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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T143000
DTEND;TZID=America/New_York:20260604T153000
DTSTAMP:20260502T123026
CREATED:20260207T035443Z
LAST-MODIFIED:20260331T193610Z
UID:47048-1780583400-1780587000@www.americanviolasociety.org
SUMMARY:Exploring Just Intonation Through Double Stops
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:\nMolly Sharp\nAs classical music includes so much one-on-one teaching\, many of our skills are learned practically through oral tradition. Because of this\, many teachers assume that their students will “figure it out” with enough practice\, time\, and experience. Intonation\, and especially Just Intonation\, is one of those subjects. Several books have been written about Just Intonation\, but they mainly focus on the theoretical. For these reasons\, I created a practical guide so that musicians can apply and hear the concepts of Just Intonation immediately. \nWhile this workshop is about tuning\, it’s actually about more than that. \nIt’s about deep listening\, exploring the edges of resonance\, and increasing your awareness of what you hear and feel while playing. It’s about developing a deep and focused sound\, which is so crucial for good viola playing. \nThis session will be experiential\, and I will recruit 4 participants (most likely students) in advance from the participants of the AVS festival. I will lead them through experiments with sound production\, explore what gets in the way of good sound and good intonation\, and systematically go through tuning intervals and chords. \nThose who are not playing will also be able to hear when intervals and chords achieve maximum resonance.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/exploring-just-intonation-through-double-stops/
LOCATION:B71 (Music Building)
CATEGORIES:Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T153000
DTEND;TZID=America/New_York:20260604T163000
DTSTAMP:20260502T123026
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:20260604T153000
DTEND;TZID=America/New_York:20260604T163000
DTSTAMP:20260502T123026
CREATED:20260207T035419Z
LAST-MODIFIED:20260307T024614Z
UID:47075-1780587000-1780590600@www.americanviolasociety.org
SUMMARY:Secrets of Playing Polyphonic Music on Viola (or Violin)
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:\nMikhail “Misha” Galaganov\nPlaying simultaneous melodies in double stops or hidden polyphony in single musical lines of Baroque pieces often presents technical and musical challenges. Most solo works by Bach\, Telemann\, and other Baroque composers are full of such difficulties\, not only in fugal music and works of complex textures with multiple independent voices\, but also in dances and other movements. Yet\, a few simple guidelines and technical secrets make performances of multi-voice compositions much more understandable for listeners and much simpler for performers themselves. \nThe part 1 of the workshop will consist of explanation and demonstration of simple techniques and rules\, with all participants being able to follow the examples on the handouts. \nPart 2 of the session will engage participants in a guided practice of each (secret) technique using simple short excepts from solo works by Bach and Telemann. No advance preparation will be needed for attendees to fully participate in the process. Music will be provided to participants via handouts. \nThe workshop will conclude with a 10-minute Q&A session\, during which other questions or concerns could be addressed and discussed.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/secrets-of-playing-polyphonic-music-on-viola-or-violin/
LOCATION:Room 108/Large Band Room (Music)
CATEGORIES:Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T153000
DTEND;TZID=America/New_York:20260604T163000
DTSTAMP:20260502T123026
CREATED:20260207T035424Z
LAST-MODIFIED:20260404T212954Z
UID:47064-1780587000-1780590600@www.americanviolasociety.org
SUMMARY:Teacher in Residence: Conductivity: Peter Slowik’s Approach to Energy Transfer in String Playing
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:\nPeter Slowik\nLauren Hodges\nA popular phrase these days is “there is no such thing as advanced technique – only advanced applications of basic technique.” The pathway to artist-level viola playing is predicated on mastery of a significant number of “basic” techniques. \nThis presentation is part of a larger project that is currently being undertaken by Peter Slowik and Lauren Hodges. This project will gather a variety of Slowik’s significant technical ideas\, presenting them in formats that can benefit players and teachers beyond his immediate viola studio at Oberlin Conservatory (or AVS workshops!) The completed project will include printed text and a companion website with teaching videos focusing on several aspects of viola technique. Feedback from this workshop will be used to focus the upcoming dissemination of information. \nProfessor Slowik has had an extensive career as a performer