JAVS Fall 2012

with Kyle Miller, who performed his selections using a Baroque bow. Katherine Hagen next played the Prelude to the C-major suite, prompting Isserlis to comment that Hagen’s interpretation of the prelude as a toccata was “like nothing I’ve heard before.” Indeed, this was an original and thought-provoking interpretation. The opening concerto concert at 8:00 p.m. offered a nice mix of artists, mostly in seldom-heard works. The concert was broadcast live over local public radio station WXXI. Interspersed between pieces— both at the concert and on the radio—were portions of interviews conducted with artists earlier that day at the station. Violist and conductor Wolfram Christ led the IVC 2012 Chamber Orchestra, taking the solo part in a moving rendition of Britten’s Lachrymae . In a won derful programming move, Kim Kashkashian fol lowed with a beautiful performance of Nicolas Bacri’s Folia . Inspired by Britten’s Lachrymae , Bacri’s work follows the same Theme and Variations model with the theme at the end, rather than the begin ning. AVS President Nokuthula Ngwenyama closed out the first half with Max Reger’s arrangement of Hugo Wolf ’s Italian Serenade . This arrangement went one arrangement further by incorporating por tions of William Primrose’s version of the work. Ngwenyama’s performance was impeccable as always, but the work’s adaptation—tenuous even in Reger’s version—suffered from a few too many “cooks in the kitchen.”

Kenneth Martinson, and AVS President Nokuthula Ngwenyama. The combined choirs closed out the session with a rousing rendition of the first move ment from Bach’s Brandenburg Concerto No. 6. AVS President Nokuthula Ngwenyama addresses atten dees at the opening ceremony

Immediately following this session was Annette Isserlis’s Baroque viola recital. With the limited amount of original viola repertoire from the Baroque period, this recital primarily consisted of transcrip tions, including Bach’s second cello suite. The one original work was Michel Corrette’s infrequently heard Sonata for Viola and Continuo, particularly enjoyable here for the presence of a viola da gamba in the continuo group. Isserlis seemed most in her element in the final piece, Antonio Bertali’s Chiacona , where the continuo group was augmented with a lute player; the entire ensemble had a jaunty time with the sprightly music. After a break for attendees to visit exhibits, the first master classes were offered at 4:00 p.m. Annette Isserlis’s session, devoted to Bach’s cello suites, began The combined Eastman and Beijing viola choirs at the opening ceremony in Kilbourn Hall

From left to right: Baroque violist Annette Isserlis, harp sichordist Michael Unger, and gambist Christel Thielmann tune before the recital

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