President Simon Oswell soswell@compuserve.com Vice President Donald McInnes Treasurer Janet Lakatos Secretary Jennie Hansen malibujen@earthlink.net Co-Editors Jennie Hansen Simon Oswell (see above) Publisher Lori Ives ivesico@earthlink.net Past President Keith Greene At Large Karen Elaine Bakunin Ralph Fielding Pamela Goldsmith Laura Kuennen-Poper Thomas Metzler Judge David L. Rosen Hannah Skupen Ray Tischer Vladimir Venozel-Dimitrov Correspondence Address SCVS 19433 Pacific Coast Hwy Malibu CA 90265 Membership Inquiries SCVS 6801 Apperson Street Tujunga CA 91042 on the Web at www.viola.com

A Message From the President Welcome to the very first newsletter of the Southern California Viola Society. We plan to bring you items of interest from the local and national viola communities. We have yet to name our newsletter and welcome your ideas (see contest on page 8.) Since the SCVS's inception in May last year, your board has sponsored two highly successful events, "Viola Jazz" at Occidental College and "Viola Fest" at the home of Misha and Marina Zinovyev (see page 2). Our next organized event will be held on September 12 at Occidental College and we are asking for your support, both in organization and attendance. Our first President Keith Greene resigned from the Board in May and I have agreed to accept the position of President. We thank Keith for all his work and wish him all the very best. Ray Tischer and Pamela Goldsmith were also unanimously elected to the Board. Board meetings are held at 7 pm on the 2nd Sunday of every month at the Colburn School in downtown Los Angeles. These meetings are open and we welcome your participation. If you have any questions, please feel free to e-mail me at my address. The year ahead looks to be an exciting one! I hope you can join us. Simon Oswell   Mark September 12 in your Calendar !! We are planning another gala event for the SCVS at Occidental College on September 12. There will be two concerts from 4-6 pm and 7-9 pm with a Potluck Dinner in between. (SCVS will provide drinks. EVERYONE PLEASE BRING A FAVORITE DISH!) Repertoire for the concerts will include a solo piece by Leo Smith with interesting graphic notation recently recorded by Karen Elaine, "Forest I" by Nigel Butterley inspired by a Giacometti sculpture and written for Simon Oswell, the premiere of "January Sonata" by Daniel Troob written for Jennie Hansen with the composer at the piano, a large multiple-viola work written for the event by Maria Newman, two new pieces written by Benedikt Brydern for the Gaia Ensemble, Max Raimi's Elegy for 12 violas, percussion, celeste and harp, originally written for the Chicago Symphony viola section and premiered by Daniel Barenboim, to be done in the courtyard. There will also be duos by Andrew Picken, Grazyna Bacewicz, and Frank Bridge, and a trio by I.D. Jacobsen. Performers will include Keith Greene, Peter Hatch, Andrew Picken, Marlow Fisher, Janet Lakatos, Danny Seidenberg, Daryl Silberman, Hannah Skupen, Lindy Grishkoff, KathyAnder, Piotr Jandula, Dimitri Bovaird, and Pamela Goldsmith. We still need violists for both the Raimi and the Newman. In fact....... WE NEED VOLUNTEERS FOR ALL ASPECTS OF THIS EVENT. Anyone wanting to be involved should contact the appropriate Board Member on the committee: PROGRAM and REPERTOIRE: Would you like to play in an ensemble piece? Ray Tischer, hondabizz@earthlink.net Jennie Hansen, malibujen@earthlink.net FOOD COORDINATION: To let us know what you are bringing, or to offer help on the day of the event. Hannah Skupen, hskupen@earthlink.net STAGE MANAGING and LOGISTICS: We need volunteers to keep things running smoothly. Simon Oswell, soswell@compuserve.com ADVERTISING: Would you like to run an ad in the program or suggest someone who might? David Rosen, violaw1@aol.com Tom Metzler, 818-246-0278, tommetzler@aol.com MEMBERSHIP: We need help at the membership table. Janet Lakatos This event is for SCVS members only, but we will have special "temporary memberships" available, so feel free to bring guests if you like.

