JAVS Spring 2019

Journal of the American Viola Society A publication of the American Viola Society Spring 2019: Volume 35, Number 1

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From the Editor

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From the President

News & Notes

p. 5 In Review: 2018 International Viola Congress Andrew Braddock reviews the exciting events from the 45th IVC in Rotterdam. Special Feature: George Rochberg’s Sonata for Viola and Piano p. 13 Rochberg’s Viola Sonata in Historical Context Jacob Adams provides an introduction to the life and works of George Rochberg and examines the immediate musical and compositional context of the Viola Sonata. p. 20 Pursuing a Commission In a first-person account, David Dalton shares the story of his work in commissioning Rochberg’s Viola Sonata in commemoration of Primrose’s 75th birthday. p. 24 A “Design of Exchange” in George Rochberg’s Sonata for Viola and Piano (1979) Leah Frederick offers an original and insightful analysis of the musical interplay between voices in Rochberg’s Viola Sonata. Feature Article p. 37 Loss and Renewal: The Evolution of Charles Loeffler’s Deux Rapsodies Courtney Miller examines the musical and historical contexts of Loeffler’s works for oboe, viola, and piano. Departments p. 47 New Music: In the first of a three-part series, Anne Lanzilotti introduces her 20/19 commissioning project. p. 51 In the Studio: Tim Feverston shares his advice for selecting chin and shoulder rests. p. 55 Recording Reviews: Carlos María Solare reviews recordings by Andrea Houde, Dimitri Murrath, Paul Neubauer, Vidor Nagy, and Laura Menegozzo. p. 59 Music Reviews: Katrin Meidell reviews recent pedagogical works for viola.

On the Cover: Eugene Larkin Violist – John Woodblock print, 1998

Eugene Larkin (1921–2010) was an American artist who specialized in prints. Musicians were frequently the subjects of his art, including at least six prints of violists. His son, artist Alan Larkin, writes: “My parents were both devotees of classical music and made friends with a number of musicians from Minneapolis Symphony Orchestra. There was a group of them that had formed a

string quartet and my father would invite them to come practice at the house. They would set up in the sun room and he would paint or draw them while they performed. Some of these he would transfer by tracing onto woodblocks, which he would then carve out and print in the studio.” More information and artworks can be found at eugenelarkin.com.