JAVS Summer 1989

AIRLINES &. INSTRUMENTS The Symphony Department of the American Federation of Musicians is currently investigating problems musicians have encountered when travelling with their musical instruments on the airlines, nationally and internationally. It is our objective to first find out what the current problems are. Following this, a committee will be established to come up with some sensible proposals. We will then involve representatives of the Stewardess' Union and the Airline Pilots Association. We feel strongly that networking with fellow union members in the Stewardess' Union and the Airline Pilots Association is essential in solving our problems, and that any proposals made that has their input and support will have a much greater impact on airline management than anything attempted thus far. We would appreciate if it the membership of the American Viola Society would send us details in writing of difficulties they have encountered flying on airlines with their instruments. Details such as dates, airlines, personnel involved and other factors are important in order to establish any pattern of occurrences. Send this information to: Symphony Department American Federation of Musicians 150 I Broadway, Suite #600

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Forum

HANS ORFF THE VIOLA DA CACCIA I am often asked, especially by my mother (writes Professor Hans Orff), what is all this about the viola da caccia? What can we learn from the study of this instrument, provided we can find one, and which pieces are the best in its repertoire? As you may know, this viola was principally played on horseback, and its fourteen sympathetic .strings (not to mention the twenty-seven unsympathetic ones) left the player very little scope for managing the horse as well. Hence the large number of these priceless artifacts which were smashed and the many virtuosi who were permanently crippled or even killed by falling from their horses in the heat of the hunt or battle. As for the repertoire, many of the best pieces are presumed to have blown away or been rendered soggy by rain through exposure to the elements. Following Emanuel Vardi's clarion call for violists to take up less usual repertoire, here are some suggestions: Sonata for Heckelphone, Viola and Kazoo, by Paul Hittenmiss; Trio for Stringless Viola, Timpani Sticks and Euphonium, by Karlheinz Snodgrass' Silent Vibration for Prepared Piano and Unprepared Viola, by John Cage; Nonet for E-flat Hoover, B-flat Hair Dryer, Unpitched Kitchen Mixer and Six Violas, by O. Nono; Fantasy Sonata for ~ighland Bagpipes, Viola and Harp, by SIr Egbert Blax. (All published by Dummkopf und Wurzel except the Nono Nonet, available Edizione Chaotica, Roma.) Contributed by Connie Almond-Hoffman, San Diego, California.

New York, NY 10036 ATTN: Nathan Kahn

Nathan Kahn may also be reached by phone at: 800-4AFMSYM (800-423 6796).

Margin graphics from Studien zur Fridigeschichte der Violine by Brigitte Geiser. Verlag Paul Haupt, Bern and Stuttgart.