American Viola Society (formerly Viola Research Society)

American Chapter

of the

INTERNATIONALE VIOLA FORSCHUNGSGESELLSCHAFT

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Apri l NEWSLETTER 16 1979 -I-- -----_Y--.----- - .- _LC_ -

THE V I I WJERNATIONAL VIOLA CQNGRE-SS - --

V i o l i s t s over the world w i l l be rece iv ing soon a brochure and an o f f i c i a l i n v i t a t i o n t o p a r t i c i p a t e i n the V I I I n t e r n a t i o n a l Viola Congress a t Brigham Young Universi ty i n Provo, Utah on J u l y 12 , 13 , and 14 , 1979. The Host Chairperson, D r . Dsvid Dalton of B Y U t s Music Department, has assembled an impressive l i s t of v i o l i s t s , t eachers , s c h o l a r s , and ensembles which promises t o make th ie meeting of v i o l i a t a a s s p e c t a c u l a r a s pas t ones. Sponsored j o i n t l y b y the American Viola Soc ie ty , the I n t e r n a t i o n a l e Viola ~ o r s c b u n g s ~ e s e l l s c h a f t , and Brieham Young Univers i ty , t h i s congress w i l l have a s i t s f o c a l po in t , the 75th b i r thday c e l e b r a t i o n of W i l l i a m Primrose, Honoring t h i s auspic ious event , w i l l be a TV docuaentary , "A V i o l i s t ' s ~ e g a c y , " an e x h i b i t of the William Primrose Viola Library a t BYU, and a concert of t r a n s c r i p t i o n s by William Primrose performed by h i s s tuden t s (Alan de V e r i t i c h , Donald KcInnes, Yizhak Schot ten , J u n Takahira, and Karen T u t t l e ) ,

Major v i o l a r e c i t a l s w i l l be given (1iaBed here i n chronol@gical o rde r ) by Yizhak Schot ten ( ~ o c c h e r i n i , Bloch, Schumann, H a r r i s ) ; Raphael H i l l y e r (unaccompanied music by Bloch, Drushinin, Musgrave, Hindemith) ; Karen T u t t l e (Bloch, Shulman, Vaughan W i l l i a m s ) ; and Joseph de Pasquale (Shostakovich, Rochberg, and loch).

L e c t u r e - r e c i t a l s w i l l be g iven by Marcue Thompson ( v i o l a ' music b y American composers) and Guillermo Per ich (music f o r v i o l a by Spanish and L a t i n American composers), Maurice Riley w i l l read a paper on t h e development o f the v i o l a i n the e a r l y Brescian and Cremonese schools and Suzanne Bloch, l u t e n i s t and teacher a t the J u i l l i a r d School, w i l l t a l k on h e r f a t h e r Ernest Bloch and his music f o r the v i o l a loch's complete corpus of music f o r v i o l a w i l l be heard d u r i w t h e conereas).

Maater Classes w i l l be l e d by Joseph de Pasquale snd Milton Thomas and a forum d e a l i n e wi th "The V i o l i s t a s Professional1 ' w i l l be held wi th a panel of eminent v i o l i s t s .

~ - - - - - - - - - I _ _ - - - _ u d - - - U _ _ - - - - - ---- A M E R I C A N VIOLA SOCIZTY, I N C . : D r . Myron Roaenblum, P r e e i d e n t , 39-23 47th S t . , Sunngside, N.Y. 11104; D r . Mauriae Ri ley , Vica-President, 512 Roosevelt Blvd., Ype i l an t i , M I . 48197; Marna S t r e e t , Sec re ta ry , 3 Allegheny Center , P i t t s b u r e h , Pa. 15212; D r . Ann Woodward, Treasurer , PO Box 1134, Chapel H i l l , N.C. 27514. Ed i to r of the American Chapter Newsletter: Nyron Rosenblum, I n t a r n a t i o n a l e Viola F o r s c h u ~ s g e s e l l s c h a f t (IVFG) : A-5020 Salzburg, c/o Hochochule "~ozar t eum," Auet r ia ,

Three premi\ere per f srmances w i l l take place during the congress: M e r r i l l ~ r a d s h a w ' s Homa es f o r Viola and Orchestra ( i n honor of Hindemith, Ter t i a , and P r i r n r ~ s ~ - & ? o r r n e d b y J un Takahira; Maurice Gardnerl s 4 Rhapsod ror Viola and Crchestra performed b y Jerzy Koamela; end George Hochberg s Sonata f o r Viola and Fiano, commfssioned f o r the c o w r e s s , performed by Joseph de Pasquale, Once aga in , the United S t a t e s Air Force Symphony Crches t ra , Capt, Lowell E. Graham, conductor, w i l l be present and make an itcportant c o n t r i b u t i o n t o the co#f3ress.

I n a d d i t i o n t o the Eradshaw and Gardner works f o r v io la and o rches t ra , those present w i l l have t h e p leasure of hearing Milton Thomas perform i n Ernest Bloch' s Concertino f o r Viola , F lu te , and Orchestra and Emanuel Vardi perform the important Tibor S e r l y Concerto f o r Viola and Orchestra.

Other events of note include Doma and David Dalton i n a concer t of music f o r soprano, v i o l a , and piano ( B l i a a , Manookin, L o e f f l e r , Janacek); The Zeyringer Tr io i n a cdncert of music f o r v i o l a , c l a r i n e t , and piano (Koringer, Lane, a n d Uhl); and the Southern C a l i f o ~ n i a Viola Ensemble, l e d by Thomas Tat ton , i n music f o r mult iple v i o l a s by Sargent , Piak, Jacob, and Lane,

On the second n i e h t of the c o w r e s s , William Primrose w i l l conduct a mass v i o l a ensemble i n readings of Kar l ~ t a m i t z ' Duet No. 1 i n C major f o r 2 v i o l a s ( ~ c h o t t Ed, 4166) and Bar tok ' s Duoa f o r 2 v i o l a s , Book 11, t ransc r ibed b y M r . P r i ~ r o s e (Boosey & Hawkes e d i t i o n ) . This w i l l be open t o a l l v i o l i s t s a t t end ing the congress , so , b r i n e your instrument and music.

