Professional Documents
Culture Documents
of the
FEATURES
My Neon Lights
By Francesca Martin Silos
Music Insert:
Romanza and Allegretto
by William Wolstenholme
OFFICERS
Peter Slowik
President
School ofMusic
Northwestern University
Evanston, IL 60201
(847) 491-3826
pjs279@nwu.edu
William Preucil
Vice President
311 Windsor Dr.
Iowa City, /A 52245
Catherine Forbes
Secretary
1128 Woodland Dr.
Arlington, TX 76012
Ellen Rose
Treasurer
2807 Lawtherwood Pl.
Dallas, TX 75214
Thomas Tatton
Past President
1511 Parkwoods Dr.
Stockton, CA 95201
BOARD
Victoria Chiang
Donna Lively Clark
Paul Coletti
Ralph Fielding
Pamela Goldsmith
c=---="---_~-~-5~1
------:-,
Lisa Hirschmugl
john Graham
jerzy Kosmala
jeffrey Irvine
Karen Ritscher
Christine Rutledge
Pamela Ryan
juliet White-Smith
EDITOR, jAVS
David Dalton
Brigham Young University
Provo, UT 84602
PAST PRESIDENTS
Myron Rosenblum (1971-1981)
Maurice W Riley (1981-1986)
David Dalton (1986-1990)
Alan de Veritch (1990-1994)
HONORARY PRESIDENT
William Primrose (deceased)
Editorial Office:
School of Music
Harris Fine Arts Center
Brigham Young University
Provo, UT 84602
(801) 378-4953
Fax: (801)378-5973
david_dalton@byu.edu
Advertising Office:
Crandall House West (CRWH)
Brigham Young University
Provo, UT 84602
(801) 378-4455
hpc@byu.edu
]AVS appears three times yearly. Deadlines for copy and artwork are 1 March, 1 July,
and 1 November; submissions should be sent to the editorial office.
Ad rates: $125 full page, $80 half page, $45 one-fourth page.
Classifieds: $30 for 30 words including address; $50 for 31-60 words.
Advertisers will be billed after the ad has appeared.
Payment to the American Viola Society should be remitted to the advertising office.
Margin graphics courtesy of Basic String Repairs, by Arthur Burgan (London: Oxford
University Press, 1974), and The Origins of Bowing, by Werner Bachmann (London:
Oxford University Press, 1969).
TABLE OF CONTENTS
Of Interest ................................................ 73
Recordings ................................................ 83
The Primrose International Viola Archive
announces agenerous gift
by Peter Bartok
ifseveral hundred copies if the
Facsimile of the Autograph Drqft ofthe Viola Concerto
by Bela Bartok
As I write rhis message, spring is bursting our in the Chicago area- spring,
rhar wonderful season of rebirth, increasing warmth, flowers, and freshness. Al-
though I enjoy the unique beauties of each season, spring brings special joy for
me, with irs promise of growth and warm-weather acrivicies! Ir is easy ro be an
optimist in rhe spring, bur I must admit that I feel a spring-like glow of energy
when I view AVS. I see a growing organization blessed with financial stability, a
talented and energetic Executive Board, a creative and involved membership,
and many opporrunicies for growth-an excicing picrure indeed!
Our organizacion continues to expand through the extraordinary energy of
vital local chapters. Since the last issue of rhe journal, two new local chapters
have been formed-Ohio and Oregon. Thanks to all of the people who worked
hard to starr these new chapters, especially Charles Noble and Jeffery Irvine for
spearheading chapter efforrs. Through a variety of projects (some derailed in
the journaL and some nor) local chapters continue to serve their community
with educational, artistic, and social opporrunicies for all violists.
If you live in an area nor served by a local AVS chapter ( ew England,
Florida, Minnesota, Texas, to name a few) , maybe summer will afford you the
Peter Slowik
rime to consider banding together with a few friends and starring a chaprer. AVS
provides the template for chapter formation and even will provide you with seed money for
your first event--contact Bill Preucil for his valuable assistance. I assure you that starring a local
chapter will enrich your viola experience by introducing new people, bringing in guest reachers
and performers, and supporting the efforrs of each element of the viola-playing community-
amateurs, reachers, and professionals.
As we move to a new season of rhe year I wish to express the Society's grarirude to David
Dalton as he moves inro a new season of his life. David has been elected President of the
International Viola Society (IVS) and will be stepping down from his editorship of ]AVS after
rhis issue. The marvelous publication you are reading is a measure of David's commi tment, in-
dustry, and high standards. AVS will be hard-pressed to find somebody who will do this job
with David's flair, his quiet persistence that holds us all to our deadlines, his elegant manner
and keen wir. T hank you, David, for your many years of service as ]A VS Editor, and Godspeed
in your new endeavors.
One of the projects rhar will occupy David's rime in the next few years is the renovation
and expansion of the Primrose International Viola Archive. You have probably seen the plans
for this worthwhile project, which will house the world's greatest colleccion of viola music and
memorabilia in wonderful quarters. Perhaps you are like me-delighted rhis project is raking
place bur have nor yer given it your financial support! Let's all honor David's retirement from
]A VS by pledging financial support for this very worthwhile viola archive project. Informacion
on supporting renovacion may be found on page four of this issue.
I hope rhe promise of early spring develops into rhe fulfillment of summer and each one of
you enjoys the special pleasures of the seasons ahead. May your playing and reaching be ener-
gized with the vitality of spring and may summer afford you opporruniries for rest and relaxa-
tion necessary for continued growth. I look forward to seeing many of you at the Congress in
Guelph and to new opporrunicies for the American viola community!
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1984
Maurice W. Riley, AVS President, to David Dalton:
"I want you to take over as editor of the AVS Newsletter."
"But Maurice, I don't know a thing about publishing a newsletter!" ::c
0
ro
"That's all right-1 guess you'll have to learn." :5"
('!)
:::s
a.
1999 9.
tT
David Dalton to Peter Slowik, AVS President: 1::
::;
''After years of doing what I was never trained to do, I think I ought to at least be let g
out on parole so I can try and do something for the International Viola Society."
"OK. And I'll tell the next editor it's not a fifteen year sentence."
1975
American Chapter of the
Viola VIOLA- FORSCHUNGSGESELLSCHAFT
Seh1oae Bellevue, Soh8ne Aussioht 2
Research D-:5500 KASSEL
Weat Germany
:59-2:5~7th Street
8UDQJa1de, I.Y. 1110~
1984
DAUL DOKTOR
.2-iS West B8th_Street
The AMERICAN VIOLA SOCIETY invites you to
New Ym'lc, NY 10024 participate in an exciting organization that is
.lu liard &hool.
Marnes College cf Music
dedicated solely to the Viola, its history, its
MILTON KATIMll
music, its performance.
ArliSfiC Advisor
SChool of M.JSIC
Univttrsily of Houston we are part of an international society of
-f:'l-.J~tnn,
TX 77004
professional and amateur Violists, teachers,
LOUIS KIEVMAN
1343 Amalifi Drive
luthiers, publishers, and musicologists who have
P.ttc;IIIG F'Hib;adt=~s, CA 9027.2 the Viola as a common interest. The parent
Prl'tate TeachHf i,, tt.t
L.o:s .~r1~1~~ Ant~
organization--the INTERNATIONAL VIOLA SOCIETY,
DONALD H<.'INNES ~SSOCIA'l'ION FOR THE PROMOTION OF VIOLA PERFORMANCE
Prdes::or of Viola AND RESEARCH is currently located with Prof.
~usic
Sct1ool of
Universit't of Michig!Vl F·rsnz Zeyringer, A 8225 P~llau, Austria.
Ann Arbor, Ml-48109
ROBERT OPPELT
26:305 Coo:ldge A.w-enue
The American Chapter--THE AMERICAN VIOLA
Oak Perk, Ml 48237 JOCIETY, INC.--is a non-profit organization.
-~riva.tP- t~Eicher in O~:dro1t area
Included in its activities are: the publication
JOS~PH Of PASOUALf of several newsletters each year; making ~pecial
532 Utlay.;,tta Ft:lad
r.nerion Staticx-1, PA 190€6
recordings, music, and books of interest to
Principal Viola., .Phi~adelphi.e. Orchestra Violists av.ailable to members at reduced prices;
Prof. of Viola. Curtis hslrtute
promoting new Viola works by composers; and the
ROBSRT SlAUGHTER
1iC5 ·North Ril-ay· Road
sponsorship of Viola Congresses in the United
Munc1e, IN 47304 States .where Violists from the world over can
Ba.ll ~tato lkliversi1y meet and exchange ideas in concerts, lectures,
THOMAS TATTON
2705 Rutl&~e Way
workshops, and lecture-recitals. The society
Stockton,· CA 96207 is now busy raising money for the William Primrose
Unilo'ers·it\' of the Pacific Memorial Scholarship Fund.
MARCUS THOMPSON
19 Flor9noe Street
CF.mbriciQP., MA 821.39 We hope you will find the society worthy of
~1ass.
lnst ofT F<r:h.
New England Conssr..·atory
your interest and support.
I'RANCIS TURSI
16 Cor~~stOO Dri\le
Rodlttt:>ltlf, NY 14t510
Eas1mau S~hool of Music
Dr. Maurice w. Riley, Editor
COORDINATOR WITH THE
CANADIAN VIOLA SOCIETY
A. BAIRD KNECHTeL
10.3 Nortfl Drive
lslinilton, ONi. MQA 4RS
Canada
President. Canadian_ Vlola Soe.ety HONORARY P.RESIDENT
DR. WILUAM I'AIMROSE
deceased
1984
Maurice W. Riley:
The 1985 Viola Congress
In Boston page 3
Louis Kievmann:
The XII International
Viola Congress page 3
David Dalton:
Competitions, and the
Lionel Tertis, 1984 page 5
Cynthia Phelps:
Inside the Tertis
Competition page 8
1985
JOURNAL
of the
August, 1985
Katherine RaJwJwrt:
Notes on the 1985
Congress page 5
Tomll.'i Tichauer:
The Viola in Argentina page 8
AVS Membership,1985 page 15
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1998
JOURNAL
ofthe
Journal, since 1994 peer-reviewed. 3 times yearly, 100 pages, perfect binding, 56 ads;
David Dalton editor. AVS membership 1220.
