JAVS Fall 2024

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2024 Fall JAVS

Features: In Memoriam, Remembering Roger Myers 2023 David Dalton Research Competition Second Prize Winning Paper Microformal Transformations to Macroformal Structure Journal of the AmericanViola Society Volume 40 Number 2

Journal of the American Viola Society A publication of the American Viola Society Fall 2024: Volume 40, Number 2

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From the Editor From the President

News & Notes

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2024 American Viola Society Festival Review 2024 International Viola Congress Review

Feature Articles

p. 17 In Memoriam: A Community Remembers Roger Myers p. 23 From Microformal Transformations to Macroformal Structure in Tristan Murail’s C’est Un Jardin

Secret (1976) by Ash Mach

p. 37 2023 Dalton Research Competition Second Prize Winner: The French Influence in Charles Loeffler’s 2 Songs for Mezzo-Soprano, Viola, and Piano by Xue Ding Departments p. 53 Development Center: We Did It! You Did It! We Did It Together!, by Tom Tatton p. 54 In The Studio: Stade’s Viola-Piano Arrangement of Bach’s Cello Suites, by Edward Klorman p. 58 Book Review: Learn Faster, Perform Better by Molly Gebrian. by Kayleigh Miller p. 59 Recording Review: Shapes in Collective Spaces, Trailblazers, encircling, and Breaking Glass Ceilings by Kayleigh Miller

On the Cover: Carolyn Owen Sommer Viola-la

Appreciate the cyclical flow of nature, the embracing comfort of the homeplace, the cultivated serenity of the farm fields, the rhythmic percussion of the city—finding beauty in the commonplace. Carolyn Owen Sommer is a Springfield resident and teaches part time at LLCC. She has a BFA from Bradley University and holds letters in Illinois Watercolor Society. Carolyn is on the board of Sangamon Watercolor Society, and Transparent Watercolor Society of America, and a juried artist with Springfield Art Association Collective. She is a member of the Women’s Caucus for the Arts. Her work is always available at Caribou Coffee and Daisy Jane’s in Springfield. She works in many media, but mainly collage and watercolor. Her art has been showcased in Detroit, Chicago, St. Charles, St. Louis, and Denver. https://www.carolynowensommerart.com/gallery

Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024

The Journal of the American Viola Society is published in spring and fall and as an online only issue in summer. The American Viola Society is a nonprofit organization of viola enthusiasts, including students, performers, teachers, scholars, composers, makers, and friends, who seek to encourage excellence in performance, pedagogy, research, composition, and lutherie. United in our commitment to promote the viola and its related activities, the AVS fosters communication and friendship among violists of all skill levels, ages,

Editor: Christina Ebersohl-Van Scyoc Assistant Editor: Lanson Wells Consultant Dwight Pounds Tom Tatton AVS National Board of Directors: Officers President: Ames Asbell (2026) President-Elect: Daphne Gerling (2026) Secretary: Katrin Meidell (2028) Treasurer: Ann-Marie Brink (2025) Board Members Caroline Coade (2027) Anthony Devroye (2025) Christina Ebersohl -Van Scyoc (2028) Renate Falkner (2027) Misha Galaganov (2025)

Kimia Hesabi (2027) Andrea Houde (2027) Hsiaopei Lee (2025) Gabrille Padilla Molina (2026) Diane Phoenix-Neal (2027) Steven Tenenbom (2025) Molly Wilkens-Reed (2026) Rose Wollman (2026) AVS General Manager Madeleine Crouch AVS National Office 14070 Proton Road, Suite 100 Dallas, TX 75244 (972) 233-9107 ext. 204

JAVS welcomes articles from its readers. Submission deadlines are December 1 for the Spring issue, April 1

for the Summer online issue, and August 1 for the Fall issue. Send submissions to the AVS Editorial Office, Christina Ebersohl-Van Scyoc editor@americanviolasociety.org or to

Madeleine Crouch, 14070 Proton Rd., Suite 100 Dallas, TX 75244

JAVS offers print and web advertising for a receptive and influential readership. For advertising rates please contact JAVS Editor Christina Ebersohl-Van Scyoc editor@americanviolasociety.org

Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024

From the Editor

Dear friends and fellow viola lovers,

We also are thrilled to feature several reviews of recordings by women composers performed by women violists. This historic lineup fell as naturally as the winds of fall bellow through the trees, as Tallā Rouge, Molly Gebrian, Daphne Gerling, and Rose Wollman’s albums cascaded onto my desk together. These contributions not only highlight the incredible talent of female musicians but celebrate the diverse voices that enrich our musical history, reminding us that progress is not only about individual achievement but also about collective growth. As we embrace the changes and advancements in our society, it is important to remember those who have shaped a special featured journey and made progression possible. In this issue, the love and adoration for professor and performer Roger Myers is shared in our “In Memoriam.” Roger’s passion for the viola and his commitment to his students is truly telling in the stories shared. As we reflect on the shared memories, I hope you are able to draw inspiration and remember that it is our past that provides us with the foundation upon which we can build our future. The transition from summer to fall invites us to reflect, perhaps a bit more, on the ebb and flow of change in our lives and in our community. As we shift into this new season, I hope you remain open to change, celebrate your achievements, and welcome the opportunity for collaboration and growth.

