JAVS Summer 1997

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playing was lacking in emotion. "There was always a srory," ro paraphrase my teacher, Stanley Solomon (former principal viola of

played by Sabina Thatcher was a great oppor tunity ro hear Lillian Fuchs in her role as a composer; and what a forward-thinking per

the Toromo Symphony), who journeyed all the way co Austin to hear his longtime friend and col league and this Congress's dedicatee. The Primrose Scho larship Competition Win ners' Recital was a great display of viola virtuosity. The performances by Cathy Basrak (winner, 1995) and Christina Castelli (1997) would have gladdened the heart of the man after whom the competition is named. The musicality was con vincing, and the virtuosity

son she was! The performance of The Paganini Sonata for the Grand Viola, performed by Geral dine Walther, showed without any doubt that you can write in the grand virtuoso manner for the viola, and the right performer can play it convincingly. Elmar Oliveira was a special guest on the program, joining Sandra Robbins to perform the Three Madrigals by Martinu, a work written for Joseph and Lillian Fuchs. Before performing, Mr. Oliviera thanked the audience for their warm wel come, saying that he could not imagine feeling as safe in a room full of violinists.

Sabina Thatcher. principal, Sr. Paul Chamber Orchestra

Personal Reward

was quite breathtaking. I am convinced that the recorded legacy of Primrose has given both of these performers a wonderful starting point. Christina's biography in the primed program memions that she is also studying chemistry at Oberlin College. I am sure that the diversity of her study comributes ro the richness of her imerpretation. (Speaking of Primrose, I would like to see a represemation of the Primrose Imernational Viola Archive at future congresses.) Csaba Erdelyi opened the Evening Recital on Thursday evening with two very skilled and musically effective arrangemems of works by Bela Bart6k, a Hungarian Suite, and the Suite from El Amor Brujo, by Manuel de Falla. I recall reading about Csaba in The Strad magazine and have followed his colorful career over the years. There was an enlightening discussion of the "New" Bart6k Concerto on two different mornings, and his commems were well informed and conducive co discussion. Lillian Fuchs has been a hero figure for me ever since a dear friend, Everett Gates, gave me a recording of her performing the Bach Sixth Suite on the viola. It doesn't sur prise me at all that her studems saw fit to pay her tribute in the form of a memorial concert. Hearing the Sonata Pasrorale for solo viola

When I think of what I, personally, wanted most out of the Congress, I think first of all that I wanted to get inspired in my own playing. I wanted to sustain the inspiration

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