The Acoustics Hutcins
The Acoustics Hutcins
The Acoustics Hutcins
of the
Summer 1988
Features
27
Departments
The Journal of the American Viola Society is a publication of that organization, and is
produced at Brigham Young University,~ 1985, ISSN 0898-5987. The Journal welcomes
letters and articles from its readers.
Editorial office: BYU Music, Harris Fine Arts Center, Provo, UT 84602, (801) 378-3083
Editor: David Dalton
Assistant Editor: David Day
Advertising office: Harold Klatz, 1024 Maple Avenue, Evanston, IL 60202, (312) 8692972. Deadlines are March I, June 1, and October I for the three annual issues.
Inquiries can be made to Mr. Klatz. Copy and art work should be sent to the editorial
office.
Rates: $75 full page, $60 two-thirds page, $40 half page, $33 one-third page, $25 onefourth page.
For classifieds: $10 for 30 words including address; $20 for 31 to 60 words.
Payment to "American Viola Society" c/o Rosemary Glyde, treasurer, P.O. Box 558 Rt.
22, Golden's Bridge, NY 10526.
OFFICERS
David Dalton
President
Brigham Young University
Provo, Utah 84602
(801) 378-3083
Louis Kievman
Vice-Preside"t
1343 Amalfi Dr.
Pacific Palisades, CA 90272
Harold Klatz
Secretary
1024 Maple Ave.
Evanston, IL 60202
Rosemary Clyde
Treasurer
Po. Box 558, Rt. 22
Colde"'s Bridge, NY 10526
Maurice W Riley
Past President
512 Roosevelt Blvd.
Ypsilanti, MI 48197
EXECUTIVE BOARD
Paul Doktor
Milto" Katims
Donald Mclnnes
Robert Oppelt
Joseph de Pasquale
Dwight Pounds
Thomas Tatto"
Marcus Thompso"
Francis Tursi
Karen Ii,ttle
A"n Woodward
COORDINATOR WITH
CANADIAN VIOLA SOCIETY
A. Baird Knechtel
FOUNDER
II
Myron Rose"blum
HONORARY PRESIDENT
William Primrose (deceased)
cJl"W
c/jEL')
MEMBERSHIP ENROLLMENT FORM
The AVS is an association for the promotion of viola performance and research.
Our personal and financial support is appreciated. As a member, each year you will
receive three AVS Journals and The Viola, yearbook of the International Viola Society.
You will also receive the satisfaction of knowing that you are a member of a collegial
group which is contributing to the furtherance of our instrument and its literature.
Please enroll me/my group as a member of AVS for one year. Begin my subscription to
AVS Journal containing the Membership Directory, and an annual copy of The Viola.
My check for one year's dues, made payable to the American Viola Society, is enclosed
as indicated below:
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Renewal Membership
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( ) Check if this is a new address
(If you are a student, in which school are you enrolled?
Please list permanent address above rather than school address.)
Send To:
THE ACOUSTICS
OF THE VIOLA
by
CARLEEN M. HlJTCHINS
II
Vibrational patterns of
a pair of unattached
top and back plates.
(Courtesy Carleen M.
Hutchins and Scientific
American)
Violin "air" or cavity modes. The AD or "Helmholtz" mode at the left is a breathing mode
of the whole corpus with the top and back acting like a bellows, particularly on the
bassbar side, with the soundpost acting as the fulcrum of a rocking lever. It has been
estimated that the air moves in and out of the f-hole on the low string side at about 10
miles per hour. The higher cavity modes, A I, A2, etc. are similar to closed tube modes and
radiate out of the f -holes depending somewhat on their geometry.
Al
AO
"HELMHOLTZ MODE"
A2
A3
A4
AS
Figure 2
This shows the approximate placement on
the fingerboards of the violin and viola
of the AO and Al cavity modes, and the
BO and BI body modes. The downward
shift of these modes to the two open
middle strings of the 20 inch viola is also
shown. This shift is the result of the
longer body and increased cavity volume.
AO-BO"<
~
,
AO-BOt '
" 'Al-Bl
/~
20"VIOLA
16"VIOLA
VIOLIN
Figure 3
Moisture pickup in an atmosphere of 100% relative humidity referred to dry indoor heat.
Notice that the moisture pickup is gradual over a long period, but drops suddenly when the
wood is exposed to dry indoor heat. (Courtesy of R. E. Fryxell).
The Violexchange
A Quarterly Review of String Literature and Repertoire
Ar(.~
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Franz Zeyringer
Newmaking to Order,
Sales, Repairs, Appraisals.
