JOURNALoft/ze

AMERICAN VIOLA SOCIETYChapte r of

THE INTERNATIONAL VIOLA SOC IETYAssociation for the Promotion of Viola Performance and Research

Vol. 3 NO.2 August 1987

Features

Bernard Fleshier:Damaging Decibels

3 Pamela Goldsmith:A Most U npleasant Break

10 Rosemary Glyde:James Millington

16 Olivier S eube:Teaching the Violain France

19 Alex and er Harp er:A Mu sical Feast

AVS Membership 1987

OFFICERS

I David DaltollPresidentBrigham Youllg UniversityProvo, Utah 84602(801) 378-3083

• Lollis KievmanVice-Presidellt1343 A mal!i Dr.Pacific Palisades, CA 90272

• Harold KlotzSecretary1024 Mapl e At'e.Evmlstoll, lL 60202

f Rosemary C lydeTreasurerPo. Box 558, Rt . 22Golden's Bridge. N Y 10526

• Mal/ rice W RileyPast Presidellt512 Roosevelt Blvd.Ypsilanti . Ml 48197

EXECUTI VE BOARD

P.m l DoktorMiltoll Katims

I Donald Me/mI l'SI Robert O ppelt

[oseph de PllSqualeDw ight Poun dsTh oma s Tattoll

• Marcus Thom psollFrancis Jilrsi

• Karen Tutt le• AmI Wood ward

COORDlNAIOR WITHCANADIAN VIOLA SOCIETY

• A. Baird Knechtel

FOUNDER

• ,vly roll Rosellbill m

HONORARY PRESIDENT

W illiam Primro se (deceased)

~w Chapter of the lnternationa!c Viola-Gesellschaft

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

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

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

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

Rates: S75 full page, S40 half page, S33 one-third page, S25 one-fourth page.For classifieds: SIO for 30 words including address; S20 for 31 to 60 words.Payment to •American Viola Societ y" c/o Harold Klatz,

DAMAGING DECIBELS

by

BERNARD FLESHLER

consider myself very fortunatethat back in 1952 an army majorconvinced (ordered) me to switch fromviolin to viola. We had an interestingmusical organization named the SeventhArmy Symphony Orchestra stationed atPatch Barracks near Stuttgart, WestGermany. A rather endearinggentleman who resembled Santa Clauswithout a beard lent me quite a niceviola. I promised Herr Hamma that Iwould take good care of it. I'vealways been indebted to this mostdist inguished luthier for his trust. Ihonestly grew to love the viola despiteits "cumbersome" size, the perplexingclef, the absence of an E string, andthe addition of a rather sonorous Cstring .

The first few concerts were playedin a state of great anxiety, butgradually the alto clef began to makesome sense; and our conductor, thewell-known composer Samuel Adler, wasvery understanding.

So began for me an adventure thatapart from my family became of centralimportance and interest in my life.

Not that I am bitter, but I creditthat army major of long ago for givingme a good case of tinnitus (ring ing in

. the ears , hissing, gurgling and otherI such loathsome auditory manifestations) .

I now have a great feeling of empathyfor Robert Schumann, and for all otherswho have made the futile pilgrimagefrom one otologist to another.

One must understand that thereward in playing the viola came notonly from its unique and gorgeoussound , but from the almost eroticharmonic sensation of being an inner

voice. And then when we do get atutti solo, and the section wails away,we have our cake and eat it too(waltzes notwithstanding).

Occupational Hazard

Playing in the viola section put me infront of the brass, and most of thetime , the trumpets. I loved to hear theethereal blasts of sound. It was agreat feeling, sort of Sony Walkman,live.

Now after thirty-three years sittingin front of the brass my ears let meknow it by hissing at me.

About seven or eight years agoduring the tenure of Julius Rudel asconductor of the Buffalo Philharmonic,the problem of NIHL (Noise InducedHearing Loss) became an issue with ourorchestra. At that time I was chairmanof our Artistic Adv isory .Committee.The jurisdiction of this committee andthe orchestra committee overlapped.But it was our committee that drew theattention of those sitting in front ofthe brass , percussion, piccolo, and eventhe Eb clarinet. In essence they saidto us, "We' re not going to take itanymore, do something!" We did, wesympathized, and we took them out fora cup of coffee. Out of thisKaffeeklatsch came some practicalsuggestions and a few ideas that hadbest be left unwritten.

It is a peculiarity of the 1970's and1980's that "decibel sensitivity" becamea vocal issue. People began to expresstheir concern and to voice theiropinions. Experts sat up and tooknotice. A new field for the otologystsopened up, and for the most part, allthese hearing doctors could do was toobser ve, study the problems, compilestatistics and offer sympathy. At thiswriting most otologysts do not have theproper equipment to measure thehearing loss of musicians. They cannot

That's enough, trumpets, we lost all the violas that time.

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measure those upper frequencies thatconstitute high -fidelity. How often hasthe frustrated musician argued with thedoctor: "is the music sounds distorted!"and the doctors have replied; "But yourtests are normal".

It is understandable with the largerand "harder" concert halls, Modern andPop repertoires with an expandedpercussion section, electronics, newconcepts of forte, and with conductorand aud ience expectations of louder andstill louder, that musicians are finallyspeaking up.

One day we did speak up and tookour problem to Julius Rudel, who wasmost sympathetic and understanding,much more so than a conductor--nowdeceased--who for punishment wouldseat a string player in front of thepercussion. (Oh, I do hope that LionelTertis is giving it to him now!) Ourmeeting resulted in plastic shields usedas a baffle or buffer between brass andstrings, and percussion and strings.The experiment was more or lesssuccessful if used in front of thepercussion section. Their sound did notsuffer, but the brass sound was muted,and so these baffles were removed.That left the violas with ear plugs forprotection which is not alwaysconducive, to good ensemble playing.The thought occurred to me thatattaching a curved baffle to the backof our chairs might help. What we areusing in Buffalo now is a portablebaffle that can and is used on run­outs. These baffles fit most chairs.Not everyone wants to use them, butfor those of us who do, we feel they

i offer some protection from intense"sound pressure levels."

I would like to note that in aninformal survey of the viola sect ion,every member was very "decibel "conscious. Most used some sort ofprotection, either a baffle or ear plugs,and sometimes both . A significant

number has some hearing problem, fromactual hearing loss, to heightenedsensitivity to loud sounds including afear of potential hear ing loss.

At this point I would like to suggestas others have done, that a base-linestudy of every musician's hearing bedone upon entering an orchestra. Th isis important should a musician want tofile for compensation at a later time inhis musical life. Also, I believe thatevery orchestra should have anacoust ical study performed by aspecialist regarding decibel levels.

The life of the musical artist shouldbe free from unnecessary worry abouthis hearing. And yet there wasBeethoven who did the impossible byshowing us that the mind 's ear canovercome great adversity.

Bernard FleshIer is a member of theBuffalo Philharmonic. He has developedthe "Buf f alo Baffle" or Acoustishieldwhich can be ordered through NFVRCenter. 100 Leroy Ave. Buffalo. NY14214.

A MOST UNPLEASANT BREAK

by

Pamela Goldsmith

I broke my arm. My left arm. Thearm with which I hold the viola. Theviola is not only my craft and mymeans of earning a living, it is my life.When I broke my arm , I was afraid Iwouldn't exist at all--if I weren'tplaying the viola , I was not alive.

The particulars of the incident itselfare not very exciting. I was walkingin the woods, where it was moist and

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Rank and Salary:

Qualifications:

School of Music:

Application:

THE SCHOOL OF MUSIC

at

THE UNIVERSITY OF WASHINGTON

Faculty Position in Yiola

The School of Music at the University of Washington announcesa tenure track opening in the Strings Division in viola, beginningin the Autumn of 1988.

Teaching undergraduate and graduate viola students and cham ­ber ensembles.

Lecturer, Assistant, Associate or Full Professor. Salary is com ­petitive and dependent on experience and qualifications.

Demonstrated success as a performer of national or internationalstature and as a dedicated teacher of viola.

With approximately 350 mus ic majors and a faculty of 55 , theU.W. School of Music has undergraduate and graduate pro­grams in Composition, Conducting, Ethnomusicology, MusicEducation, Music History, Opera Production, Performance,Systematic Musicology, and Theory. Degree programs includethe B.A., B.Mus., M.M., M.A., D.M.A., and Ph.D.

