Playing the Viola: Conversations with William Primrose by David DaltonReview by: Carl RahkonenNotes, Second Series, Vol. 46, No. 1 (Sep., 1989), pp. 82-83Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/940759 .

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NOTES, September 1989 NOTES, September 1989

activities. Pemberton provides an anno- tated description of each entry as it relates specifically to Mason or to an understand- ing of Mason. Bibliographical items are ar- ranged alphabetically, and there is no dis- tinction either between articles and books or primary and secondary sources.

Pemberton is generally careful to get her facts straight, and the various lists seem to be free of errors. Curious omissions, how- ever, weaken the authority of the work. The single excerpt from Mason's writing is ex- tracted from an essay "How Shall I Teach," which was written in 1860 for The Diapason, a Collection of Church Music, edited by George F. Root, although it was originally pub- lished separately by Mason Brothers. Pem- berton tells us neither when this essay was written nor when it was published. And we find neither Root's collection in the bibli- ography nor Mason's essay in the alpha- betical listing of his works. Information in the catalogue of works could be more com- plete. For instance, Spiritual Songsfor Social Worship was copyrighted in 1831 and an undetermined number of fascicles were published in 1831. Volume 1, which con- sisted of several collected fascicles, was also published in 1831. The 1832 printing that Pemberton lists contains the entire collec- tion. Since this collection was assembled in immediate response to Joshua Leavitt's The Christian Lyre (New York: Joshua Leavitt, 1831), the 1831 date is significant.

Most of my concerns have centered upon what is not there rather than what is. Pem- berton has provided an accurate, highly useful volume containing considerable in- formation about Mason's publications and about literature on Mason; such material is available nowhere else. Until someone, possibly Pemberton herself, compiles a more definitive bibliography and catalogue, this work is an essential tool for anyone seri- ously interested in the career and influence of Lowell Mason.

MICHAEL BROYLES University of Maryland,

Baltimore County

Playing the Viola: Conversations with William Primrose. By David Dalton. Oxford: Oxford University Press, 1988. [xii, 244 p. ISBN 0-19-318514-8. $49.95.]

activities. Pemberton provides an anno- tated description of each entry as it relates specifically to Mason or to an understand- ing of Mason. Bibliographical items are ar- ranged alphabetically, and there is no dis- tinction either between articles and books or primary and secondary sources.

Pemberton is generally careful to get her facts straight, and the various lists seem to be free of errors. Curious omissions, how- ever, weaken the authority of the work. The single excerpt from Mason's writing is ex- tracted from an essay "How Shall I Teach," which was written in 1860 for The Diapason, a Collection of Church Music, edited by George F. Root, although it was originally pub- lished separately by Mason Brothers. Pem- berton tells us neither when this essay was written nor when it was published. And we find neither Root's collection in the bibli- ography nor Mason's essay in the alpha- betical listing of his works. Information in the catalogue of works could be more com- plete. For instance, Spiritual Songsfor Social Worship was copyrighted in 1831 and an undetermined number of fascicles were published in 1831. Volume 1, which con- sisted of several collected fascicles, was also published in 1831. The 1832 printing that Pemberton lists contains the entire collec- tion. Since this collection was assembled in immediate response to Joshua Leavitt's The Christian Lyre (New York: Joshua Leavitt, 1831), the 1831 date is significant.

Most of my concerns have centered upon what is not there rather than what is. Pem- berton has provided an accurate, highly useful volume containing considerable in- formation about Mason's publications and about literature on Mason; such material is available nowhere else. Until someone, possibly Pemberton herself, compiles a more definitive bibliography and catalogue, this work is an essential tool for anyone seri- ously interested in the career and influence of Lowell Mason.

MICHAEL BROYLES University of Maryland,

Baltimore County

Playing the Viola: Conversations with William Primrose. By David Dalton. Oxford: Oxford University Press, 1988. [xii, 244 p. ISBN 0-19-318514-8. $49.95.]

David Dalton had a close personal rela- tionship with William Primrose, both as student and friend. Playing the Viola is the second work stemming from this friend- ship. Dalton's earlier collaboration with Primrose was published in 1978 as Walk on the North Side (Provo: Brigham Young Uni- versity Press). The present volume, written in the form of a dialogue between student and teacher, dates from a series of inter- views recorded by Dalton some ten years ago. Dalton asks specific questions of the master, who replies with all the detail and authority of one of the world's greatest ex- ponents of viola playing.

The earlier work dealt with Primrose's life and career as a violist, while the pres- ent book focuses on Primrose's philosophy of playing and teaching. There are other sources that deal with Primrose's ap- proach, most notably the introductions to his scale studies, The Art and Practice of Scale Playing on the Viola (New York: Mills Music, 1954); Technique is Memory (Oxford Uni- versity Press, 1960); and the chapter on vi- ola playing in Violin and Viola (New York: Schirmer, 1976), a book he wrote jointly with Yehudi Menuhin. However no single source contains as extensive an expose as that found here. The dialogue covers every conceivable topic (and perhaps some in- conceivable topics) related to viola playing.