and teacher at institutions such as Oberlin Conservatory\, Northwestern University\, Indiana University\, the Cleveland Institute of Music\, and the Eastman School of Music. A former president of AVS and founder of Credo music festival\, Slowik has placed students into prominent academic and orchestral positions nationwide. Mr. Slowik is widely regarded as one of the leading viola pedagogues of his generation. \nSlowik’s 45 years of teaching experience has given him the opportunity to distill some of viola pedagogy’s most vexing problems into sequential pathways – a “prescription” to follow to master the concept. These pathways start by identifying the basic problem\, sort it into digestible segments\, and then applying exercises to master each segment of the problem. In this session Slowik will share insight into Fingerboard Geography\, Shifting\, and Spiccato. \nLauren Hodges\, Associate Professor of Viola at the University of Florida\, has done extensive pedagogical projects based on the teachings of Paul Rolland and Karen Tuttle\, and she is helping Slowik organize\, compile\, and record pedagogical materials for posterity.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/teacher-in-residence-peter-slowiks-approach-for-mastering-fingerboard-geography-shifting-and-spiccato/
LOCATION:Room 119 (Music)
CATEGORIES:Workshop,AVSF Teacher In Residence
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T153000
DTEND;TZID=America/New_York:20260604T163000
DTSTAMP:20260502T123026
CREATED:20260207T035429Z
LAST-MODIFIED:20260321T233336Z
UID:47054-1780587000-1780590600@www.americanviolasociety.org
SUMMARY:AVS Shared Recital: Emerging Artists
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=””] \nPerformers:\nNoah Bowles\nSasha Bult-Ito\nJacob Clewell\nJoseph Yungen\n  \nBlues Etude for Solo Viola\, by Jeremy Cohen (b. 1957) \nNoah Bowles\, viola \nNovel Voices for Viola and Piano\, by Fernando Arroyo Lascurain (b. 1986) \n\n Stories and Dreams\n Dance of Uncertainty\nCall and Prayer\n\nNoah Bowles\, viola; Joseph Yungen\, piano \n  \nL’extase d’Amour\, BY Leslie Adams (1932-2024) \nSonata for Viola and Piano\, Op. 69\, BY Nikolai Kapustin (1937-2020) \nAllegro \n\n Largo\nVivace\n\nThe Ezra Duo: Jacob Clewell\, viola; Sasha Bult-Ito\, piano \n*** \nBlues Etude by Jeremy Cohen is a funky piece that is based on a blues progression. Originally written for solo violin\, Cohen writes in his performance notes that this piece offers a “musically engaging experience” by developing technique while playing in a more “up-to-date style of string playing.” It also makes an exciting encore piece to end a recital program. \n*** \n“Novel Voices” by Fernando Arroyo Lascurain was written for Molly Carr and Anna Petrova (Carr-Petrova Duo) in 2019\, inspired by their trips to refugee camps as part of their Novel Voices Refugee Aid Project. This work for viola and piano is a shining example of contemporary viola writing – full of emotional depth and technical virtuosity. “Novel Voices” brings together stories of refugees from around the world in a thought-provoking three movement work. I believe the poignant message of this piece deserves to be showcased and shared in the viola community.  \n*** \nIn Leslie Adams’ “L’extase d’Amour”\, the overwhelming feeling of love is explored through heartfelt melodic content adamantly and repeatedly restated alongside soaring harmonic content that grows and blooms in pivotal moments in the work\, creating a feeling of effortless expanse of emotion. The players are constantly in dialogue with each other\, listening and responding as the texture evolves around the constant of the primary theme. \n*** \nNikolai Kapustin’s much wordier sonata showcases a similar exploration\, but through Kapustin’s signature jazz-based vocabulary. While the overall tone of the sonata is vibrant and lighthearted\, the frequent call for technical virtuosity from both players is indicative of a philosophical search for expressive freedom by overcoming physical limitation. Emotional release is achieved through the resulting freedom of expressive ability\, and shown through the sheer volume of different musical characters.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/avs-shared-recital-emerging-artists/
LOCATION:Recital Hall (Forbes)
CATEGORIES:AVSF Recital
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T163000
DTEND;TZID=America/New_York:20260604T173000
DTSTAMP:20260502T123026
CREATED:20260207T035410Z
LAST-MODIFIED:20260207T035410Z
UID:47083-1780590600-1780594200@www.americanviolasociety.org
SUMMARY:AVS General Board Meeting; Open to All Attendees
DESCRIPTION:All festival attendees are invited to attend the American Viola Society General Board Meeting. This open session offers an opportunity to learn more about the Society’s current initiatives\, future plans\, and ongoing work in support of the viola community. Members and attendees are encouraged to observe\, engage\, and share their perspectives as part of an open and collaborative dialogue.
