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DTSTART;TZID=America/New_York:20260604T090000
DTEND;TZID=America/New_York:20260604T100000
DTSTAMP:20260526T090042
CREATED:20260207T035205Z
LAST-MODIFIED:20260307T030303Z
UID:47077-1780563600-1780567200@www.americanviolasociety.org
SUMMARY:Adapting Cello Repertoire: Sacrifices and Advantages\, Examined Through Francis Poulenc's Cello Sonata
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=””] \nPresenters:\nAnna-Sofia Botti\nNicholas Lindell\nFrancis Poulenc’s 1940s Sonata for Cello and Piano carries a notorious reputation for its diabolical difficulty. After dreaming of stepping up to the challenge\, I engraved and performed a preliminary version for viola. Most interestingly\, due to its technical challenges\, I believe that Poulenc’s sonata provides an excellent case study into both the sacrifices and advantages of adapting difficult cello repertoire for the viola. \nThe crux of a good viola arrangement of cello music involves idiomatic uses of the viola’s physical and sonic affordances\, while compromising compellingly on what musical effects and pitches the cello can accomplish that the viola cannot. The lecture portion of this session will detail the critical choices made in my arranging process\, regarding both viola technique and the preservation of musical content. In turn\, this case study will shed light on several deeper\, timeless questions about adapting repertoire\, not just for the viola: \nHow true to the original should an arrangement stay? Are arrangements entirely new works with distinct identities? Where should the line be drawn?\nWhat new content/meaning can arrangements (and\, by extension\, individual performances) bring to existing works?\nHow does stolen repertoire like J.S. Bach’s Cello Suites or Violin Partitas & Sonatas fit into the viola’s domain? \nLuckily\, many of the cello’s technical challenges in Poulenc’s sonata become assuaged or transmuted on the viola. Various fast sections can be played at pitch in lower positions\, and the strings speak more easily. At the same time\, some aspects actually become more difficult: cellists’ advantage of thumb position technique makes fingerboard jumps and high-position A-string playing far simpler; the sonata’s wide registral mismatches are a hallmark of Poulenc’s exhilarating\, frenetic\, neoclassical style that are worth preserving. In all\, the work is a compelling addition to the advanced viola repertoire that I look forward to sharing.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/adapting-cello-repertoire-sacrifices-and-advantages-examined-through-francis-poulencs-cello-sonata/
LOCATION:Room 142/Choir Room (Music)
CATEGORIES:Lecture-Recital
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T100000
DTEND;TZID=America/New_York:20260604T110000
DTSTAMP:20260526T090042
CREATED:20260207T035155Z
LAST-MODIFIED:20260413T153831Z
UID:47085-1780567200-1780570800@www.americanviolasociety.org
SUMMARY:Rediscovering Maurice Vieux: Forgotten Voices of the French Viola School
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:\nDouglas Temples\nBernadette Lo\nThis lecture recital draws from my doctoral research into the legacy of Maurice Vieux (1878–1951)\, the Paris conservatory professor who shaped the modern French viola school. While his pedagogical works remain in print\, much of the recital repertoire inspired by him has been forgotten. These works not only reflect the refined aesthetics of early 20th-century French music\, they also serve as valuable teaching and performance resources for violists today.\nThe program features three works\nEugène Cools Andante Sério: A deeply expressive and lyrical piece that captures the soulful sound of the viola. Cools\, a contemporary of Vieux\, wrote this piece with a clear sense of vocal phrasing and refined harmonic color. Though rarely played today\, it deserves a fresh hearing for its emotional depth and simplicity of form. \nHenri Casadesus Deux Pièces pour alto et piano: These short works are graceful and full of charm\, offering great variety in mood and style. Casadesus\, often remembered for his “Baroque” pastiches\, also wrote original viola music that reflects the elegance of the early 20th-century French salon tradition\nRené Julien Lied: A gentle and melodic miniature that highlights the viola’s ability to sing. Julien’s writing encourages the player to focus on sound\, nuance\, and shaping—elements central to Vieux’s teaching philosophy. \nThe lecture will provide historical background on each composer\, the works’ connections to Vieux\, and how they align with his technical and musical priorities. I will also address how these pieces can be used in teaching studios\, competitions\, and professional programming. Attendees will receive a handout with biographical sketches\, difficulty levels\, and score sources of all of the repertoire inspired by Vieux to encourage further exploration..\nThis project supports the AVS Festival’s mission to showcase lesser-known repertoire\, honor historical legacies\, and provide meaningful resources for the viola community.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/rediscovering-maurice-vieux-forgotten-voices-of-the-french-viola-school/
LOCATION:Room 204 (Music)
CATEGORIES:Lecture-Recital
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T110000
DTEND;TZID=America/New_York:20260604T120000
