languaee, Hie sss ignzent t o counterpoint s tuden t s of some of the songs t h a t were t o appear-and Mathis and Schwanendreher sue- e e s t s the same e f f o r t t o combine simple human e x p e r i e n c r a n d hiph a r t i a t i c - t r a d i t i o n t h a t i s implied by the preface t o the concerto:

* Reprinted from the record jacket notes by Marcus Thompson on Turnabout GTTv' 34687 w i t h permission of The Moss Music Group, Inc.

A m i n s t r e l comes upon a f r i e n d l y ga t t i e r ine and demon- s t r a t e s what he has b r o u ~ h t w i th him from d i s t a n t l ands : s e r i o u s and c h e e r f u l eonga and a t t h e end a dance piece . Vi th i n s p i r a t i o n and a b i l i t y he expands and v a r i e s t h e t u n e , pre ludiz infr and f a n t a s i z i n g , a s a t r u e musician,

I t is s i g n i f i c a n t t h a t t h s v i o l a s o l o i s t n e i t h e r i n t roduces t h e songs nor p lays tkem t h r o u ~ h i n t h e i r o r i g i n a l form. Another composer mieht be con- t e n t just t o auote end develop them. Hindemith i s not . Ra the r , he --- invokes them. The f i r s t , "Zwischen Berg und t i e f e m Ta l , " appears i n hushed b r a s s e s , amid a solemn openine pFt )Cess io iTaZi f Hjndemith were c a l l i n e upon a n a n c i e n t muse t o wi tness t h - t he , l i k e Xa th i s , has u l t i m a t e l y kept f a i t h i n h i s p u r s u i t of a r t a s compossr-performer.

Zwischen Bere und t i e f em T a l Twixt h i l l and deep v a l l e y Da l e i t e i n F re i e S t r a saen . t h e r e runs a f r e e road. W s r s e i n e n Euhlen n i t haben rnet~, He who has no swee thear t d e r muss i h n f ah ren l a s sen . may not walk upon i t .

I n t he second movement, a f t e r a n opening s i c i l i a n a played by v i o l a end harp , "Nun l a u b e , L i n d l e i n , laubet t is in t roduced s o f t l y a s a cho ra l e i n pos i t i v e r @ n ; T - i k e = s t r e t i o n . I t appears more t r iumphant ly i n t he b r a s s e s a s the climax of a h i l a r i o u s fuga to on "Der Gutz auch auf dem Znune s a s s ," a c h i l d r e n ' s song about a f e n c e - s i t ~ ~ c d ~ h ~ ~ e ~ - w e t ~ ~ r ~ ~ n s t o r m . A t t h i s po in t the v i o l a jo ins i n , p lay ing t h e cho ra l e melody on a l t e r n a t e l i n e s of the s t a n z a :

Nun l a u b e , L i n d l e i n l aube , Shed your l eaves l i t t l e Linden n i c h t l d n e r i c h ' s e r t a g : -5- no l o n e r can I b e e r i t : I c h habme n TX%-veFl5ren,

- -5- - I have o s t m y - b ~ o i ? e ~ ~

hab ear e i n trau* w. have had a sad da . To r o s e t h g x o z m e n t , the a r t f u l l g o n ~ - i v s d a i c ' i l : 3! ana i s e x a l t e d i n

o rde r t o sound above the - c h o r a l e u,elohg played by horns i n octaves. The f i n a l e , seven v a r i a t i o n s and coda on " ~ e i d i h r n i c h t d e r Schwanen-

dreher? , ' I i s by f a r t h e most complex musical ~ t ? z i i t o f - Z fo lksone a --- o f f e r s t he v i o l a s o l o i s t t he e r e a t e s t oppor tun i ty f o r v i r t u o s i c d i s p l a y . This d i s p l a y , b o t h exuberant and r e f l e c t i v e , a c c u i r e s new meanine when seen a s an a f f i r m a t i v e answer t o ~ i n d e m i t h ' s (and at his ' ) e x i s t e n t i a l a u e s t i o n about t h e i d e n t i t y and a c t i v i t y of the a r t i s t i n s o c i e t y .