Severa l days before the s t a r t of the congress, William Primrose, Jo~leph de Pasquale, and Ralph Aldrich w i l l hear contes tant0 and decide on the winners f o r t h e William P r i ~ r o s e I n t e r n a t i o n a l Viola Competition ( s e e no t i ce below),

There w i l l a l s o be a n I n t e r n a t i o n a l Viola Exhib i t ion by contemporary mekers sponsored by the Viol in Society of America. Other e x h i b i t s w i l l include those b y music publ i shers and ra re s t r i w instruments from t h e Renaissance and Baroque periods and non-Western c u l t u r e s by Ann Miachakoff.

I f you have not a l ready received your announcement of the congress from Brigham Young Univers i t y , wri te t o INTERNATIONAL VIOLA CONGRESS, Brieham Youw Univers i ty , Music Department, C-550 HFFFCs Provo, Utah 84602. We look forward t o see ing you durine these e x c i t i n g th ree days.

THE WILLIAM PRIYJiOSE IMTEHNPTICNAL VIOLA CC;MPSTITION, sponsored by Brieham -- Y o u ~ ~ f i r s i t y wi th the Snowbird m t u t e , w i l l take p lace a t Snowbird, Utah, J u l y 8 - 11, 1979. I t i s open t o a l l v i o l i s t s from 18 t o 30 years of age. I n a d d i t i o n t o prize money ( ~ i r s t pr ize : $2500.00; Second prize: &1500.00; Third pr ize : #500.00), t h e winner of the c o u p e t i t i o n w i l l be f e s tu red durine the v i o l a congress. Appl ica t ion deadl ine i s May, 1, 1979. For f u r t h e r information, wr i t e t o D r . David Dalton, Music Department, HFAC, Brieharn Youne Univers i ty , Provo, Utah 84602.

The V I I I I n t e r n a t i o n a l Viola Conerese w i l l take place on J u l y 4-6, 1980 i n Salzburg, Aus t r i a . The I X I n t e r n a t i o n a l Viola Congress w i l l be he ld i n Toronto, Canada, with the Canedian chapter of the I V F G host ing the event. We w i l l keep you informed of d e t a i l s a s they become a v a i l a b l e t o US.

The SCOTTISH VIOLA INTERNATIONAL, i n associa t i o n wi th the Royal S c o t t i s h - Academy of ~ u c n r ~ r a m a , w i l l be held i n Glaagow from August 1 8 t h t o

the 2 1 s t , 1979. It w i l l c o n s i s t o f concerto and sonata master c l a s s e s , teaching seminars, v i o l a chamber music, and a music workshop dedicated t o contemporary music. The out s tanding v i o l i s t Csaba Erdely i w i l l l ead the concerto master c l a s ses . For Information, w r i t e t o S c o t t i s c h Viola I n t e r n a t i o n a l , The Sec re ta ry , 3 Vic to r i a Circue, Glasgow 012 9LB, Scotland,

WNYC-FM, the r a d i o s t a t i o n of New York C i t y , presented a oomplete m o r n i q LI_I

of v i o l a m u s i q on Saturday, February 10 a s p a r t of i t s 16-week s e r i e s , "The Orchestra," The program or ie ina ted i n Boston and had Burton Fine, p r i n c i p a l v io la of the Boston Symphony Orchestra a s the s p e c i a l gues t , A b r i e f h i s t o r y of the v i o l a was g i v e n , I l l u s t r a t e d b y much f i n e playing on recordings. I f t o o much emphasis was given t o the v i o l a d'amore (an Instrument t h a t i s more hybrid than p a r t of the n a t u r a l evo lu t ion of the v i o l i n f ami ly ) , i t was refreshine: t o hear the d e l i g h t f u l music from t h e v i o l a d'amore reper tory . The l i s t e n i n g audience was t r e a t e d t o A r i o a t i ' s Lezione No. 3 (Kar l Stumpf, v i o l a d'amore) , Vivaldi s Concerto i n A major (Mlchel Pons, v i o l a d'amore) , Karl ~ t a m l t z ' Qoncerto No. 1 ( K a r l Stumpf, v i o l a d ' a ~ o r e ) , and ~ u a n t z ' Tr io Sonata i n F ( Je ros lev Horak, v i o l a d 1 a r ; c r 6 ) . The v i o l a works heard were Nendelssohn's "On Wines of son^'' s ion el T e r t i s ) , Handel's Sonata i n F, a r r . L. T e r t l s and played by him, ~ a y d n ' s S t r i n g Guar te t , op, 2 , #3 ( w i t h . a prominent v lo le - solo i n the Rinuet ) , Telemannts Conoerto i n G f o r 2 v i o l a s , 14ozart1s S infonia Concertante, K. 364 ( I s a a c S t e r n and V a l t e r Trampler), Hindemith' s - Der Schwanendreher (Marcus ~hompson) , Paganini Caprices a s arranged by Emanuel ~ a r d i a n d p l a y e d by him, and B e r l i o z ' Harold i n I t a l performed by William Primrose. Mr. Fine ' s comments were i ~ ~ ~ a n n ~ ~ d i n t r i e u i n g and h i s f ine playing shown by a movement f r o s one of the Bach Su i t e s ,

by Harold R. Harvey

Not lone aeo I was asked t o a s s i s t i n the v i o l a s e c t i o n of a n orcheet ra which was t o f u r n i s h the accompaniment f o r a r e n d i t i o n o f " ~ l i j a h . " My deek mate, a young lady i n h e r second year i n junior c o l l e g e , played v i o l a ex- tremely wel l and had a superb instrument wi th a r e a l v i o l a tone, My enthusi- asm f o r the v i o l a a s a s o l o instrument led me t o ask her what 8010s she wae playing. Imagine my astonishment when I learned t h a t , though she had been the v i o l i s t i n a very f ine school q u a r t e t f o r s i x x e a r a , she - had -- never @.aye a v i o l a solo: Cer ta in ly here was a chance t o T s o m e r n i s a n a r y work by - -- means of the power o f sugeest ion. O u r conversa t ion broueht out t h i s po in t , t h a t , while she loved the v i o l a , she had never r e a l l y g iven i t s e r i o u s con- s i d e r a t i o n a s an inetrument which could speak wl th a voice o f e r ea t beauty and power,

Ey way of c o n t r a s t , may I mention another experience. Last summer i t was my good for tune t o play v i o l a i n the o rches t ra a t the Universi ty of Michigan. Again my desk mate was a young lady who a l s o was an accomplished v i o l i s t and who a l s o had provided h e r s e l f with a -- r e a l v io la . Again the mat ter of using t h i s much neglected instrument was brought up, and I was informed t h a t she

* Reprinted from The Etude, March, 1934, 194 f . wi th kind permission of Theodore P r e s s e r Company, Bryn Mawr, Pennsylvania, This a r t i c l e which appeared i n t h r e e successive i s s u e s presents the v i o l a i n a rather un- orthdox l i g h t f o r the time it was w r i t t e n i n .

had J u s t r ecen t ly graduated f ron one of our b e s t schools of music with v i o l a a s major! Again I was as tonished, but happi ly so, We compared notes and I found t h a t she had an extens ive r e p e r t o i r e of the b e s t i n the v i o l a l i t a r a - t u r e and was eager t o l e a r n of any new th inea .

