JOURNALafthe

AMERICAN VIOLA SOCIETYChapter of

THE INTERNATIONAL VIOLA SOCIETYAssociation for the Promotion of Viola Performance and Research

Vol. 8 No.3 1992

The Journal of the American Viola Society is a publication of that organization,and is produced atBrigham Young University,© 1985, ISSN 0898-5987. The Journal welcomes letters and articles from itsreaders.

Editorial and Advertising Office: BYU Music, Harris Fine Arts Center, Provo, UT 84602, (801) 378-4953, Fax(801) 378-5973Editor: David DaltonAssistant Editor: David Day

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OFFICERS

Alan de VeritchPresidentScJwol ofMusicUniversity ofSo. California830 West 34th StreetRamo Hall 112Los Angeles, CA 90089(805) 255-0693

Harold ColettaVice-President5 Old Mill RoadWest Nyack, NY 10994

Pamela ColdsmithSecretary11640 Amanda DriveStudio City, CA 91604

Rosemary ClydeTreasurerP.O. Box 558Colden's Bridge, NY 10526

David DaltonPast PresidentEditor, JAVSBrigham Young UniversityProvo, UT 84602

BOARD

Louise KievmanWill iam MagersDonald McfnnesKathryn PlummerDwight PoundsWillzam PreucilThomas TattonMichael TreeKaren TuttleEmanuel VardiRobert VernonAnn Woodward

PAST PRESIDENTS

Maurice Riley (1981-86)Myron Rosenblum (1971-81)

HONORARY PRESIDENT

William Primrose (deceased)

--~--_._------_.- --------_._--

~w Chapter of the International Viola-Gesellschaft

The American Viola Societyin cooperation with

The Primrose International Viola Archiveand

Biddulph Recordings

offers its members an extraordinary reissue on CD of the

PRIMROSE QUARTET

Oscar Shumsky, violin I, Josef Gingold, violin IIWilliam Primrose viola, Harvey Shapiro, cello

Haydn "The Seven Last Words of Christ"Schumann Piano Quintet in E-flat, op. 44 (with Sanroma)Smetana Quartet in E Minor "From my Life"Brahms Quartet in B-flat, op. 67 (first release)

Biddulph Recordings, 2-eD, LAB 052/53

In 1938 at the instigation of the music department of the National Broadcasting Corporation in New York a string quartetmade up of four members of Toscanini's legendary NBC Symphony was established. The violist William Primrose was themost renowned member of the quartet, and his surname was adopted for the name of the group. According to Primrose, "1suppose there might have been a few previous occasions when a quartet adopted the name of the violist, but it was mostunusual. I was embarrassed, thinking this was a considerable reflection on my colleagues, but they behaved in anirreproachable fashion and the title was never a source of frictions."

In his memoirs Primrose wrote: "1 am quite convinced - and I am conceited enough to say so - that no quartet everplayed that had the instrumental ability of my quartet."

List price in the U.S. for this 2-eD set is $29.95 Price for AVS members is $24.95.

Yes, Please send me the Primrose Quartet 2-CD reissue for the special price of $24.95 a set. I haveenclosed a check or money order for the proper amount payable to: The American Viola Society.

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David DaltonDepartment of Music - HFACBrigham Young UniversityProvo, UT 84602

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Cit)I-T-------------

Telephone (. ) _

fOr

mO.ven

o annes ~ (JS(OR44.

1. Praludium-Alle~ramente

2. lhema und Varia~ionen

3. Allegro assai4. In ~(jrkischerWeise5. Grave -Allegro

6. Rondoletto7 Mazurka8. Alle£)ro moderato9. Adagio canrabile10. eapriccio

Jul. Heinr. Zimmermann.La i pz ig. Berl in.

4

THE VIOLA ETUDES OF JOHANNES PALASCHKOby Joel Belgique

Johannes Palaschko, who was born 13 July 1877 and died 21 October 1932 in Berlin, became in1913 the director of the Bottcher Conservatory in the same city. He was a violinist who wrotethirteen volumes of viola etudes. Although not widely known to modern pedagogues, theseare a veritable gold mine to us violists. The following presentation of each opus will enable aserious viola teacher or student to discover a plethora of useful exercises. Each opus numberwill be considered with the exception of Opus 70, which as yet has not be obtained. With thisone exception, all of Palaschko's pedagogical works for viola are contained in the PrimroseInternational Viola Archive at Brigham Young University. Opus 44 will be examined here indetail, and eight others will be reviewed.

Opus 44: 10 Kiinstler-Etiiden fUr Viola

This etude book could easily be compared to the Paganini caprices. His twenty-four capricesplayed on the viola can be very difficult because of the extensions demanded in the left hand.Palaschko's Opus 44 (publisher: Zimmermann), while presenting the violist with somechallenging problems, still lies within the grasp of a strong technique. Like Paganini's caprices,these can be presented as solos in a recital program. Since these caprices are musically orientedand technically exacting, the Kiinstler-Etuden are definitely worthy of exploration. After studyand evaluation, I have tried to determine the pedagogical value of each caprice and identifiedPalaschko's specific teaching objective. As one explores these pieces, one will notice that theseecht viola etudes can be used regularly in teaching.

I. Priiludium-Allegramente

At first, this piece does not sound like a typical etude; it reminds me of the Reger Solo Sonatain G Minor. Since Palaschko is only a few years younger than Reger, this post-Romantic stylewould be expected. The opening is marked "larghetto," with a few unusual double stops thatare awkward but playable. Musically, this opening has a lot of potential if the violist preparesfor and anticipates the occasional double and triple stops. The player also needs to be preparedfor some untraditional harmonies and voice leadings as compared to etudes by Kreutzer orCampangnoli, for instancp. The first section closes on the dominant after a difficult passage inhalf position: 1,12 Position .

4: 3, 2 :

1'1/The piece continues in a more typical etude style. The 3/4 meter, with running eighth notesand bowing pattern, remain constant:

Allegramente.o 0 0 2

Double and triple stops are encountered throughout, and in unusual left hand patterns.Although playable, these patterns are not necessarily logical or readable at first glance(unlike Kreutzer or Gavinies). The harmony is again unusual. Thus precise intonation isessential. The bowing pattern suggested might be martele. The composer has carefullynotated dynamics, an aspect often neglected in most etudes.

II. Thema und Variationen

The theme, marked Andante con moto, is probably folkish in origin. This lovely tune is thebasis of the six variations that follow. Variation I maintains the same tempo with a flow oftriplets. Bow distribution must be heeded because of unsymmetrical bowings.

Andante con moto. M ~.2 Ii,r-.. 8

o~~~~·~IIft«! I~p dolellte cresco

';r] ~..~ ~ 2 4· · =_. ~ .. ,n 1 ......~

. .. .~ ~~.. p

p espresso

t~ _ _ - 3 It.t!.. . --. I I

3 : '~. p ~

Variation II (like Variation VIII in Brahms' Haydn Variations) consists of long bows ofrunning sixteenth notes and complicated string crossings, which help foster an even bowtechnique and good right elbow adjustment:

5

6

Variation III has difficult arpeggiated thirds, sixths, and octaves. The player must keep thebow evenly placed on the two strings and lead with the right elbow:

Variation IV, marked Allegro deciso, shifts from common time to 6/8. This variation ofdouble stops, if played in a forceful manner with a stroke off the string, can be pleasurable:

,orariation nor.Allegro deciso. ~

Ii~ • .---.

Variation V is much like Variation II because the same focus of the bow is important.

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Ysaye's "round bowing" technique, as illustrated in Playing the Viola: Conversations withWilliam Primrose by David Dalton, p. 66, should be applied.

Variation VI, marked Poco piu lento ed espressivo, modulates from the previous prevailingG minor to G major. Polyphony is the main variable here, with an occasional third voice bymeans of pizzicato. The correct positioning of the left hand in playing t1is variation isessential. The right hand must be evenly set over the fingerboard, with equal emphasis of thefirst and fourth fingers:

Poco pin lento e espressivo.

B#e ~_. ~~I Ef=E E~~pizzo ------- ~ piZZo ~arcO arcp

~ I~I ~1~1 lB...----------#t~;=~

rarco 3 ~piZZo piZZo piZZo

1 - ,

.....--»-----1....,.....,.... 1IR ~ ;

pizzo .r r pIZZ.piZZo piZZo

III. Allegro assai

This etude deals with the right hand's execution of complex chromatic runs. The right hand,as in the previous etude, should emphasize basic fluidity:

All

I~flp-!p 4 0 cresco 'if dim.

BV=3~.~~~. cresco

7

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Had Palaschko written here an etude that was entirely chromatic, it would not be so difficult,but he seems to enjoy some unexpected departures with some resultant unusualmodulations: ~

irA'jJ cresc. _ _ - _ _

f:B1,~~ _- - - - - - f

".--;1~14:3 3

li#~ *~~~Bear in mind that these Kilnstler etudes are complicated and fairly long. Feeling completelycomfortable with this piece requires extensive practice and effort.

IV: In tiirkischer Weise

This etude is in ABA form. Pure intonation is an obvious challenge and the proper executionof chords in the A section is essential-a good preparation to any solo work by Bach. Itspolyphonic complexity makes the etude difficult to play convincingly:

Mo~to mOderato.~~· ~ ~ · • ~. ;-,.

