r

JOURNALorille

AMERICAN VIOLA SOCIETYChapter of

TH E INTERNATIONAL VIOLA SOCIETYAssociation for the Promotion of Viola Perform an ce ancl Research

Vol. 3 No. 3 November 1987

Features

3 Stanley R. EvansMy Father. ClarenceB. Evans

7 Walson ForbesEtceteras forViola Players

9 Rosemary GlydeScott Nickrenz

16 Marcia FerrittoWilliam Lincer:Viol ist andTeacher

19 Mi chael PonderA Real Professional

OFFlCERS

Da uid DaltonPresiden:Brigham Young UIliversityProuo. Uta/¡ 84602(801) 378-3083

Louis Kievm anVice-President1343 Amalfi t».Paciii c Palisades. CA 90272

Harold K/atzSecretal'y1024 Maple Ave,Euans ton, IL 60202

Rosem arv Gl vdeTreasw erPo. Box 558, Rt 22Go tden's Bridge, NY 10526

Ivu us rice W RileyPast Pres ident512 Rooseve/t 8lvd,Yps ilant i, lvll 48197

EXECUI1VE BOARD

Paul Do k to rMi/ton Katimsi ronald MclrmesRo ben Oppe l¡Joseph de Pasq uaieDio igh t PoundsThomas TattonMarClls ThompsonFran cis TursiKaren TUll leAmI Woodw arel

COORDlNATOR WITHCANADlAN VIOLA SOClETY

A. Boird Knechiel

FOUNDER

My ron Rosenb/um

HONORARY PRESIDENT

Willium Prim rase ideceased)

.o.==!=. .- ----- .

-'-~í

~~' ~-~~!

cKCf!!;;f Chapier af the lniemaiionale V iola-Gesellschaii

The Journal of the American Viola Society is a publication of that organization, e1985, and is produced at Brigham Young University. The Journal welcomes letters andarticles from its readers .

Editorial office: BYU Music, Harris Fine Arts Center, Prevo, UT 84602, (80l) 378-8083Editor: David DaltonAssistant Editor: David Day

Advertising o//ice: Harold Klatz, 1024 Maple Avenue, Evanston, lIIinois 60202, (312)869-2972. Deadlines are March 15. June 15, and October ] 5 for the three annualissues . lnquiries 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 c1assifieds : $10 for 30 words including address; $20 for 31 to 60 words.Payment to "American Viola SOCiE' íY" c/ o Harold Klatz.

MV FATHERCLARENCE B. eVANS

by

STANLEY R. EVANS

My father, Clarence B. Evans, hadan interesting career as a violist,resulting in his association with manyprominent musicians of his time.

Born in 1888, he began violinstudies as a schoolboy in Duluth,Minnesota, but went to Chicago in 1907to study with Hugo Kortschak of theChicago Symphony Orchestra, who hadstudied with Sevcik. As with manyyoung music students, this was a periodof intense study while living at asubsistence level. Sometimes he wouldsit in the gallery at Orchestra Hall andhear the orchestra play under Dr.Frederick Stock, thinking how much hewould like sorne day to be a member ofthat orchestra.

As his skill improved, he beganplaying jobs in theaters andrestaurants. In 1910, at age 22, heplayed in the Chicago Opera Orchestrafor a production of Salome, presentedin Chicago, St. Louis, and Milwaukee.

In 1912 he was offered, andaccepted, the position of principal violain the San Francisco Symphony. The1912-13 season would be just thesecond season of the newly organizedorchestra, led by Henry Hadley.Principal players had contracts for theseason, but the rest were paid on aper-concert basis. All supplementedtheir meager symphony earnings byplaying at hotels, restaurants andtheaters. Evans became concertmasterof the Palace Hotel orchestra.

His diary of that period recordedspecial musical experiences: enjoyingthe beautiful voice of Melba, admiringthe piano artistry of OssipGabrilowitsch, who appeared as soloistwith the orchestra, and being deeplymoved by the Puccini operas presentedby the La Scala Grand Opera Company.

Alfred Hertz became musicaldirector of the orchestra for the 1915­1916 season and brought in LouisPersinger as concertmaster. Evansplayed with him in concerts of the SanFrancisco Chamber Music Society.(During that season Paul Whiteman,later to become famous as the "King ofJazz," was a member of the violasection of the orchestra).

Elizabeth Sprague Coolidge

In September of 1915 my fathermarried Louise Murchison, his childhoodsweetheart. In May of 1916, hereceived a letter from Kortschakinviting him to be the violist in astring quartet Kortschak was forming,to be supported by Elizabeth SpragueCoolidge. This was an excitingopportunity and he quickly accepted.After finishing the orchestra season,they left San Francisco, enjoyed ashort visit in Duluth and crossed thecountry to Pittsfield, Massachusetts,where the quartet began rehearsing inJuly. The music publicationFiddlestrings described thearrangements for the quartet:

"In a secluded spot on thesoutheastern slope of SouthMountain, in the Berkshires, issituated the Berkshire MusicColony, erected by Mrs. FrederickS. Coolidge of New York andPittsfield, Mass., a prominentbenefactress and noted patron of

3

music. It is to her that theBerkshire String Quartet--for themembers of which summer cottageswere built at the colony--owes itsexistence. The stately BerkshireTemple of Music, commanding abeautiful view of Washington andOctober mountains, is the mostprominent building, and here Mrs.Coolidge will hold annualIy afestival of chamber music."

In addition of Kortschak andEvans, the other two original memberswere Herman Felber, Jr., second violin,and Emmeran Stoeber, cello. Therewere several changes in the secondviolin position and by the time of thefirst festival in September 1918, SergeiKotlarsky held that position. SinceJuly 1916, the quartet had rehearsedsummers and played a limited number ofconcerts during the winters, often forMrs. Coolidge and her guests in herNew York home.

The first concert of the festivalwas played on 16 September 1918. TheTemple of Music was f'illed with adistinguished audience, among whomwas Dr. Stock, conductor of theChicago Symphony Orchestra. The firstwork on the program was theBeethoven quartet in E-flat major, op,127, performed by the Berkshire StringQuartet. Toward the end of the finalmovement, the viola C string broke.Realizing how disruptive it would be tostop playing, Evans also knew that theremainder of the movement utilizedmainly the upper strings of the viola.He kept on playing, going an octavehigher for the few parts that werewritten for the C string. Themovement was brought to a successfulconclusion and sorne in the audiencewere unaware of the problem. Dr.Stock was fully aware, of course, andwas delighted by the unusualoccurrence!

4

The festival presented otherchamber music groups and introducedcompositions submitted for thecompetitions sponsored by Mrs.Coolidge. The famous Kneisel Quartetwould undoubtedly had been invited butit had disbanded the previous year.There was a program by the LetzQuartet headed by Hans Letz, formerlysecond violin of the Kneisel Quartet.

Kotlarsky was drafted into thearmy in November 1918, and the diaryreporteo that "after several weeks oftry-outs, Jacques Gordon was selectedfor the position. He proved to be avery excellent player in every way."

