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Journal of the American Viola Society Volume 3 No. 2, August 1987

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Journal of the American Viola Society Volume 3 No. 2, August 1987 JOURNAL oft/ze AMERICANVIOLA SOCIETY Chapte r of THE INTERNATIONAL VIOLA SOC IETY Association for the Promotion of Viola Performance and Research Vol. 3 NO.2 August 1987 Features Bernard Fleshier: Damaging Decibels 3 Pamela Goldsmith: A Most U npleasant Break 10 Rosemary Glyde: James Millington 16 Olivier Seube: Teaching the Viola in France 19 Alexander Harp er: A Mu sical Feast AVS Membership 1987 OFFICERS I David Daltoll President Brigham Youllg University Provo, Utah 84602 (801) 378-3083 • Lollis Kievman Vice-Presidellt 1343 A mal!i Dr. Pacific Palisades, CA 90272 • Harold Klotz Secretary 1024 Mapl e At'e. Evmlstoll, lL 60202 f Rosemary C lyde Treasurer Po. Box 558, Rt. 22 Golden's Bridge. N Y 10526 • Mal/ rice W Riley Past Presidellt 512 Roosevelt Blvd. Ypsilanti . Ml 48197 EXECUTI VE BOARD P.m l Doktor Miltoll Katims I Donald Me/mIl'S I Robert O ppelt [oseph de PllSquale Dw ight Poun ds Th oma s Tattoll •Marcus Thom psoll Fran cis Jilrsi • Karen Tutt le • AmI Wood ward COORDlNAIOR WITH CANADIAN VIOLA SOCIETY • A. Baird Knechtel FOUNDER • ,vly roll Rosellbill m HONORARY PRESIDENT W illiam Primro se (deceased) ~w Chapter of the lnternationa!c Viola -Gesellschaft The Journal of the American Viola Society is a publication of that organization, C 1985, and is produced at Brigham Young University. The Journal welcomes letters and articles from its readers. Editorial office: BYU Music, Harris Fine Arts Center, Provo, UT 84602, (801) 378-8083 Editor: David Dalton Assistant Editor: David Day Advertising office: Harold Klatz, 1024 Maple Avenue, Evanston, lllinois 60202, (312) 869-2972. Deadlines are March 15, June IS, and October 15 for the three annual issues. Inquiries can be made to Mr. Klatz. Copy and negatives to be sent to the editorial office. Rates: S75 full page, S40 half page, S33 one-third page, S25 one-fourth page. For classifieds: SIO for 30 words including address; S20 for 31 to 60 words. Payment to •American Viola Societ y" c/o Harold Klatz, DAMAGING DECIBELS voice. And then when we do get a tutti solo, and the section wails away, by we have our cake and eat it too (waltzes notwithstanding). BERNARD FLESHLER Occupational Hazard consider myself very fortunate that back in 1952 an army major Playing in the viola section put me in convinced (ordered) me to switch from front of the brass, and most of the violin to viola. We had an interesting time , the trumpets. I loved to hear the musical organization named the Seventh ethereal blasts of sound. It was a Army Symphony Orchestra stationed at great feeling, sort of Sony Walkman, Patch Barracks near Stuttgart, West live. Germany. A rather endearing gentleman who resembled Santa Claus Now after thirty-three years sitting without a beard lent me quite a nice in front of the brass my ears let me viola. I promised Herr Hamma that I know it by hissing at me. would take good care of it. I've always been indebted to this most About seven or eight years ago distinguished luthier for his trust. I during the tenure of Julius Rudel as honestly grew to love the viola despite conductor of the Buffalo Philharmonic, its "cumbersome" size, the perplexing the problem of NIHL (Noise Induced clef, the absence of an E string, and Hearing Loss) became an issue with our the addition of a rather sonorous C orchestra. At that time I was chairman string . of our Artistic Adv isory .Committee. The jurisdiction of this committee and The first few concerts were played the orchestra committee overlapped. in a state of great anxiety, but But it was our committee that drew the gradually the alto clef began to make attention of those sitting in front of some sense; and our conductor, the the brass, percussion, piccolo, and even well-known composer Samuel Adler, was the Eb clarinet. In essence they said very understanding. to us, "We're not going to take it anymore, do something!" We did, we So began for me an adventure that sympathized, and we took them out for apart from my family became of central a cup of coffee. Out of this importance and interest in my life. Kaffeeklatsch came some practical suggestions and a few ideas that had Not that I am bitter, but I credit best be left unwritten. that army major of long ago for giving me a good case of tinnitus (ring ing in It is a peculiarity of the 1970's and . the ears, hissing, gurgling and other 1980's that "decibel sensitivity" became I such loathsome auditory manifestations). a vocal issue. People began to express