JOURNALof the

AMERICAN VIOLA SOCIETYChapter of

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

10 Rosemary Clyde:Jesse Levine, Musician

12 Maurice W. RileyThe Maurice VieuxInternational ViolaCompetition

Vol. 2 No.3

3

5

November 1986

Features

William H. Moennig, i-:What is the Proper Sizefor a Viola?

Dwight Pounds:A VIsit with GustavSzeredi-Saupe"Magyarorszag"

OFFICERS

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

Louis KieomanVice-President1343 Amalfi Or.Pacific Palisades, CA 90272

Harold KlatzSecretary1024 Maple Ave.Evanston, IL 60202

Rosemary GlydeTreasurerP.O. Box 558, Rt. 22Golden's Bridge, NY 10526

Maurice W RileyPast President512 Roosevelt Blvd.­Ypsilanti, MI 48197

EXECUTIVE BOARD

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

COORDINATOR WITHCANADIAN VIOLA SOCIETY

A. Baird Knechtel

FOUNDER

!vlyron Rosenblum

HONORARY PRESIDENT

William Prim rose (deceased)

I

---.~

~CfJr;;J Chapter of the lnternationalc Viola-GcscllschaftL·

The Journal of the American Viola Society is a publication of that organization, ©

1985, and is produced at Brigham Young University. The Journal welcomes letters andarticles from its readers.

Editorial office: BYU Music, Harris Fine Arts Center, Provo, UT 84602, (801) 378-8083Editor: David DaltonAssistant Editor: David Day

Advertising office: Harold Klatz, 1024 Maple Avenue, Evanston, Illinois 60202, (312)869-2972. Deadlines are March 15, June 15, and October 15 for the three annualissues. Inquiries can be made to Mr. Klatz. Copy and negatives to be sent to theeditorial office.

Rates: $75 full page, $40 half page, $33 one-third page, $25 one-fourth page.For classifieds: $10 for 30 words including address; $20 for 31 to 60 words.Payment to "American Viola Society" c/o Harold Klatz.

OBERLIN

Lynne Ramsey IrvineViola, Orchestra Studies

Jeffrey IrvineViola, Chamber Music

Viola at Oberlin

For more information about private viola studies and the viola program at Oberlin contact:

Michael ManderenDirector of AdmissionsOberlin ConservatoryOberlin, Ohio 44074

216/775-8413

Extensive financial aid and scholarships available.

PRACTICINGTHE UIOLA

Mentally-Physicallyby

LOUIS KIEVMANDaily Studies for Left Hand, Right Hand

I feel that it is an answer to a prayer.My congratulations on the simpli­city and sensible thought you haveshown in it.

-MAX ARONOFF

At your local music dealeror send $4.50 plus 75¢handling to:

KELTON PUBLICATIONSRO. Box 49720 Dept. V

Los Angeles, CA 90049

Newrnaking to Order,Sales, Repairs, Appraisals

\!iol ins-Violas- t:cl1i - Bo\\'s - A(ce~sorics

'Iuesdav through SarurdavI :00 to): j 0 p.m

Michael and Rena Weisshaar167 Cabrillo Street

Costa Mesa, California 91627

(714) 5+8-1187

Violinmakers

WHAT IS THE PROPER SIZEFOR A VIOLA?

by

WILLIAM H. MOENNIG, JR.

Editor's Note: The author, one 0/America's best known luthiers, passedaway on September 6, 1986. Thearticle appears here with permission 0/the American String Teacher.

Many times I have been asked whatis the proper size -for a viola? I stilldon't have the answer. There aredevoted advocates of the 17" viola andequally devoted advocates for a 15 1/2"viola. Some schools favored the largerinstruments, the English certainlyfavored the smaller ones, and theItalians made both. The German maker,Ritter, felt that the ideal viola soundcame from an 18 1/2" viola, while theSpanish maker, Parramon, thought thatthe ideal was a 21" viola playedbetween the knees like a cello. Eachqf these makers has advocates for their~articular viewpoint.

Back at the beginning of thiscentury the viola was the poorstepchild of the orchestra. There waslittle in the way of repertoire, little inthe way of technical development, andeven less in the way of encouragementto the player. I remember those daysvery well. A fine violinist remained afirst violinist, but a lesser one becamethe second violinist or perhaps aviolist. Many decent players went to ajob with a double case carrying a violinand a small viola. It was certainemployment for a violinist who couldnot stand up: to the competition. MaxAronoff liked to repeat Brahms'scomment on being introduced to a smalltown violist. "What a pity" heremarked, "and he is so young." Fewof those violists could handle a largesize viola. It had to be small enough

so that they could change instrumentsquickly and without difficulty. Myfather often told me with sorrow in hisvoice that his first task upon coming tothis country to work for his brother­in-law had been to reduce the size ofviolas. He had lost count of thenumber of violas he had reduced andfelt certain that this same thing washappening allover the world. Not evena Philadelphia Orchestra violist couldplay a viola which was much largerthan 15 1/2" to 15 3/4".

The old masters had appreciated thatthe viola should have its own sound, adark rich timbre, somewhere between. aviolin and cello, and they believed thatonly a 17" or longer body length wouldallow the inner air space needed toprovide this type of tone. It wasLeopold Stokowski who first insistedthat his players in the PhiladelphiaOrchestra should play on largerinstruments with a deep viola tone.The scurry for larger violas started,but few of the larger classicinstruments remained, and those only ata price that the players could notafford.

Large Violas

In those days, many of the fineviolists studied at the Curtis Institutein Philadelphia where Louis Bailly wasprofessor of viola. Bailly played ontwo fine Gaspar da Salo violas, each ofthem 17 1/2" long. Mrs. Bok, thefounder of Curtis, who later marriedEfrem Zimbalist, also purchased aNicolo Amati for Max Aronoff's use,and it had a body length of 17 3/8".Their pupils were anxious to havevioias which sounded like those of theirteachers and since there were so fewold instruments, they startedcommissioning new violas. Louis Baillycommissioned his countryman, CharlesEnel to create copies of one of hisGaspars for the use of his students,violas which are still in the Curtis

3

collection. When I came back toAmerica, I was deluged withcommissions to make copies of theGaspars and especially of the NicoloAmati, Many also wanted copies of anAntonius and Hieronymus Amati violawhich also belonged to the CurtisInstitute and which measured 16 5/S".With wonderful new literature for theviola by such composers as Bloch,Hindemith, and Bartok, the violistsneeded an instrument which allowedthem great playing facility so that theycould play in all positions up to thefingerboard and beyond. They wantedthat deep, rich sound of a biginstrument, but they needed theplayability of those small violas. LionelTertis, a warm and generous man whowas so deeply committed to the viola,endeavored to establish a model forviola size. I had endlesscorrespondence with him discussing theideals of viola proportions and, alongwith several other makers in Englandand on the Continent, made violasaccording to his drawings and design.They had a body length of 16 5/S" withsloping upper shoulders to facilitatemovement in the upper positions. Theysimply could not please everybodythough, for while some were pleased,for others it was "thumbs down." Toimprove facility, Otto Erdesz recentlydesigned a viola with the upper rightshoulder cut away to ease movement inthe upper position.

