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X-WR-CALNAME:Welcome to the American Viola Society!
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X-WR-CALDESC:Events for Welcome to the American Viola Society!
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260606T090000
DTEND;TZID=America/New_York:20260606T100000
DTSTAMP:20260526T110512
CREATED:20260207T034325Z
LAST-MODIFIED:20260524T192140Z
UID:47181-1780736400-1780740000@www.americanviolasociety.org
SUMMARY:Expanding the Pedagogical Repertoire for Intermediate Violists: Lesser-Known Works from the Czech Republic\, Hungary\, and Bulgaria
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:\nLisa Nelson\nBernadette Lo\nTeachers of intermediate viola students are familiar with the challenge of finding pedagogically useful and musically engaging pieces for their studio. The variety and depth of the viola canon can be enhanced by exploring lesser-known works from musical traditions abroad. Some of these might be well-known in their geographic region of origin but not widely played in the United States; others are “hidden gems\,” works that have the potential to become popular in the viola repertoire but have not had significant performance exposure. \nOn recent research trips to Eastern and Central Europe\, my focus has been on finding repertoire that is new to me and not readily known in the United States. The traditions of the Czech Republic\, Hungary\, and Bulgaria\, in particular\, represent a mix of genres\, styles\, cultures\, and influences from many different nationalities and native folk traditions. By introducing this music to teachers and students\, my hope is that these pieces will receive attention from American audiences and enrich violists’ teaching and performing options. \nThis AVS session will be a lecture recital that focuses on a representative group of works for viola and piano by Czech\, Hungarian\, and Bulgarian composers. I will discuss the unique musical elements that the pieces contain (modal harmonies\, asymmetrical rhythms\, tone color effects\, regionally-inspired ornamentation\, etc.)\, as well as their main pedagogical features. Attendees will hear a performance of excerpts (or complete shorter works/movements)\, and have an opportunity to look at the scores. They will also receive a spreadsheet with a list of pieces\, which will contain details about the composer\, date of composition\, style features\, pedagogical qualities\, and publication information.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/expanding-the-pedagogical-repertoire-for-intermediate-violists-lesser-known-works-from-the-czech-republic-hungary-and-bulgaria/
LOCATION:Room 142/Choir Room (Music)
CATEGORIES:Lecture-Recital
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260606T100000
DTEND;TZID=America/New_York:20260606T110000
DTSTAMP:20260526T110512
CREATED:20260207T034256Z
LAST-MODIFIED:20260307T022405Z
UID:47187-1780740000-1780743600@www.americanviolasociety.org
SUMMARY:Minimalisn't: Philip Glass in 2025's Context
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:\nAmeila Hollander Ames\nWhile Philip Glass’s name is the first that comes to mind for many people when you say the word “minimalism\,” in fact his Songs and Poems\, newly transcribed for Solo Viola by Christine Rutledge\, contain grand gestures and a lot of big feelings. I recorded these works in Mérida\, Mexico\, in December 2023\, and performed them around the world (Mexico\, the US\, the UK\, Italy) this season\, in a program pairing them with music for solo viola by 4 contemporary American women and nonbinary composers— Emily Koh\, Jessie Montgomery\, Caroline Shaw and Mazz Swift. I enjoyed exploring the ways Glass’s music influenced- or\, in one case\, repelled!- each of them\, both in correspondence with the composers\, all of whom I’m lucky to call friends\, and in the way their notes juxtaposed with those by Glass’s. To play Glass’s music requires a commitment to every single note: so often there are repetitions\, therefore if you don’t find a variety of colors and textures\, it can be very boring. His Songs and Poems revolutionized my playing in terms of my attention to left-hand details and right-hand sound-producing variation. Rutledge’s transcription of these pieces from the original for cello provides a valuable addition to the solo viola repertoire: a work by one of the most important minimalist composers that utilizes the widest possible range of the viola. \nProgram:\nSongs and Poems— Philip Glass (1937– )\, arr. Christine Rutledge\n(mega)byte (2020)— Emily Koh (1986– )\nRhapsody #2 (2020)– Jessie Montgomery (1981– )\nInvisible\, for Trayvon Martin and His Family (2012)— Mazz Swift (1975– )[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/minimalisnt-philip-glass-in-2025s-context/
