BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Welcome to the American Viola Society! - ECPv6.15.20//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://www.americanviolasociety.org
X-WR-CALDESC:Events for Welcome to the American Viola Society!
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20250309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20251102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20260308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20261101T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20270314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20271107T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260603T133000
DTEND;TZID=America/New_York:20260603T143000
DTSTAMP:20260504T105348
CREATED:20260207T035836Z
LAST-MODIFIED:20260307T031051Z
UID:47021-1780493400-1780497000@www.americanviolasociety.org
SUMMARY:Explosive Viola Music!  Find it\, play it\, Help make it.
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:\nMichael Delfin\nMichael Hall\nThere is a myth among both musicians and audiences that the viola can only play elegies. Too often it seems like composers bring their troubles to the viola. Much of our repertoire does a fantastic job of exploiting the rich\, dark\, and melancholy characteristics of the viola. But we are capable of so much more. \nIn this lecture recital\, I will introduce two works written for me on which I collaborated closely with composers to feature the explosive\, kinetic\, and high octane expressive abilities of the viola. \nThese works are:\nKrakatoa (2018) by Stacy Garrop\nA viola concerto portraying the largest volcanic eruption in modern history – Krakatoa in 1883. Three segue movements 1. Imminent\, 2. Eruption\, 3. Dormant.\nI’ll present the viola/piano reduction version\, just published by Theodore Presser. \nZing Boom (2021) by Michelle McQuade Dewhirst\nA work I commissioned using my pandemic stimulus check. Zing Boom portrays the explosive swing of emotions felt from falling in love at first sight. The composer was inspired by Bjork’s legendary first appearance on the Tonight Show with Johnny Carson\, singing\, “It’s all so quiet.” \nI will demonstrate how the composers and I collaborated to enhance the explosive characteristics of the music\, provide lists of other recently composed viola works displaying explosive and highly kinetic vibes\, as well as provide violists in attendance with tools to approach\, commission\, and collaborate with composers. \nThe lecture will include complete performances of Krakatoa (15 mins) and Zing Boom (3 mins) to both introduce the pieces. The session closes with a Q & A session on commissioning.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/explosive-viola-music-find-it-play-it-help-make-it/
LOCATION:Room 142/Choir Room (Music)
CATEGORIES:Lecture-Recital
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260603T143000
DTEND;TZID=America/New_York:20260603T153000
DTSTAMP:20260504T105348
CREATED:20260207T035817Z
LAST-MODIFIED:20260307T030915Z
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:\nNathan 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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260603T153000
DTEND;TZID=America/New_York:20260603T163000
DTSTAMP:20260504T105348
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T090000
DTEND;TZID=America/New_York:20260604T100000
DTSTAMP:20260504T105348
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:20260504T105348
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:20260504T105348
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:20260504T105348
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:20260504T105348
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
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T153000
DTEND;TZID=America/New_York:20260604T163000
DTSTAMP:20260504T105348
CREATED:20260207T035414Z
LAST-MODIFIED:20260307T024646Z
UID:47089-1780587000-1780590600@www.americanviolasociety.org
SUMMARY:Contemporary Feminine Declarations- Auerbach and Higdon
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:\nSheila Browne\nLisa Leonard\nThis lecture recital with violist Sheila Browne and pianist Lisa Leonard will explore these two works- Lera Auerbach’s Arcanum and Jennifer Higdon’s Viola Sonata\, for a fresh perspective on two powerhouse contemporary female voices.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/contemporary-feminine-declarations-auerbach-and-higdon/
LOCATION:Room 204 (Music)
CATEGORIES:Lecture-Recital
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T090000
