Skip to main content


List of donors (survey of major collections):

Jan Albrecht (1919–1996) Bratislava, Czechoslovakia
See Introduction for biographical details.

American Music Center New York City
Donation of scores by American composers plus recordings.

Archive of the Internationale Violagesellschaft Salzburg
See Introduction for biographical details.

Australian Music Centre Sydney
Typical of a number of countries listed below, a national music center is maintained in which native composers are invited to deposit their scores. This results in a collection of viola works that have been, and continue to be, solicited by PIVA. In the case of the Nordic countries, Dr. David Dalton initially visited each center in 1995 and worked out arrangements whereby the respective music center would send to PIVA, free of charge as in the case of Finland and Iceland, or at a reduced fee, Norway and Sweden, the viola works in their holdings. Dr. Claudine Bigelow was effective in acquiring the Swedish collection.

Clyn Barrus (1943–1998) Provo, Utah
Dr. Barrus studied at the Curtis Institute of Music and received his diploma from the Akademie für Musik in Vienna. He was appointed principal violist of the Vienna Symphony, and subsequently held the same position in the Minnesota Orchestra. He earned his doctorate in viola at the University of Michigan. Barrus was brought to BYU as director of orchestras. An excellent violist, he continued to perform and teach on a reduced basis. He passed away in 1998 in Provo.

Peter Bartók (b. 1924) Homosasso, Florida
The son of the composer, Béla Bartók, he took an interest in the development of PIVA, for one, because of William Primrose’s association with the composer. Primrose commissioned a concerto for viola from Bartók, which because of Bartók’s death, became his last work. Tibor Serly was requested by the heirs to prepare the concerto for publication from the manuscript that was left. Subsequently, Serly conducted with Primrose as soloist, and Peter Bartók—a recording enginer—in the booth, in producing the popular concerto’s first commercial recording.

Biddulph Recordings London
Peter Biddulph of London has been enterprising in having remastered many recordings of the past artists, such as Kreisler, Elman, Feuermann, and Primrose. Eric Wen has had a guiding hand in this. The Biddulph CD of Primrose playing his transcriptions of the Bach cello suites was taken from a recording made by Primrose in the BYU sound studios when Primrose was about seventy-five. Other solo recordings of Primrose plus those by the Primrose Quartet have enhanced the preservation of the Primrose legacy.

François de Beaumont (1932–1982) Neuchâtel, Switzerland
See Introduction for biographical details.

Michael and Barbara Bloom Leonia, New Jersey

David O. Brown (d. 2004) Brentwood, New York
David Dalton enjoyed a long acquaintance with Mr. Brown through correspondence and telephone. Dr. Dalton considered him one of the two premier Primrose recordings sleuth in the country (the other being David Herman of Ft. Worth, Texas). David Brown had a particular affinity for the sound of the viola, and especially Primrose’s sound. Brown was a public school teacher, and as an avocation, a fencer. He held to his promise of having his vast collection of sound recordings, many never made commercially available, donated to PIVA following his death in 2004—including two dozen different versions of Mozart’s Symphonie Concertante.

Harold Coletta (1917–2001) West Nyack, New York
Mr. Coletta was an outstanding American violist, who, as a young man, was principal violist of Stokowski’s All-American Youth Orchestra. He also became a member of the NBC Orchestra and the Casals Festival Orchestra in Puerto Rico. He taught at Yale University and performed solo concerts in Europe. Coletta was chosen by Heifetz to perform in an ensemble with the cellist, Piatigorsky, and other distinguished musicians in memorable Carnegie Hall chamber concerts, 1964. He passed away in 2001.

David Dalton (b. 1934) Provo, Utah
Dalton and his teacher, William Primrose, founded the Primrose International Viola Archive at BYU in 1974. He had previously received his doctorate in viola under Primrose at Indiana University in 1970. Together they collaborated on two books, one, the memoir of Primrose, “Walk on the North Side,” and the other “Playing the Viola: Conversations with William Primrose,” as well as two TV documentaries. Prof. Dalton taught many years at BYU and also served as president of the American and International Viola Societies, and as editor for fifteen years of the AVS Journal.