Chicago via Detroit

With Gordon now second violin, thequartet played concerts during the1918-19 season in New York, Chicago,Boston, Washington, and Philadelphia.This was the third season of thequartet and Evans decided to leave thequartet in favor of an orchestralposition. He had received severaloffers and accepted one fromGabrilowitsch, who had becomeconductor of the Detroit Symphony. Hefinished the season with the quartet,spent the summer in Duluth, andreported to Detroit in Septernber 1919.After signing the contract for Detroithe had received an offer from Chicago,but had to reply that he was committedto Detroit for one season. (For the1919 Berkshire· Festival Louis Bailly wasthe violist in the quartet and alsoperformed the Bloch Suite and theRebecca Clarke Sonata, the top choicesin the competition for a compositionfor viola.)

Although seated in the third chairof violas, Evans was promptly broughtinto the Detroit Symphony StringQuartet with the concertmaster, 2ndconcertmaster and principal cellist. A

high point of their season was aperformance of the Dvorak PianoQuintet with the piano part played byGabrilowitsch.

Early in 1920~ there was anotheroffer from Chicago to commence in thefall which Evans was happy to accept,From his diary:

"Gabrilowitsch called me into hisroom several times to try topersuade me to stay in Detroit;and he had Kolar (asst.conductor), as well as all thequartet, talk to me for the samepurpose. When he saw that 1would not stay ~ he urged me to goand play for Stokowski, as hewanted a solo viola; and offeredto do anything to help me aboutit. (Which meant almost certainlythat I'd get the place, as G. andS. are great friends and worktogether a good deal)--but 1thanked him and declined."

The old dream of playing in theChicago Symphony was still strong--andabout to come true!

He finished the season in Detroitand returned to Duluth, intending tospend the summer there. However ~ hereceived a letter from Mrs. Coolidgeasking him to help her out by rejoiningthe Berkshire Quartet for the summerand the September festival, since Baillyhad other commitments. He acceptedand again the cottage near SouthMountain was occupied by him, Louise,and their son Donald. The 1920festival included performances by theLondon String Quartet, Efrem Zimbalist,pianists Guy Maier and Lee Pattison,and harpist Carlos Salzedo.

Orchestra in the fall of 1920~ Evanswas seated in the third chair of thesection and was happy to be in theorchestra he had admired since hisstudent days.

The Berkshire String Quartetdisbanded after the 1920 festival.Jacques Gordon accepted a position atthe Capitel Theater in New York,expecting to remain there for sornetime. Suddenly, however, he receivedthree offers and accepted the best one:concertmaster of the Chicago SymphonyOrchestra. He arrived in Chicago on 9October 1921 and called my father.They met, had a meal together, talkedabout the orchestra, and from thediary ~ "at 11:30 p.m, 1 went back to hisroom, to see his newly purchased$10~OOO Strad violín."

Soon after joining the orchestra,Gordon formed a quartet and askedEvans to be the violist. Because oftheir former association, this was avery comfortable relationship, andplaying in the quartet became aparticularly satisfying activity.

Evans was made principal violist in1926 and held that position to 1939.That period was the peak of his career.In the orchestra he led the section andenjoyed playing the solo parts, both therelatively small ones and the largerones 'in the Dohnányi Suite, theBrandenburg Concerto No. 6 and DonQuixote, perfórmed with Piatigorsky andother fine cello soloists. He andGordon played the Mozart SinfoniaConcertante, including an extendedcadenza composed by Dr. Stock. Atthe 1933-34 World's Fair, he played theBruch Romanze with the orchestra atthe Swift Bridge.

Dream Fullfilled

Joining the Chicago Symphony

During that sameEvans was conductorOrchestra of Chicago

general period,of the Civic

(the training

5

retired in Palo Alto. California anddevotes much time to chamber music.His mother, Louise Evans, a pianist andcomposer, played viola in the ChicagoWomen's Symphony Orchestra underEthel Leginska and lzler Solomon. Hisolder brother Donald has played violain the Chicago Symphony Orchestra for40 years and Donald's wife, Margaret,has played cello in the orchestra for 37years. They will both retire after thisseason .•

Nl llll lwr Twu, 1" .. •..' .. " .., ~ l . ,

\11 11 1 1: .", \ 1'11 '

THE BERK$HIRE QUAR T ET

Although the Berkshire StringQuartet had disbanded after the 1920festival, the members did play togetheragain. Mrs. Coolidge invited Kortschak,Gordon, Evans, and Stoeber to re­assemble to play at the festivals in1928 and 1938 (the last festival.) Ineach of those years, they performed theBeethoven op. 127, the work which hadopened the first festival in 1918.

Although all of my father'smusical endeavors were challenging andrewarding, I believe he found thegreatest satisfaction in being principalviola of the Chicago SymphonyOrchestra- -the realization of hiseariiest musical ambition.

Stanley Evans was born in Pittsfield,Massachusetts. shortly before the 1920festival. He attended NorthwesternUniversity and played violaprofessionally in the Chicago areabefore World War l l . During service inthe Marine Cor ps, he made the decisionto go into law . retaining music as amajor avocation. After graduation fromHarvard Law School, he practiced lawin California and later became aSuperior Court Judge. His is now

Playing in the Gordon StringQuartet was also a major activity. In1927, the 100th anniversary ofBeethoven's death, the quartet played aseries of concerts in the James SimpsonTheater of the Field Museum featuringalí of the Beethoven quartets.

orchestra of the Chicago SymphonyOrchestra) and the Chicago BusinessMen's Orchestra. During the summerGrant Park concerts in 1936 he was aguest conductor with the ChicagoSymphony Orchestra and conducted aconcert of the Chicago Opera Orchestrafeaturing Mischa Elman playing theTchaikovsky Violin Concerto.

6

ETCETERAS FORVIOLA PLAVERS

by

WATSON FORBES

We seldom have to use a mute.When we do, we accept the usual onewe carry around or, being modern andup to date, we have one attached tothe strings beyond the bridge. Yet itis an important adjunct affecting ourperformance. We tend to give toolittle thought to the results it isgiving, and too little thought to themusical result we are conveying. Now,mutes come in various guises. They areavailable in a variety of materials.They have different weights. Sornehave only one prong, sorne two andothers several; sorne are handy, sorneare not! When we have to use them,we tend to park them and after use,leave them behind. 1 have a usefulcollection which 1 have picked up fromtime to time--droppings from the richman's desk!

1 have a tendency to carry aroundwith me a quantity of mutes, andexperiment to find out which gives thesound most appropriate to the music 1am to play. However handy it is tohave one parted ready for use attachedto the strings beyond the bridge, 1have rarely found it fully rewarding insound quality. 1 have used a two­pronged, lightweight aluminium mute(now difficult to come by). The leatherones which 1 have found in variousweights and models are only reasonablysatisfactory. For a long time 1 foundthe "Heifetz" mute appealing. Sorneform of rubber or plastic gave goodresults. Those made of bone 1 foundgave a nasal quality to the tone. Thefour prong metal one was most self­effacing, and only useful for practicewhen it was important not to disturb

your neighbors. A lot depends on theresult you get from your owninstrument; a great deal depends alsoon how well the legs of the mute fityour bridge. My only advice is tocollect as many and various mutes asyou can find and experiment until youare truly satisfied. But do be criticalof the results you obtain, and realizethat different musical styles ask fordifferent treatment.

