JAVS Fall 2005

he was a lawyer and a rock sta r. He chuckled when we told him these stories, only w confirm that rhey were true! He agreed ro attend our performance, and rhen arranged a time ro meet for coffee afterwards. [t was rime for my Viola Congress Debu r. I'm ce rtain rhat the first half of rl1e recital was stellar. I was much roo busy pacing and driving my fri end, bass clarinetist Aage Nielsen, to distraction with my generalized lack of ca lm to have abso rbed any of it. Then it was our turn . 1 introduced the pi ece wi th my standard one-liner "This is a piece by an Icelandi c lawyer, but we like it anyway. " Continuing wim a short Carl Nielsen piece, our performance was over. No one threw anyth ing, and Mr. Stef.·U1nson was pleased with interpretation of his piece. He had never heard it performed, and had forgo tten about it until we had called him. Our meeting later that day resu lted in a new piece for Darkwood, and a life long friend in Finnur. We raced back to hea r William 1-leinesen's Faeroese Melody and Ten Variations, performed by Faeroe Islands resident Nikos Kapnas. Nikos made his own instrument! I was impressed with Nikos' playing and his beautiful viola. 1 had never met anyone from the Faeroe Islands before, and can on ly hope they arc popu lated with people as joyous and generous as Nikos. Lunchtime! T had worked very hard to save up a what I thought was considerable sLun of money for the

viola students of Sa rah Buckl ey, who performed to an adoring crowd. lcelanclic Viola Society members performed traditional Icelandic folk songs arranged by lngvar Jonasson. 1 would love to have insranrly adopted 1 ngvar as my grandfather. Considered co be rhe "Father of the Icelandic Viola," his love and encouragement was present throughout the Congress. Many participants and organizers were his former srudenrs His smiling face was often seen at the very back of the hall, quietly proud of his legacy. Always rhe first ro applaud , Ingvar is an excellent example of everything our profes sion is about. Next was a recital dedicated ro Icelandic music. Many composers whose works were being performed were in attendance. Another recital , "The MLdtifarious Viola", followed. Highli ghts included a performance of the Hans Cal Sonata by Christine Rutledge, and Capricci for Solo Viola, written and performed by Lawrence Wheeler. Steve L·uson and Annie 'lrepanier rr·eared us wa n clecuif)r ing performance of Bohuslav Martinu's Three Madrigals for Viola and Violin. We rhen attended a reception at Reykjavil

The evening featured a perfo rm ance of the Iceland Symphony Orchesua. The orchestra performs in an unusual building that is half concert hall, half movie theater. Yuri Bashmer conducted the orchestra, and performed the Hoffmeister D Major Concerto. Leaving the concert hall at I Opm, 1 was surprised to see there was still daylight! We headed ro Kaffi Reykj avik for some much-needed socializing. Congress organizers had reserved a room in Lhis pub co ensure a location for everyone LO meet. After staying ro chat wirh new and old friends, it was time to head back to my rented apartment. Glancing at my clock, ] saw it was I 2:30am. There was still sunshine! Chad and I wandered the streets of Reykjavik, waiting for rhe sunset rhar never came. Day Three was the day 1 had been alternately looking forward co and dreading: the first day 1 would per form at the Congress! Inspired by the presence of many Icelandic composers, Aage (bass clarinetist) and 1 decided to look up the com poser of the Icelandic piece we were to perform. Grabbing a Reykjavik telephone book and the phone available in our apartment, we contacted Finnur ]orfl Srefansson, composer of the Unison Piece we were mere hours from performing. Mr. Srefansson is an avuncular man who has many apocryphal stories amibured w him. We heard through the rumor mill that Day Three: Look Out Iceland!

V OLUM E 21

NUMB E R 2

29