JAVS Summer 2021

Walter Trampler was the first choice for a featured performer, but prior engagements in Europe created a scheduling conflict and he could not participate. This was by no means an indication that quality performers would be lacking, as Francis Bundra, Donald McInnes, Myron Rosenblum, Franz Zeyringer, Ernst and Lauri Wallfisch, Nathan Gordon, and Burton Fine definitely compensated for whatever slack Trampler’s absence might have caused. Participating in lectures, panel discussions, and other congress events were Ralph Aldrich, Lymann Bodman, Robert Courte, Anne Dodge, Baird Knechtel, Louis Kievman, Nannie Jamieson, Henry Barrett, Harold Coletta, Robert Oppelt, Laura Sias, Robert Slaughter, J.H. Stephens, and William Primrose, among others. Musically the congress was the “coming out” party for Patricia McCarty—she was young and already close to the height of her powers, and displayed a wonderful balance of technique with musicality in her playing, as did one of her teachers, Francis Bundra. Riley himself was always quick to credit the participation of the VFG representatives, Franz Zeyringer, Wolfgang Sawodny, and Dietrich Bauer, as essential to the success of the congress. The fact that Riley and Rosenblum listed the event as IVC III lent legitimacy to the VFG by acknowledging this as the third such international viola congress. The fact that violists across the nation turned out in droves (over 300 participants) was also key to the success of the first North American international viola congress. The congress also featured two important premieres. Clark Eastman, a Michigan composer, wrote his Concerto for Viola and Orchestra for IVC III, premiered by Nathan Gordon and the US Air Force String Orchestra. Vincent Persichetti’s Parable XVI for Solo Viola, op. 131 , was also premiered at Ypsilanti, by Donald McInnes. In the Violin Society of America’s competition, 43 violas from luthiers from all over the world arrived and the overall quality of the entries was a revelation to everyone attending. Gold medals for craftsmanship and tonal quality were awarded to David Wiebe and Otto Schenk, two young American luthiers.

IVC III, Ypsilanti, Michigan, 1975 Maurice Riley, Host; Myron Rosenblum, Programming

The Riley-Bauer meeting took place in August 1972, a full year before the first congress took place. VFG President Zeyringer had many other commitments, meaning that time was on the American’s side in that they had three years to organize. During this interval, the proposal was successfully presented to the Eastern Michigan University administration on the basis of public relations and recruiting. Michigan members of the American String Teachers Association (ASTA) also supported the congress with a monetary donation and active participation. Likewise, the support and active participation of William Primrose was a key element in the congress’s success. Maurice Riley had some very useful connections of his own, even within the confines of his own family. His son, George Riley, was principal second violinist of the US Air Force String Orchestra, his daughter-in-law, Lauria (Mrs. George) Riley, and another son, Ben Carl Riley, were cellists. These connections were used to secure orchestral support at IVC III without charge. And then there was the person of Eric Chapman, representing the Violin Society of America, who used his position to sponsor an instrument makers’ competition limited to violas and which would be held during the congress.

Likewise worth mentioning is the perhaps unintentional beginning of a North American viola congress tradition at Ypsilanti: the massed performance of J.S. Bach’s Brandenburg Concerto No. 6. For the first reading, the solo parts were Myron Rosenblum (left) presentingWilliam Primrose with an award at the IVC III in Ypsilanti. Photo by Dwight Pounds.

Journal of the American Viola Society / Vol. 37, 2021 Online Issue

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