Tones Rarely I ~ c l a t e -- -- Between these two extremes the re l i e s a s t o r y of almost complete neglect

of t h i s splendid ins t rument , i n s o f a r as i t s b e i q used f o r so los i s con- cerned, Evidence i s not l ack inp , however, which po in t s t o a n i n c r e a s i e in- t e r e s t i n the v i o l i n ' s l a r g e r b r o t h e r , f o r even many of our smal ler school o rches t ras can boas t of a t l e a s t two v i o l a s . Cnly recen t ly the v i o l a has been e iven a place i n our con tes t s - - fo r i n s t a n c e , t h i s year i n the J u n i o r Divis ion of the Nat ional Federat ion of Music Clubs,

The l a r g e r s i z e of the viola, i n r e l a t i o n t o the v i o l i n , permits the use of longer and heav ie r s t r i n g s wi th a consequent lowerine of the p i t c h of t h e whole instrument , Not lone ago a sugges t ion was given by a prominent school orches t ra d i r e c t o r t h a t a s a t i s f a c t o r y s t a r t could be made without the instrument i t s e l f . He advocated s t r i r q i n g the v i o l i n l i k e a v i o l a , t h a t i s , removing the 6 s t r i a g , moving the lower t h r e e s t r i n e s up and using a v i o l a C s t r i n g i n place of the v i o l i n G s t r i n g . Cer ta in ly such a re-strung v i o l i n would not give the same sonorous tone of the l a r g e r instrument , but i t might be an experiment worth t r y i n g as a n emereency measure. I t would be espec ia l ly usefu l f o r younger p layers with emall hands. A t l e a s t , i t would not i n t e r f e r e wi th an e a r l y s t a r t i n r e a d i w the much-dreaded C c l e f . This would seem t o be the g r e a t e s t value i n t h i s experiment,

Since much v i o l a music l i e s i n the ranee of the t e n o r and a l t o voices , i t would cause confusion i f music were w r i t t e n i n the t r e b l e c l e f a s i n t h e following i l l u s t r a t i o n :

because of the necessary use of s o many added l i n e s below the s t a f f . Let us see what would happen i f the bass c l e f were used:

As i s ev iden t , t h i s c l e f would employ J u s t a s many added l i n e s a s the t r e b l e s t a f f , o r e l s e a t some convenient poin t ano the r clef' would need t o be added f o r the h iehe r notee, making the a l ~ o s t continuous use of two c l e f s necessary. The c l e f s e l e c t e d , t h e r e f o r e , i s the C c l e f which l o c a t e s Middle C , f o r t h e v i o l a , on the middle o r t h i r d l i n e ,

This i s the compromise with the bass an3 t r e b l e c l e f s which has been found t o be most useful.

For h iehe r notes the G c l e f i s used i n o r d e r t o do away with the reading of added l i n e s above the s t a f f . I t has o f t e n been suggested t h a t v i o l a

nusic should be w r i t t e n e n t i r e l y i n the G c l e f , bu t doing t h i s would re- s t r i c t the s tudent t o c e r t a i n e d i t i o n s which might adopt t h i s method of nota t ion . It i s c e r t a i n t h a t the g r e a t l i t e r a t u r e of the q u a r t e t would be forever c lossd t o him, t o s a y n o t h i w of a l l the g r e a t o r c h e s t r a l scores . So, i t i s b e s t t o l e a r n t o read tha v i o l a c l e f " s t r a i g h t . "

Most people th ink o f the v i o l a a s just "a b ig v i o l i n , " a f a l l a c y which only a n apprec ia t ion of i t s tone can do away with. Although i t i s not a b r i l l i a n t instrument , the v i o l a possesses a tone-color of except ional cherm; i t combines tha depth and resonance of the v io lonce l lo with t h e mellowness and tendernsss o f the lower s t r i n ~ s o f the v i o l i n . While each s t r i n g hzs i t s ind iv idua l tone-qual i ty , the lower s t r i n g s i n p a r t i c u l a r a r e sombre o r dramatic , and the upper s t r i n g s t ender , p a t h e t i c and of a ve i l ed mysteriousness. The t imbre , which can be made t o c o n t r a s t most t e l l i a g l y wi th the more open tone of the o ther s t r i w s , i s r a t h e r dark and n a s a l and approaches some of the woodwind i n c o l o r , p a r t i c u l a r l y the oboe, Enel i sh tiorn and c l a r i n e t . Ippolo t ow-Iwanow has w r i t t e n a remarkable duet f o r t h e v i o l a and English horn i n the second number of h i s " ~ a u c a s i a n Sketches," ca l l ed --- I n the V i l l a e ,

I n f o r m r days the o c c a s ~ d k so los a l l o t e d t o the v i o l a were f o r eon- t r a p u n t a l c o n t r a s t , but now i t i s se i zed upon b y composers f o r its own ind iv idua l qua l i ty . Muted, the tone i s o f an almost i n d e s c ~ i b s b l e beauty. The n a t u r a l harmonics h ~ v e a velvety q u a l i t y which makes them p a r t i c u l a r l y e f f e c t i v e . Chords played p i z z i c a t o a r e r i c h and resonant and seem t o lin- Eer i n the a i r , Give the v i o l a a melody which c a l l s f o r b read th , tender- ness , mysteriousness, pathos o r a ve i l ed q u a l i t y of tone , and i t w i l l respond t o any of these moods wi th a readiness unsurpassed by an o ther i n s t r u m ~ n t of the s t r i n g family,

v i o l a Vic i s s i tudes The c a r e e r of t'he v i o l a h a e e n a n i n t s r e s t i n g and a s ingu la r ly

chequered one. Or ig ina l ly i t was the o ldes t and ffi6st i a p o r t a n t member o f t h e s t r i n g family, but i t s p r e s t i g e gradual ly diminished u n t i l i t became a mere drudge, necessary f o r bhlance of p a r t s but not considered of much worth i n i t s e l f . This may have been p a r t l y due t o the crowing disuse of the l a r e e and powerful -- v i o l a -me-* tenore a t about the end of the seventeenth century, and the more genera l adopt ion of the v i o l a of the p resen t , a smal l e r and Lore manaeeable but f a r l e s s b r i l l i a n t ins t rument , ow in^ t o the discrepancy between i t s s i z e and i t s p i t c h ,

