draw from his instrument the richest, most brilliant tone possible, Spivakovsky developed an innovative method of bowing that was described in detail in a book entitled "The Spivakovsky Way of Bowing," by Gaylord Yost. In a lifelong effort to perform his repertoire just as the composers wished their music to be performed, he sought and researched their original sheet music. When he made the discovery that Bach wanted certain chords in his solo violin works played without arpeggiation, he wrote an article entitled "Problem of Arpeggiation in Bach's Music for Solo Violin" that was published in the February 1954 issue of Musical America. A later article by Spivakovsky, entitled "Polyphony in Bach's Works for Solo Violin," published in 1967 in The Music Review, Vol. 28, No. 4, provides the evidence for Bach's preference. Upon hearing, in 1957, a recording by Emil Telmányi of Bach's works for solo violin played with a curved bow, Spivakovsky purchased a VEGA BACH-Bow from Knud Vestergaard of Denmark for himself. Using the curved bow for Bach enabled him from then on to execute the whole four-string chords of the Bach sonatas and partitas with greater ease and sonority. In a spoken introduction to his live performance of the "Chaconne," now released by DOREMI, Spivakovsky explained his motivation for the use of the curved bow. Honorary doctorates Fairfield University, Fairfield, Connecticut, April 26, 1970 The Cleveland Institute of Music, Cleveland, Ohio, June 5, 1975 LP recordings For the following LP recordings, Tossy Spivakovsky's violin, which he sold in 1972, was The Macmillan Stradivari of 1721: J.S. Bach, Sonata No. 1 in G minor, unaccompanied, on Columbia LP Masterworks, 1950. Bartók, Violin Sonata No. 2, Roumanian Dances, with Artur Balsam, piano, on Concert Hall Society. This was the first studio recording of Bartók's Violin Sonata No. 2 with Artur Balsam, issued in late 1947. (The earlier version by the composer accompanying Joseph Szigeti was a live performance, and only issued later.) Beethoven, Violin Sonata No. 8 in G major, Op. 30, with Robert Cornman, piano, on Columbia LP Masterworks, 1950. Beethoven, Violin Sonata No. 10 in G major, Op. 96, with Rudolf Firkusny, piano, on Columbia LP Masterworks, 1951. Leon Kirchner, Concerto for Violin, Cello, 10 Winds & Percussion, conducted by the composer with Aldo Parisot, cello, on Epic Stereorama. Menotti, Violin Concerto, conducted by Charles Munch with the Boston Symphony Orchestra on RCA Victor, 1952. Leroy