Hoffmeiste Analisis

7/24/2019 Hoffmeiste Analisis

1/56

UNIVERSITY OF CINCINNATI

Date:

I, ,

hereby submit this original work as part of the requirements for the degree of:

in

It is entitled:

Student Signature:

This work and its defense approved by:

Committee Chair:

6/18/2010 657

12-May-2010

Chiu-Ching Su

Doctor of Musical Arts

Viola

A Performance Guide to Franz Anton Hoffmeisters Viola Concerto in D Major

with an Analytical Study of Published Cadenzas

Catharine Carroll, DMA

Catharine Carroll DMA

Chiu-Chin Su


2/56

A Performance Guide to Franz Anton Hoffmeisters 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

by

Chiu-Ching Su

B.M. Fu Jen Catholic University, 2001

M.M. University of Cincinnati, 2003


3/56

i

ABSTRACT

Franz Anton Hoffmeisters Viola Concerto in D Major(written prior to 1799) has

become among the standard repertoire of viola concertos, due to the rise of viola virtuosos since

the beginning of the twentieth century and the rarity of virtuosic viola concertos with stylistic

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 ways to perform this piece and pieces from the

same period.

Hoffmeisters Viola Concerto in D Majorhas been published by G. Henle Verlag,

Kunzelmann,Peters, Kalmus, International Music Company (New York), H. L. Grahl, and Max

Eschig. Kunzelmann is in full score and piano reduction, and the other six are in piano reduction.

Seven cadenzas have been published, five of them were written byFranz Beyer, Herbert

Blendinger, Maurice Vieux, Robert D. Levin, and Paul Doktor. Each of them presents different

technical difficulties. These editions will be discussed and compared. The form of each

movement will also be analyzed. Issues of performance practice will be provided along with the

information above.

I will examine Leopold MozartsA Treatise on the Fundamental Principles of Violin

Playing, published at Ausburg in 1756, because this treatise not only deals with the techniques of

violin playing, but also provides guidance on playing of ornamentations, which is informative for

Hoffmeisters Viola Concerto in D Major.


4/56

ii

2010 Chiu-Ching Su. All rights reserved.


5/56

iii

ACKNOWLEDGMENTS

I would like to thank my parents, my dad Chen-Ching Su and my mom A-Mai SuCheng,

for their continuous support of my study. Thanks to my beloved mentors, Mr. Kawasaki and Dr.

Carroll, for their encouragement and teaching in music and in life. Also, I am very honored to

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 gives me

joy and strength.


6/56

iv

PREFACE

Since the rise of viola virtuosos at the beginning of the twentieth century and composers

rising interest in exploring new arenas in sounds and techniques, the viola, a versatile instrument

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 Concerto,

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 between

1740 and 1840, only a few are worthy performing, being virtuosic and in the standard forms

representative of their period musical styles. Representatives of the Baroque period are J.C.

Bachs Viola Concerto in C Minor, George Frideric Handels Viola Concerto in B Minorand

Georg Philipp Telemanns Concerto in G Major(TWV 51:G9), and Franz Anton Hoffmeisters

Concerto in D Majorand Carl Stamitzs Concerto in D Major, Opus 1equally represent the

viola concertos from the Classical period.

These two concertos by Hoffmeister and Stamitz have become standard repertoire for

competitions and auditions, including Cincinnati Symphony Orchestra, Los Angeles

Philharmonic Orchestra, and the ARD music competition. Unlike pianists and violinists, violists

lack hands-on experiences of playing concertos from this period because of rarity of such

repertoire. In this document, I will provide the performance practice of Hoffmeisters Concerto

in D Major, with supports of careful reading of manuscript and eight publications, formal


7/56

v

analysis, and comparison of cadenzas available in print, in hope to aid students who wish to take

on this piece or those in similar styles.


8/56

vi

CONTENTS

CHAPTER ONE - INTRODUCTION

History of Viola Concerto ......... 1

Franz Anton Hoffmeisters Music and Contributions ... 5

CHAPTER TWOAN ANALYSIS OF HOFFMEISTERS VIOLA CONCERTO IN D MAJOR

First Movement .. 8

Second Movement .............. 15

Third Movement .. 17

CHAPTER THREEPERFORMANCE PRACTICE OF HOFFMEISTERS VIOLA

CONCERTO IN D MAJOR

Introduction .. 20

Ornamentation .. 21

Dynamic ................................................................................................................ 27

Solo part within tutti ..................................................................... 32

The International Music Companyedition ... 33

CHAPTER FOURAnalytical Study of Published Cadenzas

The Types of the Cadenza 36

Analysis of Published Cadenzas and Pedagogical Suggestions . 37

CONCLUSION 45

BIBLIOGRAPHY.46


9/56

1

CHAPTER ONEINTRODUCTION

History of Viola Concerto

Not until the Classical period did the viola start to enjoy its virtuosos and solo literature

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. Bachs Unaccompanied Suites

for Cello.