Se id i h r n i c h t d e r Schwanendreher, Are you not t he swan-turner , s e i d i h r n i c h t d e r s s l b i g Mann? a r e you not the very same man? So d rehe t mir den Schwan, So t u r n the swan f o r me, s o hab i c h e lauben dran. f o r t h a t i s my b e l i e f . Und d r e h t i h r mir den Schwanen n i t , And i f you d o n ' t t u r n t he

swan f o r me, Seid i h r n i c h t d e r Schwanendreher, t hen you a r e no swan-turner ; d r e h t m i r den Schlmnen. t u r n t he swan f o r me.

Hindemith performed a s v i o l a s o l o i s t a t the premiere of h i s work i n Arosterdam on November 14 , 19T5, and subsecuent ly recorded Dar Schwanen- d r e h e r i n t he United S t a t e s f o r RCA V i c t o r wi th Ar thur ~ i e n r c c n d u c t i n e . --

SONE COMIv.3NTS ON THE VIGLP. IN THZ BP.RGCUE ERA I-- I - - - -- - -- -- - - --

b y David M i l l e r

The v i o l a i s commonly regarded a s o f l i t t l e importance i n the musical e s t ab l i shmen t . The r ea son may w e l l be t h a t i t i s o f t e n played b y persons who a r e e i t h e r s t i l l

b e g i n n e r s i n t h e ensemble o r have no P a r t i c u l a r e i f t s w i t h which t o d i s t i n g u i s h themse lves on t h e v i o l i n , o r th t l t t h e i n s t r u m e n t y i e l d s a l l t o o few a d v a n t a p e s t o i t s p l a y e r s , s o t h a t a b l e people a r e no t e a s i l y persuaded t o t a k e i t up. I m a i n t a i n , however, t h ~ t i f the e n t i r e accrlmpeniment i s t o b e wi thou t d e f e c t , t h e v i o l i s t m u s t b e j u s t a s a b l e a s t h e second v i o l i n i s t .

The remarks. . .of t h i ~ c h e p t e r may be tu rned t o as ffiuch accoun t by t h e v i o l i s t a s by t h e r i p i e n o v i o l i n i s t , not only because he n e e d s t o know a l l of t h e s e t h i n ~ s , b u t a l s o bacause he does n o t , I przsume, wish t c j rsrnain a lways a v i o 1 i s t . l

J . J . Guan tz ' s remarks i n 1752 a r e among t h e very few r e f e r r i n g t o t h e v i o l a a s i t e x i s t e d b e f o r e 1800, and h i s d i s d a i n f u l ccffiaants pe rhaps pro- v ide a n e x p l a n a t i o n f o r why t h e v i o l a was s o over looked.

The v i o l i n fami ly of i n s t r u m e n t s , v i o l i n , v i o l a , and ' c e l l o , evolved i n t h e l a t t e r p a r t of t h e s i x t e e n t h c e n t u r y and p layed a prominent r o l e i n t h s s e v e n t e e n t h c e n t u r y w i t h t h e development o f independen t i n s t r u m ? n t a l music. (Two o t h e r i n s t r u m e n t s - - t h e v i o l a da eamba and t h e v i o l a d 'amore were a l s o i n common use i n t h e Earoclue e r a , b u t they a r e s t r u c t u r a l l y un- r e l a t e d t o t h e baroque v i o l a and a l s o se rved d i f f e r e n t m u s i c a l f u n c t i o n s . ) A t t h e b e g i n n i n g o f t h e n i n e t e e n t h c e n t u r y , s i e n i f i c a n t a d a p t a t i o n s began t o be made t o a l l mus ica l i n s t r u m e n t s . A s r n u ~ i c moved f rom t h e c o u r t s and p a l a c e s t o l a r g e r p u b l i c c o n c e r t h a l l s b u i l t f o r t h e e n a r g i n e midd le -c lass a u d i e n c e s o f t h e I n d u s t r i a l R e v o l u t i o n , i n s t r u m e n t s c h a n ~ e d t o meet t h e need f o r e r e a t e r volume o f sound.

