JAVS Spring 2025

Features: Transcribing BWV 997 for Unaccompanied Viola

Blas Emilio Atehortua: Romanza from Five Romantic Pieces for Viola and Piano

Viola Fit: Critical Characteristics to Consider on an Instrument Journal of the AmericanViola Society Volume 41 Number 1

Journal of the American Viola Society A publication of the American Viola Society Spring 2025: Volume 41, Number 1

p. 3 p. 4

From the Editor From the President

News & Notes In Memoriam: Burton Fine

p. 7 p. 9

In Memoriam: Donald McInnes p. 11 In Memoriam: Yizhak Schotten p. 13 Reflections from the 2025 Tertis & Aronowitz Competitions Feature Articles p. 15 2024 Dalton Research Competition 1st Prize Winner Transcribing BWV 997 for Unaccompanied Viola by Namgon Lee

p. 31 2024 Dalton Research Competition 2nd Prize and Harmony Award Winner Blas Emilio Atehortua: Romanza from Five Romantic Pieces for Viola and Piano by Nicole Herrera p. 43 Viola Fit: Critical Characteristics to Consider on an Instrument by Luiz Barrionuevo Departments p. 54 Development Corner: An Exciting Milestone and a New Vision, by Ann Marie Brink p. 56 Youth Corner: Reflections of the 2024 AVS Festival, by the CCM Prep Viola Quartet p. 59 In the Studio: Partita Party: A Collaborative Work, by Rose Wollman p. 61 With Viola In Hand: Finding the Perfect Fit, by Elizabeth Thorup p. 67 Recording Review: Partita Party, and Viola Fantasies , by Kayleigh Miller On the Cover: The Concert of Angels Gaudenzio Ferrari The Concert of Angels (1534-1536) is a fresco by Italian Renaissance painter Gaudenzio Ferrari (c. 1474/80–1546). This vibrant and dynamic work is part of the decoration of the dome in the Church of Santa Maria dei Miracoli in Saronno, Italy. The fresco depicts a celestial choir of angels playing various musical instruments, creating a sense of divine harmony. Ferrari’s use of rich colors, expressive figures, and intricate details gives the composition a lively and almost theatrical quality, embodying the High Renaissance and early Mannerist styles. Gaudenzio Ferrari was a Northern Italian painter and sculptor known for his frescoes and altarpieces. He worked primarily in Piedmont and Lombardy, blending Leonardesque sfumato with the bold expressiveness of Raphael and Perugino. His art is characterized by vivid colors, dynamic compositions, and emotional intensity, often focusing on religious themes. His fresco cycles in Varallo, Saronno, and Vercelli are among his most celebrated works.

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The Journal of the American Viola Society is published in spring and fall and as an online only issue in summer. The American Viola Society is a nonprofit organization of viola enthusiasts, including students, performers, teachers, scholars, composers, makers, and friends, who seek to encourage excellence in performance, pedagogy, research, composition, and lutherie. United in our commitment to promote the viola and its related activities, the AVS fosters communication and friendship among violists of all skill levels, ages,

Editor: Christina Ebersohl-Van Scyoc Assistant Editor: Lanson Wells Departmental Editors: Development Corner: Tom Tatton Consultant Dwight Pounds AVS National Board of Directors: President-Elect: Daphne Gerling (2026) Past President: Hillary Herndon (2023) Secretary: Katrin Meidell (2028) Treasurer: Ann-Marie Brink (2026) Webmaster Tony Devroye (2025) Board Members Caroline Coade (2027) Anthony Devroye (2025) Christina Ebersohl-Van Scyoc (2028) Renate Falkner (2027) Misha Galaganov (2025) Officers President: Ames Asbell (2026)

nationalities, and backgrounds. ©2024, American Viola Society ISSN 0898-5987 (print) ISSN 2378-007X (online)

JAVS welcomes articles from its readers. Submission deadlines are December 1 for the Spring issue, April 1

Kimia Hesabi (2025) Andrea Houde (2027) Hsiaopei Lee (2025) Gabrille Padilla Molina (2026) Diane Pheonix-Neal (2026) Marcus Pyle (2025) Sheronda Shorter (2025) Steven Tenenbom (2024) Rose Wollman (2026) JAVS Volunteer Kayleigh Miller AVS General Manager Madeleine Crouch AVS National Office 14070 Proton Road, Suite 100 Dallas, TX 75244 (972) 233-9107 ext. 204

for the Summer online issue, and August 1 for the Fall issue. Send submissions to the AVS Editorial Office, Christina Ebersohl-Van Scyoc editor@americanviolasociety.org or to

Madeleine Crouch, 14070 Proton Rd., Suite 100 Dallas, TX 75244

JAVS offers print and web advertising for a receptive and influential readership. For advertising rates please contact JAVS Editor Christina Ebersohl-Van Scyoc editor@americanviolasociety.org

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Journal of the American Viola Society / Vol. 41, No. 1, Spring 2025

From the Editor

Dearest friends,

Namgon Lee’s first-prize paper, Transcribing BWV 997 for Unaccompanied Viola , offers a compelling study of Bach’s music and its adaptability for our instrument, a testament to the viola’s versatility and depth. We also feature Nicole Herrera’s remarkable paper, Blas Emilio Atehortúa: Romanza from Five Romantic Pieces for Viola and Piano , which not only earned second-prize, but was also honored with the inaugural Harmony Prize—an award recognizing research that amplifies underrepresented voices and repertoire in the viola world. The AVS continues to foster artistry, scholarship, and community, and this issue reflects that spirit. As we move forward, let us celebrate the work of those who push the boundaries of our understanding, and let us anticipate the moments ahead where we will come together in music and shared passion. And remember—if you ever find yourself questioning your life choices during a particularly tricky passage, just know that Bach is probably laughing at us all from beyond the grave.