URL:https://www.americanviolasociety.org/events/avs-general-board-meeting-open-to-all-attendees/
LOCATION:Room 142/Choir Room (Music)
CATEGORIES:AVS Open Board Meeting
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T190000
DTEND;TZID=America/New_York:20260604T210000
DTSTAMP:20260502T123026
CREATED:20260207T035405Z
LAST-MODIFIED:20260307T024439Z
UID:47058-1780599600-1780606800@www.americanviolasociety.org
SUMMARY:Signature Artist Evening Concert: Rudolf Haken  — The Electric Viola Unbound
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=””] \nPerformer:\nRudolf Haken\nwith the AVS Festival Orchestra\nconducted by Dr. Omelchenko\nSignature Artist Rudolf Haken presents an electrifying evening showcasing the extraordinary expressive range of the electric viola. Featuring his original Concerto in F and the virtuosic VIPER Concerto\, alongside his innovative arrangement of Bach’s Cello Suite No. 4\, the program bridges centuries of musical tradition and cutting-edge performance. With dynamic arrangements of works by Stevie Wonder and Daft Punk—incorporating talk box\, looping\, and extended techniques—this concert explores new sonic possibilities and redefines the boundaries of viola performance in the 21st century.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/signature-artist-evening-concert-rudolf-haken-the-electric-viola-unbound/
LOCATION:Concert Hall (Forbes)
CATEGORIES:AVSF Signature Artist Concert
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T080000
DTEND;TZID=America/New_York:20260605T090000
DTSTAMP:20260502T123026
CREATED:20260207T035400Z
LAST-MODIFIED:20260207T035400Z
UID:47119-1780646400-1780650000@www.americanviolasociety.org
SUMMARY:Mass Ensemble Rehearsal
DESCRIPTION:
URL:https://www.americanviolasociety.org/events/mass-ensemble-rehearsal-3/
LOCATION:Concert Hall (Forbes)
CATEGORIES:Mass Ensemble Rehearsal
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T080000
DTEND;TZID=America/New_York:20260605T190000
DTSTAMP:20260502T123026
CREATED:20260207T035356Z
LAST-MODIFIED:20260303T225905Z
UID:47097-1780646400-1780686000@www.americanviolasociety.org
SUMMARY:Registration
DESCRIPTION:We are so excited to welcome you to the 2026 American Viola Society Festival! \nCheck in and pick up your festival credentials\, materials\, and swag bag! Registration is the first step in your American Viola Society Festival experience at James Madison University. Attendees will receive their badge\, program schedule\, and all the one-of-a-kind Festival merch. Our team will be available to answer questions and help you get oriented so you can make the most of the performances\, masterclasses\, lectures\, and special events ahead.
URL:https://www.americanviolasociety.org/events/registration-3/
LOCATION:Lower Lobby (Forbes\, Downstairs)
CATEGORIES:Registration
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T090000
DTEND;TZID=America/New_York:20260605T100000
DTSTAMP:20260502T123026
CREATED:20260207T035347Z
LAST-MODIFIED:20260323T152126Z
UID:47147-1780650000-1780653600@www.americanviolasociety.org
SUMMARY:Wisdom from the Masters
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:\nAndrea Houde\nAt every stage of growth through our musical lives\, it is vital to have a trusted teacher towards which to turn. The valuable insight a teacher gives us often opens up w`orlds of possibilities in playing and expression. What if you had the rare opportunity to sit down with some of our most sought-after viola professors to ask them your most burning questions about playing the viola\, teaching\, and the future of music? That is exactly what I did through interviews and observations with several master teachers including Heidi Castleman (The Juilliard School)\, Jeffrey Irvine (Cleveland Institute of Music)\, Victoria Chiang (Peabody Institute)\, and Leonard Schranze (University of Memphis and Interlochen Center for the Arts). This session will discuss the wisdom these master teachers shared that will help all of us to be the best musicians and violists possible.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/wisdom-from-the-masters/
LOCATION:Room 321 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T090000
DTEND;TZID=America/New_York:20260605T100000
DTSTAMP:20260502T123026
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:20260605T090000
DTEND;TZID=America/New_York:20260605T103000
DTSTAMP:20260502T123026
CREATED:20260207T035342Z
LAST-MODIFIED:20260331T193655Z