The ffiembers of t h e v i o l i n f a m i l y were unique axone i n s t r u m e n t s i n t h e i r a b i l i t y t o a d a p t wi thou t a l t a r i n e t h e e s s e n t i a l body of t h e i n s t r u a e n t . Though t h 3 t o p , b a c k , r ibs , and s c r o l l remained i n t a c t , necks were r e p l a c - ed w i t h l o n g e r snd t h i n n e r ones t h a n b e f o r e , s e t a t a g r e a t e r a n g l e t o t h e i n s t r u m e n t . This caused a s t e e p e r a n g l e a s t h e s t r i n e s c r o s s e d t h e b r i d g e ; hence more downward p r e s s u r e on t h e top . Base b a r s became w i d e r and t h i c k e r , a s w e l l a s l c n g e r , and they were glued i n w i t h g r e a t e r t e n s i o n . Indeed , i n some e a r l y i n s t r u m e n t s , t h e o r i f f i n a l b e s s b a r w s s imply c a r v e d o u t w i t h t h e t o p r a t h e r t h a n b e i n g g lued. Sound p o s t s i n t h e Barocue e r a were u s u a l l y t h i n n e r and p laced more towards t h e c e n t e r of t h e i n s t r u m e n t coqlpared t o t h e modern s e t - u p ; a g a i n , because l e s s t a n s i c n was d e s i r e d . I n a d d i t i o n , s t r i n e s were made o f s i t h e r pure ~ u t o r eut wound w i t h h o p e r . P i t c h , though i t v a r i e d widely among c i t i e s and r e g i o n s , was e e n e r a l l y lowar t h a n t h e ~ o d e r n A=440.

Compared t o t h e aound of a modsrn v i o l a , a v i o l a i n b a r o c u e c o n d i t i o n has a more r i n p i n g , t r a n s p a r e n t , and i n t i m a t e sound. Also, t h e b l a n d amow s t r i n g i n s t r u m e n t s i n b a r o a u s c o n d i t i o n i s e r e a t e r t h a n anone modern ones. On t h e o t h e r hand, t h e s u s t a i n e d and i n t e n s e , p r o j a c t s ? t o n e o f a modarn v i o l a , a b l e t o be haa rd b y s e v e r a l thousanrl people i n a c o n c e r t h a l l , can- no t be d u p l i c a t e d on a v i o l a i n ba roque c o n d i t i o n .

l o s t e s r l y v i o l a s have b e e n n l t e r e d i n t h e p a s t 175 y e a r s o r so . How- e v e r , t h e r e a r e s t i l l a number of E n g l i s h an3 German i n s t r u m e n t s , u s u 3 l l y

1 Johann Joechim Guantz, On - P l s y i n c --- - t h e F l u t e - .- ' t r a n s . Edward R. R e i l l y , N e w York, 1965, 237, 241,

made i n t h e l a t t e r h a l f of t he e i g h t s e n t h c e n t u r y , which, th rough h i s - t o r i c a l a c c i d e n t , have remained i n o r i g i n a l c o n d i t i o n o r have simply had w e d ~ s s added t c l e n e t h e n and chanee t h e ang le of the neck, These i n s t r u - rllents provide v a l u a b l e evidence concern ine r e s t o r a t i o n of f i n e q u a l i t y ins t ruments which have almost always been conver ted t o modern s p e c i f i c a - t i o n s a t some po in t .

I n t h e s e v e n t e e n t h cen tu ry , v i o l a s played v a r i o u s i n n e r p a r t s i n ensembles, rang ing from h igh a l t o t o low t e n o r . The i n s t r u m a n t s , t h e r e - f o r e , v a r i e d a g r e a t d e a l i n s i z e . Very l a r g e v i o l a s were b u i l t t o pro- v ide t h e n sces sa ry s o n o r i t y f o r the no t d i f f i c u l t lower-range p a r t s . Many of t h e s e i n s t rumen t s have s i n c e been made s m a l l e r t o enab le modern p l aye r s t o parform v i r t u o s i c music.

