American Chapter ~ .~ of the t " INTERNATIONALE FORSCHUNGSGESELLSCHAFT

--_._.,------_._-_...~-- ...... _------~ November NE~'''SLETTER 19 1980 ------_... _-----,._------,------'*'

GRAZ - THE EIGHTH INTERN-ATIONAL VIOLA CONGRESS by A. Baird Knechtel, Islington

Graz, the second largest city lnAustr1a after , was host to the

Eighth International Viola Congress, July 2 - 6, 19800 Th1s was my first visit to a European congress and 1t held several surprises for me. Sessions wer·e conducted in the Hochschule fUr Muslk. on Prof. Franz Zeyrlnger' s t'home turf.·t Zeyrlnger 1s virtually the father of viola societies which have sprung up internationally in the past ten years or so. U.S.A., Canada, Eng­ land, West , New Zealand. Japan, Australia, Scotland, and as of this summer, , all now have vl:f)la· societies (br~nches of the Internat10nale Viola Forschungsgesellschaft)--a very- exciting situation 1ndeed~ The program was varied and interesting, and there were appearances by ex.. ponents of not only the viola itself, but on otherlnstruments related to the vi ola. Among- the se were the viola d' amore, v iola de gamba, baryton, viola pomposa, and even an arpegglorie~ You will re'membe-r that-the viola pomposa is tile lnstrume nt with flve s trlngs for which J.S. Bach composed the last "" suite. The arpege10ne 1s of course the instrument invented in schubert's time by one stauffer and for which Schubert wrote the lovely "Arpesglonet' Sonata in A Minor in 1824. At this congress there was a concomitant emphasis on music of the 18th and 19th centuries; what was contemporary was generally c·onserva­ tlve in style. These are observat-lons which oepend on taste for the 1r posi­ tive or negative implications. Most comwen'ts I heard regarding theuse of tl re l a tlves of the viola" were generally positive. lhe opening concert, at 8:00 p.m. on July 2nd, featured religious ~us1c with viola in prominent roles. ~t was held at the Stadtpfarke Klrche in the heart of downtown Graz.- The Pro Arte-Ensemble Graz, with viola soloist Hans Gutmeyer, was directed by Karl Ernst Hoffmann 1n five works: J.S. Bach's cantata, E~~1/V 18., ftGleich wle der Regen und Schnee vom Himmel rl!llt, tt which._ includes 4 in the lnstrumentatlon; Michael Haydn's "Ave Regina" for Bass, Viola solo" and Strings; a Recitative"and Aria by Franz Aumann {1728-