Applicants should send a letter of interest, a current curriculumvitae, and the names, addresses and telephone numbers of fourpersons who may be contacted for letters of reference. Prioritywill be given to applications received before November 15,1987 .

The University of Washington is actively seeking qualifiedminority and women faculty. Accordingly, such applicants areencouraged to apply and identify themselves.

Applications should be sent to:

Professor Steven Staryk, ChairViola Search CommitteeSchool of Music, DN-IOUniversity of WashingtonSeattle, WA 98195

The University of Washington is an Equal Opportunity Employer and operates under anAffirmative Action non-discrimination policy and program.

I

slippery, and I fell. I landed on myleft arm, causing an angulated fractureof the radius just above the wrist.That is the objective report. What Ifelt as I lay there on the ground issomething else again. I could not movemy fingers , my grotesquely gnarledhand, or my wrist. The fear was so allencompassing, I was momentarilynonfunctional. The pain wasnauseating, but fear was the realproblem. I knew instantly that itwould be a long time, maybe never,before I would play the viola again. Iwalked out of the woods on my ownpower, reassuring everyone that I wasall right, but in my mind I was alreadyassessing the damage to my life and mycareer.

In the emergency room, the X-raysconfirmed that I had , indeed, a mostunpleasant break. The pictures inblack and white were shocking enough,but when we pulled off my jacket andI saw for the first time what my armactually looked like , I came close tohysteria. There was a big bend anddrop in the ordinarily straight forearm,and the hand hung loosely, totally outof my control. Once the arm was setin the cast, all I could do was attemptto wiggle my fingers, which were ,mercifully, left free from thisnightmarish incarceration. The cast, aheavy plaster pressing on me from justbelow my fingers all the way to abovemy elbow, was an incredible trial.

Every pain I felt during this period,from the enormous throbbing to eachminor twinge, became magnified becauseof my great interest in what was goingon beneath the plaster curtain. Eachnew X-ray was threatening andwondrous at the same time. Imaginelooking at a picture of the inside ofyour arm, and seeing a misshapendamaged bone. What I managed toaccomplish during this time was tolearn word processing on the computerand produce a written version of the

lecture-demonstration I had recentlypresented at the Violin SocietyConvention titled "The Transition tothe Tourte Bow and its Effect onBowing Articulation". I dared not thinkof the possibility that there might beno more opportunities to grapple withthe problems of bowing articulation, orany other problem of viola playing, forthat matter. I had been playing forthirty-eight years; I could not conceivedoing anything else.

After six weeks, the cast came off,and the day I had looked forward to sogreatly turned into yet anothernightmare. As they peeled off mycocoon the pain hit I was evendistracted from the appearance of theatrophied tissue. The arm, supportedby the heavy plaster for so long, couldnot support itself , and the hand hungdown, flopping in the air. I couldbarely walk out of the hospital.

The Reunion

At home, the anticipated reunion withthe viola was delayed a few days, untilI could lift the arm somewhat. Finally,I unpacked the instrument and put itunder my chin. I lifted up the arm,and discovered that I could not rotateit enough to get any finger down onany string. I could not reach thefingerboard at all. I put the violaaway and went back to bed . Aftersome time had passed, in which Ifloated in a dream-like state of horror,it occurred to me that something mustbe done. With the tears rolling downmy face, I went back to the viola andtried again. Expending enormouseffort, I wrenched my arm around andsucceeding in getting my first fingerdown on the A string. The pain wasexcruciating. I could hold the positionfor only a few seconds, and thendropped my arm . I tried again, liftingmy finger above the string and puttingit down to alternate between A and B.I could play two notes, slowly. Very

5

slowly. Everything I did with my lefthand had to be done slowly . It wasextremely weak and hurt all the time.

I could play my two notes for onlya few repetitions at first. Gradually Iincreased the number of repetitions,then added the second, and then thethird finger. The fourth finger wasmuch more difficult. I was an absolutebeginner. Eventually the D stringloomed into view, and the rotationnecessary seemed possible, if onlymomentarily. The correct word for themotion I was attempting is supination.I have learned this word well, and alsoits opposite, pronation. We usepronation of the right arm to addweight and power to the bow stroke--itis the turning of the hand downtowards the floor "and away from thebody. Pronation of the left hand isstill difficult for me, but supination,the turning of the hand toward thebody, was the motion I needed to reachthe fingerboard, and supination wasnext to impossible, or so it seemed.

I had no muscles . My pitiful armand wrist were quite swollen, but asthe swelling receded I saw how little ofmy formerly well-developed armremained. What was prominent insteadwas a big bump where the break hadoccurred and another big bump on theoutside of my wrist. I analyzed thepain: the muscles were screamingfrom being used after having beenfrozen for so long, the muscles andtendons were being stretched againafter foreshortening, and the bones inthe new position were pressing againsteach other. In retrospect, it was theweakness of the muscles which was mymajor problem. They just would notpull the hand around over thefingerboard, and exhaustion set inquickly. I could practice for only afew minutes at a time . I dared notthink about how many " hours I used towork in the recording industry, in anygiven day . As a free-lance musician, I

6

accepted the work when it wasavailable, even if it meant occasionalthirteen to sixteen hour days. In fact,it was those days that built mystrength and gave me great endurance.Now all that was gone .

I left the viola out on the piano allday, and just kept returning. Gettingdown to the G and finally the C stringwas a major accomplishment in thosefirst weeks. At first, I would lock mythumb over the neck and fingerboardand hang on for dear life. Any kind ofchromatic alteration requiring lateralmotion was extremely difficult, and theextension back of the first finger,which I had always relied on soheavily, came much later and withgreat effort.

I began to creep up the fingerboard:second position and then third position.One day, to my amazement, I foundmyself in fourth position on the Astring. I also found that I could playfor a few more minutes before the painset in so strongly that I had to stop.Sometimes I would break down in tears,but I always went back later and triedagain. I devised a warm-up exercisethat was, at first, all I could manage todo. It was basically a trill preparationexercise on each finger, and then apatterning of the four fingers indifferent half step formulations . I wasstill a beginner, but my range wasgrowing and my endurance improving.

I learned what it is to be compulsive.I went back again and again, trying toextend what I could do. I was dr ivento practice. My life depended on it.

Therapy

It was after about two weeks thatthe doctor sent me to occupationaltherapy. What we did there wasstretch the wrist . Increasing 'range ormotion' was the goal, since I wasseverely impaired in the pronation and

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supinationimpaired inwell.

motions and somewhatthe up and down motions as

overcome than I to be back in the fieldof battle.

If anything, the severe stretchingexacerbated the pain, but after abouttwo weeks of daily stretching, Idiscovered something wonderful. Myvibrato was coming back. Slowsustained playing was still my mostdifficult task, requiring the greateststrength and endurance, but the freeingof my wrist made the vibrato motionpossible. I gained twenty degrees ofmotion in each direction during thisperiod. I was starting to sound like aviolist again.

What did I practice? Everything Icould find in the music cabinet. I wasplaying the viola at least four hours aday; when it hurt too much, I wouldstop and come back later. I don'tremember when it occurred to me thatI had made tremendous progress I wasso involved in the process of relearningand the task so great, I had littleperspective on what I wasaccomplishing.

Toward the end of the fifth weekout of the cast, the pain changed fromthe demanding, shooting pains andmuscle cramps to a deep ache. I wasgrateful. This meant I now could playlonger at any given opportunity, I wasable to increase my range on the Cstring, still my nemesis, and I couldwork on double stops at last. Themore I was able to play, the stronger Igot. The sound improved because ' thefinger strength was gaining. I recordedmyself and listened back withtrepidation. Always my worst critic, Ifound the playing almost acceptable.

At the end of six weeks out of thecast, three months after I first brokemy arm, I was ready . to go back towork. I don't consider anything I didto be heroic . There are other stringplayers I know who bad much more to

8

WarmlD& Up '

I learned a great deal from thisexperience. First, the importance ofwarming up. I will never again pullthe viola out of the case and startplaying. The exercises I devised, whilenot original, seem to be extremelyhelpful and I will probably begin eachday with them for the rest of my life.It is also a good idea to do some largemuscle movements such as general bodystretching, shoulder and head rolls, andso forth, before one even approachesthe viola. Because I was so stiff andsore, I found heat applied gently to mywrist and arm for five minutes before Ibegan to practice to be of help, also.But apparently, heat must be used withcare, because it draws fluids to thearea, and if one is swollen, it cancause more swelling and hence lessfreedom of movement.