20
David Dalton
Before David Dalton, editor of rhe journal of the American Viola Society, drives off into
the sunset of the International Viola Sociery, he wishes ro thank the following people, and prob-
ably a few others wherever they might be, for their valued support: the chairmen of the BYU
School of Music; numerous patient secretaries; Linda Hunter Adams-sharp-eyed editor-and
her staff at the BYU Humanities Publications Center; AVS presidents and board members, Tom
Hall, Jeff Irvine, David Brown, and other special contributors who have persevered through the
years; our ]AVS reviewers who will remain unnamed {bur they know who they are!); Jeanerre
Anderson our advertising secretary; all comriburing authors and advertisers; my wife, Donna,
for her stoicism in the face of . .. well, me; and our AVS members and readers (YOU!) for bear-
ing with. (Thar's no way for an editor ro end a sentence-with a preposition!)
1999
Anon.: "And how has it been, I mean, really?"
DD: "Each issue has been like being delivered of a child-although I'm admirredly nor
in the position to describe that in roo great derail. Anyway, the gestation period has sometimes
been fraught with morning sickness, anxiery, bur also eager and joyous anticipation. More often
than I would have liked, the scheduled delivery dare was postponed, which led ro depression of
various intensities and downright grumpiness. Bur once baby had arrived, there was general re-
joicing, sometimes even revelry! Oh yes, as beautiful as some of us thought the outcome to be, ir
never was perfect. Bur then, whatever is?"
In the category of "Magazines 4-color process," the journal ofthe American Viola Societ)• has been awarded
a Third Place citation by the International Publishing Management Association. }A VS was one of 574
enuies from about 150 press and priming companies ranging from Boeing, Allstate, to university presses.
(Brigham Young U niversity Press prinrs JAVS.) Forry awards, each with first, second, and third prizes, are
awarded annually by IPMA, which represents entries from the English-speaking world.
The Harid Conservatory .
Sergiu Schwartz, VJo!,in
-~
DAVID PRENTICE
INSTRUMENTS
FOR Tf-lE:
PROFESSION
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The Harold B. Lee Library at Brigham Young University (home ofPIVA) recently migrated to a
new online catalog. The catalog system is now stable and can be accessed via the internet by violists
throughout the world. This report will explain how to search for viola materials in the catalog and
will outline procedures for requesting specific titles through interlibrary loan.
PIVA is the official archive of the Inter- BASIC SEARCH and ADVANCED SEARCH are
national and the American Viola societies. We the two most useful search modes for PIVA.
wish to be user-friendly and to aid you in To use BASIC SEARCH (the default mode) fol-
your needs regarding the viola repertoire. low these steps:
Holdings ofPIVA now consist of approxi-
mately 5,000 scores that feature the viola. Leave LIBRARY pop-up menu set at ALL.
Some of the older editions and manuscript
scores can be photocopied for a modest fee. Leave the SELECT SEARCH TYPE option
Although many scores are protected by copy- set to KEYWORD.
right and may not be photocopied, PIVA is
able to loan these materials through inter- Enter keywords from the composer's
library loan. name and title of the work. For example,
"bloch AND suite" (upper and lower case are
Using the Catalog not important). Common boolean operators
The catalog will display all of the pub- including AND, OR, and NOT can be used to
lished scores and sound recordings in the viola combine keywords.
collection. Most of the published scores are
available to borrow through interlibrary loan. Then dick on the SEARCH EVERYTHING
Commercial sound recordings are not loaned button. If your choice of keywords is limited
at present. Manuscript scores, rare editions, to the composer's name or title only, then
and materials in fragile condition are also not dick on the corresponding AUTHOR or TITLE
available for loan, but in most cases may be button.
photocopied for a modest fee.
Subject searching can be more compli-
The internet URL for the BYU library cated. Subject information in the catalog is
homepage is based on the Library of Congress Subject
www.lib. byu. edu/newhome. html Headings and the Zeyringer classification
Anyone with access to the internet should scheme for 'viola music. If you are familiar
be able to use the catalog. Some users who with either of these systems enter keywords
receive their internet access from America (e.g., "viola AND duets") and then click on
Online have reported problems making the the SUBJECT button. If you are not certain of
connection. To use the online catalog it is terminology used in the subject headings,
necessary to have either Internet Explorer ver- then enter common descriptive terms for
sion 4.x or Netscape version 3.x (or a higher musical genres and dick on SEARCH EVERY-
version of either) running on your own com- THING.
puter. Without one of these programs in-
stalled on your computer, the catalog may not The truncation symbol of the dollar sign
function properly. (e.g., "sonat$") retrieves sonata, sonaten,
sonates, etc.
Once you have made the connection to
the BYU Library home page, select the option The results of the search are first displayed
LIBRARY CATALOGS- BYU LIBRARY. The cata- in a list showing only call number and title
log can be searched in four different modes. page information.
At Last ...
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To view the full citation for the item, library loan. Almost any type of library will
click on the VIEW button on the left side. qualifY: academic, public, or orchestra. The
library does loan materials to foreign libraries
In the full citation display, titles, author in all parts of the world. Unfortunately, we do
names, and subject terms are highlighted not send materials to private libraries.
and underlined in blue. Clicking on any of
these highlighted phrases will initiate a new The interlibrary loan process is not com-
search on the corresponding author, title, or plicated. Simply bring the information you
subject. received from searching the online catalog to
your local library and ask them to send the
To print the results of a search you must request to the following contact and address:
first tag citations by clicking in the check-
box positioned at the upper left. Click on
Interlibrary Loan
the PRINT CAPTURE button and follow the
Attn.: Maria Childers
prompts to modifY the display and sorting of
Harold B. Lee Library
the records. Note the option to send the re-
Brigham Young University
sults of your search to an e-mail address or
Provo, UT 84602
save to a disk.
Just for fun, try entering the keyword TEL: (801) 378-4155
search "primrose AND viola AND archive" and FAX: (801) 378-6347
click SEARCH EVERYTHING. e-mail: Maria_Childers@byu.edu
The ADVANCED SEARCH mode allows If the request is sent by regular mail,
greater flexibility in combining keywords and please ask your library to make the request on
permits limiting a search to a specific media their official library letterhead. The response
format. Here are some tips for advanced time for these requests varies and depends
searching: mostly on how quickly your library can
process the request. The BYU interlibrary
Pop-up menus in the left-hand column let loan office (ILL) is usually very efficient and
you specifY the category for the keywords you prompt. There is no charge for loans from
enter. our library. In some cases the item you re-
quest cannot be loaned but may be possible
Pop-up menus in the right-hand column to photocopy. In these cases the ILL office will
let you select a boolean operator. notifY you in advance of the cost.
In the SEARCH LIMITS area of the display Requests for copies of manuscript scores
leave the LIBRARY pop-up menu set to ALL. and assistance with archival materials can be
sent directly to the curator of the Archive at
Use the ITEM TYPE pop-up menu to limit the address below.
the search to a CD or SCORE, etc.
DavidA. Day
Experiment with the different options and Curator, Primrose International Viola Archive
pop-up menus to modifY your search. The Brigham Young University
interface is generally simple and intuitive. Harold B. Lee Library
Provo, UT 84602
Requesting Materials through Interlibrary
Loan TEL: (801) 378-6119
The BYU library is able to loan most of FAX: (801) 378-6708
its published scores and books through inter- e-mail: David_Day@byu.edu
26
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Mrs. Milhaud: In 1919 or 1920, Darius was Martinson: And what about the Sonatine for
invited by a very good musician and musicol- violin and viola written for Laurent and
ogist named Paul Collaer to some concerts in Germain Prevost?
Brussels, where Darius often gave concerts
with other French musicians. Paul Collaer Mrs. Milhaud: All those pieces were written
was also a professor in chemistry, and he also in order to please Germain and his sentimen-
became the director of the Belgian Radio. tality-and he was somebody who was a true
Darius began to visit Brussels often, and the friend.
two became extremely good friends. Darius
met several other players, and among them, Martinson: Did Darius know Alphonse
the members of what became the Pro Arte Onnou as well as he knew Germain?
