JAVS Spring 2014

Major , op. 54 , at Wigmore Hall in London. 10 Johannes Palaschko, the German composer, dedicated his 24 leichte melodische Viola-Studien to Neuberth.

Conclusion

The formation of a viola studio at the Conservatoire de Paris was a key event in the founding of the French viola school. Théophile Laforge’s influence instilled the need for specialization in the viola and eventually led to the establishment of a formal educational sys tem for the viola in France. His presence also inspired the creation of numerous compositions for the viola by some of the leading French composers of the time. Even Arthur Pougin, who had earlier criticized the formation of a viola studio, wrote: Halévy was right to rehabilitate the viola, once despised and held as almost useless. With its melancholy and tender voice, the viola is one of the most essential elements of the orchestra, and now its importance is recognized. This year’s viola competition was not only excellent, but particularly brilliant, and Mr. Laforge’s class there continues with his usual high standards. 11 Dr. Nora Hamme is currently the Lecturer of Upper Strings at Juniata College. She is also an adjunct faculty member at Hagerstown Community College, where she teachers music history. Dr. Hamme was recently awarded the DMA in viola performance from Shenandoah University Conservatory, where she studied under Doris Lederer. 1 David M. Bynog, “The Viola in America: Two Centuries of Progress,” Notes 68, no. 4 (June 2012): 742. 2 Hector Berlioz, “Un reproche adressé au Conservatoire,” Revue et gazette musicale de Paris , no. 34 (August 20, 1848): 254 (all translations are by Matthew Darsey and Nora Hamme). 3 Arthur Pougin, “Des classes de violon au Conservatoire,” Le Ménestrel , no. 33 (July 17, 1870): 262 . Notes

Louis Bailly, year unknown (photographer Kubey Rembrandt Studios, courtesy of the Curtis Institute of Music)

Louis Bailly studied violin and viola at the conser vatory. After graduating, he was a member of the Opéra-Comique Orchestre and the Concerts Colonne. In 1903 he was a member of the Quatuor Capet, and he later served as a member of the Geloso, Elman , and Flonzaley Quartets. Bailly was a prominent soloist with several American orchestras, and in 1919 he gave the premieres of Rebecca Clarke’s Viola Sonata and Ernest Bloch’s Suite at the Berkshire Festival (he premiered Bloch’s orchestral version of the Suite the following year). From 1925 to 1941 Bailly taught violin, viola, and chamber music at the Curtis Institute of Music, and from 1943 to 1957 he taught at the Conservatoire de musique du Quebec. Having studied under Laforge at the conservatory, Paul-Louis Neuberth became a performer as well as an arranger, transcribing several works for viola— including pieces by Jacques Ibert, Maurice Ravel, Isaac Albéniz, and Vincent d’Indy. He gave the sec ond performance of york Bowen’s Phantasy in F

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