By BRIAN LEWIS

What happened to the original manuscript of the Mendelssohn E-Minor Violin Concerto during the bombing of Berlin by the Allied Forces during World War II? What daily practice routine does Itzhak Perlman recommend? Is it best to study Lalo's Symphonie Espagnole before Bruch's G-Minor Concerto? And just who was Gavriloff?

Itzhak Perlman and a student look over a score at a Starling-DeLay Symposium master class. (Photo by Nan Melville)

These questions and numerous others were posed and discussed at the beginning of the summer as 148 violin teachers, performers, and young artists gathered at Juilliard for the third biennial Starling-DeLay Symposium on Violin Studies, held May 31 through June 4. The first event of the centennial celebration of the founding of Juilliard (launched with the School's 100th commencement last May), the symposium brought together participants from 36 states and Puerto Rico, as well as Australia, Belgium, Belize, Canada, Chile, England, Ireland, Italy, Korea, Mexico, the Philippines, Poland, Scotland, South Africa, and Switzerland.

The Starling-DeLay Symposium was established by the late violin pedagogue Dorothy DeLay, with the vision of providing teachers and performers with an opportunity to share and discuss ideas about how to work with promising young violinists. Since its inception in 2001, the symposium has grown in both size and scope. Course offerings have evolved to include not only the original concept of observing master teachers working with young artists in master-class settings, but also to include more in-depth exploration of pedagogical ideas that relate specifically to the technique of the violin and the development of the young artist. New to the symposium this year were classes such as "Concerto Order: Setting the Stage for Successful Learning," "Bach and the Art of Interpretation," "Scales and the Technical Development of the Left Hand," and "Mendelssohn Concerto in E Minor—Interpretive and Technical Ideas." Many of these sessions were "hands-on," with all class participants trying the ideas and technical details being discussed on their instruments in a group setting.

Symposium participants were divided into two groups of approximately 75 people each, to allow for more personal interaction in the classes. During the Mendelssohn classes, they entered Room 309 while historic recordings of the concerto were playing. After a guessing game of who was performing, stylistic choices were the topic of the day, looking at fingering suggestions from Dorothy DeLay and Ivan Galamian. A copy of the concerto formerly belonging to Louis Persinger provided great insight into fingerings of Ysaÿe and Thibaud, which were clearly marked in the part. An examination of the original manuscript showed the differences between the composer's original concept and the influence of violinist Ferdinand David. With violins in hand, the class tried the various fingering possibilities and then discussed the aesthetic choices that had been made by these artists. With so many possibilities for bowings and fingerings, it was essential that the class experience some of these options on their own violins to feel and hear the differences. This approach proved highly successful, as it allowed participants to make a physical connection directly to the instrument in addition to verbal discussion.

"Pedagogy sessions are a helpful way to re-examine some of the basics of violin technique," said Teri Einfeldt, chair of the string department at the Hartt School in West Hartford, Conn. "Specific topics give the sessions more focus, and the opportunity to try the ideas on our instruments is very important. It reinforces the verbal ideas of the presenter."

Exposure to topics related to the physicality of playing the violin has been another ongoing goal of the symposium. This year brought Juilliard faculty member Laurie Schiff for a session, where she worked with violinists on Alexander Technique geared for performing musicians. And in a similar mode of exploring the ever-changing landscape of performance options for the violin, fiddler Mark O'Connor presented a session titled "Exploring Alternate Styles." Participants were treated to a demonstration that included various American fiddle styles, as well as his original compositions. In his understated, quiet style, O'Connor (with the help of cellist Natalie Haas) transformed those sitting before him in Paul Hall. Classically-trained ears relaxed and became accustomed to a new musical language, as he ably demonstrated the influences that have helped bring the awareness of the art of fiddle playing to an all-time high. But to call Mark O'Connor just a fiddler is to sell short his abilities on the instrument itself; plenty of pyrotechnics and lyrical playing impressed the audience. This was the first time that non-classical music has been featured at the symposium. "I was impressed," said Julie Maura, a violin teacher at Wheaton College in Illinois. "I thought it was weird at first, and then I really got into it. I learned a lot from his demonstrations, particularly watching his bow hand. His compositions are amazing and remind me of Paganini."

Other outstanding faculty for the week included Juilliard's Starling Chair holder Itzhak Perlman, Catherine Cho, Dean Stephen Clapp, Glenn Dicterow, Gregory Fulkerson, and Almita and Roland Vamos.

Sixteen-year-old Charles Yang, a young artist from Texas, enjoyed the intense schedule of the symposium. "The experience at Juilliard was amazing," he said. "It was one of the most intense studies I have ever experienced, and it provided a good opportunity for me to meet musicians both young and old from around the globe. This program gave me the opportunity to interact with some of the greatest teachers in the world—all within a week. It got me thinking about my music career seriously."

As the symposium continues to grow and evolve, the original ideas of inspiring and re-energizing teachers will remain strong. Plans are already underway for the next Starling-DeLay Symposium on Violin Studies, which will take place May 29 to June 2, 2007.

Einfeldt—who has attended all three symposia since the first in 2001—finds the timing of the event critical. "As the semester and concert season ends, we musicians-teachers are running on empty," she says. "But after attending the Starling-DeLay Symposium, I feel rejuvenated, motivated, and convinced that I am making an enormous difference in a young person's life. The symposium has created a community that invites professional growth, social interactions, and musically exciting performances. I for one hope it continues indefinitely."

Brian Lewis (M.M. '93, violin) is professor of violin at the University of Texas at Austin and artistic director of the Starling-DeLay Symposium on Violin Studies.