UID:47105-1780650000-1780655400@www.americanviolasociety.org
SUMMARY:Exploring Movement: An Introduction to Body Mapping for Musicians
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:\nJuliet White-Smith\nThis interactive workshop will be an introduction to Body Mapping\, a somatic modality which grew out of the Alexander Technique. Developed by Barbara Conable in the 1990s\, Body Mapping helps musicians optimize movement and sound by exploring how the body functions. Body maps are constructs in the brain which result in habitual movement\, whether productive or harmful. They are driven by our perception of how our bodies are structured and sized and how they function. The good news is that body maps can change. By exploring movement and educating ourselves\, we can replace our inadequate maps with informed ones. This work can lead to general improvement in our movement\, and more specifically to a more coordinated and efficient movement\, all in an effort to assist us on our journey to reduce and prevent discomfort\, pain\, and injury. Participants should come dressed comfortably and prepared to move![/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/exploring-movement-an-introduction-to-body-mapping-for-musicians/
LOCATION:B71 (Music Building)
CATEGORIES:Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T100000
DTEND;TZID=America/New_York:20260605T110000
DTSTAMP:20260502T123026
CREATED:20260207T035333Z
LAST-MODIFIED:20260307T024231Z
UID:47143-1780653600-1780657200@www.americanviolasociety.org
SUMMARY:The Incomplete Rolla Viola Concerti
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:\nKenneth Martinson\nThis lecture explores nine little-known viola concertos by Alessandro Rolla that survive in incomplete form\, offering a rare glimpse into both the challenges and possibilities of reconstructing lost repertoire. These works fall into three categories: four concertos with only the solo part extant (BI. 329\, 552\, 553\, 554)\, three partially completed concertos (BI. 542\, 548\, 555)\, one concerto missing its solo part\, and one with only a few missing bars (BI. 541). \nI will focus on the research and editorial process behind completing and publishing BI. 541\, 542\, 548\, and 555 with Gems Music Publications. Participants will gain insight into the detective work required to bridge gaps in manuscript sources—examining Rolla’s compositional style\, harmonic language\, and formal structures to ensure stylistic integrity. I will discuss how I identified and reconstructed missing sections\, resolved ambiguous notation\, and prepared performance-ready editions while retaining scholarly transparency. \nThe session will also address practical considerations for performers and editors facing incomplete works: determining when reconstruction is feasible\, balancing historical accuracy with modern playability\, and making editorial decisions visible to the user. Audio and score examples will illustrate the transformation from fragmentary source to complete\, performable concerto. \nAVS Festival attendees can expect to leave with: \nA deeper appreciation of Rolla’s contribution to the viola repertoire. \nA practical framework for approaching incomplete historical works. \nAwareness of newly available editions that expand the performer’s concerto options. \nBy reviving these neglected concertos\, we not only enrich the viola’s repertoire but also honor Rolla’s enduring legacy\, offering today’s violists fresh opportunities to connect with a composer whose music bridges the Classical and Romantic eras.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/the-incomplete-rolla-viola-concerti/
LOCATION:Room 318 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T100000
DTEND;TZID=America/New_York:20260605T110000
DTSTAMP:20260502T123026
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:20260605T100000
DTEND;TZID=America/New_York:20260605T110000
DTSTAMP:20260502T123026
CREATED:20260207T035447Z
LAST-MODIFIED:20260301T234210Z
UID:47044-1780653600-1780657200@www.americanviolasociety.org
SUMMARY:AVSF Masterclass: Emerging Teaching Artists
DESCRIPTION:Emerging Teaching Artists of the American Viola Society Festival lead this masterclass\, working with selected participants and sharing their insights on technique\, musical interpretation\, and effective practice strategies. This session highlights the artistry and pedagogical voices of rising educators while offering valuable perspectives for performers and observers alike.