I had always thought that it wasnecessary to begin practicing with long,slow, sustained tones. But I found thatthis kind of viola playing is perhapsthe most difficult, and requires themost strength and control. For me, itwas impossible at first. It seemedbetter to begin with moving fingers, upand down on the finge rboard, graduallyincreasing speed. Three octave scalesand arpeggios are a mainstay of ourtechnical practice, but even these arequite athletic and should be precededby more restrained motions.

I solidified some basic tenets orteaching, and found my conceptsvalidated by my own experience. Themost important is that practice mustpush at the edges of what is possiblefor the player, otherwise it is onlymaintenance. I am not discounting thevalue of maintenance practice for theprofessional it is absolutely imperativeto counteract the effects of overwork,

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underwork, and orchestral playing ingeneral. But for students, progressivepractice is the goal. Building all thetime from what is possible to the nextstep, be it faster, higher, louder,softer, more sustained, more intense,etc ., this is the way to progress. Andmeasurable progress is the greatestmotivator of all. Positivereinforcement is a powerful tool, andwhat you accomplish on the viola isyour own personal victory; no one cando it for you, take the credit, or theblame.

Building physical prowess is not theonly goal in progressive practice.Increasing mental awareness, gatheringthe information from the page of musicfaster and more accurately, is also alearned process. So is absorbinginformation from what you hear andcorrecting it instantly. Again, pushingat the edges, constant effort to domore, learn more, see more, hear more,and play more. It requires greatenergy to practice in this fashion, butthe rewards are measurable. I canassure you that this is true.

I went back to work a few weeksago. It is a pleasure to make musicwith my colleagues instead of solitarypractice. I can feel myself gaining instrength each day. My latest purchaseis a three-pound barbell, with which Iexercise dutifully. Each of us canbenefit from the development ofmuscular strength in the arms andhands. Viola playing is a very physicalactivity. And being a violist is aprivilege to which I have happilyreturned.

Pamela Goldsmith studied at MannesCollege of Music and received her DMAfrom Stanford University. Shepresently teaches at Cal StateNorthridge. As co-principal of theCabi//o Festival Orchestra. She gavethe West Coast premiere of the Hans

10

Werner Henze Viola Concerto. Sheplayed electric viola with Frank Zappa.and was recipient of a "Most ValuablePlayer" award from . the NationalAcademy of Recording Arts andScience.•

JAMES MILLINGTON

by

ROSEMARY GLYDE

Editor's Note: This is the third in aseries of articles by the author onprominent violists and those who havehad influence in our field.

"Only one violist. Only one violiston the island . And he just returnedhome to England." This was asurprising pronouncement from agentlemen I was recently privileged tomeet. We sat on the porch of an oldsugar plantation farmhouse one morningin March of this year. The house waslocated in the parish (village) of ChristChurch on the island of Barbados, theEnglish protectorate in the southeastCaribbean. The old farmhouse had theBajan-styled central stairway leading upto a wraparound porch lined byjalousies. Just inside I could see oldportraits of a young violinist. Acrossfrom us was a grove of mahogany trees.The grove, owing to the trees' shallowroots, fell and wreaked havoc on thehouse in the hurricane of 1955, heexplained. It was hot, the day wasbright, bright sun. The gentleman'swife brought out a welcomed tray ofsweet orangeades.

I was on that porch by way of asimple phone call to the BarbadosTourist Authority in New York after Ilearned I was to accompany my husbandon a business trip to Barbados. The

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Tourist Authority suggested I contactthe University of the West Indies atCave Hill on the island . There, thesecretary--after being momentarilystymied when asked to give me thename of the local violist, or at thevery least, the local viola teacher--saidshe would look into it. A week later,she had found the violinist teacher onthe island, a retired teacher namedJames Millington. His daughter, JaniceMillington Robertson, a violinist andpianist, joined us for the meeting.

James Millington is a man of eighty­four years who seems much younger.The story of his beginnings was toldfervently and in great detail, as thoughit had all happened yesterday.Enthusiastic, he sometimes sang entirepassages of a concerto to illustrate hispoint, gesticulating strongly with hisbow arm. Alternately, he lay down ona chaise lounge to rest a chronicallypinched nerve in his neck. This manhad studied in New York, and hadachieved the reputation of being theviolinist and teacher on this island.How did it come about in this remotetropical region?

Fort Washington Heights, failed him inthe exam. He was 22 years old. Jamestold them that he wanted their bestteacher. "I want you ," : he said toProfessor Farina. Farina answered,"But I don't want you. You're too oldand your fingers are too thick. Wheredo you come from?" "Barbados." "Neverheard of it." James then mentionedsomething he had read about Ysaye,Ysaye had to put on a broaderfingerboard to accommodate his thickfingers. "That saved me. I was ableto tell him this and that got him!"Millington told me triumphantly. "Iwas in!" The professor then asked himwhich violinist he wished to patternhimself after. James answered, "Iwould like to play like myself, but I doadmire Kreisler. Heifetz plays fast,like a cyclone. Kreisler is just as fast,but he takes more time." He thenadded, "Give me one year. I'll pay youin advance, and if I don't come up tostandard, I'll be out." The professorwas wicked; everything he gave me wasbeyond me," but at the end of theyear, he said, "You can go on." Hejust couldn't understand how the youngMillington could memorize so very well.

James Millington was born inBarbados, a true "Bajan", His uncle,who had no children of his won, tookgreat interest in him and discoveredthat James had musical talent. Theuncle had his own organ; James sangwhile the uncle played. The uncle gavehim a mandolin in which James tookgreat interest. Then he heard a violin.His uncle found one for him, and Jamesbegan to teach himself at fourteen .Later his uncle insisted he go tocollege and sent him to America in the1920's.

In New York

Arriving in New . York,studied privately to preparecollege entrance exam. Thethe Conservatory of Musical

12

he firstfor thecollege,

Arts in

Every year there were concerts givenby the students outside theConservatory. A young player,Andrietta, from New York and awealthy boy, could play in a room bythemselves but couldn't bear anaudience. "But for me, the morepeople, the better I play. I played theDeBeriot Concerto No. 9 for my testand passed."

After graduation in 1930, he returnedto Barbados to visit his mother anduncle, but "they didn't allow me to goback." Millington thought he would notbe able to make a living in Barbados,but his uncle was convinced it wasactually better for him to remainbecause Barbados would, he believed,provide a lucrative base for the solestring player. In addition, he could

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Millington also founded a stringgroup at the school that later becamethe Barbados Strings, and later, theBarbados Sinfornia. He directed thisgroup for years, and until veryrecently, it was directed as well by hisdaughter, Janice.

He then met the British organist,Gerald Hudson, organist at the maincathedral on Barbados, a fellow of theRoyal College of Organists, and "thebest musician on the island." WantingMillington to be introduced to theisland, he arranged a concert for himat the cathedral. The cathedral waspacked. After that concert, Millingtonnever had an empty hall. He took onprivate pupils for nineteen years,playing student concerts and his wonsolo performances every year.

His daughter, Janice MillingtonRobertson, pointed out that on theisland, a recitalist was expected to playfor free. Therefore, when Millingtonwas offered a teaching position at theCamembere School on the island, it wasvery inviting to him . He was asked tocreate a department to introduce theEnglish exams of Oxford-Cambridge.The position offered him a fixed salarywhich was, or course, much morerewarding financially. But he hadstudied in the U .S. and as such, wasunfamiliar with the English gradingsystem. As the thought processes andsyllabi were very different from theAmerican and Barbadian, he had todevise a method to adapt the English tothe island's needs. He evidentlyenjoyed much success in the positionof his students at the school, all havepassed and many received distinctions.A former pupil, Augustus Brathwaite,for example, went to Peabody and ispresently in Georgia working on . hisdoctorate.

become a nationalist,opportunities for his nation.

creating Janice Millington Robertson

As I spoke to Janice, several factsbrought us in almost immediate rapport.We are both the same age; we bothhave a small child; and we both studiedthe violin with our fathers in out-of­the-way places . Discussion of herviolin studies with her father broughtnot an unexpected volley of laughs andconcerned glances in regard tostubbornness on both their parts. Hehad wanted her to study medicine, butshe ultimately chose music; the violinwas her first instrument, the piano, hersecond. She is well known on theisland, for in the short time I wasvisiting there, several people I spoke toknew her by reputation or had heardher in performance.