1Ii1~f~ ::::: ~==-- ----;:: ==i!!!. =~. '--.:::::

p. .. · · nil2 .-..1 I .. I

~~.~ L ~ .~~~B;p ::::::= ~.. ~ ·~ . . P

f ~.---.-: ~~ >:._____ . ---- ~ ~ V ~ :

~j~~~~,Wi~~~.~~ ~

~ ~ --., ~ -----... il_

-----+-----br---~~---#~Jm~' ~ · ~;! ~

9

FIVE GIANTS OF THE VIOLAby

Ben Carl Riley

Maurice Vieux, Paul Hindemith, William Primrose,Vadim Borrissovsky, and Lionel Tertis

Prints from the original multi-colored acrylic painting on canvas, as seenin the fronticepiece of The History of the Viola, Vol. II by Maurice W.Riley.

Proceeds in support of the new Riley Award sponsored by the AmericanViola Society in recognition of a person who has made an outstandingcontribution to the viola.

**********

Yes, please send me the colored print of "Five Giants of the Viola" by Ben Carl Riley, avail­able 30 July 1992. I have enclosed a check or money order for the proper amount payable to:American Viola Society.

Number of Prints4 x 6 inches

8 x 10 inches

16 x 20 inches

$10 ea.

$20 ea.

$35 ea.

Aunountof check __Please submit to:David DaltonDepartment of Music - HFACBrigham Young UniversityProvo, UT 84602

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11

v. Grave-Allegro

This stately opening has two distinct voices that requires a careful working out of whichvoice should predominate. Though not unusually difficulty technically, it demands acontrolled right hand. One should practice extremely slowly and in a sustained fashion:

. G ~~sy] dolcelite .. . >' 2 I;- I I r--r ,. r==

b --===,. -----. ,...) ~n 2

J~.l~ ~.~- -~~Lro_._ ~~-~•• -~ -. JL - I. # - - - - - ... 4Eftp ¥ P¥ ; ¥ • ~ rtp ¥ Q*1~~ ¥ t Ell; rn= I

cresco =V ~...r"'. ~ ff

~.. ~~: ~~PF~:~:Ji/ r 4"3'

~ cresco :-)l .---! ~ ~ rit.

.. " J t\) J J ~~~~,. ,. tV~ ,. i~'-¥ dim.-E

VI. Rondoletto

~ I

P ~__a:::======= :::==--~

3 3 2

~1#'~"~~ 32 2 2;= 2 ~

After this somewhat brief introduction, the music goes segue into an allegro filled withrighthand difficulties. Bow distribution needs special attention also, but the numerous stringcrossings within legato are more crucial. The etude on first exposure does not appear to liewell for the left hand. The music reminds of the presto section in Caprice No.3 by Paganini:

Allegro.. ~t fft: .....,.. .. ,. ..

The opening section, which occurs four times in this seven-part rondo, is not too difficult.The etude is musically enjoyable, but again, some obvious "Palaschkian" chromaticism addsdifficulty to the first reading:

12

d

The small C section employs quick off the string bowing. Palaschko indicates violentemente,perhaps showing that the stroke should be an aggressive one, like the triplet passage inWagner's Tannhauser Overture:

~;: # .. ~1- - --fI. ..~ i .. a\.. I .0 ~..I.---- --t= t=~""- ~ -'l L>*g'l; E '~~'~~~-~~~~I~~~!~~~TIdUll. - - e - l'/iuJl. -

.,... cresco f~ ~

. I1... II 2. ~. i. 1• • • • • 1 .;.~ ....+.- 9 ...•

· "L-

1tktU-#~"~~~.~f

VII. Mazurka

This etude is an allegro clearly in 3/4 meter, but a publisher's mistake has it in 3/8. It is oneof my favorites in the whole volume. The opening presents a good opportunity for switchingbetween a colle and legato stroke. t a

" .. " ~~".~. . . .fe decz·so

The writing for left hand is uncomplicated, thus enabling the violist to work on a precisebow stroke in order to differentiate between the dotted eighth and sixteenth pattern with thepredominant triplet feeling. On the other hand, the B section, reminiscent of the quality of aSlavonic dance by Dvolak, is a beautiful lefthand exercise. This etude would seemappropriate for a student wishing to strengthen his double-stopping technique. Of course atanother level, making two voices work musically is another issue:

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This etude shows something about the ten KUnstler etudes: They are not necessarily rankedfrom easy to difficult. Each one, in its own way, can help improve the technique of the violistwho studies them.

VIII. Allegro moderato

Like many of the middle Kreutzer etudes, number eight deals with the trill, the short varietywith two or three turns at the most.

Allegro moderato,.

p dolce e grazl'oso . --====& ~ ~

U~= cresco _ _

I recommend exploring bow placement before each trill. After the two notes in an up bow, Iwould practice placing the bow on the string before actually trilling. This helps set andproperly initiate the clear quality of the trill. Palaschko does not forget the not-so-easy threeto four finger trill. An interesting characteristic of Palaschko's writing encountered here thatinvolves similar passages being written enharmonically on reoccurrence (much as in MauriceVieux's Orchestral Etudes):

~~' ~~---2~~~-. =iF~ ----=====5~ 0

JP

Be careful of the fingered 1-4 octave reaches which occur in a tricky sequence of four-notechords:

~ ~ ~ &~~V' 3~ ~3~

V 1:r V etr.

IX. Adagio cantabile P

On first glance, this etude was a little daunting to me: many two-part harmonies, accidentals,and no fewer than five flats. But as I studied this etude (another personal favorite), I foundits intimidating outward appearance changing to a sweet inner beauty. It reminded mesomewhat of the Sarabande from the D Major (Cello) Suite by Bach. Many technicalproblems arise, but none that have not been encountered already in the preceding etudes.This etude is actually within the grasp of the strong intermediate player. It offers theopportunity to analytically and technically distinguish the melody amid all the multiple­stopping: (continued on p. 14)

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Starting from the string seems to be an aspect of clean bowing technique in such passagesespecially appropriate in orchestral playing. The following extended section in C-sharpminor is very challenging:

This is the longest of the etudes in this opus and requires much practice. Besides beingwritten in the rather awkward key of E Major, other demands are placed on the right hand inthe opening and closing sections. A firm stroke starting from the string is appropriate indefining the first two predominant rhythmic motives:

Allegro con spirito. n n

~- ~.~.,•• ig, t4~"f ~tr~~; x. .. t'if P

o! ~ 0 "

I n ~~~I~,B=-= ---== _ ~

. P t

=

p

Adagio cantabile.

I~=====

x. Capriccio

18

In all, Opus 44 is well worth any violist's examination. They are useful and enjoyable etudesfor KUnstler-Bratschisten.

PALASCHKO'S REMAINING ETUDES

Here I offer a brief overview of the other Palaschko etudes, specifically trying to pinpoint agraded level of difficulty: easy, intermediate, difficult.

Opus 36. This volume is probably the most common and most used of Palaschko'spedagogical works for the viola. The reasons for this might be that they are easily purchasedand consist of twenty pieces that could be seen as continuing in difficulty where Kreutzerleaves off. They start at the intermediate level, progressing gradually to the advanced. Theseare much like Opus 44 in that they are very tuneful and musical. They explore manydifficult technical problems as well as musical ones. (Publishers: International, Siegel-Kisner)

Opus 49. These etudes show a consistency in style. Depending on the tempos taken, the tenetudes could be classified as difficult. They may be somewhat easier technically than Opus44. (Publisher: C. F. Schmitt)

Opus 55. The twelve etudes found here are definitely more accessible to the intermediateplayer, with the possible exception of number 12. Along with Opus 36 and Opus 45, Opus 55is also available. (Publisher: Urtext)

Opus 62. These etudes belong to the difficult category. They stand nicely by themselves asconcert pieces, particularly No.2, entitled "In the oriental style," as well as all others that aretitled, such as No.9 "Souvenir." Although difficult, these twelve etudes are not as virtuosicas those in Opus 44. They are on the same level as the more advanced etudes of Opus 36.(Publisher: Ricordi)

Opus 66. 15 studies are contained, many with names of musical forms, such as that of No. IS,"Thema und Variationen." These are also in the difficult category:

Vivace e molto leggiero ~~

.t;l~

. pp j restez. .. . . . l'estez ... · . · .

4 :-------

4",-- ~

Opus 77. These etudes could be learned by the intermediate student. Titles and styles againplay an important role, for example No. 23, "In a Spanish style," which includes pizzicatofifths and fourths. These would be effective in keeping the interest of a young student whomay not find great joy in playing etudes, indeed, sometimes a dread. (Publisher: LeDuque)

Opus 86. These are entitled "Easy and Melodious Studies for the Viola" and would serve asan effective collection of studies for the student making the transition from violin to viola.They are evenly graded to comply with a student's learning the alto clef. Aside from this,they are melodious pieces suited for the advancing beginner. All but the last few of theseetudes remain in the first position, employing the third position with an occasional fourthfinger extension to an open harmonic. There are no double stops found except in No. 23, "AHindu Song," which uses an open-string drone. These are extremely well thought out andremain consistent with Palaschko's meticulous indications of fingerings, dynamics, andbowings. (Publisher: Schott)

Opus 87. These "25 Easy and Melodic Studies for Viola" are for the beginner. They representa carefully graded set of pieces well suited for beginner-type problems. The etudes rewrittenin simpler keys, gradually exploring up to four sharps and no more than three flats. Theopportunities for working on pure intonation and bow control are plentiful. As the titleimplies, the pieces are melodious. Even though these etudes are direct and simple, I believethey can be successful in keeping the interest of the young student. Their use should beconsidered more seriously. (Publisher: Ricordi)

Opus 92, Vol. I. Melodious Studies.

