JAVS Fall 2003

the way for a surprise performance on opening night from the won derful Norwegian giant, Lars Anders Tomter. A personal favourite, his refined sound was like spun silk.

presentations and arguments about the Bartok Viola Concerto. Don't miss his new book coming our this fall on the subject, from Oxford University Press. Ludwig Hampe took all who desired on a day tour of Frankfurt to learn a bit of its history and to help violists understand the impor tance of this city for Paul Hindemith. We were able to see Hindemith's former home, a tower hundreds ofyears old. Apparently it was so hard to squeeze a piano in it, they tell the story still. We were even privileged to hear the Frankfurt Opera Orchestra, where Hindemith once played, still a thriving musical organization. Coincidentally, Hampe currently plays viola on the first desk of this very same orchestra in the Frankfurt Opera House. Although bombed during the war, the his toric opera house was lovingly refurbished and continues to showcase some of the finest musi cians in Europe. We heard the opera orchestra in a rehearsal of Don Quixote in this beautiful hall. Kongress organized in tandem with rhe Kronberg Academy's Violafest, June 12 - 15. Billed to perform were some of the viola greats of our rime, including Kim Kashkashian, Nabuko Imai, Tabea Zimmerman and Yuri Bashmer. Unfortunately, lmai was unable to perform due to injury but gra ciously supported the event and attended most of the concerts. lmai's need for a substitute paved The most brilliant idea by the organizers was to have this

Frank Strauch's daily task was to lead the viola ensemble class, which gave a final performance at the end of the congress. Frank was also fea tured in an evening chamber music recital with his colleagues Chrisoph Ritter on piano and Klaus Wegener on clarinet playing the Komponistenportrat ofThorsten Kuhn. Another delightful chamber music concert featured Matthew Marshall on guitar with violist Donald Maurice playing Piazolla, Villa-Lobos, a refreshing rendition of the Schubert Arpeggione, and a very cool piece, Haru No Umi by Miyagi Michio, originally for flure and koto. The lectures were a time for learn ing, reflecting and arguing. Fan Tao from D 'Addario Strings gave a psy choacoustic demonstration filled with puzzles and answers about sound. I was able to both speak and play about William Primrose and the wide breadth ofviola materials he left in the Primrose International Viola Archive. My colleague, Myrna Layton, spoke about some of the projects librari ans continue to work on in PNA and how the collection can be accessed. Donald Maurice loved stirring strong opinions with his

Korey Konkol and Nabuko Imai

Each player had something remarkable to offer. Bashmet played his trademark Schnittke Concerto, but his most interesting performance was rhe inventive Brandenburg Concerto No. 6 Konzerr-Paraphrase composed by G rigori Korchmar. His solo part ner was his student Nina Macharadze and they were accom panied by the Moscow soloists. T his piece is Bach gone mad, nightmare music, which is at times funny, frightening and always sur prising- an excellent composition. Bashmet also featured a number of transcriptions, both solo and chamber. The one I looked the most forward to hearing was the Brahms clarinet quintet with the clarinet part transcribed for viola.

Donald Maurice discusses the Bartok Viola Concerto.

JOURNAL OF THE AMERICAN VIOLA SOCIETY 26