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DTSTART;TZID=America/New_York:20260603T143000
DTEND;TZID=America/New_York:20260603T153000
DTSTAMP:20260526T075053
CREATED:20260207T035817Z
LAST-MODIFIED:20260509T223516Z
UID:47025-1780497000-1780500600@www.americanviolasociety.org
SUMMARY:Underrepresented Twice: Spotlighting Unknown Soviet Repertoire by Female Composers and Ethnic Minorities
DESCRIPTION:[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text css=””] \nPresenter:\nNethanel Pollak\nIn recent years the American viola community shared an increased interest in viola music by composers of underrepresented backgrounds\, from the present and from the past. In this lecture recital—based on my recent pioneering research of unknown original viola works from the Soviet Era—I will introduce three solo works by Soviet composers\, which never became known in the West\, and fell under obscurity in the (ex-)USSR territories\, mainly due to the composers’ background. I will start by introducing the first movement from the 1985/87 Sonata for Viola Solo by the Ukrainian Alexander Shchetynsky (b. 1960)\, who currently blossoms in Ukraine and Poland but receives a much lesser degree of international recognition. The Sonata is progressive in its style\, expressionistic\, questions traditional tonal and rhythmic hierarchies\, and as such falls under the category of ‘unofficial music’\, as defined by Peter Schmelz. Following\, is the 1967 Suite op. 2 for Viola Solo by Elena Firsova (b.1950) who currently resides in the UK and was one of the very few acclaimed young female composers in the USSR. Her early Suite consists of four short movements\, exploring different instrumental and compositional techniques\, atonal yet expressive\, celebrating the human-voice-like qualities associated with the viola in Soviet scholarship. I will conclude my lecture with the 1985 Genesis Sonata by Azerbaijani composer Khayyam Mirzazade (1935-2018)\, who was hailed in his Republic\, but never broke through the cultural glass ceiling elsewhere. Genesis is a monumental piece\, powerful in its simplicity\, perfectly tailored for the instrument\, and reflects the late Soviet peripheral tendency to compose in the style known in the West as ‘world-music’. The lecture aims to encourage violists to explore underrepresented repertoire from times of great repression\, under the light of the biblical message that humans were equally created “in His own image” (Genesis 1:27).[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/underrepresented-twice-spotlighting-unknown-soviet-repertoire-by-female-composers-and-ethnic-minorities/
LOCATION:Room 204 (Music)
CATEGORIES:Lecture-Recital
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DTSTART;TZID=America/New_York:20260603T153000
DTEND;TZID=America/New_York:20260603T163000
DTSTAMP:20260526T075053
CREATED:20260207T035241Z
LAST-MODIFIED:20260307T030738Z
UID:47023-1780500600-1780504200@www.americanviolasociety.org
SUMMARY:Gamifying the practice room
DESCRIPTION:[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text css=””] \nPresenter:\nNick Revel\nWhat if learning etudes felt like casting spells in epic boss battles? DragonScales: The Hero Levels – 25 Fantasy Etudes to Slay Evil invites violists into a fully immersive practice and performance experience where fantasy storytelling\, game mechanics\, and serious technique converge. In this lecture recital\, I will demonstrate how the Hero Levels fuse narrative\, audio play-along recordings\, and progressive etudes to create a flexible and engaging educational tool for players of all levels. \nThis unique system includes three core components: a written fantasy novella in which you\, the player\, take on the role of Hero\, a full set of technically demanding yet imaginative notated etudes\, and professionally recorded and mixed audio play-along tracks. Available in three difficulty tiers—Story\, Noble\, and Legend—for violin\, viola\, and cello\, each following the same story and using the same audio play-alongs\, the book supports both solo and multiplayer settings\, allowing teachers\, students\, and peers to level up together. \nThrough live performance excerpts and analysis\, I will showcase how these etudes function both as stand-alone technical studies and as integrated components of a storytelling journey alongside cinematic audio play-alongs. I will also explore practical applications for private studios\, group classes\, and recital settings—including adaptive multi-level learning\, improvisation prompts\, theory integration\, and cross-instrument collaboration. \nWith QR-linked resources including practice tempo tracks\, demo performances\, and a growing online community playlist\, The Hero Levels supports creative learning at every stage of development. This session will be both a performance and an invitation to reimagine how we teach and inspire with our instruments. Why not go on an adventure while learning your instrument? Materials will be provided for participants and an optional raffle book giveaway can be arranged.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/gamifying-the-practice-room/
LOCATION:Room 142/Choir Room (Music)
CATEGORIES:Lecture-Recital
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