North Carolina School of the Arts
Master Class: Josef Gingold
One aspect of Josef Gingold’s
personality that is most readily
apparent is his almost child-like
kindness. In the master classes
he has given so far, he has
displayed great patience and
encouragement, major assets for
any teacher. His jovial warmth is
extremely contagious and it is
very difficult to leave one of his
classes in a desultory state
(unless, of course, one has played
badly). His odd teaching habits
(like insisting upon tuning a
pupil’s violin while the pupil is
holding the instrument) are
strangely endearing; I especially
enjoy his plucking ac
companiment to anything
anytKDdy else may play.
Gingold has had an extremely
varied and prolific career. He
was born in Brest-Litovsk,
Poland and came to the United
States when he was 11. After
studies with Vladimir Graffman
in New York City, he continued
his training with Eugene Ysaye
in Bruxelles, Belgium. His
credentials are really too
numerous to mention but
highlights of his proffesional
activities include: Member of the
N.B.C. Symphony for 7 years,
Member of both the N.B.C. and
Roger Hall
Forms
Company
Roger Hall has resigned as
President of the North Carolina
School of the Arts Foundation, in
order to head Roger Hall
Associates. The new firm, based
at 445 Park Avenue, New York, is
involved in management,
promotion, consultation and
production in the performing arts
and entertainment industries. In
addition to these activities, Hall
will become associated wito the
Yale School of Music as a con
sultant for special programs.
Robert Ward, President of the
School has accepted Hall’s
resignation with the following
statement: “Roger Hall’s
decision to form a new arts
management company and give
up his fund-raising position in the
Spool’s Foundation is one which
must be respected. In his new
undertaking, he will have the
a^antage of his long experience
with orchestras and recording
companies. We are grateful for
the service he has rendered the
School during his tenure here and
we wish him great success in his
new venture.”
the Primrose string quartets,
Concertmaster and soloist of the
Detroit Symphony for 3 years and
of the Cleveland Orchestra under
George Szell for 13 years. He has
con^iled and edited a book of
orchestral excerpts consisting of
300 works in the Symphonic
repertoire, published by In
ternational Music Co. of New
York. This three volume work is
a standard text used by students
and symphony players
throughout the world. He was
named the 1968 “Teacher of the
year” by the American String
Teachers Association. He has
represented the United States on
the juries of many International
Violin Competitions and given
Master Classes at the National
Conservatory of Music in Paris,
France. He was also a guest
teacher for 6 weeks at the Toho
School of Music in Tolqro, Japan.
For the past 17 summers he has
been head of the Chamber Music
Dept, at the Meadowmount
School of Music in New York and
is currently a Distinguished
Professor of Music at Indiana
Univ.
A master class of Gingold’s
tends to take on the atmosphere
of discovery and joyful
enlightenment; he wants to hear
Student Play
Produced
For the first time in the history
of the school, a writing major has
had a play produced. On January
8 and 9, “Moving Man” by Ed
Schloss was presented. A play
about ethnocenticism, “Moving
Man” takes place in a Harlem
apartment where a white family
comes to visit their black
housekeeper, and both races then
impose their values on each
other.
William Dreyer directed the
play with the cast consisting of
Margaret Bynum, Steve Geiger,
Steve Henderson, Aaron Levin,
Marilyn McIntyre, Kathy
Masterson, and Karen Wilson.
Schloss commented that he
writes because life goes by so
quickly and writing is a way of
arresting the moment and
reflecting on it.
The writing program is run by
the Drama Department and
consists of four students and one
teacher, Mrs. Kirby Smith. The
students attend a writing
seminar and have tutorials.
Schloss plans to submit the
play to the Eugene O’Neill
Memorial Conference.
you play, not to find out what is
wrong with a pupil’s playing, but
rather to hear music and to enjoy
the atmosphere that is created by
the music. He enjoys com
municating with people and is
always asking for another
communicating with people and
is always asking for another
person’s opinion when there’s a
doubt in his own mind. At Indiana
University Janos Starker oc
cupies a studio next to his and
they often consult each other on
teaching methods and specific
problems of pupils. His basic
nature appears to be one of
warmth and affection and he
even carries around photographs
of his grandchildren in his violin
case. In general he has been
greatly complementary of the
violin students at our school and
has virtually heaped praise on the
two violin teachers here, Vartan
Manoogian and Erik Friedman,
for toeir fine work. Gingold’s
positive attitude towards life and
towards violin playing in par
ticular is, indeed, a choice asset
for learning at this school.