URL:https://www.americanviolasociety.org/events/avsf-masterclass-emerging-teaching-artists/
LOCATION:Room 1115 (Forbes)
CATEGORIES:Masterclass
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T100000
DTEND;TZID=America/New_York:20260605T110000
DTSTAMP:20260502T123026
CREATED:20260207T035908Z
LAST-MODIFIED:20260310T222905Z
UID:47125-1780653600-1780657200@www.americanviolasociety.org
SUMMARY:Beyond the Studio: Second-Generation Voices on Karen Tuttle Coordination
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:\nDaphne Gerling\nKatherine Lewis\nKatrin Meidell\nKaren Tuttle’s Coordination has profoundly influenced generations of violists\, emphasizing physical ease\, emotional awareness\, and expressive authenticity. While many of Tuttle’s direct students are now established figures in the field\, a growing number of second-generation teachers are extending her legacy— interpreting and evolving her ideas to meet the needs of contemporary students and performance environments. \nThis panel features several of these second-generation Coordination teachers— violists who studied with Tuttle protégés including Susan Dubois\, Jeffrey Irvine\, Michelle LaCourse\, Lynne Ramsey\, Karen Ritscher\, and Carol Rodland. Drawing on their diverse experiences as performers and educators\, the panelists will reflect on how they integrate Coordination principles into their teaching\, how they adapt these concepts for students with varied backgrounds and needs\, and how they maintain the spirit of Tuttle’s work while allowing it to grow. \nThe conversation will consider what it means to inherit an important pedagogical lineage\, how to incorporate Coordination into technical and musical instruction into the studio\, and how Tuttle’s ideas have evolved as they are passed down through different institutions and cultural settings. Panelists will share practical strategies and explore how to preserve the integrity of Tuttle’s approach while allowing space for individual interpretation and development\, and explore how the method resonates with today’s students. \nThe session will include live demonstrations of teaching strategies and exercises\, in addition to moderated discussion and audience Q&A. It aims to engage performers\, teachers\, and students alike in a dynamic conversation about the continued relevance— and creative future— of Tuttle Coordination in the 21st century.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/beyond-the-studio-second-generation-voices-on-karen-tuttle-coordination/
LOCATION:Room 108/Large Band Room (Music)
CATEGORIES:Panel
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T110000
DTEND;TZID=America/New_York:20260605T120000
DTSTAMP:20260502T123026
CREATED:20260207T035036Z
LAST-MODIFIED:20260307T024026Z
UID:47149-1780657200-1780660800@www.americanviolasociety.org
SUMMARY:Bach\, Brain\, and Bow Mileage: The Pedagogy of Bruno Giuranna
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:\nLuca Trombetta\nThis lecture explores the influential teaching legacy of renowned violist Bruno Giuranna\, whose contributions to viola pedagogy have shaped generations of performers and teachers worldwide. Through a structured exploration of his teaching style\, technical insights\, and interpretative philosophies\, the presentation offers a comprehensive view of Giuranna’s lasting impact on the viola world. \nThe presentation will address the following key points:\n• Biography\nA brief overview of Giuranna’s life and career\, including key milestones in his development as both performer and teacher.\n• Giuranna’s Teachers\nAn exploration of the pedagogical lineage that shaped Giuranna’s own musical foundations.\n• Approaches to Right and Left-Hand Technique\nA discussion of Giuranna’s methodical approach to both hands\, focusing on how he cultivated relaxed\, efficient\, and musical playing in his students.\n• Favorite Etude Books\nInsight into the technical exercises and etude books\, Giuranna prioritizes with his students to develop both technique and musical sensibility.\n• Approaches to the Study of the Viola Repertoire\nAn overview of how Giuranna taught\, emphasizing a logical progression in the choice of repertoire from more approachable to more challenging.\n• Giuranna’s Revision of J.S. Bach’s Cello Suites arranged for Viola – Comparing the Two Editions\nA brief comparison of his two editions of the Bach cello suites arranged for viola\, highlighting how his thinking evolved and what his editorial choices reveal about the musical logic behind his choice of bowings and fingerings.\n• Interviewing Other Giuranna Students\nPersonal reflections and perspectives from former students\, offering firsthand insight into Giuranna’s teaching style\, impact\, and legacy. \nThis session will be of particular interest to violists\, teachers\, and anyone engaged in string pedagogy\, offering a nuanced portrait of one of the viola’s most important modern pedagogues.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/bach-brain-and-bow-mileage-the-pedagogy-of-bruno-giuranna/