by Simon Oswell

Viola Jazz January 24, 1999

One of the great advantages of living in the metropolis of LA is the staggering wealth of musicians, notably violists, living in close proximity to one another. The Southern California Viola Society is attempting to foster a broadening of this wealth of expertise. To this notion, the SCVS hosted a "Viola Jazz" evening at Occidental College on Sunday, January 24. The evening was given over to the extraordinary talents of Ray Tischer (viola and master of ceremonies), Bryan Pezzone (keyboards) and Tim Emmons (bass). Works played on the program included Autumn Leaves, Bernie's Theme, Black Orpheus, Good Bye Pork Pie Hat and This Can't Be Love. The audience, some of whom had traveled from Santa Barbara and San Diego, was treated to a first class performance and given the nature of the evening, an introduction into the jazz world of improvisation. By the conclusion of the program the audience was participating in a very lively discussion regarding jazz playing and gained valuable insights into this world. Many thanks to Ray, Bryan and Tim for a terrific evening.

Viola Fest March 21, 1999

While most of the world was glued to the TV on the evening of March 21, 1999, the Southern California Viola Society was holding its second event of the year at the beautiful and spacious home of Marina and Misha Zinovyev. The big competition was of course the Academy Awards, in which a number of our members were participating. The plan was to have a large viola gathering, and to play as many varied ensemble pieces as possible during the evening, interspersed with the occasional foray into the TV room to check on the Oscar count. The plan worked! Everyone attending had a thoroughly enjoyable evening, complimented by fine food and wine. Hopefully the Viola Fest evening will become a regular event on the viola calendar. Our thanks to Marina and Misha for making their home available.

The 1999 International Viola Congress, one of the major events of the viola world, was held this June outside of Toronto, Canada. This four-day viola party was a chance to mingle with old and new friends, hear a great variety of violists and reper-toire, and attend lectures on subjects of special interest. Nearly 250 people were registered for this North American Congress, held every two years. This year it's sponsored by the Canadian Viola Society. June's festivities had a number of highlights. There were some wonder-ful performances of familiar works, but as always much attention was given to contemporary composers and repertoire not as yet standard. For instance, one whole lecture/concert featured works by Argentine com-posers, and another concert featured violists playing with (against?) elec-tronics or percussion instruments. The very opening event was the Primrose Viola Competition. This contest, held concurrently with the Congress, has become one of the most important in North America. The judges this year were unable to choose a winner from the first day's rounds, so a happy Congress audience was treated to a virtuoso mini-recital by the top two finishers first, Law-rence Power (London, England) and second: Roland Glassl (Germany). Third place was Elizabeth Freivogel (Oberlin Conservatory). One of the six finalists was David Walther, a recent USC graduate and pupil of Donald Mc-Innes. David will remain in Los Angeles as a new member of the Debussy Trio, taking Keith Greene's place in this flute, harp and viola ensemble. At the end of the first day, Rivka Golani (Canada) performed the first of the three full recitals scheduled at the Congress. Later in the week, we heard from Michael Kugel (Russia) and Hartmut Lindemann (Germany). Hartmut Lindemann, presenting an exciting program of Clark, Paganini and Sarasate, played in a romantic Old World style, with great freedom of expression. His frequent contrasts of color, tempo and articu-lation brought magic to the opening arpeggios of Kreisler's "Preludium and Allegro." He was at his most cap-tivating, though, during Vieuxtemps' Capriccio for Solo Viola. He chose a modern "Baroque" bow, (so highly curved, I longed for an arrow) de-signed to play all four strings at once.

The visual effect was an optical illusion, with the bow hair bending as if viewed through the surface of a lake, and the musical effect was no less dramatic: Vieuxtemps' now-unin-terrupted melodies sang effortlessly over the structural chords. In addition to his lovely playing, Lindemann provided some unexpected comic relief by walking on stage TWICE having forgotten to bring any bow at all!

Michael Kugel was another of the featured artists, giving a masterclass that even the college professors thought was fantastic. Additionally, he closed off the Congress with an entire recital of virtuoso works featuring some of his own compositions; end-ing, after a behind the scenes pleading from the Congress Host, with his justly famous version of the Waxman "Carmen Fantasy." A large audience of a couple hundred violists gave him a standing ovation: this was a passion-ate, thrilling performance of the familiar tunes.

Four years ago, the crowd at the Bloomington Congress was equally astounded by Roberto Diaz's (now Principal Violist of the Philadelphia Orchestra) mastery of Paganini's Quartet for Viola, Violin, Cello and Guitar. The opportunity to hear playing at this level is one attraction for attending these events, but the standard of performance is high from everyone!