Spring is a season of renewal, and as we welcome this latest issue of the Journal of the American Viola Society, we find ourselves in a time of vibrant growth and preparation. The AVS community is buzzing with energy, not only in the continued exploration of our beloved instrument but

also in the exciting journey toward the 2026 American Viola Society Festival at James Madison University in Harrisonburg, Virginia. As Editor of this Journal and the Festival Coordinator, I am thrilled to share that our Festival Committee is already hard at work laying the foundation for what promises to be an unforgettable celebration of all things viola. Mark your calendars for June 3–6, 2026—we can’t wait to welcome you! (And if you’re like me, you’ll write a cryptic note on your calendar and promptly forget what it means until a week before—so set that phone reminder now!) This issue of the Journal highlights the intellectual curiosity and scholarly excellence that define our community. We are proud to present the winning papers of the 2024 Dalton Research Competition, celebrating the next generation of viola researchers.

Happy reading, and happy practicing!

Warmly,

Christina Ebersohl-Van Scyoc

Join the American Viola Society Your membership supports the viola community through performance, education, research, mentoring, publishing, commissioning new works and more. www.americanviolasociety.org/Join.php

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From the President

California. When considering these two incredible champions of the viola, I am fascinated by the similarities in their biographies: both were acclaimed protégés of the legendary William Primrose, and both assumed their “signature” teaching posts in the same year – 1985. Both left an enduring legacy of performance artistry via their extensive discographies of recorded works, and both shaped the American viola landscape through their indelible impact on generations of students. Both were awarded our society’s highest honor for career achievement, and both will be remembered and treasured for their contributions to our beloved instrument. Believe it or not, the AVS Festival Committee is already hard at work planning for a wonderful 2026 American Viola Society Festival . If you haven’t already, please mark your calendar for June 3-6, 2026, and plan to join us at James Madison University in Harrisonburg, VA, in the beautiful Shenandoah Valley. The Call for Proposals is available on our festival webpage, so start planning your proposals and be sure to submit by August 15, 2025! There is so much to enjoy in this month’s journal, I’m not sure where to start! There’s truly something for everyone, whether you are interested in learning about process of transcribing Bach or discovering new twentieth century music from David Dalton Research Competition prizewinners, finding the best viola fit and setup for pain-free playing, learning about our history ( In Memoriam ) and our future (Tertis and Aronowitz Competitions, AVS Festival Youth Competitions), or just deciding which repertoire to study or which recording to listen to next. I hope you enjoy this issue as much as I know I will. Thank you so much for supporting the AVS through your membership and donations. They are vital to helping us fulfill our mission and serve violists everywhere through our programs – including this journal. If you’re enjoying your membership, please tell a friend about the AVS. If you have ideas for us or are interested in volunteering, please don’t hesitate to reach out. We’d love to hear from you!

Dear Friends in Alto Clef,

Greetings on behalf of the American Viola Society! I hope you are staying warm and staying well, and that by the time you are reading this, Spring will be in full swing and winter’s viruses and travel delays will be a distant memory. As I sit down to write to you, I have teachers and students on my mind – perhaps because it’s the season for music education conferences, or perhaps because the AVS has been

working hard to develop support for viola educators!

Today, I’m feeling energized by our recent AVS Mid-Winter Teacher “Potluck” event. Teachers from as far away as France and Israel joined online to share their favorite teaching tips and tricks, and lively discussion ensued. The link is available on our website if you’re interested in watching. Thank you and kudos to the AVS Education Committee for organizing this fantastic gathering! Education is also on my mind as I reflect with gratitude on the recent success of our AVS Education Fund Matching Grant program. Last year, a generous donor gave $4000 to support our educational initiatives, and your generous donations met that match, raising over $8000 to establish the AVS Education Fund! We will continue fundraising to build this fund for the next few years, raising support for the AVS Educator Mini Grant and other educational programs. Our 2025 Educator Mini-Grant program is accepting submissions until April 1, so if you need funding for an innovative studio project, be sure to apply! As we reflect on our educational activities, we recognize the loss of two icons of viola pedagogy: Yizhak Schotten , longtime faculty at the University of Michigan, passed away this past September, followed in October by Donald McInnes , late of the University of Southern Advertiser Index Alfaro Violins. . . . . . . . . . . . . . . . . . . . . ..................... 30 Anderson Musical Instrument Insurance Solutions. . . . . . ....... IBC AVS History & Reference Guide . . . . . . . . . . . . . . ............. 58 Connolly Music Company/Thomastik-Infeld. . . . . . . . . ......... BC David Dalton Competition . . . . . . . . . . . . . . . . ................ 6

Happy Viola Spring!

