Raymond Sird (BSO violin, 1960-1997) oral history interview: Sird, Raymond, interviewee (Side A); Leo Panasevich (BSO violin, 1951-1997) oral history interview: Panasevich, Leo, interviewee (Side B), January 15, 1998; January 22, 1998, 2023-08-16T00:00:00+00:00

Cassette 76: Oral history conducted by Robert Ripley on January 15, 1998 (Side A); Oral history conducted by Robert Ripley on January 22, 1998.

PARTIAL TRANSCRIPT

Tape 76, Side A

Interviewer: Bob Ripley Interviewee: Raymond Sird (BSO violin, 1960-1997) Date: January 15, 1998

0:08 INTERVIEW BEGINS

0:25-6:24 born in 1926 in Worcester, MA; family was not especially musical; took up violin after playing toy instruments as a child; family moved to Vermont and he continued lessons; took classes with FLAGG, who also made instruments;

6:24-10:20 experience with the Vermont Symphony Orchestra

10:20-13:25 attended New School in Philadelphia under Max ARANOFF; was referred by Ed SHERRARD from Vermont Symphony, since they could attend under the GI bill

13:25-15:50 was drafted soon after high school, then joined an army band after the war had concluded; was stationed in the Philippenes during the war

15:50-17:50 transitions between high school and professional career; went to Washington and worked for the War Production Board, attended night school

17:50-21:04 played chamber music; auditioned to get into the New School to play with BRODSKY; played in various orchestras, alternating with school in the summer

21:04-24:49 played in the Cleveland Orchestra with SZELL after several years in the National Symphony; overall positive impressions of the orchestra, though negative of SZELL

24:49-27:30 next went to New Orleans Orchestra with Alexander HILSBERG, servied as assistant concertmaster; liked HILSBERG as a conductor

27:30-32:46 auditioned for the BSO when he was not appointed as concertmaster in Cleveland; audition was more simple than it is today; played a solo of your choice with accompaniement by Bernard ZIGHERA; immediately joined for international tour;

32:46-33:08 positive impressions of MUNCH

33:08-34:56 chamber music experience with the Gabrieli Quartet; did not teach much over the years; worked for the Quinn Music School in Cleveland

34:56-36:30 personal life; works out at the YMCA; was married for 30 years, has two daughters

36:30-37:01 impressions of Arthur FIEDLER and the Pops; enjoyed playing a solo with him

37:01-38:34 positive impression of LEINSDORF, liked the music he brought; also enjoyed STEINBERG, though he was past his prime; liked OZAWA too

38:34-40:47 more on the Gabrieli Quartet, extensive playing experience; were artists-in-residence at the Conservatory; discussion of Raymond's other quartet experiences

40:47-41:43 retirement life; excercises at the YMCA, continues to practice and play

42:01 INTERVIEW CONCLUDES

Tape 76, Side B

Interviewer: Bob Ripley Interviewee: Leo Panasevich (BSO violin, 1951-1997) Date: January 22, 1998

0:10 INTERVIEW BEGINS

0:33-4:32 early life; took lessons with a violin teacher after sister did not enjoy them; studied with KULMAYER in New York next, played first concert with him; father was a gravedigger and longshoreman, went to night school; moved to New Jersey for work; parents were Russian immigrants who met in Brooklyn; studied with PERSINGER and Dorothy MINTE

4:32-9:05 studied with ENESCU in Paris at age 15 for a year; took exams to enter graduate program at Julliard under PERSINGER; saw MENUHIN in Paris, felt Enescu was an excellent teacher; had met MENUHIN in the US before when in Maine with MINTE; reconnected with ENESCU after World War II

9:05-9:51 experience in New York while attending Julliard; mostly limited to the school, since he had scholarships

9:51-10:50 played in the Washington Orchestra with KINDLER; played quartet with Jan TOMASOW, Norman LAMB, and Howard MITCHELL

10:50-13:04 next joined the Ballet Russe; met wife there and they played and traveled together with the Ballet Russe; spent three years with the Ballet; spent summers vacationing in Long Island

13:36-16:46 army service experience; was drafted into infantry; was sent to Brazil for clerical and postal work; tried to join bands but was not permitted

16:46-18:35 returned to playing violin after the war; had to practice extensively; returned to Julliard and back to Persinger

19:35-24:30 took a year off after Ballet Russe to practice and perfect his repertoire; heard of audition for BSO and had positive impressions of the orchestra and Boston; was offered one audition with MUNCH and did not get in, then was invited to audition a second time; this time was successful; at this time was concertmaster of BREVARD Festival in North Carolina

24:30-27:33 was given last chair position, moved up quickly; first impressions very positive, liked MUNCH, thought he was an excellent conductor

27:33-35:58 memories of guest conductors; negative impression of LEINSDORF, felt he picked on orchestra members and had an unlikeable personality; felt that STEINBERG was well past his prime, disorganized as a conductor, and felt that STEINBERG had missed his shot; impressions of Seiji OZAWA; thought CANTELLI was a successful conductor; felt LAURENT was an excellent flute player; memories of STOKOWSKI

35:58-38:23 experience with the Pops and Arthur FIEDLER; was surprised by the experience but enjoyed it; felt Fiedler's tempe was always good; enjoyed him as a person too

38:23-40:06 work outside the orchestra: taught privately and at Brown University, Boston Conservatory; did some solo and quartet work; was on Players' Committee

40:22-41:21 enjoyed golfing and walking, spending time outdoors; retirement life is new \but positive so far

41:25 INTERVIEW CONCLUDES