JAVS Fall 2011

Riley’s materials. I use the music extensively in my teaching, trying to branch out to use a wide variety of music, both old and new, to make use of the broader repertoire that is available to us. I have had the oppor tunity to give many concerts featuring lesser known music that we have in the collection. I have shown the rooms to countless violists wanting to visit PIVA and to learn more about it. I help take care of the instru ments in the rooms. I also help others with their research, such as finding materials to support evidence in the books by Donald Maurice and John White, and overseeing a wide variety of student research, including ORCA and honors theses projects. Most importantly, I try to inspire my students to appreciate and respect it, to cultivate a love for research and viola history that we have at our fingertips.” Claudine has been a professor at Byu since 1999; I have been a music librarian at Byu since 2001. Many of the rest of the people interviewed for this article have been students of Claudine’s in the School of Music and student employees of mine in PIVA. They are the very people who have been inspired to appreciate and respect the contents of the Primrose International Viola Archive and the many violists whose lives and works are represented by the archive’s holdings. Leslie Richards spent nearly four years working as a student employee in PIVA, from 2002 through 2006. Leslie had a variety of responsibilities in the archive. The lovely red and white binding of viola scores— many were bound by Leslie. She also helped with the cataloging of viola scores, assisted patrons in locating viola materials, and helped to process the Primrose memorabilia and correspondence collections. Leslie is currently in her last year of a doctor of musical arts degree in viola performance at the university of utah. She substitutes for the utah Symphony viola section and does freelance work as a violist in the Salt Lake City area. She says, “Working in the PIVA opened my eyes to the vast repertoire of resources available to vio lists. As a violist, it’s easy to feel like we have few choices when it comes to choosing repertoire, and while we’ll never have as much as violinists or cellists, there are many more possibilities than one might think. having access to such a large collection of

Emily Barrett Brown was involved at PIVA during her first year of graduate school, from 1995–1996. She worked as a research assistant to David Dalton and also did some work under PIVA archivist David Day. As a paid employee, Emily “did everything from splicing rolls of film together to cataloging and organ izing scores (especially new works sent in by com posers), going through the Paul Doktor collection, and I even vacuumed books out in the stacks with the ‘ghostbuster’s’ back-pack vacuum cleaner.” Emily is currently a freelance violist, performing and recording in the greater Salt Lake area. She still feels the effect of working in PIVA, which, she says, “helped me to see a broad range of things associated with the viola, past and present. I became much more aware of the musical offerings available and have spent some good hours in the stacks looking for recital material to check out and try at home or with other violists or instrumentalists. I check music out regular ly still, especially if I am working on some music that I do not own with a student, or to use while I am ordering the music, or to use if the music is no longer in print! PIVA is a wonderful resource to me and my viola colleagues—who knew that Provo, utah, could be the viola research capital of the world?” Claudine Bigelow was an undergraduate at Byu in the late 1980s, continuing as a master’s degree candi date into the early 1990s. Claudine relates, “As a stu dent, I helped to organize the Paul Doktor collection. I did a great deal of data entry describing the materi als, the markings in them, even measuring them for a very specific and accurate description of the holdings. I learned I needed to be even more meticulous to do it right.” Claudine learned to love the archive, though she did not imagine at the time that she would one day be appointed as Professor of Viola at Byu, taking over David Dalton’s legacy. She explains, “Since I have become a professor at Byu, I have also helped with collection building, done a wide variety of research projects for presenta tions and articles, and helped with decisions regarding the new rooms they are housed in. I have worked extensively with the Primrose letters and Maurice

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