JOURNALoftlze

AMERICAN VIOLA SOCIETYChapter of

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

Vol. 7 No.4 Spring 1991

Features

2 International Congress

7 The Changing VibratoKirstan Harris

17 Jazz Improvisation on the ViolaKatrina Wreede

21 The Cadenzas to David Baker'sConcert Piece for Viola

Karen Elaine

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

Editorial and Advertising Office: BYU Music, Harris Fine Arts Center, Provo, UT 84602, (801)378-3083Editor: David DaltonAssistant Editor: David Day

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OFFICERS

Alan de VeritchPresidentSchool of MusicUniversity of So. California830 West 34th StreetRamo Hall 112Los Angeles, CA 90089(805) 255-0693

Harold ColettaVice-President5 Old Mill RoadWest Nyack, NY 10994

Pamela GoldsmithSecretan;11640 Amanda DriveStudio City, CA 91604

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

David DaltonPast PresidentEditor, JAVSBrigham Young UniversityProvo, UT 84602

BOARD

Louis KievmanWilliam MagersDonald McInnesKathryn PlummerDwight PoundsWilliam PreucilThomas TattonMichael TreeKaren TuttleEmanuel VardiRobert VernonAnn Woodward

PAST PRESIDENTS

Maurice Riley 0981-86)Myron Rosenblum (1971-81)

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--------- ---.----.- ------- ---_-_-_-_-_-__-..:1 i

HONORARY PRESIDENT ~====~::::::::=I-=-================-==~

William Primrose (deceased)

~w Chapter of the Internationale Viola-Gesellschaft

XIX INTERNATIONALVIOLA CONGRESSJUNE 12-16, 1991Ithaca CollegeIthaca, New York

Performances, master classes, and lectures byToby Appel, Alan de Veritch, Karen Elaine, John Graham, Jeffrey Irvine, John Kella,Jerzy Kosmala, Jesse Levine, Patricia McCarty, Donald McInnes, Cynthia Phelps,Lynne Ramsey, Karen Ritscher, Veronica Salas, William Schoen, Thomas Tatton,Emanuel Vardi, Katrina Wreede, and the Primrose Scholarship Competition winner.

Appearances byHeidi Castleman, David Dalton, Watson Forbes, Jacques Francais, Lillian Fuchs,Rene Morel, Maurice Riley, David Rogers, and John White.

Featured special guestsmaster instrument maker Carl Becker andcomposer Richard Lane.

And a special appearance bythe United States Air Force Orchestra,Capt. Kevin D. Smith, conductor.

Additional events includepremiere performances, play-alongs, commercialdisplays of music, books, and recordings, and themakers' exhibition of instruments and bows.The William Primrose International ScholarshipCompetition will take place on June 11, 1991.

Illustration by Emanuel Vardi

Patricia McCarty Assistant pnnclpal violist ofthe Boston Symphony Orchestra. Winner of the FirstSilver Medal and Radio Prize in the Geneva ImernationalCompetition. Has performed throughout the UnitedStares and Europe in recirals and toured with Musicfrom Marlboro and BosIOn Symphony Chamber Players.Recordlllgs on Nonesuch and Northeastern. Facultymember at the Boston Conservatory of MusIC.

Jerzy Kosmala ConcertIzed throughout Europe,Canada, Soviet Union, and United States. Has beenpnncipal violist with several major orchestras in Europeand United States. Recordings on Orion, Vox/MGM.Former member of Krakow and Eastman String Quar­tets. Faculty member at LSU, Nanonal Music Camp inInterlochen, and artist in residence, Rome Festival,Italy.

Jeffrey Irvine Professor of viola at Oberlin Con­servatory of Music and violist of the Oberlin StringQuartet. Member of the Aspen Music Festival faculty.Solo and chamber music recitals throughout the UnitedStates. Former co-principal Violist with the New Pitts­burgh Chamber Orchestra, Pinsburgh Ballet Orchestraand Opera Orchestra.

Toby Appel Has appeared in recital and concertoperformances throughout North and South America.Has participated in the Santa Fe, Marlboro, and MostlyMozart Festivals and has been a member of TASHI,Lenox, and Audubon String Quartets. Recordings onColumbia, Delos, Desto, Opus I, and Musical Hentage.Faculty member of the ]uiJllard School of Music.

Jesse Levine Professor of VIOla and chambermusIC at the Yale School of Music. Former principalviolist of Buffalo, Dallas, and Baltimore symphonyorchestras. Music director of the Norwalk SymphonyOrchestra and the Chappaqua Orchestra and conductorof the Feld Ballet. Has appeared in recital, chambermUSIC, and as soloist Wlth orchestras in North and SouthAmenca and Europe.

John KeUa Lecturer and writer in perfornung artsmedicine. Program coordinator, musIC rehabilitanonprogram, the Miller Health-Care Institute for the Per­forming Arts, St. Luke's-Roosevelt Hospital Center,New York. Member of the Metropolitan Opera andAmerican Ballet Theatre Orchestras. Professor of violinand viola, Manhattan School of Music, PreparatoryDivision.

John Graham A well-known advocate of the soloviola repertoire. Recorded Music for the Viola: A Twen­rieth-Cen tury An thology for CRI. Has participated inthe Marlboro, Chamber Music West, Santa Fe, andAspen Music Festivals and performed with the ]uiJliard,Tokyo, American, Galimir, and Guarneri Quartets.Faculty member at the Eastman School of Music.

An Invitationfrom theAVS President

This congress, the first in the UnitedStates for the decade of the nineties,promises to be the most exciting yet.

It is indeed an honor for me to serve aspresident of the American Viola Societyand in that capacity extend to you aninvitation to join us for the nineteenthInternational Viola Congress atIthaca College.

I don't know about you, but I can't thinkofany place I would rather be June 12-16.Looking forward to seeing you there!

Alan de Veritch

We look forward to many memorableperformances, master classes, and lecturespresented by current greats, future greats,and legendary greats of the viola world­and to the opportunity to visit numerousexhibits, discuss ideas and suggestions forcreating state and local chapters of theAmerican Viola Society, and to enjoy thecomradery ofhundreds ofviolists sharingexperiences and anecdotes on one ofAmerica's loveliest college campuses.

William Schoen Former assistant principal vio­list of the Chicago Symphony Orchestra for 24 years.Was principal violisl of Philadelphia Orchesrra. Soloistwith Chicago and Philadelphia Symphony Orchestras.Performed and recorded as a member of lhe Guilel,Claremont, Berkshire, and Chicago Arrs QuarrelS.

Karen Ritscher Founder ofViolaFesl, a seriesof concerts fearuring the viola in unusual cornposilionsfor solo, chamber music, and viola ensemble. Memberof SI. Luke's Chamber Orchestra, Orpheus ChamberOrchestra, Barge Music, and New York Philomusica.Professor of viola at the Mannes College of Music, lheManhattan School of Music, and SUNY Purchase.

History of theIthaca CollegeSchool of Music

Housing

Ithaca College was founded in 1892 as a conserva­tory of music. As the conservatory evolved intoa college with expanded academic offerings, theprograms in music retained their prominence.Today the School ofMusic, with a superb faculty,innovative programs, varied options, andoutstanding facilities, is acknowledged as one ofthe best in the nation. The four-story Walter FordHall houses a 7S0-seat concert hall, a ISO-seatrecital hall, 94 practice rooms, recordingfacilities, and three electronic music studios.

Conference participants may select on-campushousing from either the College's gardenapartment complex or a limited number of deluxeresidence hall rooms. Deluxe residence hallrooms are air-conditioned, and have a privatebathroom with shower. Stoves and refrigeratorsare available in common kitchen areas only> andare not intended for regular meal preparation.Garden apartments are similarly furnished but arenot air-conditioned and include a full kitchenette.Participants must supply their own utensils.If you prefer to stay off campus, we will sendyou, upon request, a list ofarea accommodations.

Donald McInnes Has appeared with the NewYork Philharmonic, Boston Symphony, Orchesue !\a­tional de France, Pittsburgh Symphony, CBC RadioOrchestra, and others. Participates in Banff, Marlboro,GSlaad, Music Academy of the WeSt festivals. Gives con­cens and master clas'ses worldwide. Recordings on Colum­bia, RCA, Deutsche Grammaphon, Angel (EMI). Profes­sor of ,'iola at UniversilY of SOUlhern California.

Cynthia Phelps Winner of the Lionel TertisInternational Viola Competition, Washington, D.C.,International Suing Competition, and Pro MusicisFoundation Award. Guest artisl with Lincoln CenterChamber Music Society, the BaSIOn Symphony Cham­ber Music Society, and Barge l\lusic in New York City.Principal violisl of the 1I1illl1esota Orchestra.

Emanuel Vardi Received Recilalist of the Yearaward following Town Hall debut in 1942. Soloist withNBC Symphony, BBC, and London Symphony Orches­lras. Juror in the Internalional Terns Competition in1988. Recordings on MGM, Kapp, Dorian, Chandos,Musical Heritage Society, Vox, Columbia, and RCA.Professor of viola at the 1I1anhaItan School of ,..1usic andTemple University.

Katrina Wreede Violist with the internationallyacclaimed Turrle Island SIring Quarrel which performs,arranges, improvises, and composes jazz and "Americanvernacular" music. Teaches the viola section of theCalifornia Youth Symphony. On the staff al Santa ClaraUniversiry.

Further Information

Questions regarding the registration processor accommodations may be addressed tothe continuing education office; phone (607)274-3143, 9:00 a.m.-4:00 p.m. Conference­related inquiries should be directed to ProfessorMary Arlin in the School of Music; phone (607)274-3350.

DiningThe prepaid meal plan provides three cafeteria-style meals a day, beginning with lunch Wednesday througha special farewell buffet brunch on Sunday. Meals may also be purchased on a cash basis in the dining hall,snack bar, and the on-campus Tower Club restaurant. The opening banquet and farewell brunch may alsobe purchased separately by including their cost with the other fees when registering.

i\irline and Bus ServiceIthaca is served by Greyhound Bus Lines as well as by several airlines at the Tompkins County Airport.Hancock International Airport in Syracuse is about 60 miles north of Ithaca.

Special Airline DiscountsUSAir has been designated as the official airline for the congress, and special discounts are available throughViva Tours USA. To receive this discount, please call Viva Tours USA, (800) 645-1084, Monday throughFriday. Identify yourself as an attendee of the International Viola Congress.

XIX INTERNATIONAL VIOLA CONGRESSREGISTRATION FORMJune 12-16, 1991

REGISTRANT INFORMATION

Please photocopy this form for additional registrations.

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REGISTRATION Before May 18 After May 18

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Full conference fees:

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Check individual date(s) you plan to attend:

D June 12 D June 13 D June 14 D June 15 D June 16

D Participant $ 35/day $ 40/day

D Student/spouse $ 25/day $ 30/day

HOUSINGRegistration and payment must be received by May 31 to assure housing on campus.

D I plan to stay on campus and I request the following housing:

D Garden Apartment, double occupancy, $18 per person per night(two night minimum) $ _

I wish to room with _(Ifno roommate is named, one will be assigned.)

D Garden Apartment, single occupancy, $21 per night (two night minimum) $

D Deluxe room and bath, double occupancy, $36 per person per night(two night minimum) $ _

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D Deluxe room and bath, single occupancy, $42 per night $ _

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D I plan to arrive on June 10 to participate in the Primrose Competition.

D I plan to stay offcampus.

The Sheraton Inn of Ithaca, approximately 15 minutes from campus, has set aside ablock of rooms at the reduced rate of $61/double and $69/single for conference partici­pants. The hotel will provide a free daily shuttle to and from the College, and to andfrom the Ithaca Airport for their guests. Those staying at the Sheraton must maketheir own arrangements by calling for reservations before May 11, 1991. Be sure totell the reservationist that you are an International Viola Congress participant to takeadvantage of the low rate. Contact the Sheraton Inn, One Sheraton Drive, Ithaca,NY 14850; telephone (607) 257-2000.

MEALS

D $81 for entire conference period; lunch Wednesday through Sunday's farewell brunch.

Price includes opening banquet. $ _

D $21 for opening banquet on June 12. $ _

D $10forSundaybrunchonJune 16. $ _

Meals may also be purchased on a per-meal basis.

