JAVS Fall 1996

53

We must humanize the viola. ... It has to become a part ofyou, an extension ofyour personality. Practicing a piece at half-tempo in its entirety wiU enable you to focus on the many details of performing the work. As with a photographic negative, once details are in place, it is a simple matter to reduce or enlarge the finishedproduct. -Alan de Veritch I ntrigued by these quotes? Then you should consider attending Alan de Veritch's Viola Camp, now held every August at Pepperdine University in Malibu, California. As the only one of its kind, de Veritch's camp provides an opportunity to meet, share ideas with, and learn from a broad cross section of violists of varied ages, levels, and experience. The students, assistants, and leader of the camp are firmly united by their intense love of the viola! The inaugural camp (1996) proved to be a celebration of talents and abilities. Yet, par ticipants were encouraged to work away at weaknesses-assisted by specific instruction, positive reinforcement, and lots of hands-on training, all of which was complemented by Alan's "glass-half-full mentality" and his in fectious, joyful approach to life and music. The thirty participants (including four assistants) at Viola Camp '96 ranged in age from thirteen to forty-eight. Included were principal and section players from such orchestras as the San Francisco Symphony, San Jose Symphony, Oregon Symphony, Anchorage Symphony, and Indianapolis Chamber Orchestra. The ranks of partici pants also included a college professor, several professional free-lancers and teachers, DMA, MM, and BM students from as far as Korea, fine players from other fields of study, ex ceptional high school students, new graduates just launching their careers, and even a middle school student.

The seven-days' camp entailed daily early morning technique classes, three orchestral repertoire sessions, five master classes, fre quent viola ensemble coachings and re hearsals, and two formal recitals. Every violist played in one of Alan's four master classes; I conducted an additional class for the younger players so they could have yet another chance to perform. We covered a tremendous amount of liter ature, from Telemann to Bartok. Instructors supervised part of each student's daily practice and the most advanced students had private lessons with Alan. Recitals featured solo works, small viola ensembles, and a grand finale of mass ensemble performances of the two Brahms Songs and the York Bowen Fantasie Quartet. We also took time out for two trips to Malibu Beach and an evening barbecue on a hill overlooking magnificent Malibu Bay, where we enjoyed some viola storytelling. Camp participants had other extracurricular opportunities available to them, including the university's Olympic-sized pool, running track, and weight room. When first invited to be one of the instruc tors at the camp, I felt the scheduled dates were a little late in the summer. However, at the workshop I realized at least two important advantages to the late season: most of the big summer festivals are over, and participants receive an excellent "jump-start" on the upcoming concert/audition season and aca demic year. I would be remiss if I didn't mention the extreme beauty of the location. Pepperdine is situated on a mountainside overlooking Malibu Bay. Each building at the university seems to have been designed so that one can see the ocean from any location. The archi tecture is pleasing and compatible with the surroundings. Landscaping is subtropical, dense, and well cared for, giving the univer sity the appearance of a resort.