AMERICAN VIOLA SOCIETY, INC,: Dr. I~yron Rosenblum, President J 39-23 47th st., Sunnyside, N.Y. 11104; Dr. Maurice Riley, Vice-President, 512 Roosevelt Blvd., Ypsilanti, MI. 48197; Dr. Ann Woodward, Treasurer, PO Box 1134, Chapel Hill, NO, 27514. Editor of the American Chapter New'slatter: Myron Rosenblum. Inte rna t10nale Viola Forschungs~ese llschaft (IVFG): A-5020 salzburg J c/o Hochschule tlMozarteulIl, tt . -2- 1797) for Tenor, Viola solo, a.nd strings; a first performance of the cantata, tt "Per mondo m1g11ore for Chorua, Viola 8010 ,.Strings by Franz ~o.rl~.E:~~,~ (born, 1921; text by G.F. qbermyer); and Benedetto Marcello's Psalm 50, "M1serere mel Deus lJ for Alto, Tenor, Bass, Cho'ru8, 2 Violas, and Bs.sso continuo. I found the ~~, and stuttgart lectured on the ttDevel~opment of the Viola Etude" with assistance from Werner Erbrecht, solo violist of tf~e Rund funk-Sinfon1e Orohe sters saarbrUcken. The se two artists went on to play 3 stUcke fUr 2 Vlo1en by Xaver Thoma (born, 1949) and Tele­ mann I s Duet in G Ma,jor for Viola and Viola Pomposa. There W8.S also a per­ formance of Alessandro Rolla's "Paganln1-Duo" for V1011-n and Viola. The evening's recital by Ulr1ch von Wrocham, as I stated before, featured un­ aCcompanied works by this young German-born virtuoso, now at the Milan Con­ servatory. He provided us with a few laughs when he coyly appeared at the sta.ge entrance with his tie and tails, waving an umbrella with a copy of John Cage' 8 59! Seconds for Viola Alone on the shaft. A little pizzazz never hurt a viola recital, it seems! Von Wrochem also delivered the Khatcha,turlan 8010 sonata, the Berl0 Seouenza VI and the Bach Cha'conne in fine fashion. This was a very interesTIng andreward,.lng recital. Friday featured several lectures 1n German (no doubt of great interest to those who speak the language with much greater fluency than I). The sUbjects were: two lectures by pre 111. suppan, ttMuslc in 5tyrla" ·and "otto S1egl: His Life and Work,tt and a lecture-demonstration by Prof. Richard R. Et'rat1 with assistance by Walter I~hrer of tl1e Zurioh Tonha.lle Orchester, "The Interpre­ tation of the Sonatas and Part1tas for Violin solo and the Suites for Violon­ cello Solo. It At 3:00 P .. ID. there was 8. lecture-recital by Dr. Myron Rosenblum, president of the Am'2r1can Chapter of the IVFG I on the topic of the small but interesting body of literature for viola d'amore and viola. He was shortly joined by two of his friends and colleagues, Daniel Thomason, viola d'amore player and Franz Zeyrlnger, violi8t, with Ingeborg Ertel at.the cembalo. Works by Schuchbaus"r'(18th .aelit.),F.W. Rust (1732-17~6) and A. Arcidiacono (born, ' 1915) were performed. The performance of the Schuchbauer was heard -·for the first time in Austria. Only at the annual viola congresses are we l1kely to hear such works, the music of composers whose obscurity 1& net alway~ jUs~ tifled. A. recital of new music followed at 4:30 p.rIl., with a student from the Hochschule fUr Musik in Vienna, Herbert Hefer, performing works by Alfred Uhl (born,. 1909), Eberhard Werdln (born, 1911), and Erich Mitzerllch (born, 1906). Uhl was present at this recital, and indeed at most of the sessions. On Saturday morning, a real treat was in store for those of us who love to play the schubert "ArpegE1one U sonata, but have little actual knowledge of the original instrument for which the sonata was written. Alfred Lessing -3- performed the work o~ a facsimile arpegg10ne accompanied by Ingeborg Ertel at the aB.mme rklav1er. The e ffe'ct was re markable; to hear this music played in Schubert's homeland on the instruments for which it was orlg1na.l1y in­ tended was an extraordinary experience: La.tar, Prof. Lessing, assisted by two colleagues from the DUsseldorf symphony, performed works in various combinations for baryton, viola d'amore, viola da gamba, and cello. This was indeed a most interesting presentation. After the recital, there was a general meeting of the International Viola Reaearch Society during which ten topios w'ere discussed. The name change of the American cha.pter to American Viola. Society was approved and indeed there was considerable discussion as to whether or not the German and Austrian chapters might not do well to follow the lead of the Americans. Ulrich von ~rochem of the Milan Conservatory has undertaken the formation of an Italian chapter of the IVFG, the ninth one to be formed. Franz Zeyrlnger was re­ soundingly re-elected as president, but there were certa1n changes in the executive which should promote greater facility in holding international meetings. It was brought to the attention of those present that the next congresses will be held 1n Toro~to, Canada at the Faculty or Music from June 11-14, 1981 and in stuttgart, \~est Germany 1n 1982. . As I mentioned before, this oongress was beset by some.dlft1c:ult·1es. The American Air Force String Orchestra which graclouslyperformed for the con­ gress had been in Egypt just previous to the 5th, and Larry Laffoon,one of the first-stand violists, was taken 111. Laffoon had been scheduled to per­ form the Telemann Concerto in G Major tor" 2~ Viola's with Mary Atwood--but be­ cause of his"iM"1sposition, Prot'. Robert Slaughter It saved the daytt by play­ ing La.ffoon' s part exquisltely. He then we.nt on to partner Dr. Myron Rosenblum In:;::~a.f1ne performance'~" of the Concerto 1n D for VIola d.'amore, Viola, and Strings by Christoph Graupner. The highlight of the evening was Slaughter's inspired performance of the Henk Bad1ngs Concert2 for Viola. and .strln6.-Q!­ chestra. sunday morning, July 6th. wa.s devoted to a talk by Dr. David Dalton on irl1111amPrlm,rose, and a recital by Dalton, his charming wife Donna, and Ingeborg Ertel in iNorks for Sopra.no, Viola, and. Piano. ~us1c' by' Manookln (born, 1918), s'trrauss, Bliss, Loef·tler, and Janaoek was performed. At 11:30, there was a lecture-recital on the viola sonatas by J.B. Wanhal by Dr. Wolfgang sa~lodny, assisted by Wolfgang Scherer, viola. At 3:00 p.m., Ylzhak Schotten, the brilliant, young violist, now on the faculty of the University of Vfaeh1ngton, gave a performance of the Telelnann Conce~to in G £.'lajor, Shulman's Theme and Variat~Qns for Viola! StrinE Orchestra, and-Harp, and Britten's Lach!I~~' all with the U.S. A r Force string Orchestra. The formal pa.rt of the Eighth International Viola Congress drew to a close with a panel discussion featuring the secretary of the West German chapter of the IVFG, Uta Lenkowltz von Zahn, Ulrich von.Wrochem, Franz Zeyringer, and M.aurlce Riley. Our gracious Austrian hosts held a. reception for guests at 7:00 p.m. and a sightseeing tour of Graz and ita environs in Austria. Next year in Toronto, you are assured an equB,lly exciting congress in one of the world's great cities. Make your plans now to include Toronto's CONGRESS NINS:, June 11-14, 1981. Brochures regard lng the 'congress will be mailed to you early in the new year. For information regarding housing and "Early-Bird Registration" please contact the Host-Chairman, Baird Knechtel at: CONGRESS NINE, 103 !~orth Drive, Islington, Ontario, M9A 4R5, CANADA. See you 1n Toronto~ * .. * * * '* * * N1NTl! _!NTEffi!ATIONAL VIOLA CONGRESS: As reported a'bove, the 1981 congre ss will take place June-lfth~o~14tfi-rn-TOronto,Canada. Baird Knechtel, the host, 1s putting together an impressive program that will feature major violists and teachers from Canada and other countries. Am~n~ those featured to par- -4- t1clpate in reeltala, lectures, master classes, and panels are steven Dann, Feodor Drushynln, Lillian Fuchs, R1vka Golan1-Erdesz, Raphael Hillyer, Donald McInnes, Hans-Karl Piltz, William Primrose, Gerald stanwick, Francis Tursi, Robert Verebes, and others. Ensembles scheduled to appea.r are the Orford atr1nE Q,uartet, the Zurich Tonhalle Orchestra, and an ense mbleto perform music for multiple violas. petal1s regarding accomodatlons and final programming will be sent to you shortly. We look fO~Nard to meeting you in Toronto in 1981. * * * * * * * * * ------AMERICANS -WIN FIRST -AND SECOND PRIZES~IN- ---TERTIS VIOLA COMPETITION