The governor from St. Kitt's hadassisted her in obtaining a scholarshipto study in England. He informed herfather that, if the subject she wasinterested in was not obtainable at theisland's university, she was eligible toreceive the Commonwealth scholarship.There followed her years of study inLondon. There she found her mentorin Jean Harvey, herself a violinist andpianist.

Janice now teaches at HarrisonCollege and is herself at a crossroads.She just played solo concerts in Guianaand finds that now is the time of herlife to play. The question is whetherto stay in Barbados or go overseas. "IfI play at a national level, what kind ofcontribution can I make?"

On the subject of the viola, Janicefeels that "the island needs to hear agood violist, in order to allow the violato be a visible thing. Some peopledon't even know what a viola is!"There had indeed been only one violiston the island. His name was WilliamGreasley, an Englishman who came fromKneller Hall , the English militaryacademy for training musicians.

14

OBERON

Lynne Ramsey IrvineViola, Orchestra Studies

Jeffrey IrvineViola, Chamber Music

Viola at Oberlin

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

Michael ManderenDirector of AdmissionsOberlin ConservatoryOberlin, Ohio 44074

216/775-8413

Extensive financial aid and scholarships available.

Greasley conducted the military bandand was a violist as well. He hadrecently retired back home to England.

was about to ask Millington whowas filling Greasley's shoes when mytaxi arrived, honking, and I had toleave quickly to catch the boat.Otherwise, I could have easily spenthours with them and gotten my answer.

It was truly a memorable meetinglistening to these dedicated musicians,true trailblazers on this remote island.Their life-long struggles have been andwill be appreciated and enjoyed. I'msure the Millingtons would welcomeletters and inquiries: Maxwell , MainRoad, Christ Church, Barbados. It washard to leave them .

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

TEACHING THE VIOLA

IN FRANCE

by

OLIVIER SEUBE

Practically every city in France ofmore than 30,000 inhabitants has aschool of music , managed andadm inistered by the municipalitygovernment with the help of theregional council. All children whodesire to study music, dance ordramatic art can enroll in these schoolsafter having taken courses in a private

16

school , or private lessons, or byregistering directly as beginners. Eachregion has a National RegionalConservatory which gathers the beststudents from the schools of music .Here students can study all instrumentsas well as solfege (required), sightreading (required), chamber music,orchestra, piano (secondary instrument),music history, musical analysis,acoustics, and eventually, a secondinstrument.

The professors teach sixteen hours aweek and are paid full -time salaries.Often, they have an assistant whoteaches the lower level courses. Thelessons are private--although otherstudents may attend--and the length ofthe courses varies depending on theconservatory. At Strasbourg, where Iteach, I give a one-hour lesson to eachstudent every week.

At each level, there is acorresponding age limit, (the course ofstudy being very hierarchal). Theduration of study at each level is setby each conservatory. Entranceexaminations designate at which levelthe students will enter the program. Asemi-annual examination monitors thestudent's progress.

Every school year starts in Septemberand ends in June of the following year.The students are admitted from aboutthe age of eight years . Violists usuallyplay small violins which have beenrestrung, or they play small scale violasmade at Mirencourt 1/4, 1/2, and 3/4size. Beginning at the level of middleschool, the students buy their owninstruments, usually made in Strasbourgor Mirencourt, for approximately $2,000.

The courses go up to the "courselicense" or the preparation to become aprofessor (twenty-eight years old).Most of the advanced students then goto the Superior National Conservatoriesof Music at Paris or Lyon to finish

the ir stud ies. Some students changefrom the study of the violin to theviola. This is rare, but they do havethe choice, Violinists are actuallyencouraged to briefly stud y the viola inorder to acquire a more resonant tone.

The study of music requ iresnumerous sacr ifices because it must bebalanced with traditional school stud ieswhich are very demanding in France.

But for twenty years, each regionalconservatory has offered the choice ofstudying on an adjusted schedule: atschool in the morning and at theconservatory in the afternoon. Thisoften yields the best results.

String teaching method used inFrance is very trad itional, since all theprofessors are French and are taughtthe same approach in the NationalConservatories, i.e., the Franco-Belgiumtechnique which is akin to the Russiantechnique.

The use of foreign or contemporarymusic is rather limited although theprofessors are free to teach as theywish. There are also few exchangeswith foreign conservatories. For thesereasons, teach ing has remained ratherunchanged.

Fortunately, about ten years ago, anorganization, Friends of the Viola, wasformed in France presided over bySerge Collot, professor of Viola at theConservatoire National Superieur deMusique in Paris. (cf. Secretaire add ressbelow")

This association has greatly enr ichedthe opportunities for the advancementof viola professors through contacts ,meetings, concerts, trips to foreigncountries, and a journal of informativearticles, discussions, studies and worksin collaboration with the makers ofstringed instrument, composers andeditors.

In fact , the goal of the Frenchconservatory is to offer a veryspecialized musical ambience in order toproduce professionals. Contemporarymusic is really just now beginning tomake headway in our teaching. Wewould be very happy to receiverecommendations of contemporaryAmer ican viola works which couldenrich us even more. I, in turn, listworks of pedagogicical interest forteach ing contemporary French music.··

THE HISTORY OF THE VIOLABy

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

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

512 Roosevelt Blvd.• Yps i lant i. MI 48197

17

*ASSOCIATION INTERNATIONALE DES ALTISTES ET AMIS DE L'ALTOSecretaire: Paul Hadjaje II Bis, rue neuve Saint Germain,

92100 BOULOGNE

** LlSTE D'OEUVRES CONTEMPORAINES D' INTERET PEDAGOGIQUE:

Nom du Compositeur

M. BLEUSEJ. B. GALLAISP. CHOQUETJ. M. DEFAYEF.FABER

P. FOUILLAUDR.GAGNEUXJ. GUINJOANB. JOLASidemJ. M. LAUREAUP. Y.LEVELA. LOUVIERG . MASSIASA. VOIRPYI. XENAKISM. DURUFLE

H. POUSSEURB. BARTOKM. CARLESM.CONTANTD. DENISA. JOLiVETA. MARGONIJ. MARTINON

Titre

EI CantadorHymnePiece pour vln&vlaAmplitudePoursuite

CrepusculaireDuo pour vln&vlaMicrotonoEpisode 6·l'ArdenteSchizzo, vln ,vla, vicMentorSempre piu Alto12 Etudes de ConcertMotum IIIEmbelliePrelude, recitatifet variationsFlexions IVDuosIntensitesRec itativeLevres Rouges5 eglogues3 eaux-fortesRapsodie ' 72

Ed iteur

BlLLAUDOTTRANSATLANTIQUESJOBERTESCHIGInstitut Pedagogique Mus ical­Etablissement public duPare de la Vilette 211, AvenueJean-Jaures 75019 PARISidemDURANDAMPHIONHEUGELidemI/P/MLEDUCLEDUCJOBERTLEMOINESALABERTDURAND

SUVINI ZERBINI MILANOUNIVERSAL EDITION (15998)LEDUCSALABERTRIDEAU ROUGEBILLAUDOTBILLAUDOTBILLAUDOT

Olivier Seube studied at the Paris Conservatory with Serge Col/otHe was a violistFrench orchestras .Conservatory .•

with the Colonne Concert Association and hasHe is an associate professor of music

and Bruno Pasquier.soloed with severalat the Strasbourg

18

Editor's Note: The November, 1987 issue of the JOURNAL will not arrive at oursubscribers' address unt il January, 1988.

A MUSICAL FEAST

AT ANN ARBOR

by

.. Alexa nder Harper

It was a musical feast, indeed, fordevotees of the alto and Bratsche, assome 200 violists assembled for theweek of June 16-20, 1987, at AnnArbor, Michigan. The American ViolaSociety and the School of Music of theUniversity of Michigan co-hosted theXIV International Viola Congress, withYizhak Schotten as host chairperson,assisted by his wife, Katherine Collier.

