The comparative paucity of the viola repertoire, especially of the romantic period, has made violists expert poachers in the literature of others. William Primrose, one of the greatest violists of his or any other time, was a prolific, skillful transcriber. He said he was motivated by the desire to showcase his instrument's underrated potential and his own prodigious technique, and also by envy - of cellists, singers, and especially violinists: in the transcriptions on this record, much of the writing is so stratospheric that the viola becomes a would-be violin. Diaz is a superb, brilliant violist and negotiates the top register easily, but it still sometimes sounds shrill and unnatural, especially since he tends to become aggressive in the chords and double stops. He is at his best in the slow, singing pieces; they most effectively display his warm, pure, variable tone and expressive eloquence, which never becomes sentimental. The program includes Borodin's "Nocturne" from the string quartet, with the viola playing the cello part, and songs by Schubert, Wagner, Brahms and Tchaikovsky, all played with simplicity and elegance. In Villa-Lobos' Brasileiras, the viola takes the soprano part, leaving the piano to impersonate eight cellos. Only the transcription of Beethoven's "Notturno" Op. 42, arranged from the String Trio Op. 8, doesn't work; the distribution of the music between the instruments is uneven and unbalanced. Among the bravura pieces, Paganini's "La Campanella" seems unsuited to the viola and sounds labored, but two Spanish dances, transcriptions of transcriptions by Heifetz, have a fine idiomatic flavor, as does Efrem Zimbalist's Suite "Sarasateana" - that demonstration of how to make famously difficult virtuoso pieces even more difficult - in his own transcription for Primrose. Pianist Robert Koenig is a splendid partner. --Edith Eisler
