JAVS Fall 2003

3 was light, curiously but very effectively underplayed ... Zimmermann demanded an effort in concentration on the part of the audience and never exceeded a mezzo-forte, at least as perceived on Row 17. Menachem Wiesenberg's Monodialog combined in one performance techniques rarely if ever never heard in combination as Zimmerman effortlessly sus tained a left-hand pizzicato on

share his anecdotes with the audience in English und auf Deutsch and discuss program order with Philippe Terseleer, his accompanist, en Franc;:ais... and all this from a person with a Dutch passport and a Danish wife. W ith nine compositions by as many composers listed in his recital, including a world pre mier by Pierre Bartholomee, one can only conclude that he possi bly performed the entire Belgian viola repertoire. Other com posers on Canror's program included Albert Huybrechts, Joseph Jongen, Victor Legley, Henri Pousseur, Fernand Quinet, Andre Souris, and Henri Vieuxtemps . Cantor's bow, thus his tonal control, is ever evident throughout the beautifully craft ed performances of this unique and charming man. European congresses by their very nature tend to be smaller and more intimate affairs than their North American counter parts. Many young people who applied to participate in the master classes were even housed with local families in an attempt at defraying their expenses . One measure of the quality of instruction represented at the congress was the excellent tech nical execution, musical finesse, and ensemble capabilities of the various studios represented, par ticularly those ofTabea Zimmerman and Harrmut Rohde.

which delighted audiences at Congress XIII in Boston in 1985, continued unabated in Kronberg. She seemed to be everywhere during the Viola Fest, doing everything-dis cussing technique wi th delegates, examining new instruments and bows, and performing a wide variety of literature. Her opening appearance featured Christopher Theofanidis' Lightening with Life, in Four Colors Comes Down,

a descriptive four-move ment work with the com poser conducting. She played the world premier of Eitan Steinberg's Rava Deravin as solo violist supported by the Kuss Quartet. Her most unique and arguably most compelling per formance was a program of viola-percussion duos

Tabea Zimmerman greets congress delegates.

the C and A strings alternately while fully maintaining an arco melodic line on the higher strings. As if the pizzicato-area duo were not sufficient chal lenge, Wiesenberg also demand ed a rather extended vocalized pedal tone from the soloist, sug gesting a lament. (Incidentally do not try this without a very good ear and physical coordina tion, or if you are easily distract ed.) Her tone was like silk, the notes did her bidding, and her memorable reading of this haunting piece consistently left her listeners spellbound, enchanted, and wanting more.

Kim Kashkashian and Robyn Schulkowski acknowledge applause following their viola percussion recital.

with percussionist Robyn Schulkowsky. The viola con tributed to the percussive effects in Luciano Berio's Naturale (su me/odie siciliane) for viola, per cussion, and tape, with demand

Tabea Zimmermann's first move ment of the Bach Solo Suite No.

Kim Kashkashi an's artistry,

JOURNAL OF THE AMERICAN VIOLA SOCIETY 30