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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T133000
DTEND;TZID=America/New_York:20260604T143000
DTSTAMP:20260411T041337
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:20260604T133000
DTEND;TZID=America/New_York:20260604T143000
DTSTAMP:20260411T041337
CREATED:20260207T035622Z
LAST-MODIFIED:20260307T025030Z
UID:47073-1780579800-1780583400@www.americanviolasociety.org
SUMMARY:Trauma-Informed Workshop with Nicole Melrose
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=””] \n\n\n\n\n\n\n\n\nPresenter:\nNicole Melrose\nNicole Melrose leads this thoughtful workshop exploring trauma-informed approaches to music teaching\, learning\, and performance. Participants will gain insight into creating supportive\, inclusive environments that promote safety\, trust\, and artistic growth. This session offers practical strategies for educators and performers to foster resilience\, awareness\, and well-being within the musical community. \n\n\n\n\n\n\n\n\n\n\n\n\n\n[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/trauma-informed-workshop-with-nicole-melrose/
LOCATION:Room 108/Large Band Room (Music)
CATEGORIES:Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T133000
DTEND;TZID=America/New_York:20260604T150000
DTSTAMP:20260411T041337
CREATED:20260207T035137Z
LAST-MODIFIED:20260307T024952Z
UID:47042-1780579800-1780585200@www.americanviolasociety.org
SUMMARY:AVSF Masterclass: Signature Artist\, Victoria Chiang
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:\nVictoria Chiang\nSignature Artist Victoria Chiang works with selected festival participants in this special masterclass\, offering insight into viola technique\, musical interpretation\, and expressive artistry. Observers are invited to experience her thoughtful and inspiring approach to performance\, gaining valuable perspectives on bringing music to life on the viola.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/avsf-masterclass-signature-artist-victoria-chiang/
LOCATION:Room 1115 (Forbes)
CATEGORIES:Masterclass
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T133000
DTEND;TZID=America/New_York:20260604T153000
DTSTAMP:20260411T041337
CREATED:20260207T035452Z
LAST-MODIFIED:20260404T210634Z
UID:47062-1780579800-1780587000@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:\nPeter Slowik\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-4/
LOCATION:Room 119 (Music)
CATEGORIES:AVSF Teacher In Residence
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T143000
DTEND;TZID=America/New_York:20260604T153000
DTSTAMP:20260411T041337
CREATED:20260207T034225Z
LAST-MODIFIED:20260307T024856Z
UID:47189-1780583400-1780587000@www.americanviolasociety.org
SUMMARY:Be Heard: How to get a good recording within your means
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:\nDaniel Stein\nRose Wollman\nHow do we get a great recording within our budget? In a moment in history when it is easier than ever to record ourselves\, it is becoming more and more crucial to be able to understand the tools available to do this well. Students need to submit video recordings for school\, festival and competition applications. Professionals need good quality recordings to create a compelling online presence to book concerts and recruit students. We may even want to record and release an album! Today\, every smartphone comes with a camera and microphone that we can use with the click of a button. However\, these devices are not optimized for music and may not give us the results we need. \nIn this session\, violist Rose Wollman and audio / video engineer and producer Daniel Stein will discuss how to optimize the assets you already have (your cell phone and a practice room) to make a competent application recording. We will discuss things to consider starting with the standard requirements all the way to more elaborate set-ups for those wanting a higher quality result. We will also talk through the process of recording music for a commercial release\, including how to prepare. Our goal is to demystify the process and help you create the best recording you can.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/be-heard-how-to-get-a-good-recording-within-your-means/
LOCATION:Room 318 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T143000
DTEND;TZID=America/New_York:20260604T153000
DTSTAMP:20260411T041337
CREATED:20260207T035433Z
LAST-MODIFIED:20260307T024824Z
UID:47095-1780583400-1780587000@www.americanviolasociety.org
SUMMARY:Bartók\, Ligeti & the Hora Lungă: The Folk Story Behind Ligeti’s 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:\nBlake Liahona Allen\nGyörgy Ligeti’s Viola Sonata (1991–1994) draws deeply from the folk traditions of his Romanian homeland and the ethnomusicological legacy of Béla Bartók. This lecture will explore how indigenous Romanian flute traditions\, Bartók’s parlando rubato style\, and Ligeti’s lifelong emulation of Bartók converge in the sonata’s musical language—with a special focus on the first movement\, Hora Lungă. \nAttendees will trace connections between Old Hungarian and Old Romanian folk songs and Ligeti’s compositional structures\, tempi\, and stylistic choices. By identifying specific rhythmic\, structural\, and stylistic elements derived from Romanian and Hungarian sources\, participants will learn to recognize the folk traditions and instruments that influenced the sonata. The lecture will also demonstrate how an ethnomusicological context can inform interpretative choices\, enabling performers to apply this understanding to their own practice. \nThrough score excerpts\, historical imagery\, and audio/video examples\, the lecture will reveal how Ligeti incorporates the performance practices\, pitch contents\, and tuning systems of Balkan shepherd and peasant flutes\, alongside Bartók’s folk-song classifications: the bocet\, colindă\, doină\, and ceremonial dances. In doing so\, attendees will connect Bartók’s research methods to Ligeti’s compositional approaches\, deepening both historical knowledge and performance insight into one of the viola’s most iconic modern works.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/bach-brain-and-bow-mileage-the-pedagogy-of-bruno-giuranna-2/