Resin

Resin for the bow is an item ofdaily use over which we tend to be toolazy to criticize. What is useful andeffective for gut or gut covered stringsis too weak in tackiness for metalstrings. Alterations in ternperaturerequire changes of the quality and clingof the resin we use. It is undesirableto use too much resin, but this is afault too many of us are thoughtlesslyheir to. Especially young studentsought to be taught to beware ofoverdoing the application. My ownobservation is that bow hair lasts muchlonger than most of us realize. It isfidgety to have the bow rehaired toooften, since it takes a day or two forit to work into rewarding use. Onlywhen the hair refuses to take up theresin should it be renewed. Too muchresin gives a scratchy sound, too littlelends a bland quality to the tone.Three up and down strokes along thehair should be sufficient for generaluse. Occasionally use the bow withoutapplying resin; this cleans the hair ofany excess. Resin is the same as rosin,being interchangeable terms, thoughresin in technical terms refers to thesubstance exuding from fir trees, androsin is the solidified formo Proprietybrands are manufactured and treatedsubstances as a rule.

7

The Violexchange

A QuarterIy Review ofString Literature and Repertoire

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Shoulder Rest

We have been cajoled into using ashoulder rest as a necessary adjunct forcomfort in performance. The problemis twofold: 1) how to obtain acomfortable grip on the viola and 2)how to fill the gap between theshoulder and the jaw. People withshort necks are very vocal in denyingthe use of any rest at all. The oldergeneration advocates the cushion underthe coat lapel or a cushion attached byan elastic band to the back of theviola. Others advocate the use of ashoulder rest, manufactured in metal orwood plus velvet or other clingingmaterial. There is a theory that theshoulder rest which has the mmimumcontact with the edges of the viola isto be preferred, since it doesn't dampenthe sound in any way. The violasounds without any impedimento This isan advantage which, I think, is largelyimaginary. I have failed to distinguishany tonal advantage.

The greatest test is to becomfortable. Efficiency in the handlingof the instrument is important. Beflexible in your attitude. After alifetime of using a "Menuhin" shoulderrest, 1 have reverted to a pad underthe coat lapel as being morecomfortable. Having a moderately longneck, 1 have failed to be comfortablewithout any help at all. If you don'thave a reasonable grasp (not a rigidgrip) of the viola at the chin, all sortsof technical feats become an anxiety.Sorne players have very little grip atthe chin and rely on holding the violawith the left hand--not a solution tobe recommended, though possible. Butdon't just follow the prevailing fashion.Experiment fully, and don't forget toinelude the chin rest in your probe forcomfort and efficiency.

Watson Forbes, distinguished Britishviolist, has written extensively [or andabout the viola. His editions andarrangements [or the instrument numberover 100 examples.•

SCOTT NICKRENZ

by

ROSEMARY GLYDE

Editor's Note: This is the [ourtñ in aseries 01 articles by the author onprominent violists and those who havehad influence in our [ield,

"Get it into your ear--every notealive, every note full of life. Vibrateright through the note to the otherwith the hand alive. As you practice,I want this beautiful sound. That's it!The hand is happy. Practice for thatsame happy feeling."

It is telling that the very wordsthat Scott Nickrenz spoke to hisstudent could very well describe hisown life's activity. The man exudestremendous optimism and an un boundedand infectious enthusiasm as he talksabout his work.

This fall 1 met and visited Scottfor the first time in his teaching studioat the Hartt School of Music inHartford, Connecticut. It was excitingto put his face together with his voice.When Scott called me earlier this fallto ask me to substitute for him at theschool while he was on tour inAustralia, I received a miraculoussurprise. 1 was very surprised to heara timbre, a kind of purr and inflectionin his voice very much akin to thevoice of the late violinist, MichaelRabin. The same zany humor carneover the phone as well. I was anxious

9

PAUL MARTIN SIEFRIED

Maker of bows in the French tradi tion

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O UTSTANDING SELEcnON O F F INE FRENCH BOWS

Fo under Member o[ theAmerican Federation o[ Bow Makers

Member Entente lni ernationaledes Maitres Lulhiers et Archetiers D 'Art

Awarded six gold medals ininternat ional competition

Declared Hors Concourseby the Violin Society o[ America in 1982

Business Hours: Monday through Friday10-12 AM, 1-5 PM, or by appointment

Neui expanded seruice facilit ies

1637 Silverlake Boulevard s Los Angeles, California 90026 (213) 662-7256

to meet this well-known violist.

When 1 arrived at his studio, hisfirst student had cancelled owing toillness, so Scott and 1 had a chance tochato He has a manner of largesse thatinvites you to entero His mind isalways on the go, seeming to constantlyclick off possibilities; his foot undulatesup and down with the same busyness.

The student, violist JudithPorowski, arrived and the lesson began.About halfway through the hour, thelesson began to center on sound. 1 hadheard about his concentration on soundfrom a former student, and 1 waspleased to have a chance to hear histhoughts first-hand. 1 will quote fromhis comments. Notice the words whichare underlined for he underscored themhimself with inflection; the same wordsconsistently reappeared during the hour:

"Often when you're working very hard,your hand looks traumatized. But 1 canget a very rich sound because my handis relaxed."

"More than anything else, 1 need thisrichness of sound."

"Keep the vibrato going through thenote, get a fat sound."

"Gorgeous--the hand sounds opulent, itsounds balanced."

"If you get one note feeling wel1, thenyou add another until they both feelwell and so on. Then you're getting avaluable technique."

"It's got to sound like a T - bone steakwith security and balance."

Chamber Music Festlvals

1 left Scott that day only toreturn to see him again a week later at

his penthouse apartment in the East70's of New York City. 1 entered asun-Iit, immaculately maintainedapartment. Bef'ore we settled in easy-chairs to talk, Scott too k me down anarrow circular staircase to his office.We passed a bedroom (with a lovely oldquilt that Scott says "just won't wearout") and found a little nook that ishis office. Scott showed me hisfolders, each one pristinely kept withentries for his festivals. Scott servesas director of the chamber series atthe Festival dei Due Mondi in Spoleto,Italy, the Spoleto U.S.A. in Charleston,South Carolina, and his most recentdirectorship at the Festival of ThreeWorlds in Melbourne, Australia. Healso has been the director of chambermusic at the Brooklyn Academy ofMusic for the last thirteen years.

This is assuredly Scott's love. Healmost reverently showed me his workpapers for each series. He describedhis work as being akin to a "chef witha series of menus for the audiences;the artists are the ingredients." Hestressed the importance of "getting theright artists without any weak links.The scheduling of artists must betotally democratic with each artisthaving the same amount of 'red meat'."Showing me his schedule of repertoire,he zealously described his process ofworking out the combinations for eachconcert and for each series. He has abusy schedule. After the CharlestonSpoleto comes the Italian Spoleto, thena brief vacation, usually to Nantucket,and then to his newly createdAustralian festival.