The most noteworthy aspect of this opus, which includes both Volumes I and II, is the factthat the etudes have an optional piano accompaniment. Despite this addition, they aredesigned to be played solo and accomplish this end successfully. Volume I consists of twelvestudies that can be played by the beginning to intermediate violist, comparable in difficultyto the easiest of the Kreutzer etudes. Double stops are not encountered, and only the firstfour positions are employed. Characteristic of the Palaschko etudes, he uses very specificfingerings for both musical reasons and the development of technique, and he composes instyles that are attractive to the student, for example No.6, entitled, "Mazurka," or No.8,"Oriental Dance," or No. 12, which is a contemplative "Vision."

Opus 92, Vol. II. Melodious Studies.

These twelve etudes are expanded over Volume I in that they are now somewhat longer andmore difficulty technically. Chords occur, not as in the Sevcik models, but are interspersed inthese "melodious" compositions that also explore technique. Up- and down-bow staccato arealso indicated. There is a "Chromatische Studie," which is quite difficult, and an adorablycute "Elf Dance," that could easily be choreographed by the ballet instructor down the street.Melodies are definitely of paramount importance, perhaps for no other reason that tomaintain the interest of the student.

Opus 96. This volume also contains twenty-five examples that are more pieces, than etudesin the more traditional meaning. They are for the intermediate student, perhaps acontinuation of Opus 87. All bear a title, such as "Chromatische Studie," (No. 14), "Staccato­Studie," (No. II), and "Octaven-Studie," (No. 11). I find it fascinating that a man, whomreferences identify as a violinist, would write so many viola etudes. I can assume that he hada vision for the viola of the future. In any case, his etudes deserve and await furtherdiscovery and use by violists, both teachers and students. How appropriate for Palaschko toend his etudes with an "Epilogue:"

19

20

Epilog

"Rndan te e can tando gIR ~;1--_.-.-"_ ---..--, 32

p . -==== =~ - --==:::::.. ===---

qcresco _ _ _ _ f

dim, _ _ _ _

~ esp,·e.ss. =. crssc. - -

- ,- - - f

...... % V~~!;ij

- - -- - - - -anu:J"bi1e

--==::::::: :::::::==-- -===. ==--poco cresco _ _ _ _ _ -

.

~~OS';f;07? - - - - - -3 - - - -If, 1 "

f espresso P~= =

- - - - - -

~gbdo7ce

- i ".,

Jib. ~~~dim. poco a poco

Joel Belgique is a member of the San Diego Symphony. He has studied with Heidi Castleman at theEastman School of Music and at the Cleveland Institute of Music where he received his bachelor'sdegree. He has studied with Clyn Barrus at Brigham Young University where he is pursuing amaster's degree. He has appeared as soloist with the Utah Symphony, the National RepertoryOrchestra, and the BYU Chamber Orchestra on two European tours.

ELECTED AVS BOARD MEMBERS

Six recently elected board members will serve for four years until 1996. Congratulations areextended to:

21

Mary ArlinPeter Slowik

Dwight PoundsDonald McInnes

Jeffrey IrvineThomas Tatton

Continuing to serve as board members until 1994 are:

William MagersEmanuel Vardi

Michael TreeWilliam Preucil

Kathryn PlummerRobert Vernon

Continuing to serve as officers until 1994 are:

Alan de Veritch, PresidentHarold Coletta, Vice PresidentPamela Goldsmith, SecretaryAnn Woodward, TreasurerDavid Dalton, Past President

Appreciation is expressed to the following board members for their valued support duringtheir term of office:

Louis Kievrnan (deceased)Karen Tuttle

Robert OppeltAnn Woodward

22

1993 VIOLA CONGRESSThe XXI International Viola Congress, to be held at Northwestern University (Evanston, Illinois, just North of Chicago)June 23-27, 1993 will bring together many of the finest violists from this country and around the world. The four-day violaextravaganza promises to be an exciting, stimulating, and illuminating event. The wide variety of concerts, lectures, masterclasses, and panel discussions planned for the Congress will meet the intellectual and musical needs of all violaafficionados, from casual "friends of the viola" to the most devoted professional.

The recitals and concerts played for the Congress have been planned to present a variety of types of music, includingsolo, duo, chamber music, viola ensemble and concerto repertoire. Whereas programming in past Congresses hasconcentrated on the standard viola literature, performances at the Northwestern Congress will range from originalinstrument performances. While planning and negotiation with several prominent international violists is still underway,the Northwestern Congress already promises a dazzling array of performances. Among the highlights:

Concerto Concert: Featuring William Schoen (premiering a concerto by Maurice Gardner), Rosemary Glyde (performing music ofYork Bowen), Karen Ritscher (performing the Joel Friedman Viola Concerto) and the winner of the Primrose Scholarship Competition.

Solo recitals by Altar Arad (including the premiere performance of his solo sonata) and Paul Coletti (performing works of Bach,Bolling, and Clarke).

Mixed solo recitals spotlighting such artists as Edward Adelson, Amy Brandfonbrenner, James Dunham, Jerzy Kosmala, DougMcNabeny, Matt Michelek, Rami Solomonow, Robert Verebes, and Richard Young.

Baroque/Classic recital showcasing original instrument performances by Aliza Appel, Pamela Goldsmith, Judson Griffin, SusanIodone, and Lisa Rautenberg.

Viola duo recital of husband/wife duos Ralph Fielding/Valerie Diamond, Max Raimi/Diane Mues, Jeffery Irvine/Lynne Ramsey.

Viola chamber music recital highlighting Yizhak Schotten in several important works involving the viola in mixed ensembles.

Two viola ensemble concerts: The Northwestern University Viola Ensemble will present a recital of music written for one to twelveviolas, including several premieres of music written expressly for the ensemble. The Corelli Strings of Wheaton College (a rapidly­growing Suziki ensemble) will present an outdoor concert as part of the Congress' community outreach.

Each day will include several lectures or panel discussions. Among the presentations:

Frank Babbitt will address the interpretive and technical challenges faced in the solo writings of Paul Hindemith.Alice Brandfonbrenner will speak of methods to control the physical stress of viola playing, including the aspects of

conditioning, position, stretching, and more.Alan de Veritch will present a session on how to organize, maintain, and reap the benefits of a local viola society.Great violas of the world: a lecture/presentation of representative works of such leading makers as da Salo, Guarneri, Maggini,

and Stradivari.Nathan Phillips will present a lecture/demonstration illustrating the state-of-the-art possibilities of interfacing viola

performance with computer-controlled electronic effects.Mil ton Preves will speak on his collaboration with Ernest Bloch in the creation of several works in the standard repertoire.Panel Discussion on the musical and technical rewards of studying baroque viola, featuring the prominent performers

mentioned above.Panel Discussion focusing on the most appropriate way to conduct orchestral auditions. Members of the panel will include

Robert Vernon, Ralph Fielding, and representatives from the Chicago Symphony Orchestra.

The Congress will also present some of the country's brightest young violists in master classes by Heidi Castelman(solo performance), Jeffery Irvine (solo performance), Michael Tree (chamber music performance), and Robert Vernon(orchestral performance).

The Primrose Scholarship Competition, displays of instrument makers, a gala banquet and several receptions roundout the Northwestern Congress schedule. In planning the congress host chair Peter Slowik has expressly reserved free timeto allow conference participant to take advantage of Chicago's many cultural opportunities.

Information regarding registration and housing for the Congress will be available January 1, 1993. Each member ofAVS will receive a registration form in the mail in early January. Northwestern University will provide splendid facilitieson the shore of Lake Michigan, and many fine artists have pledged their commitment to perform-WE NEED YOUR HELPto make this the greatest Viola Congress ever-let us know of other viola players/fans/students that would like to come tothe Congress, and we will include them on the mailing list. Please forward your lists of names and addresses (by January 1to be included in our mailing) to:

Peter Slowik, Host ChairXXI International Viola CongressNorthwestern University, School of Music1965 Campus Drive SouthEvanston, IL 60208(708) 491-3826

FORUM

REMEMBERING WILLIAM PRIMROSE

23

Editor's Note: This solicited tribute from DUJight Pounds uJas to have been included in fA VS Vol. 8 No.1, 1992, the issue commemorating the tenth anniversary of the death of Williafn Prilnrose. It wasinadvertently left out and is included here with the editor's apologies.

William Primrose and Dwight Poundswere born and lived in quite disparate sectionsof the Western World-Scotland and Texas. Hewas inheritor of the strict formality andstructure of the Church of England andprescribed etiquette of European concert halls; Iinherited the informality typical of West Texasand the Southern Baptist Church. We shared alove of music, we each valued humor, and intime our paths crossed and we became goodfriends.