by Jl8.url·ee ·.W.: -It·11e.·1-.- .Yjisl1ant1

Paul Ne ubauer of Los Angeles and. Kim Ka shkashlan of New York 01 ty w·on first and second prizes respectfully in the Lionel Tertia International Viola Competltlon he ld at Port :Erln on the I ale of IvIan, August 23-29, 1980. Paul . Neubauer, a student of .Alan de Veritch and , was the recipient of ~ 1000. and gave a recital at Wigmore Hall. in on September 1st. He w·l11 also perform the world premier of Gordon Jacob's Concerto No. 2 for Viola and s~rlU Orchestra with the English Chamber Orchestra. At tlie-r981 Kings Lynn Fest val, he wIll perform a concertowlth orchestra. K1m Kash­ kashlan, a student of Karen Tuttle, won L 750. The following week she was the Silver Prize IN'lnner at the contest for violists held in Munich. Other winners were Patricia McCarty (Boston, L 200.); Gabor Orma1 (Buda­ pe at, Hungary); Kaoru Ichikawa (Japan); Lynne Ramsey' ( Pittsburgh); Karen DreyfUS (Philadelphia); Susie J.1eszaros(England); lv11chael -Gerrard (England); Toby Hoffman (~#vash1ngton, D. C. ); Ah Ling N·eu (san Franoisoo); and George Rubino and Lynn Hannlngs, both from Maine, for a viola bow they made. Kaoru Ichikawa, who had alraady won ~. 200., was awarded a "special prlze·;,it which was a leather viola case donated by W.E. Hill and Sons. The Tertis Viola C'ompetltlon was the fruition of a dream of I\llrs. Lionel Tertia who hadenvls10ned this event from the time of her husband's death in 1975. This Competition and ~tlorkBhop was a resounding success due to the com­ blned efforts of Ruth, Lady Farmoy, D.C.V.O., O.B.E., and John Bethell, co­ chairman; the British Viola Society, headed by John ~r1hlte; the many enter­ prising members of th~ Erin Arts Centre in Port Erin on the Isle of Man; and by Harry Danks and other former students of Lionel Tertia. The Competition was open to violists of all nat1onalities, born on or be­ fore March 2, 1951. In the prellll1ina,ry audition, 28 violists performed five works selected from a pre-arranged list. The jury selected. e1g.ht semi-finalists for the second round of the competition. The distingUished international jury wa.S composed of Harry Danks (UK), Paul Doktor (USA), Csaba Erdelyl (Hungary), Piero Farull1 (Italy) ,Milan Skampa (Czechoslovakia), and Gerald IVlcDonald (UK) I the Cha.1 rman. For violists who were too old for the,competitlon or who did not want to . compete, there was a workshop which was comprised of master classes, lectures, panel discussions, and recitals. Kaster classes were conducted by Paul Doktor, N'obuko Imal, Andras von Toszeghi, John 1..yhite, and Harry Danks. Illustrated lectures were g1venby Tully Potter: t'The Czech School of V101istst~.; Maurice w. Riley:"Early Bresclanand Cremonese ViOlas"; Thomas Tatton: "Music for tt tt Multiple V101as ; Bernard Shore : "Memories of Lionel Tertls ; George Rubino and Lynn Hannings: tfBow Making, Care, and 11l1alntenance u ; and lNl1fred saunders: "Learning Instrument Making and Related Problems." A panel discussion wa·s held covering all phases of viola teaching., viola literature, and. the selection of -5- an appropriate instrument for a violist. Those serv1ng on the panel were John 1tlhlte, 'Chairman';, Tully Potter (UK); Maurice Riley (USA); George Rubino (USA); W1lfred Saunders (UK), Bernard Shore (UK), and Thomas Tatton (USA). Besides the recital glyen by the flna11lt. reeltala were g1yen daily. Those who performed. included such internationally famous violists as Nobuko Ima1, Paul Doktor, Csaba Erdely1, Andras von. Toszegh1, and the ensemble consisting of Jane Manning, S1mon Rowland-Jones, and Jukka Tlensuu. On the last afternoon of the aotivities, a de11ghtful ensemble concert was given by llra,.·· Lionel Te rtls, cello; Lady EV'elyn Barb1rolll, oboe; Paul Doktor, v1ola; and l\1artln 1~111ner, violin. The locale or the Isle of Man was ideally chosen tor the Tertia Viola Competition and Workshop. The beautiful scenery and the wonderful hosp1tal­ ity of the people contributed to a most enjoyable and profitable event. The Tertia International Viola Competition and Workshop was the second in a series intended to beoome annual events on the Isle of Man. In 1979, the double basses were fea.tured; in 1981, there will a competition for harpists. ** * * * * * * *

MAURICE· RILEY'S, THE HISTORY OF THE VIOLA, published, 1980 by 1Vlaurlce W. Riley, author and pUb11sheri512 Roosevelt Blvd., Ypslla,ntl, Michigan, 48197. Hard­ cover edition: #27.50 plus shipping; Paper-back edition: #22.50 pl~s shipping. Maurice Riley's long-awaited lhe Hist1r1 ~ the Viola is finally in print and available. Dr. Riley'sbook--the resu t of years of researoh and intensive work--1s one of the most important books on the viola to appear in our time. This 1s a must for 8.11 interested in the viola. and. 1 ts history ,instruments, music, and performers. A detailed review of this book will be forthcoming. In the mea.ntlme, we have been a.ble to arrange a special price for members of the American Viola Soc1ety for pu'rchase of this book. These prlces--$22.50 plus $1.2.5 for shipping for the hard-oover and $17.50 plus $1.25 for shipping for the paper-back (Michigan residents must add 4~ sales tax) areg~Od onl? until February];, 1981. If you haven't obtained a copy of this-coo yet, . 111 out tr.Le form found. at the end of the Newsletter and. return 1t with youroheck or money order. MUSIC FOR VIOLA, by Michael D. Williams has been released through Detroit stuaIeSIn MusIc Bibliography No. 42, Information Coordinators, Inc. J 1435-37 Randolph street, Detroit, Michigan 48226 (362 PP., pub., 1979). According to the publlsher this 1 s n An annotated 11sting of published editiona (current1y available and out-or-print) and manuscripts of works for: Unacc'o~panled Viola, Viola wittl Keyboard, Viola with Non-Keyboard. Instrument, Viola wi th Electron­ 1'os, Viola with Chamber Ens8 mble, and Viola witb. Orche stra. II Dr. W11.1.1ams 1s on the faCUlty of the University of Houston, School of Music and is cur­ rently working on a study of 18th.~century'.. vlo1a music. The last price we had on this was $16.50. THE JOURNAL OF THE VIOLIN SOCIETY OF AMERICA. vol. V, no. 1, 1s almost en­ tirely devoted to the vIola. IncluQia are "The William Primrose International Viola Competition (July 8-11, 1979)" by Maurice Riley, "'You've Come a Long ".-lay, Baby!', A Report of the Seventh International Viola Congress, Provo, Utah. July 12-14, 197~t' by Myron Rosenblum, "Exhibition of Violas and Their Bows: The Fourth International' Exhibition of the Violin Society of America, (Held 1n Conjunction with the Seventh International Viola Congress)" by Eric Chapman, tfA Bach symposium, July 15,1979, the University of Utahtt by Maurice Riley, and! Select1~g of Lectures and Panel D1scus81~ from the Seventh ..6-

International Viola cOAiress which includes the panel, tiThe Violist as Pro­ fessTOnal-wItfi RaIpli arlch,. Donald McInnes, 1N'1111am Preuc11, and Alan de Verltch, "The Early Development of the Viola by Luthlers of the Brescian and Cremona Schools" by Maurice Riley, and "Ruminationa on the Viola It by 'fN'1111am Primrose. For information regarding th1s journal and membership in the Violin Society, write to Violin Sooiety of America, Dr. Ray Abrams, P.O.·Box 127, Lansdowne, PA 19050. .

