JAVS Fall 1993

43

OF INTEREST

All in one day, on October 3, a dozen prominent New York area violists, together with supporting instrumentalists, presented a stunning trio of concerts at Merkin Hall-all featuring the viola. Paul Neubauer was Artistic Director and organizer of the wittily titled Voila Viola. Violists in the marathon included Misha Amory (1991 Naumburgwinner), Toby Appel Quilliard), Paul Coletti (Peabody), James Dunham (Eastman), Toby Hoffman (Marlboro, etc.), Katherine Murdock (Mendelssohn Quartet), Paul Neubauer (Juilliard, Manhattan), Cynthia Phelps (principal, New York Philharmonic), Samuel Rhodes (Juilliard Quartet), Marcus Thompson (M.LT), Michael Tree (Guarneri Quartet), and Karen Tuttle (Curtis, Juilliard). Curiously, no less than four of these played Brothers-Amati instruments-a great concert kinship perhaps not heard together since their Cremona days. There were familiar oldies-but-goodies, some little known works, early and late works, and a few premieres in the concerts. The three programs were called Viola and Voice, The Versatile Viola, and The Viola in All Its Glory. Songs with viola by Vaughan Williams, Brahms, Rachmaninoff, Macheroni, and Greene were supplemented by instrumental works. (Didn't planners know the songs with viola of Charles Loeffler or Bach obligato arias?) The Versatile Viola, when first billed as The Viola andHumor, had us all guessing. Beyond ~D.Q. Bach, what? Peter Schickele , was there, predictably, as ~D.Q. Bach's discoverer and amusing commentator. There were concerted works featuring the viola by Turina, Hindemith and Brahms ("Clarinet Trio"). A New York premiere by Marcus Thompson was heard for Roger Bourland's quite accessible and tonal Portable Concerto No.1, with easily synchronized tape (accord ing to information from Thompson,

A DAY - LONG FESTIVAL AT MERKlN HALL WHEN THE VIOLA PLAYS SECOND FIDDLETO NONE! VOILA VIOLA gambist, suspects that such a version of the Gamba Sonata might have existed, and for other sonatas as well. His concerted arrange ment is published with optional gamba or cello parts. Voila Viola indeed! -Alexander Harper Norwalk, Connecticut Dunham, or Trampler, who commissioned it in 1989-it's published with cassette). Equally interesting was John Biggs's six minute Invention for Viola and Tape, played by Cynthia Phelps. The final program, The Viola in All Its Glory featu~ed larger concerted works. Two of these were little-known: Schickele's Monochrome IV for Six Violas (Prelude, Nocturne, Blues), and Gordon Jacob's brilliant and tonal Suite for Eight Violas (Dedication, Scherzo and Drone, Chorale, and Tarantella). To this reviewer's taste, the Jacobs was the hit of the day (the "I-must have-it" piece)-not too virtuosic for symphony-level violists to read at sight. For the grand finale, J. S. Bach had the last word, or at least his modern arrangers and interpreters. Paul Coletti led a modern ensemble (cellos instead of gambas, bass instead of violone) in a vigorous performance ofJohn Hsu's delightful arrangement of the Third Gamba Sonata in G Minor, BWV 1029. This is skillfully arranged as if it were another "Sixth Brandenburg," which in fact followed the Bach-Hsu to conclude the day: Hsu, Cornell's Baroque specialist and

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OCTOBER 3

4:30 pm 8 pol The Versatile Viola The Viola in All its Glory

2 pol Viola and Voice

~1isha Amory, Toby Appel, Paul Coletti, James Dunham, Toby Hoffman, Kath~r.ne Murdock, Paul Neubauer, .Cynthia Phelps, Samuel Rhodes, Marcus Thompson, Michael Tree, vwlas Joined by Wendy Hoffman, me:::.~sopran~;Ro~rt White, t~o:; Ransom Wilson, flute; David Shifrin, clannet; Nick Eanet, Vlolm; Nicholas Mann, violin; Elena Cheah, cello; Marcy Rosen, cello; Fred Sherry, cello; Nancy Allen, harp; Earl Buys, pianc; Anne-~e McDennott, piano and harpsichord

SPEGAL GUESTS Karen Tuttle, Deborah Borda and. Peter Schickele