JAVS Fall 2000

64

VoL. 16 No.3

jOURNAL OF THE AMERICAN VIOLA SOCIETY

selections from four Swedish composers. Noteworthy of these, Allan Pettersson's Fantasie (1936), reminiscent somewhat of Hindemith in abrupt dissonance and musical language, was haunting in its sense ofsolitude. In addition to Perrson's artistry, her sparkling personality and confidence mark her in my mind as one destined for future leadership in the Nordic Section, if not the IVS. One of two programs given by Swedish vio list Henrik Frendin 3 closed the first day of the congress. Supported by the Capella Corinna string ensemble, Frendin presented the only premier of the congress, Daniel Nelson's Romantatronic, a very modern composition leaning on electronic music and the "constantly changing groovy'' edge of popular dance styles for content. In his own notes, Nelson described the opening as "undeniably romantic." The solo viola moved "between an orchestral role and a more soloistic role," specifically in the very fast second section of the piece, giving it what the composer called a "technotronic flavor." The second day of the congress began with a panel discussion on the "Future of the Viola," chaired by Donald Maurice, co-host of next year's International Viola Congress XXIX, to convene in April 2001 in Wellington, New Zealand. Panelists included Maurice, IVS President David Dalton, John White, and Bjorn Sjogren. Topics included establishing an identity apart from that of violinists and cellists, the value of competitions, encourage ment of students, and injury prevention and cure. Mr. Sjogren raised a point that some times can be overlooked in our zeal for the viola: "I am not 'in church' with regard to the instrument," he said. "I am a musician first and only then a violist." A lecture and demonstration by Swedish luthiers and bowmakers, Peter Westerlund and Ulf Johansson, followed the panel. As in much of music, many interesting, colorful, and admittedly subjective expressions emerged, i.e. "the viola A should be bright, but not violin bright." "The viola C should have 'bite;' the tone of the viola should be dark, though clear ... perhaps 'smoky."' Quoting a 1937 Newsweek article, David Dalton contributed the most unique descrip tion of viola tone as the instrumental equiva lent to a "whiskey soprano."

who represented their national sections. The only disappointment was a low turnout, with fewer than thirty registered delegates attend ing the congress. Viola pioneers Tertis and Primrose were well represented at Congress XXVIII, with John White discussing the life and contribu tions to the viola by Lionel Tertis, and David and Donna Dalton featured in a program on the legacy ofWilliam Primrose. Other lectures included a lecture-recital by Myron Rosen blum on the viola d'amore, assisted by IVS Past President Gunter Ojster8ek and Freuden thal. AVS Treasurer Ellen Rose's workshop on the ''Art of Orchestral Auditioning" stressed many important factors, among them preparation, presentation, and expectations. Terje Moe Hansen 1 discussed a unique teach ing method that emphasized the upper register of the violin and viola in equal proportion to the lower from the onset of early instruction. The congress opened with a program by Martin Saving, a young Swedish violist now ready to begin a potentially remarkable career. His well-selected and compelling recital included J.S. Bach's Sonata for Viola da gamba, BWV 1029, Martin Virin's Sonat for viola och piano and Ludwig Norman's Sonat for viola och piano i g-moll, Op. 32. Virin and Norman are Swedish composers. The pieces were marked by excellent dialogue between the viola and piano, although a harpsichord would have been more effective with the Bach. Using a baroque bow, Saving's interpretation was lively, even perky, in its exuberance, though some of the more delicate passages were obscured by the piano. Virin's sonata had clearly defined melodic content and was tonal though modern, exploiting the full range of both viola and piano; Norman's sonata had a palpable Schumann flair. It therefore is not an exaggeration to say that both the Virin and Norman sonatas have potential as undiscov ered gems for violists seeking to expand their Romantic repertoire. Johanna Perrson's 2 tribute to William Primrose included five popular transcriptions by the great violist. Delicate staccato, excellent octaves, and a bowing technique that emanated from a low right elbow, traits espoused by Primrose, marked Persson's playing. The Primrose transcriptions were balanced by