I now have a great feeling of empathy their concern and to voice their for Robert Schumann, and for all others opinions. Experts sat up and took who have made the futile pilgrimage notice. A new field for the otologysts from one otologist to another. opened up, and for the most part, all these hearing doctors could do was to One must understand that the obser ve, study the problems, compile reward in playing the viola came not statistics and offer sympathy. At this only from its unique and gorgeous writing most otologysts do not have the sound , but from the almost erotic proper equipment to measure the harmonic sensation of being an inner hearing loss of musicians. They cannot That's enough, trumpets, we lost all the violas that time. 01 10 r- B ER NAR D C A M U RA T VIOLIN, VIOLA, CELLO AND ACCESSORIES RARE AND CONTEMPORARY RESTORATIONS AND REPAI RS T UESDAY 708 N. ORANGE GROVE AVE. THRU LOS ANGELES, SATURDAY CALIFORNIA 90046 1()·4 2 13 .658.R937 D L..I --J1D measure those upper frequencies that number has some hearing problem, from constitute high -fidelity. How often has actual hearing loss, to heightened the frustrated musician argued with the sensitivity to loud sounds including a doctor: "is the music sounds distorted!" fear of potential hear ing loss. and the doctors have replied; "But your tests are normal". At this point I would like to suggest as others have done, that a base-line It is understandable with the larger study of every musician's hearing be and "harder" concert halls, Modern and done upon entering an orchestra. This Pop repertoires with an expanded is important should a musician want to percussion section, electronics, new file for compensation at a later time in concepts of forte, and with conductor his musical life. Also, I believe that and aud ience expectations of louder and every orchestra should have an still louder, that musicians are finally acoust ical study performed by a speaking up. specialist regarding decibel levels. One day we did speak up and took The life of the musical artist should our problem to Julius Rudel, who was be free from unnecessary worry about most sympathetic and understanding, his hearing. And yet there was much more so than a conductor--now Beethoven who did the impossible by deceased--who for punishment would showing us that the mind 's ear can seat a string player in front of the overcome great adversity. percussion. (Oh, I do hope that Lionel Tertis is giving it to him now!) Our meeting resulted in plastic shields used Bernard FleshIer is a member of the as a baffle or buffer between brass and Buffalo Philharmonic. He has developed strings, and percussion and strings. the "Buf f alo Baffle" or Acoustishield The experiment was more or less which can be ordered through NFVR successful if used in front of the Center. 100 Leroy Ave. Buffalo. NY percussion section. Their sound did not 14214. suffer, but the brass sound was muted, and so these baffles were removed. That left the violas with ear plugs for protection which is not always conducive, to good ensemble playing. A MOST UNPLEASANT BREAK The thought occurred to me that attaching a curved baffle to the back by of our chairs might help. What we are using in Buffalo now is a portable Pamela Goldsmith baffle that can and is used on run­ outs. These baffles fit most chairs. Not everyone wants to use them, but I broke my arm. My left arm. The for those of us who do, we feel they arm with which I hold the viola. The i offer some protection from intense viola is not only my craft and my "sound pressure levels." means of earning a living, it is my life. When I broke my arm , I was afraid I I would like to note that in an wouldn't exist at all--if I weren't informal survey of the viola section, playing the viola, I was not alive. every member was very "decibel" conscious. Most used some sort of The particulars of the incident itself protection, either a baffle or ear plugs, are not very exciting. I was walking and sometimes both . A significant in the woods, where it was moist and 3 ( )f li,'" "f tl.,· I)i ' """ IoI, Th. , ~" h'''l l Hf \lu..i."I)\ -1 1I l ll i\l' ..,..i l ~ " I' \\ a..ll in;:l "n ~.· ;.Itl. · , \\ i l ~ll i ll :'::I "1I 'ml" :, THE SCHOOL OF MUSIC l'l.u lll' I:!U!l 1 ,.) 1:\ -I:!ulI at THE UNIVERSITY OF WASHINGTON Faculty Position in Yiola Position: The School ofMusic at the University ofWashington announces a tenure track opening in the Strings Division in viola, beginning in the Autumn of 1988. Duties: Teaching undergraduate and graduate viola students and cham ­ ber ensembles. Rank and Salary: Lecturer, Assistant, Associate or Full Professor.
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