Day 2 at the Tertis and Aronowitz Competition

A Black Page in History, but a Bright Day in Music

Monday, January 20, 2025

Today marks a somber moment in history with Donald Trump being inaugurated as the 47th President of the United States.  However, within the walls of The Glasshouse International Centre for Music in Gateshead, we are uplifted by the presence of numerous talented young violists participating in the Tertis and Aronowitz International Viola Competitions.  These dedicated musicians are tirelessly working towards a promising future in music.

As the older generation, it is our responsibility to support these aspirations, sharing not only our knowledge but also our resources, whether through financial means or cultural encouragement.

Morning Session: Northen Rock Foundation Hall

The day commenced with performances from the first-round participants of the Cecil Aronowitz International Viola Competition, designated for violists aged 18 and under.

Jihyo Kim, 17-year-old from South Korea, studying in England since the age of 13. She performed the Prelude and Gigue from Bach’s Fifth Suite. Playing on a new instrument with a commendable sound, her rendition was precise, though it still reflected her teacher’s influence. With the infusion of personal expression, her performances will undoubtedly flourish.

Hailing from Australia, Isabella Koo is versatile, playing both viola and violin, having won several awards on both instruments. Despite experiencing a memory lapse during her performance, she demonstrated a beautiful tone and commendable interpretation, especially in the Duo-Ling piece, which was fiery and distinctive. The applause she received was well-deserved and hopefully uplifting.

Originally from Shanghai, Yino Lu moved to Canada at 16 to further her studies. She performed the Prelude and Sarabande from Bach’s Sixth Suite. Facing the audience, she delivered a musical and engaging performance, connecting well with listeners. A touch of color in her attire could enhance her stage presence even more.

Notably, the competition features a significant number of young Asian musicians, many of whom were born in England. Families who relocated here, possibly during their own studies, ensure their children receive a comprehensive education that includes music, fostering a rich pool of talent.

Aiden McDonald, a Scottish violist with a diverse background, participating in various youth orchestras and programs. He performed the Prelude and Gigue from Bach’s Third Suite on a Scottish-built instrument that resonated well. While his musical ideas are clear, focusing on intonation will further enhance his performances. His enthusiasm suggests he would be a delightful collaborator in ensemble settings.

Q&A Session with Timothy Ridout and Garth Knox

After violist Aiden McDonald’s performance, I attended a Q&A session with Timothy Ridout and Garth Knox. Timothy shared his evolving appreciation for Bach, noting that while his initial attraction was immediate, conveying that passion to audiences took time. He mentioned that solo performances of Bach’s suites or partitas are less common in recitals with piano, often favoring duo concerts. Recently, performing solo has allowed him to fully express Bach’s works and present his unique interpretation. Reflecting on his recent concert, Timothy described the program as demanding, especially when performed from memory. Typically, he would have a relaxed morning, perhaps a nap, and focus entirely on the concert. However, with an ensemble session in the morning, playing a full concert was more tiring, though he thoroughly enjoyed it.

An audience member inquired about Garth’s choice of instruments, a question likely of interest to the attending luthiers. Garth explained that his selections often result from chance encounters or recommendations from fellow violists. Timothy added that he has been playing on loaned instruments since he was 11, highlighting the importance of accessibility to quality instruments for young musicians. This discussion provided valuable insights for both performers and instrument makers.

Lecture by Sarah-Jane Bradley on York Bowen

After a brief pause, the morning program continued with a lecture by Sarah-Jane Bradley on composer York Bowen. Bowen’s encounter with Lionel Tertis during his studies significantly influenced his prolific output for the viola, including original compositions and transcriptions. Remarkably, some of his unpublished works were nearly lost but are now available through GEMA publisher, preserving his legacy.

Afternoon Session:Resuming at 13:50 at the Lionel Tertis Competition first round

Sofia Silve Sousa from Portugal, she performed Bach’s Gavottes and Gigue with originality, incorporating beautiful embellishments and seamlessly transitioning between movements. Her rendition of Ligeti’s “Hora Lunga” and “Loop” was rhythmic and engaging, marking her as a strong contender for the competition.