DTEND;TZID=America/New_York:20260605T100000
DTSTAMP:20260504T105348
CREATED:20260207T035351Z
LAST-MODIFIED:20260307T024329Z
UID:47135-1780650000-1780653600@www.americanviolasociety.org
SUMMARY:A Rediscovered Voice: Oppel Viola Solo Suite from the WWII
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:\nPenny Tong\nThis lecture-recital introduces a remarkable rediscovery in the viola repertoire: the Suite for Solo Viola (1940) by German composer Reinhard Oppel (1878–1941). Written in the final year of his professorship in music theory at the Leipzig Conservatory—just one year before his death—the work reflects Oppel’s deep engagement with the music of J.S. Bach\, a subject on which he published extensively. \nFollowing Oppel’s death\, his wife concealed his manuscripts in a trunk buried underground\, safeguarding them from the Nazi regime\, the devastation of WWII\, and later Soviet and East German authorities. In 1990\, Oppel’s youngest son\, Kurt\, returned to Germany to recover the collection\, now housed at the University of North Texas. Among these treasures was the handwritten manuscript of the Suite for Solo Viola. \nThe Suite comprises four movements—Adagio\, Fuga\, Grave\, and Andante (Theme and Variations)—offering a rare example of unaccompanied viola writing from the WWII era. This presentation will examine the work’s compositional design through a Schenkerian lens\, revealing its structural coherence\, contrapuntal sophistication\, and expressive depth. Live demonstrations on the viola will bring these analytical insights to life\, highlighting how the work’s architecture shapes its performance. \nGiven the scarcity of substantial solo viola works before 1940\, and the fact that much music composed during the war did not survive\, Oppel’s Suite represents both a significant historical recovery and a high-quality artistic contribution to the mid-20th-century repertoire. Sharing this work not only restores an overlooked voice but also enriches the expressive possibilities available to today’s violists. \nThe presentation will conclude with a complete performance of the Suite for Solo Viola\, followed by an audience Q&A.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/a-rediscovered-voice-oppel-viola-solo-suite-from-the-wwii/
LOCATION:Room 204 (Music)
CATEGORIES:Lecture-Recital
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T100000
DTEND;TZID=America/New_York:20260605T110000
DTSTAMP:20260504T105348
CREATED:20260207T035338Z
LAST-MODIFIED:20260413T153747Z
UID:47131-1780653600-1780657200@www.americanviolasociety.org
SUMMARY:Peggy Glanville-Hicks’ Concerto Romantico: increasing access to study and performance through the creation of an engraved edition
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;\nRoselyn Hobbs\nBernadette Lo\nPeggy Glanville-Hicks’ Concerto Romantico for Viola and Chamber Orchestra is a powerful gem of viola writing that most violists have never heard. Premiered in 1957 by Walter Trampler\, Concerto Romantico has been inaccessible to most violists for performance and study. It was previously only published as a photocopy of a handwritten manuscript\, error-ridden and presumed lost\, utilizing the composer’s earlier-sketched short score in lieu of a piano reduction. In addition to the parts being hard to read in this format\, there are also inconsistencies between the short score\, the solo viola part\, and the full orchestral score. In collaboration with Peters Edition\, the current copyright holder\, and the Glanville-Hicks Trust\, I have undertaken a project to engrave the viola part and transform the short score into a piano reduction consistent with the full orchestration to formalize a new edition of the work. In this lecture recital I will share background information on this hidden gem of viola repertoire\, the value it contributes to current standard repertoire\, its educational value and opportunities for insertion into the repertoire of developing players\, and my process of creating a new edition. The lecture will conclude with a performance of the new edition of Peggy Glanville-Hicks’ Concerto Romantico\, arranged for viola and piano.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/peggy-glanville-hicks-concerto-romantico-increasing-access-to-study-and-performance-through-the-creation-of-an-engraved-edition/
LOCATION:Room 142/Choir Room (Music)
CATEGORIES:Lecture-Recital
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T110000
DTEND;TZID=America/New_York:20260605T120000
DTSTAMP:20260504T105348
CREATED:20260207T035041Z
LAST-MODIFIED:20260307T023954Z