TOTAL AMOUNT DUE FOR REGISTRATION AND ACCOMMODATIONS $ _

THE CHANGING VIBRATO

by

Kirstan Harris

It is generally agreed that the origins of vibrato lie in the attempt to imitate thehuman voice. For this reason, Werner Hauck, violinist and professor at the MusicalAcademy in Kassel, West Germany, suggests that the idea of vibrato on stringedinstruments came as early as the ninth and tenth centuries. l At this time, "all methods ofornamentation of modern singing technique were certainly in use: the apoggiatura, gracenotes of all types, the mordant, the portamento (plica), ... vibrating (tremolo)."2 So whenthe first stringed instruments appeared in Western Europe during the ninth century, theseterms were in general use and were naturally copied on these instruments.

As a first reference to vibrato on a stringed instrument, Hauck quotes the Musicainstrumentalis deudsch, an instructional book on instrumental playing by Martin Agricolaof Schwiebus published in 1545 (the fifth edition). The reference is to "Polish violins"which may have either come from Poland or been played especially well by Polish artists:

For that which is soft, dampeth the soundAnd which is hard, maketh clearer the song.Who, while their stopping fingers teeter,Produce a melody much sweeterThan 'tis on other fiddles done.s

Apparently the vibrato existed on stringed instruments even before the birth of the violin.From the sixteenth century, we also receive instruction from Ganassi: "At times atrembling of the bow arm, and [of] the fingers of the hand that holds the neck [of the viol]to make the mood conform to sad and afflicted music."4

Thomas Mace (1613-1709) in Musick's Monument, gives the following instructionsfor vibrato on the lute:

Strike your Note, and so soon as it is struck, hold your Finger (but not toohard) stopt upon the Place (letting your Thumb loose) and wave yourHand (Exactly) downwards, and upwards, several Times from the Nut, tothe Bridge; by which Motion, your Finger will draw, or stretch the Stringa little upwards, and downwards, so, as to make the Sound seem to Swellwith pritty unexpected Humour, and gives much Contentment, uponCases.

He later adds that "It is another very Neat, and Pritty Grace; (But not Modish in theseDays)."

Thus not only was the vibrato in use at this time, it was also subject to fashion. 5

Minimis Marin Mersenne (1588-1648) quotes playing the lute with the ornamentsof the violin.

As to the verre casse [vibrato], I am adding it here, although it is not usedso much now as it was in the past, inasmuch as it has a very great charmwhen it is made quite properly. And one of the reasons that"the modernshave rejected it is because the older ones used ft almost all the time. Butsince it is as vicious to use it not at all as to perform it too much, it mustbe used in moderation. Its notation is ,. the preceding comma followed bya dot.

7

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And to perform it well, the finger of the left hand ought to beplaced at the point indicated; and although the string will be played withthe right hand, the left hand must swing with great violence, while raisingit towards the head of the lute, and bringing it down towards the bridgewithout lifting the tip of the finger off the string in any fashion. But thethumb of the left hand must not touch the neck of the lute, when thisornament is performed, so that the action of the left hand may be freer init.6

These unknown "older ones" apparently used something similar to the continuous vibratomost common today. Vibrato in the seventeenth century was not an integral part of thetechnique as it is today but was used as an occasional ornament.7

In addition, the old lute and viol players used another type of vibrato thatresembles the "Goat's trill" used in the high positions. Marsenne also describes this typeof vibrato in his Harmonie Universelle of 1621:

The strings must be softened by some quavering which ought to be doneby the finger which is the closest to that which holds fast to the stop ofthe violin, so that the string may be nursed.8

Rousseau also commented on this type of "close shake": "it is used on all notes long enoughto permit it, and it must last as long as the note."g The "true" vibrato obviously originatedin the trill and the trilling vibrato. The eighteenth century refers to vibrato as "tremolo,""tremulant" and "tremoleto."IO

Hauck credits John Playford (1623-1686) and Christopher Simpson (1610?-1669)with first using the term "close shake" to refer to vibrato:

Close-shake is when we shake the Finger as close and near the soundingNote as possible may be, touching the String with the Shaking Finger sosoftly and nicely that it make no variation of Tone. This may be usedwhere no other Grace is concerned.II

German violinists in the late seventeenth century referred to vibrato with the sign"m." Merck uses this sign in his treatise of 1695, instructing the player to strongly pressthe left hand finger on the string as the hand moves.12 At this time the vibrato was stillused as a particularly prescribed ornament: "The complete revelation of vibrato as avehicle for tonal beauty and technical aid came at a much later period of musicalhistory.,,13

The eighteenth century offers more useful documentaries on the use of vibrato.In 1740, Geminiani wrote the first important treatise on vibrato specifically for the violin.He calls vibrato the "close shake" that ·adds the expressive qualities to the music.

This cannot possibly be described by Notes as in former Examples. Toperform it, you must press the Finger strongly upon the String of theInstrument, and move the Wrist in Degrees, drawing the Bow nearer to theBridge, and ending it very strong, it may express Majesty, Dignity, &c.But making it shorter, lower and softer, it may denote Affliction, Fear,&c. and when it is made on short Notes, it only contributes to make theirSound more agreeable and for this Reason it should be made use of asoften as possible.14

In other publications, Geminiani refers to the vibrato as "tremolo."

9

10 The passage quoted above is from the 1751 edition; several lines were omitted inlater editions of this work. Roger Hickman addresses the use of vibrato in his article, "TheCensored Publications of The Art of Playing on the Violin, or Geminiani Unshaken ...and when it is made on short Notes, it only contributes to make their Sound moreagreeable and for this Reason it should be made use of as often as possible."lS Hickmancredits Robert Bremner as the likely source of these alterations; a student of Geminiani,he differed from his mentor on several points. Bremner promotes using vibrato as anornament but condemns its constant use: "This grace has a resemblance to that waveringsound given by two of the unisons of an organ, a little out of tune; or to the voice of onewho is paralytic; a song from whom would be one continued tremolo from beginning toend.,,16 Although he admits that vibrato can add variety to a melody, he finds itespecially harmful when used in harmony: "...the tremolo [vibrato]...will not only confusethe harmony to the hearers who are near the band, but also enfeeble it to those at adistance; for to these last, the performance of him who is applying tremolo is loS1.,,17 ForBremner, truth and beauty lie in the "plain sound":

Would gentlemen lay aside the graces of the finger, for some time, evenwhen playing alone, and attend to the plain sound, it will soon gain theiraffection; being of so bewitching a nature, that the more it is practiced,the more it will be admired. The bow hand too will thereby improveexceedingly. Those who feed upon the graces of the finger, seldom payattention to the bow; in the judicious management of which, all power,taste and expression, chiefly consist.18

In fact, Geminiani is the only authority from the second half of the eighteenthcentury who prescribes continuous vibrato. 19 Thus Boyden states, "[Vibrato] wasgenerally restricted to certain contexts as an ornament. It was also primarily the propertyof advanced players and soloists. It is unlikely that orchestral players used it at all.,,2o Inthe eighteenth century, the two extreme views which continue today were represented byGeminiani and Bremner which continue today.

The speeds described by Geminiani that evoke the different emotions are morespecifically described by Tartini and Leopold Mozart. Tartini, in his Tratto delleAppogiature of 1750, calls vibrato "tremolo," and equates it with the similar effect in thevoice. Tartini probably did connect his violin playing with that of the voice, for he wasknown for his cantilena style--full of warmth and expression.21 Since Tartini was alsoan acoustician, he was concerned with specific principles:

The sound of a string is caused by an undulation which depends on thecontinuation of these vibrations. An imitation of this effect is producedartificially on the violin and cello by shaking a finger by wrist motions(strength or force of wrist) without lifting the finger from the string.22

This action refers to an after-pressure of the finger that emphasizes the pulse ofthe meter. Tartini provides some exercises which demonstrate this approach:

,.~ G:='t gj·e=-t h,.~~g~

1-2 1-2 1-2 1-2 1-2 I-~

He says, "This should always be equal and performed so exactly in time that the strength[i.e., finger pressure] of the vibrato occurs on the second of the two slurred notes markedwith a 2 and the weak [lessened finger pressure] on the first marked with a 1.,,23

Interestingly, Tartini did not allow for the combination of vibrato with "messa divoce":

This ornament is entirely excluded from the messa di voce in which oneought to imitate perfectly not only the human voice but the very natureitself of perfect intonation to a mathematical point, that is to say, that theintonation of the note in the messa di voce ought not to be altered at allas it would be in the vibrato or undulation of the voice, in which theintonation [pitch] is never at a fixed point but is slightly higher or lower[than notated pitch], although imperceptibly.24

Tartini also describes a special kind of ornament that is a mixture of half trill andhalf vibrato:

Finally there is a species of trill which can be performed to best advantageof the players [of the violin]: the note above ... is joined to the notebelow in such a way that the two fingers of the player never entirely leavethe string. Consequently, one does not perform this trill by raising thetrilling finger but by moving all the hand by a pulsation and, togetherwith the hand, [moving] the trilling finger in a species of swiftlyundulating movements with the force of the pulsation.25

Leopold Mozart, in his Versuch einer grundlichen Violinschule of 1756, explainshis version of the origin of vibrato:

The Tremolo is an ornament which stems from nature.... For this, natureitself is the teacher. If we strike a slack string or a bell, we hear a certainwavelike vibration (ondeggiamonto) after the tone had been struck....This natural shaking is imitated on bowed instruments by pressing thefinger down firmly on the string and by making a small motion with thehand. This motion should not be a sideways motion but should go forwardand backward, from bridge to scroll and back.... Just as the remainingresonance of a struck string or bell does not produce one clean tone, butvibrates, a little higher, then a little lower, the forward and backwardmotion of the hand should imitate these intermediary tones. Since thetremolo is not one clean tone, but an undulation, it would be a mistake toplay every note with a tremolo. There are such players who constantlyshake to every note as if they had the palsy. One should employ thetremolo only in such places, where nature itself would produce it: namelyif the stopped note would be a struck open string.... Every final note aswell as every long sustained note can be ornamented with the"Tremolo.,,26

Then Mozart distinguishes between three speeds of vibrato: slow, accelerating, and fast.

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The .low.Ii

........The rapid.

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The different sized lines represent exact durations. The larger lines represent eighth notes;the smaller notes represent sixteenth notes. This indicates that the vibrato came from thetril1. 27 Martin suggests a few exercises to be played with tremolo that are very similarto those of Tartini.

Mozart comments on the subject of combining nuance, long notes, and vibrato:

13

II

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II

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(1) The rapid, for intensifying passionate expression and addingvehemence to accentuated notes, (2) The slow, for imparting tendernessto sustained and pathetic melody~ (3) and (4) The gradational, employedin the crescendo and diminuendo.32

In this first division in particular, as also in the following, the finger ofthe left hand should make a small slow movement which must not besideways but forward and backward. That is, the finger must moveforward towards the bridge and backward again towards the scroll: in softtones quite slowly, but in loud rather faster. 28

Because vibrato was becoming more free, Spohr's method for vibrato must havebeen thought unusual at the time the treatise was written in 1831. Although he allows formore freedom of oscillations compared to Mozart, he still places his discussion of vibratounder the title of "Written Embellishments." The following example shows how he relatedvibrato to dynamics:33

He adds that the accelerating vibrato can be a great advantage before beginning acadenza.29

Spohr (1784-1859) describes vibrato ("quivering") as a "trembling movement of thehand along a line between the nut and the bridge" which should raise or lower the noteonly slightly.3o It should be used sparingly and only in appropriate passages, mainly inpassages of tender or impassioned character or to accent sforzandos. It "gives force andexpression" to long, sustained notes and is useful for emphasizing crescendos anddiminuendos (slow to fast and vice versa).31

In addition, Spohr also describes four treatments of vibrato:

The next treatise to be considered is Baillot's L'art du Violon of 1834. On theexecution of the vibrato he writes:

Place one finger on the string while keeping the three others raised andswing the entire left hand with more or less moderate speed in a way inwhich this wavering or trembling of the hand imparts itself easiest to thefinger. This undulation of the finger animates the expression which attimes can be tender or pathetic. However, the swinging movement of thefinger changes the pitch momentarily.34

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On the subject of when to use the vibrato he says:

Not to offend the ear, we should begin and end with a firm, pure tone... . The vibrato, used with discretion, imparts to the tone of the instrument(something of) the voice 'in emotion. Such a means of expression is, infact, very effective; but it may be used to excess.... One should not makea habit of the vibrato and should use it only when expression demandsit.35

Baillot's conception of vibrato is more modern in its expressive and pedagogicalqualities. He also mentions bow vibrato in his three methods of vibrato:

1. By pressing the bow upon the strings and, by degrees, repeating thispressure more or less quickly, more or less frequently .

