Probably the best-known teacher of the bassoon in America and the guiding hand behind many distinguished careers-the author of a famous tutor, "24 Daily Exercises for Bassoon", which masterfully covers a broad range of performance problems and possibilities. Simon Kovar passed away recently at his home in Encino, California.

I had received several letters from Mr. Kovar with background information pertaining to an article on his career to appear in this issue. He was most pleased with the first newsletter, mentioning his friendship and regard for Vincent Pezzi. I know he anticipated news from various players and teachers.

Sol Schoenbach originally suggested an article on Kovar and kindly supplied the above picture. I am deeply sad that Mr. Kovar cannot receive this issue of the bassoon newsletter which is dedicated to him.

He was born in Vilna, Russia, on May 22, 1890. Kovar began the study of violin at an early age, taking up the bassoon at age 20. His major teacher was Ernst Kotte of the Imperial Conservatory of St. Petersburg. Before coming to the U.S.A. he played at the Peoples' Opera House in Riga, Latvia.

His career as second bassoonist of the New York Philharmonic during that orchestra's most legendary era was exciting and eventful.

Above all, however, his ardent dedication over the many years to his students at several leading schools marks him as a unique figure in the development of fine bassoon playing in this country. Among the schools listing Kovar as bassoon mentor were: The Juilliard School of Music, The Manhattan School of Music, Teachers College of Columbia University (all in New York), The Curtis Institute (Philadelphia), The Conservatoire de Music de Montreal (Canada), and The Music Academy of the West (Santa Barbara, California).

Many of today's noted American players, representing several generations, were his pupils: Sol Schoenbach (Philadelphia), Bernard Garfield (Philadelphia), Elias Carmen (New York), Harold Goltzer (New York Phil.), Stephen Maxym (Metropolitan Opera), Arthur Kubey and Erika Kutzing Kubey Mrs. Kubey] (Pittsburgh), Charles Sirard (Detroit), Frank Schwartz, Morris Newman, Arthur Weisberg (New York), Marvin Feinsmith (Israel Philharmonic), Norman Herzberg and Raymond Ojeda (Los Angeles), and many more. Following a recent telephone conversation with Kovar's noted partner in the New York Philharmonic, Benjamin Kohon, I received this fine tribute:

"Simon Kovar was my good friend and colleague for almost one half a century. I met him shortly after he arrived in this country, and soon after, when a vacancy occurred for second bassoon in the New York Philharmonic Orchestra, I recommended him, and we played together for twenty years. We developed fine bassoon team work "par excellence".

"Simon Kovar was my good friend and colleague for almost one half a century. I met him shortly after he arrived in this country, and soon after, when a vacancy occurred for second bassoon in the New York Philharmonic Orchestra, I recommended him, and we played together for twenty years. We developed fine bassoon team work "par excellence".

He began a heavy teaching schedule soon after he joined the orchestra, and as we all know, he became an outstanding tutor, and many of his gifted pupils are now distinguished bassoonists. There were no such good teachers in my youth, and I and other young students had to learn the hard way. I could compare Simon Kovar as a teacher with the famous Prof. Auer who turned out so many brilliant violinists.

His sudden passing was a great shock to me, to his fine family, and all those who knew him. He had phoned me only a few days before his death, inviting me to his home, but unfortunately I could not accept the invitation. He said he was feeling fine.

He lived a full, useful life, and wrote fine studies for the bassoon also, and was highly thought of by all that knew him personally or by reputation, as a fine person, teacher, and musician."

For those having read Anthony Baines' reference (p.153) in his "Woodwind Instruments and their History" (Faber & Faber. London), Benjamin Kohon, Simon Kovar, Roberto Sensale, and William Conrad comprised the bassoon section of the New York Philharmonic's 1930 tour with Arturo Toscanini. The London concerts so impressed listening bassoonists that many made the switch from French to German system soon after, and England is now dominated by the Heckel system where it had been largely French before.

Some former pupils have forwarded memories from student days with Simon Kovar: Bernard Garfield - Mr. Kovar was my teacher from 1939 1942, and I recall his greatest emphasis was in three areas: rhythmic accuracy, tonal evenness and musical expression. On the third point, his thesis was that a phrase was either building toward a climax or receding from one, and this crescendo diminuendo kept his music "warm".

Rarely did a lesson end without his advising me to get a college education which would ensure my livelihood in the event there was no major opportunity for personal musical performance.