DTSTAMP:20260526T090042
CREATED:20260207T035123Z
LAST-MODIFIED:20260307T025817Z
UID:47079-1780570800-1780574400@www.americanviolasociety.org
SUMMARY:Rock & Reel: Monticello’s Black Fiddlers
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=””] \nPresenters:\nDanielle Wiebe Burke\nAyn Balija\nDavid McCormick\nJohanna Beaver\nSam Suggs\nWhat sounds might a visitor to Monticello have heard? Music was often in the air – Thomas Jefferson was a violinist\, and nearly every member of his family also played an instrument\, including his three enslaved sons with Sally Hemings\, all of whom played fiddle. On Charlottesville’s Main Street\, the Scott family\, related by marriage to the Hemings clan\, boasted three generations of fiddlers who played for every sitting president for decades. This presentation explores the unique repertoire of these accomplished Black fiddlers\, which ranged from raucous reels to stately minuets.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/rock-reel-monticellos-black-fiddlers/
LOCATION:Room 142/Choir Room (Music)
CATEGORIES:Lecture-Recital
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T133000
DTEND;TZID=America/New_York:20260604T143000
DTSTAMP:20260526T090042
CREATED:20260207T035501Z
LAST-MODIFIED:20260404T170556Z
UID:47087-1780579800-1780583400@www.americanviolasociety.org
SUMMARY:The Voice of the Viola: Betsy Jolas’s Works for Viola
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:\nAndrew Braddock\nTing-Ting Yang\nFrench composer Betsy Jolas (b. 1926) has written a body of captivating and beguiling works for the viola. While she once joked that she belonged to the musical movement called “marginal\,” she has become one of the most important French woman composers of our time. A trailblazing woman composer who has blended Messiaen’s expressivity with Boulezian intricacy\, Jolas infuses her music with a sense of lyricism. \nThis lecture recital will illuminate her musical style through the analysis and performance of two works featuring the viola: Quatre Duos for viola and piano (1979)\, and Épisode Sixieme for solo viola (1984). I will address the dominant thread of lyricism throughout her works\, her flexible rhythmic organization\, and her timbral variety. I will also use the richness of her biography—her French/American duality\, her early friendships with James Joyce and other modernist intellectuals\, and her career as a teacher—to shed light on her music. \nEach movement of the Quatre Duos is an abstract portrait of a woman. It first originated as the Examination piece at the Paris Conservatory. Jolas allows the viola to become a kaleidoscopic instrument. She understands it better than most\, plumbing its un-explored corners for subtle and fresh sounds. \nÉpisode Sixieme is essentially a vocal piece for the viola. Lyricism is the dominant mode of the piece\, even if it becomes submerged by other music. Capricious skittering gestures\, far-flung timbres\, and jagged rhythms momentarily distract\, but the melodic voice always re-emerges\, exerting its subtle pull on the narrative. \nJolas’s music is perfectly suited to the viola: lyrical\, elusive\, and imaginative\, and her music should be included in every violist’s repertoire. I hope that this lecture recital will bring further and renewed attention to this trailblazing woman composer.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/the-voice-of-the-viola-betsy-jolass-works-for-viola/
LOCATION:Room 204 (Music)
CATEGORIES:Lecture-Recital
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T143000
DTEND;TZID=America/New_York:20260604T153000
DTSTAMP:20260526T090042
CREATED:20260207T035438Z
LAST-MODIFIED:20260307T024752Z
UID:47081-1780583400-1780587000@www.americanviolasociety.org
SUMMARY:The AI and I
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=””] \nPresenters:\nClara Qiyun Zhao\nChristopher Raphael\nWhat can AI do in music? No\, not to generate\, not to steal and copy\, nor taking away the fundamentals and essences of human value: to create and to express. We develop the AI program in music performance that serves the expressions\, messages\, stories and imaginations of the creators\, of the performers: for them to create with unimaginable vastness of possibilities in the new era of AI and offer the industry the possible direction of future. \nThere is a long history of compositions blending a live acoustic instrument with recorded sound — environmental sound\, computer generated sound\, or even recorded acoustic instruments.   In most cases the live player follows along with the previously recorded sound adjusting timing as necessary to achieve the desired ensemble.  Sound map tracking AI provides an alternative to this model\, allowing the live player to lead the performance while the interactive AI follow and interact with the live player.   This approach frees the live player from the rigid timing\, allowing expressive freedom in creativeness. Allowing for fixed-media pieces as well as imaginative score-based live processing of the soloist’s sound\, while freeing the soloist to drive the music as the moment requires.  We will demonstrate this technology both with traditional viola repertoire and new compositions of Zhao.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/the-ai-and-i/
LOCATION:Room 142/Choir Room (Music)
CATEGORIES:Lecture-Recital
END:VEVENT
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