JAVS Spring 2007

of the San Francisco Performing Arrs Library and Museum's oral history Legacy Project. To learn more about Tom Heimberg and other icons of Bay Area musical history please visit their website at SFPALM.org. I Patricia H~ller is a violist in tiJf San Francisco Opera Ordmtra, and a numb(r oftlu AFM Local 6 Board ofDirectors. She is cu"mtly work ing with tlu Northern California Viola Soci~ty preparing a massed viola ftstiLI~ tribute to Tom Hfimberg, platmfdfor }mu 200-: Editor's Note- String Lmer Publishing hasjust released a book of Heimb~rg's writings (including an artie/~ for }AVS): Tom Heimberg, Making a Musical Life (St. Anselmo, Califomia: String Letur Publishing, 2007).

every interval, by the end of the season I should be miles ahead."

settling for lemons when lemon ade was available would never have occurred to him, and he was determined to learn from whatev er crossed his path. Although can cer was a sobering diagnosis, his forthright approach to sharing new knowledge with friends and colleagues helped us transcend the fear we all felt for his future. Through the progression of treat ments, remission, and recurrence, he was always willing to speak about his experiences, particularly about the spiritual path he was traveling. He willingly rook up the challenge of learning ro pass from life with elegance, and we all benefitted from his example. The an Francisco musical commu nity came together to celebrate Tom's 69th birthday with him eight

Beyond the realm of performing, Tom's agility as a diplomatic liaison could defuse potentially combative encounters among high-strung musi cians. I recall many tense pre-curtain standoffs between pit musicians jockeying for elbow room before set cling in for a four-hour operatic jour ney when it seemed that at least one of us was destined to be in a musical srrairjacket for the rest of the evening. IfTom were anywhere around, he was often able to calm jangled nerves with cl1e phrase "it's a matter of inches," and help restruc ture the insufficient space so that everyone could feel, if not comfort able, at least able to breathe. Tom served the wider musical com munity as an ICSOM representa tive, a union board member, and president of the Northern California Viola Society. Through his active participation he reminded us of ilie necessity to nurture our profession, and ofour indebtedness to prior generations of musicians who helped bring about the favor able conditions we now enjoy. His memory ofearlier labor struggles informed each new challenge our orchestra tackled, and his voice was often heard in orchestra meetings. Tom's deliberate, careful words car ried the weight of our collective his tory and helped us keep ilie most important precepts at ilie forefront ofour considerations. When Tom learned of the melanoma iliat eventually was to take his life, he approached this thorny problem with his trade mark inquisitiveness. The idea of

months before his death, and while clearly physically challenged, he gave the impression he felt himself the luckiest man alive. We are fortunate indeed to have had him in our midst, and will cher ish his memory. His deep reverence for music. his love for the viola, his utter joy at being able to par ticipate in the nuts and bolts workings of humanity's journey these threads woven through our lives make Tom Heimberg's story well worth the telling. 1 am grateful for the help ofBasya Pernick

The History of the Viola

Volume I and Volume II

by Dr. Maurice W. Riley

To order, contact:

George Maurice Riley 1230 1 Harbour Circle Ft. Washington, MD 20744 Phone (301) 292-0177 Fax (30 1) 292-0280 Gviolinriley@msn.com

VOLUME 2~

NUMBER 1

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