COPIED
4 mins

OBITUARIES

NORMAN CAROL

Norman Carol, concertmaster of the Philadelphia Orchestra for nearly 30 years, died on 28 April 2024 at the age of 95. He also taught for 35 years at the Curtis Institute of Music.

Born on 1 July 1928 in Philadelphia to Russian immigrants Anna and Max Carol, he began his violin studies aged six with Sascha Jacobinoff, following in the footsteps of his older sister, who also played the instrument. Aged nine he performed his first concert, and at thirteen he was invited to attend Curtis, where he studied with Efrem Zimbalist. He served as the concertmaster of the student orchestra at Tanglewood from 1946 to 1947.

After graduating from Curtis he embarked on a solo career and recorded a recital for RCA in 1954. He joined the Boston Symphony Orchestra under conductors Serge Koussevitzsky and Charles Munch.

Carol was drafted in the US Army for the Korean War. After his discharge in 1955 he became concertmaster of the New Orleans Symphony and subsequently the Minneapolis Symphony, where he premiered Polish–American conductor and composer Stanisław Skrowaczewski’s Violin Concerto.

He joined the Philadelphia Orchestra as concertmaster in 1966 at the invitation of Eugene Ormandy, serving until 1994. He performed solos with the orchestra nearly every season, including works by Bach, Vivaldi, Mozart, Beethoven, Brahms, Bruch, Nielsen, Harrison, Britten and Bernstein.

‘Norman’s passing is the end of an era in our history,’ the orchestra said in a statement. ‘We extend our heartfelt condolences to his family, friends, colleagues, and students. He will be remembered not only as a consummate musician but also as a gifted and devoted leader of the orchestra and as a mentor and friend to many.’

‘He was a great concertmaster because he was a great leader of people, a great diplomat, a direct and unrelenting defender of tradition and reason,’ said violinist Paul Arnold. ‘I will always miss Norman’s impact on my life in the orchestra, and his unique and character-filled way of defining our traditions.’

Carol returned to his alma mater Curtis to teach orchestral repertoire from 1979 to 2014. After he retired from the Philadelphia Orchestra, he taught, performed, and recorded with the Philadelphia Piano Quartet. He played on a 1743 Guarneri ‘del Gesù’ violin that formerly belonged to Albert Spalding.

WERNER HINK

Austrian violinist Werner Hink died on 21 May 2024. He was 81 years old. Hink was born on 18 March 1943 in Vienna. He received his first lessons at the Vienna Conservatorium from Luise Bilek, and studied at the Vienna Academy of Music and Performing Arts with Franz Samohyl, a former concertmaster of the Vienna State Opera.

Hink first served as a member of the Vienna State Opera orchestra from 1964, before joining the Vienna Philharmonic in 1965 as a first violinist. He became concertmaster in 1974 and served until his retirement in October 2008. From 1974 he was a member of the Vienna Court Orchestra.

As a member of the Vienna Philharmonic Hink formed the Vienna String Quartet with members of the orchestra, recording for RCA and Camerata from 1973.

In 1982 he succeeded his former teacher Samohyl as professor at the Vienna Conservatorium. He was an influential teacher at the Pacific Music Festival (PMF) in Sapporo, Japan, where he taught from 1991 to 2010.

‘His impact on PMF was indelible,’ said a PMF statement, ‘influencing generations of Academy musicians as a faculty member of PMF Vienna. His performances captivated audiences as a soloist and chamber musician in addition to his orchestra playing. We will forever be grateful for his immeasurable contributions to PMF.’

Hink’s honours include the Cross of Honour for Science and Art, first class, and the Grand Decoration of Honour for Services to the Republic of Austria.

PAUL PHILLIPS

US violinist Paul Phillips died on 27 March 2024 at his home in Chicago following a long illness. The 77-year-old was a member of the Chicago Symphony Orchestra for 40 years from 1980 until his retirement in 2020.

Phillips was born in Canton, OH, and began studying the violin at the age of four after his father showed him an old instrument retrieved from his family’s closet. He attended the Cleveland Institute of Music, studying violin and chamber music with William Kroll of the Kroll Quartet, Endre Granat of the Cleveland Orchestra and Donald Weilerstein of the Cleveland Quartet.

Prior to joining the Chicago Symphony Orchestra, Phillips became a member of the Indianapolis Symphony Orchestra in 1968, where he regularly performed as a member of the Indianapolis Quartet. He joined the Detroit Symphony Orchestra four years later in 1972.