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Announcing the 2025 AVS Educator Mini-Grant Program

The American Viola Society is pleased to announce our 2025 Educator Mini-Grant Program supporting viola pedagogy and education. This program invests in viola teachers, providing our valuable educators with funding that they feel would enhance the quality and/or scope of their teaching. Possible Educational Uses for Mini-Grant Funding: - Developing new programs for students - Commissioning new repertoire for students - Pedagogical/teaching supplies (one-time large investments) - Travel support to educational events - Seed money for larger projects - Professional development/continuing education for teachers (i.e., Suzuki teacher training, Rolland certification, string pedagogy workshop tuition, etc)

The following activities are not eligible for this round of AVS Educator Mini-Grants: - Performance-specific expenses - recording, performance specific expenses - Student tuition (summer festivals, degree programs) - Other student-related expenses

This program is open to current AVS members only. Applicants must have a current AVS membership at the time of both the application and award. Mini-grant recipients from the previous year are not eligible to apply.

Scan here to apply by the April 1, 2025 deadline.

The maximum amount of individual grants for this cycle is $500. Awardees will be notified by May 1, 2025, with funding to follow according to the project timeline. All funds from this program must be spent by July 31, 2026. Required Materials for Application: - A brief narrative describing what the funds will be used for and how your teaching will benefit. (up to 500 words) - A detailed timeline/outline of when the funds will be used. - A detailed budget, including any outside funding, if applicable\ - A description of projected outcomes describing how your teaching and/or students will benefit from this project and how you will document outcomes. - Educator biography (up to 500 words) All program mini-grant recipients will be asked to submit a follow up report within 3 months after the conclusion of their project. Grant recipients must submit a report within three months after the conclusion of their project. Recipients who fail to submit a follow-up report will be ineligible for future grant considerations.

Questions? Please contact education@americanviolasociety.org.

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In Memoriam

Burton Fine (1930-2024)

line (in any piece of music) is as real as any love from (or to) a human being. My mother, who met my father in 1950, married him in the early 1950s, and divorced him in the 1970s, expressed her love through her painting. She always did art, but became serious about it when she could no longer play the flute. My father didn’t think much of her artwork. I know very little about either of my parents. Both were puzzles. Their first child, my brother Marshall, was not neurotypical. He, like my father, had a tremendous intellect, but neither of our parents, like most new parents in the 1950s, understood much about parenting. They did bring Marshall to Dr. Spock in Cleveland (my father’s first job was at the Cleveland-based government agency that was to become NASA), but anything regarding the autism spectrum, where Marshall self identified as an adult, was unknown in the 1950s. I came out neurotypical in 1959, and my younger brother Richard, born in 1961, came out really gifted in math and things related to the world of computers, where he has been working since he graduated from college. Marshall and I were compelled as teenagers and as adults to express ourselves musically by playing and writing music. Richard is happy as a choral singer and as an avid listener. Joshua, my half-brother, who grew up in the 1980s is, like Marshall, not neurotypical, and he benefited (eventually) from an environment of understanding about the autism spectrum that has allowed him to thrive as a choral singer and as a responsibly employed person. When Marshall, Richard, and I were children, our father did all the driving in the family. He did all the shopping and all the outings. Perhaps it was to take us off our mother’s hands for a while. I remember being almost five and going in a rowboat on Jamaica Pond in West Roxbury. It was shortly after my father joined the Boston Symphony as a violinist. The story goes that he saw an ad in International Musician one day, took the next day

Burton Fine (1930-2024)

My Father.

I would say that the Burton Fine (August 7, 1930 - November 15, 2024) I grew up knowing was a person of tremendous intelligence and tremendous integrity, who expressed himself musically in the most elegant ways. He also had beautiful handwriting. It was fluid, unique, and elegant—unlike any handwriting I had or have ever seen. My father was a puzzle to me when I was a child. He wasn’t at all like other fathers. I don’t remember him ever hugging me or ever telling me that he loved me. I do remember him singing “I want to hold your hand” when we would cross the street. Occasionally he sang snippets of pieces of music, and made parody patter songs, which he sometimes sang for us at dinner, but otherwise I don’t remember him singing. But I do remember him practicing. The greatest memories of my childhood were hearing him practice in the basement. What I remember most are solo Bach (Cello Suites and Sonatas and Partitas), Reger, Brahms (G major Violin Sonata on viola), Franck (Violin Sonata), and Paganini Caprices. When he practiced, he expressed love very freely. To me, love for the musical