UID:47137-1780657200-1780660800@www.americanviolasociety.org
SUMMARY:Amy Beach's Violin Sonata Transcribed for the Viola: An Exploration of Her Letters and Synesthesia
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:\nAngela Rubin\nAmy Marcy Cheney Beach (1867–1944) stands as a monumental figure in the history of American classical music\, renowned for her achievements as the first American woman to gain widespread recognition as a composer of large-scale orchestral works. Central to understanding Beach’s stylistic practices and her approach to composition is her correspondence\, notably the letters housed in the A.P. Schmidt Company Archives. \nThe A.P. Schmidt Company archives\, 1869 to 1958\, are located in the Performing Arts Reading Room at the Library of Congress in Washington\, D.C.\, United States. During my visit to the Library of Congress\, I reviewed hundreds of correspondence between Beach and the A.P. Schmidt Company. The letters within this collection not only reveal Beach’s perspectives on music and performance but also offer a glimpse into her methods of transcribing and interpreting works. This lecture recital explores how Beach’s letters\, particularly those discussing her transcription of Richard Strauss’ Serenade\, can inform contemporary performance practices and guide my original transcription of her Violin Sonata\, Op. 34\, for the viola. \nAmy Beach had synesthesia\, the neurological condition where stimulation of one sense triggers experiences in another\, unrelated sense. Her strong association of key to color impacted her compositions\, transcriptions\, and interpretations of works. By considering her preferences regarding key\, expression\, and technical considerations\, this research will argue for maintaining the original key in the viola transcription\, as well as highlighting the stylistic nuances that are integral to Beach’s work.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/amy-beachs-violin-sonata-transcribed-for-the-viola-an-exploration-of-her-letters-and-synesthesia/
LOCATION:Room 204 (Music)
CATEGORIES:Lecture-Recital
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T133000
DTEND;TZID=America/New_York:20260605T143000
DTSTAMP:20260504T105348
CREATED:20260207T035014Z
LAST-MODIFIED:20260307T023759Z
UID:47139-1780666200-1780669800@www.americanviolasociety.org
SUMMARY:Tapping Into Your Roots: A Genealogical Exploration through Viola and 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:\nGregory K. Williams\nOver the past 30+ years\, longer than I have been playing the viola\, I have been exploring my family tree\, absorbing the experiences of my ancestors\, learning stories from my grandparents\, and uncovering fascinating secrets\, photos\, and writings about various ancestors. Concurrently\, I have spent a significant portion of my life trying to absorb the musical traditions of my Greek ancestors\, largely due to my late grandfather\, Stanley Karayean\, who was a professional clarinetist and trumpet player. \nThis lecture recital is meant to share part of one of my newest musical journeys\, synthesizing my appreciation for genealogical exploration with all things viola-related. My plan for this lecture recital is to present several works for viola and voice that I have been composing\, sharing the stories of my ancestors. My goal is to show other musicians ways to incorporate the musical traditions of their heritage into art songs for their instrument. This will include works such as: \nO’ Pro Pappou- An homage to my great-grandfather\, Theodoros Karayeannis\, a tailor born in Lesvos\, Greece\, who arrived with his wife Stavroula Papasotiriou in the USA in 1921. \nAn Homage to the Hudson Valley- A song set to the text of Mary Cameron Benjamin\, the younger sister of my Great-great-great-grandmother\, Lodoiska Cameron Belding. Mary Cameron Benjamin was born in Columbia County\, NY\, situated in the Hudson Valley\, where her family farmed for several generations. After the Civil War\, Mary and her husband\, Dr. M. Francis Benjamin\, a Union Army physician\, relocated to Alameda\, CA\, where she spent the rest of her life writing poetry\, and spending time in several literary circles. \nAnita and Frank McGee- A song about the two younger siblings of my great-great-grandmother\, Elizabeth McGee Williams (1883-1918)\, who emigrated to the United States from Dundee\, Scotland\, in the early 1900s\, gave birth to her five sons\, before dying during the Influenza Epidemic. Her two younger siblings\, Anita and Frank McGee\, were actors on the Vaudevillian Circuit\, where they performed in Scottish regalia for audiences across the country.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/tapping-into-your-roots-a-genealogical-exploration-through-viola-and-voice/
