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UNIVERSITY OF CINCINNATI Date: 12-May-2010 I, Chiu-Ching Su hereby submit this original work as part of the requirements for the degree of:
Doctor of Musical Arts in
Viola
It is entitled:
A Performance Guide Guide to Franz Anton Hoffmeister’s Hoffmeister’s Viola Concerto in D Major with an Analytical Study of Published Cadenzas
Student Signature:
Chiu Chiu-C -Chi hin n Su
This work and its defense approved by: Committee Chair:
Catharine Catharine Carroll Carroll DMA Catharine Carroll, DMA
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A Performance Guide to Franz Anton Hoffmeister’s Viola Concerto in D Major with an Analytical Study of Published Cadenzas
A document submitted to
The Graduate School of the University of Cincinnati
in partial fulfillment of the requirements for the degree of
DOCTOR OF MUSICAL ARTS
in the Performance Studies Division of the College-Conservatory of Music
2010
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A Performance Guide to Franz Anton Hoffmeister’s Viola Concerto in D Major with an Analytical Study of Published Cadenzas
A document submitted to
The Graduate School of the University of Cincinnati
in partial fulfillment of the requirements for the degree of
DOCTOR OF MUSICAL ARTS
in the Performance Studies Division of the College-Conservatory of Music
2010
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ABSTRACT
Franz Anton Hoffmeister’s Viola Concerto in D Major (written (written prior to 1799) has
become among the standard repertoire of viola concertos, due to the rise of viola virtuosos s
the beginning of the twentieth century centur y and the rarity of virtuosic viola concertos with stylisti forms from the Classical period. This piece has been included in several major orchestra auditions and competitions. While violists often lack hands-on experiences of the Classical
repertoire, this document is to provide violists v iolists ways to perform this piece and pieces from th same period. Hoffmeister’s Viola Concerto in D Major has been published by G. Henle Verlag,
Kunzelmann, Peters, Kalmus, International Music Company (New York), H. L. Grahl, and M
Eschig. Kunzelmann is in full score and piano reduction, and the other six are in piano reduc Seven cadenzas have been published, five of them were written by Franz Beyer, Herbert
Blendinger, Maurice Vieux, Robert D. Levin, and Paul Doktor. Each of them presents differ technical difficulties. These editions will be discussed and compared. The form of each
movement will also be analyzed. Issues of performance practice will Sign up to votebeonprovided this title along with
information above.
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I will examine Leopold Mozart’s A Treatise on the Fundamenta Fundamentall Principles Principles of Violin
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ACKNOWLEDGMENTS
I would like to thank my parents, my dad Chen-Ching Su and my mom A-Mai SuCh for their continuous support of my study. Thanks t o my beloved mentors, Mr. Kawasaki an Carroll, for their encouragement and teaching in music and in life. Also, I am very ve ry honored have Mr. Lee Fiser and Dr. Jeongwon Joe as my readers, from whom I learned a lot. I would also like to thank Shiau-uen Ding, for being a good friend and editing this
document. I am grateful to have so many friends in Cincinnati and Taiwan, whose love give joy and strength.
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PREFACE
Since the rise of viola virtuosos at the beginning of the twentieth century and compo
rising interest in exploring new arenas in sounds and techniques, the viola, a versatile instrum which had not been much appreciated, becomes a means of innovative creation. Composers included Sofia Gubaidulina (Viola Concerto , 1996), Paul Hindemith ( Der Schwanendreher
among others), Krzysztof Penderecki (Viola Concerto , 1983), Alfred Schnittke (Viola Conce 1985), and William Walton (Viola Concerto in A Minor , 1928-9, rev. 1961).
Having concertos by great composers, violists seek out repertoire from other periods
While there are quite a few concertos written before the twentieth century, particularly betw
1740 and 1840, only a few are worthy performing, being virtuosic an d in the standard forms You're Reading a Preview representative of their period musical styles. Representatives of the Baroque pe riod are J.C. Unlock full access with a free trial.
Bach’s Viola Concerto in C Minor , George Frideric Handel’s Viola Concerto in B Minor an Download With Free Trial
Georg Philipp Telemann’s Concerto in G Major (TWV 51:G9), and Franz Anton Hoffmeist
Concerto in D Major and Carl Stamitz’s Concerto in D Major, Opus 1 equally represent the viola concertos from the Classical period.
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These two concertos by Hoffmeister and Stamitz have bec ome standard repertoire fo competitions and auditions, including Cincinnati Symphony Orche stra, Los Angeles
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analysis, and comparison of cadenzas available in print, in hope to aid students who wish to on this piece or those in similar styles.
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CONTENTS
CHAPTER ONE - INTRODUCTION
History of Viola Concerto ………………………………………………………….....
Franz Anton Hoffmeister’s Music and Contributions ………..………………………
CHAPTER TWO –AN ANALYSIS OF HOFFMEISTER’S VIOLA CONCERTO IN D MAJ First Movement …………………………………………………………………….. Second Movement ………………………………………………………….............. Third Movement …………………………………………………………………….. CHAPTER THREE – PERFORMANCE PRACTICE OF HOFFMEISTER’S VIOLA
CONCERTO IN D MAJOR
You're Reading a Preview Introduction ……………………………………………………………………….. Unlock full access with a free trial.
Ornamentation ………………………………………………………….…………. Download With Free Trial Dynamic …................................................................................................................ Solo part within tutti .....................................................................………………… The International Music Company edition ………………………………………... Sign up to vote on this title
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CHAPTER FOUR – Analytical Study of Published Cadenzas The Types of the Cadenza
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CHAPTER ONE – INTRODUCTION
History of Viola Concerto
Not until the Classical period did the viola start to enjoy its virtuosos and solo literat from major composers. Most of the viola repertoire which predates 1740 is in the form of
arrangement or transcription from other instruments, such as J.S. Bach’s Unaccompanied Su
for Cello.
