JAVS Summer 1997

28

more of an architecture in terms of what I do with my practice time. We were treated to a recital by Lars Anders Tomter. I had never before heard of this artist and was glad that I was familiar with four of the five pieces on the program.

presented ranged from the familiar Sonata in F minor by Brahms to a world premiere of a Suite for Viola and Piano by Otto Freudenthal. In the fourth Mixed Recital, I heard an excellent performance of the Gordon Jacob Suite for Eight Violas: In Memoriam Lionel Tertis. It was per formed by high school competition win ners. You need not be famous to be outstanding. I thoroughly enjoyed a recital by Joseph de Pasquale. The concert was a celebration of the fifty years that Mr. de Pasquale spent as principal viola with the Boston Symphony and the Philadel phia Orchestra. It was preceded by a slide show retrospective given by David Dalton. There were many informative aspects to this, but most of all, I enjoyed the gentle humor. I think that violists are blessed with many wonderful attributes, and a sense of humor is one of them! As for the concert, it was more that of a solo artist than of a career orchestral player. The first and longest work was the Premiere Sonate by Darius Milhaud. I felt that the concert was played from the heart by a great man whose powers were undimin ished. There were two transcriptions by William Primrose on the program: From San Domingo by Benjamin, and the Litany fOr All Souls' Day by Schubert. In Primrose's mem

Panel of rhe "New" Bart6k Viola Concerto. L-R, Elliorr Anrokolerz, Donald Maurice, David Dalton, Paul Neubauer, Csaba Erdelyi, Malcom Gillies

What I heard was truly outstanding, a great start to the Congress. The playing was won derful. I think with remorse of how many performers back in Toronto I hadn't gone to hear for the poor excuse that I had not heard of them before! The performance showed abundant virtuosity beyond any debate, but also a thoughtful and soulful approach. In a world dominated by loudness and speed, it was a balm to [he soul to hear the Langsam (last movement) of the Schumann Marchen bilder played as if nothing else in the world mattered. I found the mixed recitals to be very interesting. Not only did I hear a variety of works, I heard a variety of performers and instruments. I heard my longtime friend and colleague Jonathan Craig perform a work called Steps for Viola and Piano, by Malcolm Forsyth. Although John was an excellent player when we were in school together, I could not help but be impressed at the improvement that was the result of several years of intelli gently sustained work. The variety of works Mixed Recitals

L-R, Joseph de Pasquale, Congress dedicatee and Angelin Chang, accompaniest

oirs, he mentions de Pasquale with a lot of admiration but says that he didn't owe him very much. I beg to differ. I heard things in de Pasquale's playing that I had heard in the Primrose recordings. First of all, de Pasquale played from the heart. The bow control was impeccable, and the tone was absolutely refined and full of allure. I never felt that the