In fact, this high standard was readily apparent in the four mixed recitals (four or five violists sharing a program). Clearly, each artist enjoyed the work they had chosen to play, and nearly every performance was played with great polish and conviction.

The Southern California Viola Society was well represented, with presentations by Pamela Goldsmith, Leticia Oaks Strong, and myself.

Pamela Goldsmith's vivid and erudite lecture/demonstration of newly made Baroque & Modern viola bows was capped by a spirited discussion of Baroque bow practices. Leticia Oaks Strong (violist, LA Phil-harmonic) premiered "Wild Bells," a work written for her by Lansing D. McLoskey. Her performance featured wonderful execution and ensemble playing, ending with the clangorous bells of the title (rendered vividly by pianist Timothy Durkovic). For myself, I was happy to have a good-sized audience and four only slightly sleepy students for my 8:00 am Masterclass on Orchestral Excerpts.

A note of personal interest for those that remember him fondly from his many years in Los Angeles: Alan de Veritch's positive lecture "Making a Living with the Viola" contained few, if any, references to real estate sales. He sends his regards to all his friends here in Southern California!

Another lecture series turned out to be a high point for a number of suffering (literally) violists. Barbara Paull and Christine Harrison obvious-ly struck a nerve with the attendees with their three-part series on Playing without Pain, as evinced by the crowds that gathered around them after each day's lecture. Barbara Paull has been a physical therapist for more than 30 years and has run a clinic for musician's injuries since 1992.

Christine Harrison was her first musician patient and now her collaborator on both their lectures around the world and in their new book The Athletic Musician dealing with physiology and prevention of musicians' injuries). With props that included overhead projectors, a model skeleton, pass- around bones, lots of bad chairs, volunteers from the audience and various strength measuring devices, they presented musicians' aches and pains from a physical therapy perspective. Barbara is no-nonsense, articulate, and entertaining. The filmed Congress video of their talks will be a must purchase for many attendees.

Not all the viola playing was taking place on stage. The Exhibition Hall featured numerous violas, bows and music/accessories for sale. Viola maker Mark Womack, whose responsive instruments are owned by over a dozen top Los Angeles violists, was there, along with a number of other makers and a few large dealers (such as Shar) with a selection of modern instruments.

Anyone attending the Congress could have a chance to try out these instruments. However, if you wanted to hear ALL the violas, one at a time and in a quiet setting, than all you had to do was attend Canadian violist Steve Larsen's Luthier Demonstration. Hosted by makers Quentin Playfair and Joseph Curtin, Steve played two short passages on many modern violas. Each maker (including many not actually in attendance at the Congress) was allowed to submit only one instrument for this demonstration: sort of a wine-tasting for the ears.

This Congress truly had something for everyone: High School & College workshops, viola ensemble concerts (one which featured Bratsche con Brio, the excellent student ensemble from the University of Texas at Arlington), jam sessions for multiple violas (including a wildly fun Klezmer session, sheet music provided), many more lectures, a banquet, nights spent relaxing with friends at the local cafes, and one blissfully free afternoon which many spent at Niagara Falls. I hope to see YOU at the next one!

Last January Barbara Don sat down with a repre-sentative from Breitkopf and Hartel and asked her to send the Metzler Shop some contemporary pieces that would be of particular interest to members of the Viola Society. We thank the Metzler "Viola" Shop for stocking unusual viola music and Barbara for sharing her list with us.

Pro Musica Nova (edited by Eckart Schloifer) is a collection of studies for playing contemporary music. The studies are samples of the works of eleven composers: Ulrich Gasser, Hans-Joachim Hespos, Volker Heyn, Manuel Hidalgo, Nicolaus A. Huber, Milko Kelemen, Bruno Maderna, Rolf Riehm, Salvatore Sciarrino, Hans Zender, and Bernd Alois Zimmerman.