It was a feast for gourmands, withperformances of seven concertos andfive other viola works with orchestra,some twenty-eight chamber works andsolos, eight works with composerspresent and five world premieres . Itwas a feast for gourmets in elegantperformances by world-class artists.Two orchestras and a dozen skilledaccompanists at p iano , harp ,harpsichord and - -would you believe it?--gamelan ensemble prov ided settingsfor the viola works .

Yet the Viola Congress was not amere performance marathon . Both theInternational Viola Society and itsAmerican chapter are committed toviola research as well. Frontiers ofrecent scholarship were shared byFranz Zey ringer on the emergence ofbowed stringed inst ruments in Europeby the 7th century A.D. and of the

I viola da braccio family before that ofthe violin; by Maurice Riley on methodsand materials for viola research; and byAnn Woodward in profiling the violistof the classical period.

David Dalton, AVS President,reported some progress in the Prim roserecording-reissues. He presented a new

videotape which included the masterviolist performing Beethoven, Schubertand Paganini in 1946. Both Zey ringerand Dalton have forthcoming books ontheir topics. Rile y is readying arevised, enlarged edition of his TheHistory of the Viola.

Viola pedagogy received closeattention in a lecture by Louis Kievman(practice pointers), in master classes byEmmanuel Vardi, Robert Vernon andHeidi Castleman, in a Suzuki ViolaWorkshop by Dor is Preucil , and bymock orchestral auditions before apanel of Nathan Gordon, PatriciaMcCarty, Yizhak Schotten and RobertVernon.

Makers of violas and bows were inattendance with examples of their craftfor purchase or order, all coordinatedby Eric Chapman, Joseph Curtin andGregg AIr. A cacophony of violasundergoing simultaneous sampling couldbe heard at all times in the displayrooms. Tokyo Quartet violist KazuhideIsomura demonstrated instruments bynineteen attending makers, playingidentical passages from Tchaikovsky,Brahms and Beethoven. Purveyors ofmusic, recordings, v ideotapes ,accessories and journals did briskbusiness.

Primrose Competiton

First event was the Primrose MemorialFund Scholarship Competition, withfinalists Lynne Richburg, Carla-MariaRodrigues and Paris Anastasiadis. First,second, and third place awards were inthat order. (Henceforth, in this article,makers of instruments played are givenin parentheses after violist's name andnames of compos itions are limited toawards or first performances.) WinnerLynne Richburg (Matsuda viola), pupilof Donald McInnes, played later withorchestra Alan Schulman's Theme andVariations as part of her award.

19

The congress was greatly enrichedby the fine performances of the U.S.Air Force Symphony Orchestra,conducted by Lt. Dennis Layendecker.Unique for the Michigan setting wasthe National Arts Chamber Orchestra,and faculty of the University ofMichigan in supporting chamber musicroles on winds and keyboard.

The opening concert was presentedby University of Michigan School ofMusic faculty, past and present:Patricia McCarty (J.N. Brugere), viola;Gamelan ensemble under MarchBenamou; Leslie Gunn, baritone; DonaldMcInnes, viola (Matsuda); KatherineCollier, piano; Fred Ormand, clarinet;Yizhak Schotten, viola (Brescian:Gasparo?); and Lynn Aspnes, harp,Geoffrey Applegate, principal 2nd violinof Detroit Symphony, replaced CamillaWicks, violin. They performed worksby Lou Harrision, C.M. Loeffler, LeslieBarrett, Bax and Rolla, with composerBarrett in attendance.

A recital by Patricia McCarty withEllen Weckler, piano, included works byAlexandre Winkler, George BalchWilson, Henri Busser and Tibor Serly,with composer Wilson present, and afirst performance of the viola versionof Serly's Sonata in Modus Laviscus.Violist Toby Appel (Heir. II Amati),with John Mohler, clarinet and FrancesRenzi, piano, presented RomanticEnglish works by Rebecca Clarke andFrank Bridge.

Works with Orchestra

With the Air Force symphony, FredOrmand, clarinet, joined Schotten inBruch's Double Concerto. BarbaraWestphal (Gasparo) rendered JeanFrancaix's Rhapsody for Viola. whileWilliam Preucil (Sgarbi) played Heinz­Werner Zimmermann's Concerto forViola, containing jazz-motifs, with thecomposer present.

Kazuhide Isomura (Mariani) gave a

20

program of virtuoso unaccompaniedmusic by Bach-Kodaly, Vieuxtemps,Fuchs and Reger. Chamber works byHummel, Randall Thompson, Loefflerand P.D.Q. Bach were combined in aprogram by Appel, Westphal, Preucil,David Dalton (Peresson) and SuzanneOstler, violists with Nina de Veritch,cello, Fred Ormand, clarinet, KatherineCollier, piano, and Penelope Crawford,harpsichord. In another rec italWestphal and Collier played Martinu,Hindemith and the first performance ofa Solo Suite by Maurice Wright.

The Air Force Symphony returnedto accompany Robert Vernon (Knorr) inDavid Finke's concerto, Paul Swantek(the symphony principal) in Vanhal'sConcerto in C, Patricia McCarty inBax's Phantasy on Irish Tunes. andDonald McInnes with Endre Granat,violin , in the premiere of MauriceGardner's Double Concerto.

With the National Arts ChamberOrchestra, conducted by KevinMcMahon, Susan Kier (Keller) playedJames Domine's concerto. EmanuelVardi played Walter May's Concerto No.1. Kathryn Plummer (Grancino) washeard in Alan Shulman's 1984 Variationswith composers Schulman and May inattendance.

A final recital of viola duos byEmanuel Vard i and Lenore Weinstock(both Iizuka) ranged from Rolla to theHandel/Halvorsen Passacaglia, with theusual violin part taken by Vardi on theviola. Duos by Richard Lane andSeymour Barab were dedicated to theseviolists.

"Career Options" was the theme ofa panel discussion by Nathan Gordon,Louis Kievman, Donald McInnes,Kathryn Plummer and William Preucil.Near the end McInnes quoted a leadingartist-manager saying, "There's roomfor only one top-night solo violist inthe world." Quipped Nathan Gordon:

Alexander Harper has been principalviolist 0/ the Fox River ValleySymphony in Aurora. Illinois. lor adecade. and a pupil 0/ William Schoen.

"And he's dead!"

The 1987 Congress opened with abanquet, at which citations for servicewere made to Maurice Riley, FrancisTursi, Ann Woodward and the U.S. AirForce Symphony Orchestra. The IVSpresented its annual Silver Viola Clefto David Dalton. The Congress endedwith separate meetings by the Americanand Canadian chapters in which livelydiscussion was heard regarding plansfor the expansion of theirorganizations.

Violists will gathernext Congress which 'was16-20 June 1988 inGermany.

again at theannounced forKassel, West

i "' ~'r.I/ -- ....---

\\

J

Ground Round f r an Sonata for ViolaFour Hands by P. D. Q. BachXIV Viola Congress

21

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

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

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

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

Renewal Membership ( ) $15New Membership ( ) $15Student Membership () $7.50

( ) I wish to contribute to The William Primrose Memorial Scholarship Fund inthe amount of $, ,

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

TOTAL _

Please indicate appropriate membership category below.

( ) Individual( ) Amateur( ) Educational Organization( ) Music Business( ) Library( ) Other

Name

Address

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 andpossible publications. We serve as aclearing house for many viola related requests.

City

Telephone

State Zip

( ) Check if this is a new address

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

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

AACAAIIJJ, KATHIE J.