I t i s easily understood t h a t , a s no g r e a t demands were made upon the t echn ic of the instrument , i t had few adequate exponents. The r e s u l t of t h i s i n t u r n was t h a t l i t t l e of i n t e r e s t could be w r i t t e n f o r i t owing t o the very l imi ted powers of v i o l a p layers . This cond i t ion e x i s t e d a l - moat up t o t h e present generat ion. I n f a c t , the "sonata f o r Viola and Piano" b y Anton Rubenstein stood f o r many years a s the only s o l o sonata f o r t h i s much neelected instrument. O f l a t e years , however, i t s pos i t ion has changed. Growing preoccupation wi th c o l o r has discovered p e c u l i a r and o f t e n t ~ o s t e f f e c t i v e p o s s i b i l i t i e s .

Composers Who Favored &hh Viola A fact t h a t has cont r ibuted g r e a t l y t o the v i o l a ' s present importance

i s t h a t , i n s p i t e o f , o r , perhaps, becauae o f , i t s neglec t i n t h e p a s t , i t has been the instrument moat o f t e n played by composers who wished t o t ake p a r t i n chamber music. The f i r s t o f these composers was Mozart, whose wr i t ing f o r i t i s hence more i n t e r e s t i n g than t h a t of Haydn. The treatment of t h i e instrument i n h i s q u a r t e t s i s s t r i k i n g , i t b e i w given almost ae important a place a s the f i rs t v i o l i n . I n h ie " ~ r i o i n E f l a t , " a moat

charmine composition, he combined i t wi th the c l a r i n e t . I n f a c t , i n a l l h i s works Mozart t r e a t e d the v i o l a wi th a f f e c t i o n and confidence.

Beethoven who a l s o played v i o l a d i d not wr i te f o r i t wi th q u i t e the suave b r i l l i a n c y of Mozart, though he f u l l y understood i t s r e f r a c t o r y temperament, which, be ing , i n i t s g r u f f s i n c e r i t y and sombre passion, a k i n t o h i s own, o f t e n expressed h i s ideas i n a way impossible t o any o t h e r instrument. H i s q u a r t e t s show many ins tances of t h i s . Mendelssohn and Schumann a l s o played v i o l a , b u t the instrument has no unusual prom- inence i n t h e i r chamber music. Schubert seemed c h i e f l y t o have appreci- a t e d i t s admirable blending q u a l i t i e s between the v i o l i n and the ce l lo . Bchumann, more than Schubert , grasped the p o s s i b i l i t i e s t h a t l i e i n the v io la . He has many b e a u t i f u l passages i n h i s chamber works, and he s ~ m e - times employed it i n a h igher r e g i s t e r than had been done before. He was probably one of t h s f i r s t composers t o use the t r e b l e c l e f i n a d d i t i o n t o the C c l e f . I n some of h i s chamber music, notably i n t h e q u a r t e t s and q u i n t e t s , the s o l o passages do not eound a s s t r i k i n e a s they might be- cause of the doubling of the melody i n the piano pa r t .

Brahms ' Chamber Music The chamber music of ~ ~ f u ~ ~ e ~ p e d the f i e l d f o r the v io la

and began t o make i t imperat ive f o r p layers t o improve t h e i r h i t h e r t o most inadequate technic. Only p layers of r e a l a t ta inment should attempt passages such a s occur i n the the t h i r d movement i n the " ~ u a r t e t i n B f l a t " i n which the v i o l a , unmuted a g a i n s t the mutes of the o t h e r s t r i n g s , i s the most important instrument throughout. This i s no music f o r the half-hearted a t tempts of disappointed v i o l i n i s t s who have sought refuge i n the precerioua s h e l t e r of the v i o l a desk. (ddouard .Colonne ca l led them "the refugees of the t r e b l e c l e f . " ) These passages demand a genuine v i o l a technic f u l l y equal t o t h a t of the v i o l i n i s t o r c e l l i s t .

I n the hands of a f i n e p laye r nothing could be more b e a u t i f u l than the v i o l a p a r t s desiened by Brahms. Severa l of h i s works f o r winds a r e a r - ranged f o r v i o l a . He made a n a l t e r n a t i v e p a r t himself t o the c l a r i n e t p a r t i n h i s two sonatas f o r c l a r i n e t and piano. The v i o l a can replace the c l a r - i n e t i n the "Trio f o r Piano, C l a r i n e t and el lo" and, l e s s sucess fu l ly , i n t h e " ~ u l n t e t f o r C la r ine t and ~ t r i n g s . " The v i o l a can a l s o replace the horn i n the "Trio f o r Horn, V i o l i n and Piano." Brahms used the v i o l a aa an obb l i ea to instrument i n h i s two sonEfs f o r voice and piano e n t i t l e d G e s t i l l t e Sehnsucht and G e i s t l i c h e s Wieeenlled, two songs of unusual worth --- al though seldom per fo rmex

~ v o % k was a l s o a v i o l i s t and had a p e c u l i a r fondness f o r the i n s t r u - ment. Sme t a m , h i s master i n composition, gave i t unusual prominence i n hi8 q u a r t e t , "AUS Meinen ~ e b e n , " t h e openine of which i s almost a small v i o l a concerto. Dvoi.6k used i t with more d i s c r e t i o n . I n h i s "quar te t i n F ma ja r t t the v i o l a announces the main theme i n a most i n t e r e s t i n 6 manner. The v i o l a i s a l s o used with t e l l i n g e f f e c t i n the " ~ e r z e t t o Op. 75," f o r two v i o l i n s and v i o l a , i n which the v i o l a has the experience of a c t i n g ae a baas instrument.

