JAVS Fall 2006

Conferences, Lectures, and Workshops Viola congresses always offer inrcl lecwally stimulating lectures on ubjects of inreresr to the viola world. Ar this congress, many dealt wim issue of health, musicology. history, practice techniques, and alrernari ve rnu ic ryles as wel l as other areas of discu ion all pre sen ted by acrively resea rching experts. One such evenr was a recital-lecture given by Bruno Giuranna. For an hour Giuranna shared his experrise on the Brahms Viola Sonatas, Op. 120. He explained to me:

Barbara Westphal The flnal concert of the congress was given by Barbara Westphal who holds professorsh ip at the Llibcck Music onservarory in Germany. Listening to K-1Shkashian and then Westphal presenr full programs in succession was Like having one piece of fudge right after d1e next. Westphal's program consisted of Bralm1s cherzo in C Min01; Mignone 7i-es Valsa Bmsileiras, Reger o11ata in 8-FfntMajor, Op. 107, Manual de Falla iete Ctnciones Popufares Espanolos, and lasdy Veiuxremps Sonata in B-Fiat Major, Op. 36. Again four bows paved d1e way for an encore. It was a Brazilian piece called "Can9lo erraneja," which can be translated fi·om Pomrguese as " ong fi'Orn d1e region ofSerraneja."

that Tamestit executed gracefully and rasrefull y. When I asked him why he chose the piece he said, "The lassical period viola cor1Cer ros are sometimes considered as dull or a bit boring, but [ think they should be red iscovered wi th all the knowledge that we now have of period instruments, therefo re mak ing ir sound more resonant, and mosr of the rime light and playful, with a lor of sensitivity for the slow movemen ts which are often incredi - bly beautiful. I th ink violists can have a lor of pleasure playing this, as well as it being a challenge techni cally." Certainly it was light, playfll l, sensitive, and imply beautiful. Kim Kashkashian unday afternoon Kim Kashkashian was sd1eduled to perform in con cert. Worries that the concert mighr be under-attended because it was in the las t leg of the congress week were soon pur to rest as the hall fill ed quickly and earl y. The pro gram consisted of chumann Fantasiestucke, Hindernith Sonata, Op./ 1 #4, and Brahms Sonata in £- Flat Major, Op. 120 #2. Livi ng up ro her repu tation, Kashkashian communicated creativity and artistry in strong musical language, givi ng unique interpretation to the works she brought. Her performance was received with immed iate applause thar brought her return three rimes for add ition al bow befo re treating the audi ence with an encore: "Spring T ime," an Armenian fo lk song transcribed by Komidas. Dance like and Auid , the fo llowing applause asked Kashkashian ro return twi e more for bows.

7'he incredible thematic work behind them deploys itselfwith mch an ensi

Westphal des ribed ir as being "of perfect d1;u·m and wistful ness" composed by Brazil's Camargo .uarnieri. When T asked why she chose t.his program Westphal responded d1ar they were "Pieces I LOVE!!!

onrrast! It had robe Kim Kashkashian in recital preces nor everyone plays alJ the rime. " She expressed d1ar in recent years she has come ro love

Brazilian music and could have presenred an entirely Brazilian program, bur recon ciled herself to the request of a rnixrure of f.uniliar and unfa miliar· pieces.

Emmanuel Vardi

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