2. By allowing the left hand to waver or trenlble gently, so that thismovement is transmitted to the finger on the string.

3. By employing both methods simultaneously.36

Baillot's work is an accumulation of practices in use up to his day and "mirrors the trueapproach of the eighteenth century, its common views, its emphasis on the colorful andemotional." These practices can be regarded as a "revelation of past violinistic andinterpretive practices which are frequently ignored or misinterpreted in our days.,,37

William Primrose provides some more contemporary views on the vibrato:

The application of one's tonal resources is what makes or mars the artist.There are string players who have a very rapid and continuous vibrato,always the same. Some listeners like this, but I become bored. It is likehaving pie and ice-cream for breakfast, lunch, and dinner. Then again,there are artists whose vibrato will alter considerably according to thepassage they are playing. Ysaye, for instance, used to play whole passageswith what he called "ton blanc," with no apparent vibrato. He used thissound in certain types of passages, while in other passages there was avery flowing vibrato. These were devices to express what Ysaye conceivedwas the soul of the music.38

In his own playing Primrose alters his vibrato from one composer or style to another:"When I play Brahms, for example, something inside tells me to use a type of vibrato andto produce a sound that fits my concept of his music.. . . It is an inner thing.,,39

Primrose finds one of the "great enchantments" in string playing to be thedifference in vibrato among great players such as Ysaye, Kreisler, Elman, Milstein, andOistrakh. Milstein's approach "appears to have several notes in a row without vibrato inorder to stress with vibrato the important note following.... But even notes that arepartly without vibrato have life in them.,,4o Primrose taught that the hand should alwaysbe in motion, even in fast passages: "It does come out in the fast playing. I realize that thisis a very subtle thing, and I can't explain it exactly.... However, the sound of the mobilehand can be detected, and much to my satisfaction.,,41

"From pur historical sources we can well assume that the vibrato in use in daysgone by was nowhere near its present standard. It was much slower in rate, with an extentmuch wider than is now found to be desirable.,,42 When did the change take place?Joachim hardly ever used vibrato.43 Leopold Auer strongly warned against its abuse:

In any case, remember that only the most sparing use of the vibrato isdesirable; the too generous employment of the device defeats the purposefor which you use it.... As a rule I forbid my students using the vibratoat all on notes which are not sustained, and I earnestly advise them not toabuse it even in the case of sustained notes which succeed each other ina phrase.44

Most sources will say that Kreisler was the first to use the continuous vibrato.Others claim it was already widely used but Kreisler expanded it by using it in all passagework. Hauck cites the year 1910 as the year of the emancipation of vibrato.45 This is theyear in which Siegfried Eberhardt's Violin Vibrat046 was published, the first didacticwork exclusively about the vibrato, and a new attitude toward vibrato as a means ofartistic expression. The revolutionary quality of this work lies in its consideration of thephysiological and psychological exposition of violin playing which had not before beenaddressed.47 He discusses tone, beauty of tone and sonority, never disputing that toneis individual. The ideas Hauck emphasizes as most important are these: "(1) He asserts thatvibrato acts as the main function of the entire technical equipment of a violinist, [and the]great importance of vibrato is to give the tone individuality, (2) he considers change ofpitch, expressed as the number of vibrations per second, and also the balance of the entiretechnical apparatus necessary for this, and (3) he postulates theJfreely swinging vibratofunction as a complementary freeing of the bow stroke, thus referring to the parallelismof the processes of movement on the right as on the left.,,48

Will Crutchfield suggested an interesting catalyst that changed vibrato:gramophone. He reminds us how poorly the violin performed with the narrow frequencyrange of early recordings. The violinists':

highest notes were uncomfortably close to the top of the machine'seffective range, and so a great deal of the overtone structure that gives itsound its color was lost altogether. Notes an octave or more above the openE string have a hard time making it over the surface noise of the veryearliest recordings--especially with the gut strings then in use....49

Since a great deal of the violin repertoire goes into a high range, many of these passagesdisappear on early recordings.

An increase in vibrato, however, gives a broader base for the overtoneconstellation, since more than one fundamental note is being sounded. Theplayers who begin to use more prominent vibrato ... also have more sheersonic presence.50

This essay does not attempt to cover all the historical changes that have occurredin the vibrato technique. We can perceive, however, that the vibrato has developed froman ornament used in only special places into an integral part of string playing--and, infact, a very individual expression of each performer's personality.

Kirstan Harris is a graduate student at Brigham Young University in violin performanceand pedagogy. She has studied with Percy Kalt and is presently a student of NellGotkovsky.

15

R2\\\

J(~"""" \R~\\·\.\

\ .....\ .\

\ ;\ \"

.... \.

'>.,\ .....K1•

..~.. ~ ......•-...

16

R2\

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". \ \

\ \

'\ \

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1. Werner Hauck, Vibrato on the Violin (London: Bosworth and Co. Ltd., 1975),2.2. Ibid.3. Ibid., 3.4. David D. Boyden, The HistorY of Violin Playing from its Origins to 1761 and its Relationship to the Violin

and Violin Music (London: Oxford University Press, 1965),92.5. Ibid., 4.6. Boyden, 177-78.7. Boyden, 173.8. Leslie Sheppard, "Vibrato--That Subtle Aural Illusion!", The Strad 88 (June 1977): 939.9. Boyden, 288.10. Leopold Mozart, A Treatise on the Fundamentals of Violin Playing (Oxford: Oxford University Press, 1948),

203.11. Hauck, 9.12. Boyden, 287.13. Joseph Berljawsky, "The Evolution of the Vibrato," The Strad 78 (November 1967): 255.14. Francesco Geminiani, The Art of Playing on the Violin, intro by David D. Boyden (London: Oxford University

Press),8.15. Roger Hickman, "The Censored Publications of The Art of Playing on the Violin or "Geminiani Unshaken,"

Early Music 11 (January 1983): 73.16. Gwilym Beechley, "Robert Bremner and his 'Thoughts on the Performance of Concert Music,'" Musical

Quarterly 69 (Spring 1983): 245-46.17. Ibid.18. Ibid., 24819. Hickman, 74.20. Boyden, 389.21. Berljawsky, 255.22. Ibid., 257.23. Boyden, 387.24. Ibid., 389.25. Ibid., 452.26. Berljawsky, 257.27. Ibid., 259.28. Boyden, 388.29. Berljawsky, 259.30. Hauck, 17.31. Louis Spohr, Spohr's Violin School, revised and edited by Henry Holmes, translated by Florence A. Marshall

(London: Boosey and Co., 1832), 157.32. Ibid.33. Berljawsky, 261.34. Ibid.35. F.A. Clarkson, "Violin in the 19th Century," The Strad 79 (October 1968): 231.36. Hauck, 18.37. Berljawsky,262.38. David Dalton, Playing the Viola: Conversations with William Primrose (Oxford, New York: Oxford University

Press, 1988), 112.39. Ibid., 159.40. Ibid., 155.41. Ibid., 158.42. A.A. Babynchuk, "Vibrato: A General Survey." The Strad 66 (July 1955): 92.43. Denis Stevens, "A Soupcon of Vibrato," High Fidelity Magazine 14 (January 1964): 54.44. Leopold Auer, Violin Playing As I Teach It (Westport, Conn.: Glenwood Press, 1921), 24.45. Hauck, 19.46. Siegfried Eberhardt, Virtuose-Violin-Techniki Lehrwegzur Natiirlichen EntwickiungTechnischer Vollendung

(Berlin: Deutscher Musik-Verlag "Dur und Moll," 1921).47. Eberhardt.48. Hauck, 39.49. William Crutchfield, "Historical Violin Styles: Myth and Reality."50. Ibid.

JAZZ IMPROVISATION ON THEVIOLA

by

Katrina Wreede

Most violists know the feeling of havingplayed an instrument that doesn't quite suitthem and then finding their true voice in theviola. I made the switch from violin to violain high school, but it took another ten years,studies with several prominent teachers,including Louis Kievman, a degree in musicperformance, several professional principalchairs, and much soul searching before Ifound what really excites me in music: jazzand improvisation.

The well developed regimen of classicaltechnique studies is a great help in learningto "speak" the jazz language. We stringplayers have an easier time with thetechnical aspects of jazz performing thanmany musicians. Unfortunately, ourtraining also leads the attitude that there isa "right" way to produce a sound, or drawthe bow, or playa phrase; this is the majorstumbling block to musical exploration forclassical players. We miss the exhilaration ofexperimentation and self-expression limitedonly by the performer's imagination.Personal taste and background, the player'smood, note choices, rhythms, technicalstrengths or weaknesses, and even pitchbecome tools of expression confined neitherby a composer's directions nor by stylisticconstraints. Improvisation, especially injazz, enables the player to be a composer ina very immediate, personal way, rather thanan interpreter of someone else's ideas.

The Turtle Island String Quartet (TISQ>exemplifies the fusing of classical techniquesand jazz traditions, composed parts andimprovisation together with thebackgrounds, personalities and influences ofeach member. The group builds on theindividuality of each player's voice. In fact,many "charts" are identified by person, notby instrument, and frequently players tradesections because a passage suits a differentplayer. All members arrange and compose

for the group, and members are free to re­compose their own parts in each other'smusic. This requires cooperation andrespect, as well as a sense of adventureand a willingness to "get into each other'sheads."

The intricate balance of personalexpression, precise ensemble work, andjoy in playing music that speaks ourcontemporary language has resulted inpublicity and popular support for TISQ inthe chamber music world as well as inconventional avenues of recognition, suchas People Magazine and Newsweek, TheToday Show, Entertainment Tonight, PBS:The Lonesome Pine Special, and severalsuccessful European tours for PBS, and aCarnegie Hall appearance scheduled forOctober, 1991.

Judging by the classical and jazzcommunities' enthusiastic response toTISQ, the public is eager to hear stringmusicians enter the realms ofimprovisation and contemporary,accessible music- - not the million-and-oneschmaltzy strings elevator music--butperformances showing love for,understanding of, and facility with today'smusic. TISQ's workshops with youngstring players indicate the players'growing desire to express themselves byplaying the everyday music they heararound the,m. And they want toimprovise! Many experiment with rock­and-roll at home, but are afraid to take itto their lessons because it's not "string"music. With string programs evaporatingallover the country, teachers must becomeconversant with American vernacularmusic that is alive for the students, as wellas teach more traditional Europeanrepertoire.

Unfortunately there aren't yet manyspecific reference materials for learningjazz and improvisation. However, thereare many excellent books, etudes,transcriptions, etc., in treble clef; and it'sa good idea to learn as much aurally, awayfrom the page, as possible. Here are a fewyou may want to try:

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that I have beenj;Jfif:Harold Klatz ---JConductor, Hyde Park (111.) Chamber Orchestra;Former Principal Violinist. The National Symphony,WaShington D.G.: Lyric Opera Orchestra. Chicago:and the Dallas Symphony

Dayid Baker: Jazz Improvisation (and otherbooks)

Jerry Coker: Patterns for Jazz (and otherbooks)

Charlie Parker: Omni Book (like learning adifficult concerto, try playing with originalversions when you get up to tempo)

Matt Glasser, David Balakrishnan: Jazzrvith Grappelli

Darol Anger: Parts and scores to manyrecorded TISQ works and transcribed solosfor study and performance (Availablethrough Fiddlistics Music, P.O. Box 19297,Oakland, CA 94619)

Jamey Aebersold: Large catalog of books,tapes, play-a-long records, discography,workshops, teaching aids, everything youneed, (P.O. Box 1244, New Albany, IN47150)

How To Do It

There are many fun and easy "games," inaddition to more serious studies, to startimproving the ear and developingconfidence in having something beautifuland important all your own to say. Here area few suggestions:

(1) Play along with the radio or a favoritetape. Starting with whole notes, make upeasy melodies that fit what you hear. It maybe more comfortable to findscale tones rather than to copy the melody atfirst--the violist's inner-voice syndrome.

(2) Play along with a tuning box. Playslowly and listen for tension and releasewith each chord. Create a mood. This isvery good for intonation practice, too.

(3) With a metronome, practice scales,starting on each degree of the scale. Addinteresting rhythms and patterns. When youhear an idea you like, allow it to suggestnew directions. You may even feel themusic leading you.

