JAVS Fall 2002

56

VOL. 18 No.2 & 3

JOURNAL OF THE AMERICAN VIOLA SOCIETY

Tertis in 1911), played most beautifully by Martin Outram. This is a very moving work from Dale's Suite op. 2, which I have not heard played in the u.s. The recital given by Garfield Jackson and Carol Presland (piano) consisted of pieces by Tertis, and the sonata by Arnold Bax. The latter is one of the finest works in the repertoire and was given an exciting and evocative performance. The final Celebrity Recital given by Michael Kugel and Mireille Gleizes had nothing to do with Lionel Tertis. Mr. Kugel is a virtuoso with a phenomenal technique and a rather fast vibrato. His interpreta tion of the sonata by Rebecca Clarke did not con vey the inspiration that she must have felt when she was composing it. ( She also took some lessons with Tertis and she told me that she had been somewhat hurt when she wasn't mentioned in either of his autobiographies and that he never showed any interest in performing her sonata.) However, Kugel's renditions of Paganini's (arr. Kugel) Duo Concertante "11 carnevale di Venezia," the Bizet Waxman Carmen Fantasie, and some of his own compositions were received with ecstatic applause. I am happy to have made the decision to be present at this special tribute, which was so well organized by John White. I look forward to reading his biography of the man who did so much to put the viola on the map. Ill

theme that Halvorsen used) for two violas, bril liantly performed (and brilliance is needed) by Martin Outram and Garfield Jackson, viola profes sors at the Royal Academy. The trio for three violas that Tertis arranged from Beethoven's trio for two oboes and English horn followed. Three British works inspired by Tertis came next: York Bowen's Fantasie Quartet, Benjamin Dale's Introduction and Andante for Six Violas, and Gordon Jacob's In Memoriam for eight violas; the latter of course Tertis never heard but surely would have appreci ated, especially if it had been played on "Tertis" models. Regarding Tertis model violas, we heard from Wilfrid Saunders, the fine British luthier who met Tertis during the 1950s and made many instru ments according to Tertis's specifications. Saunders was full of humorous anecdotes about this collabo ration, which gave the impression that Lionel Tertis was not always easy to work with. From my own experience when I was a student, I also remember a man with a very forceful personality who could be almost childishly upset if he didn't get his own way. However, the demands that he made on himself and others certainly resulted in an extraordinary career. I had looked forward to hearing the viola ver sion of the Elgar cello concerto for the first time with some trepidation, but it turned out to be an absolutely thrilling performance given by Paul Silverthorne, with the Royal Academy Orchestra, conducted by Vernon Handley. We also heard the Romance by Benjamin Dale (which was orches trated by the composer and first performed by

NOTE 1. John White's biography of Lionel Tertis is sched uled for release in August 2003.

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