Danish Music Center Copenhagen
Cf. note on Australian Music Centre.

Alan de Veritch (b. 1947) Bloomington, Indiana
Generally considered to have been the very first “Young Virtuoso of the Viola,” Alan de Veritch began his legendary relationship with William Primrose in 1960 when Alan was but 13 years of age.

By the age of seventeen, he had already collaborated in chamber music performances with such artists as Jascha Heifetz, Gregor Piatigorsky, Ralph Berkowitz, Josef Gingold, Pinchas Zukerman, and Itzhak Perlman to name but a few. By age thirty, Alan had performed in almost every major concert hall in the United States and Europe, including solo appearances with many major orchestras including the Washington National Symphony, the Los Angeles Philharmonic and the Philadelphia Orchestra.

Alan’s career additionally included ten years as Principal Violist of the Los Angeles Philharmonic under Maestros Mehta and Giulini, recording for almost every major record label and performances on literally hundreds of motion picture soundtracks.

In high demand as a pedagogue, Alan de Veritch’s teaching career included 18 years as Professor of Music at Indiana University, the same professorship previously held by William Primrose. His students have included such major artists as Paul Neubauer, James Dunham, and Nokuthula Ngwenyama. Alan de Veritch served as “President of the American Viola Society” from 1990–1994.

This collection also includes numerous items previously belonging to Alan’s father, Victor de Veritch, (a student of Carl Flesch) and his grandfather, Baron Wilhelm von Winterfeld (a student of both O. Sevcik and A. Dvorak)

Paul Doktor (1919–1989) New York City
One of the eminent violists of his time, the Viennese born Doktor was the son of another distinguished violist, Karl Doktor, an associate of the violinist, Adolf Busch. He was the prize winner at the Geneva International Viola Competition in 1942, and moved to the United States in 1947. An influential teacher, Doktor taught at several institutions, including the University of Michigan, Mannes and Julliard Schools of Music. He concertized in the U.S., Britain, and Europe and produced recordings under several labels. His editions and transcriptions for viola were widely used. In 1977 he was the recipient of the ASTA Artist-Teacher of the year award. Doktor’s collection came to PIVA with the encouragement of one of his preeminent students, Paul Neubauer.

Ulrich Drüner (b. 1943) Stuttgart, Germany
Drüner was a student of the noted pedagogue, Ulrich Koch, and became a member of the Stuttgarter Kammerorchester, and further the Württembergisches Staats- and Opernorchester. He took his doctorate in musicology on the subject of Richard Wagner at the University of Strassbourg. Drüner is probably best known for his modern editions of numerous works for viola, including Paganini’s Grand Sonata, and Das Studium der Viola, consisting of about a hundred original viola etudes from the 19th century. Along side his professional playing career, he has become one of Europe’s leading music antiquarian dealers David Dalton first viewed Dr. Drüner’s impressive private collection of 18th and 19th century viola music in 1982 and wondered if there might ever be the possibility of joining it with PIVA? Dalton kept in periodic contact with Drüner; David Day further microfilmed the collection and developed over the years a closer relationship with Drüner. In late 2007 he and his wife, on invitation from BYU, visited PIVA and declared his wish that his rare collection come to PIVA. The HBLL administration then made possible the acquisition.

Finnish Music Centre Helsinki
Cf. note on the Australian Music Centre.

Maurice Gardner (1909–2002) Miami, Florida
Prior to the 7th International Viola Congress, hosted by BYU, Gardner wrote to the host chair of that event, Dr. David Dalton, with an offer: he would write a new work for viola and orchestra, “Rhapsody,” arrange for a soloist, and expect no compensation in return. The offer was accepted, and this launched this reputation among violists as an excellent composer for the instrument. He was heard in other works at several viola congresses during the ensuing years, including a Barlow Foundation commission through BYU for a concerto for two violas dedicated to Clyn Barrus and David Dalton. He has written for leading string players and quartets, such as the Miró and Miami.