4611 KENSINGTON AVE.TAMPA, FL 33629

Adams, Anne1400 Olive Springs Rd.Soquel, CA 95073

Ames, Archer160 E. 38th Street, MB243New York, NY 10010

Arazi, Ishaq8833 Elliot Ave. So.Bloomington, MN 55420

BAILEY, WILLAIH2161 B PUNA STIlONOLUW, HI 96817

BRANNON, RHYS863 CLAUDE STCARSON, CA 90746

Barker, Julia711 St. Johns Rd.Baltimore, MD 21210

Arrerican Viola Society Merrbership, 1987

ANDERSON MUSIC LIB, DWIGHT2301 S. Third StreetLouisvil le, KY 40292

Adams, Julia F.32 May StreetPortland, ME 04102

Anderson, Sandra J.875 Bluebird LaneLafayette, CO 80026

Arnol d, Alan H.14 Fenwood RoadHuntington Sta., NY 11746

BARNES, VINCENT14484 VILLAGE DR.WOODBRIDGE" VA. 22191

BRYAN, NANCY NICHCLS2011 DREXEL DR.HOUSTON" TX. 77027

Barnes, Daisy H.14048 Asbury ParkDe troit, HI 48227

ARID, ATAR1730 LAFAYETTE N.E.ALBUQUERQUE, NM 87106

Alexander, Judy MacGibbon4880 County Rd. 6Maple Plain, MN 55359

Antonik, John1060 Oldstone Rd.Allentown, PA 18103

BACKMAN, DANIEL O.4025 HANCOCK DR.SACRAMENTO., CA. 95821

BAUER, LEROY PROF242 CIRCLE DRMOSCOW, ID 83843

BUTTERFLY, MARGARET PARDEE268 PARKWAY DR.WESTBURY.. N.Y. 11590

Bauer, Richard4554 12th Ave. So.Salem, Or. 97302

Bein & FlIshi,Inc.,410 S. Michigsn Ave. suite 10i4Chicago, IL 60605

Berger, Madeline Frank2 Mac Irvin Dr"iveNeWport News, VA 23606

Bethe11, JohnThe Beeches, Lime Tree GroveRathenstall BB4, 8JB Lan ENGLAND

Bloom, Deborah J.1601 N. Innsbruck Dr. '175Fridley, MN 55432

Bodman, Lyman W.

353 Division StreetEast Lansing, HI 48823

Bellino, Frank J101 Chapin PlaceGranville, <Jl 43023

Be rk , Annabel8149 E. Baker DriveTucson, AZ 85710

Bettigole, Marcia53 Wiltshire RoadWilliamsville, NY 14221

Bob, Joan2400 Shelleydale Dr.Baltimore, MD 21209

Bramble, Marcia235 "A" StreetSalt Lake City, LT 84103

Benjamin, Adria393 West End Ave. Apt. 15ENew York, NY 10024

Berkowitz, Lori170 Second Ave. Apt. 10-BNew York, NY 10003

Blankleder, Jose1240 Ala P Kapuna,'409Honolulu, HI 96819

Bodman, Alan55 Fir Hill '11B8Akron, Ohio 44304

Brandfonbrener, Amy1213 S LamarAmarillo, TX 79102

Brieff, Frank225 Lawrence StreetNew Haven, CT 06511

Burton, Janene823 East 1700 SouthSalt Lake City, VI 84105

Buttrey, GertrudeSO Wes t 96th StreetNew York, NY 10025

COADE . CAROLINE LOUISE4027-91 FORIE de PALMAS

SAN DIEGO, CA 92122

Cain, Donna Wolff247-4A Gemini Dr.HU Isboroulllt, NJ 08876

OIailly, Marie Therese Frof.17 Rue Th. de Banville XVIle

75012 Paris, France

Clark, Donna Lively5412 Washington Blvd.Indianapolis, IN 46220

(Dnant, Keith2400 Noyes St .,Evanston, IL 60201

(Duat, Merryn L.

3970 San BernadoJacksonville, FL 32217

Qlt1er, Hesther L.458 E. 3460 NorthProvo, Ut. 84604

Brown, Jo Ann Gelat24 Lakeview HeightsNiantic, Ct. 06857

Busch, CynthiaHeinz Hall, 600 Penn Ave, PSOPittsburgh, PA 15222

CHARLAP, VALENTINA114 PROSPECT STNEWBURGH, NY 12550

COLBURN, RICHARD1120 LA COLLINA

BEVERLY HILLS, CA 90210

Ca rrington, Philip' Mr.

16 Clapham StreetBe lwyn, VIC., 3103 AUSI:RALIA

Otilds, Elaine1552 N. 18th St.Laramie, wy. 82070

(Dletta, Harold

5 Old Hill RoadWest Nyack, NY 10994

(Dok, David W.3583 Ross LaneCentral Point, OR 97502

Craig, Myra L.

1942 Indiana Ave.New Albany, IN 47150

Czako, JohannWissmannstr. 18/68500 Ibernberg, 10 W. Q;;RMANY

Brown, Louis M.606 N. Palm DriveBeverley Hills, CA 90210

Butler . Lori

598 East Laurelwood Dr.Ksysville. VI 84037

CLEAR, REIlECCA1855 BmLAH RD.VIENNA.. VA 22180

COOK, CYNTHIA

1322 N WOODLAWN NO 129WICHITA, KS 67208

Castl....an . Heidi261 Shoreham DriveRochester. NY 14618

Citters, Mary VanBarnes LanePlymouth, MA 02360

(Dmer, Helen

1173 Itlrth 150 EastLayton, VI 84041

Coppenhaver . Dorian Dr.1309 Plantation Dr.Dickinson. rx 77539

Qlncannon, Berys

90 C)1eens Drive, Lyall BayWellington 3, NEW ZEAUND

' Dal t on , David939 North 1550 West

Provo. VI 84601

Danks, Harry

12 Beverly Gardens,Hiddlesx HA9, 3QZ

Wembley PkENGLAND

De Pasquale, Joseph532 General Lafayette !badMerion Station, PA 19066

Derlaeki, Walter R.7716 89th Place SEMercer Island. WA 98040

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Dolf. Bestrice A.2111 E. Hamlin StreetSeattle. WA 98112

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Downing. Ksthryn S.451 Westcott StSyracuse, NY 1 3210

Doyle, David2311 Janlyn RoadLouisville, KY 40299

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Finke, David

4225 Osage AvenuePhiladelphia, PA 19104

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Gardener, Vittore E.2444 Gardener Rd.Eagle Point, OR "97524

Gibson, Craig305 17th Streetseal Beach, CA 90740

Gordon, Nathan

18662 FairfieldDetroit, HI 48221

Green, Paul and Skip Hr.MaRoseholm PlaceHt. Kisco, NY 10549

HEADLEY, CHARLES BENSON DR.

2029 N. WOODLAWN NO.424

WICHITA" KS. 67208

Hadjaje, Paul Prof.11 bis Rue Neuve St. Germain92100 Boulogne, France

D.Jnham, James22952 Market St.NeWhall, CA 91321

Emmons, Marilyn

1405 W. Oak St.Fort Collins, CO 80521

FURNAS-CORSTANJE, E. JOAN45 SOUTH CROSS ra,FAIRPORT, N.Y. 14450

Fisher, Marlow

202 W. 92nd St. '4FNew York, NY 10025

Fort Manero, AbiliBeato Almato 38 30 3a08023 Barcelona, SPAIN

GEORGE, ALISON R.101 N. BEIKlNT

WICHITA" KS. 67208

Gains, Jerry5 Harbor Point Drive, Apt. 301Hill Valley, CA 94941

Gardner, Maurice5640 Collins Avenue Apt. 7-DMiami Beach, FL 33140

• G1yde, RosemaryPO Box 558 Rt. 22Goldens Bridge, NY 10526

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HILDRETH, HELEN H.P.O. BOX 42547, YORK STAnONLOS ANGELES, CA 90050

Hall, Thomas G. Dr.3843 East Kirkwood AvenueOrange, CA 92669

ERDELYI, CSABAINDIANA UNIV SCH OF MUSICBLOOMINGTON, IN 47401

Evans, Rachel Ms.

2350 Broadway '1019New York, NY 10024

Fine, Burton18 Cochituate Rd.Newton, HA 02161

Forbes, Wa tson

Great Wolford, Shipston-on-Sto

Warsickshire CV, 36 5NQ ENGLAND

Fox, Sidney2607 Winston Rd.Bethlehem, PA 18017

GRIMES, FRANCIS J.