Dean Wilford Bain at Indiana Universityfelt that all his applied faculty should teach asmany students as Joseph Gingold (who couldnever have enough!), and Mr. Primroseaccepted me primarily to complete a ratherheavy teaching assignment. Primrose, who felthe did his best teaching with seven to twelvefull-time students, attempted to make the bestof the situation, as did I, despite my insufficienttraining and technique to warrant study with ateacher of his caliber. Thus began my three­year association with William Primrose and,under his tutelage, I began to play the viola. Tomy great honor, he served on my doctoralcommittee.

There was much to learn, both about theviola and the man. The profundity of hishearing loss was not apparent until one day,during a lesson, the telephone rang. Mr.Primrose was marking fingering and made noattempt to go to the phone through the thirdring. I said, ''Mr. Primrose, the telephone ...""What?" he asked, somewhat startled that hehad been interrupted. "The telephone isringing!" I answered, projecting my voice asstrongly as possible without shouting. "Oh!"he said, and promptly went to the phone. Helater accused me of having a "booming" voice!That he taught so effectively despite thedebilitating handicap was astonishing.

I saw him angry one time in my life.Reporting to a lesson one afternoon, he met meat his door and said, "I am terribly sorry, but Iam simply too upset to teach today." He owedme no explanations, but before I could leave, hesaid, "Come on in!" and proceeded to vent hisanger to me, David Dawson, David Dalton, anda third party r~-I-comments regarding

him in a nationally published article aboutanother promine!lt American musician. Themagazine's next edition carried a clarificationin his defense, Primrose was satisfied, and thesituation blew over. It remains a treasuredcompliment that he elected to share theincident with me, for whatever reason.

For William Primrose, the extraordinarywas often typical, both in his great art and histeaching. My most memorable experience withMr. Primrose involved my doctoral orals. As aviola minor, I had no performanceresponsibilities, but did have written and oralexams. Mr. Primrose mentioned several sourcebooks and asked that I be familiar with them. Ireceived his wri tten questions after anexhausting German exam, late in the day.Recognizing only two questions, I scribbled theanswers, turned them in, and returned homedejectedly to tell my wife that I had flunked myviola exam. She said, "Mr. Primrose just calledand is coming here to see you." He and hisson, who was visiting him at the time, werethere within five minutes. He walked in,embraced me vigorously, and said, "My boy, Iintended for you to use those reference booksto answer my questions, not to do them frommemory!" He returned the paper and, totallyinvigorated by his visit and a hot dinner, Ispent five hours in the library that eveningattempting to justify his trust. The followingmorning as we met for my orals, Mr.Primrose's beaming face indicated he was mostpleased with my efforts! He simply caredenough to interrupt a visit with his son in mybehalf, an act of unique generosity that I cannever forget.

William Primrose received the C.B.E. andwas given an honorary doctorate, anddelighted in these honors. Still, he was the oneperson I have ever known who required notitle. When one said, "William Primrose,Violist," or simply "Mr. Primrose," nothingmore sufficed to increase his stature.

He was truly unforgettable. To spend fiveminutes with William Primrose was to improveone's life. Like many others, I was fortunate:my time, both as student and friend, wasmeasured in years.

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CONTRABASSVIOLIN

By JEROME REEDI must admit that the anticipa­

tion of a viola recital does notget my adrenaline flowing.

My enthusiasm builds onlymarginally more than for a tubarecital.

Perhaps this is due to the factthat the viola is the invisible In­strument of the string family ­always relegated to an inner,harmonic· voice but rarelyheard as a solo instrument.

Last night at Blair RecitalHall, violist Kathryn Plummerproved that there is at least onesubstantial work for the viola.

The Sonata for Viola and Pi­ano, Ope 147 is Shostakovich'slast composition and was com­pleted only three days beforehis death. Every movementends with the indication moren­do, which means dying away.The work is a tribute to Beetho­ven and quotes from two of hispiano sonatas, Ope 110 and Ope27. no. 2.

Violist playsunbalancedprogram

- Jerome Reed '----- ---1

VIOLA & CRITICViolist Plays Unbalanced Program

by Jerome Reed

Gentlemen:

The following lines opened a review in the Saturday, 10October 1992, edition of your newspaper:

Mr. Frank SutherlandMr. Allan BostickThe Ten nessean1100 BroadwayNashville, TN 37203

"I must admit that the anticipation of a viola recital doesnot get my adrenaline flowing.

My enthusiasm builds only marginally more than for atuba recital.

Perhaps that is due to the fact that the viola is theinvisible instrument of the string family - always relegatedto an inner, harmonic voice but rarely heard as a soloinstrument.

Last night at Blair Recital Hall, violist Kathryn Plummerproved that there is at least one substantial work for theviola."

The opening paragraphs of Mr. Reed's review of the Kathryn Plummer-Amy Dorfman recital,which I also attended, do all violists a disservice. Instead of enlightening and informing his readers,he only reiterated familiar cliches which serve only to perpetuate the myths that the viola is not a soloinstrument and that it has very little literature. Somehow he even managed to malign tubists in theprocess.

First of all, the joy and intellectual curiosity of Mr. Reed's opening lines lead his audience to thinkhe is anticipating a root canal rather than attending a viola recital! Secondly, in referring to the violaas "the invisible instrument ... always relegated to the inner, harmonic voice," he fails to distinguishbetween the orchestral, chamber, and solo roles of the instrument. Mr. Reed writes as if he expectedno more from Ms. Plummer's performance than soft chords, afterbeats, and Alberti accompanimentpatterns to non-existent melodies. The fact that the viola is given a heavy accompanying role in muchorchestral music by no means makes it less credible as a solo instrument.

Next, Mr. Reed condescendingly suggests that there exists "at least one substantial work for theviola," referring to Shostakovich's Sonata for Viola and Piano, Ope 147. One must surmise that thecritic has never heard of Paul Hindemith, Ernest Bloch, Rebecca Clarke, Hector Berlioz, WilliamWalton, Carl Stamitz, or Bela Bartok (to name but a few), all of whom wrote "substantial" works forthe viola - as did Robert Schumann.

Mr. Reed is on firm ground only in his comments regarding the music itself and the performers.Although I or any other reader may disagree, the critic has both the right and responsibility to "callhis shots" as he sees fit, as long as the observations are based on knowledge and documentable fact. Ihave no argument in principle with the fact that he took Plummer and Dorfman to task for theselections in the second half of the recital and the overall balance of the program - these arelegitimate subjects for critical review. Ms. Plummer obviously chose lighter material to balance thevery serious Shostakovich sonata rather than another three-movement work. Program content ishighly subjective and both Reed and Plummer make valid points. However, Mr. Reed's observationthat the four sections in the second half were "not demanding" on either player or listener is

MEMBERSHIP ENROLLMENT FORM

The AVS is an association for the promotion of viola performance and research.

Our personal and financial support is appreciated. As a member, you receive the three annual issuesof JAVS, the Society's Journal, and The Viola, as it is published by the International Viola Society.You will also receive the satisfaction of kno}ving that you are a men1ber of a collegial group lvhich iscontributing to the furtherance of our instrunlent and its literature.

Pleas~ enroll me/my group as a member of AVS for one year. Begin my subscription to JAVS andThe Viola.

My check for one year's dues, made payable to the American Viola Society, is enclosed as indicatedbelow:

Renewal Membership ( ) $25New Membership ( ) $25Student Membership ( ) $15International Membership ( ) $30

( ) I wish to contribute to The Primrose Memorial Scholarship Fund in the amount of$----------

TOTAL--------

( ) I wish to make an additional tax-deductible contribution to the AVS Endowment in the amountof $------=--------

Please indicate appropriate membership category below.

( ) Individual( ) Amateur( ) Educational Organization( ) Music Business( ) Library( ) Other

Please send AVS your biographical n1aterial, photographs(clearly labelled), brochures, concert programs, posters,press releases, clippings and other related n1aterial on aregular basis for our resource files and possiblepublications. We serve as a clearing house for many violarelated requests.

Name

Address------------------------------------

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Telephone _

( ) Check if this is a new address

(If you are a student, in which school are you enrolled?Please list permanent address above rather than school address.)

Send to: Pamela Goldsmith, AVS Secretary11640 Amanda DriveStudio City, CA 91604

misleading, at least for the player: Benjamin's Jamaican Rumba is deceptively difficult. KathrynPlummer's flawless technique and impeccable intonation resulted in a performance which may haveappeared effortless, but wasn't. Even the great William Primrose prepared it carefully, and it was hisarrangement! One presumes Mr. Reed has heard of William Primrose.

On the whole, I suggest that the unfounded, condescending and biased comments in thisimportant review reveal Mr. Reed to be reluctant to attend and unprepared to review this recital andtherefore poorly qualified to write critically about either the viola or its literature. Had he visitedwith any active violists, he may have learned why they love their instrument: because of the big,warm and beautiful, mellow sound it produces! Had he visited Blairs music library, perhaps hewould have found a copy of Franz Zeyringer's LiteraturfUr Viola, which lists thousands of works forviola in every conceivable instrumental combination. Perhaps then his approach to the reviewwould have been curiosity, anticipation, a willingness to expand his musical expertise and the desireto share these insights with his readers.