so~~ COICERTS OF INTEREST: The New York premiere of George Rochberg's Sonata -rDrvIOIa and "PIano took place in September, 1980 by Y!~ZHA1t. SCHOTTEN and KA'THERINE COLLIER at the Abraham Goodman House. This sonata,you will recall. was commissioned by Brigham Young University, the American Viola Society, and Friends of ti1111a.m Primrose and was given its world premiere at the 1979 viola oongress in Provo. JOEN VASQUEZ, viola pupil of Margaret Pardee at The Juil11ard School, will perform the New York premiere of Maurice Gardner' 8 Tr1clnluum for viola solo at a concert in New York in December, 1980. HARRY DANKS directed a concert of the British Viola Society in viola music by Kenneth Hardin! on f.larch 13th, 1980 at the Royal Academy of Iv1uslc. The works performed were the sonatina for Two Violas, Divertimento for Four.V101as, Concertante for Five Violas, and the Idyll for Twelve Violas. l.,lADAlviE A. DE-LABARI BORRISOWSKY wrote us of concerts that took place in earry1980, In RusSIa honorIng the 80th birth date of lr1adlm Borrlsowsky. She said that of the s1x concerts honoring her late husband, the most brilliant of them was given by Juri Bashmet, first prize winner of the 1977 Munich competltlon. His programcons1sted of the Honegger Sona.ta for Viola and Piano; Michael Haydn's Concerto for Viola, Piano, and Orchestraj F.A. Hoff­ meister's Conoerto for Viola and Orohestra; H1ndemith's Trauermuslk for Viola and Orc·hestra; and the. first performance of Golovin AnareI's Sonata­ breve. lv1adame Borissowsky also wrote of an· .~Al1 SO'viet, Un·on·. Compe.t1~tlori"'ot _ Viola Players" that took place in Lvov last April and of a recording of 1tlad11l1 Bor1ssowsky performing on both viola and viola d.'amore that was to appear in Russia 1n the summer. PUBLICATIONS: Maurice Gardner'.B ·Concerto for Viola and Orchestra has been p_ub11shed. by the stafr Musio PUblishing Co., 170 N.E. 33rd st., Ft. Lauderdale, FA. 33334. PSI PRESS has pUblished "Viola Volumes," a series of music originally written for the viola to· be used as e1the r with the Suzuki. me thod or a more tradltion­ al approach. Cassettes of the l11us'lc are also available. \.~rl te to Professional Services Institute, Inc., P.O. Box 2320, Boulder, Colo. 80306.

RECORDINGS: Anton Rubenstein's Sonata in F'Mlnor, OPe 49 for Viola and Piano and 's Hebrew Melodies, op. 9, #1 and #3 have been recorded by Lubo~1r Maly, viola and LIbuse Kr~pelova, piano (supraphon 1111 2475; price about $8.98. ~"'rlte to Qua11ton Records, Ltd., 39-28 Orescent st., Long Island City, N.Y. 11101). CONTEMPORARY l~USIC FOR VIOLA features serge Collot in music by Berio (Sequen~a vrr;' Hi·na.e m! t1l;aD.d J olIva t (Ad e s. 16.002; price about $8. 98) . BERLIOZ: HAROLD .IN ITALY has been recorded by Josef Suk, viola (Supraphon 4 10 2065; price about$6.98". VAUGHAN WILLIAMS: FLOS CA1~I and SUITE FOR VIOLA AND ORCHESTRA, Frederick Rldd!e; vIola are aval1aoIe-on RCA (UK) ~25131j prIoe aoout iB.9B. HENRI VIEUXTEIVJPS : SONATA> ~ VIOL!· ill P·IA,NO;, op. 36 a.nd CAPRICCIO 1.QB VIOLA SOLO; SCHUr~NNis !llKRCHENBILDER; STRAVINSKY'SELEGIE; and BACH-KODALY: CHROJf:ATIC FANTASY a.re performed '6y l\tar Arad, vIola and Evelyne Brancart J. ·piano on - Telefunken 6.420~5; price about 38.98. -7- RARITISS FOR LOW STRINGS: The Phllharmonlsche 5011sten perform works by Beethoven (Duet for viola and cello), Bernhard Romberg (Trio for cello, viola, and double bass) and Rossini (Duet for cello and double base). This is on th.e lw1uslca Viva label, lVN30-031; coat about $10.98.(1h ese last 5 d lac8 can be also obtained from The od ore Front Musical 1"1usl0··al L1 terature, 15·5 N. San Vicente Boulevard, Beverly H1.11s, C.A90211.) BRAHMS SONATAS FOR VIOLA AND PIANO, OPe 19~ No. 1 & 2: The zaslav Duo, Bernal'd-Zaslav, viola and Naomi Zasla.v, piano, GS-215, #.7.9t3. These can be ordered from Gaaparo Co., P.O. Box 90574, Nashville, TN 37209. JllUSICAL HERITAGE SOCIETY has just released the first volume of chamber musio 01 Brahms •. Included are the Trio 1n B major, OPe 8; Trio 1n E-flat major, Op. 40; Trio in C major, OPe 87; Trio in C minor, Ope 101; and the Trio in A minor, OPe 114. This lao! interest to violists for both the trios, op•.40 and Ope 114 use viola lnsteadof the original horn and clarinet. According to notes on the record set, tiThe recording. is also noteworthy because two of the fi ve trlos are pe rformed with rarely hea.rd a 1te rnate 1nstrumenta.t1 ona in whlchBrahms Bubst1 tut~d viola parts for the horn in Opus 40 and for the clarinet in Opus. 114••1 The performers are t11e Odeon Trio, Leonard Hokanson, piano, Kurt Gunter, Violin, Angelica May, oello, with Rainer Moog, viola. MHS 4215K/17Z (3 stereo LPs); MHO 6215L/17A (3 Dolbylzed Cassettes). 'IIrlte . to Musical llarltage Society, 14 Park Road, Tinton Falls, New Jersey 07724 for their prices for members and non-members.

MICHAEL PONDER, British violist and member of the London Phllharmonla·, wrote usOTa-lost duet for two violas by the English composer Frank Br1dge. Supposedly, this was written for Tertia and Bridge to play together and was found in The .Lloyal College of Mua1c. Ponder wrote that it will appear on Pearl Records. an English recording company.

* * * * * * * * * FRANZ ZEYRINGER'S THE PROBLEl'l OF VIOLA SIZE, translated by Louise Goldberg, 1s st111.ava11ableto any member of the American Viola Society. If you haven't received this and would like ao'oPY, 'write to American V1.oJ.a ..so.Q1.st1. 39..23 47th stree1;', ·~·s·unny·sld.e , -N. Y•.. ,11104.

G. JEAN SlvlITH'S nAn Interview with \..villlam Primrose tr appeared in The Instru­ IDentaTIst I vol. 35, no. 2, September, 1980. In the usua.lquestlon--aIia answer format J Primrose covs·rs many important and rase ina t ing areas of viola per­ formance a.nd pedagogy that will appeal to all those interested in this great artist's unique experiences and expertise. * * * * * * * * * CHAPTERS OF THE AVS: Jack Griffin, violist, member of the Louisville Orches­ tra, and faculty member of the University of Louisville, Belknap Campus. 1s in the process of forming the first chapter of the American Viola Society. They have a.lready drawn up some By-La.wB which will bereviewd by members of · the Board of Directors. Wewlsh them greet success and look fo.rward to hear­ ing of their viola activities.

RARITI,ES FOR STRINGS PUBLICATIONS announces the pUblication of Alessandro Ho Ila is Conct!rtlno In E riai tor Vi ala and Orchestra, reduoed for Vi ola and Piano. The price is $9.50 plus 5% postage. Texas residents must add 5% sales tax. Write to them at 7321 Brentfleld Drive. Dallas. TX 75248.