Louise Goldberg (b. 1937) Rochester, New York
She studied at Smith College under Louise Rood, and later with Francis Tursi at the Eastman School of Music, and privately with William Primrose. Dr. Goldberg was a significant person in the formation of the Viola Research Society (precursor of the American Viola Society) in the U.S. She became librarian for rare manuscripts and books at Eastman’s Sibley Music Library.

Icelandic Music Centre Reykjavík
Cf. note on the Australian Music Centre.

Stefan Krayk (1914–1999) Santa Barbara, California
Through the thoughtful encouragement of the violist, Donald McInnes, Krayk’s former student at the University of California at Santa Barbara, the Polish born violinist sent materials to PIVA. An especially interesting piece in the collection is a holograph of some exercises written by Krayk’s teacher, the renowned Carl Flesch. Krayk played for some years as the second violinist in the famed Paganini Quartet before its demise.

Walter Lebermann (1910–1984) Bad Homburg, Germany
See Introduction for biographical details.

Norwegian Music Centre Oslo
Cf. note on the Australian Music Centre.

Dwight R. Pounds (b. 1935) Bowling Green, Kentucky
Pounds took his doctorate in music education with viola as a minor under William Primrose at Indiana University. He has occupied important positions over decades in the American and International Viola Society, and has become their de facto official photographer. He has been generous in his contributions to PIVA, including the photo gallery of prominent violists displayed in the PIVA Room. He has been a research historian for both viola societies mentioned and has published two volumes pertaining to the history of the American Viola Society and the transition from violin to viola. Dr. Pounds has been the author of numerous articles on the instrument that have appeared in JAVS, Die Viola, and The Strad. A prolific letter writer, his correspondence will serve as a significant source of information for those wishing to learn of the viola societies, congresses, Primrose competitions, and general activities pertaining to the viola.

William Primrose (1904–1982) Provo, Utah
See Biographies for biographical details.

Maurice W. Riley (1911–1997) Ypsilanti, Michigan
Dr. Riley was one of the world’s leading researchers of the history of the viola. His two-volume “The History of the Viola,” 1980 and 1991, was the first publication of its kind in English. His vast correspondence with leading violists of the time is a treasure trove within PIVA. He was the host of the first International Viola Congress, 1975, in North America, and outside of Europe, at Eastern Michigan University, Ypsilanti. Riley served in various administrative capacities of the American Viola Society, including its president and editor of its Journal. His wife, Leila, and three string musician sons were enthusiastic supporters of their parents’ far-reaching viola endeavors and influence. A large painting, “Five Giants of the Viola,” by a son Ben Carl hangs in the PIVA room.

Alan Shulman (1915–2002) Mount Tremper, New York
Shulman, a fine cellist, came from a talented family of musicians. His studies in cello and composition were taken at the Peabody Conservatory and the Juilliard School of Music. He became a member of Toscanini’s NBC Symphony and the notable Stuyvesant Quartet. Shulman also performed in New York studio orchestras and composed serious as well as light music. A “Theme and Variations for Viola and Piano,” 1940, and orchestrated later, was his first concert hall worthy composition. It has since become a staple of the American viola repertoire. Dr. David became enamored of this work, as so many violists have, and happened to briefly meet Alan Shulman at the 1987 International Viola Congress at the University of Michigan. He asked the composer if he would be amenable to having the manuscript of the “Variations” repose in PIVA? He said he would be agreeable. Some years later, and when Alan Shulman was incapacitated, his son, Jay, carried out his father’s wishes. The holographs, in the viola-piano and orchestrated versions, are contained in PIVA along with other Shulman works for the viola.

Myron Rosenblum (b. 1932) Sunnyside, New York
He studied with some of the leading viola pedagogues of the day, including Lillian Fuchs and William Primrose. Rosenblum became a member of the U.S. Seventh Army Symphony based in Stuttgart. A Fulbright scholarship took him to the Academy of Music in Vienna. Dr. Rosenblum became a founding member of the Viola d’Amore Society of America. He was a pioneering influence in setting up a relationship with Prof. Franz Zeyringer, founder of the International Viola Society, and in establishing the American Viola Society. Rosenblum was the first president of the AVS and editor of its initial publication, “Newsletter.” He had a guiding hand in the beginnings of international viola congresses in the U.S.