As the warm hues of summer gradually succumb to the rich, warm vibrancy of fall, we find ourselves once again in a season of change—a time of transition that naturally encourages us to reflect on both what has passed and what is ahead. The natural world teaches

us that transformation is a crucial part of growth, and it is a lesson that resonates deeply with me and within our community through the ongoing evolution of the American Viola Society. As it so happened, this Fall issue of the Journal of the American Viola Society fell into place much like the leaves of fall to show the many colorful progressions happening around us. At the heart of our issue, we are thrilled to share the 2023 Second Prize David Dalton Research Competition winning paper, which showcases the extraordinary talent of Xue Ding, an up-and coming scholar and advocate of the viola. Scholarship is more important today than ever, not only to maintain adaptability and relatability in a profession, but to document our history, explore our roots, and question the limitations we place on ourselves. We are so grateful to all emerging scholars who choose to submit to the David Dalton Competition, as it is you who will continue the legacy of the viola for generations to come.

Until we meet again, happy practicing, friends!

Very respectfully,

Christina Ebersohl-Van Scyoc

Join the American Viola Society Your membership supports the viola community through performance, education, research, mentoring, publishing, commissioning new works and more. www.americanviolasociety.org/Join.php

Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024

From the President

Dear Friends and Colleagues,

Second Prize and Harmony Prize: Nicole Herrera, “Blas Emilio Atehoruta: “Romanza” from Five Romantic Pieces for Viola and Piano” Congratulations to these emerging researchers for their excellent contributions to viola scholarship. Their articles will appear in future editions of the Journal of the American Viola Society . In this issue, please enjoy “Charles Loeffler’s Two Songs” by Xue Ding, our 2023 Dalton Competition Second Prize winner. In other Dalton Competition news, the AVS is thrilled to announce that through sustained efforts and generous contributions of key benefactors, the David Dalton Viola Research Competition is now fully funded ! For more details, please read Tom Tatton’s “Development Corner” in this issue, and perhaps consider how you might be able to make a difference to our community. We will launch a new fundraising initiative supporting the AVS Educator Mini-Grant program this November/December, and truly appreciate any support you can offer, whether through planned year-end charitable giving or on Giving Tuesday this coming December 3. Also in this issue, you’ll enjoy meaningful remembrances of Roger Myers, longtime viola professor at the University of Texas and host of the 25th International Viola Congress in Austin, 1997; a deep-dive discussion of analyzing musical transformations by Ash Mach; Ed Klorman’s examination of the Bach Suites arranged for viola and piano by Robert Schumann and Friedrich Wilhelm Stade; and much more! Thank you so much for supporting the AVS through your membership and for your dedication to our wonderful instrument. If you’re enjoying your membership, please tell a friend!

As memories of summer fade and school and work

seasons get back into full swing, it’s exciting to see Viola Days and Viola Festivals once again popping up on the Member Events page on our website! I hope this summer brought each of you

rest, relaxation, and the opportunity to recharge your batteries for the activities ahead, and I hope you will be able to join and participate in a viola-related event near you. As we look back at summer 2024, many of us have fond memories from the American Viola Society Festival and Primrose International Viola Competition in Los Angeles or the 49th International Viola Congress in Campinas, Brazil. If you were not able to attend in person, please enjoy reviews of these events in this issue. The AVS Festival & PIVC is reviewed by Kira Blumberg. The Brazil Congress is reviewed by Yi Ze, who also provides an exciting preview of the upcoming 50th International Viola Congress – to be held in August 2025 in the historic city of Xi’an, China ! Proposals for the 50th International Viola Congress are due on November 1, 2024, and we hope many of you will plan to apply and attend! As we look ahead, there is much to celebrate! First, it is a pleasure to announce winners of the 2024 David Dalton Viola Research Competition :

Wishing you a wonderful fall, Ames Asbell President

First Prize: Namgon Lee, “Arranging BWV 997 for Unaccompanied Viola”

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Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024

Festival Review

The Best of All Things Viola: American Viola Society Festival 2024 by Kira Blumberg

First published June 22, 2024, on Violinist.com

We talked about the 5Rhythms dance movement, which was founded in the 1970s by Gabrielle Roth and focuses on five a body rhythms,” including: flowing, staccato, chaos, lyrical, and stillness. We danced the whole class, working through the various rhythms with a crazy array of musical genres. We worked in groups, following and leading, as we would in chamber music. But instead, I ran into a friend who was having her strings updated by the people from Thomastik in a string consultation. So of course, I joined in. She played her viola, I played her viola, they changed the strings back and forth. In the end, she decided on Rondos on the A and D for clarity, and Peter Infelds on the G and C for warmth and that rich deep viola sound. It reminded me that someday I need to have a loud viola, a soft viola, a Mozart viola, a Brahms viola, and at least half a dozen others. After that, I have to admit I needed to sit down for a bit.