My solution was to follow theconventional shape as I did for theviolas of William Primrose. Bill hadtwo violas, a cut-down Amati whichmeasured 15 5/S" and a temporary loanof the MacDonald Strad of 1701. Hewanted a deeper darker tone than thatof the Amati, coupled with the singingqualities of the MacDonald. Iaccomplished this by increasing thewidth of the upper bouts slightly whilesloping the shoulders more. I wascareful not to increase the width ofthe C-bouts -to give freedom in bowing,

4

but I increased the width of the lowerbout and raised .the height of the ribs,particularly the lower ones. Toincrease the internal air volume I usedan Amati f with a wider stem. I wasable to give a darker tone. In thisway I was able to achieve a rich, darktone in the lower strings and a clearvibrant tone in the upper strings.

To enhance this tone quality I used ahard, brilliant, closely flamed maple forthe back and ribs, and a soft,broadgrained spruce for the top. Themaple gave it power and brilliance andthe soft spruce helped to give a rich,dark quality. I finished that viola in1945 and Bill used it for all of hisconcertizing, including his famedrecording of Harold in Italy by Berliozwith the Boston Symphony under SergeiKoussevitsky.

Five years later I made another violafor Bill. He requested one with a bodylength of 16 9/16". We kept the samemodel, enlarging it, but, he requestedthat the string length not be increasedbeyond 15" with 14 1/2" being ideal.

An Ideal Size?

It seems then, that the ideal size forviolas seems to be the biggest size thata player can comfortably handle withfacility, and generally, the bigger theplayer and the bigger their hands, thelarger the instrument they can handle.So now, I have to contradict myself?Lionel Tertis was a very small man andyet he played on an enormousMontagnana. I saw it may times andwhile I do not have the measurement, Ido recall that it was at least 17".Louis Bailly with his 17 1/2" Gasparhad wonderful technical facility, evenholding it under his chin while' turningthe page with his left hand, and yet hewas barely taller than Tertis. Josephde Pasquale could handle that viola justas well as did Bailly, his teacher, andits present owner, Scott Nickrenz, is

just as fluent in his performances withit. I recently heard a recording thathe made of the Deviennne Duos withhis wife, the flutist, Paula Robison.Now that is a viola sound!

The Curtis Amati has long beenowned by Norman Shore, a member ofthe Chicago Civic Opera Orchestra.Would he part with it? Never! AfterNorman bought the Amati, Max Aronoff,who played it previously, continued toplay on the copy. I made for him andlater acquired from us a gorgeousGiovanni Grancino which is now ownedby Kathryn Plummer of the Blair StringQuartet. She is only a slip of a girland yet she Can handle her 16 7/8"viola with wonderful ease and producesa tone that is out of this world. Onthe other hand, Emanuel Vardi, whoalways played on a 17" viola, now playson a 16 1/2 " viola.

Have I confused you sufficiently?

When William Moennig, Jr. enteredthe shop of his father in Philadelphiain 1921, he began learning the art hisfamily had practiced for elevengenerations, dating back to theseventeenth century in Bavaria. Helater attended Temple Business School,then worked in Europe for the MasterMakers in Markneukirchen. He alsotrained at the Violin-Making School inMittenwald. In 1936, he received aMeister (Master) Certificate and wasawarded the title of Geigenbaumeister,an honor never before awarded anAmerican.

He was most recently the artistteacher of stringed instrument repair atVanderbilt University's Blair School ofMusic. His instruments are prized: hiscustom-made viola for William Primrosewas reported in both Time magazineand in the London-based Strad.Primrose . recorded the Bartok Concerto'on a Moennig viola .•

A VISIT WITH GUSTAVSZEREDI-SAUPE

"MAGYARORSZAG"

by

DWIGHT POUNDS

I did not realize when I wrote FranzZeyringer, president of theInternational Viola Society, in March1986, suggesting that we go to Budapestduring my sabbatical visit with him inAustria, that I had given him an excuseto do something he had wanted to dofor some time: visit his friend andfellow violist, Gustav Szeredi-Saupe.This Hungarian musician had performedon viola and violad'amore in 1980 atViola Congress VIII in Graz, Austriawith Anna Molnar (his' wife), harpist,and Maria Vermes, violinist.Professionally they constituted the"Hungarian Harp Trio" and presented a .program featuring works by di Lasso,­Bassano, Heinichen, Benda, Biber, Kosa, .Martinu and Jolivet. (Several of theHungarian Harp Trio's arrangements .arelisted under Anna Molnar's name invarious combinations of viola and harpin Zeyringer's Literatur fur Viola.)

After my arrival in Pollau, FranzZeyringer suggested Tuesday andWednesday, May 6-7, as the best timefor us to go to Budapest. I called myHungarian contact, Mrs. Magda Perlaki,a violinist in the Budapest Symphony,and gave her the times Franz and Iexpected to arrive.

Tuesday morning, Franz and I madean uneventful drive to the border atRabafuzes, about a half hour fromPollan. The border guards were mostlyyoung men fluent in German as asecond language. I heard no English,nor did anyone address me in mymother tongue, despite the fact that Icarried an American" passport. I calmlygave one of the young men the twopictures when requested, and began

5

"QUARTET"by

Homer Clark

A .lyrical, award-winning transparent watercolor in earth tones, and a

favorite of William Primrose.

Laser-copied and double-matted.

Image size:

6 x 9 inches

16 x 24 inches

Mat Size:

11 x 14 inches

22 x 30 inches

$35

$70

Proceeds in support of the Primrose International Viola Archive

(the official archive of the American Viola Society).

Payment to: PRIMROSEC-550 HFAC BYUProvo, UT 84602

filling out my visa application. I wasvery pleased with myself on how calm Ihad been up to that point, as ifcrossing the border into the EasternBloc was the most normal of activities.But as I tried to print my name in theform, I found I could not draw astraight line! With a squiggle here anda jerk there, I finally completed theform. (One of the first blanks had anobvious misprint in the Englishtranslation-v'Name in Bull!" Itoccurred to me that perhaps they knewmore about me than I had thought!)