Phillips joined the Chicago Symphony Orchestra in 1980 at the invitation of music director Georg Solti, where he served in the first violin section until his retirement in 2020. He was a member of the Chicago Symphony Orchestra Alumni Association and served as its president.

As a chamber musician, Phillips collaborated regularly with flautist Donald Peck and pianist Melody Lord, as well as ensembles such as the Gold Coast Chamber Players, Chicago Nine Ensemble, Ensemble à Corde, Chicago Pro Musica, the Chicago Symphony Quartet and Music of the Baroque. For many years he performed on a violin made in 1760 by the Neapolitan luthier Giuseppe Gagliano.

This article appears in July 2024

Go to Page View
This article appears in...
July 2024
Go to Page View
Editor’s letter
American music as we know it owes so
Contributors
JOSEPH CURTIN (Bass-bar acoustics, page 46) is a
SOUNDPOST
Letters, emails, online comments
Hot tickets
News and events from around the world this month
NEWS IN BRIEF
JULIA WESELY Cellist Sol Gabetta wins the Swiss
OBITUARIES
NORMAN CAROL Norman Carol, concertmaster of the Philadelphia
Sounds of Peru
PREMIERE of the MONTH
COMPETITIONS
Tae-Yeon Kim Azura Trio Poiesis Quartet KIM PHOTO
NEW PRODUCTS
DOUBLE BASS ROSIN Stuck in time A new
Life lessons
Sarah Chang
The winner takes it all
Charlotte Gardner reports from the first in-person Windsor Festival International String Competition to take place since 2019, and discovers that the talented competitors still have everything to play for
RESPLENDENT HARMONY
The 1733 ‘Salabue, Martzy’ is one of the finest instruments by Carlo Bergonzi in existence. Jason Price examines the violin and looks at its travels over the past 300 years
A CLOSER LOOK
The Strad’s lutherie consultant Philip Ihle put together this month’s poster of the ‘Salabue, Martzy’. Here he points out several extra details to help luthiers make an exact copy of the instrument
REFLECTING ON SUCCESS
Dutch–British violinist Daniel Rowland has had multiple strands to his career – among them soloist, concertmaster, festival director and quartet leader. He speaks with David Kettle about trusting himself to make meaningful connections and go with the flow
TRIUMPH AND TRAGEDY
British violin virtuoso Samuel Grimson had his playing career cut short by a wartime accident in 1918, but he went on to co-author a groundbreaking book that paved the way for modern violin teaching. Clifford Hall explores his life
A RETURN TO HEAVEN
For the Takács Quartet, re-recording two of Schubert’s string quartets, albeit with a new line-up, has been an eye-opening experience, as first violinist Edward Dusinberre and violist Richard O’Neill tell Charlotte Gardner
RAISING THE BAR
Joseph Curtin reports on a series of experiments at the 2023 Oberlin Acoustics Workshop, which attempted to ascertain the acoustic effects of altering the height and scoop of the violin’s bass-bar
AN ENDURING LEGACY
July 2024 marks the 150th anniversary of the birth of Serge Koussevitzky – the Russian-born double bass virtuoso turned music director, educator and mentor. Fellow double bassist and conductor Leon Bosch examines his hugely influential life
GIO BATTA MORASSI
IN FOCUS
Bow tip replacement – part one
TRADE SECRETS
MY SPACE
A peek into lutherie workshops around the world
Taking the first step
Making and applying the ground coat is a crucial stage of the varnishing process. James Ropp reveals his own method for a preparation containing no oil
SCHUBERT FANTASY FOR VIOLIN AND PIANO – PART ONE
Violinist Alena Baeva stresses the importance of slow and attentive practice when embarking on the opening sections of this monumental work, in the first of a two-part article
All together now
Continuity and intention in the bowing arm
CONCERTS
Your monthly critical round-up of performances, recordings and publications
RECORDINGS
OTTO VAN DEN TOOM TRAUM UND TRAUMA ANTHEIL
BOOKS
Up Bow, Down Bow: A Child with Down
From the ARCHIVE
FROM THE STRAD JULY 1894 VOL.5 NO.51
IN THE NEXT ISSUE
Rachel Podger The Baroque violinist talks about her
ADRIAN CHANDLER
Vivaldi’s op.8 set of violin concertos – including the Four Seasons – was an early inspiration for the British Baroque violinist and founder of the orchestra La Serenissima
Looking for back issues?
Browse the Archive >

Previous Article Next Article
July 2024
CONTENTS
Page 14
PAGE VIEW