So much viola and so little time...

The American Viola Society Festival Primrose International Viola Competition and took place at the Colburn School this summer – kicking off Monday, June 17, and ending with a bang the evening of June 22. There were dozens of other solo recitals, group viola recitals, and workshops. Plus, there was the entire competition as well.

I could go for only one day – on Thursday, June 20 – but it was a brilliant day.

Violists dance!

I started the day at Karen Rischter’s “Get Grounded!” workshop. Karen is a violist who also teaches dance, and the class promised to be “a session of embodiment and alignment, to strengthen our connection to gravity and play from our more deeply connected hearts.”

L-R: Violists Sakari Dixon Vanderveer, Kira Blumberg, and April Losey, testing strings.

Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024

After lunch I went to a wonderful lecture-recital given by DePaul University Associate Professor of Viola Ann Marie Brink about music from Chicago-based composers. The program spanned music from 1850-1995. The highlight for me was a “Barcarolle” for Viola and Piano by Blanche Blood (1882-1933). Most of her music has been lost, but this was simply lovely. Mid-afternoon was the time set aside to mingle with the exhibitors. Hundreds of violas were available to try, and at least half a dozen were being played at all times. Nowhere else could you hear Hindemith, Clarke, Bach, Walton, and – surprisingly to me – the scherzo from Mendelssohn’s “A Midsummer Night’s Dream.” That’s not one of the pieces I use to try out violas, being more of a “Haffner symphony” kind of person. I browsed through Yesterday Service Sheet Music’s huge selection of viola repertoire, ending up with PDQ Bach’s Sonata for Viola Four Hands and Harpsichord, some duets for my students and me to play together, and Kenji Bunch’s Four Flashbacks for Clarinet and Viola. 1

I wandered up and down the aisle mingling and soaking in the viola-ness of everything around me. It’s a great feeling of camaraderie. One of the vendors said that he goes to a ton of these kind of conferences, and the viola conference is the only one where people seem to like each other. Ha! But in all seriousness, people were very supportive of each other. Young and old, new friends and old friends. My final workshop of the day was a two-and-half-hour behemoth - and the whole reason I went: “Building a Better Practice,” led by Molly Gebrian and Sarah Niblack. Molly Gebrian is a violist and neuroscientist whose book, Learn Faster, Perform Better, came out in July, and Sarah Niblack is the founder of Spark Practice. Their lecture was all I hoped for and more. My brain is still spinning. They talked about what current studies are showing in terms of best practice techniques.

They talked about interleaved practice as a way to build up your tolerance for performance. They talked about the illusion of mastery that is often gained during block practice (i.e. What we have all been taught: play something over and over again for a long period of time) and how that illusion is broken when you have to play for a teacher or in a performance situation. How mental practice actually forms the same brain pathways as physical practice. And, of course, they gave ways to practice that are quite different than my usual patterns.

I absolutely need to play the PDQ Bach at least once in my career.

Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024

Kira Blumberg is the principal violist of the Redlands Symphony Orchestra and a member of the Long Beach Symphony. She teaches at the University of Redlands and Pomona College.

I came home and babbled to my family, happily explaining everything viola. I also tried an interleaved practice session today. Five sets of five minutes each, with a timer, deciding beforehand what I would work on. I came out of the practice session very discombobulated. I normally practice large chunks of music for large chunks of time. This was very small bits: five bars of an etude, thirds in my scale, a half bar of octaves in a piece. It made me focus at a very deep level. It was also fairly uncomfortable mentally, but that is part of the idea. Hopefully tomorrow when I practice the same things again, my progress will be evident. Smacking the brain around and practicing each bit in as many ways as possible is the idea. As a yoga teacher of mine once said, “If you are comfortable, you probably aren’t learning anything.”

Footnotes 1 Kenji’s works can be found at: https://www.kenjibunch.net/.

Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024

International Viola Congress Review

The 49th International Viola Congress by Ye Zi

From July 17-21, 2024, nearly 180 enthusiastic violists and viola lovers from twenty countries across the globe gathered at the Arts Institute of the State University of Campinas, located southeast of São Paulo, Brazil, for the 49th International Viola Congress (IVC). Before the start of the Congress, I had the pleasure of joining several International Viola Society (IVS) board members on an excursion to Rio de Janeiro. Renowned for its breathtaking coastal beauty, Rio de Janeiro offered us an enchanting escape. We soaked in the splendor of its iconic landmarks, the 4-kilometer stretch of golden sands at Copacabana Beach where the sun-kissed shore met the azure waves in a mesmerizing embrace. We ascended the majestic Sugarloaf Mountain, a UNESCO World Heritage Site, which provided panoramic vistas that seemed to stretch endlessly across the bay. The awe-inspiring Christ the Redeemer statue, the world’s largest Art Deco sculpture, stood sentinel over the city, its outstretched arms a symbol of welcome and peace. We explored the legendary Maracanã Stadium, a hallowed ground of football history. This enriching experience was a perfect rejuvenation, and just the right preparation for the demands of the upcoming Congress and its intensive sessions.

Board members of IVS at the peak of Sugarloaf Mountain in Rio de Janeiro . Photo courtesy of Ye Zi.

This year’s Congress, titled “Celebrating the Fusion of Culture: A World of Music for Viola,” centered on inclusivity, opportunity, and the exploration of new musical works. Over the course of five enriching days, artists unveiled more than twenty world premieres, alongside several Brazilian premieres. In addition, the Congress embraced a rich and varied music program, spanning from baroque to contemporary style, solo performance to large ensemble, classical to jazz genre— there was something for everyone. Each evening, attendees were captivated by orchestral performances or recitals, immersing themselves in the realm of viola music and engaging in dynamic cross-cultural

Board members of IVS at the Maracanã Stadium, in Rio de Janeiro. Photo courtesy of Karin Dolman.

Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024

musical exchange. This remarkable gathering offered a splendid and multifaceted exploration of viola music, seamlessly integrating recitals, lectures, masterclasses, and presentations. Each event contributed to a vibrant and unforgettable celebration of viola artistry, showcasing the instrument’s depth and versatility. The event not only highlighted the exceptional talent and expertise of its participants but also fostered a sense of camaraderie and mutual inspiration among all of us. It is challenging to single out any of the remarkable sessions and performances, but Jutta Puchhammer Sédillot’s opening concert with the Orquestra Sinfônica Municipal de Jundiaí, conducted by Claudia Feres, undeniably set the tone for the Congress. Her exceptional renditions of Hans Sitt’s Concertino for Viola and Iván Erőd’s Fantasia showcased the extraordinary beauty and expressive power of our cherished instrument, making a profound impression the entire Congress.

with a fresh vitality, intertwining lyrical and melodic elements to delve deeply into the complexities of the human psyche. This unique fusion of poetic and musical exploration offers a profound and engaging experience, exploring the viola’s capacity to convey the rich spectrum of our emotional landscape. Audiences were treated to rich viola repertoires across the recitals, showcasing an array of visionary and diverse interpretations. Povilas Syrrist-Gelgota’s performance of “New Folk Romantic Music from Norway” transported listeners into a rich Nordic cultural heritage, artfully blending traditional local conditions and customs with a fresh, contemporary sensibility. The performance illuminated the unique regional characteristics and customs of Norway, providing a deeply engaging exploration of the country’s musical and cultural landscape. The interplay between his voice and the viola created a unique sonic landscape that resonated deeply with the audience. Emlyn Stam’s solo recital of “The Devil with the Three Golden Hairs,” a play written by Karin Dolman and inspired by the brothers Grimm’s German folk tale, demonstrated an inventive fusion of viola performance and storytelling. The recital captivated the audience with its haunting melodies and breathtaking rhythms. This innovative approach highlighted the viola’s versatility and its ability to bridge the gap between classical music and timeless storytelling, leaving a lasting impression on all who witnessed it. The gala concert, featuring Tatjana Mead Chamis alongside Brazilian pianist André Mehmari, provided an immersive experience that vividly captured the essence of Brazilian music. The audience was treated to a rich tapestry of sounds, including the enchanting rhythms of Brazilian waltzes. The evening reached its zenith with the captivating performance of “Bachiana Brasileira 2.0 for Solo Viola and Jazz Trio,” a groundbreaking composition by Flavio Chamis. This innovative piece draws inspiration from Johann Sebastian Bach’s Six Cello Suites, seamlessly integrating them with Brazilian musical traditions. The result was a dynamic and exhilarating amalgamation that both honored Bach’s legacy and celebrated the rhythmic richness of South American music, providing a profound and eye-opening glimpse into the local musical landscape of Brazil, all while maintaining a deep respect for the classical roots of Bach’s work.

Jutta Puchhammer - Sédillot performed at the opening night at the 49th IVC . Photo courtesy of the 49th IVC.