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off to practice, flew to Boston, and won the audition. My mother didn’t think he would get the job, but she reluctantly left Cleveland when he did. I didn’t know until much later that my father didn’t know how to swim when he took us boating. Though, I do remember wearing (and enjoying wearing) life jackets. He also took us to the Boston Children’s Museum when it was in its infancy and took us ice skating at Cleveland Circle. He immediately broke his ankle and had to drive to the hospital in incredible pain. (If I used the word “incredible” when describing something, he would snap at me. “It’s very credible,” he would say). My father taught Marshall to play the violin, and I remember that going bowling was used as a reward for his paying attention. Marshall did not like lessons with my father, who might not have liked to teach him either. But he learned from his father, Nathan Fine, who was, according to my father, as good as anyone in the Philadelphia Orchestra. Like proper Bostonians, we only played candlepins. Our mother never came to the bowling alley. At seven I was big enough to play the half-size violin that we had. My father gave me an “A Tune A Day” book and let me teach myself. Perhaps he didn’t want to mess things up for me like he had for Marshall. Richard had no interest in the violin, but he got to have piano lessons, and he became a really good pianist. I became an autodidact. in the summer, and eventually we used to go to the concerts on Sundays. Through exposure to the Boston Symphony throughout my childhood I got to hear a lot of really great music. And as a teenager I was pretty much on my own, and I would go to Tanglewood to hear student concerts. Never having the opportunity to be anything other than independent, I enjoyed a great deal of freedom as a young person. If (when) I got in trouble, I never told my parents about it. And they never asked. The Burton I grew up with had a very difficult time telling anything but the truth, or what he felt to be the truth. I imagine it might have gotten him in trouble if Our father used to bring me and my brothers to the Tanglewood grounds during open rehearsals on Saturdays We used to go bowling too. And there was a time when we would try to play tennis.

he shared his feelings with his colleagues in the Boston Symphony, so he kept pretty much to himself. He read a lot and knew a great deal about history. I remember going to a party with him after a concert that was hosted by some very rich people who acted like they were superior to everyone else. I mentioned that I didn’t feel comfortable around those people, and he said that they were people who supported the orchestra, and that we needed to be nice to them. His eventually married someone from a “donor” class family and grew to be comfortable with it. I prefer to remember my father as a member of the intellectual working class. When I returned to string playing in my early thirties and I had an instrument in hand, I was able to communicate with my father in his language, and I finally was able to recognize that we were cut from the same cloth. When I had the opportunity to play chamber music with him (he came to Illinois to play concerts three or four times), it was always a wonderful experience. He was a truly great musician. I sometimes hear shadows of the familiar sounds I heard in childhood when I practice. And when I see my hands and arms behaving the way I observed my father’s hands and arms behaving, I feel like he is a part of me, and that best part of him is with me to carry on in music making. I used to write CD reviews for the American Record Guide, and my father read all my reviews. He would call to talk about the recordings. I loved those phone calls. He would also give me solutions to problems I had with difficult passages in the viola parts I played in orchestra, which I would share with my section-mates. And he would listen to recordings I made of the recitals I played. Some of them must have been painful for him to hear because my development as a violinist and as a violist in adulthood was slow.

A note from Marshall, an excerpt from his memoir:

. . . This was before my father, Burton Fine, was a research chemist with NASA, having gotten his Ph.D. in chemistry from IIT. After leaving Cleveland, he would serve as principal violist of the BSO for 29 years before being demoted in 1993; and he retired on New Year’s Eve 2004.

I know a fair bit about what he did as a

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chemist. Many years ago I read his dissertation, The Solubility of Iodine in Benzene/Carbon Tetrachloride Solutions. It does not sound to me like the work of a rocket scientist; but at the time I read it I could neither know, nor care about, nor even comprehend its practical aspects. I have not seen it since; it must be misplaced in his own house, or hidden. As a rocket scientist, he might have been involved with the Gemini Project. I believe it was classified and remains so, which means I will never know. He wrote 18 papers, mostly for a journal called Combustion and Flame, which I located at the chemistry library at Yale at the time I unsuccessfully auditioned for their music school in 1977. Strangely, the shortest of these--a critical letter to the editor in 1961--became the most widely quoted. Almost every subsequent article would refer to it, freely. Musically, though, he is a mystery. What I know of his early years is awfully sketchy. He won a composition prize at age nine in his hometown of Philadelphia, where his ancestor, Joseph Fine (1877-1976) came to escape the pogroms of Nicholas III. His prizewinning piece, a cradle song, was orchestrated and performed by the Philadelphia Orchestra under Stokowski. Yet I have been unable to find so much as a mention of it.

At age thirteen he applied to study composition with Menotti and was turned down. It seems he had also been playing violin at the same time; he had several years study with Ivan Galamian, and his father (my grandfather) Nathan (1907 1985) was also an excellent amateur violinist. Anyway he turned there. At some point--for how many summers I don’t know, but it must have been several--he attended Galamian’s camp at Meadowmount. That was probably how he became acquainted with the viola, for it is well known that Galamian would hire a cellist to work in string quartets with three violinists at a time, one of whom would obviously have to play viola. Later he attended Tanglewood (1950) and Red Fox (1954 or so). Despite this musical excellence, he majored in chemistry instead of music while he attended Penn. Why, I’m not sure. Perhaps Grandpa might have told him that music was best left an amateur sidelight. Which is why he wound up in Chicago as a doctoral student in chemistry at the time he married Mom.