Miklos Rozsa
Concerto for Viola and Orchestra Op. 37 (1988)

Achim Muller-Weinberg
Punkte und Farben (Points & Colors) (1978) for Flute and Viola

Georg Katzer
Duo Concertante miteinander-gegeneinander (with each other-against each other) (1982) for English Horn and Viola

Ernst Hermann Meyer
Poem for Viola and Orchestra (1962)

Edison Denissow
Es is genug (It is Enough) (1984)
Variations on the Chorale by J. S. Bach

Edison Denissow
Drei Bilder nach Paul Klee (3 Pictures after Paul Klee)
(1984/5) for Viola and Ensemble

Fritz Koll
Vier Concinien (1966) for Cello or Viola and Piano

Dimitri Terzakis
Musica aeolica (1979) Two Pieces for Violin and Viola

Paul-Heinz Dittrich
Un coup d'aile (1984) Three Fragments for Viola

Dietrich Erdmann
Prisma (1983) for Viola and Piano

Bert Poulheim
Virtuoses (1977) for Viola and Piano

Jorg Herchet
Komposition (1973) for Oboe and Viola

Reiner Bredemeyer
Solo 3 (1975) for Viola alone

I am a violist, and have, in the course of my 33 years as a professional musician, performed many new works in the Contemporary Music genre, often under unusual circumstances. I have something of a reputation as a 'champion' of new music, probably because I like the really difficult repertoire (I find it challenging). Others would rather not spend the time learning music which is extremely awkward on the instrument (sometimes actually impossible), possibly ugly (an aesthetic judgment), and enormously time-consuming. Most new music is a first performance, a 'premiere', with all of the bugs screaming to be worked out.

As the founding violist in the Group for Contemporary Music at Columbia University in 1962 I was performing the first compositions combining live (now called 'acoustic') instruments and tapes, electronically synthesized material, and other new cutting-edge technology. Over the years, I participated in compositions where I was called upon to sing, speak, play percussion instruments, run through the audience, whistle and rub my foot on the floor (while simultaneously playing the viola), and so forth. I have been instructed by the composer on what to wear for the performance and how to look longingly at another musician (while playing the viola). In 1975, I played electric viola for Frank Zappa in one memorable set of concerts, in which he asked me to use the wah-wah pedal (familiar to guitarists), play 'grotesquely', and (most difficult) to appear on the stage in formal black orchestral attire, but barefoot.

In the Spring of 1994, I was contacted by a composer who informed me he was writing a new composition for viola, shakuhachi and sho. Would I be interested in premiering the work? He told me he had a doctorate in ethnomusicology and had long wanted to write a composition using the traditional Japanese instruments with a western instrument. "Yes," I said, intrigued by the combination and the chance to do something yet again different. I have long maintained that it is the duty of performing musicians to lend their efforts to new music, and give composers the best opportunity to be heard, but after my experience with this new composition, I am rethinking my attitudes. The story you are about to read is true.

I was unacquainted with this composer, and, as the weeks approached the performance date, I became uneasy because I had not heard from him or seen the music. I called him. "Oh, yes, I'm beginning to get a feeling for what I am going to do," he said. That made me even more uneasy, because in the years I have been performing new compositions, I have encountered all sorts of difficulties, including notes written which are out of the range of the viola, tempos too fast to generate the notes written, expanded techniques, and so forth. I have also performed new music which was just plain excruciatingly difficult, requiring hours of practice. (New music is never a well-paying occupation, and, in this case, I had understood it to be no-paying employment.)

A few weeks later, I received a call. "We cannot rehearse until the week of the performance because the shakuhachi player will be in Japan." "I need to see the music, anyway," I replied. Two weeks before the performance, I arranged that one of my viola students would pick up the music and bring it to me at his lesson. The student informed me the composer was nowhere to be found. I called. "Oh, yes, I haven't written anything down but it's beginning to take shape in my mind. I will bring over the music as soon as it's ready." It never appeared.

One week before the performance, we scheduled a rehearsal at the composer's home. I arrived to find the composer running out the door, wild-eyed. "I'm going to the Xerox place so you will have a score to read from." The sho player arrived, and I watched with interest as he plugged in a hot plate and proceeded to direct it at a bundle of pipes in a circle the sho. "What are you doing?" "I am warming it up," he replied. "May I hear an A?" He played a G#. I said, "no, I need an A." He said, "that IS an A." (I thought, uh-oh.) "Are you going to transpose?" "No", he said, "the sho plays certain notes and certain chords and that is what I am going to play.

The shakuhachi player arrived, unpacking the bamboo vertical flute which is played so expressively. "May I have an A?" I inquired. He played a B flat. I said, "what was that?" He said, "that is A on this instrument. It's a little sharp." (Uh-oh, I thought).