In my mind I knew that Budapestwould be a beautiful city. I have heardHungarians use the phrase, "Queen ofthe Danube" to describe the city,but Iwas not prepared for the panorama thatstretched out almost as far as the eyecould see? Buda, in the hills west ofthe river, and Pest, in the flat groundon the East Bank--BUDAPEST, a queenindeed of the Danube or any otherriver system! From a high point called"The Citadel" which offered amagnificent view of a magnificent city,the majestic (and much wider than Ihad expected) Danube separated the twoboroughs. From the city there emittedwhat can only be described as amuffled roar, a continuous droning humof a very busy city at work.

At Szerdi-Saupe's Home

We drove to Fenyves Street and thehome of Mr. Szeredi-Saupe Gustav(Gustav Szeredi-Saupe. In Hungarian,the family name always precedes thegiven name). Franz cautioned me thatthe gentleman was 78 years old, andnot in good health the last time he hadvisited him. The door opened andshouts of recognition and joy wereexchanged.

The gentleman was old, frail andsometimes "in obvious pain. He wasunshaven, and his uneven haircut wassomewhat like contemporary American

styles which eliminate sideburns. Hewas a gentleman in every respect, butdiscouraged, worried about his wife,and considerably embittered by the factthat now, near the end of his life, hebarely had enough pension on which tolive. He supplemented his meagerincome by editing viola music for alocal music printer. The bitterness inhis voice was unusually cutting,although it also could be expressedsotto voce with a sardonic smile.

After the introductions he apologizedthat his flat was now a hospital. Hewas ill and his wife, Anna, recoveringfrom surgery, could not even get out ofbed. A good part of their professionalcareers had been spent on the road asmusicians. She was somewhat youngerthan her husband, and despite' herphysical ailments, Anna Szeredi-Saupewas still a very attractive woman,obviously well educated and cultured.Two large French concert harps,occupied what little space was 'still inthe room.

When he sat at his old and cluttereddesk in the misty and diffuse lightwhich filtered through glass panes notcleaned in many years, the old man inthe high-backed, oversized straightchair seemed to harken to a differenttime and another age. But there withus for a few minutes, he was youngerand vital once again.

It was not often that they had guestsfrom Austria and America, and Gustav,launched into a barrage of Questions.He asked about my research for theAmerican Viola Society, about myschooling and professional position,about my instrument and my playingexperience. Finally he asked about myimpressions of Budapest which I gladlyshared with him. Not really satisfiedwith my answer, he rejoined with oneof the most profound of questionsregarding travel. "Ja, '-Oja, aber wasmachen Sie fur menschliches Kontakt? /"

7

("Yes, -sure, but what are you doing inregard to human. contact?!") He wassuggesting, of course, that a journey tosee places and things. was to little availwithout ensuing human relationships. Ireplied with sincerity that, if It -werenecessary to curtail m-y visit and returnto Austria within the hour, simply.meeting 'him and his wife would havemade the- journey worthwhile. I addedthat. I was meeting other people inBuda-pest, that they were musicians, andthat I would see them later in theevening and the next day. The wileyold man smiled as he accepted mycompliment but appeared more pleasedto hear that _I had gone to the troubleof identifying specific Hungarians withwhom to visit before coming toBudapest.

Ruggeri Viola

- I asked the Hungarian about hisviola. He replied proudly that it was aRuggeri, one of the few known to becrafted by this great Italian master,

._ and insisted on showing it to me.Despite my concern about the effortthat the walk to ·the next room wouldrequire to . retrieve the viola, heinsisted upon doing everything himself.

The Rugge-riwas very impressive butneeded -work -by a good luthier. Thecase provided a poor fit for theinstrument, causing the bow to makecontact with the surface of the violaand rubbing some varnish off the top.It had steel strings and four adjustors,roughly analogous to having fifty-year­old radio speakers connected to a lasercompact disk sound system. Still thepizzicato tones of the open stringswere very pure and pleasing to the ear.The instrument was quite valuable and,with the two harps, represented theonly source of capital available to theSzeredi-Saupas in an emergency. Howlong would he live--or want to live-­without the Ruggeri?

8

He spoke to me of Franz Zeyringer."Only onc-e in a lifetime does a manhave such a friend! You see how hecame back to me and brought you withhim. He would do anything for me.He is going to help me be buried inPollau!" He was determined to beburied in Austria in protest to the lifehe had been forced to live in Hungary.Both Zeyringer and Iater v .a Germanfriend familiar with Hungarian cultureemphasized to me that this was a mostextraordinary act for a Hungarian,considering that the Magyars have ahighly developed, deeply nourished andcherished concept of the vaterland, andlove of native country. Exactcomparisons are impossible, of course,but this would be roughly equivalent toa Texan requesting burial in Oklahomaor Mexico!

Chernobyl

There it was: my trip to Hungary. Ihad been there for two days, had heardno concerts, met no active violists,visited no museums, taken no organizedtours and had met only six people.Still, my brief visit was worth theeffort. My three sources of"menschliches Kontakt"--Gustav Szerdi­Saupe, the embittered, impoverished butintriguing old man, the working classfamily with whom we stayed, and thePerlakis and their associates, who weresuccessful professionals--constituted amicrocosm of Hungarian society, butcould have come from any city in anycountry. Each of them had proved tobe hardworking and sincere people ofgreat culture and history who went toexhaustive lengths at every level tomake this American and his Austrianfriend feel welcome.

It was absolutely impossible to forgetfor one moment during this journeythat a major nuclear. disaster was inprogress, and geographically, we weremuch closer to the Western Ukrainethan one might think, Chernobyl being

750500043001300

Now Available!Franz Zeyringer

L~erature for ViolaNew edition 1985

German- English- French

Contents: Foreword,Introductory article"The Viola and its Literature"14.000 works for viola:

Viola soloDuos with violaTrios with violaViola with orchestraDouble, triple and quadruple

concertos 600Recorder and viola 50Voice and viola 1200Various combinations 200Methods, studies and exercises 600

Index of 1000 publisherslndexot 5000 composers

Price: 470,- Austrian shillings, 70 German marks,$28 US

Publisher: Julius Schonwetter jun.A-8230 Hartberg, Michaeligasse 26, Austria

CONCERTOFOR VIOLA AND ORCHESTRA

byRussian-American composer

DAVID FINKO

Appropriate for virtuoso soloists,advanced .students and chamber orchestras

Performed by The Leningrad Philharm~nic

and several univer$ity orchestrasof the United States

offset, art cover

Full score, solo part and tape $1.2.00'(Price includes tax, handling and postage)

DAKO PUBLISHERS·4225 Osage Avenue

Philadelphia, PA 19104(215) 386-7247

0,--1 10

B

cE

A

RNA

M U RR D

A T

VIOLIN, VIOLA, CELLO AND ACCESSORIES

RARE AND CONTEMPORARY

RESTORATIONS AND REPAIRS

TUESDAY 708N.ORANGEGROVEAVE.