(4) With a metronome, trade short phraseswith a friend, teacher, student. Converseby copying or enhancing each idea. Thisis excellent for improving a student'stechnique away from the page.

(S) Listen to different music with areceptive ear. Give extra attention to thefeeling of the rhythm in groove-orientedmusic like jazz, pop, folk, and ethnicstyles.

(6) Play with the Aebersold Records vol.1 (A New Approach), vol. 2 (Nothin' ButBlues), vol. 3 (II-V-I Progression), vol. 21(Gettin' It Together) and vol. 24 (Majorand Minor).

(7) Start transcribing solos by greatmusicians. I have found that LesterYoung, Sonny Rollins, Coleman Hawkins,and Clifford Brown have sounds thateasily transfer to the viola timbre. Firstsing along until it's memorized; then playalong. Writing it down can help thelearning process, too. If you have a CDplayer with A-B capacity, you can listento and practice short phrases very easily.

(8) If you find a play-a-Iong record withthe same tune, start trying to soloyourself, using some "licks" or ideas fromyour transcribed solo. Or you can justplay along with the original version.

(9) The next step, which is worth everytwinge of insecurity, is to find otherimprovisers. Many gifted and excitingmusicians thrive outside the halls ofclassical music, and they are thrilled tohelp and encourage players with a will tolearn, and "chops" from all those years ofpracticing scales and concerti. Look fornew music and Baroque groups, Salsa andother ethnic bands, swing bands andexperimental free-jazz ensembles. Ask tosit in. Play "background" by ear at astrolling violin gig--just for fun.

However you begin to explore your ownimprovising voice on viola, allow time todevelop trust in your musical instincts for

19

20each new situation. Jazz and improvisationare new languages, and you'll have thefeeling of starting from scratch. Don't getfrustrated. TIle reward will be newconfidence in your abilities and addeddimensions in musical expression. Besidesthat, it's really fun! Go for it!

"In jazz, you play what you can play. Inclassical music, you play what you can'tplay." (Stephane Grappelli)

"You're never more than a half-step awayfrom a right note." (Attributed to CharlieParker)

Katrina Wreede studied with Louis Kievmanand is a member of the Turtle Island StringQuartet which performs "Americanvernacular" music. She also coaches the violasection of the California Youth Symphony,and is on the staff at Santa Clara University.She will appear at the Ithaca Congress.

;:):::::::<:):::::(::::::::; \))):::)~~~<\<))~::.:~<::::::~::::::»>:::<::::::::::::::: :::::>::::::::::-::::::::::.::.:':::::.:::::::::::::::::::::::.::..:::::::::::.:...... .

.::::::::::::::::::::::::::::::::.::::: ::::::::~::~:~::~::::::::::~~::::::::::::::::~::~::::::::::::::::::::::::::::::::::':::':::::::::::~~:::::: ::::::WA:NTt·P::·:·:::):···~::::::·::::::~:::::::~:::::::::::::::::::.:::.:::.:.: : .

....... :: :::::::::::::::::::::::::::::;:::}}:::::::;::::::::::::::::::::<:~:~<~:~::::'::»?<>::::::>:::::::{:{::;:.::::::::' .::::::: :::.: .:::::::::::::::::::::::::~: :::::::::::::::::::: :::::::::::::::::::::::: :: :.: .: :.'.

THE CADENZAS TO DAVID BAKER'S CONCERT PIECE FOR VIOLA

by

Karen Elaine

The Concert Piece for Viola was conceived during telephone conversationsbetween Jazz composer David Baker and myself in 1989. We had been introduced aftermy performances in Joao Pessoa, Paraiba, Brazil as the winner of the 1988 BrunoGiuranna International Viola Competition. The first place award included a recording ofthe final round's composition, the Bartok Viola Concerto, accompanied by conductorEleazar de Carvalho and the Paraiba Symphony Orchestra. The recording company DelosInternational encouraged me to contact David Baker for a possible recording project inthe future. Josef Gingold (one of the jurors at the Brazil competition) had already toldhis fellow professor David Baker at Indiana University about the Brazil performance andsuggested that it was time for him to write a solo composition for the viola.

About David Baker

Born in 1931, Baker studied classical and jazz trombone at Indiana University.In 1961 he received the "Downbeat New Star Award" as one of the country's mostoutstanding trombone players. After a near fatal car accident, Baker returned to schoolat I.U. for cello studies with Janos Starker, and also studied composition with GuntherSchuller and Thomas Beversdorf. Professor Baker is currently the chairman of theDepartment of Jazz Studies at Indiana University where he has held that position since1966. In the late 1960s he considered writing a solo viola work for his friend andcolleague William Primrose, but the idea never came to fruition. By 1989, Baker hadcomposed numerous pieces for other string instruments, many of which, for example,have been commissioned and recorded by Ruggiero Ricci (Quintet, For Solo Violin andString Quartet and Sonata for Violin and Piano); Josef Gingold (Concerto for Solo Violinand Jazz Band, recorded by violinist Stan Getzoff); Janos Starker (Sonata for Cello andPiano, Duo for Two Celli, and Weaver 0/ Dreams for cello and Percussion, soon to bearranged for viola and performed by my own duo, SuI Legno, with Deborah Schwartz,Marimba and percussion; Gary Karr (Concerto for Bassviol and Jazz Band 1972, Witness;and Six Original Compositions in Spiritual Style for Bassviol arid Baritone singer).

Baker's compositions have been performed by the New York Philharmonic, theColumbus, Detroit, Houston, Indianapolis, Louisville, and Oakland Symphonies, and theMinnesota Orchestra. His catalog of compositions includes Big Band charts, solosaxophone with orchestra, double piano concerti, voice and orchestra, strings accompaniedand unaccompanied, and other combinations totaling over two thousand works. Levels, aconcerto for Solo Bass, Jazz Band, Flute Quartet, Horn Quartet, and String Quartet,received a nomination for the 1973 Pulitzer Prize.

Professor Baker has received numerous citations and awards for his musical worksand has written articles on jazz, jazz improvisation, and contemporary Black music. I firstbecame acquainted with David's work in 1982 as a senior in high school and bass playerin the school jazz band. The music director suggested that I familiarize myself with scalepatterns to "walk the bass" through different keys, and so he handed me a large paperbackbook by David Baker. Baker's most recent award, the Governor's Arts Award, waspresented to him by Indiana State Governor Evan Bayh in February, 1991 for his"distinguished contribution in arts education."

21

22 The two cadenzas for Concert Piece for Viola can be used as effective encorepieces or inclusion on an unaccompanied solo recital.

The Second Movement Cadenza

David Baker gave me liberty to choose the accompanying instrumentation andform of the piece with solo viola. I requested a large work that could be performed eitherwith piano or orchestra, in three separate movements. For the slow movement I requesteda similar form to the second movement of Hindemith's Der Schwanendreher: an arch formstarting with a harp/viola duo of two themes in a calm tempo, yet tense in harmonicdissonance, a fast section developing rhythmic ideas, and a recapitulation of the twothemes in their simplest form.

Near the end of the second movement in Baker's Concert Piece, melody 1 is playedin unison with the violins:

,.::----;/L. ~ 2 Y n

=~=~~t- -,-J~~

Melody 2 is played by the solo viola:

r"

-+ r v~4 ,;,:-=-:--

and accompanied by a murmuring arpeggiated figure.

The introduction to the second movement is an unaccompanied statement of thetwo melodies by the solo viola. The accompanying elements are executed in double-stopsand broken chords, following the same rhythmic scheme of the melodies as they appearat letters M and N. At letters A and B melody 1 is stated, a melancholy theme made upof two pentatonic scales based on G Minor and Bb Major. The melodic bridge, measures9-10 and 19, are developed in the middle section of the second movement with a jazzy,syncopated, bebop-style riff in the accompaniment of the piano (or muted brass). Fromletter C to the first beat of measure 28 is the antecedent phrase of melody 2, an upliftingspiritual tune derived from pentatonic scales based on Eb Major and Bb Major. Theconsequent phrase of melody 2 (measures 28-34) is the vehicle by which Baker approachesthe middle section of the second movement as well as concludes the movement. In the lastfour measures of the solo cadenza, Baker superimposes the two melodies upon each otherwith tension reaching a peak in the last measure, with a sustained major-seventh chord.

23

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RBP is pleased to announce a unique new line ofexceptional arrangements for viola, transcribed and editedby ROBERT BRIDGES. This collection has been thoughtfullycrafted to fully exploit the special strengths and sonorities ofthe viola. We're confident these arrangements will beeffective and useful additions to any violist's recita/library.

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o Violin $ 7.95o Viola $ 8.50o Cello $10.50o Bass. . . . . . . . . . . . . . . . . $11. 95 'Air postage and handling outside USAand Canada $1.00 per unit. In USAand Canada please add $.60 per unit.

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1001 Biber Passacaglia (violin) $ 5.751002 Beethoven Sonata op.5 #2 (cello) $ 9.251003 Debussy Rhapsody (saxophone) $14.251004 Franck Sonata (violin) $10.751005 Telemann Solo Suite (gamba) $ 6.751006 Stravinsky Suite for Via and piano $28.001007 Prokofiev "Cinderella" Suite

for Viola and Harp $25.00

For descriptive circulars or further informationwrite to: dampits, Inc. Box 493, Radio City Station,New York, NY 10101 U.S.A.

Melody 2 is played by the solo viola:

v~4 ..;.,:-::--::--

'. . ..

and accompanied by a murmuring arpeggiated figure.

The introduction to the second movement is an unaccompanied statement of thetwo melodies by the solo viola. The accompanying elements are executed in double-stopsand broken chords, following the same rhythmic scheme of the melodies as they appearat letters M and N. At letters A and B melody 1 is stated, a melancholy theme made upof two pentatonic scales based on G Minor and Bb Major. The melodic bridge, measures9-10 and 19, are developed in the middle section of the second movement with a jazzy,syncopated, bebop-style riff in the accompaniment of the piano (or muted brass). Fromletter C to the first beat of measure 28 is the antecedent phrase of melody 2, an upliftingspiritual tune derived from pentatonic scales based on Eb Major and Bb Major. Theconsequent phrase of melody 2 (measures 28-34) is the vehicle by which Baker approachesthe middle section of the second movement as well as concludes the movement. In the lastfour measures of the solo cadenza, Baker superimposes the two melodies upon each otherwith tension reaching a peak in the last measure, with a sustained major-seventh chord.

23

Samuel Koistein " Son Ltd.

International Luthiers & BowmakersCustom Made Instruments & Bows

VIOLIN - VIOLA - CELLO - BASS

Extensive Sales Repairs Accessories DepartmentStudent or Professional Requirement

Members of the Appraisers Association of America

795 Foxhurst Road, Baldwin, New York 11510Fax # 516 546-9309

Phone (516) 546-9300

Include $1.50/item for shipping and handling

*To order, send your check or money order to:

RBP is pleased to announce a unique new line ofexceptional arrangements for viola, transcribed and editedby ROBERT BRIDGES. This collection has been thoughtfullycrafted to fully exploit the special strengths and sonorities ofthe viola. We're confident these arrangements will beeffective and useful additions to any violist's recita/library.

dampit~Pat. No. 3.407.700

the sensationalhumidifier for

WIOLIN. VIOLA· CELLO· BASS"We have been using theDAMPIT humidifier regular­ly for many years. It hassaved our instruments fromdamage by keeping them at aneven humidity level during ourmany travels in various eli­mates. We recommend theDAMPIT enthusiastically toall string players."

--Guarneri Quartet

FREE Room Humidity Indicatorwith each dampit

o Violin $ 7.95o Viola $ 8.50o Cello $10.50o Bass. . . . . . . . . . . . . . . . . $11. 95 'Air postage and handling outside USAand Canada $1.00 per unit. In USAand Canada please add $.60 per unit.

RBP Music Publishers2615 Waugh Dr., Suite 198

Houston, Texas 77006

send forour FREE

catalogue!

1001 Biber Passacaglia (violin) $ 5.751002 Beethoven Sonata op.5 #2 (cello) $ 9.251003 Debussy Rhapsody (saxophone) $14.251004 Franck Sonata (violin) $10.751005 Telemann Solo Suite (gamba) $ 6.751006 Stravinsky Suite for Via and piano $28.001007 Prokofiev "Cinderella" Suite

for Viola and Harp $25.00

For descriptive circulars or further informationwrite to: dampits, Inc. Box 493, Radio City Station,New York, NY 10101 U.S.A.