Sol Schoenbach (from an interview) - "In 1927, at the age of 12, I was Kovar's student when he suffered a ruptured appendix and peritonitis resulted. With no sulfa drugs available at that date, little hope was given for his recovery. His colleagues in the New York Philharmonic covered up for his absence and helped him with his salary problems. He was in the hospital for three or four months and finally was saved when a medical specialist from Mt. Sinai Hospital made an abdominal incision which successfully drained off the affecting.

During this whole period I rode my bicycle every day across the Bronx to visit my teacher. But I was so small and his relatives were so concerned about Kovar's condition that I was pretty much ignored and was never given a chance to see him.

Finally, when he was recovering and past the danger point, I was one day permitted to step in for a few words with Mr. Kovar. He was pale and had lost so much weight I hardly recognized him, but his very first words to me were, "Do you have a good reed?? Go to George Apchain (2nd oboe, New York Phil. Ed.) and tell him to give you a good reed because you're my student!"

Stephen Maxym - "I remember that Mr. Kovar had an amazing ability to impart an inspiration to each of his pupils. To him there was no question that you had the necessary talent or ability to succeed. If you would only dedicate yourself to the art and study of the finest bassoon playing, you would make it.

Each of us was like a bona-fide member of Kovar's family; lessons had no "time" factor and he was concerned about every aspect of our lives. His attitudes and enthusiasm were imparted to each student to such a degree that a high level of artistry was achieved by most of them.

He often made you feel you could play very much better than your own estimate of your ability-with the result that you actually played "above yourself" quite regularly.

Perhaps the most exciting and valuable lesson times were those after Kovar returned from a rehearsal with Toscanini and, say Beethoven's "Eroica" - and you would study the "Eroica" the same day. Not only did Kovar carefully explain Toscanini's style and interpretation of each piece, but he also compared that with other great conductors under whom he played, pointing out not only the differences in interpretation, but the validity of different tempi and approaches to artistic expression."

Another friend of Simon Kovar, Engelbert Brenner (who plays English horn with the New York Philharmonic today), telephoned these brief stories about Kovar's lighter side:

"Kovar and I lived very near each other and often travelled to work together, to the Philharmonic and to many outside engagements. In this way we became the best of friends. Did you know that he was a pigeon-fancier? Often on the way to outdoor rehearsals for the summer stadium concerts, I would notice bulges in Simon's pockets. When I asked him what he had the only answer I received was, "coo-coo". Then, in the course of rehearsal, Kovar would release the pigeons one by one (they often flew right by the conductors's head), causing bewilderment, because no one seemed to know where they were coming from! The pigeons of course were homing pigeons, and this was Kovar's way of having fun while training them to return to the roost!

On another occasion, and unusual because Kovar was always a serious musician, an incident occurred at a rehearsal with Bruno Walter. Kovar must have walked to work that morning and stopped in a novelty shop. He had purchased one of the "joy buzzer" toys that makes a loud buzz when you hold it while shaking another person's hand.

During a soft passage in a Mozart symphony (woodwinds tacet) Kovar could not resist temptation because he saw me in my usual resting position (hands joined behind the back of my chair). He "buzzed" my palm - I let out a completely surprised holler - Kovar dropped the buzzer loudly on the floor-and Bruno Walter stopped the music! "Gentlemen", he said, "I know all of Mozart's works, but I was unaware that he used this particular percussion effect!"

In the interval since his sudden passing last month, a special SIMON KOVAR MEMORIAL SCHOLARSHIP FUND has been established at the Juilliard School of Music. Arrangements in New York are being handled by Harold Goltzer and Stephen Maxym. Sol Schoenbach is arranging many details in Philadelphia, and among others, Leonard Sharrow, Arthur Kubey, Charles Sirard, Raymond Ojeda, and Norman Herzberg are actively participating in setting up the fund. All of Kovar's former pupils are being contacted and many others besides.

Some difficulty has been encountered in tracing students of Kovar from 1940 to 1955. Would any students from this group please contact Stephen Maxym, 37 Vanderbilt Ave., Manhasset, Long Island, New York? The names of others in this class period would also be appreciated. Thank you.

Anyone wishing to contribute to the scholarship fund may send a check made out to the Juilliard School of Music, noting that the amount is to be used for the Simon Kovar Memorial Scholarship. These are tax-deductible contributions. The correct address is: Development Office, The Juilliard School of Music, Lincoln Center Plaza, New York, New York 10023.