JAVS Fall 2000

69

REVIEWS

by David 0. Brown

. ,,,

·· .... ,

Edward Strenkowski has been hard at work finishing a 900-page (approximately) survey of all recorded viola material up to the end of the year 1999. I have received a preliminary copy of about 500 pages and couldn't believe the number of violists and viola compositions I had never heard of before. A composers' index and violists' index will be added. I think this is a monumental undertaking, which should benefit all violists, record collectors, archivists (librarians), and musicologists. Although a great deal ofchamber music will be included, string quartet music will not. This addition would have raised the number of pages considerably. As it stands, the book will cost $350.00. To place an order or to request further information, please write Records Past, 1222 Consort Crsc., Burlington, Ontario, L7M 1]7, Canada. Publication is scheduled for September 2000. Bach: Suites #1-6 for Violoncello (Arr. for Viola); Barbara Westphal, viola; Bridge 9094 A/B Note: Two discs for the price of one. Review: I applaud anyone willing to put their artistry on the line with two hours of solo per formance. While there is much on these discs to be appreciated, there is quite a lot that I believe is misguided. Ms. Westphal sounds like a violist trying to imitate a baroque vio linist such as Simon Standage. There is mini mal vibrato and a very light surface touch that makes me feel she is not into the instrument. I went back and listened to another recording I have of hers and there was a warm, rich tone that sounded entirely different than her play ing here. For many years, I have said that the original instrument performers have been entirely wrong in their approach to Baroque playing. If you are going to play viola da gamba music (or cello music for that matter), then make the best and most typical sound the

instrument can produce. Ms. Westphal's pitch is excellent and the faster movements were elegant in their dance-inspired motions. Additional review: . . . Westphal plays with a gorgeous tone that is captured in a resonant space .... This is a successful recording ... -Michael Ullman, Fanfare Bach: 6 Cello Suites (Arr. for Viola); Patricia McCarty, viola; Ashmont 6100 2 discs Review: Can you imagine three new record ings of the Bach Suites (one to be completed) issued in the past year by three young American players? Patricia McCarty's version ranks with the best of the old and new realiza tions. With outstanding tone quality, subtle phrasing, and superlative sensitivity, I found her interpretation wonderful on all counts. No apology for the modern and lush sound. I raved about her performance long before completely hearing all six suites. Bart6k: Concerto for Viola; Kurtag: Move ment for Viola and Orchestra; Eotvos: Replica; Kim Kashkashian, viola; Netherlands Radio Chamber Orchestra, Peter Eotvos, con ductor; ECM New Series, ECM 1711 289 465 420-2 Review: Kashkashian gives a warm affectionate performance in the Bart6k even if it has not quite the bite that its dedicatee William Primrose gave in this Tibor Serly realization's first performance. There now being two differ ent arrangements-the second done by Peter Bart6k and Paul Neubauer-! wonder why Ms. Kashkashian didn't opt for the latest ver sion? She has become quite a spokesman for new compositions--especially those from the eastern block composers like Schnittke, Kancheli and Gubaidulina. Kurtag's Movement I found to be a logical outgrowth of the Bart6k, which I believe I will like even more on repeat ed hearings. The Eotvos Replica is a waste-a