MOVEMENT II 25

26 The Third Movement Cadenza

The third movement cadenza collects the melodic ideas that appear earlier in thepiece: measures 1-7 state melody 1 of the first movement:

measures 32-34, melody 2 of the first movement:

measures 40 and 41 offer a sample of the third movement melody 1.

In measures 46-48, the viola imitates the woodwind section from movement three in a"Super-Sax" riff.

Closing the cadenza (measures 63-69), the viola paraphrases the "Rock-N-Roll" sectionof movement two: .

FASt' J= Ib2»

27

;::1*~r1(CAO~NzA'(:\

Next is a passage in thirds (measure 46) that MUST be reached from above (NOsliding allowed between the C# on beat one and the F#-A double-stop after beat three).I would like to quote Baker in noting that "to play jazz does not mean to play sloppily orwith bad intonation," and that in finding fingerings for various passages, I took specialcare not to use excessive glissandi or to approximate rhythmic values.

t:)

I sought Louis Kievman's opinion on the execution of certain passages in theConcert Piece for Viola, and the following are examples of his suggestions that add clarityto the virtuosic passages and an interesting contrast in bowing: Use of the 4th finger infast passages (measures 4, 43-48, and 53-55) avoids shifting under slurs and extends thereach (measures 10 and 32, third beat). Mr. Baker indicated in measures 18-23 a gradualaccelerando, starting off dolce, arriving at forte in measure 24. No bowings marked, Ifirst played through with separate bowings. Mr. Kievman suggested adding a little morecalm to the beginning of the accelerando by continuing the slurred bowing from before(measures 8-17), then, in measure 20, coming off the string. Two spots in this cadenzalend for practice in "notefinding" (an exercise technique especially useful for large shiftstaken from Kievman's Practicing the Viola, Mentally-Physically, Part One, #VI). Thefirst is in measure 17 on the fourth beat. (In measure 16, I would suggest swinging the16th notes, then on beat four of measure 17, a slight glissando would be appropriate.)

28

4 1 I---Jlr-I~~~=~.J~__ t1t,,_"'.-t---.r-:---Y--•. 1 I I I • J ~L---l_---I.---I--+-+-Y--", ~.- •.• Ilr _ r'" ..__~

51

29

THE VIOLA

ATBRIGHAM YOUNG UNIVERSITY

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

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

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

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

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Analysis of Scale Patterns

I asked David what scales lent the Concert Piece its jazz flavor, and the followingis the basis of the third movement.

In parentheses, ( ), are the "Bartok" scales:

Bracketed, [ ], are the diminished scales:

1/2 step whole step 1/2 step whole step

The perpetual motion patterns that pivot off of an open string are almost alwaysbased on the diminished scale, as in measure 63 to the end of the cadenza:

::::; :;:::;:::::::::::;:::::::::;: ::':::. :;: :[~::; :::::::::::::[::;';':[.:::::::;':~:::;:i[:.:[ ..:·[:.j\:\[[[.:.:[:.·[;.. [:~ ::::::::i:i;::i;:[:;:::;:;:;;::::::::::;:;:::;:;:;:;:;;;:)::::;:;:;:;:;:;:; ::::::;::::::;:;::;:;;;:;:;:;:;:;:;:: ;:;:::::::::::::::::::::::;:::::::;:::::::.:.:.:.:.' -:. ::::::::::::::::::::::;:::::):::::::::: :::;::::::::::::.:.:.

31

32Musical Ideas

The lush melodies and harmonies throughout the Concert Piece for Viola led meto believe that they were inspired by Gershwin, Mahler, Strauss ... but David assured methat all of the melodies are his original ideas. And how could I be mistaken? Duringeleven months of phone conversations, I asked David to play for me any musicalfragments that came to him. Lida, his lovely wife, exclaimed that the metamorphosis ofth.e piece as David composed it from the piano and the cello was a fascinating experience.In the last three months before the premier, I attended many rehearsals of the San DiegoState University Jazz Band so as to better acquaint myself with the dense chordal structurecharacteristic of jazz compositions.

Lynn Schwartzberg, music critic of the Bloomington, Indiana Herald Times, saidof the piece:

The first movement began with ... the brass section playing in a very rich, mutedtone. Elaine introduced the lyrical and romantic melody ... as the sound rose andfell like waves crashing against the shore. The second movement was filled withmany more lush melodies. Elaine seemed to be playing as if the compositionflowed from within her. The orchestra provided melodic and rhythmic balance.In the final movement ... the v-iola soared above [in an] almost free-form withcreative use of percussion throughout.

The generous rehearsal time given the piece by Indiana University facultyconductor Robert Porco allowed for fine adjustments to be made in the accompanimentand solo part (such as a passage in movement three, originally written for the full brasssection, and later replaced by pizzicato strings, no longer obliterating the solo viola line;adding mute to the solo viola in the second movement which creates a beautiful color forthe trio passage with harp and clarinet). We gave an effective premier performance ofthis piece on 25 February 91, as Ms. Schwartzberg exclaimed, "the Concert Piece for Violacan already claim several hundred fans!"

(Concert Piece for Viola is available from MMB Publishers in St. Louis, MO(314)427-6550. Please ask for Marsha Goldberg when placing an order for parts of theViola/Piano edition or rental of the orchestral score.)

KAREN ELAINE is a graduate of the Curtis Institute of Music where she studied withKaren Tuttle and Michael Tree. She became a member of the New American ChamberOrchestra, and the Renaissance City Chamber Players in Detroit. Elaine was first-placewinner of the Guiranna International Viola Competition in Brazil, after which she wasappointed adjunct professor of viola at San Diego State University and continued herstudies with Louis Kievman. She has recorded for Laurel Records and Harmonium Mundiand will appear at the Ithaca Viola Congress.

Karen Elaine

David Baker

FORUM

Research throughout the years on theviola repertoire has led me to the discoverythat numerous composers have turned latein their life towards the viola, some evendevoting their last work to the instrument.

Without intending to draw up anexhaustive inventory of late workscomposed for the viola from the baroqueto the present period, I cite a fewcharacteristic examples of known or lessknown works.

Three important composers dedicatedtheir last composition to the viola: Bartok,Shostakovich, and Bloch. All threecomposers had already written effectivelyfor the viola in chanlber music. (Bloch hadalready attributed to the instrument animportant place in his works.) Their choiceof the viola does seem deliberate since theyhad already written for the violin and thecello. In other words, their approachcannot be interpreted as the simple desireto write for any string instrument.

Bartok's and Bloch's manuscripts wereleft unfinished. The Bartok Concerto wascompleted by Tibor Serly. As for theBloch Suite for Solo Viola, there do notappear to be any satisfactory results in theattempts made to write an end for thispiece.*

Assuredly, these three compositions havein common the richness and depth of stylefounded on the marvelous possibilities ofour instrument. In the last movement ofhis Sonata, Shostakovich, through hishomage to Beethoven, knew how to give abreathtaking accent of eternity to theviola.

I could, by going back in time, citeother examples just as convincing.Having reached a mature age, Schumanncomposed his Fairy Tales and Brahmshis two Sonatas, opus 120. Haven't thesegreat composers here called on the violain order to express something moreprofound, more secret perhaps, that theywish to transmit? For certainexceptional beings, genius can be asubstitute for the experience of age.

J. S. Bach devotes in the principal partof his sixth and last BrandenburgConcerto a preponderant place to the twoviolas, thus concluding this set ofconcertos with the expression of aninterior joy nearing contemplation.

Moreover, the profundity of Harold inItaly had nothing of the virtuosity whichPaganini was expecting to the pointwhere he refused to interpret the workwhich Berlioz wrote for him. As forBeethoven's 16th quartet, the viola'sintervention prefigures, from the firstnotes, the later concision and grandeurof Webern.

Without venturing into too hazardousconclusions, it is interesting to askoneself about the reasons for theattraction felt towards the viola by suchcomposers at the height of their genius.

Must we infer that the prematuredemise of certain composers robbedthem of the chance to discover the violaas the instrument of their maturity?

Contrariwise, could the premature useof the viola during the career of certaincomposers explain the weakness of someworks in our repertoire such as theMendelssohn Sonata?

Only the precocious genius of Mozartpermitted him, in the outstandingmaturity of his youth, to leave us workswhich helped determine the destiny ofthe viola.

Pierre Henri XuerebParis

33

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BOSTON UNIVERSITY SCHOOL OF MUSICOutstanding Programs in Performance and Music Education

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Our viola faculty includes:

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The Boston UniversitySchool of Music offers:• the finest training for the

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Financial assistance isavailable to qualifiedstring applicants.

For moreinf()nnation contact:Alan WeissDirector of AdlnissionsBoston UniversitySchool of Music855 Commonwealth Ave.Boston, MA 02215617/353-4241. '" , , , ,

, " ,

*Editor's Note: However, there is a veryusable ending written by Raphael Hillyer,which was played at the 1979 InternationalViola Congress, and now contained in thePrinlrose International Viola Archive.

Last Christmas I received a card from anold friend, now resident in Auckland, andwith whom I had played violin in my highschool orchestra, she revealed with greatenthusiasm that she had taken up theviolin again after all those years and washaving a marvelous time. Though happyfor her, I must admit to having felt a wildresentment that I wasn't having the samepleasure. (I didn't really want to play theviolin again ... I had been lazy and therewere other attractions at high school age.)Also, not having been born into a musicalfamily had terrible disadvantages, as Irealize now.

One morning while lying in bed listeningto the New Zealand Concert Programmeon radio at about 6:30 a.m., I heardPinchas Zukerman playing Telemann'sViola Concerto and it struck me just likethat! I wanted to play the VIOLA. I hadto do it. Nothing else would do.

New Zealand being a little country ofjust over three million people, you canimagine that violas are rather thinly spreadon the ground, but I managed to acquireone suitable for learning in Auckland. At16-inch length it just scrapes into therecommended size, but I am glad it wasn'tany bigger: the agonies I endured in thefirst few weeks just holding it, wereunbelievable. I suffered so much that atone stage my husband (who was sufferingtoo!) demanded that I give it up! Ofcourse, I didn't.

As my husband is retired and we arenow living in this little town of just 280(nearest city Dunedin, one hour's drive,pop: 75,000), I am teaching myself to play.Of course, I could never have consideredthis without the wonderful support ofPlaying the Viola which I refer to

constantly not only on technical matters,but also for the entertaining and verywise philosophical commentary on allthings musical.

There is a very kindly teacher ofviolin/viola in Dunedin who hasrecommended what music to buy and Ican usually get what I want from a well­stocked shop in Christchurch (or she willfax the order and it arrives fromoverseas in less than a month). Thisteacher optimistically has me attemptingBach's Cello Suites and the KreutzerEtudes, but I do not share her optimism.

I got through the Tune a Day (Books I­II-III) in about three months (to thehorror of my daughter who informed me"Mother! You are supposed to take a yearfor every book!" Well, I didn't know, did11 I was enjoying it all so much). I amnow working with Whistler and MazasEtudes, Sevcik ... I never imagined suchgreat stuff had been written.

I love it so much that even playing ascale is joy! Just drawing the bow overthe string. . .. I never really knew whatmusic was before. Whether it is thematurity of years or that I have finallyfound my musical niche, I don't know.(Read in Time Magazine, 12 November1990, page 8, about a Japanesegentleman who has played the viola everyweekend for twenty-seven years. What awonderful thing: twenty-seven years willsee me out easily!)

Next year I look forward to replacingmy "learner's" viola with a moreappropriate one.

Catherine A. RichardsNorth Otago, New Zealand

C r1\'.L.U\\~"'t.IW11fI.u.fjUJ~c.;.,~I"_'__~

0;C ."IfU"!"I1t1'l- =-------

b: -----.JII

35

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You get the player's point of view onchamber music workshops ... highereducation for young string players ...ideal places for summer study ...

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Literature for ViolaNew edition 1985

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introductory article"The Viola and its Literature"

14.000 works for viola:Vio:a solo 750Duos with viola 5000Trios with viola 4300Viola with orchestra 1300Double, triple ana quadruple

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OF INTEREST

COBBETT ASSOCIATION

Chamber music enthusiasts will bepleased to know that this new _organizationwas formed in September 1990 with theirinterests at heart--especially if theydelight in exploring rarely played works ofthe past that suffer from neglect.