There are two main reasons that the viola suffered such neglect. One is that there wer great violists. As a versatile orchestral and chamber music instrument, the viola pa rt in such
music was commonly within the limits of the lower three po sitions at that time; therefore, vi
did not need to develop the technical proficiency necessary to be a great soloist. In addition, You're Reading a Preview viola sits right in the middle of acoustical range of the string section — too low to be a bright Unlock full access with a free trial.
soaring violin, too high to be a dark, sonorous cello — that it lacked the characteristics that Download With Free Trial composers at that time looked for on a solo instrument. Even though there were few piece viola, it was usually played by a violinist who could play viola as well.
of the viola daon braccio These reasons result in the viola being considered Sign as aup (viola to vote this title
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a “member” of the violin family. 1 The viola was not considered as a solo instrument, but rath
violin of an inferior rank. Consequently, composers writing solo instrumental repertoire igno
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musicologist Ulrich Drüner, Georg Philipp Telemann gave the viola its first concerto in 173
From there, between 1740 and 1840, composers wrote over one hundred and forty concertos the instrument.2
The main reason for this development was violists’ higher technical proficiency. The level of the orchestra playing was higher than before, inspiring composers to write music to advantage of it. The Mannheim orchestra, led by Johann Stamitz (1717-1757), is a famous
example, which turned into the best one in Europe. Karl Stamitz (1745-1801), Johann’s first
was from Mannheim orchestra and later he was b est known as a touring virtuoso on violin, v
and viola d’amore. He was the first composer to specify a left hand pizzicato in a compositio which occurs in his Viola Concerto in D major, Opus 1 . In the primary theme of the first
movement, there is one passage with groups of sixteen notes in octaves. It is fast and in high You're Reading a Preview position, which needs accurate shifting for violists. Moreover, this passage made this piece Unlock full access with a free trial.
become one of the orchestral audition repertoires just like Hoffmeister’s Viola Concerto in D Download With Free Trial
major . Stamitz’s Concerto Opus 1 has remained a standard work for violists till this day.
Until the Romantic period, violists had developed the same level of technical profici
as violinists. Hector Berlioz’s Harold in Italy (1834) is such which Signan upexample, to vote on this titlewas premier
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by Chrétien Urhan, This piece was commissioned by Niccolò Paganini (1782-1840), one of most celebrated violin virtuoso and also well-known as a great violist of his time.
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Apart from Harold in Italy, composers in the Romantic period who wrote for viola
favored keeping its role in intimate chamber music. The technical and musical requirements
viola was asked for is no less than in a viola concerto. However, since composers focused on writing viola for chamber music, the viola solo repertoire was igno red.
After 1870, viola concerto leaped to another stage. The viola making came to a matu level, and viola virtuosos arose. Major composers started exploring the viol a’s unique
characteristics in sounds and techniques, i.e. Pa ul Hindemith in Der Schwanerederher (1935 Béla Bartók in his Viola Concerto (unfinished), commissioned by Scottish violist William Primrose (1904-82); and Walton in his Viola Concerto in A Minor (1928-9, rev. 1961),
premiered by Hindemith, the bittersweet melancholy of which became quite popular. In Der
Schwanerderher , the viola solo is against an orchestra heavy in low registers and brass, whic You're Reading a Preview close to the viola’s register and challenges the soloist’s projection. Hindemith is not on ly a g Unlock full access with a free trial.
composer but also a great violist. Equipped with the twentieth-century advanced c ompositio Download With Free Trial
techniques, he wrote the viola music with ultimate possibilities for virtuosic display and tone colors.
of viola The viola concerto repertoire has been developingSign all along with up to vote onthe thismaking title
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the growth of the violist’s capability, and that is one of the reasons that a colossal work such
Der Schwanerderher had not been written until the twentieth century. Looking back at viola
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background was even more demanding. Moreover, the key D major presents a problem in te of register that a viola soloist could be easily overpowered b y an orchestra. While virtuosic viola soloists and advanced viola students are looking for Classical
concertos to play, Hoffmeister’s Viola Concerto in D major is always one of the choices. Its
exquisite reflections of the Classical period have made it a popular staple of today’s repertoi
not only for its virtuosity, but its application of standard features and then-popular styles of t
Classical Viennese concerto genre. In fact, this concerto, along with Stamitz’s Concerto in D
Major , has become one of the representative Classical concertos for the viola repertoire. Today, Hoffmeister’s Viola Concerto in D Major is not only standard performance repertoire, but also standard for solo competitions and orchestral auditions. For years, the auditions for violists of the Cincinnati Symphony Orchestra and Los Angeles Philharmonic You're Reading a Preview Orchestra request this concerto as one of the requ ired solo pieces. Unlock full access with a free trial.
It is a popular solo work at competitions and auditions for many reasons. It is a Download With Free Trial
representative of the Classical style, it brings out the warm tones in the middle range of the v
register, and the virtuosic passages demonstrate a player’s technical proficiency. Given the s
amount of solo viola repertoire written during the Classical period, Hoffmeister’s Sign up to vote on this title Viola Con
in D Major is a major work worthy of discussion.
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The purpose of this document is to provide a performance guide of Hoffmeister’s
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Franz Anton Hoffmeister’s Music and Contributions
Franz Anton Hoffmeister was born in Rottenburg of Neck ar in 1754 and died in Vien
in 1812. He studied law before tuning to music. He then stayed in Vienna, serving as a churc
music master, and became a composer and a conductor. However, his reputation today is ma on music publishing. In 1784, he opened a book shop which also provided art and music score, and then established his music publishing firm F. A. Hoffmeister & Co. in the same year in Vienna.
F. A. Hoffmeister & Co. has an extensive catalogue of composers at that time, includ Clementi, Beethoven, Haydn, and Pleyel. He was one of the Mozart’s friends. Mozart’s
compositions between K478 and K577 were all published by this firm. 3 His String Quartet i
Major, K499, was published by Hoffmeister, and acquired a nickname, “Hoffmeister”. You're Reading a Preview In October 1799, when attending two concerts for his own compositions in Gewandh Unlock full access with a free trial.
in Leipzig, Hoffmeister met organist Ambrosius Kühnel. They founded an other music publi Download With Free Trial
firm in Leipzig in 1800, which was called Hoffmeiser & Kühnel, Leipzig, Bureau de Musiqu
Later, this firm became the basis of one of the most famous publishing firms of the music wo C. F. Peters. During 1800-1805, Hoffmeister and Kühnel Sign cooperated up to voteinonthis thisfirm. title Their
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contributions during this time were enormous. For examples, they published the complete editions of String Quartets by Haydn, the most popular c omposer at the time. In addition,
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was published by this firm between 1801 and 1803.4 It was the first attempt to collect J.S. Ba complete keyboard works.
