JAVS Fall 2024

musical exchange. This remarkable gathering offered a splendid and multifaceted exploration of viola music, seamlessly integrating recitals, lectures, masterclasses, and presentations. Each event contributed to a vibrant and unforgettable celebration of viola artistry, showcasing the instrument’s depth and versatility. The event not only highlighted the exceptional talent and expertise of its participants but also fostered a sense of camaraderie and mutual inspiration among all of us. It is challenging to single out any of the remarkable sessions and performances, but Jutta Puchhammer Sédillot’s opening concert with the Orquestra Sinfônica Municipal de Jundiaí, conducted by Claudia Feres, undeniably set the tone for the Congress. Her exceptional renditions of Hans Sitt’s Concertino for Viola and Iván Erőd’s Fantasia showcased the extraordinary beauty and expressive power of our cherished instrument, making a profound impression the entire Congress.

with a fresh vitality, intertwining lyrical and melodic elements to delve deeply into the complexities of the human psyche. This unique fusion of poetic and musical exploration offers a profound and engaging experience, exploring the viola’s capacity to convey the rich spectrum of our emotional landscape. Audiences were treated to rich viola repertoires across the recitals, showcasing an array of visionary and diverse interpretations. Povilas Syrrist-Gelgota’s performance of “New Folk Romantic Music from Norway” transported listeners into a rich Nordic cultural heritage, artfully blending traditional local conditions and customs with a fresh, contemporary sensibility. The performance illuminated the unique regional characteristics and customs of Norway, providing a deeply engaging exploration of the country’s musical and cultural landscape. The interplay between his voice and the viola created a unique sonic landscape that resonated deeply with the audience. Emlyn Stam’s solo recital of “The Devil with the Three Golden Hairs,” a play written by Karin Dolman and inspired by the brothers Grimm’s German folk tale, demonstrated an inventive fusion of viola performance and storytelling. The recital captivated the audience with its haunting melodies and breathtaking rhythms. This innovative approach highlighted the viola’s versatility and its ability to bridge the gap between classical music and timeless storytelling, leaving a lasting impression on all who witnessed it. The gala concert, featuring Tatjana Mead Chamis alongside Brazilian pianist André Mehmari, provided an immersive experience that vividly captured the essence of Brazilian music. The audience was treated to a rich tapestry of sounds, including the enchanting rhythms of Brazilian waltzes. The evening reached its zenith with the captivating performance of “Bachiana Brasileira 2.0 for Solo Viola and Jazz Trio,” a groundbreaking composition by Flavio Chamis. This innovative piece draws inspiration from Johann Sebastian Bach’s Six Cello Suites, seamlessly integrating them with Brazilian musical traditions. The result was a dynamic and exhilarating amalgamation that both honored Bach’s legacy and celebrated the rhythmic richness of South American music, providing a profound and eye-opening glimpse into the local musical landscape of Brazil, all while maintaining a deep respect for the classical roots of Bach’s work.

Jutta Puchhammer - Sédillot performed at the opening night at the 49th IVC . Photo courtesy of the 49th IVC.

Many shared recitals held impressive world premieres, each contributing to the Congress’s vibrant atmosphere. Matthew Heap’s “Finding Balance,” a composition for viola, horn, and piano performed by Andrea Houde, Albert Houde, and Luiza Aquino, introduced a novel and intriguing combination of viola and horn. The interplay between the two instruments, coupled with the piano, produced an unexpectedly beautiful and distinctive sonority, captivating the audience with its fresh and unique tonal possibilities; Alina Kubik’s “Emotions: 24 Reflections,” represented an artistic synthesis of verse and music, meticulously capturing twenty-four fundamental human emotions with exceptional nuance and insight. This innovative work integrated a series of limericks with a set of 30-second musical miniatures for solo viola, brilliantly performed by Marcin Murawski. Through this novel and imaginative approach, Kubik infuses the viola

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Journal of the American Viola Society / Vol. 40, No. 2, Fall 2024