Quartet. Of course at that time, they were
poor and made money as they could, playing Mrs. Milhaud: No, I think we were more
in cafes, movie theaters, or that type of thing. friendly with Germain because he stayed in
But soon, they became known as a quartet. California and remained alone. Otherwise,
They were marvelous musicians and had that the others were just friends. You know, quar-
exceptional quartet quality, playing classical tets don't stay any two nights in the same
music as well as contemporary music. Darius place. I recall when we went to the States in
was very fond of them, and he organized their 1928, we met them someplace in New York.
first concert in Paris; I think they were very They didn't have anything to change into,
thankful for that. Later they went to America, and they brought back everything dirty to
and Mrs. Coolidge sponsored their first year Belgium after their tour. It happened they
in the States. They really became more or less had a few buttons missing, and they all came
28
to me with their shirts and jackets to do the than Beethoven." But it was not his intention;
washing and the sewing. it was just to show the importance that he
gave to chamber music. I must say that the
Martinson: In the three works for viola and dedications of the quartets have a reason and
piano (Sonata No. 1, Sonata No. 2, Quatre are evidence of his admiration for a person, a
Visages), did Germain Prevost make any re- friendship, or a date. The first is to celebrate
quests of Darius as far as the styles of the the memory of Paul Cezanne, and the last is
pieces were concerned or were the styles com- in memory of his parents. You will notice the
pletely Darius's idea? 13th quartet is dedicated to me because 13
has always been a lucky number for us. There
Mrs. Milhaud: They were completely Dar- is one for the 25th anniversary of our mar-
ius's ideas. Milhaud was a studied violinist riage, and there is one in memory of Faure.
and violist since childhood. I think he knew
far more than anybody suspected. He would Martinson: In regard to the 1st sonata, do you
ask for assistance, if he needed it, as he did in know where Darius acquired these "anony-
the concerto for harmonica. Then, of course, mous" tunes?
if he wasn't sure, he wanted to know how far
he could go. But I think for violin, cello, and Mrs. Milhaud: I don't know who the author
viola, he was quite all right. I also think his of these tunes is. I think he found them in the
teacher, when he was 11 or 12 years old, took library in Aix-en-Provence, but I know they
him into a quartet as the second violinist. He are rather anonymous. Actually, I prefer the
studied and sight-read classical quartets, and 2nd viola sonata.
he discovered the Debussy quartet. For him, it
was absolutely a revelation. So I have the im- Martinson: I like them both. I think violists
pression that that work was a grand influence. tend to prefer the first one more, but I like
It did have a great influence on Milhaud and the 2nd too-it is a little more unusual.
was one of the reasons he wrote so much
chamber music. Mrs. Milhaud: Yes, it is more Milhaud-like.
Martinson: Did you attend any of the pre- Martinson: About the first sonata, the tunes
mieres of the viola works in Madison when which are used do sound very "Milhaud-like."
they were played? I'm not sure if it is the tunes, or if it is in the
accompaniment, but I was wondering if you
Mrs. Milhaud: Well, I lived with Milhaud for think he often used these kinds of borrowed
50 years, so God knows what I saw and did. tunes in his other music?
It's impossible to know, but I don't think so.
The one thing I can remember, because I Mrs. Milhaud: Milhaud was not against
must say I was rather astonished, was when he using folk or old tunes, as long as a person
wrote the 14th and 15th quartets [which can kept one's freedom and one's personality. Of
be played together as an octet]. He had a little course, that's what Stravinsky did, and how
book that had eight lines, and there's not one many other composers did it in the past?
mistake; it ends on the last page of the book. So he felt he was absolutely free to do what-
So I was rather surprised because it was such a ever he liked with those tunes, and sometimes
difficult work. It indicates the importance he made a sort of "salad" with 18 or 20
Milhaud gave to the quartet. In a newspaper tunes-he loved to do that! In the Bruxelloise
article Jean Cocteau published, Darius wrote, movement of the Quatre Visages, there are a
"I shall compose 18 quartets." Of course the few notes of the national anthem of Belgium.
people thought, "Aha!-to have one more (See figure 1.)
29
Figure 1
II
f
Mrs. Milhaud: I don't know. Martinson: Could you give me any insights
on the two viola concertos that Darius wrote?
Martinson: For the Sonatine for violin and
Mrs. Milhaud: The first concerto was written
viola, the book doesn't list any commission,
for Hindemith. He played it with Pierre
but the music lists a dedication to Laurent
Monteux in Amsterdam. After Hindemith
and Germain Prevost. Was this piece a gift?
played it, he asked Darius to reorchestrate it
in order to have a smaller orchestra. But he
Mrs. Milhaud: Well it's the same thing; all
never played it [the reorchestrated version].
of those pieces were written to the memory
Of course, it was a present from Milhaud to
ofOnnou.
Hindemith.
Martinson: The Sonatine for viola and cello Martinson: I know that Hindemith's Konzert-
(dedicated to Murray Adaskin and Jim Bolle): musik for viola and large chamber orchestra
what insights can you share on that work? Do was dedicated to you and Darius.
you remember the premiere?
Mrs. Milhaud: Yes, we knew him rather well.
Mrs. Milhaud: Yes, it was at that university You know, Hindemith did not play it so
that has a strange, strange name-Saska- well. In fact after the rehearsal in Amsterdam,
toon. Adaskin was a teacher in Canada, a Monteux said to Hindemith, "Now go to
rather good violinist, and he studied in Santa your room and practice." He really did!
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Martinson: The Viola Concerto No. 2 was disposition of the composer. Milhaud was
written for William Primrose. Did he per- a real man, not serious, and did his job as a
form this very often? craftsman. He was not a man who lowered
his standards.
Mrs. Milhaud: I don't think so. Milhaud
wrote the concerto, which is difficult, but Martinson: Did Darius write these viola
Primrose was a very good player, and for Dar- works with the viola in hand?
ius, if the person was a good player, why not
ask him to do the difficult things Darius
wrote? As long as you are a virtuoso, you are Mrs. Milhaud: Well, Milhaud wrote extremely
supposed to play it. fast, but it was usually after he meditated and
thought about the work for weeks, and some-
Martinson: So Primrose commissioned this times years. But he was lucky enough when it
work from Darius? was ripe, he could put it down the right way
the first time. And as he had an extraordinary
Mrs. Milhaud: Yes, he did. We met him when technique, he never avoided difficult things.
he was teaching at Aspen. We were 20 years at Composing was a sort of game. Like the 14th
Aspen-about 1950 until about 1970. and 15th quartets-who'd imagine doing a
thing like that? And how many times did he
Martinson: How would you characterize write a fugue because he wanted to write a
Milhaud's and Primrose's relationship- complicated fugue? Composing was his life,
friends or colleagues? and he enjoyed it. (See Table 1)
Mrs. Milhaud: They were friendly, but Martinson: Did he ever play these works on
I think nothing else. It all depends on the the viola?
Opus No. Title Genre Date of Composition Edition First Performance Dedication
108 Concerto Viola and 1929 Universal Edition Concertgebouw Amsterdam Paul Hindemith
l Anime Orchestra Aix-en-Provence, Dec. 15, 1929 Paul Hindemith: Viola, Pierre Monteux:
Il Lent France conductor.
Ill Souple et Anime
IV Vif
226 Sonatine Violin and May 6-8, 1941 Mills Mercury-Presser (Music Laurent Halleux and
l Decide Viola College, CA Press} Germain Prevost
Il Lent
Il Vif(fugue)
238 Quatre Visage Viola and Nov. 16-Dec.l, 1943 Heugel University ofWisconsin-Madison Germain Prevost
l La Californienne Piano Mills College jan. 1944 Germain Prevost: viola, Gunar Johansen:
Il The Wisconsonian piano
Ill La Bruxelloise
IV La Parisienne
240 ]reSonate Viola and March, 1944 Mills Heugel University of Wisconsin-Madison Germain Prevost
l Entree Piano College, CA Apr. 1944 Germain Prevost: viola, Gunar johansen: I
!
Il Franraise piano
Ill Air
IV Final
242 "Air"from the Sonate Viola and April 1944 Mills Not Published University of Wisconsin-Madison Symphony Germain Prevost
Orchestra College, CA (Manuscript is at the May 7, 1944 Germain Prevost
Library ofCongress}
244 2eSonate Viola and june 27-]uly 2, 1944 Heugel Edgewood College Madison, WI Germain Prevost (in
Piano Mills College, CA August, 1944 Germain Prevost: viola, Nadia Boulanger: memory ofAlphonse
piano Onnou)
--
311 Concertino d'ete Viola and june 24-jul7, 1951 Heugel Nov. 19, 1951 Charleston Chamber Music Players, Charleston Chamber
Orchestra Mills College, CA Robert Courte: viola Music Festival
340 Concerto No. 2 Viola and Dec. 2, 1954-jan 30, Heugel Nov. 27, 1958 Westdeutscher Rundfonk, William Primrose
Orchestra 1955 Mills College- Cologne, Germany
Milan-Mills William Primrose: viola, H Rosebaud: conductor
378 Sonatine Viola and April15-24, 1959 Heugel june 9, 1959 University ofSaskatchewan-Saskatoon Murrey Adaskin and
Cello Summer Music Festival jim Bolle
Gerald Stanick: viola, Peggy Sampson: cello
416 Ellgie pour Pierre Viola and 1965, Paris Not Published Pierre Monteux
Percussion (Manuscript is at the
Library of Congress)
------ ---
33
Mrs. Milhaud: You know, he didn't play very Carme~ MTNA, and Yellow Springs Competi-
well. He stopped playing after the war be- tions. Martinson has also held principal chairs
cause when he went to Brazil in 191 7 for a in the Toledo, Lansing, and Santa Cruz Sym-
year. H e was able to give concerts for rhe war phonies. He is a frequent recitalist and has per-
benefit, rhe Red Cross, and rhis type of rhing. formed Jour challenging programs such as the
Bur I recall a concert, ir must have been in solo sonatas of Paul Hindemith and the com-
"'5 "
0
1920, rhe Sonara for Two Violins of Honeg- plete sonatas of Darius Milhaud, which will "'0
ger, played by Honegger and Milhaud. T hey soon be released on a compact disc recording. "0
.lll
played so horribly rhar rhey both decided to The Toledo Blade has described his sound as ~
0
::0
;:;·
:> ;;!:
pur down rheir violins forever. being "rich and tawny, and one would like to <a
Anthony Lane
Maker of Violins, Violas, Cellos
276 Liberty Road , Petaluma, CA 94952, USA. Tel/Fax 707-795-5929
EXHIBITING AT THE INTERNATIONAL VIOLA CONGRESS
JUNE 9-12 GUELPH. ONTARIO. CANADA
SANDRA ROBBINS
Fine Stringed Instruments and Bows
VIOLAS
BOWS
by appointment only
MY NEON LIGHTS
by Francesca Martin Silos
I was at a casual dinner party when Jeffrey more shutters to do, and darned if anyone
Irvine, AVS Board member and the assistant was even going to notice the painstaking
editor for pedagogy, asked if I would be inter- work. He approached the remaining shutters
ested in writing an article for ]AVS. "Me?!" differently. He took care that any exposed
I thought, contemplating all the possibilities wood was beautifully covered, yet kept his
of subject matter. For the past 16 years I have focus on the project as a whole. The result
been a tried-and-true, just-about-all-1-do was eight great-looking shutters completed on
quartet player (Colorado Quartet, for the cu- time and with a thorough enjoyment of the
rious) with a little teaching on the side. project.