Modern Treatment Among the q u a r t e t s of the present d a y , t h a t b s Dohnansi s tands out as

of s p e c i a l i n t e r e s t t o v i o l i e t s . Max ~ e i e r and ~ k n o l d ~ c h o e n b e r ~ have t r e a t e d the v io la kindly. The French school of composers do not , as do t he Germans, use i t s tone s o much a s a veh ic le f o r t h e emotions, but r a t h e r a s a d i s t i n c t and s u b t l e tone-color. The "Viola Concertot' by Hindemith has had phenomenal success i n Europe. It i e a work of g r e a t t echn ica l d i f - f i c u l t y and e x p l o i t s t o the f u l l e s t e x t e n t a l l the p o s s i b i l i t i e s of the v io la . This t reatment of i t by the French i s very no t i ceab le i n Debussy's quar te t where the v i o l a o f t e n d i sp lays a decided a f f i n i t y t o the oboe,

c l a r i n e t and baesoon. Ravel a l s o rcakes use of harmonics, p i zz ica to and p o n t i c e l l o e f f e c t s , a l l of which sound wel l on the v io la .

The chamber music of Ernest Bloch a l s o employs the f u l l t echn ica l p o s s i b i l i t i e s of the v i o l a , sometimes producing from i t s t r a n e e sounds w i t h which i t i s not genera l ly a s soc ia ted , such as i s done a t the end of the l a s t movement of h i s q u a r t e t , where i t has a lef t -hand p i z z i c a t o open G a lone w i t h the G played a r c 0 on the C s t r i n g . The Russian composers wr i t ing f o r the v i o l a give it open and e f f e c t i v e t reatment , Other coun- t r i e s , Belgium, I t a l y and Spain, each view i t s p o s s i b i l i t i e s from d i f f e r - e n t ang les , though a l l e i v e i t an honorable p lace i n t h e i r chamber and o r c h e s t r a l music.

(To be continued)

THE VIOLA, COlfX'LETE GUIDE FOR TEACHERS A N D STUDENTS - I ---- - -- ---- by Henry B a r r e t t . Univers i ty , Alabama: The Universi ty of Alabama Press , Revised and Enlarged sbcond ~ d i t i o n , 1978. 218 pages. 417.95.

A Review by Louis Kievman, P a c i f i c Pa l ieades

Possibly the l a s t a c t of h i s p ro fess iona l l i f e was Henry B a r r e t t ' s completion of h i s monumental work, - The Viola. -- This ex t raordinary book i s unusual i n t h a t i t i s a t one time bo th a thorough study of performance and pedagogy and a l s o a valuable catalogue of v i o l a works , graded i n one s e c t i o n and wi th a s e p a r a t e s e c t i o n l i s t i n g works b y composer and type of mater ia l .

The Viola i s b e a u t i f u l l y produced i n hard cover with a t t r a c t i v e and l e g ' r 6 l e T r G t i n g t h r o u ~ h o u t . The f i r s t s e c t i o n (116 paees) i s profusely i l l u s t r a t e d wi th drawines, p h o t o ~ r a p h s , and musical examples. One s e c t i o n i s devoted t o "Psychophysical Systema and ano the r t o " ~ s p e c t s of Phys ica l Functi oningt' ( p o s t u r e , b r e a t h i n e , e t c . ). Another p a r t d e a l s with "Technical Aspects of Teaching Viola," and the broad area of " P e d a e o ~ i c Aspects of Teaching ~ i o l a " i s thorouehly covered through a n a l y s i s of common e r r o r s of playing and suggested remedies. One s e c t i o n def ines I t a l i a n , French and German word6 used i n v i o l a music and gives t h e i r English equiva lents . Left-hand and bowirq technique a r e examined i n g r e a t d e t a i l ,

While Franz ~ e y r i n g e r ' a L i t e r a t u r f u r Viola l i s t a 12,000 works f o r v i o l a , many have never b e e n ~ ~ ~ o r r ~ cur ren t ly a v a i l a b l e . On the o ther hand, The Viola l i s t s 2,700 compositions and s t u d i e s which a r e a l l i n p r i n t a n d a x h a z f o r purchase and use,

The graded l i s t s conta in ing s o l o and s t u d y mater ia l go from Grade One through Grade Ten, To quote M r . B a r r e t t , " ~ l l graded l i s t s a r e suspec t , i n c l u d i n ~ t h i s one. The t eacher w i l l d i scover , a s d i d the g rader , t h a t few compositions o f f e r eaual t echn ica l and musical d i f f i c u l t i e s o r re- qu i re the same degree of development of the l e f t and r i g h t hands. It i e qu i t e poss ib le t o f ind a composition t h a t could be c l a s s i f i e d Grade 3, r i g h t hand technique, Grade 6 , l e f t hand technique, and Grade 8 i n musi- ca l i ty . " Nonetheless, t h e gradine: i n t h i s book can be usefu l t o i n s t r u c t o r s ,

I n a d d i t i o n t o the grade l i s t s , the f i n a l s e c t i o n of - The --- Viola l i s t s mater ial b y name of the composer, Subdivis ions include Study Mater ia l ( " ~ c h o o l s a n d Methods , I t "Caprices , S tud ies , ~ x e r c i e s , I1 " b r c h e s t r ~ % d i e s ,'I

"Double-Stops ," "Scales and Arpeggios ," and " s h i f t i n g " ) ; Solo Pieces ( "v io la lone," '!Viola and Piano," and " ~ o l l e c t i o n of soTos");-~ZEe - - --a Solo Works ompos positions wi th Orchestra ," and "Sonatas, Sonatinas. . .T; -- Duoa

( " T W O Violas ," "~ol lec t ions- -Two Violas ," "vio la and V i ~ l i n , ~ ' and v i o l a with o t h e r ins t ruments) ; 1~ or More_ Violas; and Selec ted - Works ---- -- with Various - - Inetruments. There i s more than enoueh m G i c T o r any performer and c e r t x n l y < ' i z h t o ahow those s c e p t i c s who t h i n k t h e r e i s l i t t l e i n the way of v i o l a performance mater ia l .

An i n t e r e s t i n g s e c t i o n i s " ~ e p r e s e n t a t i v e Programs f o r Advanced ~ l a y e r s . " These proerame conta in only o r i p i n a l v i o l a music and include c l a s s i c a l a s wel l a s modern works. One program l i s t s works by Moor, Bax, Gould, and Paganini. Another includes works by L o c a t e l l i , Beethoven, Hindemith, and E t l e r . A l l t e n programs a r e va r i ed , musically i n t e r e s t i n g , and chal lene ing enough f o r any performer. Viola s o l o i s t s of the fu tu re (and indeed t h e r e i s a growing f u t u r e f o r the v i o l a s o l o i s t ) should use and study -- The - Viola. This book should be i n the l i b r a r y of every t eacher and s tudent .