His wife, the well-known flutistPaula Robison, entered at this point tocall his attention to their bird that hadjust begun to talk! An attractive, soft­spoken woman, her quiet ways almostbelie her outgoing, charismatic figureon the stage.

11

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We went back upstairs. There,after I asked Scott about the origin ofhis name, he picked out an old thickvolume from his bookshelf. "My rootsgo back to 1803, back to Sir WalterScott." Sir Walter Scott was thesheriff of Galashiels, Scotland, and adescendant, Adam Scott, carne over toAmerica from the same Galashiels inthe early 1800s. The book, dated July8, 1803 with the inscription AdamScott, was published in 1793, written byJames Ferguson, and the tille: "Theuse of globes and the principle of theart of dialing calculation of the meantimes of new and fu 11 moons andeclipses." It is an engineering treatiseon mechanics, hydraulics, andpneumatics used for the crossing of theocean, it is presumed. Robert Scottwas his grandfather's name. Nickrenzis a Swiss name, probably of Celticorigino

Scott then took me out onto thewrap-around terrace. On this sunny,fall morning, it heId a magnificent viewframed by lattice-work in roundedarches, "It was created by threecarpenters working for a month."Wonderful plants encircled the tenace,including blueberries, strawberries, agrape arbor, a dwarf peach. I askedScott how he managed it a11 (seeing asmy raspberries are slightly underprunedat this moment) and he admitted tohaving a gardener!

Teaching and Competitions

Scott has been teaching at theHartt School since 1980. "1 find itexhilarating and exhausting. Sorneteachers can go for hours, but I rea11ycan't give a great de al. A teacher hasto listen, observe, and come up withsolutions. An exercise alone will nottransform the player; it has to be donefor a specific reason."

Scott digressed into a report of astunning array of chamber concertscoming up, ranging from the Societiesat Lincoln Center and Miami, to abenefit at the Turtle Bay Music School,to the adjudication of the Chopin PianoCompetition at the Juilliard School.Scott spoke of his desire to promoteyoung artists, that he continues tojudge every year after Christmas, theYoung Concert Artists Competition. Hehas also been a judge at TheLeventritt, The Naumberg and StringQuartet Competition. "1 promotedmyself when I was young. We have, ofcourse, got to be tenacious and smart.But playing beautifu11y is the mostimportant component though not theonly one. Each generation has tocreate in its own way. Turning aphrase is important, but you've got todo it in different ways. 1 asked howhe felt about the varying opinions onthe value of competitions, in particular,one often heard that competitions arenot only unfair but actua11y are againstwhat the artist stands for. Scottconsidered this for a moment and thenanswered. "Yes, it's a responsibility.But competitions do not have thewallop they used to; there have beentoo many bad choices. Majormanagement often does not attend anymore. The selection process has beenuneven. But competition can be a wayof making your moves. It can revealyour ingenuity, your creativity. Eventhe professional competitor doesn'tbother me. What the heck. It doesn'tmake you better or worse. Ir youhappen to be the lucky one and getmoney and concerts, why not?"

Scott rambled back to his love, hisentrepreneurial work as artisticdirector. "In chamber music I'veaccrued more and more responsibility.I rarely pick anyone [for his series] fortheir chamber music ability alone. Thesolo player is the one who'll make a

13

fine chamber music playero I look forthe string personality, someone with anincredible technique, someone with agood sense of humor, not a primadonna. Then 1 go about getting thatpersono 1 haven't made a point of it.That's just how I've always done it."

"Too often the problern is withrehearsals, especially when the personisn't really secure about his instrumentoIf they are secure, the beauty comes soquickly. With these great youngplayers, there are no f'ights: it comestogether quickly, People often rehearsefor the wrong reasons." Scottadmitted, "Well, I really don't likerehearsing! Organizing the concert ishe real work; the playing is the fun!"

His Background

Scott grew up in western NewYork state. The nearest town had10,000 people, "1 grew up on afarm...with a tennis court. I didn'thave a strong cultural base." Hestarted the piano at five. His father,in the food distribution business, wasan amateur jazz playero "Art Tatumwas his hero, My father had a danceband that played on Friday andSaturday nights at country clubs. Theyhad a wonderful violinist, GeorgeKadera. When I was ten, my parentsasked me if I would like to study theviolin. I was so crazy about it when Istarted that I slept with it! When Iwas thirteen, George died, and 1became the violinist in my father'sbando 1 played every Friday andSaturday night until one in themorning. 1 found out late that GeorgeKadera had had cancer and only two ormore years to live at the time when 1was asked to learn the violin. I wasprimed to replace hirn!

"As a boy 1 had money because ofmy dance fiddling. But my parents did

14

discipline me. I had to buy war bonds.1 bought stamps for my stampcollection and 1 bought our first T.V.set as rny parents wouldn't buy one.I've been making money since 1 wasthirteen.

"What happened at age fifteen isinteresting: 1 was small for rny age, alittle blonde kid. Once at a countryclub, aman took a liking to my playingand invited me over to his house toplay in a small orchestra of twelve orso string players. This man turned outto be the late Cameron Baird, awealthy patron of the arts who ownedthe beautiful Strad viola that BorisKroyt used during his tie with theBudapest Quartet. There were 'plants'in the orchestra to audition me. The'plants' were the members of theBudapest Quartet (who were playing theBeethoven series at the University ofBuffalo). Alexander Schneider was tomy right!

"Cameron was my angel. He saidto Sasha, 'How would you like to takethis raw kid and teach him once amonth when you come to town?' Bairdarranged, too, that 1 study with him atthe Royal Conservatory of Music inToronto in the summer where he had ateaching position. 1 had a lesson withhim every morning. And then 1 shotup, It happened right then. 1 suddenlygot big. And Sasha said, 'If youswitched to viola, you could write yourticket.'"

At seventeen Scott shared aprogram with another young player atthe Royal Conservatory of Music andplayed his first Bach Suite. ThenSasha suggested he study with KarenTuttle at Curtis. "1 auditioned and wasaccepted, At that time, unbeknown tome, Tuttle left Curtis, and when 1arrived to study with her, found thatrny teacher had been changed without

my knowledge to Max Aronoff." Thiswas a disappointment which attendedNickrenz for the next three years.

The Lenox Quartet

"Paul Fromm had just founded theFromm Players at Tanglewood. At thetime I was sharing the principal violawith Jesse Levine in the TanglewoodOrchestra. I was invited to be aFrornrn player, and out of that carnethe formation of the Lenox Quartet.That's when I left Curtis. I didn'tgraduate. In order to supportourselves, the Lenox was in residencyat Princeton and Tanglewood, and fortwo years, were also players withSteinberg and the Pittsburgh Symphony.This was my only orchestral experience.Steinberg was great. I played Daphnisel Chloé with Pierre Monteux. I didsorne of the great literature with theold greats." Scott was not only aviolist with the symphony but also theorchestral pianist. "1 hado't lost myskills as a pianist at that point." (Heinsists he can't play a note on thepiano today).

