JAVS Spring 2006

Tra nsition .ll (Beginner t tl l n tcrlllccli:lt c) Level Viob Mmic In- P.u ru i.t M~ ( ..ul ,.

humbling experience: one is quickly reminded that many of us (myself included) are truly intermediate vio lists by these standards. Chapter Four: Viola Diversity ra kes the reader in a new direction and is divided into four distinct sections. Dani el Avshalomov, ro whom Barnes credi ts origin of the expression, "central clef, " is author of "Pan I : T he Viola 111 Chamher Music." O ne part icular ly ca tchy comment in a mul ti faceted discussion is particularly descriptive of the chamber music violist: "It is the happy schizo phrenic who fi nds himself in a string quartet - happy, that is, if he ca n move among the identiti es with grace, agility and a commit ment to rhe role of the moment that precludes preference." T he "role" he describes includes that of "third violin, middle voice, and deputy cel lo," each a legiti mate function for the viola with in a given context. Thi s is fol lowed hy comments on chamber music acoustics and defining moments for rhe viola in this repertoire. Thomas Tarton, who inherited his mande as viola ensembleguru as an outgrowth of hi s graduate smdi es , has ca rried ir with a sense of dedica tion and pu rpose and , as such, is author of "Part 2: Viola Ensembles: Music for T hree or More Violas." He begins his review, written in basic sonara form, with his exposition in the Terris Era with Lionel Terris, York Bowen, and Benjamin Da le. The development reviews the viola

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mediate violist extends through 44 pages with almost 30 exercises ded icated to specifi c technical skills. T his is exclusive of McCarty's 13 page li terature compendium in which she emphasizes char "the line blurs between upper-interme diate and lower-advanced levels. " 4 Jeffery Irvine, in Chapter Three: The Advanced Violist, li ke Ba rnes and Kimher, hegins with basics such as releasing tension, proper breathing, posture, balance, and instrument position. He then gradually moves into playing, with thorough examinations of both left- and right-hand techniques. These presentations are both thor

ough and detail ed- the bowing portion alone covers five pages . Add itional discussion topics incl ude efficient practice and a sobering reminder of injury as a rea li ty. Irvi ne's incredible atten tion ro derai l throughout a 35 page discussion covers many di verse top ics. Secti on TX, "Musicianship, Expression and Ar tistry on the Viola," though specificall y written f(n violists, would quali fy as good required reading fo r anyone intrigued by techni cal-aesthetic interdepend ence. Be forewarned, however, that reading this chapter and reviewing McCa rty's eight pages of advanced literature can be a

} Ol.JRNA I. OF THE AME RI AN VI OL/\ SOC.:..o.:..I:'..:F....:.T..:...Y..:._ ____ _ 38