However, in 1805, Hoffmeister decided to go back to Vienna to continue composing working on his original publishing company. He sold his part of Hoffmeiser & Kühnel, Le
Bureau de Musique to Kühnel. Later, this firm was renamed a s Neuer Verlag des Bureau de
Musique von A Kühnel in Leipzig in 1806. On the other hand, F. A. Hoffmeister & Co. lasted until 1807.
In addition to his extraordinary contribution to the music publishing during the Class period, Hoffmeister was a popular and prolific composer at that time. In his thirty years of composing, his oeuvre includes eight operas, several s ymphonies, many church works (part
the duty as a church music master in Vienna), thirty-four string quartets, thirty concertos, an You're Reading a Preview many chamber works. In addition to Vienna, his music was very popular in foreign cities. Unlock full access with a free trial.
Konigssohn aus Ithaka , his most successful opera, was performed in Budapest, Prague and Download With Free Trial Warsaw. Most of his works, such as symphonies and ch amber music, were published in
Amsterdam, Paris and London.5 One of the reasons that his music was popular outside Vien
melo that it included several music styles popular at that time inSign Europe, such the flowing up to vote onas this title
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and the balanced formal structure. However, today his music has been criticized for the lack originality and depth.
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and audience outside Vienna, even though he suffered from Haydn’s and Mozart’s shadows Vienna during his lifetime.
A work worth mentioning is his 12 Viola-Etuden. As a music-publisher and a compo
he found that there were too few pedagogic materials for violists. He decided to compose so
himself. 12 Viola-Etuden is not only a pedagogic work which specifically focuses on fingeri
and bowing exercises, but is in the formal structure of the Classical style. For example, the f
etude in G major, a theme-and-variations, starts with an Andante with a musical theme in do
stops. Then the Variations 1 and 2 contain the material from the theme in Allegro. The Varia
3 is based on the contrapuntal writing from the theme. The Variation 4 is in the parallel min key of the G major. At the end, the Variation 5 is back to the original key with a Da Capo
recapitulation of the theme. This etude has been considered more than an etude and been You're Reading a Preview performed as a concert piece. Moreover, it is exactly in the formal structure of the theme-an Unlock full access with a free trial.
variations in the Classical period.
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Hoffmeister’s Viola Concerto in D Major boasts the standard features and styles for
concerto genre of Classical Vienna. In the next chapters, the analysis will present this standa music styles and features.
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CHAPTER TWO – AN ANALYSIS OF HOFFMEISTER ’S VIOLA CONCERT D MAJOR
One of the most important features for the Classical period is the formal structure, wh is built on the melodic and harmonic structures. This chapter intends to provide a formal a of Hoffmeister’s Viola Concerto in D Major, which gives information about harmonic progressions and melodic line.
First Movement — Allegro
In the Classical period, the first movement is almost always in sonata form. However
sonata form is slightly different in the concerto genre. Due to the orchestra stating many of t You're Reading a Preview themes at the beginning without the soloist, the true exposition occurs with entry of the soloi Unlock full access with a free trial.
the first movement of the concerto. This was originally from the ritornello from the Baroque Download With Free Trial
period but was blended with sonata form. Using the current sonata theory terminology propo by James Hepokoski and Warren Darcy,6 I will analyze the first movement.
formal The first movement of Hoffmeister’s Viola Concerto typical SigninupDtoMajor vote on has this atitle
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structure of the time. At the beginning without the soloist, Ritornello 1 (R1) presents the prim
theme, which is a periodical phrase in tonic key of D major. The primary theme is made up o
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Example 1: The Primary Theme in Ritornello 1 in D Major
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After the statement of the primary theme, the R1:\TR follows and concludes with
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Example 2: The Primary Theme in Solo 1 in D Major
The S1:\TR is led by the solo and starts to modulate from tonic to the dominant, A m It has three groups of phrases periodically and firmly settles the dominant. Later, the first appearance of the secondary theme (S1:\S) is presented by the soloist in dominant key with character. It is a 4+4 periodic phrase as well.
You're Reading a Preview Unlock full1access a free trial. Example 3: The Secondary Theme in Solo in A with Major
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Led by the orchestra, the Ritornello 2 (R2) contains the same primary theme in A Ma
as an orchestral interlude. The primary theme contains the same structure as presented in R1 well.
Example 4: The Primary Theme in R2 in A Major
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caesura fill in measure 103. R2:\TR 1.2 has the same situation as above. It starts the same peri phrase in piano. However, it is followed by a cadential extension instead of a Mannheim crescendo.
Later, the closing section stays in dominant key and prepares the solo entrance. At th beginning of the development, the primary theme is in dominant key in Solo 2. After the
statement, the soloist starts the central action. This section is based on one group of the echo effect phrases and sequences in B minor to enrich this development.
After a cadence in B minor from the soloist, the orchestra starts the first four measure
the primary theme in B minor, which begins the Ritornello 3 (R3.) However, this primary th serves as an exit phase of the development. In brief, the orchestra starts to modulate back to key, D major, for the recapitulation.
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the same. Later, this section ends with a PAC, as an ESC (Essential Structure Closure) in D m
Example 6: The Secondary Theme in S3 in D Major
In Solo 3, S3:\DE contains two groups of the phrases for the echo effect. Following
several scale-sequences, the solo finally has an arpeggio on V and a long trill within the toni
You're Reading a Previewby a cadenza that divides this zo chord. Later, Ritornello 4, led by the orchestra, is straddled
Unlock full access with a free trial. Ritornello 4 starts with two scale-sequences and uses syncopation to create the tension. Thes
With Free Trialto prepare the cade nza. After th syncopations land on the obligatory Download cadential six-four chord cadenza, a codetta ends the movement.
A summary of the analysis is presented in Table 1. This table provides information o Sign up to vote on this title
large-scale formal structure, which includes the measure numbers, section names, and key ar
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Second Movement — Adagio
An adagio second movement is a typical choice for a concerto during the Classical p
and is structured as the rounded binary form. The piece starts with an orchestral introduction 1
periodic phrases in the key of D minor. Then the solo presents the main theme a , which is a
2+2+2 periodic phrase. The beginning of the phrase contains a descending triadic motive, w
first appears during the orchestral introduction. There is also a s yncopation motive that come from the introduction as well.