1 Mus1ca.l Heritage Review, vol. 4, no. 9, B!..!!ase 261, July 28, 1980, p. 6. -8- LITERATUR FfiR VIOLA by Franz Zeyr1nger, the very important source book of music for viola in all possible comb1na.tlons 1s still available to members of the AVS at the special pr1ce of 620• 00• It you would like this, please send a check for #20.00, payable to Amer1oanVlo1a society and mail to American Viola Society, 39-23 47th st., Sunnyside, N.Y. 11104.

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KARL DOKTOR by tUlly Potter (Reprinted from Newsletter 7, February. 1979 of The British Vlo1aResearch Society)

Karl Doktor,· one of the outstanding chamber muslcla.ns of hls age J waa born on 10 April, 1885 in Vienna whereh1s parents kept a shop. No one in his family was musical and when at the age of eight Karl showed an inclination to learn the violin, his mother took him toa violinist who lived nearby. This man played a tune and then handed. the fiddle to Karl. to see what he could do. The boy had wB.tched lntentlyand without even having handled a violin be­ fore, he managed to produce asernblance of the tune. Instead of realizing. the lad's talent, the worthy master threw mother and son oat into the street, thinking they were tricking him by saying Karl was a beginner. Luckily, Mrs. Doktor had,' more sense and soon found a mora receptive teacher. In due course, Karl went to the Vienna Consarvato1re (Wiener Konservator- lum) and at 18 he graauated--as a violinist. His very German teacher had this to say when Karl asked about his prospects: "Well, you mB.y find your­ self a position in a small theatre orchestra. tt Karl was astounded--UMy God. professor, 1s that all you see in store for we, when you've always referred to me as your best student?tt To whlchoame the reply: "Well, you can always find a position ina bigger theatre orchestra••• " Not.·da~!tt;ed, .. Karl went. .. with other hopefuls to audition for Ferdinand tl LBwe, conductor of the "'~1ener Konztervereln . Orchestra (now the ). This was the city's leading concert orchestra, as the Vienna Philbarmonic was mainly concerned with the opera in those days. Karl was one of some two dozen applicants for a place in the back desks of the violins; and having played his audition pieoes, he soon realised someone else had been selected. He was just packing up his instrument dejectedly w'hen he was called back to the Herr D1rektor's office. LBwe i 1 ·impressed by Doktor' 8 unusually dark tone quality, asked if he could play the viola. Karl said yes, he did-­ and he was. offered the post of solo viola in the orchestra. After a shocked silence, he accepted on the spot. So, from 1903 until his death 45 years later, Karl Doktor was to be known chiefly as a violist, though in fact he never stopped playing the violin. "My father always practised on the violin,tI says his son Paul. "He felt that it was easier to achieve the necessary dexterity on the violin, without stretching the muscles, as he would have to do on the viola. It Karl Doktor also played in public as a solo violinist, especially in his native Vienna. In the 19208, he had a chamber ensembles, the Vienna Trio, in which he was joined by the pianist Friedrich \N'lihrer and the cellist Herman Busch. As principal violist, Doktor was a member of the Konzertvere1n Quartet, which reinforced the predilection he already showed for chamber music. On one occasion the quartet was engaged for a recital in Hermanatadt in Romania; but when they arrived at the hall, they heard the un~istakable strains of a military band. They were about to turn away, thinking they had corne to the -9-