Primrose argues that students may come to the viola by way of the violin, but once there, they should dedicate themselves to- tally to the instrument and its peculiarities. He lays a foundation for playing based on the techniques and philosophies of his own mentors, most notably Eugene Ysaye. Primrose considers such questions as how to motivate students, when to praise, and when to reprove, and explains the value of demonstrating as well as describing. On the topic of practicing, he suggests a "rule of sixty": a passage will become secure after sixty repetitions. Even holding the viola presents problems for some students, an is- sue to which Dalton and Primrose have de- voted an entire chapter.

Because the viola is larger and lower- pitched than the violin, it requires, accord- ing to Primrose, a left-hand technique closer to that used by cello players. Three meaty chapters describe the various aspects of fingerings and other left-hand techniques espoused by Primrose. He teaches that fin- gerings on the viola should be developed

David Dalton had a close personal rela- tionship with William Primrose, both as student and friend. Playing the Viola is the second work stemming from this friend- ship. Dalton's earlier collaboration with Primrose was published in 1978 as Walk on the North Side (Provo: Brigham Young Uni- versity Press). The present volume, written in the form of a dialogue between student and teacher, dates from a series of inter- views recorded by Dalton some ten years ago. Dalton asks specific questions of the master, who replies with all the detail and authority of one of the world's greatest ex- ponents of viola playing.

The earlier work dealt with Primrose's life and career as a violist, while the pres- ent book focuses on Primrose's philosophy of playing and teaching. There are other sources that deal with Primrose's ap- proach, most notably the introductions to his scale studies, The Art and Practice of Scale Playing on the Viola (New York: Mills Music, 1954); Technique is Memory (Oxford Uni- versity Press, 1960); and the chapter on vi- ola playing in Violin and Viola (New York: Schirmer, 1976), a book he wrote jointly with Yehudi Menuhin. However no single source contains as extensive an expose as that found here. The dialogue covers every conceivable topic (and perhaps some in- conceivable topics) related to viola playing.

Primrose argues that students may come to the viola by way of the violin, but once there, they should dedicate themselves to- tally to the instrument and its peculiarities. He lays a foundation for playing based on the techniques and philosophies of his own mentors, most notably Eugene Ysaye. Primrose considers such questions as how to motivate students, when to praise, and when to reprove, and explains the value of demonstrating as well as describing. On the topic of practicing, he suggests a "rule of sixty": a passage will become secure after sixty repetitions. Even holding the viola presents problems for some students, an is- sue to which Dalton and Primrose have de- voted an entire chapter.

Because the viola is larger and lower- pitched than the violin, it requires, accord- ing to Primrose, a left-hand technique closer to that used by cello players. Three meaty chapters describe the various aspects of fingerings and other left-hand techniques espoused by Primrose. He teaches that fin- gerings on the viola should be developed

82 82

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Book Reviews Book Reviews

for a particular musical expression rather than merely for getting from one place to another on the fingerboard. He deals spe- cifically with the problems of lifting the fingers or keeping them down, of shifting to other positions, and of playing double stops.

Perhaps the most significant chapters are those on bowing and tone production. Primrose, quoting Emanuel Feuermann's claim that he "could teach a horse to play with the left hand," finds the greatest chal- lenge to be in bowing. Primrose advocates a low shoulder and arm position; the stu- dent should conceive of the bow as an ex- tension of the arm; and there should never be any thought of pressure in bowing, rather, the bow should be pulled and pushed. He describes and shows in pho- tographs dozens of exercises detailing var- ious ways to hold the bow; the shoulder, elbow, arm, and right-hand positions; the preparation and timing of putting the bow on the string; and the execution of chords. Primrose's descriptions should be valuable to all string players.

The remaining chapters deal with pe- ripheral topics: performing and stage pres- ence, the repertoire and programming, competitions, and career considerations.

In addition to being a comprehensive work about viola playing, this book tells us a great deal about the personality and spirit of William Primrose. His spoken narratives show him to be a well educated and highly cultivated British gentleman. I found my- self reading with a dictionary close at hand (a French dictionary would also be handy) in order to appreciate his masterful use of language. For those of us who never had the privilege of studying with Primrose, Dalton has given us a taste of this master teacher at work.

Playing the Viola is required reading for all violists and should be found on the shelves of every library at institutions where the viola is taught.

CARL RAHKONEN Indiana University

of Pennsylvania

. . . AND BRIEFLY NOTED:

Dizionario enciclopedico universale della musica e dei musicisti. V. 5-8, Le biografie. Edited by Alberto Basso.

for a particular musical expression rather than merely for getting from one place to another on the fingerboard. He deals spe- cifically with the problems of lifting the fingers or keeping them down, of shifting to other positions, and of playing double stops.

Perhaps the most significant chapters are those on bowing and tone production. Primrose, quoting Emanuel Feuermann's claim that he "could teach a horse to play with the left hand," finds the greatest chal- lenge to be in bowing. Primrose advocates a low shoulder and arm position; the stu- dent should conceive of the bow as an ex- tension of the arm; and there should never be any thought of pressure in bowing, rather, the bow should be pulled and pushed. He describes and shows in pho- tographs dozens of exercises detailing var- ious ways to hold the bow; the shoulder, elbow, arm, and right-hand positions; the preparation and timing of putting the bow on the string; and the execution of chords. Primrose's descriptions should be valuable to all string players.