LOCATION:Room 204 (Music)
CATEGORIES:Lecture-Recital
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260606T110000
DTEND;TZID=America/New_York:20260606T120000
DTSTAMP:20260526T110512
CREATED:20260207T034233Z
LAST-MODIFIED:20260307T022305Z
UID:47183-1780743600-1780747200@www.americanviolasociety.org
SUMMARY:Lillian Fuchs’s Sonata Pastorale and the Evolution of Her Compositional Voice
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:\nKatrin Meidell\nLillian Fuchs (1902–1995) is a central figure in the development of modern viola repertoire. Celebrated equally for her artistry as a performer and skill as a pedagogue\, Fuchs left behind a body of work that continues to shape how violists train\, perform\, and teach. Her Twelve Caprices laid the groundwork for a technical and expressive approach to the instrument\, but it is her Sonata Pastorale—composed shortly thereafter—that reveals her compositional voice at its most expansive and personal. \nThis presentation centers on the Sonata Pastorale as a pivotal work in Fuchs’s output: a concert piece that bridges her virtuosic early writing with the pedagogical refinement found in her later Sixteen Fantasy Etudes and Fifteen Characteristic Studies. Written for solo viola\, the Sonata Pastorale is a richly expressive work featuring modal colors\, contrapuntal texture\, and idiomatic writing. Without departing from her pedagogical focus\, it reflects her core musical values—expressiveness\, clear phrasing\, and solid technique. \nThough often overshadowed by her études\, the Sonata Pastorale can be understood as a compositional turning point: a fully realized artistic statement that would go on to inform and inspire the design of her later teaching materials. This session will examine connections between the sonata and her pedagogical works\, highlighting recurring technical motifs (such as intervallic shaping\, double stops\, and modal inflections) and shared expressive aims. \nThe presentation will culminate in a complete performance of the Sonata Pastorale\, offering audiences a chance to hear Fuchs’s musical voice in full bloom. In re-evaluating this work within the broader context of her compositional timeline\, we gain not only a deeper appreciation for the sonata itself\, but also a richer understanding of the artistic foundation beneath her enduring pedagogical legacy.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/lillian-fuchss-sonata-pastorale-and-the-evolution-of-her-compositional-voice/
LOCATION:Room 142/Choir Room (Music)
CATEGORIES:Lecture-Recital
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260606T133000
DTEND;TZID=America/New_York:20260606T143000
DTSTAMP:20260526T110512
CREATED:20260207T034204Z
LAST-MODIFIED:20260307T022018Z
UID:47185-1780752600-1780756200@www.americanviolasociety.org
SUMMARY:Violists in the Military: Service Through Music
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:\nJulia Clancy\nThe violists in Pershing’s Own\, the President’s Own\, and the Air Force Strings serve a unique roll in the orchestral\, chamber\, pedagogical\, and solo music ecosystem in Virginia and beyond. We would like the chance to present on the path to becoming a performing artist through the military. Pershing’s Own\, specifically\, employs the most violists out of all the military ensembles (4 total). We perform as a viola quartet as well as in trios and duos. Julia Clancy is our arranger and has created custom arrangements for different occasions. Due to the nature of our job and how “missions” are assigned\, we will only be able to guarantee how many of us can perform (including possibly our pianist) once we go through official channels to make this a government mission on the books\, however\, we would like to plan for 4 of us\, along with a pianist to present (depending on approval from our command). We would like to dedicate a portion of the recital to playing our original arrangements for viola quartet as well as original compositions for four violas\, and part of the recital to speaking about life as a military musicians and answer questions about the audition process and going through military recruiting.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/violists-in-the-military-service-through-music/
LOCATION:Room 142/Choir Room (Music)
CATEGORIES:Lecture-Recital
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