The Cobbett Association for ChamberMusic Research was named in honor ofWalter Wilson Cobbett (1847-1937), therenowned Englishman who devoted muchof his life to promoting the art of chambermusic. It was formed by Sarasota violinistRobert Maas who recognized a need forsuch a group, and it is believed to be theonly organization of its kind in thecountry.

The purpose of the new group is tostudy, evaluate and preserve rare andneglected chamber music of special meritand to share information and encouragethe performance of such music.

Write: The Cobbett Association, 6827Roxbury Drive, Sarasota, FL 34231.

COLLECTIONS OFMUSICAL INSTRUMENTS

Wanted: Names and addresses ofcollectors and institutions with collectionsof musical instruments for new, revisededitions of the International Directory ofMusical Instruments Collections, (firstpublished 1977), and the Survey of MusicalInstrument Collections in the United Statesand Canada (1974).

The International Directory is a projectof CIMCIM (Comite International desMusees et Collections d' Instruments deMusique), a committee of UNESCO­sponsored ICOM (the International Councilof Museums). The Survey of collections in

North America is being prepared by acommittee of the American MusicalInstrument Society.

Private collectors and institutionalcollections whose names are received willbe sent an information form to fill outand return. Private collectors concernedabout security and privacy may haveth~ir collections listed anonymously,wIth only city, state or province,country, and a description of thecollection. Collectors who choose thiskind of listing can have requests to visitscreened by a nearby institutionalcollection.

Please send names and addresses ofcollections everywhere except the UnitedStates and Canada to the general editorof the International directory: BarbaraLambert, 201 Virginia Road, Concord,Mass. 01742 USA.

Information on North Americancollections is to be sent to: William E.Hettrick, Music Department, HofstraUniversity, Hempstead, N. Y. 1"1550

VIOLA ORCHESTRALVACANCIES

PrincipalLos Angeles Philharmonic

Irving Bush, Personnel Manager135 North Grand AvenueLos Angeles, CA 90012

SectionCleveland Orchestra

David ZauderSeverance Hall1101 Euclid AvenueCleveland, OH 44106

San Antonio SymphonyBernadette E. Hilario, Personnel

Manager109 Lexinton, Suite 206San Antonio, TX 78205

37

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Miroslav Miletic:Monologue forViola and PianoRhapsody for Violaand Piano

PAX is a non-profit organization. Theeditors are not salaried. A publishingopportunity is offered violists andcomposers for viola works under pro­fessional conditions, with high Qualitypublications, and at reasonable salesprices. Inquires by Prof. Zeyringer.

Support our work for the viola bypurchasing PAX editions. A 33%reduction is offered with an orderof 10 or more copies.

Viola populare:Franz Zeyringer:Violafox, forViola and Piano(Clarinet ad lib.)Variations on theErzherzog Johann­Lied (or Viola Solo

Other works in preparation.

EDITIONPAX

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Honolulu Symphony OrchestraAbe Weinstein, Personnel Manager1441 Kapiolani Blvd., Suite 1515Honolulu, HI 96814

New Mexico Symphony OrchestraByron Herrington, Personnel ManagerP.O. Box 769Albuquerque, NM 87103

Shreveport Symphony OrchestraSusan W. Rogers, Personnel ManagerP.O. Box 205Shreveport, LA 71162

ABOUTVIOLISTS

IN MEMORIAMLouis Kievman

(1910-1990)

When I met Louis Kievman, it was1968 and I was fifteen years old. My violalessons with him were quite a challenge tome, since I had just switched from violinand had the misfortune of having poortraining by my previous teacher. I can lookback now and be thankful that Mr.Kievman was very stern and strict withme. During those one-hour lessons, heinsisted on absolute concentration anddiscipline, something I had to acclimatemyself to, or it would be my misfortune!

After I became a professional violist, Iremember playing in an orchestra whereMr. Kievman was principal. I vividlyrecollect Mr. Kievman's having a greattime, joking and making up cleverlimericks about his colleagues. Seeing thisside of the teacher I once feared waswonderful. The two things I will alwayscherish about Louis Kievman are thestandards he gave to me as a demandingteacher and the humanity he revealed tome as a person.

Mr. Kievman was renowned as aperformer, clinician and lecturer. He wasa charter member of the Musical Art andStuyvesant String Quartets, and also theNBC Symphony under Arturo Toscaninifrom 1937-1942. He became a student ofD. C. Dounis, whose theories hecontinued to propagate in more recentyears as a teacher and author of severalwidely used string methods. He wrotenumerous articles for the Stradmagazine. He gave invaluable service asvice-president of the American ViolaSociety and was an executive officer upto his death.

On behalf of Mr. Kievman's formerstudents and colleagues, I extend mydeepest sympathy to his wife ElaineLarson KievmanJ-and family.

Roland KatoLos Angeles

WINDY CITY VIOLA NEWS

The past year has been an excitingone as far as viola lovers are concerned.There have been many solo appearancesand master classes around town: enoughfor anyone to see that the viola is animportant part of musical life inChicago. The following compilationbegins in January, 1990 and goesthrough February, 1991.

BASHMET IN CHICAGO

Perhaps the person we have seen themost recently is the Russian violist YuriBashmet. Mr. Bashmet has just comeinto greater international prominence inthe last few years. Both as a soloist andas conductor of the Moscow Soloists,Bashmet brings refreshingly new andbrilliant interpretations to audiences.

Bashmet first appeared in OrchestraHall as soloist in Bela Bartok's ViolaConcerto with the MoscowPhilharmonic, Dmitri Kitaenkoconducting on 19 March 1990. His

39

MEMBERSHIP ENROLLMENT FORM

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

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

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

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

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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 possiblepublications. We serve as a clearing house for many violarelated requests.

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second appearance was his ChicagoSymphony Orchestra debut at Ravinia lastsummer, where he played the Concerto forViola and Orchestra by Schnittke, writtenfor Bashmet and completed in 1985. Thefirst movement's main motif is based onthe first letters of his name, BASCHE.

Yuri Bashmet's most recent appearancewas in the Chicago debut of the MoscowSoloists. The program includedHindemith's Trauermusik, Britten'sLachrymae, and Alfred Schnittke's StringTrio, as arranged by Bashmet. Thisconcert was simply amazing. The energyand ease with which Bashmet playedthrilled everyone in the audience. Praisealso should be given the Moscow Soloists,who played with such disciplined ensemblethat their performance seemed unreal.Several encores followed includingBashnlet playing what he announced in athick Russian accent as "StrawinskiRussian Song."

After the concert, a few NorthwesternUniversity violists and myself wentbackstage. There Bashmet autographedour programs and promised us he would berecording the Bartok and Walton concertosin the near future.

MASTER CLASSES ATNORTHWESTERN

Three master teachers have given masterclasses at Northwestern University overthe past year. In March of last year,William Preucil and David Dalton sharedtheir thoughts on playing and teachingwith Northwestern violists and the localcommunity. Dr. Dalton, on the day beforehis master class, gave a wonderful tributeto and presentation on the late WilliamPrimrose. This included several video and

audio tapes along with a Question andanswer session. In attendance were longtime Chicago Symphony Orchestraprincipal violist Milton Preves, assistantprincipal violist emeritus WilliamSchoen, and Irving Ilmer, former violistof the Fine Arts and Berkshire Quartets.

In the beginning of November, JohnGraham of the Eastman School also cameto Northwestern to give a master class.After this, he gave two performanceswith the Chicago String Ensemble of theDello Joio Lyric Fantasy andHindemith's Trauermusik in Chicago andElmhurst.

Bein and Fushi has played host toDonald McInnes twice in their shop onMichigan Avenue. He visited lastFebruary and again this February inwhat now appears to be an annual event.

CHICAGO PRINCIPALSTAKE SOLO BOWS

Both of Chicago's principal violistsappeared several times on the soloplatform. Charles Pikler, principal of theChicago Symphony Orchestra since 1986,appeared as soloist with the CivicOrchestra of Chicago, Michael Morganconducting, in the Frank BeezholdConcerto, which was dedicated to him.Mr. Pikler also performed the BartokConcerto in October.

Rami Solomonow, principal of theLyric Opera Orchestra, appeared threetimes; the first in a performance of theBloch Suite Hebrai"que with Concertantedi Chicago in April. In his secondappearance in May, Solomonow playedthe Perle Serenade for Viola andWoodwind and Brass Ensemble. Thewoodwind and brass accompaniment wascomprised of DePaul Universitystudents. George Perle has been PulitzerPrize winner in composition. Mr.Solomonow's most recent appearanceoccurred at the beginning of Februarywhen he was featured along withsoprano Carol Chickering and pianist

41

42Bright Sheng in Sheng's Three ChineseLove Songs for Soprano, Viola, and Piano.Bright Sheng is the composer-in-residenceat the Lyric Opera of Chicago.

Two other appearances not to be missedwere Kim Kashkashian's collaborationwith cellist Gary Hoffman and theEmerson String Quartet in a performanceof Tchaikovsky's Souvenir de Florence atthe Blackstone Theatre in January, andPinchas Zukerman's appearance asconductor and soloist with the ChicagoSymphony Orchestra in Hindemith'sTrauermusik. It is always amazing to mehow he switches soeffortlessly between violin and viola, forimmediately following this, he playedHaydn's C Major Violin Concerto. Bothwere immaculately in tune and beautifullyplayed.

Stephen Moore, student of Peter Slowik,studies at Northwestern.

THE VIOLA TODAYIN GREATER L.A.

In Spring of 1989, it was suggested inthis column that Heiichiro Ohyama,assistant conductor and principal violist ofthe Los Angeles Philharmonic might haveto turn in his official viola button becausehe was doing so much conducting. In earlyNovember, 1990, it was announced that hewill do just that. He is leaving the Phil' inboth capacities to pursue a conductingcareer. At this writing, the principal violaposition is open, and auditions will beheld.

This did not keep Mr. Ohyama fromappearing with Young Uck Kim, violinist,and Andre Previn conducting the L.A.orchestra, in a regular-series set ofconcerts, playing the Mozart E-flatConcertante, in early February. Thisperformance was unmannered, artistic,approached with virtuoso intimacy, on thepart of all participants ... for one listeneranyway, as satisfying a performance of

this magnificent work as ever heard.Mr. Ohyama was named principal violistin 1979; we wish him well in his newendeavors, and certainly hope he doesnot forsake the viola completely.

The last weekend in January this year,the Los Angeles Philharmonic featuredYuri Bashmet as viola soloist, withAndrew Davis conducting. Mr. Bashmetwho is a thirty-eight-year-old Sovietvirtuoso, played both the TelemannConcerto, and the Walton Concerto inthe 1961 version. The Walton wasspectacular, as was the performance ofthe Telemann, but presenting thatmodest concerto, which is little morethan a baroque sonata with stringaccompaniment, in a 3,200 seat hall isprobably a mistake.

On February 8th, the Los AngelesChamber Orchestra, playing atOccidental College, offered the WestCoast premier of John Harbison's ViolaConcerto (1989). The imported virtuosowas Marcus Thompson, who was soprominent at the Boston Viola Congress.His playing was described in print asbeing done "with heroic, breezynonchalance," to Quote MartinBernheimer. In January, the LosAngeles Chamber Orchestra featured itsprincipal violist, Roland Kato, as soloistin an Ambassador Auditorium concert inPasadena. It's probably not stretchingthings too much to report in this "viola"column that he played Vivaldi's D-minorConcerto, F. II, No.4, for viola d'amore,critically described as a "stylish showcasefor Mr. Kato."

Donald McInnes has been making hispresence felt in the Los Angeles areamore vigorously of late. There havebeen at least two chamber musicappearances; one with a HenryTemianka-inspired group playing bothBrahms' String Sextets, and another withthe Angeles Quartet in Orange County.His biggest splash was a performance ofthe Bartok Concerto with Carl St. Clairand the Pacific Symphony, on Noverrlber

7th, 1990. The critical description of Mr.McInnes' playing was "dazzling."

Still the most active venue for the violistin Los Angeles and environs, other thanorchestras, is chamber music, and there isso much, especially string quartetprograms, that there' is no question thatthis is an important local cultural asset.Also, the variety is amazing as well aswhere the quartets come from. The weekof the 17th of February, no fewer thanthree professional quartets, including theGuarneri and the Fresk Quartet fromSweden, played the Ravel Quartet in F inseparate concerts.