1
Example 7: The main theme: a , in D minor
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Then the theme b starts to modulate from D minor to its relative major, F, and finally
Signhave up to the votetransitory on this titlefunction. stays in this key and leads to the theme c. These two themes
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Moreover, the orchestra presents the introduction theme again in F major. The function of
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Example 8: The theme a2 in F minor
However, the theme d brings us back from F major to D minor. This time, without th
theme from the orchestral introduction, the solo returns with a 1. In the section A1, there is on 1
extension on the theme a and does not include the theme b or the theme c material. The solo ends with a descending chromatic cadenza-like scale and lands on D minor to complete this
rounded binary form. At last, the coda, performed alone by the orchestra, serves as a closure You're Reading a Preview movement.
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A Summary of the analysis isDownload presentedWith in Table and provides information regardi Free 2, Trial
the large-scale formal structure, which includes the measure numbers, section na mes, and ke areas. Sign up to vote on this title
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Table 2 — the Formal Structure of the Second Movement/ Rounded Binary Form
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Third Movement — Rondo
During the Classical period, the rondo form was a common choice for the third movement of a concerto. As a finale of the entire work, composers usually preferred to use
periodic melody and repeated it several times rather than developing it. This gives the audie
strong impression of the melody. Usually, the beginning of the movement will directly prese the refrain by the soloist (with or without an orche stra accompany) and then the orchestra
The third movement of Hoffmeister’s Viola Concerto in D Major, is no exception, as the ref is led by the soloist from the start. The refrain is a standard 4+4 periodic phrase with a light character. Later, the orchestra repeats it again to empha size the impression.
Example 9: The refrain in D Major
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After the nice statement of the refrain, the solo be gins to lead the whole movement w
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In the section C, the solo suddenly jumps to the relative minor, B minor. It starts with 4+4 periodic phrase and has one measure extension of the cadence.
Example 10: The main theme of the section C in B minor
In this section, the solo presents several sequences and repeated phrases in different
You're Reading a Preview registers and is following by a rapid modulation. The key starts with B minor, followed b Unlock full access with a free trial.
major, A major, and D major, respectively, and then back to the minor-mode theme. These
Download With Free Trial groups of phrases not only show the virtuosity of the soloist, but also enrich the color of the
section. Later, the solo returns to the refrain in D major, which is proceeded with a few ferm notes. As a link to the section, these fermatas cre ate a suspended feeling for the audience. Sign up to vote on this title
After the second time of the section A, the solo presents another theme in the parallel useful Useful Not
D minor. This theme is 2+2+4 phrase. And again, the solo starts to modulate in this section a
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Example 11: The main theme of the section D in D minor
A summary of the analysis is presented in Table 3. This table provides information regarding of the large-scale formal structure, which includes the measure numbers, section names, and key areas.
Table 3 — the Formal Structure of the Third Movement/ Rondo Form
Section Key area
A D major
Measure number
mm.1-16
B A major (dominant key) mm.1636
A C A D major B minor D major You're Reading a Preview (relative Unlock full accesskey) with a free trial. mm.36mm.53mm. 52 96 Free Trial97-112 Download With
D D minor (parallel mode) mm. 113-148
A D maj
mm. 149-1
Hoffmeister’s Viola Concerto in D major is a truly typical concerto of its time and
Sign up to vote oncan this understand title presents a popular musical style of the period. Through the analysis, we the
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CHAPTER THREE –
PERFORMANCE PRACTICE OF HOFFMEISTER’S VIOLA CONCERTO IN D MA
The previous chapters display several statements. First, Hoffmeister was a composer
representing the musical style of Viennese school in the Classical period. Second, the formal
structure of Hoffmeister’s Viola Concerto in D Major is a typical classical concerto at that ti Therefore, it is important to discuss the performance practice with this piece for this type music of the Classical period. Current music publishers show the same concerns for this piece. Presently, there are publications of Hoffmeister’s Viola Concerto in D Major. It is rare for a viola concerto that
number of publications shows the importance and worth of the piece. In addition, several ed You're Reading a Preview put several important performance practice issues into the music score for the performers. Unlock full access with a free trial.
The manuscript is incomplete and is in the care of the Dresden Royal Public Library Download With Free Trial previous Saxon State Library.) The number is Mark Mus. 3944-0-5 No. 582, and it is titled
Concerto ex D# [sic] a Viola Principale. Due Violini Due Oboi Due Corni in D. Viola et Bass For del Signore Hoffmeister. Several editors indicated circumstances about thethis manuscript. Sign up to vote on title
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instance, the manuscript consists of 12 separate instrumental parts. The solo viola, basses, an
winds (ob 1, ob2, hn1 and hn2) were written out by Copyist I. The remaining strings (vn1, v
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between the solo part and the orchestral part. These markings are likely to be made by sever performers who played it at that time.
This chapter will not discuss the differences between the manuscript and the publish
scores, sufficient information of which has been provided o n eight publications. Instead, this
chapter will provide issues of performance practice in the 18th century based on the historica point of view. Information for interpretation will also be provided.
In the following, such detailed aspects of performance practice a s ornamentation and
dynamics are discussed, and music examples will refer to the only publication in full score a
its viola solo part, since the original manuscript was also a full score. This score was edited b Ulrich Drüner and published by Lottstetten: Kunzelmann in 1982.
You're Reading a Preview Ornamentation
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Ornamentation is one of the greatest challenges for both current performers and scho Download With Free Trial
when facing the music in the seventeenth and eighteenth century. The music score during th
period do not indicate the way to play ornamentations specifically. Rather, it was a common
manner for a trained musician with knowledge of the traditions conventions Sign upand to vote on this title at that time
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Indication of the ornamentations by composers was unn ecessary. In the following content, w will base the performance practice of ornamentations on ”Violineschule” -- A Tr
the
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Three kinds of ornamentations will be extracted from the viola solo part, and the wa
play will be provided as followings. The orchestra should also employ the same manner as t soloist in ornamentation. Therefore, this section will also provide a table including both the
and orchestral parts by measure numbers for the rest of the piece. These measures in the tabl should follow the same manner as the music ex amples.
A.
Appoggiatura (Appoggiature)
An appoggiatura is a little note before a full-size note with or without a slur. There ar two kinds of appoggiaturas in this piece.
One is the long appoggiatura. Mozart indicated that if an appoggiatura is written befo
fourth, eighth, or sixteenth note in a descending motion, it is to be played as a long appoggia You're Reading a Preview a half time value of the principle note. The way to play this is to sustain the appoggiatura an Unlock full access with a free trial.
continue to be equal value with the follower smoothly. So the appoggiatura and its main note Download With Free Trial 10
share the time value evenly.