Bows, of c o u r s e , a r e not g e n e r a l l y a l t e r a b l e . A f t e r t h e i n t r o d u c t i o n of t h e T o u r t e - s t y l e bow j u s t b e f o r e 1500, t he o l d e r bows f e l l i n t o d i s - use and a r e q u i t e r a r e today, Gengra l ly made of snakewood, baroque bows a r e s h o r t e r , l i g h t a r , and s p r i n c i e r t h a n t h e i r modern c o u n t e r p a r t s . There i s no ffietal o r l e a t h e r e r i p , and the upper p a r t of t h e s t i c k i s o f t e n f l u t e d . The f e r r e l , o r comb, t h a t s s p a r a t e s t h e h a i r , and t h e meta l band t h a t keeps i t i n p lace a r e l a t e r developments. The baroque bow has l e s s h a i r because o f i t s open f r o g , end the t y p i c a l swan-shaped head wi th sma l l d i s t a n c e s between s t i c k and h a i r a t t he t i p i s des igned f o r a l e s s - su s t a ined and i n t e n s e s t y l e of bowing.

Ths t y p i c a l French saven teen th-cen tury bow e r i p i nvo lves p l a c i n e the thumb d i r e c t l y on the h a i r , b u t t h e s e o l d e r bows a r e q u i t e s h o r t 2nd were used f o r dance nsusic. I n the l t a l i a n g r i p , which e v e n t u a l l y became the norm f o r ho ld ing thls bow i n tho e i g h t e e n t h c e n t u r y , t he bow i s he ld a few inches above t h s f rog wi th a l i g h t e r e r i p but s i m i l a r p o s i t i o n t o t h a t of today. How much t h e p l a y e r moves h i s hand up t h e s t i c k t o ach ieve t h e p roper ba lance depends upon the bow and t h e p l aye r . Th3 elbow i s g e n s r a l - l y somewhat lower t h a n the modern norm.

I n terms of performance p r a c t i c e , the n a t u r a l d i f f e r e n c e between down- and up-bow i s encouraeedr f i t t i n ! ? a bowing t o the rhythmic s t r e s s e s of a phrase means down-bows on heavy n o t e s and up-bows on l i g h t ones, Succes- s i v e down-bows a r e more common s i n c e the s t r o k e i s made wi th l e s s e f f o r t and r i n g s f o r a l o n g e r time. The l i e h t e r bow combined w i t h an i n s t rumsn t under l e s s t e n s i o n prod/uces a l i g h t e r and more c l e ~ r l y a r t i c u l a t e d s t roke . Rather t h a n tha mar te le bowing t y p i c a l of modern perforlcsnce o f baroque music, e a r l i s r performance p r a c t i c e dsizands bee inn in^ an8 enl?ing t he bow s t r o k e w i t h a " sma l l s o f t n e s " w i t h va r ious kinds of nuances , o r s w e l l s , i n t he middle of the A p e r f e c t l y even , slow bow s t r o k e wi thout nuance i n t h e e i g h t e e n t h century i s somewhst comparable t o the modern use of no v i b r a t o a t a l l on c e r t a i n long no tes t o ach ieve a s p e c i a l e f f e c t . A p l a y e r us inp a baroque bow m u s t l e . i r n t o use bow speed and p r e s s u r e i n ways q u i t e d i f f e r e n t from modern p l ay ing t o r e a l i z e t h e s e nuances.

Left-hand technique i nc ludes v i b r a t o a s a n ornament t o c o l o r impor t sn t harmcnic o r uielodic no t e s only. It was no t a n I n t e g r a l p a r t of t he sound necessary t o p r o j 3 c t the u;usic i n l a r g e spaces a s l a t r u e of ins t rumgnts of today. Even i n t he n i n e t e e n t h c e n t u r y , v i b r a t o tended t o be used much more s e l e c t i v e l y t h a n now, F i r s t p o s i t i o n , w i th g r e a t e r use of open s t r i n g s c h a r a c t e r i z e s t h e baroque per fornance p r a c t i c e , w i th h i g h e r posi- t i o n s used t o r e a c h h i e h a r no t e s o r t o f a c i l i t a t e a t r i n e c r o s s i n e s , bu t not gene ra l l y f o r t h e c o l o r e f f e c t s achlevsd by p l ay ing a melody on a

2 See Leopold k o z a r t , A T r e a t i s e on t h e Fundamental P r i n c i p l s s of V i o l i g Plaz-, t ra ns . s d it h a - ~ i i G G T ~ z Y o r k ~ ~ T i S , ~ 1 ? Z --- -- -

s i n e l e s t r i n g . I t seems c l e a r t h a t v i o l i s t s , a t l e a s t , w3re not expected t o play above t h e t h i r d p o s i t i o n i n t h e e i g h t e e n t h cen tury .

The c h i n r e s t i s a n o t h e r n ine t een th -cen t u r y development, o r i e i n a t i n e wi th a simple b a r clamp used by Spohr. Gradua l ly t h e p l ay ing p o s i t i o n moved from t h e i n s t rumen t be ing held a t t h s c h e s t i n t he e a r l y s even teen th century t o a n e igh t een th -cen tu ry s h o u l d e r p o s i t i o n w i t h t h e ins t rument balanced on the c o l l a r b o n e , t he c h i n u s u a l l y on t h e r i e h t s i d e of t h s t a i l - p i e c e , i f touch ing a t a l l , Less s h i f t i n e , much l e s s v i b r a t o , and a l i g h t e r l e f t - h s n d technique make p lay ing wi thout a c h i n r e s t q u i t e f e a s i b l e , bu t modern p l a y e r s w i l l exper ience some i n t i a l awkwardness u n t i l t h e t echn icue i s a d j u s t e d . P u t t i n g a c h i n r e s t on a barocue i n s t rumen t does no t charqe t h e sound, b u t a modsrn v i o l i s t w i l l n eve r adap t t o t h e n a t u r e of t h e ins t rument he i s p lay ing u n t i l he t a k e s t h e c h i n r e s t o f f ,

Eefore t h e l a t t e r h a l f of t h e e i g h t e e n t h cen tu ry , s o l o and chamber music f e a t u r i n g t h e v i o l a was very s c a r c e . Bach's S i x t h B r a n d e n b u s Con- --- - c e r t o and c a n t a t a a r i a s a r e unusual p i e c e s i n t h i s regard . S ince baroque -- - chamber and so10 music h a s , a s a r u l e , one o r two soprano p a r t s accompa- nied b y a b a e s o con t inuo , t h e v i o l a i e l i m i t e d t o l a r g e r ensembles where t h e t e x t u r e c a l l s f o r a l t o and t e n o r l i n e s . Even when v io l a - r anee s o l o and chamber p a r t s were composed, they were usua l ly g iven t o o t h e r i n s t r u - a e n t s such a s t h e v i o l a da eamba, ' c e l l o , sometimes v i o l a d 'amore , ~ n d o t h e r s . F ive-par t cornposit i on , popula r i n l a t e - s e v e n t e e nth-century Germany and France, usas a t r i o sonnta format with s u b s i d i a r y t h i r d and f o u r t h p a r t s added, o f t e n played by v i o l i s t s . Otherwise , v i o l i s t s g e n e r a l l y performed cjnlg r i p i e n o p a r t s i n c o n c e r t o s , ope ra s , oratorios, c a n t a t a s , an2 o t h e r l a r g e i n a t r u m s n t a l works u n t i l t ha Classical per iod when C.P.E. Each, Stami t z, Haydn, and I.lozart, amone o t h e r s , wrote music e x p l o i t i n g the uniaue s c n o r i t y of t h e v i o l a .

These remarks provide a sketchy surcnlary of a very l a r g e s u b j e c t . I t should be emphasized t h a t i n s t r u m e n t s , bows, p i t c h , s y t l e s o f p l ay ing , e t c . , va r i ed much more widely i n the Barocrue e r a t h a n i s t r u e today. The s t a t emen t s I have made here a r e e e n e r a l i z a t i o n s and excep t ions a r e rampant. However, t h e r e i s fitill enough comn;on ground i n barocue performance prac- t i c e t c o l e a r l g distinguish the so -ca l l ed baroque v i o l a from t h e modern v i o l a . Research concerning the v i o l i n family b e f o r e 1800 i s q u i t e r e c e n t , a s i s t he exper ience of those performing on such in s t rumen t s , whether t he se i n s t rumen t s a r e una l te red o r i e i n a l s , r e s t o r e d a n t i c u e s , o r modern cop ie s ,

For those i n s e a r c h of more i n fo rma t ion on the s u b j e c t , t h e b e s t s e c o n d ~ r y s o u r s e ( a l t hough t h e r e i s a l n o s t no s p e c i f i c i n fo rma t ion on t h e v i o l a ) i s David D. Eoyden's encyc lopedic The Hie tory o f V i o l i n Play- * -- from -- i t s -+- O r i i n s -- t o 1761.3 I n a d d i t i o n t o t h e a f o r e m e n t i ~ c u a n t z and Mozart treat s e s , an-r important e igh t een th -cen tu ry primary source i s Francesco Gaminian i ' s The Art of P l ay inp on the ~ i o l i n . 4 - - - - - --

3 David D. Boyden, The H i s t o r l of V i o l i n P l a y i n e from i t s C r i e i n s t o 1751, - -- - -- - -- -- - - London, 1965.

4 Frgncesco Gemianinf, The A r t of P l a i n t h e V i o l i n , f a c s i m i l e e d i t i o n --- of 1751, ed . , David D. Boyden, N e w ~ e n ~ y --

THE LIONEL TERTIS INTL~RNFTIGNAL VICLA CCWPETITICN - -- -- ------- -- --- AND W C R K S H g -

The fo l l owine p r e s s r e l e a s e wae s e n t t o ue b y t h e a d m i n i s t r a t o r s of t h e L ione l T e r t i s I n t e r n a t i o n a l Vio la Competi t ion and Workshop:

L ione l T e r t i s , the g r e a t e s t l i v i n ~ v i o l a p l a y e r of t h i s century died i n February 1975, a t t h e aee of 98. A fund was s e t up wi th t h e primary cb J e c t i v s of e s t a b l i s h i n g a n i n t e r n a t i o n a l Viola Competi t ion, probably t r i e n n i a l , t o comaemorate t h e work he undertook f o r t h a t ins t rument throughout h i s l one and a c t i v e l i f e , Such a c o a p e t i t i o n w o u l d p rov ide a unique i n c e n t i v e t o t h e ercwine number o f viola. p l aye r s a l l over t h e world who wish t o pursue a s o l o o r chamber music c a r e e r . Althouph numerous compet i t ions t a k e p l ace i n many c o u n t r i e s , we know of none s p e c i f i c a l i y f o r t h e v io la .*

The L i o n e l T e r t i s I n t e r n a t i o n a l C o ~ p e t i t i o n and krorkshop w i l l t a k e p l ace i n Po r t Z r i n , I s l e o f Man, betw+en 23rd and 3 0 t h August 1980. Ths Competi t ion i s open t o v i o l a p l a y e r s o f a l l n a t i o n a l i t i e s b o r n on o r a f t e r 2nd March 1951. A w e r d s o f ~ 4 , 0 0 0 w i l l be a v a i l a b l e t o the ju ry , and the winner w i l l be i n v i t e d t o London t o play t h e f i r s t performence of the Concerto N D . 2 f o r Vio la and o r c h e s t r a b y Gordon Jacob , which has been s p e c i a l l y commissioned f o r t h i s compe- t i t i o n ,

The jury f o r t h e conlpet i t ion w i l l b e : Harry Danks, U . i i . ; Pau l Doktor, USA; Csaba E r d e l g i , Hungary; P i e r o F a r u l l i , I t a l y ; Gera ld KcDonald (Chairman) , U.K. ; Milan Skampa, Czechoslovakia.

I n a d d i t i o n t o t h e compe t i t i on , t h e r e w i l l be mas te r c l a s s e s , r e c i t a l s , and l e c t u r e s which w i l l be g iven by i n t e rna t iona l ly - r enowned v i o l i s t s , t e a c h e r s , and s c h o l a r s .

For a d d i t i o n a l i n fo rma t ion and a p p l i c a t i o n forms, w r i t e t o :

S e c r e t a r i a t : Mananan F e s t i v a l C f f i c e P o r t Gr in , I s l e of Man,

B r i t i s h I s l e s

HOMER CLARK, and e x m i r a t h e t he dona

well-known p a i n t e r , d o c t o r , and l u t h i e r , waa s o impressed ted by t h e p roceed incs of t he 7 t h I n t e r n a t i o n a l Viola Congress, t e d mu l t i p l e cop ie s of two of h i s wa te r co lo r p a i n t i n g e

( p r i n t s ) t o t h e American Viola S o c i e t y and V io l in Soc i e ty of America, I n a n impropmtu ceremony, D r . C l a rk exp la ined t h e i n s p i r a t i o n f o r t h e pa in t - ings and s a i d he was dona t ine them t o b o t h s o c i e t i e s i n t h e hope t h a t whatever nominal f ee would be charged f o r them would b e used f o r t h e f u t u r e advancement of b o t h o rgan iza t i ona . Both p a i n t i n g s can be had f o r a t o t a l of $15.00, If you would l i k e t o own t h e s e a r t works and suppor t t h e AVS by your c o n t r i b u t i o n , f i l l ou t the form found a t the end of t h i s Newsle t te r and r s t u r n i t t o Marna S t r e e t , s e c r e t a r y of t h e society.