Some exotic aspects emerge from what isnormally a satisfying, relatively ris_k-freetradition. The Viklarbo ChamberEnsemble is presenting a four-concertseries featuring music by Latino, Asian,black and women composers, at Loyola­Marymount University. The KronosQuartet (San Francisco based) now travelswith a sound engineer and a lightingtechnician. The Turtle Island StringQuartet performs something they term"American vernacular music." The quartetmembers improvise, and have backgroundin classical music, jazz, bluegrass, folk,new age, rock and pop. Change andDecay, or Onward and Upward?

It is an unhappy obligation to note thepassing of Louis Kievman on 4 December1990. There is doubtless a completeobituary or tribute elsewhere in this JAVS.Sven Reher also passed away on 31January 1991 at the age of seventy-nine.Mr. Reher occupied a position ofprominence in the Los AngelesPhilharmonic, and elsewhere, for a verylong time. Many of us are grateful for hiscontribution to the musical life ofSouthern California which lasted decades.In a considerably lighter vein, it isprobably appropriate to note in a columnof observations about L.A. Violaland, thattwo of the five current officers of theAmerican Viola Society live in the LosAngeles area.

Thomas G. HallChapman College

SOLO RECITAL

Samuel Rhodes, violist of the JuilliardQuartet, performed in January anunaccompanied viola recital in Paul Hall,New York City. He offered the followingnotes to the concert:

The idea for my unaccompanied violarecital came as one of the results ofhaving been asked by the AmericanString Teachers' Association to compile aseries of pieces illustrating 20th centuryviola techniques. Naturally, I had thedesire to present some of these works ina context with other, more traditionalworks, all of which would feature thevirtuoso viola in very distinctive ways.

Alessandro Rojla (1757-1841) wasrenowned as a performer and pedagogueon both violin and viola. He wasPaganini's teacher. His prolific outputincludes many works featuring the viola:several concerti, sonatas, at least fiftyduos with violin, and several short piecesfor viola alone. His style is beautifullybel canto, florid and virtuoso (Esercizio eArpeggio and Esercizio II).

Arthur Weisberg is well known as abassoonist and a conductor. He was onthe faculty at Juilliard for many years incharge of contemporary musicperformance. In recent years he hasbecome a very active composer. ThePiece for Viola Solo was written in 1984and this is its premiere.

Milton Babbitt is one of the mostimportant musicians of our era both ascomposer and theorist. He is a memberof the Juilliard School. His music alwayshas so many wonderful things in it forthe listener to grasp that I think it wouldbe of tremendous value to perform hispiece twice, once before and once afterintermission. This is particularlyappropriate since the piece, which wascomposed for me in 1989 is entitled PlayIt Again, Sam. The first of the twoperformances will be its world premiere.

43

PUBLISHERS OF MUSIC FOR THE SERIOUS VIOLIST

$3.00

RACHMANINOFFVocalise $3.00

RIESPerpetuum Mobile $4.50

$3.00

ENSEMBLES

BACHFifteen Two - Part

Inventions $6.00

WOEHRBachiana . . . . . . . . . . . . . . . $6.00

MOZARTDuo Sonata in Bk. K.292 $4.50Twelve Duets K.487 $4.50

PACHELBELCanon for Three Violas and

Piano $6.00

TELEMANNConcerto #1 in C for Four

Violas $7.25Concerto #2 in G for Four

Violas $7.25Concerto #3 in F for Four

Violas $7.25

VIVALDIConcerto for Four Violas and

Piano $9.00

SCHMIDTAlIa Turka

VITALIChaconne $6.00

VON WEBERAndante and Hungarian

Rondo $4.50

WIENIAWSKILegende $3.00Scherzo - Tarrantella . . . . . . . $4.50

SHUBERTThe Bee $3.00

TARTINIThe Devil's Trill $6.00Sonata Angelique . . . . . . . . . $6.00

TCHAIKOWSKICanzonetta $3.00Melodie $3.00Serenade Melancholique $4.50Valse Sentimentale $3.00

Available from:VIOLA WORLDPUBLICATIONS14 FENWOOD ROADHUNTINGTON STATIONNEW YORK 11746

$4.50

$3.00

$6.00

$3.00

$4.50NOVACEKPerpetual Motion

GLUCKMelody from "Orfeo"

FAUREFantasy

FIOCCOAllegro . . . . . . . . . . . . . . . . $3.00

FRANCOEURSonata in A Major $4.50

RIMSKY-KORSAKOFFFlight of the Bumble Bee .... $3.00

KREISLERPraeludium and Allegro $4.50Sicilienne and Rigaudon $4.50Liebesleid $4.50Liebesfreud . . . . . . . . . . . . . $4.50Recitativo and Scherzo Caprice

(Unaccompanied) $3.00

MASSENETMeditation from "Thais"

HANDELSonata in D

HUBAYHejre Kati $4.50

JENKINSONElfentanz . . . . . . . . . . . . . . . $3.00

MATTHEWSFantasy $6.00

MENDELSSOHNSonata in E Flat $4.50

MOUSSORGSKYHopak $3.00

MOZARTAdagio K.261 . . . . . . . . . . . . $3.00Menuetto Divertimento K.334 . $3.00Rondo K.250 $4.50Serenata Cantabile K.283 $3.00

JOPLINPineapple Rag $3.00Solace . . . . . . . . . . . . . . . . . $3.00

PAGANINISix Sonatas Bk.I

Nos.l, 2, 3 $6.00Six Sonatas Bk.II

Nos.4, 5, 6 $6.00Variations on the G String $4.50

PUGNANIGavotta Variata $4.50

REPERTOIRE

ARNOLDBasic Bach For The

Young Violist $6.60Mozart Miniatures $6.60The Young Violist Bk. I $6.60The Young Violist Bk. II $6.60

BACHChromatic Fantasy and

Fugue $4.50

BEETHOVENFur Elise . . . . . . . . . . . . . . . $3.00

BOCCHERINIMusic Box Menuet

Studies

DANCLACarnival of Venice $4.50

ARNOLDCadenzas for Telemann

Viola Concerto $1.40

BOHMSarabande $3.00

BOROWSKIAdoration $3.00

BRAHMSScherzo . . . . . . . . . . . . . . . . $4.50

CHOPINNocturne for Viola $3.00

ARNOLDThree Octave Scales

and Arpeggios $4.50

BLUMENSTENGALViola Scale Technique

Vol.I-lst Pos. . $4.50Viola Scale Technique

Vol.II-lst to 5th Pos. . .... $4.50

SEVCIKPreparatory Studies in Double

Stopping Op. 9 . . . . . . . . . $7.95

TARTINIThe Art of Bowing $6.00

CORELLISarabanda, Giga and

Bandinerie $4.50Sonata#12-Follia con

Variazioni $4.50

DEBERIOTScene de Ballet . . . . . . . . . . . $6.00

DEBUSSYGirl with the Flaxen Hair . . . . $3.00La Plus Que Lente $4.50

DVORAKRomance Op. 11 . . . . . . . . . . $4.50Sonatina Op. 100 $6.00

The Fantasia Cromatica by J. S. Bachhas been very skillfully adapted by theHungarian composer Zoltan Kodaly at therequest of William Primrose. This addsanother work by Bach to our repertoire ina transcription made with the specialqualities of the viola in terms of range,technique, and timbre.

Paul Hindemith's Sonata No. IV is thesecond of the two unpublishedunaccompanied sonatas for viola. It wascomposed in 1937 during a tour he madeof the U.S.A. and features the harmoniclanguage and overflowing vitality of hismature style. Its centerpiece is a scherzowhich uses various kinds of guitar-likepizzicatos.

Rosemary Glyde, in two evenings duringMarch, performed in Weill Recital Hall atCarnegie Hall the complete unaccompaniedCello Suites and Gamba Sonatas of J. S.Bach. Diana Kacso was pianist.

Patricia McCarty, assistant principalviolist of the Boston Symphony, performedin February the world premiere of a workfor viola and chamber orchestra by jazzpianist Keith Jarrett with the FairfieldOrchestra conducted by Thomas Crawfordat the Norwalk (CT) Concert Hall. Thework, entitled Bridge of Light, featuresintertwining musical ideas from bothWestern and Middle Eastern cultures, andwas commissioned by Ms. McCarty. In the1991-92 season she will perform the workwith conductor Dennis Russell Davies andthe Brooklyn Philharmonic and theOrchester der Beethovenhalle in Bonn.

The Glazer Duo (Robert Glazer, violistand Gilda Glazer, pianist) appeared withmembers of the Guarneri and Juilliardquartets in a chamber music concert atMiller Theatre, Columbia University inDecember. The Glazer Duo, Joel Smirnoff,violinist, and David Soyer, cellist,performed works by Hindemith, Kodaly,

and Schumann. The concert waspresented by the New Friends ofChamber Music.

Nathan Gordon, violist, and MarjorieGordon, Soprano, have recently returnedfrom Hawaii. Nathan Gordon conductedthe Maui Symphony and played theHandel Concerto in B Minor on the sameprogram. Marjorie Gordon sang threeoperatic arias: "Un bel di" (MadamaButterfly), "Adele's Laughing Song" (DieFledermaus), and as an encore,"Summertime" (Porgy and Bess). Mr.Gordon also gave a workshop onorchestral techniques. Nathan Gordon,former Music Director of the DearbornOrchestra and former solo violist withthe Detroit Symphony, is now appearingwith the Florida -Symph.onic Pops.

Robert Bridges presented a recital of hisown arrangements for viola in Houstonduring November. The program featuredfirst performances of the Telemann Suitefor Viola Solo, Debussy Deuxien:zeRhapsody for viola and piano, and theProkofiev Cinderella Suite for viola andharp. These works were published lastyear by RBP Music Publishers as a partof a collection of Mr. Bridges'arrangements for viola.

Brigham Young University ViolaEnsemble, David Dalton director, gave aPrimrose Memorial Concert in March.Works performed were Quartet by GuidoPapini, Suite for Three Violas by WalterKaufmann, June Sunrise--Blue Sky byKenneth Harding for twelve violas,Gordon Jacob's Suite for Eight Violas,Bratschengruss by Gerhard Zeumer, andan arrangement of Veronica, Spring isHere!

From the Observer, Harlow, England, 22November 1990, the following article isquoted:

45

46Doctor Watson Forbes, the distinguished

viola player, described the recent three­day Viola Festival held at St. John's Artsand Recreation Center, Harlow, as Quitemagnificent.

He felt the standard of playing wasstaggering throughout the whole festival,said a spokesman.

Other special guests included HarryDanks, former principal viola with theBBC Symphony Orchestra and Mrs. LillianTertis, widow of the great viola player,Lionel Tertis.

The festival, given by students of JohnWhite, professor of viola at the RoyalAcademy of Music, was in aid of theLionel Tertis International ViolaCompetition.

It raised a thousand pounds for thecompetition, to be held at Port Erin, Isle ofMan, during the last week of August,1991.

The opening recital by Martin Outram(viola) and Michael Freyhan (piano)attracted a large audience and includedbeautiful performances of the Romanceop. 2 by B. J. Dale, Britten's Elegy andGordon Jacobs' Viola Sonata, in thepresence of the composer's widow.

A highly professional account ofMozart's Duo K.423 played from memoryby the Norwegian violinist, MarianneThorsen and Hertfordshire viola playerSarah-Jane Bradley, opened the program,Mozart and His Contemporaries.

It also included an outstandingperformance of Hofmeister's Duo in Fgiven by Lorna McGhee (flute) and EstherGeldard (viola) and a stylish performanceof a little known Cassatio by Wranitzky forfive violas led by Sarah Heartfield.

The festival's second afternoon startedwith a tribute to Watson Forbes, whointroduced the program, given by elevenviola players.

They played works written for, edited,arranged or transcribed by Dr. Forbes,ending with a thrilling performance ofHandel's Arrival of the Queen of Shebaarranged for two violas and piano-­Michael Freyhan (piano) accompanied allthe performances in this program withfine artistry and sensitivity.

This was followed by a program ofmusic for solo viola by Reger,Vieuxtemps and Hindemith, played withfine technical assurance by WilliamHawkes and the American violist, PeterSulski.

The day ended with a memorablerecital by the highly talented youngYorkshire viola player, Esther Geldard,with the pianist, Alison Procter.