Scott then carne to New York."With the help of Guother Shuller weformed the Contemporary StringQuartet, and with jazz perf'ormers suchas The Modern Jazz Quintet, we beganthe "Third Stream Music' movement, anatternpt to cross classical with jazz; theclassical musician ernbracing theimprovisational aspects of jazz. Thiswas twenty-five years ago. With theLenox, I worked with Carter, Copland,Cage, Sessions, and many moreAmerican greats."

Then Nickrenz joined theClaremont Quartet. Scott feels this isthe easiest way to learn the Beethoveoquartets--to step in with a group thataIready knows them very well. "1 justfit myself in!" For the next six years

the quartet was on the faculty of theNorth Carolina School of the Arts.This was his first teaching position,and at age twenty-four.

Scott then formed, with ShmuelAshkenasi, the Vermeer String Quartetin Northern Illinois. Later, RonaldLeonard, cellist, left the quartet and"after changing cellists twice, that wasenough for me. Nobuko Imai took myplace.

"In rny early thirties, it was anabsolute coincidence that I ran intoGuother Shuller who asked me to teachat the New England Conservatory ofMusic. Harvey Lichtenstein engaged meto begin the chamber music series atthe Brooklyn Academy, and LeonKirchner asked me to help do thesummer program at Harvard. Theneleven years ago, I became the directorof the two Spoleto Festivals, Spoletoand Charleston. After four years atthe New England Conservatory, Ichanged positions and went to Hartt.

"An interesting experiment tookplace during rny years at B.A.M.(Brooklyn Academy). I began a countrymusic series for five years at bothB.A.M. and Spoleto. I did it formusical reasons, and later, when I wasasked to expand the series with bignames, I said no. I didn't want thereally big names, I wanted a majorvenue for cajan, country, black stringband, and the 'high lonesome sound' asin Rosco Holcombe from Daisy,Kentucky who died from black lungdisease. But it was esoteric. I didn'twant it to change, and so 1 stopped it."

Sixteen years ago Nickrenz had theopportunity to buy Joseph De Pasquale'sGasparo da Salo. "I paid the highestamount for a Gasparo to date. 1 chosefrom two Gaspars in the shop of thelate Bill Moennig, Sr. The other one

15

belonged to Karen Tuttle. Tuttle'supper strings were like butter. Joe'slower two strings were like a cello. 1chose Joe's. Before that, 1 played aNicholas Amati owned by the CorcoranArt Gallery in Washington, now playedby the Tokyo Quartet. 1 also at onetime had a modern instrument by Hanel,a Connecticut make, but it was stolen."

The Family

Scott has been married to PaulaRobison for fifteen-and-a-half years.They have a daughter, Elizabeth, who isten. She serves as his privatesecretary--she very proudly states--when you call on the phone. Scottlovingly describes her as his youngactress and poetress. He has anotherdaughter Erika from a previousmarriage. A pianist, she has begun tomake her way successfully at the ageof twenty-four as a member of theEroica Piano Trio, and will tour nextseason with music from Marlboro.

Of Paula, he talks with pride."Paula is 'high profile,' pretty,charismatic with her goldf1ute, and awonderful concert hostess. Oppositely,I'm really an inner voice, and I'm anorganizer. This suits my personality.Paula's solo persona suits her. It's areally good relationship."

Scott closed by saying: "Foreleven years I've had tremendous loveand enthusiasms for my festivals-­beautiful halls, beautiful players, music­making of the highest level. Doing thiswork makes me busy even when I'm notbusy. What makes things work for meis that I'm organized. 1 cannot beardoing things at the last minute. It'sreal love, not survival. Players,programs are always hitting me. 1haven't run dry yet. But 1 oftenwonder if 1 will. Year after year,trying to maintain this level." 1 told

16

him 1 would bet if he sensed a plateauthat he would suddenly zig-zag in anew direction. Indefatigable as heappears to be, drying-up does not seemto be a possibility.

1 called him while preparing thisarticle to check on a few facts, and hetold me with zeal that he waspreparing programming for Australiawhile watching the New York Giants."1 LOVE doing two things at once!"

Rosemary Glyde received her doctorate01 Musical arts [rom 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 treasurer01 the American Viola Society.•

WILLIAM LINCER:VIOLIST AND TEACHER

by

Marcia Ferritto

Wiliiam Lincer, professor of violaand chamber music at the JuilliardSchool, has been an inspiration andmentor to students for the past sixtyyears. On April 6th, 1987 more than150 students, former students andfriends gathered at the Juilliard Schoolto celebrate his 80th birthday. Juilliardpresident Joseph Polisi addressed thegathering with the highest praise forLincer as an outstanding teacher andhuman being. The celebration washighlighted with performances bystudents including Bach's Brandenburg

Concerto No. 6 and a specialarrangement of Happy Birthday. Theceremonies were concluded with thepresentation of a silver bowl inscribed"To William Lincer on his 80thbirthday, in appreciation for over halfa century of teaching us to be bettermusicians and people. With affectionfrom your students everywhere."

Prior to coming to the JuilliardSchool in 1969 he taught at theManhattan School of Music for nineyears, and for several summers atKneisel Hall, Blue Hill, Maine. Later,and for many years, he was on thefaculty of the International Congress ofStrings. Lincer was a former principalviolist of the Cleveland Orchestra andwent on to spend thirty years asprincipal violist of the New YorkPhilharmonic. A member of the GordonString Quartet for seven years, he wasawarded the Elizabeth Sprague CoolidgeIndividual Gold Medal for ChamberMusic.

Recipient of the American StringTeachers Association's 1986 Artist­Teacher of the Year Award, Lincercontinues teaching and playing, everconcerned about the total well-being ofhis students. With immense strength ofcommitment and high intellectualstandards, he draws on a wealth ofpersonal study in developing histeaching skills. Insights from suchsubjects as mathematics, history, logic,psychology, p h ys i cs , anatomy,physiology, kinesiology, relaxationtechniques and concentration exercises­-to mention a few--are brought to bearon the ever challenging process ofseeking the best way to communicatewith each student on an individual basisand to unlock a student's special talento

A Gentle Powerhouse

I have had the privilege of being

a student of William Lincer early in mycareer and have continued a bond ofdevotion and friendship over manyyears. In person, he is a gentlepowerhouse, a reservoir of intuitiveunderstanding and compassion.

Wonderfully articulate, hestimulates a sense of discovery andconnection with music and instrumentthat allows development toward a senseof physical and mental freedom. Heemphasizes organized thinking and asystematic approach in mastering ski11swhich basically serve as tools forexpression. It is aboye a11 important tohim that playing be a state of trueawareness and that we open ourselvesto music so that we feel we have rea11yexperienced what's happened. He hashelped so many students to transcendself-imposed limitations and achieve ajoy and confidence in their playing.

One can find his students in majororchestras and music schools around theworld. Among them, three are in theNew York Philharmonic, and others areperforming in orchestras in SanFrancisco, Los Angeles, San Diego,Chicago, Dallas (principal), Nashvi11e(principal), Jacksonville, Alabama,Pittsburg, Phoenix, San Antonio, StoPaul Chamber Orchestra (principal), theOhio Chamber Orchestra (principal), AnDie Musik in Switzerland, Singapore,Australia, Germany, Italy and France.