The remaining chapters deal with pe- ripheral topics: performing and stage pres- ence, the repertoire and programming, competitions, and career considerations.

In addition to being a comprehensive work about viola playing, this book tells us a great deal about the personality and spirit of William Primrose. His spoken narratives show him to be a well educated and highly cultivated British gentleman. I found my- self reading with a dictionary close at hand (a French dictionary would also be handy) in order to appreciate his masterful use of language. For those of us who never had the privilege of studying with Primrose, Dalton has given us a taste of this master teacher at work.

Playing the Viola is required reading for all violists and should be found on the shelves of every library at institutions where the viola is taught.

CARL RAHKONEN Indiana University

of Pennsylvania

. . . AND BRIEFLY NOTED:

Dizionario enciclopedico universale della musica e dei musicisti. V. 5-8, Le biografie. Edited by Alberto Basso.

Turin: Unione Tipographico-Editrice Turinese, 1986-1988. [4 v. ISBNs 88- 02-04165-2, 88-02-04166-0, 88-02- 04227-6, 88-02-04228-4, n.p.]

At one point in the process of casually using the first four biographical volumes of the Dizionario enciclopedico universale della musica e dei musicisti (DEUMM) for over a year now, I looked up Wolfgang Boet- ticher and discovered that in this work as in all the other landmarks of postwar mu- sical lexicography, one pretends that the World War II years did not exist in Eu- ropean musicology. We do not know what happened to Wolfgang Boetticher (who ac- knowledges that he studied with Curt Sachs as well as Hans Joachim Moser, the latter a much more controversial figure than Boetticher himself, since he claimed to have been forced to comply with official doc- trine.) About the five years between 1943, when Boetticher seems to have disap- peared (to France?) after receiving his doc- torate, and 1948, when he became a lec- turer at the University of Gottingen, DEUMM is silent.

On the other hand, Friedrich Blume was by no means a Nazi when he wrote a book called Das Rasseproblem in der Musik (Wol- fenbiittel: Kallmeyer, 1939) a book not "elided" in his bibliography in DEUMM. Having read that book, I can assure the reader that it is rather a tour de force-of what, courage? It could have existed only because nobody read beyond the title page. Blume's point was that it cannot be dem- onstrated that race has anything to do with the quality of art. This kind of informa- tion, too, would be appropriate.

Such reflections are as relevant as any other topic in reappraising an encyclope- dia, revisiting DEUMM, the first four vol- umes of whose biographical part I re- viewed in this journal one year ago (vol. 45 [1988]: 72-74). At the time I expressed my admiration for this enormous undertaking but regretted that it was not more nation- alistic (there being now a surfeit of cos- mopolitanism in music lexicography) and complained that so many articles were car- ried over from its predecessor. And, hav- ing myself been overlooked in it along with some other eminent colleagues, I proposed a supplement to be called Dictionnaire des refuses. I take none of these objections back-including the last one-but did I do

Turin: Unione Tipographico-Editrice Turinese, 1986-1988. [4 v. ISBNs 88- 02-04165-2, 88-02-04166-0, 88-02- 04227-6, 88-02-04228-4, n.p.]

At one point in the process of casually using the first four biographical volumes of the Dizionario enciclopedico universale della musica e dei musicisti (DEUMM) for over a year now, I looked up Wolfgang Boet- ticher and discovered that in this work as in all the other landmarks of postwar mu- sical lexicography, one pretends that the World War II years did not exist in Eu- ropean musicology. We do not know what happened to Wolfgang Boetticher (who ac- knowledges that he studied with Curt Sachs as well as Hans Joachim Moser, the latter a much more controversial figure than Boetticher himself, since he claimed to have been forced to comply with official doc- trine.) About the five years between 1943, when Boetticher seems to have disap- peared (to France?) after receiving his doc- torate, and 1948, when he became a lec- turer at the University of Gottingen, DEUMM is silent.

On the other hand, Friedrich Blume was by no means a Nazi when he wrote a book called Das Rasseproblem in der Musik (Wol- fenbiittel: Kallmeyer, 1939) a book not "elided" in his bibliography in DEUMM. Having read that book, I can assure the reader that it is rather a tour de force-of what, courage? It could have existed only because nobody read beyond the title page. Blume's point was that it cannot be dem- onstrated that race has anything to do with the quality of art. This kind of informa- tion, too, would be appropriate.

Such reflections are as relevant as any other topic in reappraising an encyclope- dia, revisiting DEUMM, the first four vol- umes of whose biographical part I re- viewed in this journal one year ago (vol. 45 [1988]: 72-74). At the time I expressed my admiration for this enormous undertaking but regretted that it was not more nation- alistic (there being now a surfeit of cos- mopolitanism in music lexicography) and complained that so many articles were car- ried over from its predecessor. And, hav- ing myself been overlooked in it along with some other eminent colleagues, I proposed a supplement to be called Dictionnaire des refuses. I take none of these objections back-including the last one-but did I do

83 83

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