JAVS Summer 2026

elements of theatrical expression, further enhancing the narrative dimension of the work. The piece was rich in contrast and dramatic intensity, filled with originality, surprise, and touches of irony—leaving a powerful and lasting impression on the audience. Performances like these were also in great demand and seats filled early, meaning some congress attendees were unable to find a seat and resorted to standing room in the crowded balconies, or missing the performances entirely. This year’s congress showcased a remarkable variety of formats. A standout event on the morning of the second day was a roundtable devoted to the American viola pedagogue Karen Tuttle. Participants reflected on her teaching across different stages of her life, sharing how her students—now thriving as performers and educators—embraced her unique pedagogical system, particularly her insights on the coordination between body and instrument, and how this approach has been passed down and evolved through successive generations. The discussion not only offered the audience a deeper understanding of Tuttle’s teaching philosophy but also served as a poignant reminder that the impact of an extraordinary teacher can transcend time, shaping and inspiring generations of musicians. That afternoon, another roundtable carried even greater historical resonance. Fourteen former hosts of the International Viola Congress from around the world convened, complemented by archival footage of past organizers featured in a documentary by Karin Dolman. Each speaker shared their journey from the initial planning stages to the conclusion of their respective congresses, revealing a process intertwined with both challenges and triumphs, moments of pressure, and moments of joy. For the audience, it became vividly clear that the 50th Congress could only be realized through the unwavering dedication and perseverance of these organizers over the past fifty years. Thoughtful, moving, and richly reflective, the conversation stood as a powerful tribute—imbued with historical depth and enduring significance.

Beginning on the second day of the congress, a rich program of masterclasses unfolded daily across multiple venues, drawing viola students from around the world to engage directly with distinguished artists. These sessions offered exceptional opportunities for in-depth learning, artistic exchange, and personal refinement. Many of the eminent performers—whom students often know only through recordings and social media—were present in person, including Tabea Zimmermann, Kim Kashkashian, Lawrence Power, and Garth Knox, among others. Over the course of just a few days, leading violists from Europe and North America devoted themselves to mentoring the next generation, offering insight, guidance, and inspiration. These dynamic and captivating masterclasses left students fully immersed, often lingering long after sessions had ended. Such rare encounters not only deepened their musical understanding but also created lasting memories that will accompany them throughout their artistic journeys. These masterclasses were in such great demand that they generated long lines, and the organizers rotated the crowd between performers so that everyone had a chance to learn from these master teachers. The congress also featured a number of world premieres written for the occasion. Among them was The Ancient Mariner for Solo Viola and String Orchestra by Garth Knox, performed by Lawrence Power together with Ostinato Orchestra. In a striking departure from traditional orchestral staging, the ensemble began the performance facing away from the audience. The work itself evoked the image of a ship journeying at sea: in its opening sections, the music vividly imitated waves crashing against the vessel, with different sections of the orchestra suggesting a range of maritime sounds. As the piece unfolded, the initially disoriented seating arrangement was gradually and ingeniously realigned, first into the shape of a ship, then into a conventional orchestral formation by the end. In addition to his instrumental performance, Lawrence Power incorporated

Journal of the American Viola Society / Vol. 42, Summer 2026 Online Issue

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