In the words of George Sze11,William Lincer "is not only a top-ranking representative of hisinstrument, but an exceptionallyinte11igent and erudite musician."Practical experience and work over sixdecades has led Lincer to theconclusion that traditional teachingmethods don't adequately teach certainprincipIes importan t in m usicperformance. He says, "Emotion...thatto me is the essence of music." He

17

BOSTON UNIV ERSITY SCHOOL OF MUSIC

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

Our string faculty ineludes:

EJW1l1 Barke r, double bassRaphael Hillycr, violaBernard Kadinoff, violaCa re l Lieberrnan , violinM aJcolm Lowe, violinLeslie Martin , double bassYuri M azurkevieh , uiolin,Chairman of Strinx D epartmentG eor ge N eikr ug, celloMiseh a Nieland, celloJ am es Orleans, double bassLeslie Parnas, celloH enry Portnoi , double bass

Phylli s C u rtin,Dean, Schoolfor the A rts

Rob ert Sirota,Director, School oj Music

M ajar seho larsh ips availab le toqualified applieants.

Reman Tutenberg, violinM ax Windcr, uiolinLawren ce Wolf, doublebassMiehael Z aretsky, viola

MUIr Q uartet, 111 residen ceat the Boston U rnversrry Schoo l

of Mu sic, are:

Steven Ans ell, violaBayla Keyes, uiolinMi eh ael Reynolds, celiaPeter Z azo fsky, violin

For more information contact:Ajan Weiss, Director ofAdmissionsBoston University Sehool o f Musie855 Com m o nw ealth AvenueBoston, MA 02215Telepho ne: 617/353-42 41

AHequa! opportunitv,affirmative aa ion insiitution.

states his objective simply as"helpingstudents develop into healthyindividuals who are capable offunctioning in a creative way."Perhaps his greatest gift to me inaddition to offering sound instrumentaltraining is sharing his deep respect forthe underlying nature of things and hissense of humor expressing, as poetStephen Levine calls it, "that sense ofthe absurd which honors the miracle ofeven being here to do work together."

Marcia Ferritto, a graduate 01 BrynMawr College, is present/y on the[aculty at the Cleveland Institute 01Music and at Baldwin-WallaceConservatory. She is active as soloistand recitalist and is principal violist 01the Ohio Chamber Orchestra .•

A REAL PROFESSIONAL

by

MICHAEL PONDER

April this year saw the 75thbirthday of Frederick Riddle, Britain'smost distinguished living viola playerand one of the most illustriousprincipal viola player in the world,having held that position in the LondonSymphony, London Philharmonic, andRoyal Philharmonic Orchestras duringthe course of his long career. Itwouldbe a fair assumption to say whatLionel Tertis did for the viola--andindeed the solo viola--Frederick Riddleundoubtedly did for the orchestra viola.All those stories about viola solos andjokes about viola players areimmediately dashed to the ground withthe mention of Fred Riddle's name, forhardly a more immaculate professionalmusician, and indeed world class viola

player, ever sat in an orchestra.

It was from his father that FredRiddle was to learn his won formidablebrand of self -discipline andprofessionalism that he is famous foroHis father was a band sargeant, andhorn player in the marines bandstationed at Chatham in Kent. This iswhere Fred grew up and learnt theviolin at an early age from a localteacher. By the time he entered theRoyal College of Music at the age ofeighteen he had learned and played allthe major violin concertos. His teacherat college was Maurice Sons, himself apupil of Henri Vieuxtemps. However,Fred's conversion to the viola wascaused through the need to fill in theviola part in an ensemble. With hisstrong violin technique he foundhimself a cut above most other violaplayers around and by the age oftwenty had joined the LondonSymphony on the 4th chair. Theconductor was Hamilton Harty on whomthe young Fred Riddle must have madehis mark, for, when the reigningprincipal violist left, Fred stepped intothe jobo Fred's no. 2 partner was theold viola veteran, Albert Hobday, wellknown as Lionel Tertis' rival during theearly years of the century.

Variety and adaptability havealways been the hallmark of the Englishmusic profession and before long, Fredwas in volved in playing light musicwith such groups as the GershomParkingham Quintet and forming aquartet with violinist Harry Blech, laterfounder of the London Mozart Players,

The Blech Quartet had echoes inits formation of the Griller Quartet inthat all the members lived together inthe early years of rehearsing and werecoached by a distinguished musician, inthe case of the Blech Quartet byHumphrey Proctor Greg. This life style

19

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didn't really suit Fred and heeventually left. Quartet playing neverreally became a major part of Fred'scareer, although, he did form another afew years later with violinist HenryHolst, with whom he made records onthe Columbia label. Fred was later toadvise students: "Never join a quartetas you'd probably all end up hating oneanother."

A Call From Tertis

In 1938 Fred was to receive aphone call from Lionel Tertis whosuggested he ought to learn the Waltonconcerto. A few days later Decca rangup and asked him to record it withinthe month with the LSO and Waltonconducting for í25 and no royalties.

This recording, made on 78s, isarguably the most authentic andpossibly still the best of all therecordings of this concerto. Listeningto it today one is aware of howstraight the ternpi are and how welldefined the structure of the work is,especially the writing between the violaand orchestra. Fred himself takesgreat pains to point out that it is aconcerto for viola and orchestra notviola with orchestra as he feels itoften becomes in performances hehears,

1938 also saw the start of a majorinfluence and relationship in Fred's life.Sir Thomas Beecham was to ask him tobeco me principal violist of his LondonPhilharmonic. Fred still remembers hisfirst encounter with Beecham inBeecham's bedroom, with him sitting upin bed and asking: "How much moneydo you want?" Fred had heard thatLeon Goossens was paid 20 guineas aweek and that all the other principleswere paid 12. So Fred asked for 20and got 18. Beecham was to remainFred Riddle's favorite conductor--"he

was a genius"--and their relationshiplasted to the Royal Philharmonic andhis death in 1961. During the lateryears of Beecham's life, Fred was oftendescribed as Beecham's "right-handman" regarding his advice on orchestralrunning and personnel. This coupledwith his supreme authority as principalviolist, his stunning sight-readingability and his formidable orchestraldiscipline, he earned the title of "God"from his fellow professionals.

Fred's fifteen years as principalviolist of the London Philharmonicended in a big upheaval when in 1953,he made the front page of the DailyTelegraph: "The distinguished violaplayer and Vice Chairman of theLondon Philharmonic is not of theCornrnunist persuasion."

Beecham having long since left theorchestra, it became self-governing. Amernber of Fred's section, ThomasRussell, eventually became ManagingDirector and secured the orchestra'sfuture and work through the 1940s and50s. But he was a member of theCornmunist Party and, when it washeard he was going to China on aholiday, the London County Councilthreatened to withdraw sorne of theorchestra's grant money. Variousfactions of the orchestra wanted hirnsacked and an extraordinary generalmeeting, chaired by Fred, was called.Sorne quite underhanded business wenton and in the end Russell lost his jobby five votes. Fred Riddle, togetherwith fourteen other members, allimrnediately resigned on account of thegross intrusion into the man's personalliberty. Beecham, hearing of all this,invited Fred yet again to becomeprincipal violist of his latest orchestra,the Royal Philharmonic, where Fredremained until his sixty-fifth birthday,a period encompassing both the reignsof Beecham and Rudolf Kempe.