27

Dwight Pounds, Ph.D.Bowling Green, Kentucky

cc: Jerome ReedKathryn Plummer

SM.\LL BASSVIOLIN

OF INTEREST

Chapters of the American Viola Society

In the spirit of the recommendation byAVS Officers and Board at their past boardmeetings in Ithaca, New York and Idyllwild,California, this past year has shown amarked increase in activity focusing on theviola in local areas. This has taken form invarious events generally described as "ViolaDay" or "Viola Celebration," and has

resulted in the formation of local or statechapter of the AVS. News was received of alively viola evening with various soloists andensembles in Los Angeles and the MidwestViola Day in Chicago. The founding of theNew York Viola Society with RosemaryClyde, chair, and also the Utah Viola Societywith Michael Palumbo, chair, is announced.

Margin graphics from

Geigenverbessererby Alexander Buchne~

Verlag Das

Musikinstrument,

Frankfurt/Main,

and Ancetres du Violinby Laurent Grillet,

Librairie Generale des Arts

Decoratifs, Charles Schmid,

Editellr, Paris, 1901~

YOU ARE CORDIALLY INVITED TO ATTEND THE INAUGURAL MEETING OF THE

NEW YORK VIOLA SOCIETYHONORING IN RECITAL OUR. ESI.E.E.MEO COLLEAGUE AND VIOLIST

:<EMANUELV·ARDI

WITH

NORMAN CAREY, PIANO

ROSEMARY GLYDE, VIOLA

HINDEMITH, FOLLARI, VARDI, TCHAIKOVSKYRING THE WORLD PRE~v1IERE OFTWO VIOLAS BY BERNARD HOFFER

RECITAL AT 1:30 P.M.

MEETING IMMEDIATELY FOLLOWING WITH

HONORED AND SPEAKERS

MS. CYNT .PHELPSNEWLY APPOINTED PRI VIOLA,

THE NEW YORK PHI IC

AND THE PRESENTATION OFTHE NYVS DISTINGUISHED ARTIST MEDALLION

TO

MISS LILLIAN FUCHS

VOLS.AUTHOR OF TH E

SUNDAY, OCTOBER 18, 1992THE MANNES CONCERT HALLMANNES COLLEGE OF MUSIC

150 West, 85th StreetNew York, New York 10024

Tickets available at the door, $20, applicable to membership inthe New York Viola Society. Or send your membership form to

THE NEW YORK VIOLA SOCIETYC/O V. SALAS, SECRETARY203 WEST 98 STREET #30

NEW YORK, NEW YORK 10025

9:00 - 12:30

9:30 - 10:30

11:00 - 12:00

VIVA VIOLA!A Celebration

Saturday, November 7, 1992 • Salt lake City, UtahOld Institute Building, comer of 300 S. & University,

directly west across the street from Pioneer Memorial Theater·

o InterlochenArts Academy and Arts Camp

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31

The Arizona Virtuoso Violasby

DeeAnn Greene

One hundred twenty Arizona violistsperformed a mass concert Saturday, 17October 1992 for the Second Annual VirtuosoViola Festival at McClintock High School inTempe, Arizona. Sponsored by the TempeElementary School District, the event wascoordinated by Arizona State Universityprofessor, Williams Magers, former PhoenixSymphony member, Patricia Cosand, a ndTempe string specialist, Sally Pullen. Themorning of festivities featured master classes,lectures, a viola competition, and a recital.

Viola students ranged in ages from fiveyears to high school and included ninestudents who flew in for the day fromAlbuquerque, New Mexico. Never before inArizona have so many viola players gatheredtogether.

Jill Osborne, Katherine Black, CarolReeves, Sherry Gordon, Jaime Johnson,Martha Hughes, and Margaret Haviland,were among the more than sixteenenthusiastic viola teachers who donated theirtime and talents to make the day possible.The common goals of these teachers was tobring young violists together and fostercontinued interest in the viola.

Young violists enjoyed meeting andperforming with fellow violists, learning moreabout the viola, and listening to fine violaperformances. The Virtuoso Viola day filled agap for these young musicians who might

otherwise be overshadowed by their otherstring counterparts.

This year, a viola competition was addedto the scheduled activities. Three cash prizeswere awarded. VerRona Waddell, the firstplace winner, performed Alan ShulmansTheme and Variations for the noon recital. Thesecond and third place winners were SarahChamberlin and Sara Lindsey.

Another first for the Virtuoso Viola eventwas the addition of nationally known guestlecturer, Don Robertson, of Robertson's StringShop in Albuquerque, New Mexico. Mr.Robertson discussed various functions andcare of violas with each of the five masterclasses. Lecturers were geared to the age andability level of the students. Young playersdelighted in seeing the inside of a viola for thefirst time while learning what a soundpostwas. Older students learned about placementof the soundpost and how to treat unwantedproblems such as wolftones.

The growth of viola players in thecommunities of Tempe, Mesa, and Gilbert,Arizona is indicated by the doubledenrollment of this year's event. Originated byJill Osborne, the first event began three yearsago with sixty violists. Excited parentsflocked to this year's performance in recordnumbers. The Arizona Virtuoso Violasenthusiastically look forward to expandedstate wide growth for their next annual event.

BARITONEVIOLIN

Name-- _

Check enclosed for $ _

AVAILABLE THROUGH THECANADIAN VIOLA SOCIETYMVlJIC !fO~ o/IOL~

THE COMPOSITIONS OF RICHARD LANE

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ABOUT VIOLISTS

JAZZ VIOLISTAn Interoiew with Katrina Wreede

byKaren Elaine

33

Growing up in the Los Angeles area, KatrinaWreede began work on her bachelor's degree atCalifornia State University, Northridge withLouis Kievman. While in school, she worked asa freelancer with several of the communityorchestras in Southern California. In 1982, shemoved to San Jose to complete her degree at SanJose State, studying with Don Ehrlich. WithEhrlich's encouragement, she explored theinterdependence of physical awareness andartistic expression, studying yoga, the Alexandertechnique, and bellydancing with zils. Books shefound helpful were A Soprano On Her Head byEloise Ristad, and Galway's Inner Game ofTennis."I had gone into music to express myself andconnect with people, but got caught up in tryingto play 'right."' So in addition to her positionwith the San Jose Symphony, Katrina formed theAlmaden String Quartet, a group for fun andprofit, for which she arranged pop and jazztunes.

In spite of her extracurricular explorations,Katrina found the realities of the professionalclassical musical world and traditional methodsof study to be counterproductive to personalmusical expression. "You study twenty years tolearn how to express yourself, and then, whenyou play in the orchestra section, if you hearyourself too much, you're doing it wrong. I wasleaving rehearsals frustrated-in tears. One day,I was invited to a chamber music party attendedentirely by improvising musicians. We readstandard classical music, but they had acompletely different way of feeling and livingthe music-honest to the musical intent first, notthe "right technique." In one Haydn symphony,the viola section included steel drums and me,and it sounded great!"

Because of that party, Ms. Wreedecommitted the next two years wholly to learningto improvise. She formed the Skyline Trio, aclassical and jazz group with Irene Sazer, thenviolinist and violist of the Turtle Island String

Quartet, and Mark Summer, cellist of the TurtleIsland, as well as playing with and learningfrom many musicians outside the classical musicscene.

From August 1989 to December 1991,Katrina toured and recorded as a member of theTurtle Island String Quartet. Although she hadimmersed herself in jazz before, the differentapproach to rehearsing was an education.During the first rehearsals, Wreede asked aboutspecific bowings. The other players hadn'tconsidered making rules about it. Only themusical intent and feeling it together wereimportant-and it worked.

Ms. Wreede believes that classical trainingcreates problems for musicians by emphasizingthe perfection of expressive tools, that is, correctbowing, pitch, ideal tone, vibra to, acceptedarticulations, often over, or at the expense of, themusical intent of a piece, as well as the player'scharacter. "So many students come to mesaying, 'I'll get the notes, then we can talk aboutmusic.' Like a symphony audition, where thefirst goal is to be perfect, if you can slip in somemusic, that's great." She observes that even inthe performance of 20th century music, such asstring arrangements of jazz, players often playwithin the limits of 19th century techniquesbecause that is the "perfect" and "right" way toplay. "If string players study other forms ofmusic and dance, they might hear Bach orBeethoven in a different way that reflects theirown eclectic ear. Listen to Nigel Kennedy's FourSeasons to hear music honest to Vivaldi andmodem sensibilities."

An aspect of jazz not foreign to the GreatMasters, yet abandoned by modern stringplayers-possibly because it can never beperfected-is improvisation. "In the drivetoward the 'perfect interpretation' of old war­horses, classical musicians have lost track of thistool. Music should also reflect who and what isalive now. We ought to continue playing music

34

~.1.

21--------\

by great composers, but consider that onehundred years from now, historians should havemore to say than 'the late 1900s-when musiciansgave great performances of Beethoven.'"

Katrina Wreede is doing her part in the NewMusic world now. Much of her energy is directedtoward composing. Recent compositions include"C-String Blues," performed en masse at the 1991International Viola Congress in Ithaca, "Li'lPhrygian Rondo for Karen" (Karen Elaine), "BopCaprice One" for solo viola, (featured in Stringsmagazine), and "Tango Duo" for Harmonica andViola-all on Vlazville Music, BMI. As a foundingmember of the Bay Area Jazz Composers'Orchestra, Ms. Wreede has arranged her "SynapseLapse" for the big band with strings.

