The Soul of the Viola
CAROL GIMBEL (viola) and CULLAN BRYANT (piano)
B. Britten. Lachrymæ: Reflections on a song of John Dowland, for viola and piano (1948)
R. Schumann. Fünf Stücke im Volkston, Op. 102 (1849) (arr. Cullan Bryant & Carol Gimbel)
— pause —
R. Clarke. Sonata for Viola and Piano (1919)
The Soul of the Viola features the Rebecca Clarke Sonata for Viola and Piano in an interpretation based on the original 1919 manuscript housed in the Library of Congress. 2019 marks the 100th-year celebration of arguably the most captivating and expressive work of the small viola sonata repertoire. The story of the work evolves from its entry into First Lady Coolidge’s viola sonata competition. Though it was the winning piece, the first prize was awarded as a tie with composer Ernest Bloch. Awarding first prize to a female composer, who was also a friend of Coolidge, would have been scandalous for the time. Rebecca Clarke, born and raised in England, with a German mother and an American father, spent much of her adulthood in the United States, particularly New York City, including the East Village and near Columbia University, on 108th Street.
Violist and musical entrepreneur Carol Gimbel combines her flair and entrepreneurial spirit to push the limits of artistic expression. She is the recipient of numerous awards, and noted for her “confidence and whisper-quiet tones.” Ms. Gimbel performs on the Ex-Emmanuel Vardi viola c. 1725.
Pianist Cullan Bryant is among the most active chamber and collaborative pianists in New York City, maintaining a schedule of over 70 recitals a year.
“In 2002, I went from Carnegie Hall to Symphony in the Barn, a phenomenal performance series and artistic residency on a biodynamic farm in Durham, Ontario. 300 guests per night over four weekends enjoyed concerts in the working barn with the sounds of chirping of barn birds, the breeze of dusky summer skies, and the smell of fresh farm baked goods. These unforgettable, world class performances included a resident symphony orchestra of which I was a part, presented concerts, fully staged operas, incorporating the movement art of eurythmy, cross-collaborations with local aboriginal storytellers, singers ,and dancers, and more. This cultural impulse drew forth a strong curiosity in me to learn more about the powerful aesthetic and social impulses that stemmed from Rudolf Steiner’s philosophies. The long journey, which followed and continues, brought me into conversation, workshops, retreats, and presenting performances at Camphill Communities Ontario / The Novalis Project, The Toronto Waldorf School, Rudolf Steiner Centre Toronto, Eurythmy Spring Valley, and now with great honor, at Anthroposophy NYC.” ~ Carol Gimbel