Summer 2013 - The American Viola Society

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The quartet was offered a residency at Keele University in 1967 and took the name the Lindsay String Quartet from Lord Lindsay, the founder of the university. They had regular coachings from Alexander Moskowsky of Hungarian Quartet fame and spent two months in the USA working with the Hungarian String Quartet. In 1972 they were appointed as resident ensemble at Sheffield University, eventually moving to Manchester University in 1977. Their recordings of the complete Beethoven and Bartók string quartets in the mid-1980s won many prizes. Roger left the quartet in 1987 and was for a short period sub-Principal Violist in the BBC Philharmonic Orchestra before becoming Assistant Head of Strings at the Royal Northern College of Music. Roger spent eleven years in his role at the RNCM, teaching viola and chamber music, helping to run the orchestral program, and taking a leading role in the development of the college. He was an inspirational and wonderful teacher, with a particular love for sound, often referring to Tertis’s Essay on the “Beauty of Sound” and also the son filé school of practice and sound production. Many of Roger’s students are in leading positions in chamber music groups, orchestras and teaching positions around the globe. Roger’s other passions in life were steam trains, dogs, and Aston Martin cars, in particular the V8—and, of course, viola jokes. He had a marvelous sense of humor, even insisting for his own funeral that he leave the church to the sound of an Aston Martin V8! ~ Courtesy of John White and Louise Lansdown VOLUME 29 SUMMER 2013 ONLINE ISSUE 6
PIVA News William Primrose Portrait Unveiling by Myrna Layton Attendees at the portrait unveiling admire the 1955 painting of William Primrose by Randall Davey, newly displayed at Primrose International Viola Archive (unless otherwise indicated, all photos courtesy of Dwight Pounds) Violists and viola enthusiasts met on the evening of May 3, 2013, for the unveiling of a portrait of William Primrose newly acquired by the Primrose International Viola Archive (PIVA). “Portrait of William Primrose,” oil on wood panel, measuring 37 x 50 inches, was painted in 1955 by American artist Randall Davey, who lived and worked in Santa Fe, New Mexico. The portrait, along with a much smaller companion piece depicting Primrose with an unnamed orchestra, had been a part of the collection at the Randall Davey Audubon Center in Santa Fe. Its existence was brought to the attention of Dr. David Dalton by Primrose’s second wife, Alice. After a dozen years of sporadic sleuthing and searching, Dr. Dalton found the portrait’s home, and he met with Carl Beal of the Audubon Center, who, along with Davey biographer Kim Straus, felt that the portrait of William Primrose would be more appropriately placed in the archive that bears his name. Karen Stockdale, curator of the Davey art collection, which is housed on the same site with the late artist’s home and atelier, concurred. Purchase of the portrait was made possible by the Primrose Endowment and the Friends of the BYU Library, with generous assistance from Primrose students Alan de Veritch, Pamela Goldsmith, and Yizhak Schotten, who when approached to assist in this endeavor unhesitatingly gave support to the cause. The evening began with hors d’oeuvres and mingling, followed by a short ceremony at VOLUME 29 SUMMER 2013 ONLINE ISSUE 7
Page 1 and 2: JournaloftheAmericanViolaSociety Vo
Page 3 and 4: Journal of the American Viola Socie
Page 5 and 6: FROM THE EDITOR The AVS board has b
Page 7: Schwartz was faculty member of the
Page 11 and 12: Claudine Bigelow and Bryan Lew perf
Page 13 and 14: involved. This was followed by Tull
Page 15 and 16: Maxim Rysanov demonstrates at his m
Page 17 and 18: 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
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Ljova and the Kontraband, from left
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Drive down to San Diego in our rent
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Ljova and the Kontraband performing
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Strike a chord. Experience conserva
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Brochure from the 1970-71 Chapman C
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Summer 2013 - The American Viola Society

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