LOCATION:Room 321 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T110000
DTEND;TZID=America/New_York:20260605T120000
DTSTAMP:20260502T123026
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:20260605T110000
DTEND;TZID=America/New_York:20260605T120000
DTSTAMP:20260502T123026
CREATED:20260207T035046Z
LAST-MODIFIED:20260307T023912Z
UID:47107-1780657200-1780660800@www.americanviolasociety.org
SUMMARY:From Crane Step to Butterfly Palm: Integrating Qigong into Viola Playing by Practicing Heidi Castleman’s ‘Strings with Qigong’
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:\nNethanel Pollak\nHeidi Castleman\nIn this workshop\, I will explore the profound benefits of Qigong for viola players\, emphasizing physical wellness and enhanced performance. Qigong\, an ancient Chinese practice involving gentle movements and breath control\, fosters relaxation and improves posture. It observes nature for models of movement and sound\, particularly inspired by animals like tigers\, bears\, birds\, dragons\, and butterflies. It acts like rocket fuel for a musician\, as both Qigong and playing a string instrument are centered around the vibration and flow of movement—one through sound\, and the other through physical motion. I will introduce Heidi Castleman’s ‘Strings with Qigong’ project\, which integrates Qigong principles into viola playing\, and other instruments’ practice. Heidi Castleman will join the session remotely to demonstrate key movements and discuss their application. Attendees will gain practical insights on how to incorporate Qigong into their routines\, promote holistic musicianship and address common physical challenges.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/from-crane-step-to-butterfly-palm-integrating-qigong-into-viola-playing-by-practicing-heidi-castlemans-strings-with-qigong/
LOCATION:Room 1270/Dance Theater (Forbes)
CATEGORIES:Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T110000
DTEND;TZID=America/New_York:20260605T123000
DTSTAMP:20260502T123026
CREATED:20260207T035032Z
LAST-MODIFIED:20260207T035156Z
UID:47111-1780657200-1780662600@www.americanviolasociety.org
SUMMARY:AVSF Ensemble Invitational
DESCRIPTION:Selected viola ensembles take the stage in this special recital showcasing collaborative artistry and diverse repertoire. Featuring outstanding groups from the festival community\, the Ensemble Invitational celebrates the richness of ensemble playing and highlights the creativity\, communication\, and musical partnership at the heart of viola performance.
URL:https://www.americanviolasociety.org/events/avsf-ensemble-invitational/
LOCATION:Recital Hall (Forbes)
CATEGORIES:Ensemble Invitational
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T123000
DTEND;TZID=America/New_York:20260605T180000
DTSTAMP:20260502T123026
CREATED:20260207T035028Z
LAST-MODIFIED:20260207T035152Z
UID:47099-1780662600-1780682400@www.americanviolasociety.org
SUMMARY:Exhibitor Open Hours
DESCRIPTION:We invite you to explore the exhibitor hall and connect with distinguished luthiers\, bow makers\, publishers\, and vendors from across the viola world. Discover exceptional instruments\, browse sheet music and accessories\, and enjoy the opportunity to meet the experts who support and inspire our vibrant musical community.
URL:https://www.americanviolasociety.org/events/exhibitor-open-hours-2/
LOCATION:Forbes Lower Lobby (Downstairs) and Grand Lobby (Upstairs)
CATEGORIES:Exhibits
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T133000
DTEND;TZID=America/New_York:20260605T143000
DTSTAMP:20260502T123026
CREATED:20260207T034951Z
LAST-MODIFIED:20260421T211132Z
UID:47145-1780666200-1780669800@www.americanviolasociety.org
SUMMARY:Organizing the Bounce
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=””]Off-the-string bow strokes—such as spiccato\, sautillé\, and ricochet—are vital tools for string players\, particularly in orchestral and audition settings. Yet mastering these strokes remains an ongoing challenge for both students and seasoned performers. This presentation explores a structured approach to learning and teaching these strokes\, with a particular focus on viola orchestral excerpts. Drawing inspiration from The Artist’s Studio for Strings – Bowing Development Studies by Magers\, Spinosa\, and Rusch\, the session outlines the defining characteristics\, bow placement\, and physical mechanics of each stroke. \nIn addition to stroke definitions and pedagogy\, this work presents a comprehensive organizational system for viola excerpts featuring off-the-string strokes. These are categorized by tempo\, rhythm\, meter\, stroke speed\, dynamics\, and character to help musicians target technique-specific challenges. The result is a dual-purpose resource: a teaching framework and a performance-preparation tool that supports both individualized practice and pedagogical planning. \nWhether you are an orchestral auditioner\, a private teacher\, or a student\, this research encourages a methodical\, stroke-centered view of familiar repertoire. It also acknowledges the ongoing nature of stroke mastery\, framing off-the-string technique not just as a technical hurdle\, but as a vehicle for musical expression. \nLearning Objectives\n1. Participants will be able to identify and describe the physical mechanics and bow placement associated with controlled spiccato\, sautillé\, and ricochet strokes.