SOUNZ Centre for New Zealand Music Wellington
Cf. note on the Australian Music Centre.

Karl Stierhof (1917–1998) Vienna
Prof. Stierhof served many years as section violist in the Vienna Philharmonic. He was appointed in the 1960s as the first professor per se of viola in the Austrian Hochschulen für Musik system. Previously there had been a designated professor of violin who also taught viola. David Dalton had met Stierhof on two occasions in Vienna, the last time at the 1990 International Viola Congress held at the Vienna Hochschule für Musik. Prof. Stierhof had indicated initially his interest in having his personal viola library come to PIVA—his admiration for William Primrose being a factor—and in 1990 declared his resolve. He sent Dr. Dalton a copy of a part of his will that stated his library be deposited in PIVA after his death.

Swedish Music Centre Stockholm
Cf. note under Australian Music Centre.

Thomas Tatton (b. 1943) Sacramento, California
Tatton took his doctorate in viola at the University of Illinois under Guillermo Perich. His dissertation focused on music for the viola by English composers. At the 1979 International Viola Congress held at BYU, he made his appearance as leader of the Southern California Viola Ensemble. He became a specialist in music for multiple violas, and was the inspiration for performances and commissions for this unique combination. Dr. Tatton taught for some years at the University of the Pacific in Stockton, California, and resigned to become an effective teacher of strings and orchestra conductor in the public schools. He often appeared in viola congresses as conductor of mass viola performances. Tatton served in leadership positions in the American Viola Society, as elected president, and in the International Viola Society.

Rudolf Tretzsch (1905–1981) Berlin
See Introduction for biographical details.

Karen Tuttle (1920–2010) Philadelphia, Pennsylvania
Ms. Tuttle was one of America’s most influential teachers counting among her many students Kim Kashkashian, Jeffrey Irvine, and Carol Rodland. She came tellingly under the influence of her teacher William Primrose at the Curtis Institute of Music. After he left, she was appointed to the faculty at Curtis and later also at the Peabody Conservatory. She was a member of a number of well known quartets, such as the Galimir and Schneider, and also performed at the Casals festivals. Her teaching often centered on coordination and body movement. The idea of donating her library and memorabilia was introduced to her by David Dalton, and it was her students mentioned that brought the gift to fruition.

Emanuel Vardi (1915–2011) North Bend, Washington
Vardi was known as one of the preeminent virtuosos of the viola. Born in Palestine, he came to New York City where he studied violin at the Institute of Musical Arts. He had a yearning for the viola and was greatly influenced by William Primrose. His Town Hall recitals in 1941 and 1943 earned him the Hall’s critics’ award, “Recitalist of the Year.” He was a member of a number of chamber ensembles, played in New York studio orchestras, and became a member of the NBC Symphony. As a soloist he was often heard with orchestras and made recordings, one of the most notable was that of the Paganini 24 Caprices, the first by a violist. He enjoyed a concurrent career as an artist which he emphasized in later years after an accident incapacitated his bow arm. Vardi’s brilliant canvas, “Homage to a Great Violist,” which has connotations of New York City and Primrose, hangs as a gift to PIVA by the remarkable Vardi.

Ernst Wallfisch (1920–1979) Northampton, Massachusetts
See Introduction for biographical details.

Franz Zeyringer (1920–2009) Pöllau, Austria
See Introduction for biographical details.

Various International Music Publishers

In anticipation of the publication of Franz Zeyringer’s final version of Literatur für Viola in 1985, Prof. Zeyringer and Dr. David Dalton sent out solicitations to numerous music publishers the world over to donate to PIVA their published works for viola for inclusion in the lexicon. As a result, near five-hundred scores were sent.