JAVS Summer 1997

27

IMPRESSIONS OF THE 1997 CONGRESS

by julian Fisher

T here was something special about this Congress. In the past, I would receive an invitation to the Viola Congress, and I would think to myself: How can I find a way to attend this? I was merely hopeful. This time, however, my wife ordered me to go! The registration was very easily done, over the Internet, and many events along the way gave me the conviction that this was a guided decision. The plane fare was a gift, for starters. At the airport, I expected a hassle because I was taking an instrument that would not fit under the seat. In the past, as an examiner for the Royal Conserva tory of Music, I had been given trouble with a violin. However, the officials had no trouble with a viola! This was an indi cation of good taste on their part. In fact, they asked me if I was any good at "that thing." Thinking quickly, I assured them that I was and was on my way to Austin. The weather in Austin was hot and humid, and I was dressed in a suit. Until I got to my room, I sweltered stoically. I met several acquaintances at the airport and was very kindly given a ride to the University of Texas campus along with Dwight Pounds, Tom Tatton, and Ann Frederking. I savored the moment when one of the employees at the registration desk asked a distinguished teacher if he was in town for the "Viola Camp." Once settled, I met another violist, a singer, and a composer. I was impressed by the fact that people other than violists were at our Congress. Having come so far, I was really happy to make new friends. Many of these people were acknowl edged leaders in their branch of the music profession, bur they were all so approachable. We had lots of worthwhile conversations and very little talk indeed about "shop matters." The week was chock full of interesting events, and I was hard pressed to decide what not to attend, since it all looked so interest ing. My experience at Viola Congresses in the past had taught me that to go to everything takes one to the point of diminishing returns.

The fatigue of travel and concentrated listen ing takes its toll on the body. Still, I wished that I had missed nothing. Everything had its relevance. I attended a technique workshop by Heidi Castleman on rhythm and scales: "A Path to Musical Vitality." Ms. Castleman was assisted by Ya-Chin Pan, a student at the

Sandra Robbins and Elmar Oliviera with the Martinu Madrigals

Peabody Conservatory. I found it fascinating, and could tell from the eight-page handout that the subject had been well thought out and that it could give the dedicated player an imaginative way of correlating the musical challenges of repertoire with the structure of scales and arpeggios. I am sure that many of the attendees would agree with me that scale technique is absolutely a given in terms of knowing the fingerboard and that there are many bowing articulations that can be em ployed. This class went further than that, with demonstrations of how specific prob lems in the standard repertoire could be prac tised within a scale. I left thinking that not only was this an important thing to keep in mind-during practice-but that I needed to practice more. My thinking now is to have