ViolaTribe

Posts Tagged ‘Bruno Guiranna’

The experience I had in Cincinnati reinforced my daily struggle to find the value to my community for what I do.  The” bubble of viola”  that I had the good fortune to experience is still just a bubble…unless we can blow that bubble beyond the borders of the concrete walls of CCM…or any institution.

The journey  from Nashville to Cincinnati to this year’s International Viola Congress began in a symbolic and somewhat humorous way.  What I love about being a musician in Nashville:  the eclectic experiences, the rich musical history, the sultry smell of Magnolias in the summer heat, the warmth of the people.  What I don’t love about being a violist in Nashville: being isolated from a rich and diverse classical music community, the lack of high caliber chamber music and certainly international solo recitals.  There are the occasional, if not annual appearances of orchestras making a stop at the wonderful Schermerhorn Symphony Center (currently in recovery mode after the recent flood) and the occasional solo appearance- Gil Shaham, for example performed brilliantly a few years ago.  But where are the string quartets and chamber ensembles?  We just are not on the circuit.  The Nashville Symphony is a fortunate organization that has the support of a very enlightened patron.  Beyond those borders it can be difficult to find performance sponsorship.

So, the journey to Cincinnati was a reminder of a few wrong turns and the dilemma of the predicament in which I find myself.  The roots of inspiration…  and the reminder of some personal challenges.

Rain.  Buckets of Rain.  Rain that will make you panic when your town has just experienced a major, unexpected 500 yr. flood.  Like any trauma experienced, you can forget, but it doesn’t take much to stir up the imagination.  A mother leaving her children behind- in the driving rain.

After traveling a number of miles at an alarmingly slow pace- the rain settled down to a steady summer pace.  However, the push forward lost momentum when my car rounded a hilly curve and I  squinted in the dull mist to clarify what I believed to be true- one of those crazy double wide houses, as in pre-fab, being hauled around the same curves and hills that complete one side of the rim of the geographical bowl where Nashville rests.  Glad that I had opted not to drive the mini-van ( by the way I strongly feel auto makers should market 2 for 1 deals for soccer moms- -one minivan and one mini-coupe), I worked my way into the passing lane with all the other frustrated drivers.  I pass successfully - then, blinking twice, I focus on not one, or two, but three more of the exact same looking pre-fab get-ups stretching ahead for well…. a long way.  And so, my mind starts to mull  over this society that shuns art and architecture in favor of …the Pre-fab…shuns education in favor of deep, uninformed roots…which chooses to support the arts through a system of donations and crossed fingers.  It is with humor and anticipation that I continue my journey to the 38th International Viola Congress–” a short drive, but a world away from Nashville.”

Upon arrival, with just a few minutes to settle in, I took my seat at the Thursday evening Gala Concert.  The program was as follows: A String Around Autumn by Takemitsu and performed by Nobuko Imai;  Concerto for Vla and Orchestra by Bartok and performed by Lawrence Dutton;  Concerto for Vla and Orchestra, Op. 36 by Rosel and performed by Walter Kussner;  and Concerto for Cello and Orchestra, Op. 85 by Elgar and performed by David Aaron Carpenter.

This concert started out beautifully and serenely with a performance by Nobuko Imai.  This was the first time I had heard Imai perform live.  I have listened many times to her recordings and have always admired her warm, lyrical playing.  I was surprised to feel less engaged with her performance than I had anticipated- the reason became clear to me later in the evening.

Next, I heard Lawrence Dutton perform Bartok Concerto.  We usually don’t hear him perform as a soloist, so it was interesting to see him switch gears from chamber music to standing in front of an orchestra.  It seemed that he muscled his way through the Bartok, perhaps doing what we call a Michael Jordan maneunver- been there done that, let’s try something a little different.  More power to him.

After intermission, we were presented with music that I had never heard, seen, or even heard of prior to this performance.  In fact, I had never heard Walter Kussner either and I appreciated the enthusiastic performance.  He drew me into the music and I don’t think the piece will rush to the top of the charts- but I was thrilled to hear Walter Kussner play that viola.