My father, Burton Fine, died at his home in Newton, Massachusetts. He was 94.

written by Elaine Fine

Donald McInnes (1939-2024)

McInnes built his career as a first-rate viola soloist with many solo appearances, including a performance of Berlioz’s Harold in Italy with Leonard Bernstein and the New York Philharmonic, a presentation still available on YouTube. With the advent of viola congresses came another public phenomenon for which he was infinitely qualified and meticulously well prepared, so prepared in fact that many of us who attended repeated sessions of him instructing young students before an audience came to consider Donald McInnes the Master of the Masterclass. McInnes was more than the sum of his parts when on stage—the same technical and musical excellence that so marked his performance skills became leavened and infused with entertainment, inspiration, and a genuine interest in students when applied to instruction. His preparation for teaching presentations was equally

Donald McInnes (1939-2024)

Donald McInnes, USC Thornton Professor Emeritus of Strings, has died at the age of 85. A violist of extraordinary artistry and a revered pedagogue, McInnes leaves behind a lasting legacy of performance, recording, and teaching that influenced generations of musicians worldwide.

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complete—he was as immaculately dressed and mentally focused as if walking onto the stage at Carnegie Hall. Why such attention to detail? —because the Masterclass setting put him before an audience of peers for whom these sessions were no less a performance than those with a world-renowned orchestra McInnes was renowned for his contributions to the art of teaching. Among his many accomplishments, he became known as the “Master of the Masterclass,” a title well earned through his meticulous preparation and deeply engaging teaching style. He elevated the Masterclass setting into an art form, seamlessly blending technical expertise, musical insight, and a profound generosity of spirit. Each session was as meticulously prepared as a solo recital, reflecting his belief that teaching was itself a performance. His ability to communicate both the minutiae and the broader essence of music made an indelible impact on students and audiences alike. The McInnes moment in the Masterclass was a unique phenomenon in viola history—and indeed string instrument history—a treasure for violists and a model for future masterclasses regardless of musical medium. McInnes’s influence was particularly felt through his participation in viola congresses, where he was a distinguished presence for decades. He appeared in

multiple capacities at International Viola Congresses from 1975 through 2008 and served multiple terms on the American Viola Society Executive Committee. His dedication to the viola community earned him numerous accolades, including the AVS Distinguished Service Citation (1989), the AVS Outstanding Achievement Plaque (1995), and the IVS Silver Clef Award (2008). In a 2015 interview with Ovation Press, he reflected on his dual role as a performer and teacher: “I have always been passionate about sharing my experiences performing in a way that helps my students to grow. My life, both professional and personal, has been very good to me. It is now time to pass the torch to the younger generation.” Donald McInnes is survived by his husband, three children and their spouses, and seven grandchildren. His impact on the viola world will continue to resonate through his students and the generations of musicians who encountered his wisdom, even if only for a brief but transformative moment in a master class.

This In Memoriam to Donald McInnes in its original form appeared, in part, as a tribute in Dwight Pounds’ “Legends of the IVS” lecture, in celebration of his many appearances at viola congresses and his manifold contributions to the art of the viola.

Yizhak Schotten (1943-2024)

The viola community mourns the loss of Yizhak Schotten, an esteemed violist, educator, and mentor, whose contributions to the art of viola playing have left an indelible mark on the field. Born in Haifa, Israel, in 1943, Schotten’s musical journey began with violin studies at the age of nine, but it was the sound of William Primrose on the radio that led him to his true calling— the viola—at the age of fourteen. Schotten’s formative years as a violist were shaped by studies with Heinrich Jacobi in Israel, followed by an encounter with Primrose himself, which earned him a scholarship to study at the University of Southern California. He later pursued further studies with Primrose at Indiana University and with Lillian Fuchs at the Manhattan School of Music, each of whom

Yizhak Schotten (1943-2024)

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played a pivotal role in shaping his artistic and technical development.

recognized in 2020, when he received the American Viola Society’s Career Achievement Award for his outstanding contributions to viola performance and pedagogy. As a recording artist, Schotten leaves behind a rich legacy, including seven albums for Crystal Records, showcasing both the viola’s solo and chamber music repertoire. His recordings remain a testament to his artistry, offering insight into his expressive and deeply personal approach to music-making. Beyond his professional achievements, Schotten’s warmth, humor, and unwavering dedication to his students and colleagues made him a beloved figure in the viola community. His influence will continue to resonate through the countless musicians he inspired, and his legacy will endure in the artistry of those who carry forward his teachings. The American Viola Society extends its deepest condolences to his family, friends, students, and colleagues. Yizhak Schotten’s profound impact on the viola world will be remembered and cherished for generations to come.

