JAVS Fall 1995

64

very old-fashioned bathing cap and looked dreadful. He was wearing a bathrobe with the belt tied round his knees and that was how he walked on. It was hilarious!"

GiselherSchubert Hindemith Institute, Frankfurt (from liner notesofeD WER 6197-2)

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I always enjoy the jAVS, and I must say that I appreciate it more now that I am so far removed from the American viola scene. I am happy to report that New Zealand has some fine homegrown violists and violas. Apropos the editor's letter from London, Tabea Zimmermann recently played the Walton Concerto with our orchestra (the New Zealand Symphony Orchestra) with her husband, David Shallon, conducting. She has to be one of the best violists around now, and none of us could imagine anyone playing a better version of the Walton Concerto. Now, to the subject of my letter, a complaint about an otherwise fine and interesting article by Thomas Hall in Vol. 11, No.1, "The Viola Today in Greater L.A." I quote from the article: "During the 1994-95 season, two visitors have adopted an 'and-l-ean-play-the-viola-too' posture-to no particular critical acclaim, it should be added." This was in reference to appearances by fiddle luminaries Schlomo Mintz and Jaime Laredo. Mr. Hall even allowed himself this comment concerning the Schlomo Mintz performance: "Perhaps the Israelis are experiencing some budget problems." Messrs. Mintz and Laredo are both not only world-class fiddlers, but are also serious part-time violists. As I recall, Mr. Laredo has been playing viola in public for more than two decades, frequently to critical acclaim. I was relieved that Pinchas Zukerman was employed elsewhere during the period in review. I once heard William Primrose express an opinion similar to Mr. Hall's, so allow me to address that "problem" first, lest others remember his comments and use them as a defense. (I searched my copy of Walk on the North Side, but could not find any such comments in print.") My conclusion from the distance of time is this: Mr. Primrose's specific complaints, which focused on recordings, were certainly valid when I heard them (in the mid 1970s), but are now out of date. In that pre-CD era, a large percent age of the few available viola concerto recordings were by Yehudi Menuhin and a young and not-yet-violistic Pinchas Zukerman. Mr. Primrose was no doubt concerned about the prospects of the younger generation of violists and, of course, desired that viola per formances reveal the unique character of the instrument. The viola world has pro gressed enough in the last twenty years to make such concerns no longer necessary, and to give fresh voice to them now seems to me somewhat petty. During this time of great progress by and proliferation of echtviolists we have also seen many more highly regarded violinists playing our noble instrument. Both developments reflect the generally increased stature of the viola. The jAVS, I believe, should appeal to all violists, even if they happen to make their living by playing the violin. I would not like to have the exclusive attitude expressed by Mr. Hall conveyed to my violinist friends who happen to read my copy of jAVS.