WALK ON THE NORTH SIDE, M E X O I Q OF & VIOLIST I I - -

by William Primrose, Provo, Utah: Brigham Young University P ress , 1978. 240 pages, 59 photographs, Cloth--#12.95, Paper--4'7.95.

A Review b y Maurice Ri ley , Y p s l l a n t i .* A l l those who esteem s t r inged instruments , whether i t be performer,

l u t h i e r , t eacher , s tuden t , amateur, o r i n t e r e s t e d l i s t e n e r , w i l l welcome William Primrose 's autobioeraphy, Valk on the North S i d e , ilemoirs of a V i o l i s t . This a d d i t i o n t o the v e r ~ p a r s e 4 ~ t r a t ~ r ~ - r e l a t e a t t h e 'ijiola is of information f o r the world of music a s well as being fun t o read.

The orewo word" i s by Yehudi Menuhin, This i s followed b y the "Preface" i n which Primrose s t a t e s h i s r a t i o n a l e f o r p r o d u c i q the book: " t o wr i t e down f o r the publ ic many of the i n t e r e s t i n g and t r u e s t o r i e s of my c a r e e r a s a v i o l i s t and a l s o some of my personal philosophy of performirg and teaching. "

Primrose, an exce l l en t raconteur , desc r ibes the many events and ex- periences i n h i s var ied c a r e e r i n graphic and e r u d i t e language, f requent ly spiced i n h i s in imi tab le way with S c o t t i s h humor. This reviewer i s not goine t o s p o i l the element of mystery a s t o the t i t l e by d ivulg ing i t s connotation. You m u s t read these d e l i e h t f u l ~ e m o i r s and see f o r yourse l f why Primrose chose t h i s capt ion f o r h i s autobiography.

Primrose was born i n Glaseow, Scot land i n 1904 i n t o a musical environ- cent. H i s f a t h e r was a v i o l i n i s t i n the S c o t t i s h Orchestra of Glaseow and a l s o played v i o l a i n the R l t t e r S t r i n g c u a r t e t . Camil lo R i t t e r , l e a d e r of the q u a r t e t , was ent rus ted with ~ i l l i a m ' s e a r l y v i o l i n t r a i n i n g . A s a c h i l d prodigy, Primrose gave concer ts i n Glasgow. I n 1919 he was taken t o London by h i s parents t o study v i o l i n with Max Mossel a t the G u i l d h a l l School of Nusic, I n 1923 the youw Primrose gave a debut concert a t ~ u e e n ' s Hal l performine ~ a l o ' s S m~honie Es a nole and ~ l g a r ' a Vio l in Concerto, He -* graduated from G u i l d h a l h n u=, w nn ng the gold medal. This was followed b y aevera l years of concert iz ing.

Subsequent chapters continue the aaea of Pr imrose 's musical t r a i n i n g and l a t e r ca ree r . Sensing a need f o r study with a t o p a r t i a t , he en ro l l ed f o r p r i v a t e study with ~ u e h n e ~ a a Y e i n 192g. For the next t h r e e yea r s , Primrose s tud ied v i o l i n with the e r e a t Ysaye, f requent ly playing the v i o l a i n s tuden t q u a r t e t s and i n Yaage's home. I t was Yeaye who encouraged

Primrose t o pursue a c a r e e r a s v i o l i s t . Actua l ly , t h i s had been h i s ambition from a n e a r l y age when he f i r s t played h i s f a t h e r ' s Brothers- Amati v i o l a ,

I n 1930 Primrose was se lec ted t o f i l l a vacancy a s v i o l i s t i n t h e London S t r i n g c u a r t e t and f o r f i v e years he toured with t h i s world-fa- mous ensemble, H i s d e s i r e t o be a v i o l i s t had reached f r u i t i o n ,

In 1938 primrose ' s r epu ta t ion a s a superb v i o l i s t brought a n appointment t o play i n the new NBC Orchestra b e i r q formed f o r Arturo Toscanini. I n 1941 he resigned a f t e r serv ing four yea r s a t the f i r s t desk of the v io la sec t ion . He had decided t o pursue a fu l l - t ime c a r e e r a s a v i o l a s o l o i s t . I n 1942 he Joined Richard Crooks, the very popular t enor , i n a t o u r of over 40 success fu l concerts ,

The autobioeraphy descr ibes h i s c a r e e r a s a performing a r t i s t and a s a pro tagonis t f o t t h e v i o l a , a c a r e e r t h a t e s t ab l i shed him a s the dean of a l l l i v i n e v i o l i s t s , Nany numerous composers wrote f o r him, amorq whom wepe Quincy P o r t e r , P e t e r F r i cke r , Arthur/ Benjamin, Edrnund Rubbra, Darius Milhaud, Benjamin B r i t t e n , and Bela Bartok.

Primrose w r i t e s w i t ; a f a c i l e s t y l e and a unique vocabulary ( f r e q u e n t l y spiced with Lain c l i c h e s ) which make the t e x t a l l the more desc r ip t ive . The reader i s introduced t o most of the g r e a t s t r i w p layers of the twen- t i e t h century , many of whom played chamber music with Primrose, culminating i n 1961 with h i s a s s o c i a t i o n wi th He i fe tz and Pia t igorsky i n Ca l i fo rn ia where the t r i o gave numerous concer t s , made record i rqs , and taught a t the University of Southern Cal i forn ia .

He began h i s d is t inguished teaching c a r e e r a t the C u r t i s I n s t i t u t e of Music i n 1942. L a t e r , he taught i n numerous i n s t i t u t i o n s including J u i l l i a r d , the Universi ty of Southern C a l i f o r n i a , Indiana Univers i ty , and, present ly the Universi ty of Tokyo, The book i s r e p l e t e wi th advice f o r the v i o l a s tuden t and the v i o l a t eacher , advice based on h i s many years of experience.

Primrose o f f e r s candid opinions of Ar turo Toscanini and o t h e r conductors and desc r ibes t h e i r r ehea r sa l techniques. He admonishes symphony o rches t ra aud i t ion boards a g a i n s t s t r e s s i n g s i g h t reeding a s a c r i t e r i o n f o r t h e s e l e c t i o n of o r c h e s t r a l players. He reasons t h s t musicianship and ambition should be considered a s much more important a t t r i b u t e s .