Many shared recitals held impressive world premieres, each contributing to the Congress’s vibrant atmosphere. Matthew Heap’s “Finding Balance,” a composition for viola, horn, and piano performed by Andrea Houde, Albert Houde, and Luiza Aquino, introduced a novel and intriguing combination of viola and horn. The interplay between the two instruments, coupled with the piano, produced an unexpectedly beautiful and distinctive sonority, captivating the audience with its fresh and unique tonal possibilities; Alina Kubik’s “Emotions: 24 Reflections,” represented an artistic synthesis of verse and music, meticulously capturing twenty-four fundamental human emotions with exceptional nuance and insight. This innovative work integrated a series of limericks with a set of 30-second musical miniatures for solo viola, brilliantly performed by Marcin Murawski. Through this novel and imaginative approach, Kubik infuses the viola

Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024

This year’s Congress not only highlighted the instrument’s unexpected versatility but also celebrated the rich and multifaceted viola music from all over the world. Heartfelt congratulations to the dedicated team of the Brazilian Viola Society, whose exceptional efforts made this event a resounding success.

Tatjana Mead Chamis performed at the gala concert at the 49th IVC. Photo courtesy of the 49th IVC.

During the Congress, a distinguished masterclass was held daily, attracting students from around the world to partake in the extraordinary learning experience. These masterclasses, designed to enhance the skills and insights of aspiring musicians, provided a platform for learning and artistic growth. The esteemed masters— Jutta Puchhammer-Sédillot, Timothy Deighton, Marcin Murawski, Daphne Gerling, and Tatjana Mead Chamis—each brought their own distinct and profound perspectives. Each with great expertise and insight, they guided and enlightened young violists, offering a wealth of wisdom that illuminated the path to a promising future in the world of viola. The final evening’s concert commenced with a special edition of the Chinese folk song “Jasmine Flower,” performed by the IVS Congress viola ensemble. This unique opening set the stage for celebration as news of the 50th International Viola Congress in Xian, China, had officially been announced. The Congress concluded with a remarkable collaboration between violist Jennifer Stumm and pianist André Mehmari. The depth of their artistic connection was palpable, creating a resonant and memorable experience that lingered in the hearts of all who attended. Their masterful interplay and profound rapport not only highlighted their individual talents but also elevated the entire concert to an unforgettable pinnacle of musical excellence.

Jennifer Stumm performed at the closing concert at the 49th IVC. Photo courtesy of the 49th IVC.

And how wonderful that the Anniversary of the 50th International Viola Congress will be held in Xi’an, China, in 2025—the first Congress to be held in China in the history of the IVS! It promises to be a momentous and historic celebration of the viola and its global community. This jubilee will be a grand occasion, representing the viola’s rich heritage and the vibrant diversity of its international community. As a member of the committee, I am particularly excited about the opportunity to witness this landmark event, which will undoubtedly be an extraordinary gathering, heralding a new era of cultural exchange and artistic collaboration between Asia and the world. Until our paths cross once more, I look forward to seeing you at this historic event next year in China!

Ye Zi is from the Xinghai Conservatory of Music in Guangzhou China and is currently assisting in planning the 2025 International Viola Congress in Xi’an, China.

Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024

2028 American Viola Society Festival Call for Site Proposals The AVS Board is pleased to announce a call for site proposals for the 2028 American Viola Society Festival . For a proposal to be considered, all documents and items listed below must be submitted. • Cover letter from Local Site Host, including an addendum with biography and contact information for the Local Site Host • Letter of support from the site Executive Director or Dean • Assurance that the proposed site has a full calendar week available in the proposed facilities for festival preparation and presentation during early June 2028 • Detailed descriptions of the required local site facilities listed below. Inclusion of photos or links to photos of proposed spaces is strongly recommended. • Assurance that the Local Site Host can meet the following duties: The Local Site Host is an important liaison between the AVS and the local site prior to the festival. However, the duties for the Local Site Host are relatively light once the festival begins since all needed information is relayed to and coordinated by AVS staff prior to the festival. Several days prior to the festival, the AVS board and staff will gather on site for final preparations. The AVS runs all major festival operations including registration, program selection, publicity, exhibitions, financial details, and scheduling, and as such these are not included in Local Site Host duties. Local Site Host duties include: o Confirm festival dates 2 years in advance of the festival and facilitate facilities reservations. o Serve as liaison to the local site conference services office, connecting the AVS Festival Coordinator to local offices in charge of conference planning and arrangements. This information is provided to the AVS Festival Coordinator at least 1 year in advance of the festival. All final details are arranged by the AVS Festival Coordinator and must be approved by the AVS Board. Any contracts or letters of agreement must be signed by the AVS President. o Provide recommendations for local hotels and explore group rate options. This information must be provided to the Festival Coordinator by 1 year in advance of the festival. All final arrangements must be approved by the AVS Board. Any contracts must be signed by the AVS President. o Provide recommendations for potential nearby banquet sites, rates, menus and prepare a final banquet proposal which includes pricing, any gratuity, any additional facilities charges. This information must be provided to the Festival Coordinator by 1 year in advance of the festival. All final arrangements must be approved by the AVS Board. Any contracts must be signed by the AVS President. o Prepare a schedule for local rehearsal room locations and rehearsal scheduling in conjunction with Proposal Committee Chair and in consideration of AVS prepared festival schedule. AVS selected presenters will contact the Local Site Host to sign up for rehearsal time in designated spaces. This scheduling is completed during the two months prior to the festival. No rehearsals in performance spaces can be guaranteed for presenters other than the designated Signature Presenters. o Prepare a list of local collaborative pianists, including rates and availability, for publication to festival presenters and solo competition finalists. This list must be provided to the Festival Coordinator 9 months in advance of the festival.

Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024

o Assist AVS Volunteer Coordinator as needed in securing additional volunteers and session presiders. o Provide ideas for how the local viola community can participate in local professional and student showcase events that are a part of the festival program. o Provide additional ideas for community performance outreach potential, additional informal performance options and ways the festival can be a positive presence in the community. o Is guaranteed a presentation slot at the AVS Festival for which they serve as local host, or for the following Festival (final decision must be made by the presenter response deadline). Site Requirements • Performance spaces – Superior acoustical space with multimedia capabilities suitable for presenting concerts, recitals, lectures, and master classes. Two such spaces are recommended– a large performance space to accommodate approximately 700, and a smaller performance venue to accommodate around 250 – 300 audience members. At least one performance venue should have live-streaming capability, and any associated costs must be included in the proposal. • Available facilities staff– to assist as needed with AV setup for festival presenters. Any associated costs must be included in the proposal. • Lecture spaces– Three additional medium-to-large classrooms, at least one of which is a choir room or large ensemble space with AV capability for presentations. Ideally all presentation spaces should have AV capability, and preference will be given to sites that allow for technologically integrated presentations. • Exhibition space– approximately 3,000 – 4,000 sq. ft. exhibition space in a high-traffic area near the performance facilities. Additional adjacent smaller rooms for instrument/bow trials are recommended. All exhibition space must have the ability to be secured during non-business hours, or Local Host institution must provide security for the duration of the festival. If there is a charge for after-hours security, detailed rates must be included in the site proposal. • Additional rehearsal spaces to accommodate individuals, piano rehearsals, and small ensembles. • AVS Festival temporary and secure “office” space– with ability to secure AVS registration and other items while on location. • Housing – Convenient, affordable housing options (hotel and dorm space) within walking distance to fit a variety of price points for students, families, and professionals. Capability to house 150 - 200 in campus dorm space in addition to nearby hotels is recommended. Detailed rates and details for dorm rental (including linens, keys, etc.) must be included with proposal. • Dining – availability of on-campus dining facilities and nearby walkable restaurants and eateries. • Parking – available for those with cars. • Travel – access to major transportation centers (airports, public transportation, shuttle availability). • Accessibility – Site should collaborate with facility’s DRES/Disability center for possible shuttle service or other assistive services for those who may need them. • Excursions– interesting tourist activities in or within the vicinity to enhance the attendee experience. • Other– ability to interact with local viola societies, symphony sections, academic institution viola studios, etc., are welcome additions to the site proposal.

Host Sites that can provide facilities usage (except for dorm space) and support at minimal or no cost to the American Viola Society will be given high priority in the selection process.

Please note that there is a good possibility that the 2028 AVS Festival will also serve as an International Viola Congress, which means a slightly larger event with more international participation and visibility. Host sites with easy transportation for international visitors will receive priority.

Please send proposals electronically with all requirements listed by December 31, 2024, to: Madeleine Crouch • AVS National Office 14070 Proton Rd. Suite 100, LB 9 • Dallas, TX 75244 info@avsnationaloffice.org • (972) 233-9107 ext. 204

Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024

In Memoriam

In Memoriam: Roger Elgin Myers

Roger Elgin Myers, violist, teacher, friend, died February 25, 2024.

Roger Elgin Myers (FRSA) was an Australian-American concert violist and beloved academic. He was Fellow of the Florence Thelma Hall Centennial Chair in Music and the longstanding professor of viola at University of Texas Austin. Myers was born and raised in Sydney, Australia in a musical family. His father had a piano background and, though a political journalist, was also a periodic music critic for the Sydney Morning Herald newspaper. His mother was an extraordinary Australian concert pianist who was forced to retire due to illness at an early age, but her love and joy of music influenced Roger. At 12, Myers was cast to sing in three professional productions with Opera Australia as a boy soprano. He continued his education at the Sydney Conservatorium of Music before leaving to study in the United States in 1987. He studied under Donald McInnes at the

University of Southern California, earning both his bachelor’s and master’s degrees in viola performance.