Throughout the evening, a number of us I have to admit that at the time, this was
found ourselves talking about the one-liners not what I wanted to hear. I hadn't yet learned
and little pearls of wisdom our teachers had that there is a time and a place for everything
dropped our way. At the time they often and when you're lucky, your teacher knows
seemed insignificant, but 20 years later, at best. Over the years his story has popped into
least for me, they stand out like neon lights my brain and out of my mouth when I see
strung around my practice room. Ah-ha! This students (and even myself) working them-
would be my topic: recognition of the wis- selves into frothing frenzies over how to play
dom of former teachers and how their con- one single note.
cepts and styles of teaching shaped my own Now for those of you thinking, "But
approach to my students. This gratitude to wait-sometimes big dividends come from
them comes a little late, but as the old saying spending hours on one single note," you're
says, better late than never at all. right too. Cecil Aronowitz, the late British vio-
Being a somewhat difficult student (at least list of the Melos Ensemble, made that clear to
in retrospect I see this), I recall one particular me during a quartet coaching at the Banff
lesson I had in my college years with my Centre School of the Arts.
teacher at the time, Alan deVeritch. I wanted At age 18, not worldly enough to have
to hear what I wanted to hear, and during this heard anything but a California twang, I used
particular lesson I thought I needed minute to love to hear Mr. Aronowitz with his
details of explanation regarding every single charming accent pontificate on any and all
note of a certain Kreutzer etude. Mr. deVeritch subjects. We were playing a Dvorak quartet,
knew better. Instead of succumbing to my de- going at it passionately, oblivious to anything
mands, he started to tell me a story about but our 18-year-old emotions when he gently
spending the weekend staining wooden shut- stopped us. ''Ah, yes, finding the proper pitch
ters. "Staining wooden shutters?!" I thought, is of utmost importance, especially if it is
"What is this man talking about? How could your desire to play string quartets." He went
this possibly pertain to Kreutzer No. 11 ?" on, "Of course, one must first master one's
He proceeded to describe how he had own instrument by learning to hear the tone
spent hours and hours on the first shutter, in one's head. When this is achieved, one
brushing underneath each wooden slat, pok- must then begin to check and recheck this
ing into unreachable corners, meticulously pitch against open strings and other scale
applying the varnish stroke by stroke. When pitches. After doing this for some time and at
he had finished, he realized his back, neck, the point where one feels perfection has been
and fingers were killing him, he had seven reached, take a deep, deep breath. Is the job
JOHN-
BRASIL
The NAME in
QUALITY PERNAMBUCO
WOODS and BOWS
1993
45 LOBBY EXHIBITIO S
INTERNATIONAL
ON 5 CONTINENTS
Reference:
Bischofberger Violins
1314 East John
Seattle, WA 98102
Tel: (206) 324-3119
Orchestral Stringed
Instruments,
Cases, Accessories
and
Recordings, scores and books for viola, all in o ne place.
Educational Materials
A new flower has sprouted in the broad field of music. La Viola
wishes 10 bring to the light the music for viola that exists but is not
seen and heard. Often you look for a record or a score and it' s not
easy to find it. Hence recordings, scores and even books, all in one
place.
All Primrose's recordings and other unusual items.
Just a few examples:
PRODUCf AND
Rarity! Primrose plays Bartok
SHEET MUSIC CATALOGS In a rare LP the "official" version of the Concerto commissioned to
Bartok by Primrose himself:
(800) 528-3430 Ba rtok B.. Concerto for viola and orchestra;
W. Primrose, viola; T Serly, cond.; New Symphony Orch. of London;
FAX (800) 528-34 70 Bruch Max, Co11certo for clarinet, viola and orchestra;
sws@ swstrings.com Zimmermann, viola, Bruner, clar., Bamberg Symphonic Orch.:
http:/ / www.swstrings.'L.'U'JULIL. Wa lton W .. Concerto for viola and arch.; V. Williams. Flos Campi
for viola and arch.; Handel, Concerto for viola and strings;
W. Primrose. viola: W. Walton, conductor.
done? No, no, no! This is when you just Teaching styles are a fascinating subject
BEGIN to work on intonation." to me. Since I tend to be an ever-so-slightly
Pitch took on a whole new meaning right disorganized teacher, depending mostly on in-
then and there. It was as elusive as infinity, spiration (and my neon lights), I am always
something extremely precious and NEVER to impressed by the organized mind.
be taken for granted. Mr. Aronowitz knew Louis Kievman, my first and possibly
how to make an impression. It was certainly most significant teacher, was a master of orga-
far more effective than, "Hey everyone, play it nization. No matter what the technical diffi-
in tune!" culty, he had the answer in a huge book he
Another influence and a completely dif- kept nearby on the piano. "Oh, so the third
ferent style came from that of Heiichiro finger, second knuckle-joint of the left hand
Ohyama, former principal violist of the Los needs to be stronger and more flexible." Then
Angeles Philharmonic. He grabbed my atten- he'd pull out the big book, first going to "Left
tion once by asking, "So, Francie, do you Hand Exercises," then looking under the let-
know what it takes to make an impact on ter T (for third finger), then flipping through
people when you play?" "Well, I'm not really numerous exercises until finally stopping,
sure," I began to reply. I suspected a trick pointing emphatically at the page. "Here is
question, but before I could answer further, the solution, the perfect exercise for your par-
he walked to a door in the room and abruptly ticular problem!"
slammed it shut-and I mean slammed it At this point he would give me a brief de-
sledgehammer hard. The silence afterwards scription and demonstration of this perfect
was numbing. "This is the impact you must exercise. It all seemed very clear until he asked
make, no less than this, period." I was stunned, me to dictate back to him what I had under-
but I also had an inkling of realization that stood him to say. Mr. Kievman ,expected all of
something very powerful was being conveyed his students to bring a music notebook for
to me. So few words, so big an explanation. this very purpose, and I used to feel so silly
Steven McCann
Maker of Violas · Violins · Cellos
Available at
Guarneri House
221 John Street NE
Grand Rapids, MI 49503
(616) 451-4960
38
showing him my nonsensical scribbles of what like handing out stolen goods-but like the
I thought the exercise had been. And he al- children's game "Operator," the information
ways asked to see what I had written. "Francie, being passed down alters slightly (or perhaps
you're very talented, but the way you organize greatly!) with each successive generation. I feel
your thoughts is a mess! You have to learn to nothing but gratitude to those who have dedi-
think clearly-you must develop the ability cated themselves to nurturing young people.
to teach yourself If you can't understand what It requires the almost complete giving of one-
I am trying to tell you, how will you begin to self with sometimes very little in immediate
make the connections between problems and returns. But take heart all you teachers out
their solutions?" there. What you say tomorrow during a lesson
He was right. Over time my listening and just might appear in the Spring 2020 issue of
thinking skills improved. With that kind of the journal ofthe American Viola Society!
pressure, you either crack or move forward.
Fortunately, most of me moved onward, learn- Francesca Martin Silos, as violist of the
ing the thrill of solving technical problems Colorado String Quartet, won first prize at both
through focused, concise, practical studies. the initial Banff International String Quartet
Louis Kievman has published a wonderful Competition and the Naumburg Chamber
book, Practicing the Viola, Mentally and Physi- Music Award in 1982. Since that time the
cally. He breaks down complicated problems Quartet has toured widely, and their recordings
into simple exercises, which makes the book of Mozart, Beethoven, Brahms, and contempo-
appropriate for beginners, advanced students, rary American quartets have garnered critical
and professionals who want to brush-up on praise. She graduated from the California Insti-
their technique. It's always so refreshing to tute of the Arts, and besides studying with the
go back to these marvelous studies. I never teachers mentioned in this article, she trained
tire of them; they have the effect of cleaning summers in the class of William Primrose at
house and they continue to nurture my own Banff Ms. Silos has taught at the New School of
teaching. Music in Philadelphia and is currently on the
I often think this fine art of teaching is faculty at the Oberlin Conservatory.
~SIC PUBLISHERS
Sonata in G for Violin and Pianoforte g. · triO in C for Violin, Violoncello, and Pianoforte
Allegro ma 11011 troppo. Andante. Allegxo assai.
Allegretto. Intermezzo. Allegro vivace.
Mr. SPENCER DYKE, MR. PATTERSON PARKER,
Ma. SPENCER DYKE AND Ma. STANLEY HAWLEY. AND Ma. W. WOLSTENHOLME..