wrong hall, when the organisers oame out to explain that the band was playing to welcome them. Unfortunately, every t1me the quartet f1nlsheda work and left the stage, the band. regrouped and started up aga.in. Doktor's humour and diplomacy saved the day--he struck a bargain with the bandleader that his men could play at the end of the concert, if they would only refra.ln in the meantime. . In 1912, the pastor lead~r of both orchestra and qua.rtet fell vacant and the cond uct·or, Fr1tz Steinback, who wa 8 passing through Vienna, me nt10ned to Doktor that hi B outstanding young c omposlt10n pupi1l-Ad olf Busch would ma.ke an ideal leader. Doktor's friend, Paul Gr~mmer, the orchestra's princi­ pal cellist, could vouch for this. The previous Deoember, he. and Busch had played Brahms 'double concerto underSte1nbach in --and 8.fterwards they had stayed up all night playing trios with Busch's brother Fritz' at the piano. The friendship had been further cemented when the three had given a trio reeltal--to an almost empty hal1--1n ColoEne in Aprl·1. The 21-year old Busch was already something of a legend, through having mastered Reger's fiendish concerto from memory when he was only 16. SO the leader's job was offered to him. Busch's arrival in Vienna on 5 November, 1912 forh1s first rehearsal with the quartet,was a decisive moment in musical history, though at the time 1 t seemed anything but tha.t. Busch' 8 ·organized German mind was appal.led by "Viennese slovenllness tt and his first orchestral rehearsal on 8 November almost decided him to return horne. Luckily, he needed a regular job so that he could get married; on 13 December he was offioially appointed leader. He quickly apprecla,ted Doktor's accuracy of lntona.tion--which among v'iola players became proverblal--and his beauty of tone. The Austrian was to be in­ dispensable to him for more than three decades. The new quartet line-up first played in public in May, 1913 .. ·on···an out"1ng to.'·the·· E's-te ..rhazy pala.ce; at Eisensta.d t, where they naturally played two Haydn works. Their official debut came in August at the , but even before that, Busch's leadership had aroused great expectations. Musicians like the young George Szell begged to be allowed into the rehearsals at GrUmmer t s villa on the Kahlenberg, but were exoluded. Busch, who ha.d just re­ covered from a serious illness and had been marrledonly on 15 May, would not allow even his honeymoon to inte.rfere with work:: He and his young wife Frieda lived on the Leopoldberg, from where they had a short walk to GrUmmerts place. Doktor stayed in the big hotel on the Kahlenberg and would wav'a a ta.blecloth at pre-arranged times to let h1sflancee Georgine know hO,,1 the rehearsals were going. At salzburg, this intense preparation paid off, with the famous critic Max Kalbeck ccmparing them wittl the Joach1m Q.. uartet of recent memory. They played pieces by Beethoven and. Schumann. The concerts which followed were equally successful but the outbreak of the war in 1914 meant that second violinist, Fritz Rothschild and Doktor were oalled up almost 1mrned1ately for milltary service. This was a particularly bitter blow to Doktor, as he and Georgine had been married only that January. Busch was saved, ironically, by a touch of TB which undermined his health in the long run; and he and Grtlmmer, wno O!iO also escaped war serv1ce, kept the quartet going. The puo11c1ty 11tera- · ture still bore Doktor'ln.ame arid on at least one occasion he .had a bad notice when someone else was actually playing the viola: Meanwhile, he had been sent to the Romanian front, in a aquadof whom on~y two other. were to survive. LUOkily, Georgine' managed to convince the authorities that her husband would be better employed in making music than in soldiering. Karl was drafted into the Army orchestra in Vienna, which caused him several years of acute boredom, but undoubtedly saved his life. In 1917, Georgine gave birth to a son who wa.S named Paul (after Gr~mmer). -10- In May, 1919, the quartet was reformed. as the , but Doktor was not available at first as he was still in the Army'a grasp. GrUmmer wanted the title, Busch-Gr~mmer Quartet but Doktor, with typical dry humour, aaid: "Why not the Busch-Doktor-GrUmIDer Quartet, or even the BU8ch-Andreasson­ Doktor-GrUmmer Quartet?" After initial concerts with two friends of Busch' a as stand-ins, the Busch Guartet took on its definitive form with Doktor back in the violist's seat and GBsta Andreasson, Busch's Swedish pupil. as second violinist. By November, 1920, when Busch had his epooh-making meeting with the l7-year-old in Vienna, the circle was complete. Serkln 11ved with Ad olfand Frieda Busch almost asa son. The relat10nshlp became fact in 1935 when he married their daughter Irene. With Serkln as pianist, the Busch ensemble could present a vast range of chamber music. At their only appearanceln the new salzburg Festival, for instance, their all-Mozart programme consisted of a violin sonata, a plano quartet and a . Other concerts might include solo violin or piano works, trios or quintets. The Busch ~uartet alone played a huge repertoire and during the season, concerts followed one another with dizzying rapidity. There were virtually none of the sum:ner a.ctivities with which musicians supplement their incomes today; they had to live all y·ear on wha.t they· made from October to May. The' quartet -received J on average, the same fee for an entire ooncert that Busch could ea.rn by playing one concerto; other chamber ensembles were even ltJorse paid. A1thoughBusch spI1t the quartet I 8 e arnlng s scrupulously into four, 1 t was a hard life playing chamber rnueic. Other musicians like Kreisler thought it astonishing that Busch and his colleagues devoted 80 much of their11fe to such an ill-rewarding task. Of course, they had to wake as much as they could from tea.chine: and solo work; and Doktor was luckyln that his wife, Georgine Engelmann, a singer born in Prague in 1892, enjoyed giving singing lessons. Indeed, Mrs. Doktor, a former pupil of the famous Rosa Pap1er-Paumgartner and a pianist as well as a singer, was teaching in New York until just recently. She lives there ina flat filled with the furn1ture,muslc, pictures and other mementoes of the apartment she and Karl had in Vienna. In these days, when quartets go on tour with a mere handful of works pre­ pared, it 1s interesting to look at a typical Busch Quartet tour in the last three. months of 1921. Thelr concerts included all 16 Beethoven quartets, plus the Great Fugue; two Mozart quartets, plus both his piano quartets and his Adegio and Fugue; two quartets by Reger, two by Haydn and one each by Dvorak, Brahms, Schubert and Schumann; and the string q.uintets of Schubert and Bruck­ ner. They also lea.rnt and performed a new sextet by the swiss composer . The Busch QUartet would rehearse four hours in the morning and four in the afternoon when preparing for a tour. Busch had always been a glutton for rehearsal but after he came under the spell of his friend Tosca­ n1n1 in the early 19208, he became--in the opinion of several of his 001­ leagues--even stricter than the Maestro. The Busch Guartet shared a rather conservative taste in music but they covered virtually all the classical masterpieces; they also played a fair amount of music from the Romantic era, especially Brahms and Dvorak. Modern music was represented by all Reger's chamber works, a number b:y Busch h.lm~ self a,nd by his friends Tovey, suter and ll~alker, and isolated works by such as Bridge, Plzzettl, Buson1, Debussy, Ravel, Tooh, Raphael, Gregory Mason and Kahn. They pla~ed no Hlndemith, Bartok or Kodaly, and no Russian or French music except the Debussy and Ravel quartets. They actively disliked atonal and 12-tone music. HO~Never, they made up for thalr lack of lIlodernity by the depth of their knowledge of the lr chosen repertolre--and by their ma.stery in playing it. Karl Doktor went along with his colleagues' preferences. It must be re­ membered that he was already 12 when Brahms died and 19 when Dvorak died, 80 their music was relatively new: He played all the accepted masterpieces for the vlo1a--hls wire was first introduced to him after he had performed Harold in Ita1:i particularly successfully. "My father was also active in finding 11terature for the viola J tt says Paul Doktor, nand he made many arrangements -11- for that instrument, including Vitali's Ciaconna. For many years, on and off, he v.Jor,ke<1 on ebb 11gato viala part s for 'the 24 Paganin1 Caprices." He premiered sonatas by Kornauth and Raphael. He also, of course, played a vast amount of the violin repertoire from Bach through to Reger. ttMy father and Reger were very good friends and often, after rehearsals or social gatherings, walked each other home, telling stories or jokes and, when arriving at the one's door in the m1ddleof a story, would simply turn around and \ATalk be.ck to'iVards the other' B home. continuing to do so sometimes until the sma.11 hours of the morning,tt says Paul. Reger promised Doktor a solo viola suite (in addition to those he had alresdy written) but hlsearly death in 1916 1nterven·ed. Some five years later, on a train journey in Italy, Doktor and Busch were remlnisc·lng about Reger, when Doktor mentioned. the lost Bui tee Eusch immediately toqk out manuscript paper and 8ta~ted a Regerlan suite in four movements, completing it on the return journey. Paul Doktor still plays this suite from the unpublished manuscript. headed: "To my dear Karl Doktor, in memory of VicenzaJ:.-Padua (here Doktor has inserted "Firstelass! tt) and back--Sulte in A minor for Viola----Op. O. 75m. n The opus number wa·s a combination of an old joke by Busch--he had called his first complet~d work OPe O.75·:.....and a dig at Reger's rid·1..culously complex opus numbers.1Doktor's insertion indicates that the Busch Quartet didn't often treat themselves to first class journeys: The four movements, very much in Reger's Bach-influenced style, are Lento, Scherzo (G1ga), Andante tran­ qul110 (sarabande), and Allegro (Bourree). 2 Through the 1920s, the Busch Quartet gathered a reputation as thef1neat qua.rtet in E·urope. But there were tensions with GrUmmer, whose set ideas and' . enthusiasm for caus·ed the others ev~entua-lly,-.:to ask him to leave the quartet. Busch wanted his brother Herman as cel11st--and this was endorsed by Doktor even though 1t meant the end of his Vienna Trio. The trl0 would not have lasted long anyway, as llftlhrer also be.came an enthuslastlc Nazi. So, the Doktors bro~wlth their closest friends; their son had been named Paul and Frledrlchafter Gr~mmer and W~hrer.Had he been a girl, he would have been named Hl1daa.ft~r Gr~mmer' s 1,l\f1fe. Karl Doktor himself \'1as of Jewish parentage, butllke so many central European Jews, he had virtually forgotten the fact until Hitler came along. Hav1ng married a Catholic, he had even had his son brought up as a Catholic. The new\ quartet line-up was Ii success from the start. Rehearsals went much better--Toscanlnl came to some and wept in the Cavatlna of Beethoven's OPe 130--and the first public conoerts in England were an augury of the acclaim they were to have in that country. A special society was formed to promote their London concerts a.nd they· were taken up by EM! as the spea.rhead of Hl\iIV's chamber music ca.talogue, their first recording being made late in 1933. Meanwhile Hitler had become Chancellor of Germany in January, 1933 and the· Reichstag Fire in' February had shown the way things were going. On April 1, the day of the boycott of Jewish shops,. with its attendant looting and v1o~ lence, the Busch Q,uartet found :-1·tself - playing Haydn's Seven Last Words fro~· the Cross in st. Mary's Church in . Only days earlier, there had been anti-semitic demonstrations against Serk1n at a concert he and Busch had given in D~sseldorf. In a mood of deep depression, all four members of . the quartet agreed that they could no longer play in Germany. They cancelled all their engagements there forthwith. . In spite of 'the1r Jewish connectlons--Busc'h's '",ife was half Jewish and. Herman Busch's wife was Jewiah--they could l'lave continued to perform in Germany, at least for the time being. Their decl.s.1~on was based entirely on feelings of decency; it cost them dear. The Doktors could, still live in Vienna but Andreasson and Herma'n Busch had to give up luor~tlve teaching jobs and move to . Adolf Busch had been living in since 1927, but he, like the others, lost two-thirds of his income and infinitely more, psycholog1cally--by severing his German ties. -12-