LOCATION:Room 321 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260604T143000
DTEND;TZID=America/New_York:20260604T153000
DTSTAMP:20260411T041337
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:20260604T143000
DTEND;TZID=America/New_York:20260604T153000
DTSTAMP:20260411T041337
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:20260411T041337
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:20260411T041337
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:20260411T041337
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:20260411T041337
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:20260411T041337
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:20260411T041337
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:20260411T041337
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:20260411T041337
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:20260411T041337
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:20260411T041337
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:20260411T041337
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:20260411T041337
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:20260411T041337
CREATED:20260207T035338Z
LAST-MODIFIED:20260411T000955Z
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\nWei-Chen (Bernadette) 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:20260411T041337
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:20260411T041337
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:20260411T041337
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:20260411T041337
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:20260411T041337
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:20260411T041337
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:20260411T041337
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:20260411T041337
CREATED:20260207T034951Z
LAST-MODIFIED:20260331T201140Z
UID:47145-1780666200-1780669800@www.americanviolasociety.org
SUMMARY:Recurring Rhythmic Motives and Character Creation in Margi Griebling-Haigh’s Bocadillos Panoramicos
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:\nBrightin Rose Schlumpf\nMargi Griebling-Haigh’s Bocadillos Panoramicos (2000) for viola and piano\, written for her sister\, is a four-movement work inspired by the sisters’ travels to New Mexico. The third movement\, La Perrita Fanimál (“The Little Dog Fanny”)\, portrays the lively personality of Karen’s border collie through rapid meter shifts and recurring rhythmic motives. This lecture explores how Griebling-Haigh’s patterned alternation of meters—4/4\, 5/8\, 3/4\, 5/8\, and 2/4—paired with distinct rhythmic articulations\, creates musical “characters” that guide both performer interpretation and audience perception. \nThrough detailed examination of mm. 1–35\, where nine meter changes occur\, I analyze four principal motives and their recurrence across the movement. IOI (interonset interval) analysis and graphical data illustrate contrasts between regular and irregular rhythmic structures\, highlighting how irregularity (notably in the 5/8 motive) marks shifts in character. Motives 1–3 display consistent length and meter associations\, fostering predictability; the 2/4 motive\, by contrast\, is metrically less consistent and often signals a change in dramatic focus. \nThe movement’s climax arrives with an extended 3/4 waltz (motive 5)\, representing the dog “waltzing off to sleep.” This departure from the established metric pattern underscores the narrative arc\, emphasizing the composer’s nuanced balance between predictability and surprise. \nBeyond meter and rhythm\, Griebling-Haigh’s use of articulation—staccatos\, accents\, ties—reinforces the canine imagery\, from playful leaps to disciplined trots. By establishing and subtly varying these rhythmic-metric identities\, she offers the violist a framework for shaping interpretation through physical gesture\, bowing choices\, and phrasing. \nThis presentation will combine score excerpts\, rhythmic analyses\, and audio examples to demonstrate how metric patterning in La Perrita Fanimál serves as a vehicle for character creation. The session will also situate Griebling-Haigh’s work within broader rhythmic theory\, drawing connections to Godfried Toussaint’s concepts of regularity and irregularity\, and will invite discussion on interpretive strategies for performers engaging with complex metric landscapes.[/vc_column_text][/vc_column][/vc_row]
URL:https://www.americanviolasociety.org/events/recurring-rhythmic-motives-and-character-creation-in-margi-griebling-haighs-bocadillos-panoramicos/
LOCATION:Room 318 (Music)
CATEGORIES:Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260605T133000
DTEND;TZID=America/New_York:20260605T143000
DTSTAMP:20260411T041337
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
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