At this point in the evening, I was beginning to  be thankful that I wasn’t sitting in the orchestra preparing  to perform the 4th work of the evening!  I wasn’t even sure that my listening ears were prepared…Since I had moved upstairs after intermission, thanks to a very wriggly, tall person sitting next to me- I thought I would make my way back downstairs for the final piece.  My timing was terrible and I found myself standing up next to the door ( feeling a little tempted to escape ,if needed- due more to a character trait than the music).    Well, the time flew- from the 1st note to the last, I was transformed and excited to be hearing the viola.  I had heard the YouTube version of this piece and was less than sold on that performance.  But now- Caprenter was ON and I left the concert feeling very satisfied with the viola and having a new spark of enthusiasm- a seed of inspiration for the instrument that I know as my own.  And- mystery solved- this is where the Imai performance had fallen a little short for me.  Again, she played beautifully…no complaints except that my anticipation seemed to rise above the real time experience.  I’m still a super fan.

Day 2- Up and out the Door by 7:30a.m.- my day was filled to the brim.  The Congerss is organized by the hour with overlapping recitals, demonstrations, master classes and lecture recitals.  I thought I would have plenty of time to get to the exhibit hall to check out the bow selection, but am disappointed to report only a  15 min. sidetrip into the space.

Roberto Diaz started the day with 2 masterclasses.  Excellent.  John Graham presented the outer edge of  the viola repetoire with the use of a computer, electronics, and percussion.  I always enjoy Graham’s muscular and rhythmic approach to the viola.  He represents “classical” music in real time- by working directly with composers and  by experimenting with the role of the viola, he has direct impact on the modern viola.  This experience was contrasted by lots of Schubert Arpeggione throughout the day, including a charming lecture recital by the gentleman violist, Bruno Giuranna.  Giuranna’s traditional, mild and very classical approach was in contrast to the earlier direction of Roberto Diaz to a masterclass participant to shape the piece in a more dynamic, romantic way.  Both were very sarisfying.

Sandwiched into the day was an interesting recital by Max Savikangas, Sam Rhodes, Nobuko Imai and Sergey Malov.  I loved the contrast of the playing in this recital.  Azonal Advice, written and performed by Savikangas; Play It Again Sam by Milton Babbitt written for and performed by Sam Rhodes; Figment IV by Elliott Carter,  also written for and performed by Sam Rhodes; J. S. Bach’s 4th Cello Suite performed by Sergey Malov and a performance by Nobuko Imai that I missed in order to make my way to another event.

This was a very personal recital.  That is, the significance of the music or approach to the music was very personal by each performer.  Max Savkangas was powerful in his Azonal Advice- I hope to hear more of his music in the future , though this is slightly unlikely from my vantage point in Nashville.)  Sam Rhodes presented a slice of the  20th century that honored his importance in the viola world, not just as a member of the Juilliard String Quartet, but also as a soloist.  Sergey Malov was intriguing in his very individual manner and lyrical, romantic approach to the Bach Suite.  His playing was very liquid and his tempos were falling forward, without being rushed.  The playing on the recital was diverse in style and  presented a very interesting, excellent result.

The end of my listening day was a bit of a let down for me.  My ears were saturated, but I wanted to hear Kim Kashkashian perform.  The program was contemporary, with percussion and joined by a theatrical motion around the stage,  complete with grunts by the performers.  It was all excellent playing, but I wanted to hear tone, not jabs at the viola.  Now, I’m sounding spoiled- she is clearly a great asset to the viola world.

REGRETS- always!  I missed Atar Arad’s appearance, didn’t have time for bows and didn’t get to hear and meet many more wonderful violists.  I regret not getting to the Congress earlier and staying longer, but I’m a working, family gal and this escape was an indulgence–so those were the cards I was handed.  Keep ‘em wanting more so they will come back next time.  I will return…I hope to see you there.