Example 1: The long appoggiatura
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Table: The long appoggiatura Movement
Measure number in the solo part
Measure number in the orchestra part
I
mm8, mm10, mm61, mm65, mm67, mm98,
mm8, mm10, mm98, mm100,
mm100, mm137, mm139, mm141, mm173, mm177, mm180, mm184, II
mm5, mm9, mm12, mm18, mm35, mm48,
mm5, mm35,
mm55, mm59, mm62, III
mm82,
The other is the short appoggiatura. Mozart indicat ed that if an appoggiatura is writte
before a half note in an ascending motion, it is to be played rapidly and softly, the following 11
principle note should be emphasized. You're Reading a Preview Unlock full access with a free trial.
Example 2: The short appoggiatura
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Table: The short appoggiatura
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In addition, if an appoggiatura appears with a group of notes in a descending consecu
or thirds within an allegro or other playful tempo, it should be treated as the short ap poggiat
Example 3: The short appoggiatura
Table: The short appoggiatura Movement
Measure number in the solo part
I
Measure number in the orchestra part mm94,
II
mm10,
III
mm1, mm5, mm20, mm31, mm37, mm41, mm55,
(Allegretto)
mm97, mm101, mm123,mm141, mm142, mm109,mm157, mm161, You're Reading a Preview mm149, mm153,
Mm9, mm13, mm45, mm49, mm105,
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Download With Free Trial B.
Trill
A trill is an alternation of two neighboring notes which are a whole step or a half step
apart. The performer is to decide whether to play a whole-step ortoavote half-step Sign up on thistrill title according to
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key of the piece, unless the composer indicated the alternated note. The mo st common trill
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Table: The trill Movement
Measure number in the solo part
I
mm 39, mm85, mm120, mm145,
Measure number in the orchestra part
mm165, II
mm66
mm33,
If a trill appears in the middle of a descend ing cadence passage, it is preferred to add little notes with a slur as a turn after the trill. And these little notes should be pla yed a little slower toward the closing note.
13
Example 5: The trill with a turn at the end
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Thus is it written
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Table: The trill with a turn at the end Movement
Measure number in the solo part
Measure number in the orchestra part
I
mm7, mm29, mm44, mm58, mm67,
mm7, Usefulmm97, Not useful mm29, mm115,
mm90, mm115, mm123, mm136,
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The last trill before a cadenza, called Ribattuta, is to be treated differently.14 The
beginning of the upper note has flexible time up to the performer, unlike a common trill, wh
needs to start quickly. There are two Ribattutas in this piece, in measure 206 of the 1st movem nd
and in measure 68 of the 2 movement, respectively.
Example 6: The Ribattuta
Mozart indicated that a trill may be divided into four levels according to its speed: sl You're Reading a Preview 15 medium, rapid, and accelerating. The slow is for a sad and slow piece, and thus the trills in Unlock full access with a free trial.
nd
2 movement should be played slowly. On the other hand, the rapid trill is for a lively move Download With Free Trial
such as the 1st and 3rd movements. The accelerating trill is for Ribattuta, which can start slow
then accelerate with a crescendo before a cadenza. They are customary manners in concerto that time.
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the two ascending notes, called the Doppelschlag.16 The first principle note is to be played an emphasis, followed by a little turn with a diminuendo continuing to the second principle
Example 7: The Doppelschlag
Thus is it written
so is it played
Table: The Doppelschlag Movement
Measure number in the solo part
I
mm 2, mm37, mm42, mm60, mm64,
Measure number in the orchestra part
mm92, You're Reading amm2, Preview
mm118, mm125, mm131, mm133, Unlock full access with a free trial. mm163, mm179, mm183,
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II
mm25,
III
mm2, mm6, mm38, mm42, mm98, mm102, mm150, mm154
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notations for dynamics were not quiet developed until 1712, when the signs of crescendo (<
diminuendo (>) , and messa di voce (< >) first appeared in Paris. These graphic signs were no
popular. In Violineschule, without using these signs, Mozart defined these terms nonetheless 18
indicated how to play.
In Hoffemsiter’s Viola concerto in D major , the dynamic indication is similar to Moz
treatise. There are only forte, piano, and crescendo in the score, and performers at that time k how to play this piece in customary manners. Here are three manners possible.
A.
Forte and Piano
All publications for this piece have forte and piano, as provided on the manuscript an
based on editorial suggestions. The dynamics are marked in two ways; while some are as the You're Reading a Preview original on the manuscript, others are presented in [ ] or () as editorial suggestions. Some Unlock full access with a free trial.
publications point out that the original dynamic markings may not be from Hoffmeister, the Download With Free Trial composer himself, but provided by the concertmaster of the orchestra at that time, since the
manuscript was for performance purposes. The original dynamic markings in the orchestral p are unclear, and are occasionally inconsistent with those in theupsotolovote part. marked Sign on Dynamics this title
original in each edition may be contradictory to each other.
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The echo effect was one of the common manners at that time. The effect started durin
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followed by a table providing the dynamics for the solo and orchestra parts, phrase b y phras throughout the piece.
Example 8: The echo effect
Table: The echo effect Movement and
The solo part and the dynamic
measure number
Forte
I
mm73-74 mm82-85
The orchestral part and the dynamic
You're Reading a Preview Piano
forte
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mm 75-76
mm73-74
Download Withcresc. Free Trial mm86-91 ( with mm82-85 to the cadence)
III
mm139-140
mm141-142
mm189-190
mm191-192
mm-198-199
mm200-201
mm27
mm28
Piano
mm 75-76 mm86-91 ( with cresc. the cadence)
mm139-140
mm141-142
mm189-190
mm191-192
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mm28
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The phrase following the echo effect should be back to forte or crescendo to forte.
addition, when the soloist plays the pairs of the echo effect, the orchestra should follow the s dynamic effect in smaller volume than the soloist.
B.
