JAVS Fall 1998

72

Schubert: The Viennese Guitar Quartet for Flute, Viola, Guitar and Cello; Kreutzer: Grand Trio; Beethoven: Serenade for Flute, Clarinet, and Guitar (Arranged by Mattiegka); Paul Neubauer, viola; Falleta, guitar; Still, flute; Thomas, cello; Koch 199667 Scliumann: Marchenbilder. Glinka: Sonata for Viola; Debussy: Sonata for Flute, Viola and Harp; Milhaud: Sonata No. 2 for Viola; Serge Collot, viola; Keiko Toyama, piano; Aurele Nicolet, flute; Ayako Shinozaki, harp; Camerata 30 CM-462 (Albany) Schumann: Marchenerziihlungen; Adagio and Allegro; Fantasiestucke; Marchenbilder; Kurd.g: Hommage a Robert Schumann; Philip Dukes, viola; Robert Plane, clarinet; Sophie Ramin, piano; ASV CD QS 6221 Schumann: Marchenerzahlungen; Marchen bilder, Romances; FantasiestUcke; Carbonare, viola; et al.; Agora AGO 043 Telemann: Concerto for Viola: Concerto for Recorder and Bassoon; Suite in A; David Miller, viola; Dennis Godburn, bassoon; Elissa Beradi, recorder; Philomel Baroque Or chestra (period instruments); Centaur CRC 2366 In trying to get some further information I selected a search engine on my computer because the name of an Australian record company fascinated me. The name of the company is Tall Poppies. I selected it, and a wonderful website came on the screen that should be a model for all companies and artists. I clicked on the name of violist, Patri cia Pollett and a most attractive picture of the artist popped up with her discography on which you could continue for more detailed information. Pollett has two solo recordings on Tall Poppies; the cost of the recordings were mentioned as well as how to order them. The experience reminded me of an other-several years ago I met a violist with Note:

the New York Philharmonic who at his own expense had a CD made of his solo perfor mances. I suggested he send one to a couple of people who might have been in a position to help promote his work. One was an artist representative of Naxos Records who had written me about suggesting viola works to record. The next thing I heard was that the two gentlemen had gotten together to discuss the possibility of making some records. Violists, if you don't promote yourself, who will? The computer should be your friend and advertising companion. Grainger: Arrival Platform Humlet; Suther land: Viola Sonata; Edwards: Enyato II; Sabin: Resting Point; Davidson: Arch for 3 Violas; Sculthorpe: Sonata for Viola and Per cussion; Schultz: Attack; Duo Variations (All the composers are Australian); Patricia Pol lett, viola; Jenni Fleming, piano; Colin Spiers, piano; Michael Askill, percussion; Tall Poppies TP098 In this CD, Entitled "Viola Power," Aus tralian composer Robert Davidson is repre sented-with an original composition for three violas (all played by Pollett). Its title, "Arch," stems from the Italian word for both bows, archi, and the basic form of the piece. It is delightful and when I was sitting in front of the speakers I could easily discern the three distinctly different standing positions Pollett used when recording the different parts. I've already played this 6.42 minute composition on my radio program and have received quite a positive response from listeners. All the compositions are quite varied and enjoyable. Schultz's 18 minute composition seemed at first rather fragmentary but then became more interesting when the variation form became more discernible. Brahms (Orch. Berio): Op. 120 No. 1 for Viola and Piano; Bruch: Romance; Schubert (Orch. Davidson): Sonata for Viola and Piano (Arpeggione); Sabin: New York Souvenir; Review: