:..

Chaj)ter ofTHE INTERNATioNAL VIO~A SOCIETY

Association for the Pro motion ofViolaPerforrnance and Research

:' Vol. 4 No, 1

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3 Teaching: Questioning,Imagery and Exploration

KathrynPlummer '

7 Writing for the Viola "··Alan' Shulman ' .'

II ' The Story of Viol~ World.Robert Mandell "

(5 William MagersRosemary Glyde

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The Journal of th e American V iola Society is a pub lic a ti on of th at o rga ni zati o n . and isproduced at Br igh am You ng U nive rsi ty. w 1985, ISSN 0898-5987. The Jo u rn a l welcom esletters and a rt icles fr om its read e rs .

Editorial off ice : BYU M usic , Ha r r is Fine Art s Ce nte r , Pro vo , UT 84602, (80 1) 378-3083Editor : David Dalt onAssi st ant Ed itor : David Day

Advertis ing off ice : Ha ro ld K la lZ, 1024 Maple Ave nue , Evanst on , IL 60202, (3 1: ) 869 ­2972 . Dead lin es ar e March J, Ju ne I , and Octobe r 1 fo r th e th ree ann ua l issues.Inqu ir ies can be made to Mr. K la tz. Co py and art work sho uld be se n t to th e ed ito r ia loffice .

R ates: $75 full pa ge , 560 two- thi rd s pa ge , 540 ha lf page , 533 o ne- th i rd page , $25 o ne ­fo ur th page.

Fo r c lassifi ed s: 510 for 30 wor ds in cl udin g ad d ress; $20 for 3 1 to 60 wor d s.

Payment to "Arner ica n V iola Soc ie ty" c/o Rose ma ry Gl yde , tr easurer , P.O . Bo x 558 R t.22 , G olden 's Br id ge , N Y 10526 .

OFFICERS

David DaltonPresidentBrigham Young UniversityProvo, Utah 84602(801) 378-3083

Louis KievmanVice-President1343 Amalfi Dr.Pacific Palisades, CA 90272

Harold KlatzSecretary1024 Maple Ave.Evanston, IL 60202

Rosemary ClydeTreasurerPO. Box 558, Rt. 22Colden's Bridge, NY 10526

Maurice W RileyPast President512 Roosevelt Blvd.Ypsilanti, MI 48197

EXECUTIVE BOARD

Paul DoktorMilton KatimsDonald McInnesRobert OppeltJoseph de PasqualeDwight PoundsThomas TattonMarcus ThompsonFrancis TursiKaren TuttleAnn Woodward

COORDINATOR WITHCANADIAN VIOLA SOCIETY

A. Baird Knechtel

FOUNDER

Myron Rosenblum

HONORARY PRESIDENT

William Primrose (deceased)

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~w Chapter of the Internationale Viola-Gesellsc~aft

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Our personal and financial support is appreciated. As a member, each year you willreceive three AVS Journals and The Viola, yearbook of the International Viola Society.You will also receive the satisfaction of knowing that you are a member of a collegialgroup which is contributing to the furtherance of our instrument and its literature.

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3TEACHING: QUESTIONING,

IMAGERY AND EXPLORATION

by

KATHRYN PLUMMER

As a teacher, I am not trying toproduce more Primroses. I am lookingfor progress; period. One student'sprogress may take him to Carnegie Halland another's may create an enthusiasticand intelligent' concert goer. Both aregreat rewards for the teacher as I seeit.

In some respects I am a ratherconventional teacher. I use old andtried methods, such as Flesch, Sevcik,Schradieck, and Kreutzer. My teachingrepertoire includes most of the standardworks, but in tailoring my teaching tomeet my students' specific needs, I tryto be as creative and imaginative aspossible. A teacher has to be willing torun the gamut of ideas from the testedto the unorthodox. I feel there are fewtruly boring students, only boredteachers who have given up searchingfor that magical word or idea that aparticular student needs. In the teacher'sbehalf, the student must, of course, bereceptive and eager to learn. If thoseingredients are not inherent or cannotbe awakened, then that student won't fitin my class.

It is impossible for me to encapsulatemy teaching methods in a short space,but one aspect I want to address is theuse of the Socratic approach in teaching.Teachers have basically two options:telling students what needs to beimproved in their playing or questioningthem in a manner that will reveal tothem a clear understanding of a truth. Ifeel that if you can lead a student to arevelation, it makes a much greaterimpact and opens the way to fasterprogress. In essence you are teachingthe student to think for himself. The

Socratic method can be successful withall ages. In the case of a ten year oldviolist whose first lesson showed signsof very poor concentration, I asked aseries of questions beginning with,"Where do you practice and what is theatmosphere?" (As I suspected, it wasamid the chaos of the typical Americanfamily with siblings frequently inter­rupting and noise from the television orradio inescapably interfering). "When doyou practice?" (It was usually later inthe evening after he was already tiredfrom homework and a long day). "Doyour parents keep a critical ear to thedoor expecting only 'concert-ready'sounds?" (His affirmative replyindicated concern that he was notpleasing his parents and thus notcompletely focusing on his practice)."How long do you practice and howmany breaks do you take?" (His breaksoften exceeded his actual practicetime!). After these and a few otherleading questions, he smiled at mesheepishly and then together we drewup some guidelines on practicing. I feelit is crucial to involve the student inthe process of finding solutions.

Self CriticismI frequently ask my students where

they think their strengths and weak­nesses lie, both generally and specifica­lly relating to the particular piece theyare playing. Often their responses showan exaggerated concern over relativelyminor problems while failing to focuson the major ones. Moreover, theydon't recognize and appreciate theirstrongest points. Their own assessmenthelps me understand and evaluate themmuch more effectively and gives medirection on how best to proceed. Somestudents have no idea how to recognizetheir those, a gentle mimic can quicklydemonstrate the problem. Sometimes Iplay a game of role reversal. I imitatethe student as accurately and fairly aspossible and have the student teach me!Another successful method is to tape

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record the student and have him try toobjectively critique the playing.

I love to ask students how they feelabout the music they are playing andwhether they think they are interpretingthe music as the composer might haveintended. Sometimes they are brilliantlyarticulate and other times totally void ofimagination. With repeated questioning Ican usually get responses to come forthfrom even the most reticent student.Asking a student to describe what thepiece is not saying can be a good firststep. By starting with the obvious, Ihelp the student gradually center onmore elusive feelings and concepts. Iencourage students to try to putthemselves "in the composer's shoes" andimagine what he must have felt whenwriting the piece. Some biographical andgeneral historical knowledge is essential.

Another exercise is having thestudent attempt to describe how acertain technical motion is analogous tosomething unrelated to viola playing orto music in general. If they can isolatethe motion and reproduce it without theviola, they come back to the instrumentwith greater understanding and freedom.Finding analogous motions can be verychallenging but lots of fun. Sportingevents, dancing, cooking, carpentry--youname it--can all be drawn upon.Applying an image to a technicalproblem can also have a wonderfuleffect in changing a student's percep­tion. For example, with a student whogrips his left thumb and finger during ashift, I tell him to imagine his left handcoated in automotive oil. Coupled withsound technical analysis and advice, theuse of imagery can be remarkablyhelpful.

A Helpful ListOne final point I want to emphasize

is the teacher's obligation to exploredifferent means to help students. Boththe student and the teacher benefitfrom this and it certainly keeps teaching

from becoming routine. I will list a fewvaried examples of ideas I have stressedin more recent years. Without thebenefit of explanation, some of theseideas may forfeit creditability. I hopethat this list serves as an incentive forthose teachers who have lost some oftheir original zest for teaching.

I. I challenge students to search anddiscover their personal convictionsof music.

2. Some students greatly benefit fromlearning relaxation through yoga orfrom studying such methods as theAlexander Technique.

3. Related to tension reduction, Iinstruct students to practiceintermittently in a big cushy armchair or propped up in bed.

4. I insist that they be able to walkin rhythm as they play and be ableto count aloud through complicatedpassages.

5. I teach them various ways to usethe metronome without letting itbecome a crutch. (One studentmade tremendous progress afterpracticing with a click track Iprepared for her of the Meditationby Bloch).

6. I keep and use a tape recorder atmy side when I teach. Sometimes Iassign the student to make weekly

recordings of his practice.

7. I encourage most of my students topractice special left hand exercisessenza bow while watching TV orreading. I encourage the same forcertain bow grip exercises. Theseexercises should not take time awayfrom actual practice, for theyrequire minimal, if any, concentra­tion. I myself have made fineprogress in my own left handtechnique while traveling across

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country (holding an inexpensiveviola, I might add). Some of thetrain compartments in Europe arealso very conducive to goodpractice. On a. train from Berlin toCologne I gave a mini concert foran East German conductor, i.e., trainconductor!

8. In general, I encourage students toutilize "dead time" for somethingmusically constructive. Trying tomentally visualize a piece for theaid of memorization is an excellentuse of the time while waiting for abus or standing in a long grocerystore line.

9. For violinists having trouble readingalto clef, I suggest they carry axeroxed page of viola music in theirpocket or purse and look at itseveral times throughout the day tobecome familiar with the notes.

10. For students without perfect pitch, Iask them to keep a tuning fork inthe car so while listening to theradio they can try to determine thekeys of the music being broadcast.

These are but a few examples. Thereis no magic formula to teaching; no onemethod that guarantees success forevery student. The only assurance I giveas a teacher is in the form of acommitment: a promise to do the bestpossible for each student. I have yet tohave two students alike. That is why itis a teacher's obligation to continuesearching for new, innovative ways. Theimaginative mind is limitless.

Kathryn Plummer teaches at the BlairSchool of Music, Vanderbilt University,and was for thirteen years the violistof the Blair String Quartet. She wasformerly assistant principal violist ofthe Cincinnati Symphony and a memberof the Casals Orchestra in Puerto Rico.Her teachers were David Dawson,

William Primrose, and Walter Trampler.•

WRITING FOR THE VIOLA,NOT AGAINST IT

by

Alan Shulman

There is a good reason why theFrench scores read alto; that preciselydescribes the Viola. I feel the sameway about my instrument, the cello:both are not exclusively A-stringinstruments. Entirely too much musicis composed for the upper positions onthese instruments. As a result of theshortened string length, the soundbecomes tight and constrained. Idioma­tic writing is the order of the day. Ifyou want the sound of the "95th"position, write for the violin!

At the XIV International ViolaCongress in Ann Arbor, I yearned-­mostly in vain--for the sound of thetwo lower strings. When it tooinfrequently occurred, it was as if Iwas bathed in velvet. In this regard,Smetana achieved perfection in thequartet Aus meinem Leben, Brahms inhis quartet, Ope 67 and the quintet, Ope111, and Debussy in his quartet. As acomposer I always consulted withcolleagues as to the playability of apassage (not only violists, but all theinstrumentalists of the orchestra).Sometimes the addition or deletion of anote will make for more comfort andwill not disturb musical values.

The full symphony is too heavy fora viola soloist to cut through, nomatter how big his tone. If you wantthe violist to be heard, a chamberorchestra or wind octet, or stringorchestra with one added instrument-.:..preferably harp--is sufficient, in myopinion. Yes, the reader will ask, but

7

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BOSTON UNIVERSITY SCHOOL OF MUSIC

Boston University ispleased to announcethe appointment ofPeter Zazofskyas violin instructor and firstviolinist of the MuirQuartet, in residence at theSchool of Music. Mr.Zazofsky is recognizedworldwide as one ofAmerica's outstandingsoloists. He has appearedwith the BerlinPhilharmonic, theRotterdam Philharmonic,the Vienna Symphony, andthe AmsterdamConcertgebouwOrchestra.

Our string faculty includes:

Edwin Barker, double bassRaphael Hillyer, violaBernard Kadinoff, violaCarol Lieberman, violinMalcolm Lowe, violinLeslie Martin, double bassYuri Mazurkevich, violin}Chairman ofString DepartmentGeorge Neikrug, celloMischa Nieland, celloJames Orleans, doublebassLeslie Parnas, celloHenry Portnoi, double bass

Phyllis Curtin,Dean, Schoolfor the Arts

Robert Sirota,Director, Schoolof Music

Major scholarships available toqualified applicants.

Roman Totenberg, violinMax Winder, violinLawrence Wol~ double bassMichael Zaretsky, viola

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what about the Walton, Bartok andHindemith concertos, for instance? Itcan be done, but only if there is asensitive accompanist on the podium,ready to assume a subordinate role--anidea not always easily achieved. I alsolove a huge tonal palette, but with aviola soloist, it must be as a SUPPORT­ING CAST.

Early StartI started composing when I was ten

years old. I loved chamber music, andwe used to have quartets at our housein Brooklyn practically every week. Istarted to write little arrangements forstring quartet. We would play through aquartet by Haydn, or a Beethovenquartet, and then before we broke up, Iwould generally present a "juniorchart." We tried it over, and one thingled to the other until in 1933, ourefforts were called to the attention ofa producer at NBC and our quartetwent on the air with the horrible nameof the "Sweet Rhythm String Quartet"playing popular arrangements. I knewand loved Kern, Gershwin, earlyRodgers, Cole Porter, and others. Thesewere the giants of popular song. Iconsider Jerome Kern to be the FranzSchubert of popular song. I was broughtup in that atmosphere and I loved jazz,too. I heard all the great black bands,and I think I learned a lot from them.

After graduating from Juilliard, Ijoined the NBC Symphony underToscanini, and I also took lessons fromthe great Emanuel Feuermann. I studiedcomposition with Paul Hindemith andplayed in the Stuyvesant Quartet.

Among violists, I am known forthree works: Suite for Solo Viola(1953, Swanee Press), Variations forViola and Piano/Orchestra (1940,Chappell), and Variations for Viola,Harp and Strings (1984).

The Suite for Solo Viola is dedicatedto my good friend Milton Preves, former

principal violist of the ChicagoSymphony Orchestra. The four­movement suite has no program, butthe second and third movements wereinfluenced by sounds of nature. In thesecond movement, the sixteenth notepassage followed by an eighth(Pochissimo pill mosso, measure 16) isbased on a bird call I heard insouthwest Maine during a summer Ispent composing there. The Vivo isbased on the sounds I heard, also inMaine, during a severe windstorm inlate August, nearing equinoctial time;thus the reference "wind through thetrees."

My Theme and Variations for Violaand Piano/Orchestra was premiered byEmanuel Vardi and Vivian Rivkin atTown Hall, New York City on Febraury17, 1941. Vardi and the NBC Symphonyunder Frank Black, gave the firstorchestral performance over the NBCnetwork on 11 March 1941. The workhas since become standard repertoire.Some of its performers have includedWilliam Primrose, David Dawson, MiltonPreves, Milton Thomas, Nathan Gordon,Milton Katims, Joseph de Pasquale, MaxAronoff, Michael Tree, Karen Tuttle,Kim Kaskashian, Carlton Cooley, YizhakSchotten, Paul Doktor, Walter Trampler,Oscar Shumsky, Toby Appel, PaulNeubauer, Ernst Wallfisch, RichardYoung, David Schwartz, etc. It's wideacceptance naturally makes a composerfeel good.

A Second SetIn the early 1980's I decided to

write a second set of Variations. Afteralmost a half century, my stylenaturally has changed. But there was adesire to write a conservative work asa companion piece to the 1940. Thusthe Variations (1981, revised 1984) cameinto being and had their first perfor­mance with orchestra at the AnnArbor Congress.

The work is dedicated to the

9

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memory of the late David Dawson. Daveand I were fellow students at Juilliard inthe early 1930's, and our friendship--andoccasional collaboration in chambermusic started at NBC--Iasted until hisdeath. He was an elegant artist with asound comparable to Tertis's, and likeBill Primrose (if my memory serves mecorrectly), he was a crackerjack ping­pong player. His students at IndianaUniversity revered him, and weenjoyed the fruits of his labor in hisformer student, Kathryn Plummer, whoperformed the Variations at the con­gress. The new work compared with the1940 Variations has one difference,possibly two. It is almost more virtuosicthan the first set, and one of thevariations has a touch of jazz in it.Also, the harp plays a more prominentpart.

The 1940 Variations were scored forfull symphony, and subsequently rescoredfor string orchestra and harp. I decidedto utilize the latter scoring in' the newVariations so the viola could be moreprominently displayed.

In my youth, I was tremendouslytaken by French impressionists. Subse­quently, I have been influenced bymany national schools. I feel that thefewer notes I put into a score, thebetter I like it. I do not approve of theschool that camouflages a paucity ofmusic ideas under a barrage oforchestration. I also feel that there istoo much "intellectual" music beingwritten today. That doesn't mean thatone should necessarily "write down" toan audience; it means that the layperson (who represents the majority ofmusic lovers) wants an aural satisfactionwhich will arouse his emotions. He musthave something to grasp and retain-­namely, a tune.

Alan Shulman studied cello with FelixSalmond and composition with BernardWagenaar at the Juilliard School. Hejoined the NBC Symphony under

Toscanini and later became principalarranger for Wilfred Pelletier, directorof the Metropolitan Auditions of theAir. As a teacher, he has been as­sociated with Sarah Lawrence College,the Juilliard School, and other institu­tions. He has enriched the violarepertoire, and of his Theme andVariations (1940), Felix Borowski of theChicago Sun wrote: "Shulman wrotegratefully and, on occasion, brilliantly,for the instrument. He knew itsstrongest points and made a great showwith them; but he knew the orchestraas well, and caused it to be more thanmere background."

THE STORY OFVIOLA WORLD

Robert Mandell

In the quaint colonial town ofHuntington on Long Island, New York,a noteworthy contribution to violaliterature is taking place. From thepen of the American composer,arranger, string player and teacher,Alan Arnold, more than sixty publica­tions have flowed in a short nine yearperiod. Devoted entirely to enhancingthe repertoire of the viola as a recitalinstrument, the new publications allappear under the name "Viola World."

All these publications are skillfultranscriptions for viola and piano ofclassic repertoire borrowed from stringand non-string sources of musiccomposed between the 18th and 20thcenturies.

While the initial reaction of today'spurist may be to frown upon the ideaof transcriptions, one can immediatelypoint to Bach's transcriptions ofVivaldi, Beethoven's transcription of hisD-major violin concerto, Brahmstranscriptions of both his clarinet'sonatas for viola, and Schubert's"Arpeggione" Sonata written for a now

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extinct instrument, but kept alivethrough transcriptions for both cello andviola. Indeed "transcription" was anhonored and esteemed practice up untilthe middle of the- 20th century, when,with the coming of the technicalrevolution in recording via tape and thelong playing record, the theorist/per­former came to the fore, and with him areaction of puritan intensity with whatwas and what was not acceptable interms of musical presentation.

Between the years 1953-1985 Alan Arnoldwas a principal teacher of strings inNew York City and later on Long Island.An accomplished violist, he quicklybecame aware of the lack of literaturefor the various levels of competencerequired by viola students. His solutionwas direct and simple. As a skilledcomposer and arranger he would writematerial to fill his needs. Equallyimportant was that his young studentsbe exposed to the music of greatcomposers, which led him to transcribeclassic violin literature for the viola.He showed transcriptions for his moreadvanced students to his colleagues inthe music profession. The generalresponse was that of admiration and, onoccasion, a request was made for theloan of a transcription for recitalpurposes. School teaching, followed byafternoons of private teaching andperforming as an orchestral player, leftArnold little time to nurture the seedhe had planted. Consequently, hisoutput was sporadic over the succeedingyears.

Lincer's EncouragementIn the mid 1970's, Arnold made the

acquaintance of William Lincer. Lincerhad only recently retired as principalviolist of the New York Philharmonic.Arnold showed some of his violatranscriptions to Lincer and the notedviolist's response was immediate,declaring an interest in editing theseworks, the first edited publicationsappearing on the Viola World list.

Alan Arnold brought his newpublications to the distinguished musichouse of Joseph Patelson in New YorkCity. Patelson agreed to carry the lineon a limited basis to judge generalreaction. The response was encouraging,not only for re-orders of existingpublications, but for new publicationsas well.

Arnold had divided his catalogueinto three tiers: solo repertoire,ensemble repertoire and pedagogicalstudies. In the solo repertoire, majorclassics such as Bach's "ChromaticFantasy and Fugue," Tartini's "Devil'sTrill" Sonata and the six sonatas byPaganini were juxtaposed with lighterworks, such as Debussy's "Girl with theFlaxen Hair ,It Ibert's "Little WhiteDonkey" and Wieniawski's "Scherzo­Tarantella." In the ensemble repertoire,Vivaldi's "Concerto for Four Violins"was transcribed for four violas as weretwo Telemann concertos and twelveduets of Mozart. The pedagogical sideof publishing also proved an immensesuccess with large demand for Tartini's"The Art of Bowing" andBlumenstengal's "Viola Scale Technique."

Broad ResponseAlan Arnold now began to attend

international viola congresses in theUnited States and Canada. Arnold'spublications were usually sold out inshort order. At his home base in LongIsland the pattern of daily orderschanged to include not only performersand teachers, but music dealers from allover North America. The reputation ofViola World soon began to spreadinternationally with orders from Centraland South American, Europe and theOrient. The increasing demand for ViolaWorld publications brought Arnold tothe decision to retire from teachingand devote himself entirely to theinternational expansion of Viola World.Bosworth & Company of England nowdistributes Viola World in the U.K. andEurope, and Viola World publications

13

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can be found on the shelves of musicstores, libraries and conservatories inKorea, Hong Kong and Japan.

Over the years, the general neglectof the viola literature by internationalpublishers helped to create the climateof success that has greeted Viola Worldpublications. The concept of concen­trating a publishing house's output on asingle instrument is, however, not initself new. It was the overall pressingneed for publications of quality, drawingupon distinguished repertoire, thatformed the foundation of Viola World'ssustained success.

The case for Viola World is rein­forced if one considers that the artisticbasis of its transcriptions of the classicsis not merely the reproduction of musicfrom one instrumental form to anotherto suit a particular performer's talentsor a special celebratory occasion.Rather, it is an effort to strengthen awider and more balanced repertoire for amajor instrument whose musical worthhas been underestimated for more than200 years. If, in the future, viola playerscease to be viewed cynically as "failedviolinists," but rather as great exponentsof a great instrument, it will be due inpart to the efforts of musicians likeAlan Arnold who took a career risk toopen up new possibilities for theinstrument with his Viola World.

Robert Mandell studied at the JuilliardSchool and conducted at Tanglewood.He became a special associate toLeonard Bernstein on his award­winning TV series "Omnibus," and his"Young People's Concerts." Since 1968Mr. Mandell has resided in Englandwhere he is today a noted conductor,broadcaster, composer, orchestrator andwriter on music.•

WILLIAM MAGERS

by

ROSEMARY GLYDE

Editor's Note: This is the fifth in aseries of articles by the author onprominent violists' and those who havehad influence in our field.

There is always a first time foreverybody. I went to Arizona this lastFebruary for the first time, a trip thatenabled me to meet one of our distin­guished AVS members, Dr. WilliamMagers.

Dr. Magers met me in the lobby ofmy hotel. A comfortable, silver-hairedgentleman, he is immediately likablewith a congenial, affable way abouthim. We left for the half-hour ridefrom Phoenix 'to Arizona State Univer­sity at Tempe.

For a newcomer to Arizona, the rideto Tempe was fascinating--flat plainsinterspersed with the sudden rise ofsharp peaks, first Squaw Peak, then therange in the distance known as theMcDowell Range. Definitely western,earth colors abound: beige sand, redclay, imported palms. Great Saguarocacti shooting up from time to time,flat orphan roofs, adobe-colored homes.

The entrance to the University isstrong architecturally. Almost im­mediately rises the Gammage Auditoriumwhich was designed for the imminently­to- be-dethroned Shah of Iran, butultimately found its way to theUniversity. The color of deep red claymarks this prominent building withencircling decorative crescents at itsapex. The Music Building, just acrossthe way from Gammage, is of the samered clay color and built in the round.Just seventeen years old, it was'designed by Wesley Peters (son-in-lawat one time of Frank Lloyd Wright.)

15

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After a brief elevator ride and walkdown the circling hallway, we came toDr. Mager's office. Bill informed methat the University has 42,000 students,making it one of. the largest schools inthe West. The Music Department hassix hundred students, two-thirds ofwhom are undergraduates.

Bill's office is lined with Indianwallhangings, one from Mexico, othersfrom Arizona and Guatemala. There isan old Navajo rug and gifts fromfriends and students. A viola pillow (myfirst!) adorns a far wall; signed photosof friends and colleagues, including ourown AVS Vice-President Louis Kievman,and our English colleague, NannieJamieson, are on his desk. A framedcopy of Halsey Steven's UnaccompaniedLullaby is above the desk. (HalseyStevens was on Bill's doctoral commit­tee.) There is even a floridly adornedviola thermometer from China atop thevast collection of books and music files.

We toured the music building. Thelarger concert hall is again in thecircular treatment and "favours thetreble," Bill told me. The JuilliardQuartet had only just performed therein the last week, and Sam Rhodes hadgiven a master class as well. Billshowed me a program of the class. Alarge and impressive program, Bill'sstudents played a wide range of reper­toire, and "all from memory." Thestrength of his class is formidable.

The smaller concert hall is inviting,again in the round, slopping to thestage and rising to a wrap-aroundterrace used for concert receptions. Billtold me it was soon to be refurbished.Though not perfect, it appeared in fineshape. Again as we entered the stairwell,Bill apologized for the lack of "polish,"but it seemed not so lacking. For aseventeen-year-old building, it has notof the wear compared to the wear-and­tear suffered by our schools back East.

His BackgroundI learned that Bill set up residence

'in Arizona because he feels truly athome in western climes. He grew up innorthern California, in Santa Rosa, justnorth of San Francisco. He presentlylives in Tempe, just three-and-a-halfmiles from the University, though hesays he is practically never there owingto his teaching schedule. He had theopportunity to come to Tempe when anopening occurred in the New ArtQuartet. The first violinist, FrankSpinosa, had been a colleague at theirold school, The University of Illinois,where they were both doctoral students.At present, the New Art Quartet playsextensively and has a local manager forthe state. They rarely tour outsideArizona as they prefer to devotethemselves to the teaching circuit.

Bill's 'musical background is verydiverse, from a wide range of teachersand schools. Beginning as a pianostudent, Bill later studied the violin andthen quickly moved to the viola. Amonghis early teachers were Lucien Mitchell,a student of Max Aronoff, and StefanKrayk, a student of Flesch. Bill waswith Krayk at the University ofCalifornia in Santa Barbara.

A move to Los Angeles brought Billinto contact with Sanford Schonbach,solo violist of the L.A. Philharmonic.This association prompted Schonbach tosuggest Bill go to New York to workwith Schonbach's teacher, RaphaelBronstein. He lived in Brooklyn andstudied with Dorothy Delay. Bill wasvery impressed at the time with herpowers of analysis.

From 1958-63 Bill played with theSt. Louis Symphony, and commuted atthe same time to Indiana University towork with David Dawson, violist withthe Berkshire Quartet. He later movedon to the University of Illinois andunderwent vast changes in his playingand thought owing to his work with

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Paul Rolland. The emphasis on playingwith the least amount of tension andanxiety "opened up new things," Billrecounted to me. Bill also spent threesummers with Paul' Wolff of the NewCollege Quartet at the Sarasota festival.

Again at the University of Illinois,he studied with John Garvey. Thisfriendship led to Bill's appointment asvisiting viola professor, 1969-71, inaddition to playing in the WaldenQuartet when Garvey left. 1971 broughthim to Tempe.

Additional studies took him to theUniversity of Southern California withMilton Thomas from 1975-77, and in1981, Bill began what he considers hismost important work with LouisKievman. Of the many teachers he hasstudied with, Bill singles out hisrepertory work with Garvey andThomas, his technical studies withRolland and Kievman. Bill also wroteafter our visit that he is a devotedstudent of the Alexander Technique.Bill is an extremely well-versed profes­sor.

Mager's ClassNot only is he now teaching at

Arizona State, but he has also taughtfor the last three years at the Meadow­mount School. A single man, Bill takesthe long drive alone each summer to theEast.

Bill has sixteen viola majors, hailingfrom diverse places, such as California,Virginia, Wisconsin, and including onefrom my native Alabama. I was pleasedto meet briefly a fellow Alabamian, whostudied with me one summer at theSewanee Festival, Tennessee. Of thesixteen viola majors, two-thirds areperformance majors, the remainder aremusic education majors, and one amusic therapy student. Those who areenthusiastically interested get doublelessons a week, the second hour a giftfrom Bill.

Bill Magers, considers himself "old­fashioned," employing a traditionalapproach in his lessons, alternatingbetween emphasis on repertoire toemphasis on technique. Bill emphasizedcertain aspects of his teaching. "I teacholder music first. The older the studentbecomes, the newer the music." Hefinds his teaching has grown morepersonalized over the years, whiledeveloping his own ways of coaching.He teaches the "violin Bach" for stylebut not for performance, and hebelieves in all sizes of violas.

He allows the students to fingertheir own music because "they have tobecome independent, but we go overevery fingering and every note!" He hasthe students decide on recital reper­toire by including two traditionalworks and then "a third work must bechosen, a special work that is seldomplayed and not so well known." I heardtwo students play the morning of myvisit, and I found Bill evincing truepedagogical control laced with a sincereconcern and friendliness for eachstudent.

The first student was DeniceHaney, a teaching assistant who ispresently applying for professionalpositions. A serious violist, her doctoralrecital includes the Reger D MajorSuite, the Penderecki Cadenza and thePaganini Gran Sonata. The secondstudent, Hetty Hou, was formerly astudent at the Chinese CulturalUniversity in Taipei. A gifted student,she and Bill communicated miraculouslywith very little common languagebetween them. Bill was introducing theportato stroke to the young Taiwanese.He constantly had the instrument inhand, demonstrating as they wentalong. He has beautifully formed andtrained fingers with abundantly roundpads; his thumb is up and he uses ashoulder rest.

I recount some of the specifics of

19

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the lessons and Bill's language inteaching:

ttl would almost do it under thewinding; then the weight of the bowwill do it for you:"

"Do a smooch there, a slide.""Do an impression of a legato

there.""Hang onto the pivot string:'"What is the dynamic?" "Piano." "Do

you think we should be under thewinding?"

"The trio needs much more shaping.Shape it like an oboe:'

"We shouldn't be able to see aportato, no waves. Just concentrate onthe sound:'

"Let's try the automatic violapositioner, to keep the viola fromcoming in too far over the stomach:"

1

Among his past students are JimEen, Acting Assistant Principal,Sacramento Symphony; Dr.· LeslieStraka, Assistant Professor Viola,University of Oregon; and Li QuoChang, Chicago Symphony.

Bill has recently published ShiftingDevelopment Studies with Frank Spinosaand Harold Rusch for the Kjos MusicCompany of San Diego. A very attractivepublication, it covers intermediateshifting work in a very useful andgradual compilation.

This month Bill will perform Haroldwith the University Orchestra. He willno doubt play his "concerto viola," thepowerful 16 3/4 inch Johannes Gagliano.Perhaps his choice will be his 19thcentury 16 1/4 inch viola by FeliceGuadagnini II that he said is a "dreamto play." Others in his collection ofinstruments include a big Tertis-

Richardson model viola that he uses forhis commercial playing, and a modernBrothers Amati copy of a baroque violaby Colin Nicholls made in England in1980.

My visit with Bill was all too brief.But in that short time together, Iglimpsed the totality of his personality,his busy involvement in teaching and inthe lives of each student, with vigorousemphasis on performance and research..

One of Bill's students was kindenough to drive me back to my hotel inPhoenix. As we chatted, he shared withme, "Dr. Magers is like a mother hento all of us:'

Rosemary Glyde received her doctorateof Musical arts from the Juilliardschool under Lillian Fuchs. She will beon the faculty at the Yellow BarnMusic Festival summer of 1988, and is ateaching assistant to Scott Nickrenz atthe Hartt School of Music. Ms. Clyde isthe treasurer of the American ViolaSociety.•

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Forum

Published recently is the definitivebiography of Maud Powell, America'sfirst virtuoso violinist--a long overduetribute to the violinist who introduced,and sometimes premiered, fourteenconcertos (Tchaikovsky, Sibelius, etc.)in the USA. Inasmuch as many violistshave been violinists, this book shouldbe of interest to many in the AVS.

When at our Toronto and Bostoncongresses, I made a point to inquireamong our membership. I was amazed tofind so many who had never even heardthe name Maud Powell! Primrose, whenI talked with him in Toronto, said hehad heard her when she concertized inEurope. I heard her in 1916, and evenas a child of ten, fell under her spell.

The history of our musical forebearsshould be taught along with thetechnique of the instruments theyplayed. This book will certainly be ofparticular interest to the many outstand­ing women violinists and violists, and isavailable from the Iowa State UniversityPress, 2121 South State Avenue, Ames,IA 50010.

Kind regards and gratitude for thework being done in the AVS.

Paul K. StolzSatellite Beach, Florida

I am a veteran teacher and longtimemember of the American Viola Societyand believe in the teachings of KatoHavas. The Kato Havas Association forthe New Approach has benefittedperformers and teachers. Students of theNew Approach report release fromphysical aches and pains, tendonitis,shaky bow arm, stage fright and other

problems associated with string playing.KHANA provides an opportunity formembers to meet and keep in touchwith each other around the world toexchange ideas and experiences.

KHANA publishes two journals eachyear which contain an editorial by KatoHavas as well as contributions fromphysicians, performers, teachers andstudents on various aspects of the NewApproach. Membership forms areavailable from: Wade Alexander,Greystone Farm, Freeville, NY 13068.

Robert L. StoskopfAsheville, North Carolina

Of Interest

KasselViola Congress

The XV International ViolaCongress will be held 16-19 June 1988at Kassel, West Germany. This will bethe twenty-year Jubilee Congress of thefounding of the International ViolaSociety. A preliminary list of par­ticipants has the following artists,lecturers, and ensembles participating:Paul and Christoph Angerer, ChristianEuler, Jerzy Kosmala, GUnter Ojstersek,Dwight Pounds, Hariolf Schlichtig,Franco Sciannameo, MartinStraakhalder, Barbara Westphal, AnnWoodward, Franz Zeyringer, DavidDalton, the DUsseldorf Viola "Quartet,Haba Quartet of Frankfurt, SchonbergEnsemble of Amsterdam, and the VerdiQuartet from Cologne.

A travel agency which can behelpful to North Americans wishing toattend the Kassel Congress and travel

23

24afterward is:

Bassett Travel3290 Genesee StreetBuffalo, NY 14225Tel. (1-800-828-7166)

Further information can be requestedfrom the host chairperson:

Uta Lenkewitz-von ZahnAhornweg 90-5308 RheinbachWest Germany

XVI InternationalViola Congress

As announced in the previous issueof JA VS, the 1989 Congress will behosted for the first time on the WestCoast by the School of Music, Universityof Redlands, Philip J. Swanson, Director.The dates have been" established "as June21-25. Prof. Lucille Taylor, facultymember of the University of Redlands,will chair this event.

She will work directly with aplanning committee for the congress,headed by Louis Kievman, and consistingof several members of the board andofficers of the AVS. Proposals forlecturers and performers for thecongress, as well as recommendations ofnew works, will be considered by thecommittee. Mr. Kievman's address is:1343 Amalfi Drive, Pacific Palisades, CA90272.

Redlands, California is located about75 miles east of Los Angeles, and isconvenient to some of the well knownattractions of the Southern Californiaarea, such as Disneyland.

Viola MarathonA Primrose Memorial Concert "Viola

Marathon" took place on Saturday, 2

April 1988 at Brigham Young University.The concert started at 8:00 a.m. andran continuously until 5:00 p.m. ClynBarrus and "David Dalton, BYU facultyviolists, students, members of the UtahSymphony, Michael Palumbo of WeberState, community professionals andteachers, numbering about twenty-fiveviolists, took part. Viola solo andensemble works from Bach to Joplinwere featured.

ISMA 1989

The International Symposium onMusical Acoustics is announced by theCatgut Acoustical Society for 19-22August 1989 at the School for ViolinMakers in Mittenwald, West Germany.Topics are Acoustics of musicalinstruments and the human voice,Psychoacoustics, and Musical aspects ofroom acoustics. For information:

Sekretariat des ISMA 1989c/o Muller-BBMRobert-Koch-Str. 118033 PlaneggWest Germany

PIVA Duplicates

The Primrose International ViolaArchive has accumulated about 300duplicates of published viola works,These titles are already in the collec­tion and so will be sold beginningSeptember. "Patrons who wish toexamine this list of pieces--mostly new,some antiquariat- -should request thelist including prices from:

David Day, Music LibrarianPIVA, Lee LibraryBrigham Young UniversityProvo, UT 84602

::::

JAVS

Some past copies of the Journal ofthe American Viola Society are availableon request by members of the AVS at$3.00 each. These back issues can beordered from the editorial office:Newsletter No. 28, April , 1985; JA VSeditions: Vol. 3 No. I, April 1987; Vol. 3No.2, August, 1987; and Vol. 3 No.3,November, 1987.

Contained as an insert in this issueof JA VS is a membership solicitationmailer. These can be provided free ofcharge to members of the AVS onrequest at the editorial office.

Editor's note: Readers are remindedthat any information pertaining to theviola or violi sts of general interest maybe submitted to the editor f or inclusionin the JAVS.

New Works

Playing the Viola

Playing the Viola . Conversations withWilliam Primrose by David Dalton. Witha foreword by Janos Starker.

"This volume is an invaluablecontribution to the string pla yer'sbookshelf. The clarity with which Mr.Dalton has distilled the ideas of thegreat William Primrose forms a wonder ­ful basis for a complete technicalapproach on both violin and viola. Asone who had the rare privileg e ofstudying and performing with thi s greatmaster, it was very much like a person-

25

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Spcciat pricc:S36 .()() (in clud es 20 7, di sco u nto ff 545 ,00 list p rice )

Playing the ViolaConversations with William PrimroseDAVID DALTO N , Brigham YOWlS Ulli l'crsilyFo rew o rd by JA N O S STA RKERBef ore th e d ea th , in 1982, o f th e re no w nedvio lis t William Prim ro se , Da vid Da lto ne ngaged the mu sicia n in a live ly series ofco n ve rsa tio ns th at touch ed o n a lmos t a llas pects o f vio la tech n iq ue , perfor ma nce .repe rt oi re , record ing , a nd h ist o rv, T h is bookis a transc ripti o n o f th a t di a logu e , co n tai n ingillumi na ting adv ice o n ho ld ing th e vio la ,bowing . to ne . fin s e ring . a nd p ract icin g , a lls u p ported by CO p iOUSillu s trati o ns a ndm usica l exa m ples. as well a s in s ig h ts o nrep e rto ire fo r the v io la - "an in stru men twi thout tradi tion " - a nd o n pe rfo rma nces ofthe g rea t co nce rtos by Bartok a nd Wa lton .Pu nctu a ted w ith frankness and hu mor. thi sboo k is a trib u te to o ne o f the g rea t a rtis ts o fthi s ce n tu ry

Co n te n ts :To the Read e r ' Vio la v ia Vio l in" - Teache r a ndStu d e n t - The Lesso n ' O n Prac tis ing 'Ho lding th e Vio la ' The Art o f Bo w in g ' Moreo n Bo wi ng a nd Ton e ' The Ma tt e r o fFinge rin g ' Lef t-hand Techniq ues - O the rLef t-h and Cons ide ra tio ns ' Abo u tPerform in g ' O n Stage · T he Repe rt o ire 'Perfo rm ance P racti ce a nd In te rp re ta tio n 'Pro gr amm ing ' Record in gs : Ho w , a nd Wha tto Ma ke of Th em ' Co m pe titio ns - To w a rd aCaree r ' Eulogy ' Ind ex

1988 264 p p ,; n u merou s ha lfto nes a ndmu sic exa mples

26al visit." --Joseph Silverstein, of theBoston Symphony Orchestra, and musicdirector of the Utah Symphony.

"In all areas of human endeavour,time and again an individual appearswho, due to a multitude of personalattributes, elevates his or her field to ahitherto unknown height. Such anindividual was William Primrose. Hisname and the viola are synonymous."-­Janos Starker

This unique book is the result of aseries of conversations with Primrose inthe last years before his death in 1982.David Dalton describes how he came tothe great artist armed with everyquestion he could think of pertaining toperforming on and teaching, the viola.Their lively dialogue contains a wealthof illuminating advice for the studenton the technicalities of playing theviola. It is, however far more than atechnical guide. The two violists discussthe unique position of their instrument-- "an instrument without tradition" isPrimrose's bald description. They coverthe topic of repertoire with fascinatinginsights into the performance of thegreat concertos by Bartok and Walton,with which Primrose was so closelyassociated. Still more invaluable adviceemerges from the discussion ofPrimrose's own experience, on the artof performance, on demeanour on stage,on competitions, on recordings, and on

_preparing for a career.. The book is atribute to one of the greatest artists ofthis century.--Oxford University Press

Readership: Players and teachers ofthe viola and of other string instru­ments, both amateur and professional;musicians and music lovers in general;anyone interested in the life of aprominent musical figure.

6t x 91 inches, hardbound, 256 pages,numerous photos and music examples.Oxford University Press, 1988. $45.00.

The History of the Viola

The first edition o·f The History ofthe Viola, published in 1980, is now outof print. The author, Maurice W. Riley,is now working on Volume II, which isdue at the printer by May, 1988. Onesection of the new book will containshort biographies of "20th CenturyViolists." It will be an extension ofthe Appendix of the 1980 edition. Allviolists will be included who have beenprominent as soloists, or who wereprincipal violists in professional stringquartets, or who were professors ofviola in college music departments orconservatories of music, or who distin­guished themselves by their contribu­tions to the art of viola playing.

If you qualify, and if you have notreceived a Questionnaire (whichrequests information to be used inpreparing your biography), please send

. your name and address immediately to:

Dr. Maurice W. Riley512 Roosevelt Blvd.Ypsilanti, MI 48107

Viola da braccio

Franz Zeyringer, president of theInternational Viola Society, announcesthe imminent release of a new book(German text) entitled, Die Viola dabraccio, published by Heller Verlag,Munich. This volume has been fiveyears in the writing in which theauthor addresses and finds solutions forimportant problems concerning theviola. Such subjects of general interestas the development of the instrument,history of viola performance, theproblem of size, a small lexicon ofviola terms, judging an instrument andthe bow, etc. are handled. The firstedition, clothbound, contains 280 pageswritten in German. Order forms can be

=

acquired from:Rosemary GlydeP.O. Box 558, Rt. 2Golden's Bridge, NY 10526

Music for Viola

Editor's note: Our reader's are invitedto submit titles, and when available,reviews of new works for the violawith other pertinent information thatwill be helpful to the viola community.

Collection Panorama, Oeuvrescontemparaines for viola and piano is acollection of five short pieces by asmany French composers, includingAlexandre Tansman. They range indifficulty from easy to moderate, andare intended as an introduction foryounger students to contemporarymusic. Published by Gerard Billaudotand available through Theodore PresserCo.

Altomobile for solo viola by PhilippeHurel, published by Billaudot andavailable through Theodore Presser Co.,is No. 34 in a series Musiques pourl'alto under the direction of SergeCollet. This piece is about four minutesin length in an advanced modern idiom.

From one to another (I) for violaand tape by Thea Musgrave, is dedicatedto Peter Mark. Contemporary idiom foran advanced technique; ten minutes inlength. Published by Novello.

Bachiana for unaccompanied viola byChristian Woehr, currently assistantprincipal viola of the St. Louis Sym­phony. A seven-movement work of aconservative modern style, medium toadvanced technique, as a kind ofhomage to Bach and the baroque suite.Publisher: Viola World.

Kalamatiano and other works forviola and accordion by Nick Ariondo.Though one might be incredulous about

the compatability of these two instru­ments, on one hearing, any doubts willfade. Unpublished, but available withtape recording from the composer at4120 W. Avenue 41, Los Angeles, CA90065, Tel. (213)254-1621.

Sonata for Viola and Piano byLowell Lieberman. From a recent reviewin Ottawa: "Lieberman on the strengthof this piece alone is a musician andcomposer of significance. What is soastonishing is not so much the skillwith which it has been organized,which is impressive, but the incrediblerange of emotion it covers. This ismusic that has something to say."Unpublished, but available from thecomposer at 155 W. 68th Street, NewYork, NY 10023.

Sonata for Viola and Piano byMartin Amlin is dedicated to PatriciaMcCarty and consists of three move­ments: Chaconne, Inerlude, and Rondo.Conservative modern idiom, requiring anadvanced technique. Unpublished, butavailable from the composer at P.O. Box887, Prudential Station, Boston, MA02119, Tel. (617) 536-9276.

Concertino for Viola, Violoncelloand Bassoon by Alessandro Rolla.Publisher: Jeronao Music Corporation,P.O. Box 5010, Hackensack, NJ 07606.

Concerto No. 1 in D Minor forViola and Piano by J. S. Bach. This is atranscription of the familiar Concertoin A Minor for Violin. The editor, N.C. Urrasio, has made several emenda­tions, compared with the violinconcerto, based on Bach's own transcr­iption of the same concerto forClavier in G Minor. Publisher: HenriElkan, P.O. Box 7720, F.D.R. Station,New York, NY 10150.

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Order a gift membershipat the rate of $20.00for three AVS journals and

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please renew my own for 1988 at the regular rate of $20.00.

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We will send a card to you acknowledging your gift plus a letter to each recipient informing them of yourthoughtfulness. The gift membership will start with the annual Spring issue. Many thanks.

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P.O. Box 558, Rt. 22Golden's Bridge, N.Y. 10526

Competitions

Tertis InternationalViola Competition

The Executive Committee (JohnBethell, Harry Danks, Lillian Tertis andJohn White) are delighted to announcethat the Third Lionel Tertis Internation­al Viola Competition and Workshop willtake place at Port Erin, Isle of Man,U.K. from 27 August to 3 September1988.

_The Jury for the Competition will.include Harry Danks and Sidney Griller(both former students of Lionel Tertis),Thomas Riebl, Milan Skampa, EmanuelVardi and Sir David Lumsden (Chairman).The Workshop is full of very excitingevents including recitals by Nobuko Imai,

. Emanuel Vardi, Thomas Riebl, YuriBashmet and Eric Shumsky. The greatRussian violist Yuri Bashmet will performthe Walton Concerto with the BBCPhilharmonic Orchestra. Masterclasses tobe given by Louis Kievman, Nobuko Imai,Zlatko Stahuljak, Thomas Riebl, MilanSkampa, and Eric Shumsky.

Daily Viola Ensemble class with JohnWhite. Lectures on instruments and bowsby Man Seng Chan and Wilfred Saunders.

Tully Potter will give three talksabout Tertis, Primrose and the latePeter Schidlof. Paul Patterson, who hascomposed a new solo work for thecompetition, will give a lecture on "TheRole of the Composer."

The Bachmann Quartet will presenttwo recitals, and their viola playerMartin Outram will give a rare perfor­mance of Benjamin Dale's Suite, Ope 2, afavorite of Lionel Tertis.

Harry Danks will be featured onthe viola d'amore. Traditional ManxTeas and a daily cocktail hour plus thecompetition newspaper THE DAILYBRA TSCHE will be offered. No violaenthusiast should miss this wonderfulevent!

For further information contact:

The SecretariatMananan Festival OfficePort ErinIsle of Man, U.K.

Vieux Competition

The Berne Concours Internationald'Alto "Maurice Vieux" will be held 7­12 March 1989 in Orleans, France. Thisevent is sponsored by the EcoleNationale de Musique d'Orleans, theDelegation Regionale a la MusiqueMinistere de la Culture, and theAssociation Les Amis de l'Alto, which isthe French chapter of the InternationalViola Society. For further information,write:

Les Amis de l'AltoII bis, rue Neuve Saint­Germain92100 BoulogneFrance

Washington Winner

The Washington InternationalCompetition for Strings was held onMarch 25-26. First place winner with a$3,500 prize in viola was Roberto Diaz,age 27, from Santiago Chile who is nowliving in Boston. Violist Evan Wilsonfrom Los Angeles was also honored. Mr.Diaz will be presented in a debutrecital at the Phillips Collection inWashington, D.C. The next Washingtoncompetition for strings will be held in1991.

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