Summer 2013 - The American Viola Society

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Career-Chapman TT: Tom, I have heard you play, and you are a truly gifted violist. All the more remarkable when considered in the light of your varied responsibilities and stellar career in teaching, administration, and writing. I would like to separate your performance career into two broad areas: your performance responsibilities and activities at Chapman University and your tenure with the Carmel Bach Festival. Let’s start with your performance responsibilities and activities at Chapman University. TH: Chapman, which is thirty miles south of downtown Los Angeles, was founded as Hesperian College in 1861; it changed its name to Chapman College in 1934 and to Chapman University in 1991. I was hired in 1968, when the on-campus student population was well under one thousand. There were many offcampus programs, like the World Campus Afloat, and extensive offerings at military bases. Currently, Chapman Orange campus enrollment is just over seven thousand full-time undergrads, not counting a separate off-campus but affiliated school named Brandman University. When I joined the Chapman College faculty, the Music Department had eighteen undergraduate music majors, two full-time music professors (choral director, department head/theory-composition), a religion/music cross-appointment (Chapman has a Christian religious affiliation), and two part-time (but really full-time) adjunct professors (voice and piano). A third full-time professor who taught music history had just left, and I was the replacement. However, there was a Chapman Chamber Players ensemble, financed by a musicians’ union “trust fund” arrangement, strictly participant-grown, not college sponsored. The violinist was Giora Bernstein (former Boston Symphony Orchestra violinist), who taught at nearby Pomona College (1967– 75); Norman Thompson, who was the parttime/full-time pianist on the Chapman faculty, and a local cellist who played in the Orange County Philharmonic. This became the piano quartet when I arrived, and, with a variable violin and cello faculty, it was the backbone of The Chapman Chamber Players for a long time. The chamber players idea was a complete natural for this small, heavily vocal (choir) music department. Over the years, using the expanded applied faculty, we gave a different program on campus each semester as part of our academic responsibility. We also went to high schools and other venues letting people (high school music teachers and students) know Chapman existed and performing wherever it could be arranged. We often gave vivid illustrations in music classes, played at the student union, etc. The chamber players was a very effective outreach tool. We were also effective within the faculty, as we liked to involve different musicians to expand exposure to different literature, and the faculty was eager to help. So, we played, for example, the Schubert “Trout” Quintet; Turina’s Il Tromento, for strings and contralto; a lot of clarinet chamber music with George Waln, the famous Oberlin clarinetist, who joined our faculty in “retirement”; and a host of other faculty favorites. VOLUME 29 SUMMER 2013 ONLINE ISSUE 68
Brochure from the 1970–71 Chapman Chamber Players season VOLUME 29 SUMMER 2013 ONLINE ISSUE 69
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JournaloftheAmericanViolaSociety Vo
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Journal of the American Viola Socie
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FROM THE EDITOR The AVS board has b
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Schwartz was faculty member of the
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PIVA News William Primrose Portrait
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Claudine Bigelow and Bryan Lew perf
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involved. This was followed by Tull
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Maxim Rysanov demonstrates at his m
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Brian Hawkins, chairman of the jury
Page 19 and 20: Samuel Rhodes, violist of the Juill
Page 21 and 22: composers, and now there are twenty
Page 23 and 24: As with the Eight Pieces (Op. 83 7
Page 25 and 26: Back in 2004, when I began my clari
Page 27 and 28: of the most famous classical music
Page 29 and 30: Musical Sources The Trio was publis
Page 31 and 32: According to MS2, the Trio was comp
Page 33 and 34: Example 2. Ponce, Trio, movt. I, mm
Page 35 and 36: Example 4. Ponce, Trio, movt. I, mm
Page 37 and 38: The description of the fourth movem
Page 39 and 40: This figure and its variations infu
Page 41 and 42: Example 11. Ponce, Trio, movt. II,
Page 43 and 44: 12 María Teresa Prieto, http://es.
Page 45 and 46: Pierre Vidoudez Back view of the Vi
Page 47 and 48: Side view of the Vidoudez viola’s
Page 49 and 50: History Yu Iida was a luthier from
Page 51 and 52: Bibliography Bigelow, Claudine. “
Page 53 and 54: colleagues. It was not easy, but I
Page 55 and 56: Speaking of cycling, Inna, my wife,
Page 57 and 58: with instruments, a companion to a
Page 59 and 60: Ljova and the Kontraband, from left
Page 61 and 62: Drive down to San Diego in our rent
Page 63 and 64: Ljova and the Kontraband performing
Page 65 and 66: Strike a chord. Experience conserva
Page 67 and 68: TH: Altadena, California, was a fin
Page 69: surrounding environs. One swelterin
Page 73 and 74: Program from an April 27, 1969, per
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