THRU LOS ANGELES,

SATURDAY CALIFORNIA 90046

10-4 213.658.8937

0,--1------------ --..J10

a single day's drive from Budapest bycar. Only the direction of the windprevented Hungary and Western Europefrom receiving the very dangerousinitial radiation, although varyingamounts of residual nuclear fall-outspread to the west and south of thereactor site. Years will pass beforeeven a partial concept of this disasterand its effects on the history andpeoples of Europe can be formulated.

Upon my return to Kentucky, theradiology department of a local hospitalexamined my thryoid gland and lungsfor radioactive contamination andpronounced me "clean," which is to saythat detectable radioactive substanceswere neither ingested nor inhaled. Isincerely hope the same can be said ofmy Hungarian friends, especially MagdaPerlaki, who was six months with child.Simply being in Austria and Hungaryduring the critical days of theChernobyl incident forged me into aunique bond with the people of thesecountries and their history. Theirexperience was my experience, and in avery real sense, their fate could wellbe my fate.

Dwight . Pounds is a professor ofmusic at Western Kentucky Universityand a member of the AVS ExecutiveBoard. He took his doctorate in MusicEducation at Indiana University wherehe also studied with William Primrose.•

JESSE LEVINE, MUSICIAN

by

ROSEMARY GLYDE

Editor's Note: This is the first in aseries of articles by the author onprominent violists.

]0

"I'm a practical man." With thesewords, violist-conductor-teacher JesseLevine aptly describes himself.

I recently had the opportunity tointerview him at his country home inConnecticut. When I arrived, I foundJesse strolling by his brown cedar homeat the end of a country lane borderedby a dry stone wall and wild flowers.His family was outside on the greenenjoying the arrival of baby kittens.The house, nestled on thirty-eightacres, dates from 1948, yet seems older,having been built with beams andboards from a one-hundred-and-fifty­year-old barn. Jesse said that if henever had any more luck, he wouldknow why. Nothing was morefortuitous than the discovery whileperusing a local newspaper.

A modest man, Jesse makes you feeluncomfortable calling him Mr. Levine.He lives with his wife, Sarah Lechner,a nurse at the Yale-New HavenHospital, and their two sons, Joshuaand Alexander, thirteen and nine yearsold. Sarah is a poet as well. Thehouse they share is unpretentious, witha commodious and open front room,bordered by large picture windowsreflecting the spacious green lawns andnatural woods.

We settled on a settee in the frontroom. As we began our meeting, Iremarked that Jesse's path seemed tohave wandered in several differentdirections, rather than following thestraight, deliberate direction that hisachievement suggests. To those of uswho have known of his work in theEast, Jesse is a multi-faceted,undeniably hard-working man.Presently, he is Professor of Viola atthe Yale School of Music as 'well asconductor of the Norwalk Symphony ofConnecticut and director of theChappaqua Symphony in New York. Ifirst had the pleasure of hearing him ina performance of Mozart's Sinfonia

conducting). At that time Kroll heldhis famous Sunday night chamber musicsessions where Levine met many of hislife-long friends, including ErickFriedman and Barbara Kroll. Soonthereafter, he attended Tanglewood forthe first of five years of orchestra andchamber music training. Jesse indicatesthat Joseph de Pasquale served as hismodel. "Joseph de Pasquale had atremendous influence on me. I modeledmyself after him."

He subsequently spent a year atPeabody with Kroll, but then asked toreturn to Mannes. After his schoolingcame many positions, including principalviolist in Buffalo, guest principal violistin Dallas for Mata, and guest principalviolist in Baltimore for Commissiona.Then came the important audition forthe position of principal violist andassistant conductor with Henry Lewisand the New Jersey Symphony,. aposition Jesse held for six years.There he received on-the-job trainingas a conductor, his only other formaltraining being a month of study withIgor Markevitch and· the NationalOrchestra of Monte Carlo.

At this point in our conversation, theinevitable question came up: "When didthe viola enter the picture?" Hisresponse was, "My first year atWoodstock."He began as the secondviolinist in .a quartet that first summer,and by the third week Kroll suggestedhe bring the viola' to the readingsessions. Kroll was .pragmatic: "You'retall, your arms are long. Goodviolinists are a dime a dozen, but itgood violist will always have a .job.'By the end of the summer, beginninghis second year' of study at the MannesSchool, he was a violist, but he didcontinue as concertmaster of theorchestra until he was twenty-one.

Concertante with the Ives FestivalOrchestra in Danbury, Connecticut,where Jesse served admirably as bothsoloist and conductor. He shared thestage with Mark Piskunov and created amemorable performance.

The emergence of Jesse Levine as aprominent and influential violist is anintriguing one. Born in the Bronx, hebegan his fiddle studies at age ninewith a neighborhood teacher, AlbertPolnarioff, a Russian refugee. Hisfather, David Levine, had an enormousinfluence on him. A cellist who madehis living in what Jesse calls the non­concert field, his father amassed alarge record collection of Europeanperformers not heard in the U.S. Thiscollection included 7,000 recordings ofradio concerts transcribed onto tape.Jesse particularly recalls his father'slove of Delius.

His Teacher, 'William Kroll

At age twelve, he was taken by hisfather to the best teachers in NewYork for an evaluation. Of threeteachers, Ivan Galamian, RaphaelBronstein, and William Kroll, the lattertook to Jesse immediately. Kroll hadhim enter the orchestra at the thenMannes School of Music, andsubsequently took him for the next foursummers to his school in Woodstock,the original Byrdcliffe Colony. ThereKroll, between his travels to and fromTanglewood, gave Jesse lessons threetimes a week, .each not more than fortyminutes, and with no exchange of fees.

Extensive practicing was done duringthe day in addition to chamber music inthe evenings. AS a second violinist,Jesse played every string quartet ofHaydn, reading every night, with nopublic performance. Kroll encouragedLevine at age fourteen to join theNational Orchestra under Leon Barzinat the City Center (perhaps Barzin wasthe seed for Levine's . future

Today, Jesse'sbrought to bearteacher, soloist,

training has all beenon his activities as

and conductor. In

II

comparing his approach to teachingwith that of Kroll, Jesse finds that hetrains violists as violinists would betrained. Unlike Kroll, however, Levinedoes not teach the violin.

The Practical Side

In keeping with his practical nature,Levine says, "I try to ascertain thedeficiencies and weaknesses in mystudents, to make them fully aware ofwhat they need, and to have them goabout it right away." He does believein scale work, "as a dancer at the bar,"and in "sequential and positionalplaying." In terms of the musicbusiness, "business doesn't enter thestudy room. The realities of the worldis another question." He terms it"dangerous to bring the practical intothe studio." He does, however, have amaster class devoted to careers andaudition material.