The composer returned with large unmanageable sheets of score, with all parts scribbled out on one score but not lined up rhythmically. I thought, well, I have dealt with that sort of thing before. I broached the subject of pitch. "You know," I said, "the sho is flat and the shakuhachi is sharp." "Oh," he said, surprised. "I didn't think of that." I remembered that this person had a doctorate in ethnomusicology from one of the most respected institutions in the country. "So is intonation going to be an issue here?" "Oh yes," he said, "you answer the shakuhachi with the same material he plays, so it should sound the same." "Well, I can tune my strings sharp, but what about the supporting chords in the sho?" "I don't know," he replied.

We spent the rehearsal trying to achieve some common ground in the pitch arena, correcting the numerous copy mistakes in the score, picking up the music off the floor where it kept falling (the composer had neglected to provide chairs or stands for the rehearsal, so we were sitting on the sofa and I had the music propped up on my open viola case). I also attempted to learn the style of 13th century gagaku (Japanese court music), as notated in 20th century notation, by imitating the bend and turns of the shakuhachi player, who was in turn trying to play flat on his instrument to match the sho. The composer played a large drum ("to keep us all to-gether", he said) but his rhythm was irregular and he was distracted by the reality of composition. That is, he was hearing what he wrote for the first time.

After three hours struggling with this ten minute composition, we quit. The shakuhachi player informed us that the only other scheduled rehearsal was impossible, because he had a (paying) job. We agreed to meet at 6 pm on the day of the performance.

This concert was a function of one of the Universities at which I teach, but the campus had been heavily damaged in the earthquake of January, 1994. The performance had been moved to the local two year college, which for many years was the agricultural school for the Los Angeles area. The day of the concert they were having a rodeo, and when I arrived at the music building, a country-western band (amplified) was playing at deafening levels for the barbecue, immediately outside the room we had reserved for our dress rehearsal. Now, the shakuhachi and the sho are both generally quiet instruments, so in the course of our rehearsal, I never did hear them at all. I was, however, preoccupied, because, having spent the week recopying my part on a few manageable pages, the composer rushed in with a completely new viola part. He had rewritten the composition. So, at 6:30 pm on the night of the performance, I was hastily erasing and copying new notes to be performed at 8 pm. Incidentally, it was one of those rare days in May, it was raining like the proverbial cats and dogs. At least by concert time the country western band had quit, but the smell of barbecue lingered on outside the auditorium. Yes, we did complete the premier performance, and I'm not sure what the audience thought about it all, but when I arrived home, I had a big glass of wine and practiced saying, "NO!" "NO!" "NO!" Editors' Note: If you are interested in reading other articles by Pamela Goldsmith, you can find them at her web site: http://www.zvonar.com/Pamela Goldsmith/

To be included in the list of teachers who teach beginning and intermediate viola that we plan to publish, contact Jennie Hansen on email at malibujen@earthlink.net

Roland Kato tells us that Louis Kievman's extraordinary and very hard to find book Practicing the Viola Mentally and Physically can now be ordered from Mura Kievman for $7 at her website (or http://www.viola.com/louiskievman).

A viola position is available August 30, 1999 in the Montage String Quartet, Kent State University's Graduate String Quartet. This position is supported by a stipend of $6,150 and remission of tuition and fees (with the exception of a $90 per semester applied music fee). The focus of the appointment is intensive string quartet preparation and performance. Members also serve as principals in the Kent State University Orchestra. The Montage String Quartet is co-sponsored by the Hugh A. Glauser School of Music and Kent/Blossom Music, the University's summer festival in cooperation with the Cleveland Orchestra. Current members Jameson Cooper, Jacob Murphy, and Jennifer Lee Vaughn, are graduates of the Royal Northern College of Music (Manchester, England), the Eastman School of Music, and Oberlin Conservatory. They presently study with Almita and Roland Vamos, Gregory Fulkerson, and Peter Rejto. The Quartet's focus on chamber music career development has included coaching with William Preucil, the Miami String Quartet, members of the Cavani String Quartet, and Gregory Fulkerson. The 1999-2000 Montage String Quartet season will include continued professional coaching, numerous recitals, and major competitions. For details contact:

Hugh A. Glauser, School of Music
Office: 330-672-2172
Fax: 330-672-7837

Jameson Cooper
330-676-1802
jcooper2@kent.edu

Marcia Ferritto, Coord. String Chamber Music
Home: 330-650-546
Studio: 330-672-9235
mferritt@kent.edu

