JAVS Fall 2008

imagination, helping instrumental ists become more attuned to understanding and evaluating his torical issues when interpreting music. Klorman’s style is pragmat ic, not dictating a rigid “perform ance practice” mandate, but intro ducing key documents and style issues that can help performers make more informed musical choices. Klorman used recordings (including one by Joachim) and documents to illuminate his lec ture, and he quickly discussed the application of some of his key points to Carl Stamitz’s Viola Concerto No. 1. The 8:00 p.m. signature event was a brilliant evening full of spectacu lar viola talent. Performed in Frank Llloyd Wright’s Gammage Auditorium, all of the works fea tured orchestral accompaniment, with the Congress Festival Orchestra conducted by Stephen Burns. Nokuthula Ngwenyama began with Darius Milhaud’s Viola Concerto, op. 108, followed by Hsin-Yun Huang’s rendition of Steven Mackey’s Ground Swell . Paul Coletti performed two works, Bruce E. Miller’s Chaconne for Viola and Chamber Orchestra, and Irving Schlein’s Andante and Dance from the Sonata Hebraica . Paul Neubauer completed the pro gram with a work dedicated to him, Joan Tower’s Purple Rhapsody . The composer notes that “In the [work], I try to make the solo viola "sing"—trying to take advantage on occasion (not always) of the viola's inherent melodic abilities. This is not an easy task since the viola is one of the tougher instru ments to pit against an orchestra.

Nokuthula Ngwenyama.

even greater than the sum of the parts; this is a first-class viola ensemble. Paul Coletti made a guest appearance performing Paul Chihara’s attractive Concerto Piccolo . The highlight of this con cert for me was Nancy Roth’s arrangement of Puccini’s Crisantemi , originally for string quartet. Puccini reused the theme from this quartet in his opera Manon Lescaut , where it is written for the viola section. Consequently Roth’s arrangement reminded me more of the opera than the string quartet (where the first violin has the melody). The concert conclud ed with Bevan Manson’s Hotel Viola . The composer “imagined an entire floor of the Ritz-Carlton solely occupied by violists … and how the hotel would respond.” I’m sure the hotel would celebrate and send complimentary champagne! At 2:00 p.m. Edward Klorman suffered from some technical issues delaying the start of his lecture on Viola Performance and Historical Information. Klorman has been lecturing extensively on historical

traits that he personally associated with Jewishness. His presentation was intriguing, and he and Plummer made pleasant musical partners. Other commitments kept me from the 4:30 p.m. luthier demonstra tion with Paul Neubauer (always a treat) and the 8:00 p.m. signature recital with another husband-and wife team, Misha Amory and Hsin-Yun Huang. I also missed the majority of Friday’s events, which included Mark Braunstein’s lecture on rehabilitation after dystonia; a composers’ forum with Kenji Bunch, Bruce E. Miller, Scott Slapin, and Joan Tower; a master class with Karen Ritscher; a Primrose Laureates’ Recital with Che-Yen Chen, Kirsten Docter, and Jennifer Stumm; and a lecture from pianist Yi-Fang Huang on collaborating with violists. I did make it to Friday’s 1:00 p.m. concert by the Southern California Viola Society Choir. This group includes some formidable individ ual violists and the whole seemed

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