I asked Jesse how he feels about theviola's need for greater prominence inthe profession. He responded, "Mypositions are too humble to make animpact on this regard; I simply try todo what I can by my own example.Everyone has to make their own way."He did add that he encourages violiststo think of themselves as musicians andnot just as violists. In his own soloplaying, as in his conducting, he strives

. for this musicianship and spontaneity,"to go with the wind a little bit, tofeel free to do it yet again a littledifferently."

When asked what words he wouldlike to pass on to other violists, Jessespoke of his enthusiasm for the viola."Its \ songful, soulful beauty as aninstrument, coupled with all the effortin the mastery of technique, enables usto play the viola as anyone plays anyinstrument. Thanks to the great artistswho have paved the way, the viola isin better shape than it ever has beenbefore. Instead of one or two models

12

of the highest standard, we now havesmall handfuls of models. It is a realrenaissance time. for the viola, and weall share the same passion."

Jesse Levine is a product of rigoroustraining that has culminated in afruitful, busy life. When I asked whathe planned to be doing ten years fromnow, he answered that practical choiceswere important in his career. Hedoesn't look ten years ahead, but dayto day and year to year. The clearfocus of his life is his dedication tobeing a musician. It was clear to thisinterviewer that many will be touchedand influenced by this dedication.

Rosemary Glyde received her doctorateof Musical Arts from the JuilliardSchool under Lillian Fuchs~ She wasviolist in the Manhattan String Quartetand has appeared as soloist. with theHouston Symphony and otherorchestras. Ms. Glyde is the treasurerof the American Viola Society.•

THE MAURICE VIEUXINTERNATIONAL VIOLA

COMPETITION

by

MAURICE W. RILEY

The 2em e Concours Internationald'Alto "Maurice Vieux" was held 2-7September 1986 in the beautiful LilleOpera House of Lille, France. Sixteencontestants from Austria, Finland,France, Japan, Norway, Romania,Venezuela, and West Germany enteredthe competition.

Lars Anders Tomter, Norway, wonfirst prize; Teodor Coman, Romania, and

J\

The Finest Viola Cases-· By AMERICAN CASE· COMPANY •~

Available at Fine Instrument Stores

--Continental Dart and Suspensionair '356 Continental Dart-Sleek new design in a

luxury case. Screw-attached Duracover."accessory compartment, string tube, and allother standard Continental features. Blueor burgundy red silk plush interior.151/ 2 inch-17 inch. Please send a pattern.

List Price $300~OO

357 Continental DanSuspensionair"Please send a pattern. List Price $375.00

~ BIDeJay Dart and Suspensionair. - BJ...54 Blue Jay Dart-Blue Cordura® exterior,

gray trim, gray velour interior. Ribbonpocket pull, two .bow spinners, string tube,shoulder strap, and large music pocket.151/ 2 inch-17 inch. Please send a pattern.

List Price $175.00BJ...57 Blue Jay Suspensionair'fDart-i-New for

violist wishing to own a compact case withSuspensionair security. Includes a match,ing gray velour blanket and music pocket.Please send a pattern. List Price $250.00

2465 South Industrial Highway • ~O. Box 1411 • Ann Arbor, Michigan 48106

AMERICANCASE COMPANY

Thomas Metzlerviolin maker

• Los Angeles •

We are pleased to offer for sale fine violins,violas, cellos, basses and bows by

thesecontemporary makers:

• Cellos • Basses

604 S. Central Ave.Glendale, CA 91204

Mon. - Sat. 12:00 - 5:30

-(818) 246~0278

Violins • Violas

Bows & CasesAccessoriesBass Shop

Sales & RentalsAppraisals

Expert Repairs

Paul BrandtMichael FischerKhius Grunke

Rudolph NeudorferJohn Norwood LeeTerry BormanMarilyn Wallin

Lothar MeiselP. & W. Moes[ohnKrallThomas EganDale StevensMark LacyArnold AndersonRick Miller

Scott Tribby

Charles WoolfFairfax AbrahamBoyd Poulsen

Steven Beckley

Stephen LohmannAlbert MullerRichard OppeltCynthia Davis

Harold Hayslett

Hiroshi lizukaGuy Cole

Michael Scoggins

Jim McKeanJeff ManrhosChet Olson

Mark Hollinger

Carla ShapreauJulia ClemensKurt Widenhouse

Guy RabutPaul HartSharleen WorsfoldGeoffrey Ovington

John MorozFrancis KutnerKaren Moran

Tom MetzlerChris DungeyLisa GassDon McKinley

David Young

Allan Droyan

Francois Schmitt, France, tied forsecond prize; and Sabine Toutain,France, received third prize. Thelatter also won the special prizesponsored by the Conservatoire Nationalde Lille for the best performance ofEtude No. 18 from Maurice Vieux'sVingt Etudes pour Alto.

Orchestre de Chambre de Lille,conducted by Patrick Fournillier. M.Fournillier conducted theseaccompaniments with particularsensitivity, adjusting to the style ofeach performer.

The Jury

Eleven contestants were selected bythe judges to compete in the secondround. These were required to performEpisode No. 6 for unaccompanied violaby Betsy Jolas; one of the two BrahmsSonatas for Viola and Piano, Ope 120;and a selection of the contestant'schoice of five to ten minutes duration.

The performance competitionconsisted of three rounds. In the firstround, the violists were required toplay the 1st, 3rd, and 4th movements ofthe Viola Concerto, No. 1 by DariusMilhaud, and the viola version of thePrelude to the Bach 5th Suite for Cello(BMV 1011).

Six of the preceding contestantswere selected by the jury for the finalround. Each violist performed threerequired compositions: Lachrymae,Reflections on a Song by Dowland, Ope48, by Benjamin Britten; Suite ofDances by Pierre Max Dubois; and the18th Etude from Maurice Vieux's VingtEtudes pour Alto.

Concurrent with the performers'competition was a separate competitionfor contemporary luthiers' violas and anexhibit for archetiers' viola bows. Inthe viola competition, first prize wasawarded for a viola made by FrederickBecker, of Montpellier, France, andsecond prize went to ChristopheLandon, who lives in Vulaines/Seine,France, and also has a shop in NewYork City, having worked there in theatelier of Jean Francais.

Members of the jury for the MauriceVieux International Concours wereBetsy Jolas, French composer andchairperson of the jury; andconservatory professors and performersof viola: Emile Cantor, DUsseldorf;Claud Ducrocq, Strassbourg; PaulHadjaje, Versailles; Georges Longree,Brussels; Erwin Schiffer, Amsterdam andBrussels; and Dr. Maurice W. Riley,U.S.A.