\n2. Participants will learn to categorize orchestral excerpts based on bow stroke characteristics\, tempo\, and rhythmic context to guide both teaching and personal practice.\n3. Participants will gain strategies for integrating stroke-focused methods into teaching curricula and audition preparation routines for violin and viola students.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/organizing-the-bounce/
LOCATION:Room 318 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T133000
DTEND;TZID=America/New_York:20260605T143000
DTSTAMP:20260502T123026
CREATED:20260207T035009Z
LAST-MODIFIED:20260321T234206Z
UID:47165-1780666200-1780669800@www.americanviolasociety.org
SUMMARY:AVS Shared Recital: Growing the Circle
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=””] \nPerformers:\nOrquidea Araniva\nLauren Hodges\nPeijun Xu\nEMF Faculty\n  \nCadejos for solo viola\, by Fernando Zúñiga Chanto (Costa Rica) \nNight Dust for solo viola (World Premiere)\, Pilar Aguilar (Costa Rica) \nOrquídea Guandique Araniva\, viola \n  \nThree American Folk Hymns for two violas\, Kenji Bunch (b. 1973) \nLauren Burns Hodges\, viola; Peijun June Xu\, viola \n  \nAmazing Grace (American folk hymn)\, arr. for four violas\, Jennifer Higdon (b. 1962 ) \nArboretum for four violas\, Op. 52 (2024)\, Christopher Lowry (b. 1988) \nAdoration (arr. for six violas by Elaine Fine)\, Florence Price (1887-1953) \n“Mr. Sandman” (arr. For six violas by Max Raimi)\, Pat Ballard (1899-1960) \nEFM Violists: Sarah Cote\, Ben Geller\, Jamie Hofman\, Chi Lee\, Diane Phoenix-Neal\, Daniel Reinker; Guest Composer and Violist: Christopher Lowry \nPROGRAM NOTES \nInspired by Central American mythology\, Cadejos by Fernando Zúñiga Chanto (Costa Rica) draws on the legend of two supernatural dogs — one white\, the other black — said to protect or endanger travelers at night. Costa Rican composer Fernando Zúñiga Chanto captures this duality through contrasting musical ideas: moments of lyrical calm give way to tense\, unpredictable rhythms and harmonic darkness. The piece unfolds like a tale told at dusk\, balancing folklore and modern expression with dramatic intensity.\n \nThree American Folk Hymn Settings by Kenji Bunch (b. 1973) is a ten-minute duo for two violas divided into three movements played without pause. After an opening Prologue\, Bunch uses three hymns as melodic material for fiddling Americana in the second and third movements: “What Wondrous Love is This\,” “In Lonely Mountain Ways\,” and “I Come with Joy.”[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/avs-shared-recital-growing-the-circle/
LOCATION:Recital Hall (Forbes)
CATEGORIES:AVSF Recital
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T133000
DTEND;TZID=America/New_York:20260605T143000
DTSTAMP:20260502T123026
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:20260605T133000
DTEND;TZID=America/New_York:20260605T163000
DTSTAMP:20260502T123026
CREATED:20260207T035005Z
LAST-MODIFIED:20260404T210708Z
UID:47123-1780666200-1780677000@www.americanviolasociety.org
SUMMARY:Teacher in Residence: Open Lessons/Drop In Observation
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=””] \nTeacher:\nRose Wollman\nObserve master teachers in action during these open lessons with festival participants. Students will work one-on-one with Teachers in Residence in a traditional private lesson setting\, while attendees are invited to drop in and observe a variety of teaching styles\, techniques\, and approaches. Unlike a masterclass\, which takes place in a public performance setting\, these sessions reflect the more personal\, in-depth nature of everyday teaching. This unique opportunity offers valuable insight into the art of teaching and learning\, providing inspiration for performers\, educators\, and students alike. \nSign up for a lesson HERE.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/teacher-in-residence-open-lessons-drop-in-observation-2/
LOCATION:Room 119 (Music)
CATEGORIES:AVSF Teacher In Residence
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T143000
DTEND;TZID=America/New_York:20260605T153000
DTSTAMP:20260502T123026
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:20260605T143000
DTEND;TZID=America/New_York:20260605T153000
DTSTAMP:20260502T123026
CREATED:20260207T035000Z
LAST-MODIFIED:20260331T193736Z
UID:47109-1780669800-1780673400@www.americanviolasociety.org
SUMMARY:Effortless Dynamics Workshop