Primrose played many concertos a s a s o l o i s t with major o r c h e s t r a s . H e r e l a t e s the almost insurmountable d i f f i c u l t i e s he encountered a s a v i o l i s t i n breaking i n t o the concerts of many of the major o rches t ras .

This book concludes, appropr ia t e ly , wi th a discography o f the works recorded by Primrose. I f a second e d i t i o n i s brought o u t , the au thor might consider an appendix l i e t i n e the many works he e d i t e d and t r ansc r ibed f o r v io la . This s u b j e c t i s barely mentioned i n the autobioeraphy and con- s t i t u t e s one of the s e v e r a l important con t r ibu t ions Primrose made t o v i o l i s t 8 and t o music i n general.

Fina l ly , i t would be remiss t o omit mention and c r e d i t owed t o D r . David Dalton, p ro fesso r of Viola a t Brigham Young Universi ty , who col- laborated c lose ly with Primrose i n the p repara t ion of t h i s book.

( * Reprinted wi th kind permiasion of The Viol in Society of America.)

WALTER LEIGH'S VIOLA SONATINA, 1929 --_L ---- - -

b y Veronica J acobs , New York

I n 1955, a fe l low v i o l a s tuden t a t t h e Royal Academy of Music i n Longon asked me about my f a t h e r ' s Sona t ina f o r v i o l a and piano, I knew l i t t l e about i t , beyond the in format ion I had from Grove's Dict ionary.

My f a t h e r , W a l t n r Leigh, wae born i n London i n 1 m Z T i i T z t e r g e t t i n g h i s B.A. a t Cambridee, he s tud ied composition wi th Pau l Hindemith a t t h e B e r l i n Hochschule. He gained r e c o g n i t i o n a s a composer i n Eneland dur ing the 1930s wi th two auccees fu l c o s i c operas , i n c i d e n t a l music f o r s t a e e and f i l m , and s e v e r a l chamber works, no tab ly t h e Concer t ino f o r ha rps i - chord and a t r i n g s and a T r i o f o r f l u t e , oboe, and piano, b o t h publ ished by Oxford University Press . He Joined the B r i t i s h Army i n 1941 and was k i l l e d a t Tobruk i n 1942.

H i s 3ana t ina f o r v i o l a was never publ ished. I t was performed a t t h e 1.S.C.K. F e s t i v a l i n Vienna i n 1932 and was played and broadcas t du r ine the 1930s by Idatson Forbes who eave me t h e aanusc r ip t i n exchange f o r a copy some twenty yea r s l a t e r ,

I enjoyed t h e oppor tun i ty of p laying the piano p e r t a t s e v e r a l v i o l a r e c i t a l s and t he work wsa always w e l l rece ived . I t i s i n t h r s e movements wi th a d u r a t i o n o f about twelve minutes.

The broad openine: theme of the f i rs t movement g i v e s a n idea of the s t y l e i n which i t i s wri t ten--no key s i g n a t u r e throughout , bu t i n con- v e n t i o n a l 4/4 t ime: A

The second movnent i s marked Andante t r a -nqu i l l o ed e s p r e s a i v o and has a w i s t f u l q u a l i t y ,. wandering through va r ious keys be fo re coming t o r e s t i n F s h ~ r p ma J o r , wi th a poienant Ah i n t he v i o l a s e a i n s t t he p i ano ' s A#:

I n c o n t r a s t , t he t h i r d movemvnt is w i t t y , r e a u i r i n g a c c u r a t e rhythmical m e c i s i o n . s e v e r a l t imes a c r o s s t he b a r l i n e s :

st The ffiusic has a d e f i n i t e E n g l i s h c h a r a c t e r i n a d d i t i o n t o t h e d i s t i n c t

i n f l u e n c e o f Iiindemith. The viola p a r t i s l y r i c a l and w e l l - w r i t t e n , with- out be in^ d i f f i c u l t , a n d t h e piano p a r t i s q u i t e demandiw with some ccn- s e c u t i v e chords i n t e n t h s ,

About f i v e y e a r s ago , I was in t roduced t o t h e v io l i s t - composa r Rebecca Clarke ( a l s o l i v i n g i n New York c i t y ) and I d i scovered t h a t i n f a c t she and my f a t h e r gave t he f i r s t performance of the S o n a t i n a , soon a f t e r it was w r i t t e n i n 1929,

P O S T S C R I P T ----

LILLIAN FUCHS w i l l o f f e r a master c l a s s i n v i o l a a t the MacPhail Center --- - f o r t h e Arts on May 5 t h , 1979 a t 2:00 p.m. The MacPhail C e n t e r i s l o c a t e d a t 1128 La S a l l e Avenue, Ninneapol l s , Minnesota, 55403. Admission f o r a u d i t o r s i s #5.00. For f u r t h e r i n fo rma t ion , c a l l (612) 373-1925.

FREDONIA DISCS has r e l e a s e d a r eco rd ing of aus lc d e v o t e d t o the composer J o h i ~ a = a i n e . Included is t h e Conversat ions f o r Viola and Piano, op. 42 perforttied by Thorns T a t t o n , vTslisF,-TiiG-recordirg can be pur- chased d i r e c t l y from Fredonia D i sc s , *947 Fredonia Dr ive , H01lyw00d~ Ca., 90068 s t the p r i c e o f #7.98. P r i n t e d p a r t s f o r t h e work a r e a l s o a v a i l - a b l e a t $6.50. O r , you can purchase a package of b o t h r e c o r d i n g an8 music f o r #11.00, o f f e r good up t o July 15, 1979. C a l i f o r n i a r e s i d a n t s rcust add 6 % s a l e s tax t o t h e above.

WILLIAM P R ~ ~ ~ ~ J I G s E ' s WALK CN THE NORTH SIDE: For t hose o f you who may s t i l l - wisFi-€E ~ Z - G - G p y T t ~ s X p o r t Z 6 t b o o k s you can do s o d i r e c t l y t o the p u b l i s h e r . The s p e c i a l p r i c e s t o members of t h e AVS a re : $5.52 f o r c l o t h and $5.52 f o r paper. Th i s p r i c e i nc ludes ship pin^ c o s t a . Utah resi - d e n t s must add 44% t a x ; C a l i f o r n i a r e s i d e n t s must add 6% t a x t o t h e above. To o r d e r , w r i t e t o M r . Bruce A t t e r t o n , Manager, Brigham Youne Univere i ty P r e s e , Bus iness O f f i c e , 205 UPB, B r i ~ h a a Youw U n i v e r s i t y , Provo, Utah, 84602. I d e n t i f y y c u r s e l f a s a member of the American Viola Soc i e ty .

