JAVS Fall 2016

she recounted with shaking voice that she asked Primrose to put his hand into a mold as if holding a bow. What a fascinating story to account for the existence of these stunning artifacts. Former David Holland students Daniel Sweaney and Renee Skerik joined Mr. Holland himself for a review of Holland’s pedagogical methods. It was an engaging session, with Holland likening the viola to a “bastardized coffee table with a cable for a C string.” To this startling comparison he concluded, “So there are some challenges there,” as the audience laughed. He talked about the demands of each string being different in order for the sound to be even. “As we go down from the A to the cable, the strokes need to be deeper and shorter,” he said. The panel introduced unique exercises for strengthening the bow hand, as well as mind-bending one-finger scales. Choose a scale, and play it with one finger; on tonic, sing the second scale degree, name the position and the note, and then shift to it. Follow this method up and down the fingerboard in order to instill true cognizance of the fingerboard, while developing excellent intonation and aural skills. Other highlights of the Festival included the remarkable performances of the Jasper String Quartet with guest violist Liz Freivogel on Wednesday evening, Robert Vernon and Friends on Thursday evening, and of course, Kim Kashkashian’s full recital with Michael Bukhman, piano, on Friday evening. Though sound sometimes was lost within the recesses of the large Warren Concert Hall, a

Guest violist Liz Freivogel (center) joins the Jasper String Quartet (photo credit: Claire Stefani).

seat close to the stage awarded fantastic acoustics and views of the performers’ faces and technique. Watching the Jasper Quartet was especially rewarding, as each player truly felt and expressed not only their own part, but that of all of the players. Additionally, Finney Chapel was home to the extraordinary sound of the Rodland Duo (I never would have thought that viola and organ would work so well together!), as well as the Festival closing recital on Saturday afternoon. Primrose Competition winner (2014) Zhanbo Zheng performed Shostakovich’s Viola Sonata with pianist Allie Su. While I didn’t always agree with their interpretation, Zheng’s technical ease with the viola, as well as the breadth of sounds he created, was stunning. Primrose Competition winner (2011) Ayane Kozasa performed Telemann’s Fantasie No. 1, Vieuxtemps’ Élégie, and an untitled new work by Paul Wiancko (b. 1983), which Kozasa told the audience is a movement from a Sonata that has yet to be completed. Notable moments in the Wiancko highlighted Kozasa’s stellar pizzicato technique. Behind-the-bridge pizzicato had the audience leaning forward in their seats, while pizzicato in unison with pianist Yu Sakamoto’s staccato produced a unique, hollow, yet resonant sound that filled the chapel. I look forward to hearing the entire work in the future. In addition to myriad solo and chamber performances, this year’s Festival was unique in its inclusion of viola ensemble works. Throughout the

Jasper String Quartet: J Freivogel (First Violin), Sae Chonabayashi (Second Violin), Rachel Henderson Freivogel (Cello), and Sam Quintal (Viola) (photo credit: Claire Stefani).

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Journal of the American Viola Society / Vol. 32, No. 2, Fall 2016