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:\nNora Krohn\nCreating a sense of ease on both ends of the dynamic spectrum is a worthy goal for any violist: while the acoustic limitations of the instrument can lead to strain and fatigue in louder passages\, extended sections of very soft playing—such as in an orchestral setting–can be just as exhausting. \nIn this workshop we’ll explore several tools for effortless dynamics at both ends of the spectrum via the principles of the Till Approach. Developed by violinist Sophie Till\, this system of string technique harnesses the innate brilliance of our everyday movement patterns in service of the instrument and the repertoire\, giving players a set of tools for meeting their musical goals in ways that harmonize with the body’s design. \nWith regard to dynamics and tone production\, we’ll learn how the friction equation (surface area of hair + tension in string + tension in bow) can do the work of loud and quiet playing for us\, eliminating fatigue. We’ll also examine how moving over the fulcrum of the feet and sit bones both enables the right arm to create power with minimal effort and allows it to remain supported by the body throughout the bow stroke\, and how the experience of resting down on the string with resilience offers a sense of ease and control in softer dynamics.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/effortless-dynamics/
LOCATION:B71 (Music Building)
CATEGORIES:Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T143000
DTEND;TZID=America/New_York:20260605T153000
DTSTAMP:20260502T123026
CREATED:20260209T012638Z
LAST-MODIFIED:20260307T023425Z
UID:47623-1780669800-1780673400@www.americanviolasociety.org
SUMMARY:The IVS Audio Database
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:\nSherry Grant\nThe IVS Audio Database\, developed by the International Viola Society in collaboration with Music4Viola\, is a growing online platform dedicated to rare and lesser-known works for viola and piano—particularly from the Romantic and Post-Romantic eras. Generously supported by Hansruedi Graef (Music4Viola.info and Viva Viola edition)\, this project aims to bring forgotten repertoire back to life through high-quality\, freely accessible recordings. \nThe idea emerged from the need to support violists—especially students—in exploring unfamiliar works without the barrier of unavailable or commercial recordings. Many pieces remain unplayed simply because they lack audio references. The IVS Audio Database fills this gap by offering recordings classified by difficulty\, length\, and theme\, allowing users to easily discover suitable repertoire for study\, performance\, or research. \nThe platform also provides curated lists\, helping users navigate the collection by composer\, historical period\, or thematic focus. A video trailer demonstrates how to explore the database and how to contribute. \nWe warmly invite violists around the world to participate by submitting their own recordings—live or studio—of lesser-known works. Recordings must be free of copyright\, but don’t need to be commercial productions. Quality live performances are welcome. \nThis is a collaborative project\, intended to grow through global contributions from students\, professionals\, and viola societies. It not only enriches the available repertoire but also strengthens our shared musical heritage. \nJoin us at InternationalViolaSociety.com/audiodatabase/ as we expand access to the viola’s rich and diverse legacy.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/the-ivs-audio-database/
LOCATION:Room 321 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T153000
DTEND;TZID=America/New_York:20260605T163000
DTSTAMP:20260502T123026
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:20260605T153000
DTEND;TZID=America/New_York:20260605T163000
DTSTAMP:20260502T123026
CREATED:20260207T034942Z
LAST-MODIFIED:20260307T023309Z
UID:47129-1780673400-1780677000@www.americanviolasociety.org
SUMMARY:The Invisible String\, The Position-less Fingerboard\, and Other Nifty Wisdoms from the Old 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:\nDavid Rose\nThe viola can be a punishing instrument. If it weren’t so wonderful\, most of us would have run away screaming long ago! Many nuggets of wisdom passed down are well known and a part of our modern viola consciousness – helping us survive another day. Yet other techniques operate on such a subtle level that they can escape notice\, and thus be in danger of disappearing from our viola lives and pedagogy. This workshop takes a close look at these techniques – namely a left hand which “plays” 5ths most of the time (even if they don’t sound) – an old technique that makes everything physically easier\, and is a goldmine for much music (especially Bach!). We’ll also cover the sometimes befuddling fingerings which commonly appear in old editions\, and the philosophy of the fingerboard which is necessary to make them work…and perhaps even fall in love with them a wee bit.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/the-invisible-string-the-position-less-fingerboard-and-other-nifty-wisdoms-from-the-old-school/
LOCATION:Room 108/Large Band Room (Music)
CATEGORIES:Workshop
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