1517 FLOYD AVE '3RICHHON, VA 23220

Gandy, T.G .2818 W. Lake Shore Dr.Iallahassee, FL 32312

Gehman, Connie Hein1221 Union Blvd.Allentown, Pa. 18103

Goldsmith, Pamela3476 Wonderview Place

Los Angeles, CA 90068

Grand, Louis Dr.R.D.1, Box 198GHighland, NY 12528

Gruber, Gabriel8607 E. Berridge LaneScottsdale, AZ 85253

1IUl"IER, CAROLI188 RIVER DRHADLEY, HA 01035

Hampton, Co11n309 Berkeley Park Blvd.

Kensington, CA 94707

Hanna, James R.523 W. !aft StreetLafayette, LA 70503

Hard, Wallace528 Oakview DriveKettering, OH 45429

Harr1lllan, J. Kimball Prof.120 Ashton ce,Athens, GA 30606

Hauck, Betty V.Box 79 Apple Hill

E. Sullivan, NH 03445

Heydt, Alison1510 Stafore DriveBethlehem, PA 18017

Holland, James1316 W. 96th St.Chicago, IL 60643

Howes, Robert A. Mr•1519 Robinwood Ave.Cincinnati, OH 45237

Hutchins, Carleen M. Dr.III Essex Avenue

!bntc1air, NJ 07042

Ives, Lori264 Eas t Green StreetClaremont, CA 91711

Jacobs, VeronicallU Park Avenue Apt. 4ENew York, NY 10126

Johnson, Jill1801 Spring Creek Pkwy. B-1Plano, n 75023

.Jones, Roland3004 S. KearneyDenver, Co. 60222

Kalal, Gladys S. Mrs.111 Marinette IrailMadison, WI 53705

Hansen, Jo Mrs.P.O. Box 5358

Greensboro, NC 27435

Hardin, Barbara G. Mrs.824 Franklin DriveCharleston, IL 61920

Harrfs , Julia3409 Willowood DriveBartlesville, OK 74003

Hedges, Julie

1200 North 7100 East

HuntSVille, Ut. 84317

Hogendorp, Leo R.2128 California St.Oceanside, CA 92054

Holv1l<, Martha2515 Iowa StreetCedar Palls, IA 50613

Burtz, Albert830 Fruithurst Dr.Pittsburgh, Pa. 15228

Irvine, Jeffrey402 !brgan St.a,erlln, 011 44074

JOOES, JEAN314 WISCONSIN AVE. #2EL CAJON, CA 92020

James, Mary E.1919 S ElmPittsburg, KS 66762

Johnson, Rebecca7138 South 2900 EastOgden, Ut. 64403

XASS, PHILIP209 PARK RD

HAVERTOWN, PA 19083

Kelley, Dorothea4808 Drexel DriveDallas,:IX 75205

Harbst, Rosalyn3606 Glencreek LaneLouisville, KY 40218

Harper, L. Alexander16 S. GladstoneAurora, IL 60506

Hartley, MiriamPO Box 267Ledyard, CT 06339

Henderson, David Long442 Woodlake Drive

Sacramento, CA 95815

110 llan, Michael1825 N. 78th Ct.Elmwood Fark, Ill. 60635

Hook, Claudia L.3753 Ihornbrier WayBloomfield Hills, HI 48013

Hustls, Barbara S.3337 StanfordDallas, TX 75225

IsOOlura, Kazuhide

1 W. 64th St. Apt.7CNew York, NY. 10023

Jaakkola, Leo t. Mr.5440 N. Ocean Dr. #U06Singer Is land, FL 33404

Jeanneret, Marc61 Babcock Street

Brookline, MA 02146

Johnstone, Duncan1923 IMghtBerkeley, Ca. 94704

ICLOFn:NSTEIN, WENDY GLYDE617 S. CARNEY St.

A:rMCRE" AL. 36502

Kessel, PhyillsP.O.Box 949Kingston, WA 98346

, Kievman, IDuis1343 Amalfi DrivePacific Palisades, CA 90272

Kolpitcke, John1620 S. GLOBE AVE.Portales, NM 88130

Kulikowski, Delores1 Old Mountain RoadHadley, HA 01035

Lanini, Henry

10200 Anderson RoadSan Jose, CA 95127

Leventhal, Amy975 DREWRY ST. N.E.Atlanta, GA 30306

~ryJ-U,C~M.L.#33Cincinnati, OH 45221

MCALLISTER, CARYL K.c/o IBM ACIS 472 WEELERS l's\RH RD

MILFORD, CT. 06460

MacPhU lamy, Marj ode Bram

3614 22nd Ave. Wes tBradenton, FL 33505

Majewski, Virginia3848 Franklin Ave.IDs Angeles, CA 90027

McDonald, M.D., Marjorie35 Potter PondLexington, MA 02173

Meyer, Miriam1258 Deerpark Dr. #127Fullerton, CA 92631

""ller, Albert6754 Maywood WaySacramento, CA 95842

Neubauer, Paul251 w. 97 Street, Apt. 3ENew York, NY 10025

Klinpuller, Dr. Volker Prof.Leibnizstrasse 216800 Hannheim 1, WEST a:RHANY

Korda, Ma rion

3111 Talisman Road.IDuisville, KY 40220

LIM, SOON-LEE111 EAST AVE #941ROCHESTER, NY 14602

Lefkoff, Gerald

665 Killarney Dr.Morgantam, WV 26505

Levin, leonard7.220 PershingSt. IDuis, MO 63130

Locketz, Seymour2613 Inglewood Ave.Minneapolis, HN 55416

MICHELS, HAlJREEN1021 HARVARDHOOSTON, TX 77008

~ Mack Library-!- _)Bob -J ones-llii verai t y

GreenvU Ie , SC 29609

Marsh, Susan199 Ash StreetDenver, CO 80220

~ !'k:Innes, Donald

5 Halstead CircleAlhambra, Ca 91801

Micheli, Robert A.83 Kensington Road.Kensington, CA 94707

~""sic Society, College1444-l:1fteenth-Stree~Boulder, CO 80302

Newton, Harold3935 Harrisburg Street NESt. Pptersburg, FL 33703

, Knechtel, Baird A.103 North DriveIs lington, ent., M9A 4R5, CANADA

Kramer, Karen3641 Beech

Flossmoor, IL 60422

Lakatos, Janet1329 Raymond Ave.Glendale, CA 91201

Lesem, Kenneth

90 James St .Burlington, V'I 05401

levine, JesseHomer Clark LaneSandy Hook, CT 06482

, !oK: CARTi, PATRICIA134 ST. BOIOLPH ST.

!l0STON, MA. 02115

MILLETT, HAXANNE5222 CLIFFSIDE DRPHOENIX, AZ 85018-1831

Magers, William D. Prof.

School of lotJsic, Ariz. St. tmivTempe, AZ 85287

Matthews, Ann7542 E. Minnezona Ave.Scottsdale, AZ 85257

McWilliams, Bernard Mr.3195 Crocker RoadEugene, OR 97404

Morgan, Elizabeth M.11 Montroae Road;Taringa,Bris­

bane,Q.1eensland, 4068 AUSTRALIA

NEllER, ELIZABEI'II848 PORTERWICHITA" KS. 67203

Nisbet, Meredith W.

1908 SylviaArkadelphia, AR 71923

O'Donnell, Mildred1256 W. Fairview DriveSpringfield, OR 97477

Obern, Nancy2526 N. Hurray Ave.Milwaukee, WI 53211

PEITINGILL, E~ARD H.RDl2,BOX l87ABINGHAMION" N.Y. 13903

Perich, QJlllermo Prof.601 Sunnycrest Ct. East

Urbana , IL 61801

• Plummer, Kathryn3416 Benhan Ave.Nashville, Tn. 37215

Pounds, Dw1ght Dr.1713 Karen CourtBowling Green, KY 42101

Preves, Milton721 Raleigh Rd.