The concours was sponsored by thecity of Lille and the AssociationInternational des Altistes et Amis del'Alto. Serge Collot, Professor of Violaat the Paris Conservatoire, co-presidentof this organization, was in charge ofthe programming and the staging of theconcours. Paul Hadjaje, secretary ofthe organization, was responsible forthe selection of the jury and theadministration of the concours.Assisting Professors Colot and Hadjajewas Albert Azancot, a dedicatedamateur violist, who helped with themany problems and details of makingthe concours run smoothly. Localarrangements for the host city of Lilleand its mayor were administered byPhilippe Lefebvre, Director of theConservatoire National de Lille, and byPierre Host, Secretaire-General of theMinistry of Culture for the RegionNord/Pas-de-Calais, France.

Lars Anders Tomter, the winner ofFirst Prize in the performancecompetition.. received the privilege ofbeing awarded any viola he chose fromthe viola-makers concours, He selectedthe one made by Christophe Landon.Winners of second and third prizes

withthe

wasby

roundfurnished

This finalaccompaniment

J4

were awarded bows of their choice.Tomter was also awarded concertperformances with l'Orchestre Nationalde Lille, conducted by Jean-ClaudeCasadesus, a recital performance at theConservatoire National de Lille, arecital in Paris, and a performance withl'Orchestra de Chambre de Lille,conducted by Patrick Fournillier.

The violists who won prizesdemonstrated a very high standard ofartistry in their performances, andcontributed to making the 2eme

Concours International d'Alto "MauriceVieux" a worthy tribute to the greatFrench violist and teacher for which itis named.

The III Concours Maurice Vieux istentatively scheduled to be held inMarch, 1989, in Orleans, France.

Maurice W. Riley is a just pastpresident of The American ViolaSociety and professor emeritus ofEastern Michigan University. He is theauthor of the book The History of theViola.•

For Sale

Viola, 17 1/4 inches, by Sergio Peresson(1975). Excellent condition & goodplayability. $12,000. Inquire (801) 378­4953.

15

CONCERTS

ATLANTIQUE

AUDITIONS1987-88 TOURING ARTISTS PROGRAM

Open to all classical musicians: individual instrumentalists,singers, and chamber groups of up to five performers,including those with a musical specialization (i.e. baroque,contemporary, etc.) Audition by cassette tape. No age limit.

Musicians invited to participate will perform inall-expenses-paid four-city European concert tours.

Application and audition deadline March 1, 1987

For information: CONCERTS ATLANTIQUEPO Box 1269New York, NY 10009(212) 995-9529

OBERLIN

Oberlin Summer Youth Symphony Orchestraat the Oberlin Conservatory

Dr. William Jones, Music DirectorPriscilla Smith, Director and String Faculty

June 16-27, 1987Intensive IO-day workshop. Broad offerings from chamber music to career development. Classes, coaching andsectionals with members of Oberlin faculty. Ages 14-18. Scholarships available.

Chamber Music WorkshopJeffrey Irvine, DirectorJuly 26-August 1, 1987

For public school string teachers and private studio string and piano teachers. Intensive week of coaching andrehearsing. Repertoire expansion and review. Enrollment limited to 25 participants.

For information contact:W. Henry Duckham

Director of Summer ProgramsOberlin Conservatory of Music

Oberlin, OH 44074 U.S.A.216/775-8200

From the Presidency

IN APPRECIATION

• • • •

c

In 1975, I saw an announcement of an international viola congress which was beingsponsored in part by the American Viola Society. The host institution was EasternMichigan University at Ypsilanti, and the announcement carried a picture of the geniallooking chairman of the event, Dr. Maurice W. Riley. This was the first inkling that Ihad received of either a viola society, a viola congress, or Maurice Riley. I thoughtwhat a capital idea! Such a gathering of middlemen would be enough to warm Berlioz'sheart.

The spirit behind this event would have to be that of the entrepreneur--for thepossibility of failure was considerable--and of one who had a good deal of devotion tothe instrument. All of us who were at the Ypsilanti congress, the first of the five inNorth America that were to follow in Rochester, Provo, Toronto, Houston and Boston­were also part of a happy and wonderfully successful occasion. It set a high standardfor congresses to come.

I learned that Eastern Michigan University was also planning to give WilliamPrimrose an honorary doctorate. I wrote Dr. Riley volunteering a short tribute toPrimrose to be presented at an appropriate time if he wanted it. Maurice didn't knowme, but accepted the proposal and invited me to deliver it personally. To me, this setthe tone of my professional relationship with him since. He has always been trustingand considerate.

I have mentioned devotion and the spirit of the entrepreneur. (in the best sense) ascharacterizing Maurice Riley. But only his family can really know what time andmeans he has spent in the cause of the viola. There is, for instance, a certain riskinvolved in writing a book, namely, whether it will ever see the light of day, be read,or compensate the author by a penny. Riley's "The History of the Viola" must havebeen a labor of love. He didn't entrust this offspring to anyone else. He publishedand promoted it himself, and he informs me that it will go into a second printing andat least one translation. The gathering of material for this valuable resource to"violaf'iles" took him to numerous countries and enabled him to meet and interviewmany of the most prominent persons of our generation associated with the instrument.

In all those travels it would seem that Maurice has been accompanied by his wife,Leila. Or, was it he who was accompanying her? From London and Toronto to Grazand the Isle of Man, I have spotted her colorful hat going before like a flagship of theAmerican delegation, and I knew that the Rileys were there. Red seemed to be themost appropriate and vivid color, i.e., vivid or vivere (It.) to live (from the same Latinroot). Yes, they are very much alive, and have always appeared inseparable, sharing intheir own common good: the viola and their family of three sons, all professionalstring players.

17

,I thank you personally, Maurice, and in behalf of the membership of our society forthat which you have brought to our organization during your : term as president. Inthat appreciation we hope that you feel some recompense for your valued contribution.

David Dalton, President

THE AMERICAN VIOLA SOCIETY, 1976-1986

It has been an honor and a privilege to serve AVS as vice-president under PresidentMyron Rosenblum from 1976 to 1980, and then as president from 1980 to 1985. Duringthis decade the AVS has grown in membership from modest beginnings into a society ofover 300 active members. During the last ten years, ·three important events, inaddition to our congresses, have contributed to the ever increasing importance of theAVS as a musical organization: 1) The International Viola Society's Archive wasacquired in 1982 from Salzburg, Austria by Brigham Young University, Provo, Utah, andabsorbed into the Primrose International Viola Archive (PIVA). This archive nowhouses between 3,000 and 4,000 items. 2) The William Primrose Memorial ScholarshipFund was activated following his death on May 1, 1982. The Fund has a base of over$.10,000 (not including interest). The first award from this fund will be announced byPresident David Dalton in the present Journal. 3) In the last two years our modest.AVS Newsletter, started in 1973 by Dr. Myron Rosenblum, has gradually developed intoa more attractive and scholarly Journal of the American Viola Society. Dr. DavidDalton, our new president, has had a very prominent part in developing all three ofthe above projects.