Viol ins - Violas - Celli - Bows - AccessorIes
p,m
Violinmakers
Contents: Foreword
Introductory article
"The Viola and its Literature"
14,000 works for viola:
Viola solo
Duos with viola
Trios with viola
Viola with orchestra
Double, triple and quadruple
concertos
Recorder and viola
Voice and Viola
Various combinations
Methods, studies and exercises
Index of 1000 publishers
Index of 5000 composers
750
5000
4300
1300
600
50
1200
200
600
Figure 4
In this hand bowing test of a Tertis Model viola, made by Arthur Richardson in 1957, note
that the two strong areas of resonance are about an octave apart, leaving a relatively
weak area between.
Bl'
BI-Al
90-~~I-~4--l~r-------;I.oL---~H----lH-~rf\--+-~.-t----
decibel
Richardson-Tertis viola
tested by F.A. Saunders
1960
440Hz
open strings
10
VIOLIN II 295
"B-O" MODE
NODE
11
Figure 6
So-called "transfer function" or "response" curves of a 16 3/4 inch viola, that has fine
sound and playing qualities, show the frequencies and placement relative to the open
strings of the AO, A I cavity modes and the BO, B I body modes. A detailed description of
these tests is in Box # I.
16 3/4"
Viola
SUS 1252
520!lz
30
20
10
GOA
196Hz
293Hz
440Hz
open 9trlnS8
BOX #1
Tests for both the cavity modes inside the violin or viola as well as
tests for the wood-body modes are made with the instrument hung
vertically on five rubber bands--one around the scroll and one at each of
the four corners.
For the cavity modes (AO and A I) a tiny loudspeaker is suspended
inside the box through one f -hole and a tiny microphone through the
other in such a way that neither touches the wood. A single frequency
(sine wave) signal is fed through the speaker, sweeping from 20Hz to
20,000Hz, from an audiogenerator. The response inside the box is picked
up by the microphone and displayed on an oscilliscope and a chart
recorder.
Tests for the wood-body modes (BO and BI) are made with a tiny
accelerometer (0.68 gram) which is extremely sensitive to vibration, waxed
to the surface of the top over the bassbar near the foot of the bridge.
A small (0.7 gram) high-strength magnet is waxed to the top of the
accelerometer and a coil placed over, but not touching, the magnet.
Vibration from the coil-magnet transducer and pick-up-display from the
accelerometer are similar to the above tests. These so-called "transferfunction" or "response" curves for a 16 3/4 inch viola are shown in
Figure 6.
MUSICAL
INSTRUMENT
NeE
INSU
The leading choice of soloists, ensembles
and orchestras throughout the country.
$100 Deductible
Major U.S. Insurance Company
One Policy-No Limit
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Figure 7
Placement of the body and cavity
resonances of a 12 inch viola relative to
the open strings. Note that the upper
curve made by hand bowing shows the
peaks made
by "second
harmonic
reinforcement" which are not present in
lower test made with a single frequency
sine-wave input, since there are no
fundamental tones below the AO mode.
The AO l and the All-Bll peaks are
caused by the strong resonances an
octave higher. See Box #2.
'N!Ln IllCH VIOLA
90
decibel.
open
atr1n".
440Hz
BOX #2
13
Dlr-- - - - - - - - - - - - - - - - - - r I D
r-
B E R N A R D
C A M U R A T
VIOLIN, VIOLA, CELLO A:"JD ACCESSORIES
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Score
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KELTON PUBLICATIONS
Post Office Box 49720
Los Angeles, CA 90049
Figure 8
"Loudness curves" made by hand bowing compare the placement of strong body and cavity
resonances relative to the open strings of a 16 3/4 inch viola and a 20 inch viola. As in
Figure 6, the All and Bl 1 peaks are caused by the strong resonances an octave higher.
9o---+--I--+---w~----t-J-+~""'-+---I----t--ft.----
decibels
90,--+--+--+++-_f--+--+_-+-_ _--f-lv-t
44 Hz
open strings
15
16
Bessaraboff, N. (1964).
Fryxell, R.E.
(1965).
Jansson, E.V.
(1973).
Marshall, K.D.
(1985).
Riley, Maurice W. (1980). The History of the Viola, (Broun-Brumfield, Ann Arbor,
Mich., 396p).
Spear, D. Zalkind (1987) "Achieving an air/body coupling in violins, violas and
cellos: A practical guide for the violin maker," Catgut
Acoust. Soc. J. 47, 4-7 (May).