Mannheim crescendo and Mannheim sigh
From 1740s on, the high performance level of the Mannheim orchestra not only insp
several composers which later became the Man nheim school, but also created several music styles at that time. One of the most famous is the Mannheim crescendo. It is a passage with rising melodic line over an ostinato bass. A Mannheim crescendo starts with a piano or less,
adds the volume gradually until the end of the phrase. It occurs in measures 23-26 and meas st
154-156 in the orchestral part of the 1 movement. You're Reading a Preview On the other hand, Mannheim sigh is a type of decrescendo. In a descending pair of Unlock full access with a free trial.
slurred notes at the end of the phrase, a performer should put more weight o n the first note to Download With Free Trial
create a sighing quality. It occurs in measures 6, 37 and 80 in the orchestral part, and in mea 8, 51 and 54 in the solo part with the orchestra, in the 2nd movement.
whi Moreover, the orchestration of this piece is also one ofup the of its time Sign to customary vote on this title
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starts from Jonhann Stamitz in Mannheim orchestra. It was a full string orchestra with 2 obo and 2 horns, which is the exactly same in Hoffmeister ’ Viola Concerto in D Major.
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Example 9: The Mannheim crescendo
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Example 10: The Mannheim sigh
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Solo part within tutti
According to the title on the manuscript, Concerto ex D# [sic] a Viola Principale. Du
Violini Due Oboi Due Corni in D. Viola et Basso. del Signore Hoffmeister , the solo part was
written to be performed by the principle of the viola section. Since the solo part is quite virtu
and violists rarely had sufficient famility for it, it is likely that it was performed by a violinis who was also capable of playing the viola well, as in other virtuosic viola concertos in the Classical period. In the manuscript, the solo part has the music for the soloist but also within the
incomplete tutti part throughout. In the eighteenth century, it was customary that the soloist,
except pianists, in instrumental concertos played the tutti part throughout. This practice is sh
on the manuscript of Hoffmeister’s Viola Concerto in D Major , which was for performance You're Reading a Preview purposes. Four of the eight publications support this practice, including Verlag,19 Kunzelma Unlock full access with a free trial.
Kalmus,21 and H.L. Grahl.22 Their scores for the soloist include both the solo and the tutti Download With Free Trial The tutti extracts lines from the first violin and the viola sections. While four publications offer choices for violists nowadays who prefer to play Hoffmeister’s Concerto in the eighteenth-century manner,Sign theup other three offer to vote on this titlescores in the
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current practice, which allows a soloist to pace him/herself without the tutti duty.
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The International Music Company edition
Among the eight publications of Hoffmeister ’s Concerto , only one is published in fu
score, and others are in piano reduction, which is practical for students. Each arrangement is different from other due to editors’ interpretations and purposes.
In the International Music Company edition, there are several missing spots that all t other editions contain. One is in measure 17 4. The editor directly cut two measures which
function as a bridge between the transition theme and the secondary theme in Recapitulation
(Example 11) However, these two measures do e xist in the exposition. (Example 12) Moreo these two measures are not absent in the other seven publications. (Example 13 from Kunzelmann23)
You're Reading a Preview Example 11: Cut in the Recapitulation
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Example 12: No cut in the Exposition
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Example 13: Measure 177-179 in Kunzelmann
Another problem is in the third movement. This movement is in typical rondo form.
Chapter 2) However, the editor connected the C section in B minor to the D section in D min
You're Reading a Preview directly by using the soloist’s cadenza. In a standa rd rondo form, there should be a refrain in Unlock full access with a free trial.
tonic key between these two sections. Especiall y, these two sections are in different key area
Download With Free Trial And again, this refrain was included in the other seven publications. The cuts made in the International Music Company are only to decrease the tutti. In first movement, the editor indicated how to cut from the end of the exposition to the Sign up to vote on this title
development without a long orchestral tutti in between. While it is practical in rehearsals, fo Useful Not useful
auditions and competitions, it destroys the balances in form, is unfaithful to the music, and i
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easy to play at sight.” 24 By analyzing the piece and comparing editions on significant issues, hope this chapter provides violists performing approaches toward con certos of the Classical period.
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CHAPTER FOUR – ANALYTICAL SYUDY OF PUBLISHED CADANZAS
Given the nature of the cadenza in the Classical period compared to today, the violis
must ponder his or her cadenza very carefully. In the Classical period, the soloist would inve
improvise the cadenza in an instrumental concerto — a practice handed down from Baroque v music. As a result, during the eighteenth c entury, there were very few written-out cad enzas
the composers in a solo concerto. It is no different in the Hoffmeister — an examination of th
original manuscript of the Hoffmeister’s Viola Concerto in D Major reveals several hand-wr passages in the cadenza section, most likely left by the soloist at that time, and probably amended according to the editor’s judgment. Beginning in the twentieth century, music publishers began to consult major players
Reading a Preview concerto. In 1941, the first edi the time and write out the cadenza inYou're a Classical instrumental Unlock full access with a free trial.
of the Hoffmeister ’s Concerto with a written-out cadenza appeared, and several other edition
Download With Freesince. Trial Because the proficiency of the all with different cadenzas — have followed in the years violist today, these cadenzas even have more virtuoso passages than the piece. This chapter
intends to analyze these published cadenzas and evaluate them according to pedagogical asp Sign up to vote on this title
The Types of the Cadenza
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We can also observe the writing of cadenza from the beginning to the end. With wha
kind of opening does the cadenza start? How does it develop in the middle? And, finally, ho does it conclude to the cadence? In the following analysis, we will describe each of them according to these rules.
In this performer’s guide, the author has collected most common seven publishers of Hoffmeister ’s Viola Concerto in D Major , which were provided in the bibliography. About
cadenza of this piece, there are five of them with the cadenza, except the Peters edition and t
Kunzelmann edition. Moreover, Franz Beyer and Herbert Blendinger both wrote a cadenza f this piece and published it separately.
Beyer’s Cadenzas
You're Reading a Preview Beyer’s cadenza was published by Kunzelmann; this publisher is the only one that Unlock full access with a free trial.
published both the full score and the piano reduction of Hoffmeister’s Viola Concerto . There Download With Free Trial
no solo part in the full score edition. And the solo part attached to the piano reduction has no cadenza in it. However, both publications indicate a fermata, which clearly marks for the today. soloist’s cadenza. In my opinion, the editor made the choice performers Signopen up to for votethe on this title
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not only covers the current performance prac tice but also reflects back to the eighteenth cen customary, that the performer can improvise their cadenza as well.
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harmonic progression. Finally, it lands on the dom inant in the high register after a scale that descends back to the low register in G string. Finally, a ritardando arrives on the V of the dominant. This first half of this cadenza creates the excitement for the listeners. After the tempo slows down, it starts with the secondary theme on tempo. After
presenting the entire secondary theme, the solo starts to play several sequences from meno m to poco a poco accelerando . Finally, it lands on a six-fourth chord with forte and states the
primary theme. The solo starts the D major scale from the low register, and then ascends to t high register to end this cadenza in a trill, the cue for the orchestra.