21

A1though Fred first and foremostthinks of himself as an orchestramusician, he has had an extensivecareer as a soloist. He never boastedof his concerto appearances because forFred, playing a concerto was all verymuch part of a day's work. He gavemany performances of the Walton andother standard viola concertos alongwith concertos by Bax, Rubbra, Frickerand the arrangement of Elgar's celloconcerto. He had music written forhim, though he points out he nevercommissioned anything. "1 am not oneof those viola players who goes aroundwriting letters all the time, you know,1 was far too busy earning a living."He gave first performances of concertosby Elisabeth Lutyens, Martin Dalby,Justin Connolly and Alan Hoddinott andsonatas by Alan Rawsthorne andMalcolm Arnold. "A lot of bloody workfor only one performance," is what hesays about sorne of these pieces.

Riddle's Recordings

Over the years, he has made aconsiderable number of gramophonerecords. Only one of his records is inthe current catalogue: VaughanWilliams' Suite and Flos Campi made in1977 with the Bournemouth Sinfoniettaon the Chandos label. But, if there isone recording besides the Walton thathe is proud of it is the set ofrecordings he made of practically theentire string trio repertoire with fellowLondon Philharmonic members, violinistlean Pougnet and cellist Anthony Pini,back in the 1940s. A Dr. Listz of theAmerican Westminster record companydecided it was time to record most ofthe string trio repertoire. He choseLondon musicians to do the job andsent them off to Vienna for a week torecord all the trios of Beethoven,Mozart, Hindemith, lean Francaix,Lennox Berkeley and Dohnányi.

22

Listening today, these recordingshave indeed acquired a legendarystatus, not only for their stunningplaying but for the fact that they wererecorded within a week on rehearserecord sessions by a group that hadn'trehearsed together before. But then itis these qualities of accuracy,quickness, adaptability and the abilityto create the best possibleperformances in the shortest availabletime that have given British musiciansan enviable reputation.

When Fred started teaching at theRoyal College of Music in 1948, it wasthese very principles, so much part ofthe English profession, that Fred wasto instill so strongly in his students.Thirty-eight years later, and stillteaching, Riddle students always standout aboye the crowd, even today withso many British viola students studyingabroad with big named teachers. Theyare known for their strong and reliabletechniques, quickness at reading andtheir ability to sort out the mostdifficult passages instantaneously, fortheir immediate ability to adapt to thelarge variety of music and styles theywill play, and their ability to play thescore as it is marked.

Fred teaches through a diet ofstandard repertoire pieces, scales andarpeggios and Kreutzer studies. Hetries to instill good intonation, goodrhythm and a good viola sound into hisstudents; coupled with a need for thestudent to think for himself, use his"common sense" and always ask himself:"Is that the best way of playingsomething?" He can beuncompromisingly tough on students,especially those who have false illusionsabout their own playing and what isrequired from them for the profession.His remarks to students have indeedbecome famous. One student whoplayed through the first movement of

the Brahms E-flat sonata was greetedby: "Well 1 don't know, it's a shameyou don't like how the rest of us play,"being one of the more printableremarks.

Ultimately though, what makesFred such a good teacher is that all hisstudents are so well groomed for theprofession. As one principal of theLondon orchestra was to remark, if anauditioner had written "student ofRiddle" on his application, you knew hewas gong to be one step above theresto

For over fifty years Fred Riddlehas remained at the very top of themusic profession in Britain, des pite itsever changing fortunes. Aman whoembodies many of the older values--ofloyalty to his section, keeping his wordand never making false promises--hecan't help making a distinct impressionand effect on anybody sitting in thesame orchestra. Is there anybody withsuch logically musical bowings andfingering of the entire orchestralrepertoire or anybody who can play theorchestral solos and the concertos sostunningly and indeed have such aunique concept of the viola line inorchestral music, as Frederick Riddle?

Michael Ponder was [or thirteen yearsa member 01 the PhilharmonicOrchestra. A [requent recitalist, hehas made a number 01 recordings 01English viola music. He is presently a[reelance violist in London andcontributor to THE STRAD, [rom whichthis article was taken.•

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O/Interest • • • •

XV INTERNATIONAL VIOLA CONGRESS

The XV International Viola Congress will be held 16-19 June 1988 at Kassel, WestGermany. This will be the twenty-year Jubilee Congress of the founding of theInternationa1 Viola Society. A preliminary list of participants has the followingartists, lecturers, and ensembles participating: Paul and Christoph Angerer, ChristianEuler, Raphael Hil1yer, Jerzy Kosmala, Günter Ojstersek, Dwight Pounds, HariolfSchlichtig, Franco Sciannameo, Martin Straakhalder, Barbara Westphal, Ann Woodward,Franz Zeyringer, David Dalton, the Düsseldorf Viola Quartet, Habá Quartet ofFrankfurt, Schünberg Ensemble of Amsterdam, and the Verdi Quartet from Cologne.

A travel agency which can be helpful to North Americans wishing to attend theKassel Congress and travel afterward is:

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

Further information can be gotten from the host chairperson:

Uta Lenkowitz von ZahnAhorn 9D-5308 RheinbachWest Germany

NEXT NORTH AMERICAN CONGRESS

An agreement has just been reached between the Presidency of the American ViolaSociety with an institution regarding the 1989 International Viola Congress. TheUniversity of Redlands, Redlands, California wil1 host the XVI Congress probably inJune, This wil1 be the first time that a congress has taken place on the West Coast.More details wil1 be forthcoming.

FRANCIS TURSI SCHOLARSHIP FUND

Francis Tursi, artist violist, Eastman professor and member of the American ViolaSociety Board, has been undergoing a period of ill health for the past several years.It has become necessary for Francis to take medical leave from his position atEastman.

25

The Eastman School of Music, in response to a request from the American ViolaSociety, has established the Francis Tursi Scholarship Fund in his honor. Members ofthe American Viola Society are invited to contribute to the fundo Everyone is alsoinvited to express appreciation to Francis in the form of a personal letter which willbe forwarded to him. All contributions are tax-deductible.

Proceeds from the fund wil1 be used to assist talented graduate students in theirstudies. Students receiving assistance from the fund will be identified when theyappear in recital. Names of contributors will be published in Eastman Notes.

Francis has made anperforming and teaching.fellow man--sets him aparto

important contribution to the music world through hisHis unique personality--one who loves and cares for his

The Francis Tursi Scholarship Fund will serve as a lasting reminder of the esteemand deep affection in which Francis is held by his students, friends and colleagues.

Contributions and letters should be sent to;

The Francis Tursi Scholarship Fundct» Kirsten Benson HamptonEastman School of Music26 Gibbs StoRochester, NY 14604

Appreciation is expressed to Robert Oppelt, a former Tursi student, who wasinstrumental in establishing this fund through the Eastman School.