ERIC
CHAPMAN
~IOLINS,INC.
17
Francis Kuttner
Violinmaker
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"I am delighted with the responsiveness and quality of Sensicore
strings. The heavier gauge C string, especially, has the tension that
J have been looking for." ~
~n~uctor,
For me it was obvious that the lower voice constitutes an imitation of the
initial theme, and I could not help playing the low D which is not in Anna Magdalena's copy. How happy I was when I got hold of Bach's version for the lute, and
found that the note was included! Soon other variations became apparent.
A nice story is told about Beethoven (it might also be true of some other
composer). Beethoven gave a lesson while lying in bed. His pupil, wanting to annoy
him, struck a dominant seventh chord on the piano before leaving. After awhile, the
composer could not restrain himself, got up, and played the final tonic chord. In
the following examples, the final chord is missing, but strangely enough, nobody has
ever taken notice of it.
Prelude, bars 40-43:
19
20
Bars 55-56:
IK~'~~~
These errors of omission make one suspect that Anna Magdalena's copy is in fact a
transcription, and that Bach conceived the Suite for a smaller instrument than the
cello on which the execution of polyphonic passages and chords would be much
easier. Maybe it was the violoncello piccolo which, like the viola, was held on the
arm.
In the critical commentary in Barenreiter's edition of the cello suites, mistakes
in Anna Magdalena's copy are pointed out, but no mention is made of missing notes.
Using Bach's version for the lute, I completed the voice-leading wherever I deemed
it to be essential. I feel this is a more accurate rendition of the composer's original
intentions.
Here are still other passages to consider.
Bars 183-189:
~
2
I
~~
... _""
e-I I I I I
TTT
There appears to be a missing link in the voice leading, and the chord could be
completed as written in Bach's version for the lute.
Allemande.
Bars 4-5. The notes added are written with dotted stems.
~~
I
21
Courante.
Bars 7-11:
~.!)~ . ~j~
~
3 2
~W'i'~"~
Bars 18-19:
~
Gavotte I
Bars 1-4:
1\
~!
2.
Gigue.
Although many editors have not accepted the possibility of the D-flat in bar 16, it
can easily be justified by comparing Bach's lute harmonization.
Bars 15-17:
eJ;~fm~~IfiR
~.
~
...
By comparing the holograph of the lute version of the Fifth Suite with Anna
Magdalena's manuscript, we can arrive at a more satisfactory interpretation of
Bach's original masterpiece.
Richard R. Efrati lives in Switzerland and is a regular visitor to the IVS
sponsored International Viola Congresses. He has devoted many years to the careful
study of the unaccompanied works for violin and cello by l.S. Bach. His book The
Interpretation of the Sonatas and Partitas for Solo Violin and the Suites for Solo
Cello (Atlantis Musikbuch- Verlag, Zurich, 1979) is a penetrating and absorbing study
of the subject.
VIOLA
David Dalton
Wlih 0
Foreword
by Jeros S:o'ker
357
H1
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Danke, Franz!
27
28
Franz Zeyringer
Past President
International Viola Society
29
30
Treasurer's RElPort
American Viola Society
January 1 - December 31, 1987
I.
Deposits
Dues
Ads
Interest
*Other
$5494.50
523.00
320.67
800.00
$7138.17
*from Primrose Account
Balances 4/30/88
$6575.09
Withdrawals
AVS Journal
$2033.32
Office Supply
277.06
Solicitation
221.94
Labels
Computer
929.17
Consulting
Awards
800.00
Congress
1000.00
**Other
1305.20
CPA
277.75
$6844.44
** Zeyringer, ASTA ad, etc.
II.
III.
AVS Endowment
$334.00
Year-End Balance:
$307.00
($2 taken from each $15 membership,
$1 taken from each $7.50 membership,
also including special-order labels
at $50 an order)
William Primrose Scholarship Fund
Certificate of Deposit
Year-end Balance $5197.75
1987 interest 153.84
IV.,
V.
$1245.0 I
(1988--$3 taken
from each $20,
$2 from each $10
and label orders)
$5477.48
Combined CD
Nat'l Bank of
North Carolina:
$614.94
Interest
$5233.55
$590.08
R~(J-k2-
~oset'r~Gr?de.
Treasurer
Forum
From the Newsletter of the Canadian
Viola Society
The following excerpt from Jacob
Siskind's review of a recital by Ottawa
violist Neal Gripp was published by the
Ottawa Citizen on January II, 1988.