Myers served as faculty at several summer music programs and was the founder and artistic director of the Blanton Chamber Music Series at the Blanton Museum in Austin. An active member in the viola community, he served as the artistic director and Host Chairman of the XXV Silver Anniversary International Viola Congress in 1997. Along with his career as a performer, Myers was also the professor and the former Head of The String Division at the University of Texas at Austin, Butler School of Music. After the announcement of Myers’ passing from cancer in February of 2024, an outpour of messages, photos, and memories began to flood the JAVS inbox…

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Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024

“I am so sorry to hear about the loss of Roger Myers. One of my first performance experiences in a masterclass was for Mr. Myers at an American Viola Society Festival. Though it was years ago, I still remember that his wisdom, kindness, and vibrant energy made it a positive experience for me. My deepest condolences to Roger’s family, friends, students, and community.”

A Community Remembers

-Alyssa Warcup

Photo courtesy of Sergio Lozano: (L-R) Sophia Acheson, Roger Myers, Christopher Luther, and Sergio Lozano, International Viola Congress in Wellington, New Zealand.

“Roger Myers was larger than life.

For me he was more than a university professor, he was also my mentor and eventually we became best friends. Our connection sparked from the moment we met. I looked up to him and considered him to be like a father. He provided for his students the way a father provides for his children. Unbeknownst to many, he paid application fees, tuition, & travel expenses and say that he found a scholarship. For some of us, he helped with immigration, or even gave instruments and bows. After my time at the University of Texas, we spoke on the phone almost every day. We shared wonderful moments in Austin, at Round Top, in Houston, Vermont, Southern California, and even Australia & New Zealand. He was always there for me. He had all the class of an English gentleman while staying true to his Australian sensibility which is to say he exuded all the posh & classy qualities with the irreverence to mock them at same time. As a teacher, his approach was to transform players. He wanted “teachable,” not perfection. He always knew what was possible in an individual and gave all of himself in their learning. It was an intense, but magnificent educational experience. We lost one of the greats.”

“My former teacher, Roger Myers died of cancer yesterday.

We headbutted a lot. He often would drive me crazy. He was cocky. He was stubborn. He could be very intimidating and did not take kindly to any criticism. Every time he’d say “It’s the Rog way or the highway,” I wanted to strangle him. We had a major falling out and I completed my doctorate with another teacher.

Yet his death is hitting me hard. Much harder than I would have anticipated.

I don’t know if it’s the abruptness or the untimeliness of his death, or simply the realization that a major page in my life has been turned. He was the reason I moved from New York to Texas. He was a brilliant, knowledgeable, and extremely intelligent man. He was my teacher. He was a passionate, energetic, and involved teacher. He had an amazing arsenal of “quick fixes” and long-lasting problem-solving tools. His classes on Baroque and classical performance were fascinating, highly interactive and thorough. The quality and the level of playing that he brought out of his students was inspiring and sometimes truly revelatory. All of us in his tight-knit studio have experienced at least one utterly freeing and unbelievably powerful breakthrough, and looking back, it is now painfully evident that I would not have become the musician and the teacher I am now.

-Sergio Lozano

Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024

His pedagogy has marked me and has stayed with me all along, and it has shaped my musical instincts, my pedagogical choices, nurtured my creativity, and channeled my erstwhile misplaced or inappropriate expressivity. At the times when we had formed a close relationship, his prickly veneer had cracked often enough that I was fortunate to experience his kind, vulnerable, sensitive, supportive, and caring side. That is the side I preferred and that is the one I am choosing to remember. The video of Roger hits differently than a few years back when it was released. Hearing Roger talk about the death of his mother, and Shostakovich’s viola sonata which he wrote as he was dying, resonates now deeper and more powerfully than before.”

It should go without saying that every Congress is unique with its own opportunities, circumstances and difficulties. Congress XXV was no different; highlighted as the Twenty-fifth Anniversary of the American Viola Society, the congress needed to be special, and indeed it was.

- Aurelien Petillot

“R.I.P. my friend Roger Myers! What wonderful musical moments we have had over the years and what a fine friendship we have had. He will be remembered by many.”

The expected international contingent included: • Jonathan Craig - Canada • Otto Freudenthal - Sweden • Malcolm Gilles - Australia • Donald Maurice - New Zealand • Jutta Puchammer- Sédillot - Canada • Lars Anders Tompter - Norway

- Ole Bohn

Premiers included: • Suite for Viola and Piano by Otto Freudenthal • Ticket’s for a Prayer Wheel for Viola and Baritone by Dan Welcher Special guests and programs included: • The congress itself was dedicated to the dean of orchestral musicians Joseph de Pasquale (1919-2015), Principal Violist of the Philadelphia Orchestra for 41 years. He gave a marvelous recital. • Violinist Elmar Oliveira performing the Bohuslav Martinu Three Madrigals with violist Sandra Robbins. • Violist Jeanne Mallow, granddaughter of the “First Lady of the Viola” Lillian Fuchs (1901-1995) performed with her pianist sister, Barbara Stein Mallow, on the Lillian Fuchs Memorial Concert. Very special! • Twelve auditioned high school violists from every corner of Texas, in concert. Under the direction of Thomas Tatton, the youthful violists performed the Suite for Eight Violas by Gordon Jacob. These youthful violists (and a parent) were given auditor privileges for the entire congress. Again, very special.

