JAVS Spring 2011

F ROM THE E DITOR

purchased these on audio cassette— having upgraded from LPs). After I performed for her at the class, she gave advice to me on tension in my body. I’m sure I assimilated some of the information, but for a teenager per forming with a mixture of awe and dread, retaining advice can be difficult. Since that time, I have also learned more about Tuttle from her recordings (Brahms’s op. 91 songs with Elaine Bonazzi is a favorite) and from Matt Dane’s excellent dissertation. So, while my interaction with each of these artists was limited (to say the least), they each had a great influence on me. I am hardly unique in that respect, as the recordings, performanc es, and teachings of each of these vio lists has had a tremendous effect on thousands of violists and non-violists alike. In the twenty-first century, there are more ways than ever to be inspired by or to even interact with violists. You can follow your favorite artists on Twitter and Facebook. YouTube is also an excellent way to see and hear vio lists in historic and modern perform ances (Barshai’s recording of Revol Bunin’s Viola Concerto is a favorite of mine on YouTube). Of course, viola congresses are a highly recommended way to actually meet a favorite violist in person. Unfortunately, very little of the artistry and knowledge of musi cians—particularly teachers—has been recorded. Instead, it traditional ly has been passed on verbally by those who knew and studied with them. This may have be in a formal way, from teacher to student in a pri vate lesson, or in a casual way, when two stand partners have chatted

about the lessons learned from their respective teachers. But with the increase of modern technology, preservation of knowledge has become simpler. So, if you have been greatly influ enced by a teacher or artist (and haven’t we all), think about new ways to pass that knowledge on: videotape a private lesson or blog about experi ences at a recital and share with your students and colleagues. Whatever method you choose—traditional or cutting-edge—pass on the knowledge and achievements of those who have inspired you; there is no better way to keep their legacy alive.

The musical world suffered the loss of four legendary violists during the past few months: Rudolf Barshai, Karen Tuttle, Raphael Hillyer, and Emanuel Vardi. Time and space con spired so that I never met three of these artists—Barshai, Hillyer, and Vardi. But I feel that I did “meet” them via another medium of time and space: the LP record. As a young boy, I marveled over Barshai playing Handoshkin’s Viola Concerto, Hillyer playing concertos by Bartók and Hindemith, and Vardi playing Colgrass’s Variations for Viola and Four Drums . Later, I became acquainted with more of their record ed solo viola performances and their other accomplishments: Hillyer’s recordings as founding violist of the Juilliard Quartet, Barshai’s discogra phy as a conductor, and Vardi’s work as a painter. Karen Tuttle is another matter entirely. I was fortunate to have met her at a master class held at LSU. Before the class, the entire viola studio had dinner with her, where we chatted about Kim Kashkashian’s recording of Hindemith’s complete viola sonatas (I had recently

Cordially,

David M. Bynog JAVS Editor

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