-Clifford Young-
§.
Page 5
/
V.'
Two Present
Dear Liar”
a
/
“If I could write letters like
you, I would write letters to
God.” This is a quote from the
production “Dear Liar.” The
comment is made by Mrs.
Patrick Campbell to George
Bernard Shaw in one of her many
letters to this gentleman. It is
from this correspondence bet
ween these two people, actress
and famous playwri^t, that
Jerome Kilts has adapted a two
act comedy of letters. The play
covers the 40 year relationship
which these two unusual people
had through their personid and
often impersonal letters.
James Beard, one of the
school’s acting teachers, h« the
part of G.B.S. and of this play he
comments: “an exciting insight
into two extraordinary people.”
Lesley Hunt, also in the Drama
School, plays the part of the
famous actress for whom Shaw
originally wrote “F^gmalion.”
The play is directed by Paul
Meier and presented at Reynolda
House.
There have been two presen
tations and will be one tonight.
Reservations should be made by
calling Reynolda House, 72M325.
There is no admission. It is, as
Mr. Beard calls it, “an
engrossing piece.”
42 Dancers
Continue Work
Up to date there are numerous
dance students who have left the
school and have gone their
septate ways either to continue
or discontinue their major study
of ballet or modem. There are
approximately 42 former
students now dancing
professionally. Some of the
companies represented are
American Ballet Theatre, Alvin
Alley American Dance Theatre,
Atlanta Ballet Company,
California Ballet Company, Les
Grands Ballet Canadian, Qiicago
Opera Ballet, Dance Repertory
Company, Geneva Ballet
Company, Louisville Qvic Ballet
Company, Ballet Clasico de
Mexico, National Ballet of
Washington, Netherlands Ballet
Theatre, New York City Ballet
Company, Pearl Lang Dance
Theatre, Pennsylvania Ballet
Company, Pittsburgh Ballet
Theatre, Royal Winnipeg Ballet
Company.
The number one largest in
filtration of NCSA students is
eight in Les Grands Ballet
Canadian. Pennsylvania Ballet
Company and Dance Repertory
Company run a second place with
five students each. Harkness is
third with four students. Pitt
sburgh is fourth with three and
California is fifth with two
students.
Two are on Broadway. Denise
Pense is in “Rothchild” and
Murphy Cross is in “Applause”.
Just as in other professions,
there are those who find their
proper place in other areas. For
example, Cathy Wonsavage, a
high school ^aduate of last year,
is now married and working with
her husband in Winston-Salem.
Jan Home, a former ballet
major, is now majoring in French
at University of North Carolina.
Sandy Watson is doing well as a
model for “Seventeen
Magazine”.
In the six year history of the
North Carolina School of the Arts’
Dance I^partment, a reputation
is building in the dance world.
The 42 students are proof of that
reputation. -Cortlandt Jones
^ ^ A »^ ■vorufliii
An Entertainment In Court” Completes Extensive Tour
Bill Dreyer, the man who
produced and directed the Tales
from the Toybox last year, was
called upon to produce another
children’s show to be taken on a
one week tour in the eastem part
of the state, and a two-week tour
of the schools in the Winston-
Entitled An Entertainment at
Court, the production grew out of
a collective idea of presenting
Shakespeare for children. In the
production there are folk dances,
excerpts from plays, a mask
I^ay, harpsichord music and
madrigals performed in the
atmosphere of an Elizabethan
Court. Included were: the
balcony scene from Romeo and
Juliet with Michael Reader and
Sandra LaVallee; the skit
Pyramus and Thisbe from the
play A Midsummer Night’s
Dream; and an original mask
play based on the Roman myth
about Pandora, created by Nancy
Mette and Sandra LaVallee and
narrated by Carol Levinson.
All in all, 28 performances were
given, and there is a possibility
that it may be videotaped for
television.