They gave first class performances ofworks by Hummel and Weber, RebeccaClarke and other 20th century Britishcomposers and gave a movingperformance of Massenet's Meditation asan encore.

Esther will play this work on TV inHarry Secombe's Highway Christmasshow to be shown on 30 December.

The final morning's baroque programincluded two outstanding performances.The first was Telemann's Trio Sonataplayed by Mark Radcliffe (oboe) JaneRogers (viola) Helen Edgar (cello) andHelen Rogers (harpsichord).

HIGHLIGHT

What followed was, for many people,the highlight of the weekend: a beautifulperformance played with outstandingtechnique and fine musicianship ofBach's great Chaconne by theCambridge-born viola player, WilliamHawkes.

Nikos Zarb, Essex Young Musician ofthe Year 1990, with Andrew Rapps(piano) gave a most imaginative, finelyexecuted recital, the center piece beingthe sonata by Arthur Bliss.

47

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Library of the Royal College of Music inLondon.

This reconstruction is the second ofMr. Hindmarsh's fine Frank Bridge­viola efforts of this type to be reviewedhere. The edition is beautifully printed,and completely presented as a score, plusseparate viola parts; but neither violapart could be used "as is" forperformance because of page-turnproblems. There is no instrumentalediting.

The writing is in the EdwardianEnglish-harmonist style, made morefamous by Delius, Bax, Elgar, etc., ...not as chromatic as the Bridge stylebecomes just a few years later. As mightbe expected, viola writ~ng doesn't getmuch better than this. It is beautifullyidiomatic. Everything lies well, exploitsthe right ranges and timbres; the double­stops sound good. It really is a fine violapiece. The compositional craftsmanshipexhibits Bridge's four years of studywith Sir Charles Stanford at the RoyalCollege of Music. The form is .essentially episodic, with a reflection ofopening material near the end forcontinuity, but with a literal repeatwhich is not an important part of formalorganization. The main ingredient ismotivic development with a lot ofreliance on finely-crafted counterpoint.

WORKS

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The grand finale, a tribute to HarryDanks, featured works for two to eightviolas. Mr. Danks joined Sarah Heartfield,Jane Rogers and Mark Coates-Smith inKenneth Harding's Divertimento andMartin Outram led a thrilling performanceof Gordon Jacob's Suite for Eight Violas.

They were joined by the fine youngmezzo-soprano, Emma Garlick, in songsby Rubba and Brahms and by the HellierString Quartet for a colorful performanceof Turina's rarely-heard Scene Andalouse.

The works reyiewed here are four of thecontinuing influx of new compositions andeditions into the Primrose InternationalViola Archiye.

NEW

Frank Bridge (1879-1941) was active asviolist, conductor, and composer in earlytwentieth-century London, and this duet isthe product of his prominence and thepromotional energy of Lionel Tertis.Tertis writes in My Viola and I (Boston,1974, p. 33), "From the beginning of mycampaign to create a library of solo violamusic, I begged for viola compositionsfrom the younger English composers; andgreat is my debt to them." According to theinformative Introduction to this finely­presented edition, the Lament is one oftwo never-published pieces Bridge wroteto be performed by Tertis and himself at aconcert in London, in 1912. The "near­completed draft" is in the Reference

A problem general audiences oftenhave with this English national style ofthe beginning of the century, is a kindof melodic-gift poverty. This is not tosay that melodies aren't well constructed,but often they are not memorable.Perhaps this is by design ... part of thestyle, after all.

The Lament carries the weight in timeand spirit of a normal sonata slowmovement. The position it wouldoccupy on a concert program is notobvious. It would be fine funeral music,or perhaps something for an early­morning recital at an International Viola

Congress. It's a beautiful piece, soundswonderful as a viola vehicle, and deservesperformance.

The Neue Mozart Ausgabe score of theE- flat Sinfonia Concertante appeared in1975, and it has been useful to performersfor comparison with other editions, andfor conductors, but a performance editionbased on Christoph-Hellmut Mahling'sscholarship was not available untilBarenreiter brought out this Urtext in1990. It subscribes to the standards wehave come to expect from Barenreitereditions: beautifully and thoughtfullypresented, as accurate as humanly possible,free from editorial opinion or distortions,presenting what is the most educated guessof the composer's intentions.

This edition comes as a piano-reductionscore, a violin-solo part, and two viola­solo parts: one scordatura part in theoriginal D-major notation, and one fornormal turning, in E-flat. Mozart wrotethe viola-part for strings tuned up a half­step from normal, to give the instrumentgreater power of projection ... to competeon a more equal level with the morebrilliant violin. Playing from the D-majorpart is a strange experience, and showsthat Mozart clearly had this scordaturafeature in mind when he wrote the piece,as all manner of figures, arpeggios,ornaments, that are somewhat awkward inthe normal tuning, become idiomatic andsmooth in scordatura tuning. One need notgo further than the opening of the soloparts for an example. In normal tuning theoctave interval fingered 1-4 makes for arather long fourth-finger, expressive, two­measure plus, E-flat opening note of aconcerto. This is often played as a first-

position octave-reach 1-3. In thescordatura version, the octave intervalbecomes open-3, presenting no technicalannoyances at all.

From a practical standpoint, the violapart written in D-major probably willnot be all that useful. Our normal A-440pitch level might well be at least a half­step above the pitch level of Mozart'stime, and so to increase the stringtension by another half-step, especiallywith modern strings, is probably morethan desirable. At least one 18th centuryinstrument protested a lot when this wasdone. On a modern instrument, using allgut-core strings, the result was moresuccessful, but not desirable.

One fine aspect of this edition is thepiano-reduction. Uncluttered, logical,the phrasing and voice-leading arecrystal-clear. Even page-turns havebeen placed, for the most part, where atleast one hand is free. Page-turns forthe solo parts have been solvedcompletely. Also, at points where it isdesirable to know exactly what the othersoloist is doing, such as in the cadenzas,both voices are shown in the soloists'music.

Of course this edition would have tobe prepared for performance withbowings and fingerings, as none areprovided. But at least Mozart'sintentions are presented with clarity, andthe performers are free to make well­informed decisions. Probably most of uswill think of this edition as anindispensable big help.

49

50

The practice of taking the twelve or sobest highlights from popular opera (orwhatever), and setting them forinstrumental forces accessible to a singleperformer or a small group, has probablybeen killed by recordings. But these"memorable moments" paraphrases werethe order of the day in both the 18th and19th centuries. They were a major sourceof income for publishers and composers.These 24 Duets are a fine example of thegenre.

The duets are arrangements of famousnumbers from Magic Flute and DonGiovanni for violin and viola, with neitherinstrument taking a subservient role to theother. They are short condensations of theoriginal music, and are identified by thename of the number in the opera. Theorder in which they are presented seems tobe dictated by aesthetic considerations ofcontrast and interest as a set of duets,rather than by where they appear in theopera. For instance, "Ein Madchen oderWeibchen," which is the last aria in TheMagic Flute, begins the set of duets.These are not dramatic miniaturizations ofan opera.

The Magic Flute duets are light andcharming, and not surprisingly, those fromDon Giovanni are somewhat longerindividual pieces with a more somberpersonality. But overall the duets, by theirderivative nature, court the lighter muse.

Technically, these do not make virtuosodemands. They are presented cleanly as 0

far as dynamics and phrasing areconcerned, like an urtext. There is noinstrumental editing. There is no written

explanation of where these came from,or who did the arranging. There is anundated facsimile of a title page and apage from the violin part, which shows itwas published by Henning, inAmsterdam, but that is all. Theengraving looks to be 19th century.

These are fun, welcome duets, usefulin many ways. The music is some of themost glorious found in Western culture,and for it to be made so attractivelyavailable to the violist is a real pleasure.

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The Microjazz series shows twenty­four entries for various instruments,including piano solo, piano duet,recorder and piano, oboe and piano, (lowand behold), viola and piano. Describedas "Collections of easy, graded pieces invarious modern styles--blues, rock, jazz,rock'n'roll, and so on," this alone withanother entry, Microjazz for Starters:Viola must be the only primers for thebudding jazz violist in existence.

There are thirteen attractive littlepieces, reminiscent of the Bartok 44Duets for violins, only simplified andwith a jazzy orientation. Definitely forchildren, they have titles like "Our West,""Mean Streets," and "A CalmingInfluence." The piano accompanimentsare simple too, so these would be entirelyappropriate for fun between youngfriends.

In a composer's note, Mr. Norton saysthe solo parts are "about grades 2-5 interms of technical difficulty." Gradingscales often mean different things todifferent people, but in this case it seemsthat "grade 2" might be a little optimistic.The rhythms aren't terribly complex, but

they would require a young player'sattention, so they couldn't be tooconcerned about where their fingers weregoing. First, second, and third positionsare called for, and there are some bow­distribution problems also. For the mostpart the editing is clear with a mistake inbow direction here and there.

For rhythm and ensemble study, from alighter standpoint, this is an attractivegroup ... not stodgy, but good studymaterial for young players. The $11.78price tag is justified.

Thomas G. HallChapman College

RECORDINGS

YIZHAK SCHOTTEN

CRYSTAL RECORDSCD 635 Marais Five Old French Dances

for Viola and HarpsichordSchubert "Arpeggione" Sonata

for Viola and PianoBritten Lachrymae, Ope 48

for Viola and String OrchestraShulman Theme and Variationsfor Viola and String Orchestra

(world premiere recording)Assisted by: Edward Parmentier,

HarpsichordCatherine Collier, Piano

Great Lakes Chamber OrchestraConducted by Richard Rosenberg

Crystal Records2235 Willida Lane

Sedro Woolley, WA 98284206.856.4779

WILLIAM PRIMROSE

Arnold Bax Sonatafor Viola and Pianowith Harriet Cohen

Recorded 1937Ernest Bloch Suite

for Viola and Piano (1919)with Fritz Kitzinger

Recorded 1939Niccolo Paganini Caprices

Nos. 5, 13, & 17Recorded 1934La Campanella

with Harry IsaacsRecorded 1937

Pearl GEMM CD 9453

RIV~A GOLANI

"Music for Violaand Orchestra"

Michael Colgrass: Chaconne(1984)

Ernest Bloch Suite HebrafquePaul Hindemith TrauermusikBenjamin Britten Lachrymae

Toronto SymphonyAndrew Davis conductorCanadian BroadcastingCorporation CD 205087

ZASLAV DUO

Bernard Zaslav, violaNaomi Zaslav, piano

"Three Romantic ViolaSonatas"

Johannes Brahms Sonata No. 1in F Minor for Viola

and Piano, Ope 120 no. 1Johannes Brahms Sonata No.2

in Eb Major for Violaand Piano, Ope 120 No.2

Cesar Franck Sonatain A Major

CD 626, Music and ArtsPrograms of America, Inc.

P.O. Box 771, BerkeleyCA 94601, 415.524.4583

51

K'

Francis KuttnerViolinmaker

Award winningviolins, violas andcellos made in the

classical Cremonesetradition.

63 Douglass StreetSan Francisco, California

94114

(4,15) 861-5535

~>.~================~~=~~~=~~=~==~=

BARBARA WESTPHAL

Johannes Brahms SonatasOp. 120, NO.1 and NO.2

& Scherzo in C MinorWith Ursula Oppens, pianoBCD 9021, Bridge Records

GPO Box 1864New York, NY 10116

516.487.1662

COMPETITIONS

Tertis

The 1991 Lionel Tertis InternationalViola Competition and Workshhop willtake place in port Erin, Isle of Man,British Isles from August 24 to Saturday,August 31, 1991. The competition is opento viola players of all nationalities. Thecompetitors may not be more than 30 yearsof age as of 24 August 1991. Awards of5,000 pounds will be available to the Jury(chairman: Sir Davi Lumsden). Theworkshop is open to players of all abilitiesand non-playing observers and all areinvited to attend. Included aremasterclasses, recitals, concerts, ensembleclasses, lectures, private tuitiion, repairclinic, informal recitals and sightseeing.For details write to Mananan FestivalOffice (Tertis 1991), Port Erin, Isle ofMan, British Isles.

Iniog M. Klein

For string players ages 15 to 23, 15-16June 1991 in San Francisco and sponsoredby The California Music Center and SanFrancisco State University. First Prize:$6,000,and other prizes amounting to$2,000. Entries must be postmarked by 15February 1991. Contact:

IMK CompetitionCalifornia Music Center2325 Arabian CourtMorgan, CA 95037(415) 338-1432

53

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