VIOLA -- SOCIETY PUBLICATIONS: A while back , t h e AVS made t h e p u b l i c a t i o n s o f t h e ~ n t e r n a n n a l Viola Research S o c i e t y a v a i l a b l e t o i t s members. You may r e c a l l , t h a t , because o f some un fo r tuna t e l o e i s t i c a l problems t h a t occurred a t t he European end , i t took a very l o n e time f o r t h e music and record inea t o r each us. They f i n a l l y d i d a r r i v e and were s e n t out t o t hose members who,ordered them. However, i n t h e i n t e r i m , some meffibers moved and couldn f be reached, and a few members cance l l ed t h e i r o r d e r s . The r e s u l t i s t h a t t h e s o c i e t y has some r e m a i n i w cop ie s of t h i s music and r eco rd ing , which can be purchased t o any AVS mercber who i s i n - t e r e s t e d . A s t h e r e a r e l i m i t e d numbers of each i t em, o rde r s w i l l be f i l l e d on a f i r s t - come , f i r s t - s e r v e d b a s i s . We w i l l t r y t o f i l l t hose o rders a s completely a s p o s s i b l e , and a s k your unders tanding if you r e c e i v e only p a r t of your o rde r , I n t h a t wag, t h e i tems can be s e n t t o a s many m e ~ b e r a a s pos s ib l e .

The works a v a i l a b l e (and t h e i r p r i c e s ) a r e a s fo l lows :

E rnes t S a u t e r : Sonata f o r Viola s o l o (1974) $ 3.20 ( 5 c o p i e s )

0. Freudenthal : 12 V a r i a t i o n s f o r Oboe & Viola # 3,20 ( 6 c o p i e s )

GP Telemann: Sche rz i melodichi f o r V i o l i n , V i o l a , and b a s s o con t inuo , Vol, I 10,85 ( 6 c o p i e s )

GP Telemann: 11 11 1 0 . 9 ( 7 c c p i e s ) --- ~ n d r g s von ~ o % z e ~ h i p lays Hindemith

( O P . 25984; OP. 1 l S + 4 ; OP. 25,81; Trauermusik, Medita t i o n ) - r e c o r d i n g $ 7.50 ( 5 d i s c s )

P lease do not send a n *??= wi th your r eques t . F i l l o u t t he form on t h e l a s t p G andma t o American Viole S o c i e t y , 39-23 47 th S t r e e t , Sunnyside, N.Y. 11104. A b i l l w i l l be s e n t t o t he f i r s t members who o rde r .

INTERNATIONAL VIOLA RESEARCH SOCIETY PUBLICATIONS : The paren t o r e a n i z a t i o n m r m e m b s r e ta-advantageofmofrerings. The g r e a t e r t h e volume of purchases , t he e r e a t e r t h e p o s s i b i l i t y o f rnakiw f u t u r e publ ica - t i o n s a v a i l a b l e a t reduced p r i c e s t o members. L i s t e d below a r e t h e f u l l p u b l i c a t i o n s / r e c o r d ~ a v a i l a b l e t o AVS members, P r i c e s a r e i n German marks (American d o l l a r e o s t i s approximately h a l f t h e c o s t i n Dsuteche ~tlarks). If you a r e i n t e r e s t e d i n purchasing any of t h e follow in^ e d i t i o n s , w r i t e a l e t t e r t o Marna S t r e e t , 3 Allegheny Cen te r , P i t t s b u r g h , Pa,15212. Do not send any money.