This cadenza not only quotes both of the primary theme and the secondary theme, bu
also presents several important techniques for the violist, such as staccato a nd speedy rhythm
patterns. Furthermore, the whole cadenza is like a separate piece on its own. When performe You're Reading a Preview choose to play it, they not only need to take care of the basic technique, but also the groupin Unlock full access with a free trial.
the phrases into the larger phase.
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by unresolving chords. At the end, Beyer varies the primary theme in an expressive way and expands it in eight measures with a trill to cue the end. The cadenza of the third movement was the first type. It is short with a scale and
rhythmic patterns to connect to the refrain section for the rondo. In general, Beyer’s cadenza
writing is full of the requirements for a cadenza. It is virtuosic, is reminiscent of the themes, has a structure on its own. Moreover, this publication , Kadenzen zu Viola-Konzerten von S
Zelter und Hoffmeister by Beyer, also has the cadenza for Carl Stamitz’s Viola Concerto Op
and for Carl Friedrich Zelter’s Viola Concerto in E-flat major, which are among the standard classical viola concertos. There is no doubt that Beyer’s writing is a very high quality.
Bledinger’s Cadenza
You're Reading a Preview In Kadenzen zu Klassischen Bratschen-Konzerten , Bledinger wrote several cadenzas Unlock full access with a free trial.
the classical viola concertos of Stamitz, Zelter, G. P. Telemann and Hoffmeister. Instead of Download With Free Trial
starting with a pick-up like Beyer’s cadanza, Bledinger’s directly presents the first three note the primary theme in full chords as the beginning of the first movement. However, it uses s thematic motive to modulate to a series of V of Vs. First, it lands theonparallel Sign up toon vote this titlekey as is
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followed by sequences that keep giving an unsettling harmonic language through chromatic scales and register-jumping patterns. Finally, after a ritardando, the solo is back to
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unsettled. However, after the high-G with the dotted-rhythm motive, the solo lands on a six chord with rapid thirty-second notes that accelerate to the end. In the third movement, there are two cadenzas for two different places. The first one
for measure 96. It is short with a writing in circle of fifth into double-stops by the soloist. Th second one is for measure 148. It is made mostly by the scale pattern phrasing with more
varieties on harmonic language. Both of them do not give more clue than the previous one b
as a cadenza. However, Blendinger did have his own creativity for these cadenzas which sho different flavor.
Max Eschig Edition, cadenza by Maurice Vieux
In this edition, the cadenza starts with the last measure of the orchestra. It continues t You're Reading a Preview six-four chord with a trill as a link between these two sections. The cadenza begins the solo Unlock full access with a free trial.
arpeggio of the dominant chord from the low to high register in sixteenth notes. Later, it lan Download With Free Trial
the first chord of the primary theme and shows this theme partially. It continues another mot
from the orchestra and ends this cadenza with arpeggio in the tonic chord without a trill cue.
There is no cadenza for the second movement in this However, Signedition. up to vote on this titlethere is o ne s
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cadenza for the third movement. Because the orchestra ends in the parallel key, D minor, the
starts the cadenza with a group of sequences in sixteenth notes for modulation to the tonic ke
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International Music Company Edition (New York), cadenza by Paul Doktor
The cadenza for the first movement starts with the same motive from the beginning o
primary theme. And it continues with the same phrasing in sequence. Later, the secondary th
comes in partially and continues with a series of double-stops and scale patterns from the six
four chord of tonic to the dominant. At the end, the solo uses the ascending passage of doub stops to the high D and ends with double-stops trill. Similar with the first one, the cadenza for the second movement, also starts with the theme a1, but are transformed into double-stops. Doktor took the rhythmic motive from the second measure of the primary theme and developed this motive as sequence. After landing the tonic, it starts another rhythmic pattern for the harmonic progression to the dominant in At the end, it lands on the trill with double-stops as similar writing as previously style. You're Reading a Preview Unlock full access with a free trial.
Example 2: The double-stops writing in cadenza for the second movement Download With Free Trial
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Useful last Not Doktor specialized in double-stops writing. For the cadenza, heuseful simply starts wit
string-crossing sixteenth-notes pattern. Then the solo presents the refrain theme completely i
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G. Henle Verlag Edition, cadenza by Robert D. Levin
In this edition, there are two choices for the first movement. The first one starts with
similar texture from thematic material of the exposition. After the first statement, the solo go
the dominant through a few arpeggio sequences, and then it recalls two other thematic mater
in the movement. Finally, it continues with a scale pattern in IV and reaches V with a ferma
the end, a trill cue brings back to the tonic. It is very interesting that this cadenza follows the 25
7
7
of “artful cadenza” by Guiseppe Tar tini. The harmonic progression is I-V - V - I- IV- V- I which is Tartini’s suggestion.
The second cadenza has a different opening. It starts with a chord after a pic k-up, sim
to the first entrance of the soloist. However, the p assages of sixteenth notes follow shortly an
then another thematic material comes in sequence. After landing on a fermata, the secondary You're Reading a Preview theme recalls and transforms into another thematic development. Finally, the solo reaches th Unlock full access with a free trial.
dominant by the ascending arpeggio passage and the trill cue ends in the tonic. Download With Free Trial
Levin provided two cadenzas for the second movement. General characteristics of bo
cadenzas are similar. He chose the motive from the theme a1 and develops it to another harm direction. This can remind the audience of the main theme, but, the solo leads to Sign up somehow, to vote on this title
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another interesting place. The first one even has one passage which is like the long embellishment of the cadence in the Baroque vocal works. Among these cadenzas, this
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Levin indicated cadenzas in three spots, in measures 36, 96, and 148. There are two
cadenzas for measure 36, which functions as a link between section B and section A. (Please refer to my analysis in Chapter Two.)
There are also two cadenzas in measure 96. The situation is similar as above. These t
cadenzas lack development, but have stronger connecting function between section C and se
A. Measures 36 and 96 are both in the middle section of the movement, so the cadenza has t
short as not to lead the audience into misunderstanding that the end of the piece is approachi
There are two choices for measure 148. The first one is of a short linkage function, a
the second one is much longer. Levin used rhythmic motives from the movement, but treate
these sequences to unsettle the harmony. Finally, he transformed another phrase to con tinue refrain.