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VIOLA WEEKEND

Under the sponsorship of the Canadian Viola Society of the IVS, a Bratsche Bash, willbe held at Aeolian Hall, London, Ontario on March 19-20. Various performers andlecturers will be featured. For further information, write:

Baird Knechtel103 North OriveIslington, Ontario M9A 4R5

Competitions • • • •

WINNER AT GENEVA

Hong-Mei Xiao, violist, was named First Prize Winner at the Geneva InternationalCompetition for Musical Performers, held 28 August-16 Septernber 1987 in Geneva,Switzerland. Seventy violists worldwide entered the competition. She received herMaster's degree from the State University of New York at Stony Brook in 1986, whereshe was a student of John Graham. She is now working toward the DMA degree atthe University of Iowa where she studies with William Preucil.

LIONEL TERTIS INTERNATIONAL VIOLA COMPETITION

The Third Lionel Tertis International Viola Competition and Workshop will take placeat the Isle of Man, U.K., 27 August-3 September 1988. The competition is open toviola players of all nationalities born on or after 1 March 1961. Awards of $5,000 willbe available to the Jury.

THE WORKSHOP: Players of all abilities and non-playing observers are invited toattend. Each day will consist of a morning recital and master class, an afternoon ofensemble classes, master class and lecture, an evening recital or informal concert.

In addition to the official events, there will be opportunities for private tuition,informal recitals and sightseeing. There will be a minor repair clinic, a club and aconcert by the BBC Philharmonic Orchestra (conducted by Janos Fürst)

Write for full details to:

Mananan Festival Office(Tertis Competition and Workshop)Port ErinIsle of ManBritish Isles

___________-----------------~L----

About Violists • • • •

IN MEMORIAM

Peter Schidlof (1922-87), violist of the prestigious Amadeus String Quartet, died froma heart attack in Sunderland, Cumbria, England in August. Austrian and Jewish, hefled the Nazis in 1938, and settled in England where he studied with Max Rostal, andalso served in the British Armed Forces. After the War, Rostal helped organize theAmadeus Quartet, composed of two other refugees, violinists, Norbert Brainin andSiegmund Nissel, and the English cellist Martin Lovett. For almost forty years thisgroup gave concerts worldwide, and also recorded all of the quartets by Mozart,Beethoven, and Schubert. Schidlof will be remembered as one of the finest and mostdedicated ensemble violists of the 20th century. The Quartet has now disbanded.

Morton Feldman (1926-87), experimental and sometimes avant-gard composer, died inSeptember in Buffalo of cancer. He had a particular interest in writing works for theviola, four of which were written for violist Karen Phillips. AH four were titled TheViola in My Lije. They were composed and published by Universal Edition between1970 and 1973. He also composed Rothko Chapel for Viola Solo, Soprano, AltoChorus, Celeste and Percussion (1971-73). In 1980 he composed Trio for Violin, Violaand Cello. Both the Trio and Rothko Chapel were published by Universal Edition.

CLEVELAND QUARTET

James Dunham is the new violist replacing Atar Arad in the Cleveland Quartet whichis based at the Eastman School of Music.

New Works & Recordings ·PRIMROSE VIDEO

• • •

A TV production of the master violist in his prime was produced at Brigham YoungUniversity in the spring of 1987 and premiered at the XIV International ViolaCongress in June. With an introduction and closing commentary by David Dalton, itfeatures Primrose playing in a 1946 film the "Polacca" by Beethoven, "Ave Maria" bySchubert, and the "Cap rice No. 24" by Paganini. Color and Black and White, thevideotape runs 21 minutes and is available for $31.95 from:

Shar Products Co.2465 S. IndustrialP.O. Box 1411Ann Arbor, MI 48106Te!. 1-800-482-1086

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NEW BOOK ON THE VIOLA

Franz Zeyringer, president of the International Viola Society ~ announces the imminentrelease of a new book in German entitled, "Die Viola da braccio," published by HellerVerlag, Munich. This volume has been five years in the writing in which the authoraddresses and finds solutions for important problerns concerning the viola. Suchsubjects of general interest as the development of the instrument, history of violaperformance, the problem of size, a small lexicon of viola terms, judging aninstrument and the bow ~ etc. are handled. The first edition, clothbound, contains 280pages written in German. Those subscribing to the book by 30 April 1988 will receivethe volume at a reduced rate of $52.00 (Regular price, $73.00). Order forms can beacquired from:

Rosernary GlydeP.O. Box 558Golden's Bridge, NY 10526

ROAD TO HAMELIN

Paul Ramsier, "Road to Hamelin," for Solo Viola, Narrator, Piano (or flute, oboe,clarinet, bassoon, horn, trumpet in e and percussion; or piano and strings). Publishedby Boosey & Hawkes, $17.00; duration 18 minutes.

Gary Karr, double bass, performed and recorded this work with the Toronto Symphonyin 1978. The present arrangement was published in 1986. Orchestra1 part areavailab1e on rental, or this piece can be performed from the edition 1isted in the titleof this review. The viola part is difficult enough to require a perforrner of morethan average ability (not necessarily an artist). Double stops, harmonics, and spiccatobowings constitute the most difficult demands on the vio1ist.

The narrator's part is adapted from Robert Browning's story "The Pied Piper ofHamelin." Twelve short movements for solo viola intersperse the narration. Thisallows the violist to feature different aspects of the solo instrument in each section,in which lyrica1 and technical passagework are contrasted with registers, colors, andidiomatic devices.

This composition is well written and worthy of performance. It has built-in audienceappeal and would be rewarding to the soloist.

Review by Maurice W. Riley

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~=.(/JL"')~MEMBERSHIP ENROLLMENT FORM

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

Your personal and financial support is appreciated. As a member, each year youwill receive three AVS Journals and The Viola, yearbook of the InternationalViola Society. You will also receive the satisfaction of knowing that you are amember of a collegial group which is contributing to the furtherance of ourinstrument and its literature.

Please enroll mejmy group as a member of AVS for one year. Begin mysubscription to A VS Journal and send a copy of the Membership Directory alongwith an annual copy of The Viola.

My check for one year's dues, made payable to the American Viola Society, isenclosed as indicated below:

Renewal MembershipNew MembershipStudent Membership

( ) $20( ) $20( ) $10

( ) 1 wish to contribute to The William Primrose Memorial Scholarship Fund inthe amount of $ _

( ) 1 wish to make an additional tax-deductible contribution to the AVS GeneralOperations Fund in the amount of $ _

TOTAL _

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Please send AVS your biographical material,photographs (clearly labelled), brochures,concert programs, posters, press releases,clippings and other related material on aregular basis for our resource files and.possible publications. We serve as aclearing house for many viola related requests.

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

Send To: Rosemary Glyde, TreasurerP.O. Box 558, Rt 22Golden's Bridge, NY 10526

"QUARTET"by

Homer Clark

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

favorite of William Primrose.

Laser-copied and double-rnartcd.

Image size :

6 x 9 inches

16 x 24 inches

Mat Size:

11 x 14 inches

22 x 30 inches

$35

$70

Procecds in support of the Primrase International Viola Archive

(the official archive of the American Viola Society).

Payment to : PRIMROSEC-550 HFAC BYUPravo , UT 84602