LOCATION:Room 204 (Music)
CATEGORIES:Lecture-Recital
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T143000
DTEND;TZID=America/New_York:20260605T153000
DTSTAMP:20260504T105348
CREATED:20260207T034956Z
LAST-MODIFIED:20260412T210801Z
UID:47133-1780669800-1780673400@www.americanviolasociety.org
SUMMARY:The Creative Process: A Journey from Performer to Violist-Composer
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:\nAmes Asbell\nViolist Ames Asbell shares her journey into composition from the performer’s perspective\, informed by a variety of creativity texts and interviews with active violist-composers. This session details her process of self-discovery and reflections on creativity\, identity\, and the expressive potential of the viola\, culminating in a performance of Blue Ridge Sketches\, a set of original miniatures inspired by the landscapes of the Blue Ridge Mountains and accompanied by visuals and poetry by a college friend who posts his own photos and thoughts on Instagram as @adam_red_dirt.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/the-creative-process/
LOCATION:Room 142/Choir Room (Music)
CATEGORIES:Lecture-Recital
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T153000
DTEND;TZID=America/New_York:20260605T163000
DTSTAMP:20260504T105348
CREATED:20260207T034937Z
LAST-MODIFIED:20260307T023349Z
UID:47141-1780673400-1780677000@www.americanviolasociety.org
SUMMARY:A Belgian Addition to the Viola Repertoire: Joseph Jongen and his Viola Works
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:\nKunjing Dai\nThomas Weaver\nBelgian composer Joseph Jongen (1873–1953)\, famous for his organ and chamber works\, contributed significantly to the viola repertoire\, yet lesser-known. Jongen collaborated with Lionel Tertis and formed the Belgian Piano Quartet after moving to England during WWI. Many chamber works of Jongen paid great attention to the viola and brought out the instruments’ potential. \nJongen’s music reflect both French compositional style and Belgian folklore influence. This resulted in unique deigns on his melodic writing\, resulting in music both indulging and fulfilling. It is old yet new\, fresh\, and unheard\, rooted in tradition and is strikingly personal. The choice of assigning those melodies into a back-then “unheard” solo instrument further promoted such vitality. \nJongen’s work demonstrates a deep understanding of the viola acoustics. It highlights the warmth of the C string and extends brilliantly to all other strings and registers. In this way Jongen uses the viola to its fullest potential. The extensive mapping throughout the fingerboard of the viola may require certain editorial direction or choices to help the viola sound balance out through orchestra and piano accompaniment. The lecture recital will examine how Jongen successfully delivers this smoothing\, virtuosic yet personal viola voice through excerpts from his major viola works. I will also address the technical challenges such as registral playability\, projection and potential solutions as we cover the lesser-known pieces for all age-group performers. \nViolas need to showcase their own unique personality on stage\, distinct from that of violins and cellos. Jongen was able to recognize the unique voice the viola and brings and produce sonority that only violas have. The orchestration and piano writings also exemplify chamber works: Jongen understands the lower voicing of viola\, while lacking bass resonance\, needs special accompaniment writing to have it be audible. Jongen affirmed the viola’s potential as a solo instrument. His works deserve a place on concert stage and the soothing quality of viola deserves great discussion and wider public exposure.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/a-belgian-addition-to-the-viola-repertoire-joseph-jongen-and-his-viola-works/
LOCATION:Room 204 (Music)
CATEGORIES:Lecture-Recital
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260606T090000
DTEND;TZID=America/New_York:20260606T100000
DTSTAMP:20260504T105348
CREATED:20260207T034325Z
LAST-MODIFIED:20260307T022832Z
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\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:20260504T105348
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:20260504T105348
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:20260504T105348
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
END:VEVENT
END:VCALENDAR