Sarah Strom a 20-year-old from Switzerland, she played Bach’s Second Partita, employing various ornaments in the Allemande. While her dynamic range could expand, her performance was commendable. Her precise execution of Ligeti’s “Prestissimo” was impressive, leaving no time for the listener to anticipate the next note.

Otoha Tabata from Japan, with a solo career since the age of 11, she chose Bach’s Sixth Suite Prelude. Despite the challenges of distinguishing oneself in this piece, her performance was beautiful, exuding confidence and stage presence. Her rendition of Paganini was flawless, showcasing her technical prowess.

Yanan Wang a Chinese violist who studied in Vienna and now in Munich under Glassl, known for producing competition winners. She performed Bach’s Sixth Suite Prelude at a slower tempo, which lacked conviction. However, her Sarabande without vibrato was fitting, and her dynamic contrasts in Paganini’s piece displayed courage and flair.

Nicolas Garrigues from France, with an established solo career, he played movements from Bach’s Fourth Suite and Ligeti’s “Hora Lunga” and “Chaconne Chromatique.” His light touch was refreshing, and despite his stature making the viola appear small, his performance was friendly and approachable. His large hands handled high passages with ease, though the final harmonics revealed slight challenges. He is a strong candidate for the finals.

Paul Wiener another tall Frenchman, he performed movements from Bach’s Fourth Suite. Coming from a lineage of musicians, his great-grandfather being composer Jean Wiener, he played his grandfather’s viola. While his embellishments were present, they could be more exuberant. His rendition of Paganini’s Caprice No. 20 was well-executed, taking his time where needed.

Tully Potter and Lionel Tertis

At 16:00, I attended a talk by Tully Potter on Lionel Tertis. Potter, a lifelong music writer with personal connections to many musicians, has attended all Tertis competitions to date. We listened to numerous historical recordings of Tertis, gaining insight into his profound impact on the viola world.

This evening, we eagerly anticipate a captivating performance by violists Ásdís Valdimarsdóttir and Thomas Riebl. Ásdís will present her newly arranged versions of Georg Philipp Telemann’s “Twelve Fantasias for Viola da Gamba Solo,” originally published in 1735. These pieces, once considered lost until their rediscovery in 2015, have been thoughtfully adapted for viola, offering a fresh perspective on these Baroque masterpieces.

Thomas Riebl will enchant the audience with his rendition of Johann Sebastian Bach’s “Suite for Lute in G Minor, BWV 995,” showcasing the viola’s versatility in interpreting works from different instruments. The evening will culminate with Garth Knox’s “Toccata for Thomas,” a piece dedicated to Riebl, promising a dynamic and engaging conclusion to the concert.

As we immerse ourselves in this rich musical experience, we momentarily set aside the external world’s distractions, finding solace and inspiration in the universal language of music. We look forward to sharing more reflections with you tomorrow.

Karin Dolman

P.S.

After attending the evening concert, I would like to clarify a particular detail regarding Thomas Riebl’s performance. Following Johann Sebastian Bach’s composition of the Fifth Cello Suite, BWV 1011, he transcribed it for the lute, resulting in BWV 995. Inspired by this adaptation, Thomas Riebl collaborated with luthier Bernd Hiller in 2010 to develop a five-string tenor viola, featuring an additional low F string. This unique instrument enabled Riebl to perform pieces such as Schubert’s Arpeggione Sonata and Bach’s lute version of the Fifth Cello Suite in their original tessitura.

Recognizing the rarity of five-string violas among performers, Riebl sought to expand the repertoire for this instrument. He commissioned composer Garth Knox to create a new piece tailored for the five-string viola. The result was “Toccata for Thomas,” a composition that showcases the instrument’s extended range and unique tonal qualities. Riebl premiered this piece at Carnegie Hall in November 2022, in a concert sponsored by the Naumburg Foundation.

This collaboration between Riebl and Knox not only highlights the versatility of the five-string viola but also contributes to the evolution of its repertoire, offering audiences a fresh and enriching musical experience.