Frank Wiley, Director, Kent State Univ Orchestra
Home: 330-678-8771
Office: 330-672-2636
FWiley@gwis.com

Keitha Lucas, Coord. of Graduate Studies
330-672-2485
klucas@kent.edu

It is not so extraordinary to hear that a member of our viola community is playing a concert. But in the case of Marlow Fisher, who began a series of concerts in Santa Fe last December, the story behind the concerts is at least as interesting as the concerts themselves, because it is the coming together of two life quests: the one to trace the roots of his ancestry, and the other to bring to life some buried treasures of his art.

In September, 1985, Marlow decided to ressurect some neglected viola music, and started a series called Viola Plus! In an article written by Craig Smith, critic for Santa Fe Magazine, Mr. Fisher is quoted as saying: "There weren't that many concerts that would occur. Most violists would acquire stacks and stacks of music in their closets, music that looked interesting. But they never had any place to play them." The series started off on a shoestring, in New York City, yet Fisher was able to sponsor a concert in Carnegie Recital Hall, with the effect that composers became engaged with the idea of writing for the viola plus this and that instrument. Over 15 pieces were written for Fischer's series, including compositions by Bright Sheng and John Corigliano. Five and a half years later Marlow moved to the Los Angeles area, continuing his series in a church in Venice, and eventually becoming incorporated not-for-profit.

The second thread, the search for his ancestral roots, took him to the New Mexico area. Fisher says he "felt an instant kind of connection (for New Mexico) even before I knew I had any family roots there." But evidently those roots went very far back into New Mexico history. So much so that with the help of a friend and scholar he was able to find enough New Mexico family history to make up several speeches which he delivered to the community. The Viola Plus! concert series was then re-started in Santa Fe as a thank-you gesture, and thus the two threads come together.

The first concert of the third incarnation of Viola Plus! included Handel's Sonata in C for Viola and Harpsichord, the J.S. Bach's aria "God's Love Alone My Heart Possesseth" arranged for viola, Wilhelm Friedeman Bach's Sonata for Viola and Harpsichord, two Ravel songs arranged for viola, Henri Vieuxtemps' Capriccio, Opus Post. for Viola Solo and Alan Hovhaness' Chahagir, Op. 56a for viola alone.

"Vieuxtemps wrote three viola pieces," Fisher said. "Two of them were published in his lifetime. This piece was found after his death. It's very short, with a lot of notes in it. It's a bit melancholy, a bit of a lament. It and the Hovhaness are pieces similar in character. Both are under four minutes, both have a lot of double stops, both feature a lot of open strings, both make the instrument sound enormous. They seem to connect directly with audiences; both composers managed to say the most with the least."

Fisher, characterized by New York Times critic Bernard Holland as a "strong player who draws a big rich tone." studied with William Primrose. He has played with the New York Philharmonic, was principal violist of the Mexico City Philharmonic, and currently free-lances in the Los Angeles studios. Marlow is one of the founding members of SCVS and was part of the small steering committee that staged our first event. His energy is an inspiration to us all.

On a much smaller scale, the Publisher would like to extol the rewards of cooperative home concerts. Through the years I have enjoyed performing, and, with friends, have created my own opportunities for us to do so. My livingroom seats up to 50 people. I send invitations to friends who are very pleased to be invited to hear "live" music (for free!) and sometimes are surprised to hear it being played well by those they have known in different roles. We have programed works for viola/cello, viola/ clarinet, multiple violas (such as the Hummel trio for 2 Violas and Cello and Wranitsky's Concerto Opus 88 for 2 Violas and Orchestra.) Other performers have the opportunity to play solos on their instruments. I enjoy playing cello parts on the viola. On my most recent concert I played first cello with three cellist friends. It sounded good and was great fun. The important thing is to decide what you want to play, recruit your friends and audience, and go for it.

Lori Ives

Yea, Viola Power!!!

Speaking of multiple strings, gather your viola-playing friends and try Gordon Jacobs' Suite for 8 violas it's lots of fun. The viola participants at Humboldt State Chamber Music Workshop this summer enjoyed it. Also Harding wrote one for 12! There are several written for 4 violas, and Wienzierl wrote one for 5. We'll feature an article later on multiple violas. (Tom Tatton, are you listening?)