Schotten’s performing career spanned continents and orchestras. He held positions in the Pittsburgh Symphony Orchestra and the Boston Symphony Orchestra, later serving as associate principal of the Japanese Philharmonic Orchestra and principal viola of the Cincinnati Symphony Orchestra. He was also a founding member of the award-winning Trio d’Accordo and concluded his orchestral tenure as the principal violist of the Houston Symphony Orchestra. A devoted educator, Schotten, joined the faculty of the University of Michigan School of Music in 1985, following appointments at Rice University and the University of Washington. His teaching reached far beyond the classroom, as he gave masterclasses around the world and served as a guiding force for generations of violists. He was a fixture at international music festivals and competitions, sharing his expertise with young artists and seasoned professionals alike. Schotten was a distinguished figure in the viola world, serving as the artistic director of the XIV International Viola Congress, and appearing as a featured artist at multiple International Congresses. His dedication was

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Reflections from the 2025 Tertis & Aronowitz Competitions by Karin Dolman

A journey to remember!

orchestra, and though his cadenza was brief, it included some delightful twists. His Lachrimae was particularly moving, with a refined tone and a deep sense of the piece’s overall narrative. Xunyu Zhou closed the Aronowitz finals with a masterful Hoffmeister performance. Her cadenza was intricate, blending harmonic depth with virtuosic flourishes. Zhou’s playing revealed maturity beyond her years, honed by her studies in Berlin under Tabea Zimmermann. Her Lachrimae was flawless-both technically impeccable and emotionally resonant. The Tertis Competition: A Symphony of Mastery Between the competitions, there was time to network-a crucial aspect of events like this. Conversations about music, research, and education, alongside the exchange of ideas and contacts, help us all grow as musicians and educators. The Tertis final was highly anticipated, not just by the audience but by the orchestra as well, as they tackled three remarkable concertos. The French horns must have particularly enjoyed their many solos! Sam Rosenthal opened with York Bowen’s Viola Concerto, a symphonically grand work with full orchestration, including three percussionists. The concerto’s magical opening was like stepping into a new Harry Potter film, immediately drawing us into the story. Sam delivered a captivating performance, leading us through a journey filled with adventure and wonder. It’s a demanding piece, requiring the soloist to maintain prominence over the orchestra’s rich textures, but Sam met the challenge brilliantly. After their performances, we had to wait until the conclusion of the Tertis Competition for the results.

Sunday, January 26, 2025, began with a stunning sunrise and the lingering echoes of an unforgettable finale for both the Tertis and Aronowitz competitions. If ever there was any doubt, the viola has proven itself not a swan that emerged from an ugly duckling, but a swan all along. The previous day, the skies had cleared after storm Eowyn swept across northern England. I took the opportunity to hop on a train for a brief visit to nearby Durham, home to the magnificent Durham Cathedral, a UNESCO World Heritage site. The castle and university were equally awe inspiring, reminding me of the importance of embracing the surroundings when attending an event. Returning refreshed, I was ready to listen with renewed focus to the Aronowitz Competition finals, performed with the Royal Northern Sinfonia conducted by Thomas Zehetmair. The three finalists, Jackson Hill, Jaeyun Han, and Xunyu Zhou , each played the Hoffmeister or Stamitz concertos, as well as Lachrimae by Benjamin Britten, arranged for string orchestra. The self-composed cadenzas added a unique personal touch, brimming with creativity. It was heartening to hear that those eliminated earlier in the competition had played their cadenzas for one another on Friday’s beautiful show of camaraderie. Jackson Hill opened the finals with Hoffmeister. His cadenza began by developing the concerto’s main theme and caught us off guard with a surprise extension when we thought it was over. His interpretation of Britten’s Lachrimae showed a deep understanding of its structure, particularly in the pizzicato variations, which he brought to the forefront with clear direction.

Jaeyun Han followed with Stamitz. His assured performance showcased a strong rapport with the

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Next came Ami-Louise Johnsson with William Walton’s Viola Concerto, a deeply romantic piece with rhythmically complex twists. She embraced the interplay with the orchestra, delivering a performance full of joy and expression. Her evident enjoyment elevated the music, and the audience responded in kind.

The final performer, Nicolas Garrigues, presented Bartok’s Viola Concerto, a work brimming with energy and complexity. Nicolas’s interpretation was agile and thrilling, keeping the audience on the edge of their seats. The orchestra matched his intensity, creating a dynamic and electrifying collaboration under Zehetmair’s direction.

Congratulations to Xunyu Zhou, 1st Prize Winner of Aronowitz, and Sam Rosenthal, 1st Prize winner of Tertis.

The results: Aronowitz Competition 1st: Xunyu Zhou 2nd: Jaeyun Han 3rd: Jackson Hill Tertis Competition 1st: Sam Rosenthal

A Celebration of Talent As the jury deliberated, the audience was treated to performances by all the competition participants. The Aronowitz competitors played Sibelius’s Andante Festivo, while the Tertis participants delivered Gordon Jacob’s Octet. The evening culminated in the premiere of Robin Ireland’s Mosaic, performed by all the participants alongside students from the Royal Northern College of Music. Finally, chairs were arranged on stage for the juries and finalists. Louise Lansdown took the microphone and delivered an inspiring speech, filled with gratitude and praise for everyone involved.

2nd: Nicolas Garrigues 3rd: Ami-Louise Johnsson The room erupted in applause, followed by joyful celebrations. As I reflect on this incredible week, I am struck not only by the extraordinary talent, but also by the connections made and the sense of community shared. The future of viola music is bright, and with your support, this new generation of violists will continue to share their dreams and inspire us all.

Read more about the Tertis and Aronowitz Competitions at https://www.internationalviolasociety.com/news.