Playing with jazz greats like Dr. Billy Taylorand John Blake gave her the impetus to exploregroove-oriented compositions for string players."Li'l Phrygian Rondo" for two violas, one

improvising, one "straight," was commissionedby myself in 1992. Katrina says of the work that"my objective was to create a performer andaudience-friendly piece that sounds good, istechnically accessible, and uses groove-feels."Ultimately to be included in a collection of worksfor the violist learning to improvise, she conceived"LPRK" so that a player without extensiveexperience in grooving can explore this realm,developing more gut awareness of the rhythmicmeter and practice self-expression without theregular "rules."

Karen Elaine is Adjunct Professor of Viola atSan Diego State University, an active solorecitalist, and enthusiast for new music.

Following is the first page of "Li'l PhrygianRondo for Karen" (available from Vlazville Music,2884 Carmel Street, Oakland CA 94602):

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About Violists Cont'd.

REVISED BART6KICM Artists announces that the

distinguished violist Paul Neubauer will give theworld premiere of the Newly Revised Concertofor Viola and Orchestra by Bela Bartok. This willtake place 27 May 1993 in Bonn, Germany withDennis Russell Davies conducting the Orchesterder Beethovenhalle.

Mr. Neubauer, who was the first-prizewinner of the Lionel Tertis International ViolaCompetition at age seventeen, and who wasappointed principal violist of the New YorkPhilharmonic at twenty-one (the youngestprincipal string player in the orchestra's history),has enjoyed an active career as soloist andchamber musician since leaving thePhilharmonic. He will have North Americanperformance rights of the new Bartok throughBoosey & Hawkes until July 1994.

Neubauer has worked on the revision of theConcerto for several years in cooperation withBartok's son, Peter Bartok, and the publisher,Boosey &Hawkes.

GLYDE SERIESRosemary Glyde opened a three-concert

series on 6 December 1992 at the KosciuszkoFoundation in New York City. Works byBlackwood, Khachaturian, Sitt, Squire wereplayed, and the Fantasie for Four Violas of YorkBowen and the New York Premiere of EmanuelVardi's Suite for Viola &Piano featured.

The other two concerts are scheduled for 28February and 25 April 1993 in which three

premieres will be given. Collaborating with Ms.Glyde are Paul Coletti, Karen Ritscher, EmanuelVardi, the Essex Quartet, and pianists NormanCarey and Diana Kacso. The series will benefitthe Edgar C. Glyde Viola Scholarship Fund.

GLAZER DUORobert Glazer, viola, and Gilda Glazer,

piano, will perform on 6 February 1993 the worldpremiere of the Double Concerto for Viola andPiano by Sabin Pautza with the Plainfield (NewJersey) Symphony conducted by the composer.The Concerto, written for the Glazers, will beplayed by them in several Eastern Europeancountries in May.

FELLOWSHIP FOR MINORITY MUSICIANSThe Concert Artists Guild has announced

the winners of its Fellowship Program forMinority Musicians. Three performers and onecomposer will receive $60,000 in support of theircareer development. Among the performers to beawarded is Amadi Hummings, violist, whobegan his musical studies at the age of four, andreceived his formal training at the NorthCarolina School of the Arts, the New EnglandConservatory, Rice University, and IndianaUniversity. His principal teachers have beenSally Peck, Marcus Thompson, and Atar Arad.Many of his musical activities have beensponsored by the Boys Clubs of America andEpstein Young Artists Program, under whoseauspices he has performed in various major citiesin the U.S.

37

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~If~6 '!

MEMBERSHIP DUESTI1.e AVS Officers at their June meeting in Idyllwild, California voted to

increase membership dues beginning 1 January 1993.The rates will be as indicated:

StudentEmeritusRegularInternational

$15$15$30$35

Thank You!

Harold KlatzConductor, Hyde Park (III.) Chamber Orchestra;Former Principal Violinist, The National Symphony,Washington D.C.; Lyric Opera Orchestra, Chicago;and the Dallas Symphony

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FOR INFORMATION: Professor Helen Kwalwasser, Temple University,Esther Boyer College of Music, Box VLA, Philadelphia, PA 19122 (215) 787-8301

ANNOUNCEMENTS

SOLICITATION OFARTICLES

JAVS is a peer-reviewed publication.For college students and others whohave written articles, papers,documents, and dissertations, whichhave not been published, JAVS and theViola Yearbook offer the possibility forpublication. Submit any of your writingon the broad subject of "viola" to theeditor:

Dr. David DaltonBYU Music - HFACProvo, UT 84062

ADVERTISERS' RATESINCREASE

The AVS Officers at their Junemeeting in Idyllwild, Californiavoted to increase rates foradvertising in JAVS starting withVol. 8 No.3, 1992.

Full page

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41

The Primrose International Viola Archiverecently has been sent a number of works forviola, either alone, in duet, or quartet, butwithout the sullying influence of piano, or anyother instrument. The viola is found in solitudeor ensemble ... pure, but in these cases, anythingbut dull. Of the eight pieces received, only twolook like they were prepared for publica tionusing standard engraved printing techniques,Three look like they were prepared by hand inink, two by computer music-printing. (One isunpublished, still in the composer's manuscript.)The fact tha t viola music is being distrtbu tedcommercially in this form should be encouraging,as it means the publishing industry will consideralternatives to the expensive engraving process,so that pieces targeted at a small market, likeviolists, can be published. Of course the otherside of the coin is that, using modem techniques,publishing can be accomplished by smallpublishing houses that are not really primarilyinterested in profit. The problem then becomesone of distribution. Perhaps JAVS can help bringpublishers and buyers together. All eight of theseviola pieces take six to seven minutes to perform,and all eight seem like welcome, felicitous, usefuladditions to our repertory. Five works areconsidered below; three others which aresomewhat more adventurous, will be reviewedlater.

Fantasia for Two Violas (1992) by RobertLinn. Unpublished.Notations on the manuscript: #based on a tune byGirolamo Frescobaldi (1583-1643)" andIiComposed for Donald McInnes and PamelaGoldsmith who gave the first performance onApril 15, 1992 playing two Gasparo cia Salbviolas." (This performance was cited in JAVS, Vol.8, No.2, p. 39.)

The Fantasia is a set of eleven variations plusthe tune, which Frescobaldi used in an organpiece titled Canzona dopo l'Epistola (Canzona afterthe Epistle), which is part of his Fiori Musicali(Musical Flowers) that bloomed in Venice, in1635. The Linn style might be described as neo­baroque, with counterpoint dominating;refreshingly dissonant, slightly modal sounding,straight-forward rhythmically, tradi tionallynotated. The performers need to be fluent,unafraid of double-stops or the higher tessituras,but this music is written with the intention ofletting the violas sound good. The composerstated that the piece was written for the twoGasparo violas used by these wonderful players,and may be unique in that it was writtenspecifically for these instruments.

Each varia tion is distinguished by its own

tempo and compositional idea, so contrasts ofpersonality among the variations abound. Theyare short, but uneven in length, ranging from fourto twenty-seven bars. All in all, this is one of thehappiest additions to the repertory encounteredrecently. It deserves immediate publication, andacceptance in the viola community seemsassured.

Quartet for Four Violas by RichardLane.. Baird Knechtel, Thomas Tattoo,editors. Available through the CanadianViola Society, 103 North Drive, Islington,Ontario, Canada, M9A 4RS or 2705Rutledge Way, Stockton, California,95207. Complete score and parts $20.00.

Richard Lane was a featured composer at theIthaca Viola Congress in 1991, where we heardhis Aria and Allegro and Trio for Clarinet, Violaand Piano. Baird Knechtel, President of theCanadian Viola Society, and Thomas Tatton(unofficial King of viola ensemble) have teamedup to present this viola quartet which Lanecomposed in 1978. This is a desk-top printingeffort for which the editors deserve praise, aswithout them, the piece would not be available.The printing lacks refinement here and there, butis preferable, aesthetically, to most hand-writteneditions.

The Quartet is in four brief movements,which make modest technical demands on theplayers. The harmonic style is mildly dissonantbut triadic, with meters that shift a bit in the firstmovement, but are consistent in others. Thiswould be a fine vehicle for competent high schoolviolists of roughly equal abilities, as the musicalinterest is distributed so that no one partdominates. The style is 20th century enough topresent a "contemporary" impression. There areno fingerings indicated, so young players wouldneed some help. The work is dedicated to MyronRosenblum and is a valuable addition to themeager viola ensemble repertory.

Febrnary Sonatina, for solo viola (1990)by John McCabe. Novello & CompanyLimited, London, 1991. Sale sellingagent, Theodore Presser Company,Presser Place, Bryn Mawr, Pennsylvania,19010. $10.75.

Commissioned as the Test Piece for the 1991Lionel Tertis International Viola Competition and

Announcing the publication of

Sonata in GAntonio Vivaldi

An important addition to the repertoire of the serious violist.