“We will miss Roger—a wonderful violist, teacher and friend. Roger was a striking figure of a man; he enjoyed a memorable personality with a quirky sense of humor and a sharp wit. You were lucky if you had some association with Roger—a colleague, student, associate, friend or casual acquaintance. Many will speak about Roger’s teaching, his playing, positions and awards - all laudable. I want to concentrate on his masterful organization of 1997 International Congress XXV on the campus of the University of Texas, Austin.

Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024

The normal course of organization of a congress turned when it was learned that the Air Force Orchestra was not available to perform concerto accompaniments. They had been a fixture for each of the previous U.S. Congresses (except the 1989 Redlands Congress). Roger, not without resources, explored every option, unsuccessfully. Roger brilliantly organized four very special evening recitals: Lars Anders Tompter, Lillian Fuchs Memorial Concert, Joseph de Pasquale Tribute Concert and ending the congress with a recital by Paul Neubauer. Nary a soul was disappointed.

with him at my audition, I felt as if I had just encountered a wizard; with one adjustment to the angle of my right forearm, my sound was amplified by two. My choice had been made. I came to Texas knowing absolutely nobody – I had no family in the state, and nobody from my hometown of Santa Monica went to the University. From our first lesson, I felt like I had somebody in my corner. We would talk about living in Southern California, connecting over shared places and stories, and him chuckling at my adolescent accounts of the city, both of us knowing I had so much left to learn. With each lesson, I felt a little bit more at home. I would soon learn that, in addition to a deep knowledge of everything about the viola and its history, he had an unending curiosity about the world around him. Our lessons would often start with an unplanned mini-history lesson about any given topic: The Latin language, the etymology of humans, the culture of his home country. He was my teacher through COVID, where we held lessons over zoom for a year and a half. How he managed to teach me so much through a screen can only be explained by his brilliance and dedication to his students, no matter the circumstance. He was my teacher through the 2021 Texas winter storm, where he checked in with me every day without fail. Throughout all the changes and experiences that going to college for the first time brings, he remained a constant, and kept me anchored to my music. His deep commitment to the art of music making, its history, and his curiosity about the world, past and present, was one of a kind. He challenged me every day, musically and intellectually. Our relationship was complicated and important. He pushed me in ways that I didn’t understand, and, many times, in ways I couldn’t justify. I came out on the other side of my degree transformed in more aspects than I expected. He was there every step of the way, even as he battled his illness–the final and most profound display of his dedication to us. Our last exchange of messages was only a few weeks before his passing. I told him that I had advanced to the finals of a competition and was going onto my second grad school audition; he shared with me his plan to retire at the end of this school year, and happiness at my news.

Well done Roger - we will miss you!

-Thomas Tatton - friend and colleague

“Quite simply, we lost a legend. To know Roger Myers was to know someone truly larger than life, a Titan. He exuded knowledge and confidence that was utterly magnetic. Being in his studio required a continuous search for knowledge and a never-ending pursuit of excellence.”

-Brett Detweiler

Roger Myers and Ella Hammersly.

“There’s not much that I can say about Professor Myers that hasn’t already been said. I’m not sure that my words can even do justice to encapsulate the man that he was.

I studied with Professor Myers from 2019 to 2023, during my undergraduate at UT Austin. Leaving my trial lesson

Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024

I find myself grasping to any and all of the lessons he taught me–the technical ones, the simple ones, the joyful ones, the frustratingly difficult ones, musical or otherwise. Even after his passing, I feel like I continue to uncover the meanings.

“I am a current student at UT Austin for music education. I studied with Professor Myers from the fall of 2021 up until his passing. Getting to work with Professor Myers was life changing for me. From my first lesson with him I had never progressed so far so quickly. He was an incredible teacher and performer, but also a close and dear friend. I was with him when he shared his diagnosis, and I was with him every step of the way. My own father also has stage 4 cancer, and I learned that Professor Myers and my father had the same doctors at the same times! They would run into each other during therapy and chit chat. He told me “we have a very special connection for that” and he wasn’t wrong. Our lessons after that felt very special. He would comfort me in moments of fear or sadness, and I would do the same for him. We would check in with each other many times, which only brought us closer together. I will never forget the impact he had on my teaching, my playing, and my life. We will miss him and his gifts to the viola world.”

Prioritize musicianship in problem-solving. Be teachable. Above all, be curious and self-discover.

I will miss him deeply.”

-Ella Hammersly

-Kendall Weaver

Roger Myers and the UT Austin viola studio, post recital.

* * * You will greatly missed, Roger. Thank you for your love, your passion, and all of your guidance over the years.

Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024