"The viola is something of a stepchild
in the string family. It fits in size and
tone quality somewhere between the
flighty acrobatics of the violin and the
solid respectability of the cello, with
few of the agreeable qualities of either
of those instruments.
With several notable exceptions, few
serious composers have ever taken the
trouble to write music for the instrument, partly because in most hands it is
indeed ungainly, if not surly, and partly
because most people who play it would
really much rather be playing the violin
and treat the instrument as though
having to play it is a penance for
having wasted that youth in which they
could have developed as virtuosi of its
smaller sibling.
Neal Gripp is one of those rare
violists who actually seem to enjoy
playing the instrument."
The following letter from Ann Frederking was published January 28.
Voila the Viola
31
32
* Editor's
Of Interest
1989 Congress
The XVII International Viola Congress, to be held 21-25 June 1989 at the
University of Redlands, California, is
JAVS
Some past copies of the Journal of
the American Viola Society are
available on request by members of the
AVS at $3.00 each. These back issues
office:
JAVS
Vol. 3
No.3,
PIVA Duplicates
The Primrose International Viola
Archive has accumulated over 1000
duplicates of published viola works.
These titles are already in the collection
and so will be sold beginning September.
Patrons who wish to examine this list of
pieces--mostly new, some antiquariat-should request the list including prices
from:
David Day, Music Librarian
PIVA, Lee Library
Brigham Young University
Provo, UT 84602
Editor's note: Readers are reminded that
any information pertaining to the viola
or violists of general interest may be
submitted to the editor for inclusion in
JAVS.
About Violists
Katims Honored
Milton Katims, a board member of
the AVS, has been named the winner of
the 1988 distinguished service award
given by the American String Teachers
Association. Katims is known internationally for his accomplishments as
Music Director of the Seattle Symphony
for twenty-two years, as a guest
conductor of many of the world's great
orchestras, as a viola soloist on recordings and in the concert hall, and as a
publisher of numerous transcriptions and
editions for viola. In 1976, Katims was
appointed artistic director of the school
of music at the University of Houston,
and in 1983 hosted the XI International
New Works
Reviews on Playing
Playing the Viola: Conversations
with William Primrose by David Dalton.
Available to members of the American
Viola Society at a discount from Oxford
University Press, 300 Madison Avenue,
New York, NY 10016, (212.679.7300)
"It is important to state that
Dalton's work is not a glorified
Primrose pupil's notebook. Over the
years, notes and commentaries recorded
by devoted students of the great violist
have made their way into print.
Dalton's book is a profound exploration
of William Primrose the man, the artist
and the violist. His narrative forms a
galaxy of observations by a gentleman
whose erudition is an enlightening,
inspiring force for all string players."
--Franco Sciannameo,
The Violexchange
Viola da braccio
Franz Zeyringer, past president of
the International Viola Society, announ-
33
T woho
New instruments
made by
Peter and Wendy Moes
Sludiu for
IOlormodialo Viola
T wol ..
Studlu for
Viola
"
Cuonea-Rap,odla Para
F1aula Y Vlnla
0,.
~
.. .,;.
ces the release of a new book (German text) entitled Die Viola da braccio, published by Heller Verlag, Munich. This volume has been five years in the writing in
which the author addresses and finds solutions for important problems concerning
the viola. Such subjects of general interest as the development of the instrument,
history of viola performance, the problem of size, a small lexicon of viola terms,
judging an instrument and the bow, etc. are handled. The first edition, clothbound,
contains 280 pages written in German. Order forms can be acquired from: Rosemary
Glyde, P.O. Box 558, Rt. 2, Golden's Bridge, NY 10526.
Lesser-Known Works
for Unaccompanied Viola:
An Annotated Reading
ANGERER, PAUL (1927- ). MUSIK (1948).
Divided into three sections, Bewegt, Langsam, Thema mit Variazionen, Musik is a
practical work, not difficult and well-written for the instrument. Paul Angerer is a
well-known Austrian composer, conductor and violist. In his Musik, he re-emphasizes
Hindemith's lesson of writing functional music. The composition does not achieve
much in terms of inventiveness; however, the final variations are rather engaging.
Publisher: Doblinger, Vienna (1960).
BERKELEY, MICHAEL (1948-). VARIATIONS ON GREEK FOLK SONGS (1976).
Composed in Greece, Variations is a fluid work of medium difficulty. The setting
provides a wide range of dynamics, using a plain musical language throughout.