Lori Ives

Colburn Chamber Orchestra Seeks Violists

The Colburn Chamber Orchestra, Daniel Lewis, Conductor, and Joni Steshko, Assistant Conductor, is seeking advanced high school-aged violists for the 1999-2000 sea-son. Repertoire will include the world premiere of a new work by Thea Musgrave, as well as Shostakovich's Chamber Symphony Op. 110a, Villa-Lobos' Bachianas Brasileris No. 9, Bartok's Divertimento for String Orchestra. The orchestra rehearses on Saturdays from 2:15 pm to 5:15 pm at the Colburn School of the Performing Arts, 200 S Grand Ave, Los Angeles CA 90012. In addition to the Chamber Orchestra, a highly selective showcase string orchestra, the Colburn School features three other orchestras to accommodate all levels of performance, as well as an extensive Chamber Music program. Admission to the ensembles is by audition only. The 1999 auditions will take place on September 10, 11, and 12, 1999 at the Colburn School. To schedule an audition, please call (213) 621-2200.

Advertising

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Newsletter Deadlines

We plan to publish this newsletter on a quarterly basis, and welcome your submissions calendar events, news items, advertising, articles, photos, letters to the editor. All materials should be received one month prior to the issue date: Winter (Nov 1, due Oct 1), Spring (Feb 1, due Jan 1), Summer (May 1, due Apr 1), Fall (Aug 1, due Jul 1). Send material to SCVS Editorial Offices at 19433 Pacific Coast Hwy, Malibu CA 90265. Or email them to Jennie Hansen

Name Our Newsletter Contest

We are looking for an eye-catching, original name for our newsletter. Kyozo Watanabe of the Cremona Violin Shop, has kindly donated two free bow rehairs (value $70) for the winning entry. Please send your suggestions with your name, address and phone number to SCVS, 19433 Pacific Coast Highway, Malibu CA 90265, fax 310-456-6221. The winner's name will be announced at the September 12 gathering.

Simon Oswell

Events - Past and Future

The Armadillo Quartet (Ray Tischer, viola) performed at UCLA on the lunchtime Brunen Concert Series, 1-2 pm, Monday, July 26 at the Korn Convocation Hall in the Anderson School of Business Management off Sunset Blvd. Thursday, August 5, 1-2 pm,. Simon Oswell and Marcia Dickstein will perform the Arnold Bax Fantasy Sonata on the final concert of the Brunen Concert Series at UCLA.

Latin Jazz with the Susie Hansen Band will be featured on Saturday, August 14, 8:30-12:30 at the finest jazz listening room in Orange County Steamers Caf (138 Commonwealth, Fullerton, 714-871-8800). Come early to get a good seat to hear Susie on her 5-string Zeta violin/viola. Susie will also be at UCLA's Armand Hammer Museum from 2-3 pm earlier that day, and at the San Diego City Fest from 4-7 the next day. For more, access her web page (www.susiehansen.com) or her hotline at 323-222-4400.

Kato Havas will present a seminar at Pacific Union Col-lege in northern California from August 15-20 dealing with relieving tension in musicians while they play. For more information, call Lorraine Field at 707-965-6201.

On September 5, 1999, 3 pm, at Bridges Hall of Music, Pomona College, violist-violinist Cynthia Fogg and composer-cellist Tom Flaherty will perform duos and solos by Paul Hindemith, Witold Lutoslawski, Eric Moe, Mark Winges, Peter Yates and others. Several of these works were composed for the duo. Free admission. Call 909-621-8155.

Tune to KUSC-FM for "Sundays at Four" on September 19 or go to the Bing Auditorium at LACMA to hear Les Amis Musicales. Violist Janet Lakatos, violinist Jean Evans and flutist Cynthia Ellis will perform trios by Beethoven, Reger and Fiorello.

On October 10, "Sundays at Four" will feature Jennie Hansen and John Novacek in works by Mozart and Stravinski (Elegy and Suite Italien).

Roland Kato's chamber arrangement of Ravel's Mother Goose Suite will be premiered at the Kennedy Center in Wash-ington DC by the New Hampshire-based Apple Hill Chamber Players on January 15, 2000.

Send your submissions to SCVS Newsletter
19433 Pacific Coast Highway
Malibu CA 90265

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Volunteer to help September 12.
See you then....