JAVS Fall 1997

85

Peggy Glanville-Hicks-Concerto Romantico for the viola and string orchestra Marga Richter-Aria and Toccata for the viola and string orchestra Ben Weber-Rhapsodie Concertante, op. 47 for viola and small orchestra (MGM Records, E3559) These works all written for Trampler. MGM Records commissioned the Glanville-Hicks and the Richter; Mr. Trampler commissioned the Weber. Claude Monteux, flute, and Walter Trampler, viola and viola d'amore (Music Guild Records, mono M-47) Joseph Martin Kraus, Sonata for flute and viola; Lorenziti, "La Caccia" for solo viola d'amore; G. P. Telemann, Sonatas in canon for flute and viola d'amore

on viola matters of all kinds; he was charming as usual. Trampler also was one of the featured vio lists at the Thirteenth International Viola Con gress in Boston in 1985. Marcus Thompson, a former student of Trampler, hosted this congress, held at the New England Conser vatory of Music. On this occasion, Trampler was again a presence with his stunning perfor man~e of the Hindemith Sonata, op. 25, no. 4, and the Simon Bainbridge Concerto for viola, which he had commissioned in 1976. Trampler also participated in a "Meet the Composers" session, in which he performed excerpts from an unfinished sonata for viola and piano by composer William Thomas McKinley of the New England Conservatory. I first met Walter by default in the summer of 1956. During that year I had studied pri vately with William Primrose, which culmi nated in my plans to attend the Aspen Music School, where Primrose would be teaching. I already knew that I would be drafted into the U.S. Army, so that summer was one I looked forward to as the calm before the storm, knowing that my viola would be replaced by rifles and such. Mr. Primrose told me that he was committed to another summer music school and thus would be arriving at Aspen after some weeks, but that the viola teacher for the initial period was a fine teacher and performer-Walter Trampler. I did not know the name. My lessons with Walter were a delight. He was analytical without insisting that his way of doing things was the only way, and some how we found solutions that were practical and consistent with my own physical make up. He performed frequently at those Aspen concerts, and I found his playing wonderfully exciting. He had a superior technical skill, a fine sound, and he always played with musi cality and elegance. After my two-year army obligation ended, I returned to New York and continued my studies with Walter. He was then starting to give many solo recitals of contemporary mu sic, unaccompanied viola works, and music commissioned by or written for him. At this time also he was becoming interested in the viola d'amore. This was an instrument I had discovered during my army time in Germany,

Viola-Viola D'amore Duos

Karen Phillips and Walter Trampler (Musical Heritage Soceity, mono OR 398) H. I. Franz von Biber, Partita No. 7 for two violas d'amore and basso; Thomas Morley, Three Pieces for Two Violas; Wilh. Fr. Bach, Three Sonatas for Two Violas; Giov. G. Gastoldi, Three Fantasias for Two Violas

Hall Overton: Sonata for Viola and Piano (EMS 403) Written for Walter Trampler in 1960; Lucy Greene, piano Antonio Vivladi: The Eight Concerti for Viola d'amore (RCA Red Seal, LSC-7065) Walter Trampler, viola d'amore, and the Camerata Bariloche, Alberto Lysy, conductor

Trampler's first big exposure to the viola community came at the Fifth International Viola Congress, 3-5 June 1977, held at the Eastman School of Music in Rochester, New York. This was the second congress held in America and featured some true stars of the viola world: William Primrose, Paul Doktor, Francis Tursi, Michael Tree, Jacob Glick, Martha Strongin Katz, Heidi Castleman, and Trampler. Trampler was featured soloist for the first evening concert of the congress. His program included the Rolla Rondo in F for vi ola and orchestra, Shostakovich's Sonata for viola and piano, and the Concerto in G for vi ola and orchestra by Johann Amon. On the second day, Trampler held an open discussion