DM Telemann: S c h e r z i melodichi ( V , Va, B C ) , vol . I xcm- Teleffiann: S c h e r z i melodichi ( V , Va, B c ) , vol . I1 21.00 A r i o s t i : 7 Stockholm Sonatas ( ~ a . ( d ' amore ) , B.c) 12.80 A . L i d e l : 3 Duets f o r V i o l i n and Viola 9.60 E, S a u t e r : Sonata f o r s o l o Viola 6.00 0. Freudentha l : 12 Vyr i a t i ons f o r Oboe and Viola 5.00 L. Hoffmann: T r i o f o r V i o l a , C e l l o , and ~ o n t r a b a s s ( n e w ) 7.50 A. von ~ d s z ~ e g h i p l ays Hindemith ( r e c o r d i n g ) 10.00 A . von ~ b s z e g h i p l ~ y s E loch ( S u i t e heb ra i cue ) and

B a r l i o z (Harold i n I t a l y - - p i a n o red. b y Fa L i s z t ) 10.00 (Any p r i c e d i sc repancy i s due t o c h a w e s i n t h e d o l l a r va lue and prev ious cos t of sh ipp ing from Gurope t o t h e USA.)

PLEASE CUT OUT THE FO!?YL5 BELOW A N D PAIL AS INDICATED: - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - HCMER CLARK PAINTINGS: Yes, I would l i k e t o o r d e r - s e t ( s ) of Homer c E F E p r I n ~ s ~ - ~ ~ p l e a s e f i n d my check f o r , payable t o

3 A l l s ~ h e n y C e n t a r , P i t t s b u r g h , Pa, 15212. A Y W I C P N VICLA SOCIFTY. Mai l Your check o r money STREET,

VIOLA SOCldTY PUbL,ICPTIQNS: I would l i k e t : ~ o r d e r the l t e m e from t h e remain- T@'st;SEETTmXZ-K6b-r~ordines o f VIOLA SOCIETY PU~LICATIONS ( se9 t o p o f paee 1 5 i n t h e ~ e w s l e t t e g ) . Send t h i s form w i t h y o u r o r d e r t o : APE2FtICkN VICLk SOCISTY, 3 9 - T T t h ~ t r e e t , Sunnys ide , N.Y. 11104. I unders tand t h a t I w i l l be b i l l e d subsequen t t o t h i s o r d e r and r e c e i v e t h e i t ems a f t e r w a r d s , The i t ems I am i n t e r e s t e d i n a r e :

3 a u t e r ; F r e u d e n t h a l ; Telemann, v o l . I ;RTelemann , vo l . I1 ;

T ~ S zeeehl r e c o r d .

KAME - - - . - . . - l - - - - - l _ _ ST RS TT- ------- CITY

--m------- STPTE

-------1__--- ZIP -

INTTRNATIONAL VIOLA SOCI2:TY PUBLICATIONS : ---I___ -

From t h e works l i s t e d on t h e bot tom o f page 16 o f t h i s N e w s l e t t e r , I would be i n t e r e s t e d i n o r d o r i n e t h e f o l l o w i n g works from t h e o f f e r i n g s o f t h e I n t e r n a t i o n e l Viola Reses rch S o c i e t y p u b l i c a t i o n s :

a ~ e l e m a n n S c h e r z i , v n l t, UE. S a u t e r S o n a t a f o r S o l o v i o l a Telemann S c h e r z i , v o l . I1 D O . F r e u d e n t h a l 12 V a r i a t i o n s

0 A r i o s t i 3 S o n a t a s DL., Hoffmann T r i o O A . L i d e l 3 Duets EIToszeehi Hindemith r e c o r d i n g

~ ~ 6 s z e ~ h i ~ l o c h / ~ e r l i o z r e c o r d i n g

I arn not inc luein@. money ~ i t h t h i s Send t h i s form t o MARHA STREET, - 3 'JiTlFheny C e n t e r , P i t t s b u r g h , ~ a 3 5 2 1 2 .

NPME ---I----.I--- -- STRETT -- --- CITY - -- STATE- ----- ZIP -----

A NEW SERVICE: ~ h @ @ f i ~ ~ 8 f l G ' Exclusively for string instrument and chamber music musicians.

PUBLISHERS IN STOCK. WE'LL EXPAND BASED ON CUSTOMER NEEDS.

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Write or phone for our new SHEET MUSIC and DISCOUNT PRICE LIST catalogues. SALES ROOM HOURS: 9-5, Monday through Saturday.

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