JAVS Spring 2010

International Viola Archive (PIVA).

Congress in 1975, I heard about the new catalog of viola music by Franz Zeyringer called Literatur für Viola . You can be sure that I ordered my copy and made the acquaintance of Mr. Zeyringer. The book arrived at my home the fol lowing year, and I read it with great interest. At the congresses in Rochester, New York, in 1977 and in Provo, Utah, in 1979, I took as many opportunities as I could to talk with this man who had done so much for the literature for our instrument. It was at the congress in Provo (BYU) that I made the decision, however foolhardy, to host the next North American Viola Congress at the University of Toronto, June 11–14, 1981. I was fortunate enough to get a Canada Council (of the Arts) trav el grant to attend the Graz Congress in 1980, to see how the job should be done. I was in Graz a little early since I was traveling by car, and as I was walking along the main street that evening I rec ognized Franz also out for a stroll. I went up to him and had a pleas ant conversation, and I told him of some plans I had for “my” congress the following year. The next day we had lunch together with Dr. Francois de Beaumont and Myron Rosenblum, and we had a photo taken together after lunch, which I still treasure. I was indeed fortu nate to have Myron along to trans late for me since my German was about as good as Franz’s English. I thought it might therefore be good to take some German courses to prepare myself for the coming con gress, at which there were sure to be several German speakers.

and marvelous experience. It was spacious in volume, gracious in its design and appointments, and dot ted with mementos, firstly of his family, secondly of viola-related items, and thirdly of memorabilia pertaining to their Austrian her itage—all of which reflected the essence of his and Linde’s lives. He even insisted that I play his Stainer and some of his other violas, a marvelous instrumental experience! Aware of my own military back ground, he showed me two small frames in a quite remote section of his living room that contained his uniform epaulets from World War II and the badge signifying that he had been wounded three times in battle. He confided that, following the hostilities with which he was all too familiar, he was determined to fill his life with music and the important things in life that war had denied everyone—thus his emphasis on his family, the viola, and his beloved home. It is obvi ous that I enjoyed a particularly impressive first visit. Zeyringer was nothing if not a visionary and builder: all of his major organizational accomplish ments began with a simple docu ment, the Pöllau Protokol , co authored with Music Director Dietrich Bauer from Kassel (Germany). The outgrowth of that document has benefited quite literally every violist in the world and resulted in the transition from the original Viola Forschungsgesellschaft (VFG) and Viola Forschungs-Institut (VFI) to the organizations we now know as the International Viola Society (IVS) and the Primrose

On a one-to-one basis, Franz Zeyringer was the gentlest, kindest, and most considerate of men, but regarding his research, music criti cism, or the destiny of the viola archive he had so carefully assem bled, he could be tenacious, stub born, and unwilling to compro mise very high standards and expectations. I have seen him crit icize composers to their faces for what he considered poor efforts, but likewise generously praise that music which pleased him. We were sitting together during the world premiere of Maurice Gardner’s Concerto for Violin, Viola, and Orchestra, premiered Symphony at Congress XV (1987) in Ann Arbor, Michigan. Gardner and his son, Gerry, were sitting directly in front of us. Franz was so enamored with the concerto that, at one point between move ments, he leaned forward to Gardner and said, “Das ist Musik!” Years later, Mr. Gardner confided to me, “The greatest compliment I ever received was from Franz Zeyringer when he said, ‘Das ist Musik!’” What a joy to have wit nessed both moments! He was a dear friend who enriched my life and my love for the viola— I shall miss him very much. by Andre Granat, Donald McInnes, and the USAF

–Dwight Pounds Historian, American Viola Society

When I was given the opportunity to attend the Ypsilanti Viola

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