The International Viola Congresses held in the United States and in Canada havedone much for the AYS, and more importantly, they have given the viola and violistsexposure and deserved prestige. The congresses have also furnished the inspiration andcommissions for many new compositions for our instrument.

A successful future for the AYS is assured, with the interest, commitment, anddedication of our new officers, and many other members of our organization. I amvery proud to have been an officer in the AVS, and my best wishes go out to the newadministration.

Maurice W. Riley, Past President

THE HISTORY OF THE VIOLABy

Maurice W. RileyThe first book to deal with all aspects of the viola from ca. 1500 to the pres­ent. The instrument its music, and outstanding violists are discussed andevaluated. The Foreword is by William Primrose. An appendix contains over300 short biographies of outstanding violists. Over 400 pages of photo-graphs, music, and text. .

NEW LOW PRICES: Paper $15.50 Cloth $20.50Maurice W; Riley

512 Roosevelt Blvd., Ypsilanti. MI48197

18

Of Interest • • • •

.Y~. THE 1987 INTERNATIONAL VIOLA CONGRESS

The ~ International Viola Congress will be held in Ann Arbor on the campus ofthe Universrty of Michigan, June 16-20, 1987. Yizhak Schotten is the Host Chairmanin charge of programming. He invites heads of various chapters of the InternationalViola Society to the congress.

Artists who will perform and conduct master classes are Toby Appel, NathanGordon, Kazuhide Isomura, Patricia McCarty, Donald McInnes, William Preucil, YizhakSchotten, Emanuel Vardi, Robert Vernon, and Barbara Westphal. Other participants areHeidi Castleman, David Dalton, Louis Kievman, Doris Preucil, Maurice Riley, and AnnWoodward.

The United States Air Force Orchestra, conducted by Lt. Dennis M. Layendecker,will present two evening concerts featuring viola soloists who will perform works byDavid Finko, J. Francaix, Maurice Gardner, A. Rolla, Heinz Werner Zimmerman andothers. The National Arts Chamber Orchestra, directed by Kevin McMahon, will alsopresent a program featuring viola soloists and the winner of the Primrose ScholarshipCompetition in works for viola and strings.

Two evening concerts will be devoted to rarely performed chamber music whichfeature the viola in unusual instrumental combinations. Lectures and panel discussionsof topics pertinent to viola performance and pedagogy are also planned. Selectedcollege level students will be heard in an orchestral mock audition, and an evaluationdiscussion by a panel of prominent orchestral musicians will follow each performance.

. In addition to exhibits of music, recordings, and books related to the viola, therewill be viola and bow exhibits.

For further information regarding registration fees and housing reservations writeto:

George Cavender, Coordinator Viola Congress600-602 Burton Memorial TowerAnn Arbor, MI 48109-1270Tel. (313) 763-3017

Yizhak Schotten, Host Chairman

Announcement: The 1986 Congress, scheduled for September in. Parma, Italy wascancelled in August by the Presidency of the International Viola Society

19

THE WILLIAM PRIMROSE MEMORIAL SCHOLARSHIP FUND

The William Primrose Memorial Scholarship Fund continues to grow through thegenerous gifts of students, friends, and admirers of the late Dr. William Primrose.Recent contributions have been made by:

Louis L. Grand, Highland, New YorkAnn Matthews, Scottsdale, ArizonaWilliam Preucil, Iowa City, Iowa

Those who have not contributed to the Fund, and those who wish to make a secondcontribution should sent their gift to:

Rosemary Glyde, TreasurerAmerican Viola SocietyP.O. Box 558, Rt.22Golden's Bridge, New York 10526

PRIMROSE INTERNATIONAL VIOLA ARCHIVE

Recently acquired by Brigham Young University in behalf of PIVA was the phonodisccollection of viola music in the estate of the late Swiss surgeon, Francois de Beaumontof Neuchatel. It will be recalled that Dr. de Beaumont, a member of the InternationalViola Society, published in 1973 through Barenreiter his Viola Discography. Throughthe widow, Arlette de Beaumont, the collection of over 150 records was appropriated toPIV A inasmuch as David Day, music librarian at Brigham Young University, willcontinue and expand the de Beaumont Discography. de Beaumont's interest in violarecordings stemmed from his days as a young medical student in Geneva when he hearda performance of the Bartok Viola Concerto by Primrose with the Orchestre de laSuisse Romande under Ansermet. The inspiration of that rendition brought him to theresolution that he would devote part of his time and means to further the appreciationof the viola.

DISSERTATIONS

From a recent catalog of selected doctoral dissertations from University MicrofilmsInternational, 300 N. Zeeb Road, Ann Arbor, Michigan 48106:

1. The Development and Qualitative Evaluation of a Comprehensive Music Curriculumfor Viola, with an Historical Survey of Violin and Viola Instructional Literaturefrom the 16th through 20th Centuries, Including a Review of the Teaching Conceptsof William Lincer (Guilford, Eisner)

Kella, John Jake (Ph.D. 1984 New York University) 679 pp. 45/03A, p. 780 MAA84­12343

2. An Analysis of Technical Problems in Twentieth-Century Literature forUnaccompanied Viola

Lebeau, Martin Eldon (D.M.A., 1982 Temple University) 174 pp. 42/12A, p. 4969"MAA82-11206

20

Editor's Note: Any information pertaining to the viola or violists of general interestcan be submitted to the editor for inclusion in the AVS Journal. These contributionsand commentary from our readers is appreciated.

Competitions -. • • •

WILLIAM PRIMROSE SCHOLARSHIP FUND COMPETITION

To be held in conjunction with the 1987 International Viola CongressJune 16-20, Ann Arbor, Michigan

This fund was solicited by the American Viola Society from admirers of the lategreat violist as a memorial to aid viola students who demonstrate outstandingperforming abilities.

Three final candidates, selected from submitted taped performances, will be invitedto compete for three awards, to be granted at the 1987 Congress. Age ramificationsare 18-23 years.

The awards are first prize $800 and a performance with orchestra at the congress.Two additional prizes of $300 and $200 and a performance in a congress master class'will also be given.

Requirements for the Competition Tape

Repertoire: 1.

2.

3.

An unaccompanied work of about 5 minutes' length,. such as,excerpts from J.S. Bach, Hindemith, or Reger.A first or final movement of a major concerto, such as, Bartok,Hindemith, or Walton.An accompanied work, 5-10 minutes in length of the candidate'schoice.

Deadline for submission of tape to adjudication chairman, Robert Oppelt, is March 15,1987.