Antonio Vivaldi

Faithfully TranscribedFor Viola byAlan Arnold

~---------~--------

Available From:

VIOLA WORLD PUBLICATIONS14 Fenwood RoadHuntington Station, New York 11746

Price $4.50, Please add $1.50 Postage. NYS Residents add 8~% tax

43

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technical directness are clear signals of itsderivation. The approach and effect is like piecesfor young people by Bartok. The names of thebrief movements explain the intention: Prelude,Caprice, Romance, Scherzo, Charivari. Technicaldemands are modest; extreme ranges areavoided, but there are some well-reasoneddouble-stops. "Extended techniques" are notpresent. There are some bowings shown, but notfingerings. This work will need considerableediting to be ready for performance, but it wouldbe a good vehicle for an undergraduate collegeviolists of less than virtuoso development.

There are page-turns in the first and lastmovement for which no provision is made.Perhaps this defect is compensated for by thecharming drawing on the cover by SydneyStibbard, which shows a satyr playing the violawith two girls and a young satyr dancing.Overall, Partita is a fun and refreshing piece.

- Thomas G. HallChapman University

RECORDINGSWilliam PrimrosePrimrose Quartet Reissue. Schumann PianoQuintet in E-flat, Opt 44 (with Sanroma); BrahmsString Quartet in B-flat, Opt 67 (first issue);Smetana String Quartet in E minor "From myLife;" Haydn "The Seven Last Words of Christ."Biddulph Recordings, 2-CO, LAB 052/53.Available through the American Viola Society (seepage 2of this issue of JAVS).

Peter HatchJohannes Brahms Sonata in 0 Major, Opt 78; JosephJoachim Hebrew Melodies, Opt 9; Hans Sitt AlbumLeaves, Opt 39 (first recording); Georges EnescoConcert pIece (Delores Stevens, piano). PRO - VM5308 CD.

Paul CorteseElliott Carter Elegy for Viola and Piano; WilliamBergsma Fantastic Variations on a Theme fromTristan; Alan Hovhaness Chahagir for Viola Solo;George Rochberg Sonata for Viola and Piano;Vincent Persichetti Parable for Viola; Infanta Marina;(Jon Klibonoff, piano) Crystal Records CD636, 2235Willida Lane, Sedro Wooley WA 93284

PROdigital Records announces a new recordinglabel that will concentrate on music for violin,viola, and cello with accompaniment of piano andharpsichord. It will see k to record hi thertounrecorded and otherwise unrecognized music byimportant composers from the 17th century to thepresent. These will soon be available in betterclassical music stores and the recordings can alsobe ordered directly from:

PROdigital Records,P.O. Box 27831Los Angeles, CA 90027Tel. (213) 665-2332

Workshop, February Sonatina is the second in aseries of "Calendar" Sonatinas by Mr. McCabe. Itis dedicated to John Bethell. The work is in onemovement which alternates between vivo andlento tempo markings. The basic pulse is thequarter note and measures are indicated, but theycontain differing and unspecified numbers ofquarter beats. Melodic content seems absent, butthe lento sections are somewhat lyrical, incontrast to the vivo sections where phrases beginwith loud sixteenth notes and dissipate anddiminish in order to imitate the action of breakingocean waves, as the composer explains in a"Programme Note." There are many doublestops, emphasizing fifths and seconds, oftenusing open strings. The lower and middle rangesof the instrument are used to good effect. Theoverall result is quite dramatic, using anapproach that is reminiscent of the Berio SequenzaVI, although not nearly as extreme.

Partita for solo viola, by John DavidLamb. Published by NACKENSVANNER, 1907 East Blaine, Seattle,Washington, 98112. Copyright, 1992.

Lamentations ofJeremiah for Solo Violaby Milton Barnes. Jaymar MusicLimited, Huron Press, London, Ontario,Canada, 1991.. U.S..A. representative,Oxford University Press, 200 MadisonAvenue, N.Y., N.Y., 10016. $4.50.

Lamentations of Jeremiah was composed inSiena, Italy in 1959 for cello originally, thentranscribed for viola. Like the Sposalizio by FranzLiszt, it is a musical representation of a painting,in this case "Jeremiah Lamenting the Destructionof Jerusalem" by Rembrandt. Lyrical, recitative­like, full of emotional outbursts and wailing,tuneful and rhythmic, it carries the Jewishdisposition perhaps a step further than ErnestBloch. The uncredited editor has done a first-ratejob with both fingerings and bowings, and withthe exception of one short unnecessary 8vapassage, the presentation is apparently withoutflaw, even the page-turn has been considered.The work takes about six minutes, which is longenough for this emotional level.

Partita, which is in five short movements, isdated "Summer, 1954." What a shame it hastaken thirty-eight years to come to print! Thework is a parti ta in the true gist of the word,meaning "game" or "match." Mr. Lamb hasstudied Swedish folk music, and folk elementsare abundant here. The rhythmic vitality, modalharmonic approach, general clarity of mood, and

THE VIOLA

ATBRIGHAM YOUNG UNIVERSITY

CLYN BARRUS is a graduate of the Curtis Institute, the Vienna Academy,and the University ofMichigan where he earned his doctorate in viola. He wasprincipal of the Vienna Symphony and for thirteen years occupied that sameposi tion in the Minnesota Orchestra. He has been heard frequently as a soloistand recording artist, and is now director of orchestras at BYU.

DAVID DALTON studied at the Vienna Academy, the Munich Hochschule,and took degrees at the Eastman School and Indiana University where heearned his doctorate in viola under William Primrose. He collaborated withhis teacher in producing the Primrose memoirs Walk on the North Side andPlaying the Viola. He served as president of the American Viola Society.

The Primrose International Viola Archive, the largest repository ofmaterials related to the viola, is housed in the BYU Library. BYU graduates find themselvesin professional orchestras and as teachers at institutes of higher learning. B.M., B.A., and M.M. degrees in performance-pedagogy are offered viola students.

BYU is one of the best buys in college education.-Edward B. FiskeThe New York Times

For information, write: Walter BirkedahlDepartment of Music, C-550 HFACBrigham Young UniversityProvo, UT 84602 TEL 801.378.3294

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COMPETITIONSIrving M. Klein String Competition, 12­

13 June 1993, San Francisco, for ages 15-23.First prize: $7,000. Entries by 15 February.Write:

IMK CompetitionS.F. State Music Dept.1600 Holloway AvenueSan Francisco, CA 94132

Wendell Irish Viola Award under theNational Federation of Music Clubs offers a$700 Regional Award to a violist betweenages 12 and 18. Auditions by tape will beconducted at the state level, 14 February1993. Contact the state chair of the NationalFederation of Music Clubs.

Stillman-Kelley Scholarship Award of $1,000for first place is offered to a younginstrumentalist in the Northeastern Region in1993. Applicants must not have reached 17thbirthday by 1 March 1993. Contact the statechair of National Federation of Music Clubs.

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Write or call for acatalog,application or further information

ASPEN MUSIC SCHOOL250 West 54th Street · Tenth Floor East ·New York NY 10019Phone 212·581·2196

At the San Francisco Conservatory,we have a faculty for great music.

Viola Fac1.Jty and Orchestra Conductor

Don Ehrlich, assistant principal viola of the SanFrancisco Symphony, has been a frequent soloist andchamber musician in the Bay Area and around the world.He received his B.M. from Oberlin Conservato~ his M.M.from the Manhattan School of Music and his D.M.A. fromthe University of Michigan.

Leonid Gesin is a member of the San FranciscoSymphony and several chamber music groups includingthe San Francisco Chamber Orchestra. He studied withA.G. Sosin at the leningrad State Conservato~ thenperformed with the leningrad State Philharmonic andtaught before emigrating to the United States.

Paul Hersh, former violist and pianist of the lenoxQuartet, studied viola with William Primrose andattended Yale University He has performed with the SanFrancisco Symphony, the San Francisco ChamberOrchestra and many other groups. He has also made anumber of recordings and has been artist-in-residence atuniversities and music festivals in the U.S. and Europe.

Isadore Tinkletnan studied with Kortschak andWeinstock at the Manhattan School of Music and withRaphael Bronstein in private lessons. He headed theViolin Department at the Portland School of Musicbefore becoming director of the Portland CommunityMusic Center

Geraldine Walther, principal violist of the San Fran­cisco Symphony, is former assistant plincipal of thePittsburgh Symphony and a participant in the Santa FeChamber Music Festival. She studied at the CurtisInstitute of Music with Michael Tree and at the ManhattanSchool of Music with Lillian Fuchs, and won first prize inthe William Primrose Viola Competition in 1979.On leave 1992-93.

