JAVS Fall 1995

70

and Tania Fleischer, pianist and faculty mem ber at Chapman University, gave an ambi tious and superbly presented program of mostly standard literature: the Premier Sonata by Milhaud, Miirchenbilder by Schumann, Sonata by Rebecca Clark, and the Dances for Deliverance by Maria Newman. The Dances were heard last summer at the Indiana Viola Congress. Fleischer gave a virtuoso solo per formance of Liebeslied in the Schumann-Liszt version. Tania and John are friends of long standing from days at the University of Michigan, where she accompanied for the studio of Donald McInnes. By chance, they both now work in Orange County. The next October middle-fiddle treat came at the Robert Linn 70th Birthday Concert pre sented by the USC Contemporary Music Ensemble on October 17. Pamela Goldsmith and Donald McInnes played Linn's Fantasia for Two Violas (1992). This witty and fresh piece is a set of variations on a theme by Frescobaldi, which Linn wrote for these two artists and specifically their violas, both being made by Gasparo da Sah, The piece does pro vide ample opportunity for these two instru ments to sound glorious. This work was heard at the Northwestern Viola Congress, played by the same duo. It ageswell. On October 22, 1995, also at USC, Pamela Goldsmith, with the assistance of Bryan Pezzone playing harpsichord and piano, gave a viola recital rich with unusual literature and the kind of high artistic achievement we have come expect from Dr. Goldsmith. The F Major Sonata by Marcello that started the program probably was not originally for viola and harpsichord, but it was treated with sensi ble performance practice intelligence so that the original instrument intended really didn't matter. Her use of a baroque-model bow, little vibrato, ornaments on repeated sections, bari olage, and a lot of fleet-fingered technical daz zle, was a real treat. Professor Goldsmith used the baroque bow again to play the Bach E-flat Major Suite for Solo Cello in the viola version. She demonstrates unusual grasp of baroque traditions and understanding of dance forms

in her performance of these suites. She includes echo effects, really fast and light rhythmic figures, cadenza-like passages, chords treated as the harmonic ornaments they really are, diminution or filling in of melodic leaps, cadential ornaments, etc., etc., all done with seeming abandon of care for technical limitation. This was a repeat of her performance of the same Suite heard in Bloomington last summer. Sonata for Viola Solo by the Polish violinist-composer Grazyna Bacewicz was a mid twentieth-century offer ing. Although the piece was originally for vio lin-the style seems to fall somewhere between Penderecki and Berio-it certainly transfers well to the viola. There were two nineteenth-century bon-bons, both originally for viola: La Nuit, Air de Felicien David arranged by Vieuxternps, and Reverie for Viola and Piano by Wieniawski. Both these morceaux provided a chance to show unman nered, musical virtuosity, and beauty of sound. The program closed with Elegie for Viola and Piano, Ope 73, by Mazas. Originally for viola and orchestra, the piece is in the Carl Maria von Weber virtuoso showpiece tradition. What its connection is to the nor mal spirit of elegy is a mystery. The recital was a triumph. Donald McInnes is scheduled to perform Concertette by Morton Gould at USC on November 1, and later at Kansas City and Dallas. Written in 1943 for Emanuel Vardi, it's scored for solo viola and chamber band, and makes use of jazz, blues, and folk ele ments. Mr. McInnes says it presents some real technical challenges. It is with considerable regret that we take note of the death of Virginia Majewski at the age of eighty-eight, on October 9, in Los Angeles. She was a distinguished member of the Los Angeles viola community for many, many years and will be remembered not only for her prowess as a player, but for her aware ness of those around her, and her kindness.

- Thomas G. Hall Chapman University