Entry forms may be requested at once from:

Viola Competitionc/o David DaltonBYU Music-HFACProvo, UT 84602

21

NATIONAL FEDERATION OF MUSIC CLUBS, INC.

Wendell Irish Vioht Award

The Wendell Irish Viola Award was established in 1981 by Mr. and Mrs. Wilmot W.Irish in memory of their son, and to encourage viola students.

Talented young violists who are, or who become, members of the NationalFederation of Music Clubs as individual (Special) members or through group affiliationmay apply for this award.

I. Applicants must have reached their 12th birthday, but not the 19th by March1st in the year of the auditions.

2. Applicants must be native citizens of the United States or have receivednaturalization papers.

3. The winner will be determined through auditions held anriually.4. There will be four $700.00 awards each year, one in each of the four regions

of NFMC, to be used for continued study with the teacher of the recipient'schoice.

5. The award will be given in two payments, $350.00 in the year of the auditionand $350.00 the following year.

6. No .entrant may be declared a winner of both the WENDELL IRISH VIOLAAWARD and the STILLMAN KELLY SCHOLARSHIP in the same year.

7. The DEADLINE FOR RECEIVING APPLICATIONS AND TAPES in Michigan isFEBRUARY 1ST.

8. Former winners are not eligible to compete for the Wendell Irish Viola Awarda second time.

9. Auditions BY TAPE will be conducted at the State level under the supervisionof the state chairman and state president.

10. The monaural cassette tapes must not exceed twenty minutes in length.II. ' TAPES must be received by the state chairman by February 1st.12. The Applicant must send to the state chairman by February 1st:

a. A copy of his birth certificate or naturalization papersb. Two completed application forms 'c. Three copies of his repertoired. A monaural cassette tape not to exceed twenty minutes.

13. The award will be judged by three competent judges who are not associatedwith the, applicants. Performance, musicianship, and outstanding talent formthe basis for this award.

Repertoire requirements are in five categories representing Baroque, Classical,Romantic, Contemporary and American. The following list is offered as a guide. Thisis NOT a required list.

a.b.c.

d.e.f.g.

22

BACH: Two contrasting movements from a SuiteBRAHMS: One movement from one of Brahms, Opus 120 SonatasFirst or Last movement of a work from the Classical or RomanticPeriods as: Concerto by Stamitz, Hoffmeister, BerliozMOZART: Movement #1 of "Sonatina" in C MajorSCHUMANN: Movement #4 from "Marchenbilder"FERGUSON: "Scherzo" from "Four Short Pieces"A representative work or portion from the 20th century

h. A short piece or a movement from one of the concertos or sonatasof Bloch, Bartok, Hindemith, Persichetti, etc.

Mail to your state chairman, National Federation of Music Clubs, Inc.

TERTIS COMPETITION

The Third Lionel Tertis International Viola Competition and Workshop will takeplace in the Isle of Man between the dates of August 26th and September 3rd, 1988.

Send for full details after April 1987.

About Violists~ IlflJJIAJ /1J

• • • •

u.s. PREMIERE OF COLGRASS WORK BY RIVKA GOLANI

In a January, 1985 article in Musical America, Robert Markow lauded the premierperformance by Rivka Golani of Michael Colgrass's Chaconne for Viola and Orchestra.The Toronto Symphony under Andrew Davis collaborated. According to Markow,"Colgrass has proven that good, accessible modern music in an individual idiom is stillbeing written, and one hopes, perhaps even expects, that his Chaconne may eventuallystand beside the concertos of Bartok, Walton, and William Schuman as one of thefinest and most substantial viola works of the twentieth century.

Rivka Golani will be performing the U.S. premiere of Chaconne for Viola andOrchestra by Michael Colgrass with the Boston Symphony Orchestra on April 2, 3, and4, 1987.

1987 CO'LEMAN CHAMBERENSEMBLE COMPETITION

Saturday, April 25 .... Pasadena, California$9,000 IN AWARDS TO

STRING, WIND & BRASS GROUPSWinners presented in concert Sunday, April 26

For information and application, call or write

COLEMAN CHAMBER MUSIC ASSOCIATION202 South Lake Avenue, Pasadena, CA 91101 • (818) 793-4191.

Deadline for application & cassette: March 6, 1987

23

VIOLA PLUS!

Marlow Fisher is the founder of Viola Plus! which presents concerts devoted tomusic for viola. In November at a concert in New York City at Christ & St. Stephen'sChurch, Fisher was joined by assisting artists in a program of American Viola Music:

Program Highlights

Hymn and Fuguing Tune ~~o. 7Elegy for Viola and PianoAndantino from Violin Sonata

and the New York Premiers of:

Apparitions for Flute, Viola & HarpSuite for Three ViolasDuo Sonata for Viola and Bass

CowellCarterCorigliano

Dennis RileyWalter KaufmannMichael Kibbe

Viola Plus! can be contacted at 202 W. 92nd St., #4-F, New York, NY 10025, (212)580-0237.

New Works & Recordings • • • •

Bruce L. Faulconer, BMI, announces his new viola composition Fantasia for soloviola. This work is about 13 minutes long. Its three formal sections alternate in fast,slow, fast sequence. The work is challenging and is expressively diverse in character.A copy of the score can be purchased for $8.95 from the composer at 4128 ShadowGables, Dallas, Texas 75252. Faulconer's works have been performed by the Dallasand San Antonio Symphony Orchestras, and he has been awarded several grants.

Robert Cummings, an award winning nationally recognized composer, has completed acomposition in three movements for viola and orchestra. It is contemporary in natureand melodic. A review copy can be requested through Lucetta A. Dunn, 888 NorthMain Street, Suite 808, Santa Ana, California 92701.

NEW MUSIC FOR VIOLA

Prelude for Solo Viola from Benedictus by Howard Blake. This work, lasting aboutfour minutes, is taken from the composers oratorio Benedictus. Bowings and fingeringsare by Frederick Riddie who gave the first vt;"lformance at Worth Abbey in May 1980.Published by Faber Music Ltd., 3, Queens Square, London WCIN 3AU.

Bosworth 14 - 18 Heddon Street, Regent Street, London WIR 8DP publish a freeThematic Catalogue for their Viola World Series.

24

Gasparo GS-I08CX. An interesting record of duos and trios including Rolla'sConcertino for Viola, Cello and Bassoon and William Sydeman (b. 1928) Variations forViola and Bassoon. The viola player is Virginia Christensen.

Albert Roussel, Trio Op. 40 for Flute, Viola and Cello is included on a record ofchamber music on the Gasparo label (No. GS 244) featuring violist Kathryn Plummer,P.O. Box 120069, Nashville, TN 37212.

..nl~~·~t~~AiE-_ ...

e

. '. ~{y...3Q .

25

3

1ter; Ollvra'lc..r et Ottlllr.c.