41
impossible for him to promise. So shall see sion without unnecessary complication gives
Dyke 3 to-day and ask him. In this case a these works their elegance and charm.
date in November will do. In his autobiography, My Viola and I,
Yours ever, Tertis claims to have arranged the two works
Lionel T ertis
himself. He then tells of his journey to Black-
Since the concert took place in early Decem- burn, where he played the arrangements for
ber, Terris's reference to a November date the composer:
supports this connection. Spencer Dyke, the
About the year 1901 I came across two
violinist to whom Terris referred, performed
captivating little organ pieces written by
the Sonata in G for violin and piano and the a blind composer, William Wolstenholme,
Trio in C for violin, violoncello, and piano who was organist in Blackburn, where he
at the concert. Tertis may have been involved had been born. They appealed to me
in the promotion of this concert, for he did so much that I showed them to a close
much to help Wolstenholme after the organist friend of mine, Stanley Hawley, composer
moved to London in 1902. and pianist, who was at that time the
Terris also included the works on 19 May honorary secretary of the Philharmonic So-
1905 on a program of new music at Aeolian ciety. We played these charming composi-
tions together, with the result that Hawley
Hall. The concert featured not only the two
agreed with me we should ferret out this
Wolstenholme pieces but also works by]. B.
blind man and play to him his composi-
McEwen, W. H. Bell, York Bowen, and Harry tions, which I had arranged for viola and
Tarjeon. Wolstenholme accompanied Tertis piano.
on the Romanza and Allegretto. "J.H.G.B.,"
the reviewer for the Daily News, was enthusi- We found him in a modest home in
astic not only about Wolstenholme's music which was an antiquated piano practically a
but also about his performing ability: semi-tone flat-a pitch not helpful to the
tone quality of my viola. However Wolsten-
W. Wolstenholme's really musical Romanza holme accompanied me in the pieces most
and Allegretto-these were not new- delightfully, and he so bubbled over with
proved charming. The writing for the viola excitement that I had to repeat one of them,
shows that instrument at its best. The dis- an Allegretto, three or four times before he
tinguished blind composer accompanied would let me off. 6
on the organ with fascinating crispness ....
Mr. Terris proved himself to be a very It is possible that Terris made arrange-
accomplished and sympathetic viola ments of the two works in addition to the
player. It was not his fault that the music ones published by Novello. The Novello pub-
he had to play, with the exception of that lications, however, are not Terris's arrange-
by Wolstenholme, was not of much ac- ments. Several particulars support this asser-
count and not particularly effective for his tion. First, the violin and cello arrangements
instrument. of Allegretto and a cello arrangement of
Romanza appeared along with the viola ver-
Terris recorded the Allegretto twice: llll- sions. It was a typical practice of the time to
tially for Vocalion Recordings 4 and subse- publish multiple versions of the same arrange-
quently for Columbia Recordings. The latter ment. Additionally, the two works were pub-
recording was made on 8 December 1930 lished in 1900, and Terris's journey occurred
with Ethel Hobday as pianist. 5 in 1901. Furthermore, an unci ted newspaper
Tertis and others were obviously enthusi- article in the Wolstenholme Archive which re-
astic about these two small works, both of counted Terris's visit to Blackburn also men-
which are in ternary form. Romanza is a tioned a performance of the Romanza which
delicate piece in G minor, while Allegretto is took place before Tertis's sojourn. It is curious
more vivacious in E flat major. Neither piece that while Terris emphasized the Allegretto in
makes excessive technical demands upon the his account, the journalist focused on the
performer. The directness of musical expres- merits of the Romanza:
42
Mr. Lionel Tertis-in the opinion of the promised work will be entirely new.
Mr. Stanley Hawley, one of the two or The Romanza will be remembered as hav-
three greatest living masters of the viola, ing been played at the last Wolstenholme
and destined for still more indisputable concert last season by Mr. Catterall, of
position-was in Blackburn on Monday. Manchester.
Mr. Tertis has been taken captive by
Mr. Wolstenholme's beautiful viola ro-
Wolstenholme never wrote the proposed
manza, and he wrote to the composer a
letter of enthusiastic praise, in which he concerto; however, the worklist in the Wol-
declared the Romanza to be, among the stenholme Archive lists a piece for viola and
shorter pieces of his repertoire, the most orchestra called Legend and Wolstenholme's
effective of all viola music. This praise was entry in the Society of British Composers Year-
a prelude to a request that Mr. Wolsten- book 1907-08 includes a work entitled Legende
holme would write for him a viola and for solo viola and orchestra, op. 45.7 The manu-
orchestra concerto, and with a view to in- script for Legend is not among the Wolsten-
ducing him to this he suggested a visit to holme materials in the Wolstenholme Archive,
Blackburn in order to play the Romanza
and no other references to the work are known
to Mr. Wolstenholme and to talk over the
to exist.
proposal. His idea is that the Romanza
might form the second movement of Whatever the final verdict on Terris's in-
the Concerto. Mr. Tertis paid his flying volvement with the Romanza and Allegretto,
visit to Blackburn on Monday, and I do the violist did arrange another organ minia-
not fancy Mr. Wolstenholme sent him ture by Wolstenholme, Canzona, for viola
empty away. It is probable, however, that and piano. Although published by Novello in
1954, the transcription was completed much post but also through performing and pro-
earlier, for Tertis recorded it in 1925. Like moting his music. The aforementioned Stein-
Romanza and Allegretto, this work is in way Hall concert in 1903 attests to this type
ternary form and is not technically difficult. of support.
John White edited a new edition of Canzona Although Wolstenholme is certainly not
published by Corda Music Publications in one of the most prominent names in early
1997. 8 twentieth-century British music, he did inter-
Yet another organ work that Tertis tran- act with some of the better-known personali-
scribed for viola and piano is The Question ties of his day, including Elgar and Tertis.
and the Answer. Apparently, this was never Wolstenholme's miniatures for viola and
published. While arrangements of both piano are charming works and are certainly
movements for violin and piano by F. L. Tay- worthy of modern performance.
lor and for cello and piano by C. Sharpe were
published by Lengnick in 1922, no version NOTES
for viola and piano appeared in print. Both The author wishes to express appreciation to the
movements were recorded with Frank St. Faculty Research Committee at Washburn Uni-
Leger for Vocalion Recordings/ and The An- versity and to Dr. Douglas R. Carrington for their
swer wa..> recorded with Ethel Hobday for Co- assistance with this research.
lumbia Recordings on 8 December 1930.'"
'All newspaper citations in this article are taken
Tertis's 1930 recording, a copy of which is at from articles in a clipping file in the Wolsten-
the National Sound Archive in London, in- holme Archive in the Blackburn Central Library,
cludes a plethora of double stops which do Blackburn, Lancashire, U.K.
not appear in either published version. 2 Hans Wessely (1862-1926) was Tertis's violin
The meeting with Tertis certainly benefit- teacher at the Royal Academy of Music. In 1901,
ted Wolstenholme's career. Tertis was a strong Tertis joined the Wessely String Quartet as violist
advocate of the Blackburn organist. In My (Lionel Tertis, My Viola and I [London: Kahn &
Viola and L Tertis tells of his efforts on behalf Averill, 1974], 19).
3 Spencer Dyke (1880-1946) was a well-known
of the composer in London:
violinist in London in the early part of the cen-
tury. He became professor of violin at the Royal
We were so charmed with his demeanour
Academy of Music in 1907.
that when Hawley and I returned home we 4Malcolm Walker, "Recordings by Lionel Tertis,"
decided that a position for him must be in Lionel T ertis, My Viola and I (London: Kahn
found in London; it was not right that a &Averill, 1974), 177.
talented composer and excellent organist 5Walker, 179.
should be hidden away in Lancashire. 6Tertis, 21-22.
obtained the post for him of organist at (London: Society of British Composers, 1908),
the Norfolk Square Church in Padding- 126.
ton," and he lived in London, with his sis- •Corda Music Publications CMP 624.
ter who devoted her life to him, until his 9Walker, 177.
ROMnNZn.
W. Wolstenholme.
VIOLA.
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SHEET MUSIC
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usc
UNIVERSITY
UNIVERSITY OF SOUTHERN CALIFORNIA
SCHOOL OF MUSIC
OF SOUTHERN
VIOLA FACULTY
CALIFORNIA Pamela Goldsmith
Donald Mcinnes
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Petzold, Rudolf. Trio fur Violine, Viola -QCD
und Violoncello: op. 31; Koln: Hans Gerig,
cl956.
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fur Flote, Violine und Viola: op. 7 = Trio 3!
a
,-
-Ill
-
s:uro
concertant for flute, violin and viola; heraus- CD :::;::J
a. a.
0
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s:us:u
-.· 3iti
Violine und Violoncello, Viola ad. lib. Schweiz: Amadeus, 1995. s· 3-
\0 me:
~
Lottstetten: Edition Kunzelmann, cl995.
9.
m3
a. CD
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:::T -o
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:::;
a.
a ....eli
CD"
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reiter, 1965, c1960.
Rolla, Alessandro. Concertina for viola and
orchestra; edited by Franco Sciannameo. Zinsstag, Gerard. Tahir: pour alto, orchestre
Toronto: E. C. Kerby, c1980. a cordes et petite percussion = fur Viola, Strei-
chorchester und kleines Schlagwerk: (1995).
Schmitt, Joseph. Concerto in C-dur fur Viola Karlsruhe, Germany: Tre Media Musikver-
und Orchester = Concerto in C major for lage, c1996.
viola and orchestra; herausgegeben von Bern-
hard Pauler; Vorwort von Albert Dunning. Violine und Viola, mit Orchester.
Winterthur: Amadeus, 1995. Davies, Peter Maxwell. Strathclyde concerto
no. 5: for violin, viola, and string orchestra. In-
Stamitz, Carl. Concerto in D-dur fur Viola cluding, Vanitas by Jan Albert Ban; arranged
und Orchester, op. 1 = Concerto in D major by Peter Maxwell Davies. London. New York:
for viola and orchestra; herausgegeben Boosey & Hawkes, 1994.
von Ulrich Druner; Klavierauszug von
Willy Hess. Winterthur, Schweiz: Amadeus, Klavier und Viola (for children)
1995. Murray, Eleanor, and Sebastian Brown. Tunes
for my viola. London; New York: Boosey &
Zwei Violen-Solo, mit verschiedener Hawkes, c1972.
Begleitung.