Henceforth, the Busch Q,uartet concentrated on Britain and ltaly, ~Nhere they had enthusiastic followings. In 1935, the Busoh Chamber Players was formed, with the quartet as the nucleus of a little orchestra. Their con­ certs of Bach's Brandenburg ·Concertos and orohestral suites caused a sensa­ tion wherever they were given, and gradually the repertoire was expanded to include other works by Bach and a number by Mozart. Karl Doktor made a key contribution to the1rsucce'ss and despite the troubled times, the 19308 brought the highpoint of his career. He and his family would spend the Bummer, months in a. rented house in Traunk1rchen on the beautiful la.ke of Gmunden. It was about an hour's drive from salzburg and the Doktors would hold open house for musicians, painters and writers. Paul Doktor remembers that the visitors included Rudolf Serkin and hlsw1fe Irene, the pla·n1st Paul Vveingarten,the cellist Friedrich Bux­ baum--sololst 'of the Vienna Ph11harmon1'c and. member of the Rose Qua'rtet--and the painter Axel Leskoachek, who loved to ·hear l~rs. 'Doktor a1ngWolf Lieder. tilt was 8. gorgeous placewhlch gave my father not only a leisurely vaoation place but also one where he could tinker with a. motor boat ,develop and print his own photographs B.nd me-ke music with our friends. He also taught at the t nearby 'AlUrttemberg Castle, where we all performed at tIle sumUler institute. '. At the Doktors' home in Vienna ,uHausmuslk" also played an important role when Karl was not on tour or in Basel for rehearsals with his quartet col­ leagues. Perhaps tha most unusual musical evening he ever organized was in 1931, when the great , who had known the Doktorsand Busches for years, was vislting Vienna. Einstein, who playadthe violin appallingly but enthusiastically, had asked to play some chamber music ana Karl duly asked some fr1endsround. One of ·these WB.S the stratosphere flier P1ccard ' whc w'as 80 much in the nell\re at the time. P1ccard towered over Einstein, who looked up and said, tI~rtell, you didn't hav·e so far to go!U .. The Anschlus.slnAustrla in March, 1938 meant that Vienna was no longer safe for a musician with Jewish connections. ttLuokily, my father was in switzerland for concerts at that time," recalls Pa.ul, ttbut it was by luck more than anything else that I J my mother a.nd grandmother managed to leave Vienna more or less unscathed in August for Basel--and from there for London where we lived until just before the war. tt so, after 53 yea.rs KB.rl Doktor wa s exiled for ever from the c1ty where he had. 11ved and worked without interruption since blrth.Later ,that y'ear, the Busch Q,uartet renounced all its concerts in Italy because of Mussolln1's espousal of Hitler's ant1-sem1­ t1sm. so, two more countries were closed to them. Some consolation came ,~lth the first Lucerne Festival, founded by Adolf Busch and others in the summer of 1938. TOBoanlnl conducted Bome of the con­ certs, including the famous open-ai~ one at wagner's former villa Trlbschen. Doktor led the violas in the all-star orchestra which was led by Busch. In September came the concert 1n switzerland at '~'hlch Busoh gave the 21-year­ old Paul Doktor the second viola part in a Mendelssohn quintet at a week's notice. Paul already played the violin with the Busch Cha.mber PIa.yare, but that· concert with the quartet sealed his fata and like his father, he became a violist. Other concerts followed and Paul and the Busch Quartet were con­ tracted by ElvlI to record a whole series of string quintets--one of the great might-have-beens of recording history. Early in 1939 the Busch Guartet made its first proper tour of America and the rave reviews they garnered undoubtedly influenced Busch in his decision to emigrate to America. The 1939 Lucerne Festival was held under the shadow of war, with musicians actuallybelng called. UP for Army serv'ice during rehearsals for tIle final concerts. In Nove.mber, the Busch family left Switzerland for America and Karl Doktor had to ma.ke a quick decision. He gambled on t·he ,Ajar being a s1:1ort one. Leaving 11.is '",ife and son in Sv~1tzerland, he set off for Genoa., where he, GBsta Andreasson and Herman Busch and -their families had booked passage to America. At the last moment they discovered that Jews were no longer allowed to travel through Italy. so, the party separated, the -13- Andreassons following the original plan while Karl with Herman and Lotte Busch and their daughter Trud1, ma.defor Lisbon. After a nal1b1tlng,tlme, during which Adolf Busch1n New york pulled every string he could; they were allo~ed to catch the very last ship for the New World. Georgine and Paul Doktor spent the duration of the war in SW'ltzerland, without most of their belongings which were in their London flat. They en­ dured. much hardship a,nduncertaintyand Paul wa.s deprived. of his rather's support and encoura'gement at the most vulnerable point of his career. But, perhaps he turned out a more'l'nd'ependent musical personality as a result. Undoubtedly, the separation a-nd the worries about hlsfaml1y contributed to the decline in Karl's health. By the time he saw the m ag.ain, he was a lDcrtally sick man and he l1.ad his own problems in America. The Busch Quartet was reunlted in J una, 1940 but t11ey ha.d hardly started before Adolf Busch had. a massive heart atta·ck in ·-·December. This would. keep him off the concert stage for a year and, in the meantime, his colleagues had to find employment. They went first to an o~rche stra in South Carolina; then Fritz Reiner took them into the Pittsburgh Symphony.By May, Busch was well enough to make some recordings with the quartet, and later, in 1941, . the new Busch Chamber Play'era wa·s formed. The Busch Chamber Players actually made recordings before they appeared in publio. Doktor played with them lllhen he could and there were sporadic quartet conoerts throughout ·the war. Ad.olf Busch was never accepted as a soloist in America, though. he had some notable successes with his duo, quartet and orchestral re.c1tals. The Russian style of Heifetz and Milstein was all the rage; even1n chamber music, the (all Russians in spite ot their title) ruled supreme. Karl Doktor likewise found it hard to gain acceptance. The most 1ronlotactor was the growing prejud,lce against ttGet'man" musioians in America, a·s the war progressed. Doktor's hea.lth stea.dl1y deteriorated and by 1945 he was too 111 with heart d1sease to tour with the quartet. As Andreasson had teach~ Ing commltments, the ense mole was disbanded. The Busch brothersatarted it up again in 1946 with two new players. Meanwh1le, Doktor took up his first institutional teaching job, at the Philadelphia Musical Academy. He already had. a number of private pupils. "Mytather taught both violin andvlo1a but preferred not to teach viola beg.lnners., tt says Paul. ttHe pre fe rred. violinist S oha.nglng t'o the viola, In­ s1stingthat theteehnlcal background of violin study was a must for a tnoroughly tra1ned viola player. He a180 pleyed the piano, accompanying his . students J often making up p1ano pa.rts as he went along. His gift for devising fingerings which were not ba.sed on the old-fashioned first-third posltlon rule, extended even to thece110; and lle was proba.bly the first viollst to suggest using the thumb for the bottom note 1n the unplayable-looklng viola part of the Ravel Quartet." . Doktor's last years were shadowed by illness and the irksomeness of his enforced retirement frOlL conceI~t work. But 'at least he wa.·s ,·-reunited with his wife and son in the autumn of 1947,and he lived to see Paul established as a viola soloist and. tea.cher in his own right. However, he could hardly have foreseen the heights to which hlsownson and others would bring to thehlther­ to humble viola. Karl Doktor was only one of many who fought for recognition of the viola a.nd didn't live to see it realized. He died on 17 October, 1949 in New York a ft'e r a happy 8 umrne r spent with hi S &Ion in Michigan J whe re Paul taught at the university. Apart from his musical activities, Karl Doktor was a most inventive man who shared with his friend Herman Busch a. passion ~or tinkering with mechani­ cal things. The two used to vie with eaoh other in constructing elaborate models out of Meecano. At one sta.ge the Meccano oraze took over the entire Busch Quartet and Adolf Busch had a room set aside for Meccano. Doktor in- vented a contraption to make development and printing of films and photo'- -14- graphs possible in daylight and he was an adept home e lectrlcla.n. He designed a wheel for military vehicles to achieve more traction and save rubber; it repla.ced the lnflated tire with a se rles of me ta1 sprlng-supp·ortfJd. ahos··. ~··Mo.t of Vlenna'slarger streetcara, with double doorsleadlng into their centre compartments, were equipped with a Doktor invention which made both doors move simultaneously when one or other door wa.~ opened or closed. Doktor can be heard on all the recordings ma.de by the Busch Q.uartet from the early 19208 to 1942, and. on all the Busch. Chamber Players I recordings from the 19308•.Special mention should. be made of Bach f sBrandenburg Con­ certol No. 6- (where he plays the second solo viola) and No.3; and of Dvorak's E-flat l~ajor Quartet, Ope 51, 1n which the vlo1a-playlngDvorak ~8.ve his fav­ orite instrument many opportunities to shine •. . During a oareer of more tha.n 40 years, he p·la.yed a variety of violas. as Pa.ul Doktor expla.lns: liMy father's first viola 1s a lovely l1ttle unnamed Italian instrument which, however, proved to be too small in tone to complete w1 thBusch' s strad. He a.lsoplayed abeautlful Anton1,us B.nd Hy'ron1mus Amatl which I still cherish highly. But, on the tours he most often played the 1v1endelssohn-lent Stradivarius which later found i'ta wa.y into the Amerlcan­ based Paganinl Quartet--so named beca.use. 1t useda.llof Paganlnl t s Strads-­ and a beautiful Amatl lent to my father by the one-armed pianist 'Paul W1ttg~n­ stein." Karl Doktor was not an extrovert musics.l personality, though he wa s the only one of Adolf Busch's musical ass.ocla.·t.e 8 who d.a.red .to croBssword s with him on musical points! He was wha.t1s 'oft'en dismissed as a tl mus lclan's musl- . cian," a_quiet man with a rea.dy sense of· humour who never tried to pushhlm­ salf to the fore. He once gave up a performance of Harold in Ital with Bruno tN"alter because BU.sch hade. new vlo1~ made by his fa,ther anawantea.the chance to try it out in public. As a player, Doktor brIdged the gap between the older, rB.ther wobbly and woofy violists aoo today' s more assertive pls,yers. He used portament 0 for expre ss1ve e freat, butve'ry ta atefUlly and spa r1ngly. ttHlsplay1ns alwa.ys he.d a. kind of nobility',*' says the art historian Sir Ernst Gombrlch, who knew Doktor well. You only have to look at the many photographs of him, and talk to his friends, to realize that the man himself ha.d t1 a kind of nobility. at