Glenview, IL 60025

Racine, NinaBox 857, Holy Trinity SchoolPort-au-Prince, HAITI

Richey, Laura

1805 Acorn CircleOgden, Ut. 84404

• Riley, Maurice W.512 Roosevelt Blvd.Ypsilanti, MI 48197

Rust, Joanne1240 South 325 EastBountifUl, UT 84010

SHAR PROOOerS CO.,P.O. BOX 1411ANN ARBOR" MI. 48106

STOSKOPF, ROBERT64 BEVERLY RD-'30ASHEVILLE, NC 28805

, OPPELT, ROBERT988 MADISONBIRMINGHAM, HI 48008

Olsen, Jim2309 South Third StreetSioux Falls, SD 57105

Palumbo, Michael A.1156 North , 200 EastLayton, UT 84041

Phelps, La Neice

Box 204Newton , Ute 84327

Ponder, Michael101 Se lborneLondon N14, ENGLAND

Premezzi, Lance34 Center StreetNew Paltz, NY 12561

Products, Paragon71 Stonyridge Ct., Dept. 129Powell, OH 43065

Raph, Mary AnnCandlewood Is Ie, Box 292New Fairfield, CT 06812

Riediger, Wa Iter712 W. Jewel AvenueKirkwood, HO 63122

• Rosenblum, Myron39-23 47th StreetSunnyside, NY 11104

SCHNAPP, TlHOTHY

3574 NORWOOD STCOLUMBUS, 011 43224

SHUMSKY, ERIC62 RUE LANCRY

PARIS" FRANCE

Sacchi, Carolyn3768 Rice Blvd.Houston, IX 77005

OSTLER, SUZANNEP.O.BOX 17844SALT LAKE CITY, UTAH 84117

Orynawka, Leo2278 Long RoadGrand Island, NY 14072

Papich, George1511 GreenwoodDenton, Ix. 76201

Pinner, Jay Martin8 Faculty RowGreenville, SC 29609

Posset, John R.2604 Steffin Hil lBeaver Falls, PA 15010

Prentice , Cynthia S.77 Dogwood Lane

}n1lllbull, CT 06611

REHER, SVEN HELGE258 W. ALAHAR,'2SAN'IA BARBAIRA, CA 93105

Rhodes, Samuel89 Booth AvenueEnglewood, NJ 07631

Riley, John H.507 2nd AveTaft, CA 93268

Rosley, Jacqueline2304 Speed AvenueLouisville, KY 40205

• SCHOENFEUl, SUSAN2322-56TH STLUBBOCK, IX 79412

S'IEIN, LlUolAN FUClIS186 P1NEIlURST AVENEW YORK, NY 10033

Sandford, Donald Prof.205 Alco AvenueMaryville, MO 64468

Satina, Albert912 West Verde LanePhoenix, AZ 85013

Schieber, Robert Prof.35 Washington PlaceEdwardsville, IL 62025

Schulke, Kathleen H.1617 So. Holly WayLansing, Hi. 48910

, Skernick, Abraham

126 Hampton Ct.Bloomington, IN 47401

9nith, David W.1411 Silva StreetLong Beach, CA 90807

Spence, Lawrence E.102 Marie WayNormal, IL 61761

Starkman, Jane FIIlily1009 Boylston StreetNewton B:l.ghland, MA 02161

Straka, LeslieP.O.Box 248165, Sch of tbsicCoral Gables, FL 33124

busig, Hans E.80-07 Abingdon Rd.

Kew Gardens, NY 11415

Thiele, Barbara C.11000 W. 79th PlaceArvada, CO 80005

Thornblade, GwendolineSUZU<.I SOl OF N&lTlMl PO BOX 22hlburndale, MA 02166

Trampler, Walter42 Riverside Drive SANew York, NY 10024

VANDENBERG, MARY BETH1190 S. HUMPHREY AVE.OAK PARK•• IL. 60304

Saul, lbomas Dr.207 Parklands DriveRochester, NY 14616

Schmoldt, Ann6816 Red Top Rd. '5bkoma Pk., Md. 20912

Scott, Susan H.4421 83rd Circle N.Brooklyn Park, MN 55443

Sklar, Arnold & Joyce

7135 KeystoneLincolnwood , IL 60646

9nith, Patricia A.3701 S. 8th StreetArlington, VA 22204

St amon, Nick4380 Middlesex DriveSan Diego, CA 92116

Stoll, BarrettRR 1 Box 227CAtalissa, IA 52720

Sunderman Jr., F. William Dr.13 tt>untain Rd.

Farmington, cr 06032

Templeton, B. David9809 Richmond J-14Houston, rx 77042

Thomason, Daniel Dr.10917 Pickford WayCulver City, CA 90230

nmblin, Willi8111 S.1303 First AvenueSterling, IL 61081

r l\lttle, Xaren2132 Pine StreetPhiladelphia, PA 19103

VERNON, ROBERT2679 BELVOIR BLVD.SHAKER IlEIGH'IS" OHIO 44122

Sawodny, Wol{gangEichenweg 27Oberelchingen D, 7911 W. GERMANY

.. Schotten, Yizhak3970 RidgJll8ar Sq. Dr.Ann Arbor, HI 48105

Settlemire, George1720 50. 9thWaco, n 76706

Smith, C. OIandler1201 Echo Ave. Room 8Seaside, CA 93955

5ofhauser, Joseph _137 Fredrick StreetPhillipsburg, NJ 08865

Stanbury, Jean C.43 Circuit Rd.

OIestnut Bill, MA 02167

Stolz, Paul Dr.RD fl, Box 1250 -Sheep BillFleetwood, PA 19522

Tan, Marina Bee (bay

Apt. 07-555Lengkok Bahru, Singapore 0315

Tertis, Lillian42, Manyot RoadLondon SWI9 58D, EIlGLAND

..Thompson, Marcus A.19 Florence St.Cambridge, MA 02139

Tischer, Ann C. Mrs.224 Loyala Dr.Santa Barbara, CA 93109

~:-; Seriah -Dept . ,

Davis Library 080-AOIapel Bill, NC 27514

Vardi, FIIlanuel50 W. 34th St.New York, NY 10001

Vidulich, Michael L. Dr.

P.O.BOX 47-126, Ponsonby

Auckland 1, NEW ZEALAND

WARSHAW ; HARVIN383 EIX:EWOOD AVENEW HAVEN, CT 06511

Wallack, Norman410 Westover Hills Blvd. '103Richmond , VA 23225

Wells, Patricia

3359 NW Fillmore

Corvallis, OR 97331

Westman, Burns10912 N. LinnOklahoma City, OK 73120

Wickerham, Laura5540 West Bar X St.Tuscon , AZ 85713

Williams, Dorothy Miller442 W. llarmont DrivePhoenix, AZ 85021

Wright, Carla F.302 Normandy

San Antonio, TX 78209

Zaslav, Bernard

101 ALMA ST. '801PALO ALTO, CA 94301

Vincent, Karen1045 Qlerrylee Dr. S.

Sa lem, OR 97302

WERNE, PATRICIA DALY108 WOOD POND RD

IoIEST HARTFORD, CT 06107-3541

Walton, Rochelle Mrs.191 Arden Rd.Gulph Mills, PA 19428

Wels, Walter

146-35 59th Avenue

Flushing, NY 11355

Ivbite, Donald O.375 South East StreetAmherst, MA 01002

Wieck , Anatole26 E. University Pk.

Orono, He. 04473

Winslow, Barbara

10225 Kensington Parkway 1902

Kensington, HD 20895

Zacks-Gabriel, Zanita A.402 West 6th Street

Erie, PA 16507

Zeyringer, Franz Prof.Husik IIochschuleA-8225 Poellau, AUSTRIA

WAGONER, GRACIE L.P .O.BOX 2544

SIOUX CITY, IA 51106

Waldorf, Elbert J.6470 Auburn Rd.

Painesvil le, 011 44077

Weeks, Mary Ann14 ~brrison Rd.Wakefield, MA 01880 ·

Wernick , Stephen Dr.

50 Bellevue Ave.

Bristol, CT 06010

White, John36 Seeleys, liar lowEssex CHl4 OAD, ENGLAND

Williams , A. Daryl300 College Hill Rd.

Clinton, NY 13323

• Woodward, Ann

209 W. University Dr.Qlapel Hill, NC 27514

Zahn , Lenkewitz-von UtaAhornweg 905308 Rleinback, WEST GERMANY

"QUARTET"by

Homer Clark

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

favorite of William Primrose.

Laser-copied and double-ma tted .

Im age size:

6 x 9 inches

16 x 24 inches

Mat Size:

II x 14 inches

22 x 30 inches

$35

$70

Proceeds in support of the Primrose Internat io nal Vio la Archive

(the official archive of the American Viola Society).

Paymen t to: PRIMROSEC-550 HFAC BY UPro vo . UT 84602