Bach, Johann Sebastian. Brandenburg con- Salter, Lionel. Starters for viola: 17 arrange-
certo no. 6, Bb major. New York: Broude ments and original pieces with piano accom-
Bros., [195-?]. paniment. [London]: Associated Board of the
Royal Schools of Music, c1988.
Violine-und Viola-Solo, mit Orchester.
Mozart, Wolfgang Amadeus. Symphonie van Eyck, Joseph. Mozart fur Kinder: 18
Concertante Es dur fur Violine und Viola mit Kleine Kompositionen fur Violine und
Orchester; revidiert und mit Vorwort verse- Klavier. Ebersberg: Editio Alto, c1993.
hen von Rudolf Gerber. Leipzig: E. Eulen-
burg, [194-]. Gesang, Klarinette, Viola und Violoncello.
Krasa, Hans. Tri pisne pro baryton, klarinet,
Klarinette- und Viola-Solo, mit Orchester. violu a violoncello = Drei Lieder fur Bariton,
Bruch. Double concerto: clarinet (or violin) Klarinette, Viola und Violoncello = Three
and viola with orchestra: op. 88 = Dop- songs for baritone, clarinet, viola and violon-
pelkonzert: Klarinette (oder Violine) und cello: Ghetto Terezin 1943; na slova basni
68
Arthura Rimbauda v prekladu Vftezslava Nez- Bruni. Metodo per viola: seguito da 25 studi
vala; editor, David Bloch. Praha: Tempo; = Methode pour alto: suivie de 25 etudes =
Berlin: Bote & Bock, c1993. Viola school: followed by 25 studies = Schule
fur Viola: mit 25 Ubungen = Metodo para
Gesang, Flote, Viola und Harfe. viola: con 25 estudios; [riveduto da Angelo
Maw, Nicholas. Roman canticle: two in the Consolini]. Milano: Ricordi, 1986, c1919.
Campagna: for medium voice, flute, viola and
harp; poem by Robert Browning. London: Etling, Forest R. Workbook for strings: viola.
Faber Music, c1995. Van Nuys, CA: Highland/Etling: Alfred,
c1990.
Gesang, Viola und Klavier.
Loeffler, Charles M. Four poems: op. 5: for Herman, Helen. Bow and strings: viola. New
voice, viola and piano. Boca Raton, FL: Mas- York: Belwin, c1949-1950.
ters Music, [1990?].
Isaac, Merle. String class method: viola.
Sheng, Bright. Three Chinese love songs: Chicago: M. M. Cole, c1966.
for voice, viola and piano. [New York]:
G. Schirmer; Milwaukee, WI: Distributed by Janowsky, Edward. Viola note speller. New
H. Leonard, 1995, c1988. York: Belwin, c1950.
Eine Singstimme und Viola. Lesinsky, Adam P. The rhythm master viola
Berger, Jean. Six rondeaux: voice and viola; method: for individual or class teaching of
poems by Charles d'Orleans. Denver: J. Shep- combined violas and 'cellos. Chicago: Gamble
pard Music Press, c1968. Hinged Music, c1937. MT 282.
Dimov, Bojidar. Tanzlied: fur Stimme und Etuden, Capricen, Studien, Ubungen.
Violo, 1990; Text, Nikolai Liliev. Koln: Verlag Etling. Intermediate string techniques: viola.
Dohr, c1995. Van Nuys, CA: Alfred, c1990.
Terzakis, Dimitri. Daphnis und Chloe: nach Hudadoff, Igor. A rhythm a day for strings:
der altgriechischen Erzahlung von Longos: fiir for all string instruments in unison and har-
Sopran und Viola. Bad Schwalbach: Edition mony: 276 basic rhythms, 14 basic orchestra
Gravis, c1996. scales, major and minor intervals. [Westbury,
NY]: Pro Art, c1965.
Rezitation, Viola und andere Instrumente.
Alpher, David. The walrus and the carpenter. Kreutzer, Rudolf. 42 Etuden fur Bratsche
for narrator, flute, viola and piano; text by (Viola). [bearb.] von Ludwig Pagels. Brux-
Lewis Carroll. Lakeland, FL: Brixton, c1995. elles: Edition Cranz, [192-?].
Drei Singstimmen, Violine, Viola und Reese, Wendel. 22 studies for strings: adapted
Violoncello. from Wohlfahrt, Hohmann and Henning: for
Part, Arvo. Stabat Mater: per soprano, alto, individual or class instruction in unison or
tenore, violino, viola e violoncello. Wien: Uni- ensemble: viola. [Melville, NY]: Belwin;
versal Edition, [1994], c1985. Miami: Distributed by Columbia Pictures
Publications, c1961.
Etuden, Capricen, Studien, Ubungen.
Sladek, Paul. Thirty minutes a day. basic exer- Whistler, Harvey S., and Herman A. Hum-
cises for violin: adaptable for viola. Pitts- mel. Elementary scales and bowings for
burgh: Volkwein Bros., c1972. strings: viola. Chicago: Rubank; Milwaukee:
Hal Leonard, c1955.
Schulen und Methoden.
Brahms. Complete orchestral parts: viola. Whistler, Harvey S. and Herman A. Hum-
Indiana: Frangipani Press, c1979. mel. Intermediate scales and bowing for
69
Violists COMMENTS:
Please Visit the
"My Hutchins viola creates a sensation wherever I play it. People
Four Seasons Orchestra want to know how to get that tone quality. At the Spoleto Festival
Website they wouldn't believe it."
David Mankovitz, 1962, Kroll Quartet
Alto-Clef Logo Gifts "Perhaps the most beautiful sounding viola I ever played. I would be
proud to own it ifl needed one on a regular basis."
@WWW .fourseasonsorchestra.org Paul Zukofsky, 1994, Concert Violist
or write to Carolyn Broe @
4972 E. Paradise Lane
Scottsdale, AZ 85254
112 Essex Avenue (973) 744-4029
Montclair, NJ 07042 Fax (973) 744-9197
GEOFFREY OVINGTON
M A KER OF VIOLINS,
VIOLAS AND CELLI
Instruments of Distinction
Played Internationally
SHUSHAN, NY 12873
U.S.A.
518-854-3648
V IESSA PHIU1ARMO:-JIC (PR. VL.... ) L t · ASGELE.'< CHMABER 0RCHE:-TRA OrERA ORt:IIE.,"TRA <1F L A ScAL4. (PR. V L.4..)
NEW YORK PHIL'iAR~IONIC BAVARI!\K RADil' 5Yl-11'HO>IY ( PR. VLA.) N t1RWWIA . CHAMBER ORt:Hb"TRA
TREASURER'S REPORT
Income Statement
09/28/98 through 03/26/99
09/28/98-
Category 03/26/99
Income/Expenses
Income
Advertising 7,930.00
Dues 37,820.04
Interest Earned 1,770.73
Total Income +47,520.77
Expenses
Chapter:
Ohio 250.00
Utah 250.00
Total Chapter: 500.00
Contribution 1,500.00
JAYS:
Printing Fee: 5.305.89
Total]AVS 5,305.89
Journal Expense:
Fees 2,060.00
Printing 7,767.01
Total Journal Expense 9,827.01
Office Supplies:
AVS Stationery 289;84
Office Supplies - Other ~
Total Office Supplies 624.18
Primrose 1,393.61
Travel Expense 1.175.06
Accounts Balance
Assets
Other Assers
AVSENDO~ENTFUND 14,336.8 1
AVS PRIMROSE FUND 18,676.40
CD 7,251.66
Total Other Assets 40,264.87
Liabilities 0.00
Equi ty 66.961.15
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fine string instruments
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73
OF INTEREST
Dear Violists,
"Rebecca Clarke and Sonata Form: Questions of Gender and Genre." Musical Quarterly 81/3
(1997): 393-429. (T his is the most recent Musical Quarterly)
"A Case ofldenti ry: Rebecca Clarke." Musical Times(London) 137 (May 1996): 15-21.
ABOUT VIOLISTS
The Chicago Musical College of Roose- was a member of the Chicago Symphony and
velt University has established perhaps the
first award of its kind in the United States.
the Hartt Quartet, and he recorded the Mor-
ton Gould Viola Concerto with the Louisville
0 0
The Robert Glazer Viola Award for Excel- Symphony. Glazer is currently the music di-
lence in Orchestral Playing was created in rector of the New York String Symphony. It is
honor of a distinguished alumnus, Robert hoped this award will inspire other schools to
Glazer. Glazer is a celebrated soloist and similarly recognize the importance of orches-
recording artist. Among his teachers were tra preparation in the curriculum.
William Schoen and William Primrose. He
Jeffrey Irvine, well-known and respected Ann Marie Hudson, a former student of
viola teacher, has been appointed to the fac- Heidi Castleman at CIM, has become an in-
ulty of the Cleveland Institute of Music. He structor of viola at Baylor University.
has taught at the Oberlin Conservatory for
the past fifteen years.
AVS CHAPTERS
Editor's Note: Each president ofthe various AVS chapters is requested
to send chapter news to the editor of JAYS.
February 21, 1999, Lutkin Hall at North- a bass oboe for the nearly extinct heckel-
western University was the setting for an un- phone. From the brooding opening minutes
usual and varied program of chamber music through the final pages of virtuoso writing,
for oboe, viola, and piano. Jointly sponsored the trio did not disappoint, closing the recital
by the Chicago Viola Society and Northwest- with an expressive and powerful reading of
ern University, this recital teamed North- this masterwork.
western faculty artist and Chicago Symphony This outstanding program will be repeated
principal oboist Alex Klein with CVS at the University of Wisconsin-Madison as
president-elect Marlise Klein and Northern part of the International Double Reed Society
Illinois University faculty pianist William convention to be held August 10-14, 1999.