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Featured Article

Transcribing BWV 997 for Unaccompanied Viola by Namgon Lee Unaccompanied works, especially written for melodic instruments with highly contrapuntal texture, present artistic and technical challenges. Often, these works investigate the limitations and possibilities of the instrument. Historically, composers have imagined unique and creative solutions to overcome the perceived boundaries of the instrument for which they wrote. The ability to imply full polyphony with a solo, single-line instrument not only reflects the composer’s virtuosity but demonstrates the instrument’s unrealized potential. 1 Although a significant number of concertos and sonatas were written for the viola in the 1700s, the modern-day baroque violist is faced with limited unaccompanied music for viola prior to the twentieth century. 2 A method piece by Michel Corrette (1707-1795), published in 1782 (but perhaps was written as early as the 1760s), represents the first extant pedagogical source to include unaccompanied viola music. 3 However, these pieces are fairly short, lasting no more than three lines. More complex and publicly performable unaccompanied music began to appear in the early nineteenth century, such as 41 Caprices (c.1805) by Bartolomeo Campagnoli (1751-1827) and 12 Etudes (c. 1800) by Franz Anton Hoffmeister (1754-1812). 4 This is in stark contrast to violin and cello, whose earliest known unaccompanied repertoire dates back to 1676 and 1691, respectively. 5 One solution to address this sparsity includes transcribing compositions written for other instruments. In fact, transcription commonly appeared during the seventeenth and eighteenth centuries–including in the output of J.S. Bach, who often transcribed pieces by other composers, and even his compositions. 6 For example, Bach reworked the first movement of the third Brandenburg Concerto for the sinfonia of BWV 174. 7 Also, the opening chorus of BWV 207 is a reworking of

the third movement of the first Brandenburg Concerto. 8 Inspired by this, baroque oboist and composer Bruce Haynes (1942-2011) imitated Bach’s practice, creating six additional “New Brandenburg Concertos” based on his cantatas. 9 Moreover, musicologist and conductor Peter Walls claims that Bach freely changed texture when adapting music from one instrument to another, and this might suggest he was more relaxed about instruments’ timbre as well. 10 For example, one of the most radical changes Bach made to his music was transcribing Harpsichord Concerto in D minor (BWV 1052) for SATB soloists and chorus, obligato organ, strings, and oboes (BWV 146 and 188). 11 As shown, most of Bach’s transcriptions involve shaping ensemble music into a different ensemble makeup. However, some of his transcriptions originate from unaccompanied works. Specifically, Bach transcribed the fugue from the Cello Suite in C minor (BWV 995) for solo lute setting. 12 This rare case indicates that Bach might have generated breadth of lute suites from other works. Given how often Bach recycled his music, it is convincing to use this method to generate more repertoire for the viola. In this article, I will examine what changes made to these transcriptions and explore the impact of implied polyphony. Finally, I will examine the reverse-engineering outcomes through a transcription of Bach’s Lute Suite in C minor (BWV 997) for unaccompanied viola.

Bach’s Lute Works: BWV 995, 997 and 1000. There are two general notation types of lute

transcription: one in tablature, which is more common way to notate lute music, and standard staff notation. Bach’s lute transcriptions exist in both forms, as shown in Table 1. Although Bach owned a lute, we do not know whether he was a proficient player or not. However,

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Table 1. Bach’s lute transcriptions.

none of the tablature were notated by Bach himself. 13 Instead, manuscripts were copied by several lute players, with differences in the tablature showing distinct minor adjustments. The only extant source for BWV 1000 is a tablature by lutist Johan Christian Weyrauch (1694-1771) and the nineteenth century copy of staff notation by Carl Ferdinand Becker (1804-1877) based on the tablature. 14 There are few significant differences between the two sources for this piece. One of the most noticeable changes from BWV 1001 to BWV 1000 includes an addition of

one and a half bars at the middle of m. 3. Instead of four subject entries, five are notated. In the lute transcription, the subject entry at m. 3 is in the lowest register within the whole fugue (See Example 1). In contrast, the lowest subject entry occurs much later at m. 82 in the violin version. Musicologists David Ledbetter and Tilman Hoppstock both believe that it was Weyrauch who made the transcription, arguing Bach would never make such a decision. 15 On the other hand, musicologist André Burguéte argues that these significant changes could only happen when the composer was involved. 16

Example 1. BWV 1000. mm. 1-5.

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Example 2. BWV 1001, Fuga, beginning.

Another significant change includes rhythmic values in different lengths. Bach used shorter note values in the violin version to notate polyphonic passages. In comparison, the lute transcription has much longer note values, which is a more ordinary way to notate counterpoint. Examples 1 and 2 show that the upper voice (Bb-Eb-A-D) at m. 2 in the violin version is notated in the eighth note value, while the lute version is notated in the quarter note value.

Added bass notes also indicate a significant change in the transcription. During the arpeggiated episodes (mm. 7-10, 42-51, and 87-92 in the violin version), the bass part has been added under the sixteenth notes, which is easier to play on lute than violin. Surprisingly, apart from a few broader intervals, no additional notes were filled on existing chords, with the exception of one cadential resolution at m. 52, which is a five-note chord (See Example 3). The four-voice texture of the violin version remains on the lute transcription.