1 Busch said of it: tfWhl1e it isn't, 100%, it sur~ly 1s 75%:u In a later listing of BUsch.'s works, t1l1s Suite 1s ·Op. 16·. 2 The Suite in A Minor for Unaccompanied Viola has been published recently by Ama.deus Verlag in Winterthur, Switzerland J 1980, edited by Paul Dokto:r (:Edltlon Number BP-2688). (Ed1tor's Note: This article was made possible by the constant help and en­ oouragement of Mrs. Karl Doktor and Paul Doktor. TUlly Potter 18 currently en.. gaged on 8. biography of Adolf' Busch and would be glad to hear from anyone who has letters or photographs relating to Busch and his circle or from anyone 'who has memor1es of them. Concert programs would also be helpful. Wr'ite to ~~r. Potter at 4 Brook Cottages , Little Burstea.d, Bl11erlcay J Essex, England:. OM 12 9TA. The re 1s als 0 a BrUder-Busoh-Ge sellschaft, 5912 Hl1chenba.ch-Dahlbruch J Postfach 4029,1,.,. Germany,that is dedioated' to keeping the memory of the Busch brothers and their associates alive.) .. * * .... * *' * * RESULTS OF PROPOSED BY-LAWS VOTE: or those members of the AVa who responded and voted ontbe proposed By-LawSTn the early part of this year, the res'ults are: 112 - Yes; 2 - No; 1 Abstentlli 1980 YEARBOOK: The second Yearbook of the IVFG was delayed, but should be en route to all chapters about thIs time. A.s aoon as they arrive, each members will receive a copy.