A L A N RICHARDSON, well-known B r l t i e h composer, p i a n i s t , and t e a c h e r , d i ed --I- -a_-

i n December, s 7 8 . H i s work hsd been e r e a t l y c u r t a i l e d o v e r t h e l a s t t e n yea r s b y i l l n e s s , a g a i n a t which ha put up a b r ave f i g h t . A memorial con- c e r t o f ffiusic by Alan Richardson w i l l be g iven by Janet Craxton, oboe, and John White, viola on Sa tu rday , June 27, 1979 i n Harlow, Essex, Eneland.

AVS - VIOLA ---- -ad- ;%.TSIC: A f t e r a l o n e w a i t , t h e v i o l a music and Hindemith record ing was f i n a l l y r ece ived . B i l l s were s e n t out t o a l l members who i n i t i a l l y o rdered . Moat o r d e r s hgve been s e n t out . However, a few aembers who ordered have not responded t o t h e l a s t n o t i c e . Kindly remi t t h e amount i n d i c a t e d on t he b i l l and you w i l l r e c e i v e the o rde r . I f you have decided not t o t ake t he music and/or recordirqz, p l ea se l e t u s know, so we can send t h e i tems t o o t h e r members who a r e i n t e r e s t e d .

WOLFGANG SAWODNY informs u s o f t he a v a i l a b i l i t y o f o t h e r e d i t i o n s o f -- v i o l a m l i s i c . % y a r e :

A. ARIOSTI: 3 Stockholm Sona tas f o r v i o l a d tamore ( v i o l a ) and con t inuo , vo l . 11 (app. c o s t : #6.50)

A , LIDEL: 3 Duets f o r v i o l i n and v i o l a (app. c o s t : b5.00) E. SAUTZR: Sonata f o r 6010 v i o l a (app. cos t : b3.20) 0. FUUDENTHAL: 12 V a r i a n t s f o r oboe and v i o l a (app. cos t :

(;ik3.20) These p r i c e s do not i n c l u d e s h i p p i n e c o s t , If you a r e i n t e r e s t e d i n pur- chas ine any of t h e s e , w r i t e t o Ms. Marna S t r e e t , 3 Allepheny Cen te r , P i t t s b u r e h , Pa, 15212. - Do .- not -- send - m o x , but let Marna know what you would l i k e t o o rder .

VAZGEN XU-WDIAN, v i o l i s t , v i o l a d t a a o r e p l a y e r , and composer, i s uiakiw h i s v i o r w o r k s a v a i l a b l e t o v i o l i s t s . They a r e : VIOLA - and - P I A N O - Medi ta t ion , op. 1 0 (41.50) ; V i s i a r e , op. 8 ($1.50) ; P a l p i t i , op. 9 (41.50) ; N o s t a l e i a , op. 1 ($1.00); Sona t a , op. 21 (83.00) ; Sona t a , op. 22 ($4.00); Sona ta , op. 24 (#4.00); SCLO VICL& - Sonata , op.29 ($2.00) ; Sona ta , ope 30 ( I 2 .00); Sona ta , op. 31 2 . o r n ~ o n a t a , op. 32 (42 .00) ; Sona t a , op. 38 ( 1 '2 .00); Sona t a , op. 42 T- ( 2.00); CONCERgO$, VIOLA and QRCHSSTRA, ope 23; op. 25; op. 55; op. 57; and op. 60--XT $9.00 f o r s c o r e and v i o l a p a r t , Write d i r e c t l y t o t h e composer: 269 West 72nd st., N e w York, N.Y. 10023.

RICHARD LANE, composer, has r e c e n t l y f i n i s h e d a Sonata f o r :$iola and P fano7~-a t ed t o Myron Rosenblurn, i t i s a 3-movement work g r a c i o u s l y w r i t t e n f o r the v i o l a . I t w i l l r e c e i v e i t s f i r s t performance i n New York i n t he f a l l , M r . Lane s t u d i e d composi t ion a t t h e Eastman School o f Music w i t h Howard Hanson and Bernard Rodgers. H i s o t h e r two works w i th v i o l a , the T r i o f o r p iano, c l a r i n e t , and v i o l a and the Quar te t f o r Four Vio las w i l l be performgd du r ing t he upcomiw v i o l a congress a t Provo.

MUSIC FOR V O I C E , VIOLA and PIANO: Some works f o r t h i s wonderful combina- --- ----- t i o n have come t o our a t t e n t i o n :

61ie S iegmeis te r : - S o 3 8 of Zxperience (Wil l iam Blake ) . The s i x sones we re-p~6lisEZby-Carl F i s c h e r and t a k e about 14 minutes t o perform (1977) .

Michael Colgrass : -- New People f o r Kexzo-Soprano, Piano and Vio la . Ar thu r Kreigaer : - Four SO@ (Will iam Car loe w i l l i sms I f o r Mezzo-

Soprano, V io l a , and P iano (1978) .

FLASH! RFLEASE JUST FECFIVED! -- LILLIAN FUCHS has been awarded t h e 1979 ASTA ARTIST-TEACHER AWARD by t h e American3-w Teachers ' A s s o c l ~ t l on. ~ ~ p r e s t i p l o u s awardP08a t o one - of t h e 20 th c e n t u r y ' s g r e a t v i o l i s t s and t eache r s . Miss ~uchs-was t h e f i r s t v i o l i s t t o record t he complete Bach S u i t e s on v i o l a a s w e l l a s o t h e r major v i o l a works by Mozart, Beethoven, Mart inu, Debussy and o the r s . I n a d d i t i o n t o h e r superb and o f t e n path-marktry performances as v i o l a s o l o i s t and chamber music p l a y e r , Miss ~ u c h s ' s a c t i v i t i e s a s t e a c e r and chamber music coach have become leeendary. The American Viola S o c i e t y i s t h r i l l e d t o acknowledge Miss Fucha and h e r many noteworthy c o n t r i b u t i o n s t o t h e v i o l a ,