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H. L. Grahl Edition
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This edition is the earliest edition of Hoffmeister’s Viola Concerto in D Major. There only one cadenza for the first movement in it. Unfortunately, it does not provide who the
composer is. The cadenza starts with an expressive beginning like a recitative and introduce Sign up to vote on this title
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primary theme of the first movement completely. However, this primary theme is more complicated than the original one. This theme is full of double-stops, which makes it sound
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Pedagogical Suggestions
All these cadenzas have different levels of difficulty. There are several suggestions f
the performer. First, pick one suitable for yourself. Some of them are full of double-stops, th
intonation of which needs to be taken care of by left hand. Some of them focus on the rhythm pattern which requires strong right-hand techniques. For the performer, it is one of the most important moments to show your virtuosity. So select one that you can do best.
Second, most of them all present the main theme from the movement. No matter wha kinds of variation they are, it is important to e mphasize the main theme regarding the basic
writing of the cadenza. Same as the secondary theme or the motives, they should be express more for recall.
Finally, these cadenzas can be considered as individual short pieces. The composer e You're Reading a Preview put more effort on the larger phase to create expectation and excitement between the audien Unlock full access with a free trial.
and the soloist. So the performer should observe the cadenza, organize the phrases, and build Download With Free Trial the tension from the structure of the music.
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CONCLUSION
Basically, Franz Anton Hoffmeister’s Viola Concerto in D Major can be performed i two ways. Performing in a current concerto practice would include the solo part against the orchestra only. On the other hand, while performing in the eighteenth-century manner, the performance would require the soloist to play both the solo and the tutti parts. Although the
cadenzas were generally improvised in the eighteenth century, there are seven cadenzas curr
available in print. Various ways of playing ornaments are also characteristic in music from t
period. They can be particularly challenging since the details of playing them are usually no
marked on score, but rather depending on a performer’s understanding and knowledge of pe practice.
You're Reading a Preview Through the analytical studies of the manuscript, eight publications and seven caden Unlock full access with a free trial.
and with the aid of Leopold Mozart’s A Treatise on the Fundamental Principles of Violin Download With Free Trial
Playing , this document provides a performance guide that I hope would enhance violists’ understanding of performing eighteenth-century viola concertos. Sign up to vote on this title
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BIBLIOGRAPHY
Boyden, David D. “Dynamics in Seventeenth- and Eighteenth-Century Music.” In Essays o Music in Honor of Archibald Thompson Davison by His Associates , 185-93. Cambridge Cambridge University Press, 1957. Brown, Clive. Classical and Romantic Performing Practice 1750-1900 . Oxford: Oxford University Press, 1999.
Castledine, Mellisa. “Etudes and Viola Pedagogy.” DMA the sis, University of Cincinnati, 1
Drüner, Ulrich. “Das Viola-Konzert vor 1840.” Fontes Artis Musicae 28, no 3 (July-Sept 19 153-176.
Hepokoski, James, and Warren Darcy. Elements of Sonata Theory: Norms, Types, and Deformations in the Late Eighteenth-Century Sonata. Oxford: Oxford University Press 2006. Hickman, Roger. “The Flowering of the Viennese String Quartet in the Late Eighteenth Reading a Preview Century.” The Music Review 50You're (1989): 157-161. Unlock full access with a free trial.
Hoffmeister, Franz Anton. 12 Viola-Etudes. Leipzig: Bureau de Musique, [c.1800].
Download With Free Trial Sociological Background and Komlos, Katalin. “The Viennese Keyboard Trio in the 1780s: Contemporary Reception.” Music & Letters 68, no 3 (July 1987): 222-234. Lawford-Hinrichsen, Irene. Music Publishing and Patronage: C. F. Peters, 1800 to the Holocaust. Kenton: Edition Press, 2000. Sign up to vote on this title
Melkus, Eduard. “On the Problem of Cadenzas in Mozart’s Violin Concertos.” In Perspect Useful Not useful on Mozart Performance, ed. R. Larry Todd and Peter Williams, 74-91. Cambridge: Cambridge University Press, 1991.
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Hoffmeiste Analisis Uploaded by Bruno Zanone
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Hoffmeister cadencia
1
of 56
Elgar Concerto for Viola
The Pianoforte SonataIts Origin
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Radant, Else. “Ignaz Pleyel’s Correspondence with Hoffmeister & Co.” In The Haydn Yearb XII, ed. H.C. Robbins Landon, I.M. Bruce and David Wyn Jones. Bloomington: Indian University Press, 1981. Riley, Maurice W. “18th Century Concertos for the Viola.” Journal of the Violin Society of America 3, no 2 (1977): 88-90. ____________. The History of the Viola. Ann Arbor, Michigan: Braun-Brumfield, 1993.
Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. New York: W. W. Norton, 1997.
Sills, David L. Review of “Konzert für Viola und Orchester [2 ob., 2 hn., strings] D dur, Par Erstdruck; Konzert D-dur für Viola,” by Franz Anton Hoffmeister. Notes 42, no 3 (Mar 1986): 650-51.
Stauffer, George B. “Forkel’s Letters to Hoffmeister & Kühnel: A Bach Biographical Sourc Recovered.” The Journal of Musicology 5, no 4 (Autumn 1987): 549-561.
Stowell, Robin. The Early Violin and Viola: A Practical Guide. Cambridge: Cambridge University Press, 2001. You're Reading a Preview ____________. “Performance Practice in the Eighteenth Century Concerto.” In The Cambri Unlock full access with a free trial. Companion to the Concerto, ed. Simon P. Keefe, 192-226. Cambridge: Cambridge University Press, 2005. Download With Free Trial Veinus, Abraham. The Concerto. London: Cassell and Company Limited, 1948.
Watson, J. Arthur. “Mozart and the Viola.” Music and Letters 22, no 1 (January 1941): 41-5 Early White, Chappell. From Vivaldi to Viotti: A Historical of the Sign up to Classical vote on thisViolin title Concert Philadelphia: Gordon and Breach, 1992.
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Zeyringer, Franz. Literatur für Viola; Verzeichnis der Werke für Viola-Solo, Duos mit Viola, Trios mit Viola, Viola-Solo mit Begleitung, Blockflöte mit Viola, Gesang mit Viola und d
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