Double stops are sparsely used and melodic flow seems the strongest asset of this
work. Publisher: Oxford University Press (1982).
35
36
37
"QUARTET"
by
Homer Clark
Mat Size:
6 x 9 inches
11 x 14 inches
$35
16 x 24 inches
22 x 30 inches
$70
39
40
These reviews courtesy of Franco Sciannameo and the Violexchange, Vol. 3, No.1,
1988.
~~+1+~+~+~~+~+~+~+~+~~
~;
~
f~
~~~~IIf::~~tI,t~
$;; ,-y}nitr4'
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III $All
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(Oft)
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FIOCCO
Allegro
$1.25
$4.15
$4.15
$4.15
$5.50
REPERTOIRE
ARNOLD
The Young Violist Bk. I
The Young Violist Bk. II
$6.00
$6.00
BACH
Chromatic Fantasy and
Fugue
$4.15
BEETHOVEN
Flir Elise
$2.75
BOCCHERINI
Music Box Menuet
$2.75
BOHM
Sarabande
$2.75
BRAHMS
Scherzo
$4.15
CHOPIN
Nocturne for Viola
$2.75
CORELLI
Sarabanda, Giga and
Badinerie
Sonata 1112 - Follia con
Variazioni
DANCLA
Carnival of Venice
DEBUSSY
Girl with the Raxen Hair
La Plus Que Lenre
DVORAK
Romance Op. 11
Sonatina Op. 100
$4.15
$4.15
$2.75
SCHMIDT
Alia Turka
$2.75
FRANCOEUR
Sonata in A Major. . . . . . . . . . . . .. $4. I 5
SHUBERT
The Bee
$2.75
GLUCK
Melody from "Orfeo"
$2.75
TARTINI
The Devil's Trill
Sonata Angelique
$5.50
$5.50
HANDEL
Sonata in D
$4.15
HUBAY
Hejre Kati
$4.15
TCHAIKOWSKI
Canzonetta
Melodie
Serenade Melancholique . . . . . . . ..
Valse Senrimenrale
$2.75
$2.75
$4.15
$2.75
IBERT
The Little White Donkey
$2.75
VITALI
Chaconne
$5.50
VON WEBER
Andante and Hungarian
Rondo
$4.15
WIENIAWSKI
Legende
Scherzo - Tarantella
$2.75
$4.15
JOPLIN
Pineapple Rag
Solace
" $2.75
$2.75
KREISLER
Praeludium and Allegro
Sicilienne and Rigaudon
Leibeslied . . . . . . . . . . . . . . . . . . . ..
Recitativo and Scherzo Caprice
(Unaccompanied)
$2.75
MASSENET
Meditation from "Thais"
$2.75
MATTHEWS
Fantasy
$5.50
$4.15
$4.15
$4.15
ENSEMBLES
MENDELSSOHN
Sonata in E Flat
$4.15
MOUSSORGSKY
Hopak
$2.75
MOZART
Adagio K. 261
Menuetto Divertimento
K. 334
Rondo K. 250
$2.75
$2.75
$4.15
NOVACEK
Perpetual Motion. . . . . . . . . . . . . .. $4.15
PAGANINI
Six Sonatas Bk. I
Nos. 1,2, 3
Six Sonatas Bk. II
Nos. 4, 5, 6
Variations on the G String
$5.50
$5.50
$4.15
$4.15
$2.75
$4.15
$4.15
$5.50
FAURE
Fantasy . . . . . . . . . . . . . . . . . . . . . .. $5.50
WOEHR
Bachiana . . . . . . . . . . . . . . . . . . . . .. $5.50
PUGNANI
Gavotta Variata
$4.15
RACHMANINOFF
Vocalise
$2.75
BACH
Fifteen Two - Part
Inventions. . . . . . . . . . . . . . . . . .. $5.50
MOZART
Duo Sonata in Bk. K. 292
Twelve Duets K. 487
PACHELBEL
Canon for Three Violas and
Piano
$4.15
RIMSKY - KORSAKOFF
Flight of the Bumble Bee
$2.75
" $5.50
TELEMANN
Concerto /I 1 in C for Four
Violas
" $6.60
Concerto 112 in G for Four
Violas
$6.60
Concerto 113 in F for Four
Violas . . . . . . . . . . . . . . . . . . . . .. $6.60
VIVALDI
Concerto for Four Violas and
Piano
Postage and Handling
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Perpetuum Mobile
$4.15
$4.15
Available from:
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$8.25
$.85