Koehler. A large and enthusiastic audience was Contact Marc Fink at (608) 263-1898 for
treated to a wonderful musical program and more information.
to relaxed and humorous oral program notes
delivered by the Kleins. The entire recital re- Matthew Michelic
flected the unanimity, commitment, and im- Associate Professor ofViola
peccable ensemble that one might expect of a Lawrence University
husband/wife duo and was matched by stellar Appleton, Wisconsin
work from the keyboard of Mr. Koehler.
The evening began with a trio sonata
arrangement gleaned from various works by MOES & MOES
J. S. Bach in which the trio revealed the line
and structure of the work with elegance and VIOLIN MAKERS
clarity. The next offering was a set of three
songs by Frank Bridge, each written with a
viola obliggato part. These gorgeous works
were heard in a highly successful arrangement
by Mr. Klein with an oboe d'amore replacing
the soprano.
The following two works on the program,
though unfamiliar, were originally written New Instruments
for oboe, viola, and piano. Der Schiljlieder, made by
Opus 28 of August Klughardt (1847-1902),
is a well-written and ambitious five-movement
Peter & Wendela Moes
work ranging from tender to bravura in ex- Sound Adjustments
pression and often evoking a Schumannesque (by appointment)
style. A Nymph's Complaint for the Death of
Her Fawn by English composer Felix White Instrument Repair
clearly captivated the audience. This beauti- 134 Brooksdale Road
fully crafted work of 1921 has echoes of Loef- Stamford, CT 06903
fler and the French Impressionist school and Phone (203) 461-9560
was lovingly played by the trio. FAX (203) 461-9562
In the final work of the evening, Hin-
Be sure to check out our web site!
demith's formidable Opus 47 Trio for Viola, e-mail: moes@connix.com
Heckelphone and Piano, Mr. Klein substituted www.chamfer.com/moes
78
Sponsored by the Utah Viola Society, in ternational Viola Archive) Rooms in the BYU
cooperation with Brigham Young and Weber Harold B. Lee Library.
State universities, ViolaFest was a memorable On both Friday and Saturday evening,
week of viola-related events. From March 9-13, Mr. Neubauer performed the Walton Viola
1999, participants basked in the warmth of the Concerto with the Utah Symphony, con-
viola sound, including recitals, master classes, ducted by Joseph Silverstein. As an added
and lecture demonstrations with such artists as bonus, the Symphony offered tickets to Utah
Paul Neubauer, Scott Lewis (Utah Symphony Viola Society members at a reduced rate.
member), and David Dalton (BYU professor). On Saturday, March 13, members of the
On Tuesday, March 9, Paul Neubauer Utah Viola Society met at Abravanel Hall in
conducted a master class with four students Salt Lake City for a series of classes and
from Brigham Young University (all stu- events. The morning began with a lecture
dents of David Dalton), featuring works by demonstration given by David Dalton entitled
Rebecca Clarke, Hindemith, and Zimbalist. "The Art of Primrose." Professor Dalton has
Even though Mr. Neubauer was quite ill for given this program in Europe, China, and
the entire week, he carried on remarkably and more recently at the Curtis and Peabody Insti-
professionally. Not one to allow any student to tutes, Juilliard, New England ConseFvatory,
play below his or her ability, Mr. Neubauer of- Indiana University, the University of Southern
fered carefully tailored suggestions to each California, and other American music institu-
player, and all participants (including many tions. We were treated to wonderful, personal
nonviolists in attendance!) benefited greatly. glimpses of one of the twentieth-century's
The evening was topped off beautifully by greatest artists. In addition to Professor Dal-
Scott Lewis and Lara Lambert, who offered ton's insights, Donna Dalton's recollections
a recital program consisting of the Sonata in were especially touching. She spoke of how
E flat by Brahms, Hindemith's Trauermusik, Primrose influenced her and her children's
and an impressive memorized performance of lives and how his character and personality
the Bach Chaconne. not only matched but surpassed his artistry.
Wednesday, March 10, brought one of The next class was given by Paul Neu-
the highlights of the year for violists in Utah- bauer on the Bartok Viola Concerto, "Old and
the annual Primrose Memorial Concert. This New." He discussed the events that led him to-
year we were favored to have Paul Neubauer, ward the revised edition, demonstrated some
assisted by Jeffrey Shumway, offer a glorious differences between the versions, and played
recital. Included on the program were such one of his taped recordings with the orchestra.
favorites as the Bloch 1919 Suite and the He then entertained a series of questions sub-
Miirchenbilder by Schumann. In addition, we mitted by those in attendance dealing with all
heard the Utah premiere of Joan Tower's Wild aspects of the viola profession and shared some
Purple, a striking solo work written for of his career highlights. After a lunch break, the
Mr. Neubauer; A Bird Came Down the Walk day's events resumed with a mock orchestral
by Toru Takemitsu, as well as some delightful audition in which three students played before
pieces by Kreisler and Georges Boulanger. One a panel of professional violists, which included
of the most gratifYing aspects of the evening Christopher McKellar, principal violist, Utah
was the large and enthusiastic audience who Symphony; Lynne Rilling, professional free-
was treated to at least three encores. All of the lance violist; Roberta Zalkind, associate princi-
events to this point were held in Brigham pal violist, Utah Symphony (all graciously do-
Young University's Madsen Recital Hall, in nated their time and expertise). Excerpts in-
Provo, Utah, and were free to the public, with cluded Strauss's Don juan, the Mendelssohn
contributions welcomed for the construction Scherzo from A Midsummer Night's Dream,
of the new Primrose and PIVA (Primrose In- Mozart's "Haffner" Symphony, and others.
79
After each student played, each panel member events (with the exception of the Symphony
offered suggestions for improvement. Basic concert) were free to members of both the
topics such as intonation, rhythm, and tone Utah and American Viola Societies. Many new
quality were addressed, as well as other more members joined as a result of this ViolaFest,
subtle aspects of preparation like versatility in and many thanks go to the organizers behind
tempos or bowings, different types of spic- the scenes: Leslie Harlow, current president,
cato, and dynamic contrasts. The day's events Utah Viola Society; Dr. Michael Palumbo,
concluded with a recital by four precollege past president; and David Dalton, president
students of local teachers who performed be- elect.
fore a jury of professionals and were given
written critiques of their performances. Emily Barrett Brown
The ViolaFest was a wonderful success- Graduate Viola Performance Major
another triumph in chapterization, as all Brigham Young University
The Ohio Viola Society had its inaugural Officers of the newly formed Oregon
event on 11 April 1999, a concert featuring Viola Society are
Robert Vernon, Lynne Ramsey, Marcia Fer- \\ :::::::::::::::::::::::::::::::::::::
\: ·~
ritto, Nancy Bacuk, Mark Jakobs, Stanley President: Charles Noble
Konopka, and Jeff Irvine. This was followed
by an organizational meeting. The concert
President-elect:
Secretary:
Joel Belgique
Brian Quincy
\_~
was held at 1:30 p.m. at the First Baptist Treasurer: Martha Warrington
Church, 3630 Fairmont Blvd., Cleveland
Heights. Charles Noble
Assistant Principal Viola
The Oregon Symphony Orchestra
THOMASTIK
DOMINANT
THE NEW STANDARD OF EXCELLENCE
HEN great artists like Pinchas Zukerman, Itzhak Perlman and
• the Fine Arts Quartet choose their strings, they choose the
best. That's why they use 'Dominant' strings for violin, viola,
and cello. They have a rich powerful tone, unmatched response and they
stay in tune unlike old-fashioned gut strings. They last far longer and are
the closest thing to a perfect string ever made.
Now available in Full, 3/4, 1/2, 1/4, 1/8 and 1116 sizes.
Sold in Better Music Stores
For further information or the name of your nearest
dealer contact the exclusive U.S. Importer
JOHN M. CONNOLLY & CO., INC.
P.O. BOX 93 • NORTHPORT, NEW YORK 11768
80
VIOLA CONNOTATIONS
Please submit your informative photos oflicense plates, commercial products,
& unusual associations that keep our name before the public.
Viola Faculty
A native of Russia, Leonid Gesin
studied with A.G. Sosin at the Leningrad
State Conservatory, where he later
served as a member of the faculty. He
performed for 17 years with the
Leningrad State Philharmonic. He also
taught viola and violin for five years at
the Rimsky-Korsakov Special Music
Don Ehrlich, Assistant Principal Viola
School in Leningrad, then emigrated to Poul Hersh, former violist and pianist
of the San Francisco Symphony, has
the U.S. in 1978. Gesin is a member of of the Lenox Quartet, studied viola with
been a frequent soloist and chamber
the San Francisco Symphony and of the William Primrose. He is former faculty
musician in the Bay Area and around the
Navarro String Quartet. He appears in member of the Grinnell College and
world in such groups as the Aurora Chamber Music Sundaes and performs SUNY at Binghamton, and has been
String Quartet and Stanford String with the Sierra Chamber Society. artist-in-residence and visiting faculty at
Quartet, and on such series as Chamber
the University of California at Davis,
Music West, Chamber Music Sundaes, Temple University, Oregon State
and the Mendocino Music Festival. He University, University of Western
received his B.M. from the Oberlin Washington, Berkshire Music Festival,
Conservatory, his M.M. from the
Aspen Music Festival, and the Spoleto
Manhattan School of Music and his
(Italy) Festival of Two Worlds. He has
D.M.A from the University of Michigan. performed with the San Francisco
Symphony, the San Francisco Chamber
Orchestra and many other groups.
For more information, contact: O ffering the Music Diploma, Bachelor of Music, and
Offi ce of Student Services Master of Music.
San Francisco Conservatory of Music
1201 Ortega Street S tudents from aro und the v.•orld come to the S an Francisco
San Fran cisco, CA 9 4122-449 8 Conservato ry o f Music for several reaso n s:
N ame Telephone
Address
RECORDINGS
J.C. Bach: Concerto for Viola; M. Haydn: editions of the work to examine and enjoy-
Concerto for Viola; Stamitz: Concerto for and the price is right!