Example 3. BWV 1000. m. 54.

(1720-1774), one of Bach’s students, remains the closest source to the original. Although called a lute suite, Bach probably wrote it on the Launtenwerk —a keyboard instrument with a body shaped like a lute and used leather plectrum (instead of quill plectrums found in harpsichords) to pluck the strings. 20 However, Ledbetter claims that Bach truly intended the suite to be played on the lute. For example, several passages in the fugue, such as mm. 62, 79, and 87, are unplayable on the keyboard due to extreme stretches that would be required (See Examples 4 and 5). 21 Additionally, Bach always wrote C1 clef (or a soprano clef) for the top voice in his keyboard music, while Agricola’s copy indicates G2, or treble clef (See Example 6). Finally, writings by the composer’s son Carl Philipp Emanuel reminisce about the elder Bach’s love of improvising on the Lautenwerk first, finishing the piece at his desk. 22 This suggests that Bach might have composed BWV 997 on the Lautenwerk, but intended it to be played on the lute.

Unlike BWV 1000, we know with certainty that Bach transcribed BWV 995, since an autograph manuscript in standard notation survives. Unfortunately, we do not know who made the tablature version. It could be Weyraunch, but multiple sources have agreed that it might be Adam Falckenhagen (1697-1754), another lutenist friend of Bach. 17 Dedicated to Monsieur Schouster, whose exact identity is unclear, Bach’s manuscript is less refined than his ‘copyist’ handwriting. 18 This suggests that the manuscript might be a draft version. Other than an added lower voice, the bass drops down the octave for ease of playing on the lute. Also, like the fugue from BWV 1001, Bach used shorter note values for BWV 995 as well. Interestingly, Bach’s staff notation requires a 14-course lute, while the tablature version requires a 13-course. However, the standard lute of his days in Leipzig would be the French 11-course lute. 19

Bach wrote BWV 997 between 1738 and 1741. The copy of Bach’s manuscript by Johann Friedrich Agricola

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Example 4. BWV 997, Fuga. mm. 63-79.

Example 5. BWV 997, Fuga. m. 87.

Example 6. BWV 997, beginning.

texture, such as singling out the head motif in fugal texture. 23 A similar concept can be traced back to lute in tabulation of the fifteenth century, when lutenists began transcribing popular madrigals and chansons to be played on one lute. 24 Three scholars represent three different perspectives of Bach’s implied polyphony in his unaccompanied string works: Jaap Schröder presents the performer’s perspective,

Implied Polyphony Implied polyphony is a compositional phenomenon that is widely used in unaccompanied instrumental music to condense multi-voice music into one instrument. It allows one instrument, particularly melodic instruments such as violin or flute, to produce an illusion of multiple players simultaneously making a sound. Representative examples of implied polyphony include rearranging or arpeggiating chords or depicting the most important

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Stacy Davis examines the listener, and Dorian Bandy explores the violinist-composer. In Schröder’s Bach’s Solo Violin Works: a Performer’s Guide , he stresses the importance of recognizing the hidden polyphony to hear imaginary “missing” notes. 25 Playing Bach assigns an onerous task to the left hand; however, Schröder claims the bow provides the real magic, suggesting different tones and characters for each voice to maximize polyphony texture. 26 Davis, on the other hand, approaches this phenomenon from the listener’s view to figure out how and why we hear multiple voices in Bach’s solo string music. In her thesis, Davis raises interesting questions regarding Bach’s polyphony: 2) Performers who spend time practicing Bach’s music are likely to be aware of implied polyphony. Will this polyphonic implication always be communicated beyond the performer to the listener? Although human interpretation can help bring out implied polyphony to some degree, Davis concludes that it is not necessary for the performer to make the effect clear in order for the listener to hear implied polyphony. 27 Davis also points out that her experiments had too few participants to be reliable and more research is necessary. 1) Are these polyphonic effects coming from the composition itself or human interpretation?

Finally, Bandy explores the intriguing relationship between performer, composer, and listener. In his article, Bandy points out how the violin became a primarily melodic instrument even though there was a significant tradition of writing polyphonic music for the violin in the German-speaking region during the 17th century. Bandy argues that most of this contrapuntal tradition was lost since these violinist-composers poorly documented their composition, mainly because the composition was happening through the violinist’s left hand on the fingerboard, not the pen and paper. 28 Therefore, Bandy claims that one must develop different senses of imagination through the hands, ears, and mind to fully experience and understand the polyphonic writings for the violin. 29 The ultimate goal of implied polyphony is making an illusion of multiple players playing together simultaneously without using any chordal playing. I perceive four different approaches to achieve this goal. Two of the most basic approaches include arpeggiation and bariolage. The Prelude from the Cello Suite no.1 provides a notable example of arpeggiation in Bach’s music. When performers play arpeggiated texture, they usually emphasize the bass and the top notes to give an impression of two performers. The Prelude from Bach’s Violin Partita no.3 represents an iconic bariolage example (See Examples 7 and 8).

Example 7. Bach Violin Partita No.3, Prelude. mm.11-20.

Example 8. Bach Cello Suite No.1, Prelude. Beginning.

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