Denis de Coteau, music director and conductor for theSan Francisco Ballet Orchestra, has conducted dancecompanies, youth orchestras and major symphoniesthroughout the world. He has received a variety of awardsand commendations, earned his B.A. and M.A. in musicfrom New York Universi~ and holds a D.M.A. fromStanford University

Students from around the world come to the San Francisco Conservatory of Musicfor several reasons:

• A student-teacher ratio of 6 to 1. • Extensive performance opportunities• The opportunity to study with an both on can1pus and around the city

exceptional faculty in one of the Concerts and recitals are presentedworld's most diverse and exciting at the Conservatory's Hellman Hallcultural centers. nearly every day of the school year

Offering the Master ofMusic, Bachelor ofMusic, and Music Diploma. Founded 1917.Colin Murdoch, President. Timothy Bach, Acting Dean.Affirmative Action/Equal Opportunity Employer

For more information contact the Office of Student Services,San Francisco Conservatory of Music, 1201 Ortega Street, San Francisco, CA 94122-4498415/759-3431 Fax 415/759-3499

San Francisco Conservatory of Music

CELEBRATING .YEARS

Atnerican Viola Society MetnbershipDecember I, 1992

Regular l1lel1lbers 521Studentl1lel1lbers 14International m.el1lbers 29COlllplim.entary m.em.bers 17

Total members 681

A Message From Your Secretary:Please Check that your address is correct in this listing. And, ifyou move,

please let me know immediately, or your journal may be lost forever.

Thank You, Pamela Goldsmith11640 Amanda Dreve, Studio City, California 91604

(818) 985- 9189

\

REZ./VJtf_1.l\, L J'i.NC.lE.NLE MLNNESJf'I G-£. R

.x.11-- x rIre S r eel e',

JAYS Special-Offer to AYS Members!A good gift to students and friends. $2.00 for any of the following back issues

of the Journal of the American Viola Society.

April 1987, Vol. 3 No. 1__

Fall 1987, Vol. 3 No.3 __

Summer 1988, Vol. 4 No.2 __Fall 1988, Vol. 4 No.3 __

Spring 1989, Vol. 5 No. I __

Summer 1989, Vol. 5 No. 2 __Fall 1989, Vol. 5 No.3 __

Spring 1990, Vol. 6 No.1 __

Name------------

Summer 1990, Vol. 6 No.2 __

Fall 1990, Vol. 6 No.3 __Spring 1991, Vol. 7 No. 4__Fall 1991, Vol. 7 No.2 __

Winter 1991, Vol. 7 No.3 __

Spring 1992, Vol. 8 No. 2__

Viola Yearbook 1985/86 __

Viola Yearbook, Vol. 6 __

Tel --------------

Address -----------------------------

City State Zip ,

Make Check to the American Viola Society and submit to:David Dalton, Editor JAVS, BYU Music HFAC, Provo, UT 84602

Viola study at the

University of Southern CaliforniaDonald Mcinnes

Alan De Veritch

Milton Thomas

Pamela Goldsmith

uscSchool of Music

For further information, please write:School of MusicUniversity of Southern CaliforniaLos Angeles, California 90089-0851Or call:Outside California:(800) 872-2213Inside California:(213) 743-2741

49

Aagaard, Kathie J.4611 Kensington Ave.Tampa,FL 33629

Abell, Jack1216 Elkwood StMemphis, TN 38111

Amott, J. David440 Cross Park Drive #1204Pearl MS 39208

Artley, Nathan M.150 Homeplace DrFayetteville, NC 28311

Beckerman, Bernice5242 IndigoHouston TX 77096

Bender, Hans1619 Alamitas AveMonrovia CA 91016

Blankleder, Jose1240 Ala Kapuna, #409Honolulu HI 96819

Bloom, Deborah J.1000 Portland Ave. 3rd FISt. Paul MN 55104-7036

Acevedo, John501 N. HidalgoAlhambra, CA

Adams, Julia F.32 May StreetPortland, ME

91801

04102

Ast, Fatima6212 Summertime LaneCulver City, CA 90230

Austin MD, John H M275 West StHarrison NY 10528

Bender, Leland M.10395 Elk River Ct.Fountain Valley, CA 92708

Benjamin, Adria393 West End Ave. Apt. 15ENew York NY 10024

Bob,Joan6602 Shelrick PIBaltimore MD 21209

Bodman, Alan338 Castle Blvd.Akron OH 44313-6504

Baczewski, Joni7628 Arcadia TrailFort Worth, TX 76137-3533

Adams, Anne1400 Olive Springs Rd.Soquel, CA 95073

Alf, Gregg T.1221 Prospect StAnn Artor, MI 48104

Ayres, CarolRt. 1 Box 812Newton TX 75966

Benoit, Jimmie R.811 E Convent StLafayette LA 70501

Benson, Wilma6610 St. Mary's RoadFloyds Knobs, IN 47119

Booth, Margaret3023 Bernice Rd. Apt. #3SLansing IL 60438

Bosh, Joni3708 E. ChollaPhoenix AZ 85028

Allen, Laurie99 Cambridge Ct.Dubuque, IA 52001

Bailey, Eva DunbarPearl Star Rte Box 190GatesvilleTX 76528

Bentley, Heather8715 Dayton Ave. N.Seattle WA 98103

Bourret, Dennis R.6426 E. Eli Dr.Tucson AZ 85710

Ames, Archer497 Durham Q Century VillageDeerfield Beach, FL 33442

Anderson, Elizabeth2521 Bryant Ave So.Minneapolis, MN 55405

Baker, Marilyn H.1630 S. Garth Ave.Los Angeles, CA 90035

Banducci, Brett912 Haverhill Dr.Modesto CA 95356

Bergman, Claire854 W 181 St Apt 6BNew York, NY 10033

Berk, Annabel6971 E Calle CavalierTucson AZ 85715

Boyd, Blythe Anne1111 W. WashingtonFayetteville, TN 37334

Bradford, Lawrence F.426 18th 5t. NW.Canton OH 44703

Anderson, Dr. Sandra J.863 Brook RoadBoulder, CO 80302

Barela, Robert E.5711 Simpson AveNorth Hollywood CA91607

Berkowitz, Lori170 Second Ave. Apt. 10-BNew York NY 10003

Bramble, Marcia235 "An StreetSalt lake City, UT 84103

Anderson, Stella N.4744 Lyndale Ave. S.Minneapolis, MN 55409

Barnes, Daisy M.14048 Asbury ParkDetroit MI 48227

Bettigole, Marcia53 Wiltshire RoadWilliamsville, NY 14221

Brandfonbrener, Amy1606 S. Julian Blvd.Amarillo TX 791 02

84604

Bigelow, Claudine91 W. 800 N. #5Provo UT 84601

Bingham MSGT, Sharon D.4410B Groombridge WayAlexandria, VA 22309

Andrusco, RonnBox 468 Postal Station JToronro Ont M4J4Z2CANADA

Angell, Mitta2507 Hillside Dr.Dallas TX 75214

Angertauer, Jaren941 Fir Ave.Provo UT 84604

Barnes, Darrel5101 Briarstone TraceCarmel IN 46033-9605

Barrett, Emily1306 Harvard Ave.Salt Lake City, UT 84105

Barrus, Clyn1669 Oak LaneProvo UT

Bill, Susan B.10 Clive StN Quincy MA 02171

Bravar, Mimi D.117 Drinkwater RoadKensington, NH 03833

Brest, Paul814 Tolman DriveStanford CA 94305

Brieff, Frank225 Lawrence StreetNew Haven, CT 06511

Bastian, William K4108W6th StDuluth MN 55807

Beauregard, H.L.435 E. South Temple #2Salt lake City, UT 84111

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Bruderer, Conrad D.7405 Orien Ave.la Mesa CA 91941

01002

Brown, Elsa P.54 Jeffrey LaneAmherst MA

Brooks, Davis716 Wooded Crest Dr.Waco TX 76712

Brown, David O.9 Grouse Dr.Brentwood, NY 11717

Brown, Louis M.1901 Ave of the Stars, Su~e 850Los Angeles, CA 90067

Black, Anne56 Margaret StreetArlington MA 02174

Bishop, Catherine6 Poltava WalkDelahey Victoria 3038AUSTRALIA

Black, Katherine3916 Mockingbird LaneOrlando FL 32803

Black, Catherine1320 South AshTempe AZ 85282

Blair, Harold L.80 Hunter's LnMorehead, KY 40351

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Appel, Toby164 West 79th St. Apt. 11 ANew York, NY 10024

Antonik, John1060 Oldstone Rd.Allentown, PA 18103

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51

Bryan, Nancy Nichols2011 Drexel Dr.Houston TX 77027

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Coletti, Paul47 West 84th St, Apt 3NNew York, NY 10024

Dakin, Deborah206 2nd Ave. N.Mt. Vernon, IA 52314

Bujak, Ewa1986 St. Clari Ave. #8St. Paul MN 55105

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Butler, Marilyn50 Wildrose Ave.Worcester, MA 01602

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84604

Day, David50 E. 2050 N.Provo UT

Dubois, Susan L.2188 Balfour CtSan Diego, CA 92109

DerHovsepian, Joan1624 Menomonee Ave.South Milwaukee, WI 53172

de Veritch, Alan24833 Sagecrest CircleNewhall CA 91381

Daugharty, Harry329 Hightower TrailStone Mountain, GA 30087

Dalton, Dr. David939 North 1550 WestProvo UT 84602

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De Pasquale, Joseph532 Lafayette RoadMerion Station, PA 19066

Di Fiore, Joseph3840 Central Park Drive #2Las Vegas, NV 89109-4624

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Dimond, Valerie22 S. Figueroa No. 1415Los Angeles, CA 90012

Danks, Harry12 Beverly Gardens, Wembley PkMiddlesexHA9 30Z UK

Diaz, Roberto4615 North Park Ave. No. 1616Chevy Chase, MD 20815

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49931

#83110023

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