Viola; Wolfram Christ, viola; Cologne
Chamber Orchestra. Koch-Schwann 189836 Brahms (arr. Bashmet): Quintet for Clarinet
(Koch-International) and Strings (arr. for Viola and Strings);
Shostakovich (arr. A. Tchaikovsky): Sinfonia
Berlioz: Harold in Italy; Bax: Viola Sonata; for Viola and Strings (from String quartet
William Primrose, viola; Harriet Cohen, #13). Yuri Bashmet, viola; Moscow Soloists.
piano, Boston Symphony Orchestra, Serge Sony 60550
Koussevitsky. Doremi 200070
Colgrass: Variations for Four Drums and
Review: Viola; Hiscott: Romantic Nights; Mcintosh:
For someone who has lived with this Nanuk; Harman: Viola Sonata. Rivka Golani,
recording in different guises since the middle viola; Ryan Scott and Christine Huang, per-
1940s, this is quite an eye-opener. Jacob Har- cussion; Stephen Clarke, piano. Centredisks
noy, guiding light of Doremi Records, has CMC CD 5798 (Albany Records)
done a superb job transferring this recording
to CD. Those who bought the Obert-Thorn 18th-Century Viola Concertos by Stamitz,
transferal on Biddulph should change to this Hoffmeister and Dittersdorf; Marcello
recording because there is no comparison. Defant, viola; Zardonai Ensemble. Sympo-
This recording has all the warmth and excel- sium 106 (]em)
lent sound of the original plus quiet surfaces
and expanded tonal range. I defY most people Gervasoni: Violaconcerto; 2 poesi Francesi di
to listen to this and tell me they really believe Beckett; two poesie Francesi di Rolke; 2 poesi
this recording was originally done on 78 RPM Francesid'ungaretti; Parole; Isabelle Mangert,
masters. Warning: buy this now before you viola; Luisa Castellani, soprano; Ens Contre-
find out that this, too, has been removed from champs, Emilia Pomarico, cond. Musique
the catalog. Francaise MFA 216016
Highest recommendation to what I think
is the greatest of Primrose traversals of this I. Lachner: 6 Trios; Anna Barbara Duet-
perennial favorite. schler, viola; Stefan Muhmenthaler, violin;
Marc Pantillon, piano. Claves CD 50-9802/3
Bartok: Concerto for Viola (two versions); (2 disks)
Two Pictures; Serly: Rhapsody for Viola and
Orchestra; Hong-Mei Xiao, viola; Budapest Milhaud: Sonatas for Viola and Piano no. 1
Philharmonic Orchestra, Janos Kovacs, Cond. and no. 2; Two Pieces for Viola and Piano;
Naxos 8.554183 Sonatine for Viola and Cello; Sonatine for
Violin and Viola; Suite for Violin, Viola and
Note: Piano; Quatre Visages for Viola and Piano.
When Bartok passed away and left only Paul Cortese, viola; Michel Wagemans,
sketches, Serly used these sketches to com- piano; Joaquin Palomares, violin; Frank
plete the first version of the concerto. William Schaffer, cello. AVS CD DCA 1039 (Koch
Primrose, who premiered the work, and I be- International)
lieve added some input to Mr. Serly, recorded
the work in 1950. In 1995, Peter Bartok, Review:
with violist Paul Neubauer, brought out a Comprising a little over 78 minutes of
new addition, so you have recordings of both music, Mr. Cortese provides us with a most
84
powerful document of the viola works of Mil- Mr. Cortese plays a 1995 instrument that has
baud. Most of these works are recorded for a good midrange and top, but I thought it
the first time. The only works for viola not was a little edgy on the bottom (I realize new
included are the two concertos for viola and instruments have to age to even out). Never-
orchestra, as well as a work called Elegie, theless, the CO's cost is a small price to pay
which seems to exist in recordings for cello for such elegant playing.
and not viola. Elegie would make another
good CD. Mr. Cortese performs assuredly and Mozart: Sinfonia Concertante K 364; Cancer-
sensitively. I listened to the CD at one sitting tone K 190; Rondo; Pavlo Beznoziuk, viola,
and found the performances easy to listen to. violin; Monica Huggett, violin; Portland
Baroque Orchestra. Virgin 7243 545290 23 certainly a pleasure to be able to hear most of
(EMD) the sixteen violists in solo performances taken
from basically private recordings and not
Mozart: Sinfonia Concertante K. 364; Sinfo- studio recordings.
nia Concertante for Winds K. 297B; Andrew Tully Potter, who wrote the excellent
Williams, viola; Jonathan Carney, violin; et notes to this set, said that certain violists
al. Royal Philharmonic Orchestra. lntersound (Imai and Bashmet are among the examples
2852. given) were left out because there are numer-
ous examples of their work already on CD.
Pinkham: Sonata da Camera; Elegy; Miracles; However, Ms. Golani, who has quite a few
Vowels; Nocturnes; Missa Domestica. Burton recordings on CD, was chosen.
Fine, viola; Fenwick Smith, flute; James As I did with the first three volumes of
David Christie, organ; D'Anna Fortunato, this series, I immediately programmed the
Mezzo; Daniel Pinkham, handbell; David CD player to play the works by three violists
Leisner, guitar. Koch 3-7423-2 HI (Koch I had never before heard. They are Michael
International) Kugel, Christopher Wellington, and Josef
Karlovsky. Kugel, in an arrangement of the
Note: Carmen Fantasy of Waxman, displays a presti-
Mr. Fine plays only in Sonata da Camera. gious technique and excellent musician-
ship but a fast vibrato more suited to the
Reger: Sonatas for Viola in A flat, F sharp, violin than the viola. Karlovsky, featured
and B flat; Barbara Westphal , viola; Jeffrey in a work by Barta, displays little vibrato
Swann, piano. Bridge 9075 (Koch Inter- and certainly does not have the glorious tonal
national) quality of some of his Czech compatriots
like Maly and Kodousek. Wellington displays
Rota: Viola Sonatas no. 1 and no. 2; Inter- his English heritage of beautiful tone, vibrato,
mezzo for viola and piano; Violin Sonata; and sensitivity. Certainly one can hear the
Luigi Albert Bianchi, viola and violin; Marco same attributes one would associate with other
Vincenzi, piano.Dynamic DYN 200486 British violists like Copperwheat, Aronowitz,
(Qualiton) and Riddle.
My favorite piece on the two discs is
The Recorded Viola Vol. 4, Various com- Essex's playing of an arrangement of Gersh-
posers: Various Pieces; Schidlof; Courte; De- win's Summertime with Johnny Dankworth's
Pasquale; Wallfisch; Essex; Karlovsky; Orchestra. It's a jazzy arrangement, beauti-
Wellington; Skampa; Giuranna; Bianchi; fully played, and may have opened the possi-
Erdeyi; Golani; Kugel; Chase; Schotten; bility of hearing the viola played in a new
Tomter; Pearl GEMS 0039 (Koch Inter- medium. All the violists have added to my de-
national) claration that this set is indispensable to the
collector and lover of viola performance.
Review: Highly recommended-as a matter of
Many of the violists featured in this two- fact, I'm disappointed this is the alleged final
CO set were noted for reasons other than volume to be issued, according to Pearl. I was
their solo viola careers. People like Courte, hoping a volume would be released that fea-
Essex, Schidlof, Skampa, et al., were noted for tures violists who have never before recorded.
their chamber music performances, and oth-
ers like de Pasquale, Kugel, Chase, and Submitted by David 0. Brown
Tomter were noted for their orchestral ca- Brentwood, New York
reers. Still others were basically teachers. It is <dobrown@suffolk.lib.ny. us>
hicaao
{fC
M U S I CAL 0 L LEG E
Li-Kuo Chang has appeared as soloisr with the Chicago Symphony Orchestra,
Phoenix Symphony, and the Shanghai Symphony Orchestra; in chamber music
Li-Kuo Chang
performances at the Los Angeles Music Center, at Le Gesse Festival in France
and the Taipei Music festival in Taiwan, to just name a few. He has taught and
performed at the Affinis Music Festival in Japan since 1992.
Richard Ferrin, violist with the Chicago Symphony Orchestra since t967, has
enjoyed a distinguished career as soloist, chamber musician, symphony member
and teacher. Concertmaster of the lnrerlochen Wo rld Youth Symphony as a teen,
he studied viola and violin at Eastman and the University of Southern Californja,
at the Sibelius Academy in Helsinlci, and visited the Soviet Union in 1962 to
study pedagogy in Leningrad, Moscow, Kiev and Odessa.
Richard Ferrin has been soloist with the Chicago Symphony Orchestra, Eastman-
Rochester Symphony Orchestra, the Fin rush Radio Orchestra, and the Houston
Symphony, and in 1986 gave the firs t performances of the Bartok Viola Concerto
with the Shanghai Symphony Orchestra and the Central Philharmoruc Orchestra
in Beijing. As a violist of Ch.icago Pro Musica, he has performed at international
festivals in Japan, Australia, Spain, Germany, and the former Soviet Union.
Mr. Ferrin and Mr. Chang's suing faculty colleagues at Chicago Musical College include violinists
Cyrus Forough, Joseph Golan, Yuko Mori (in 1999), and Alberr Wang, cellist Natalia Khoma and
John Sharp, and bassist Stephen Lester.
To find out more about the Orchestral Srudjes Program, write or call Mr. Bryan Sbilander, Assistant
Dean, College of the Performing Arrs, Roosevelt Un iversity, 430 South Michlgan Avenue, Chicago, IL
6o6o5; 312-341-3789.
Roo~EVELT
UNifERSITY CJ.ICVJ125
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