There are two main reasons that the viola suffered such neglect. One is that there were no

great violists. As a versatile orchestral and chamber music instrument, the viola part in such

music was commonly within the limits of the lower three positions at that time; therefore, violists

did not need to develop the technical proficiency necessary to be a great soloist. In addition, the

viola sits right in the middle of acoustical range of the string sectiontoo low to be a bright,

soaring violin, too high to be a dark, sonorous cellothat it lacked the characteristics that

composers at that time looked for on a solo instrument. Even though there were few pieces for

viola, it was usually played by a violinist who could play viola as well.

These reasons result in the viola being considered as a viola da braccio(viola of the arm),

a member of the violin family.1The viola was not considered as a solo instrument, but rather a

violin of an inferior rank. Consequently, composers writing solo instrumental repertoire ignored

the viola, almost stunting the development of its literature.

In the middle of the eighteenth century, however, composers began to reconsider the role

of the viola, and treat the viola as a solo instrument. According to a research by German

1Robin Stowell,The Early Violin and Viola: A Practical Guide(Cambridge: CambridgeUniversity Press, 2001), 34.


10/56

2

musicologist Ulrich Drner, Georg Philipp Telemann gave the viola its first concerto in 1731.

From there, between 1740 and 1840, composers wrote over one hundred and forty concertos for

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 take

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), Johanns first son,

was from Mannheim orchestra and later he was best known as a touring virtuoso on violin, viola

and viola damore. He was the first composer to specify a left hand pizzicato in a composition,

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

position, which needs accurate shifting for violists. Moreover, this passage made this piece

become one of the orchestral audition repertoires just like Hoffmeisters Viola Concerto in D

major. Stamitzs Concerto Opus 1has remained a standard work for violists till this day.

Until the Romantic period, violists had developed the same level of technical proficiency

as violinists. Hector BerliozsHarold in Italy(1834) is such an example, which was premiered

by Chrtien Urhan, This piece was commissioned by Niccol Paganini (1782-1840), one of the

most celebrated violin virtuoso and also well-known as a great violist of his time.

InHarold in Italy, the viola is the solo instrument and presents the main character,

Harold. The soloist has to compete against an orchestra of a rather large scale at the time. The

soloist needs to give a volume and sound projection of a protagonist. In addition, a few virtuosic

passages in the piece display challenges typical of instrumental concertos.

2Ulrich Drner, Das Viola-Konzert vor 1840,Fontes Artis Musicae28, no 3 (July-

September 1981): 176.


11/56

3

Apart fromHarold in Italy, composers in the Romantic period who wrote for viola

favored keeping its role in intimate chamber music. The technical and musical requirements the

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 ignored.

After 1870, viola concerto leaped to another stage. The viola making came to a mature

level, and viola virtuosos arose. Major composers started exploring the violas unique

characteristics in sounds and techniques, i.e. Paul Hindemith inDer Schwanerederher(1935);

Bla Bartk 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. InDer

Schwanerderher, the viola solo is against an orchestra heavy in low registers and brass, which is

close to the violas register and challenges the soloists projection. Hindemith is not only a great

composer but also a great violist. Equipped with the twentieth-century advanced compositional

techniques, he wrote the viola music with ultimate possibilities for virtuosic display and tone

colors.

The viola concerto repertoire has been developing all along with the making of viola and

the growth of the violists capability, and that is one of the reasons that a colossal work such as

Der Schwanerderherhad not been written until the twentieth century. Looking back at viola

concertos written in the Classical period, particularly the work to be discussed in this document,

Franz Anton Hoffmeisters Viola Concerto in D Major, the challenges of performing them are no

less than that of the twentieth-century concertos. A Viola in the eighteenth century could not

produce a big volume as they do now. Presenting such an instrument with an orchestra in the


12/56

4

background was even more demanding. Moreover, the key D major presents a problem in terms

of register that a viola soloist could be easily overpowered by an orchestra.

While virtuosic viola soloists and advanced viola students are looking for Classical

concertos to play, Hoffmeisters Viola Concerto in D majoris always one of the choices. Its

exquisite reflections of the Classical period have made it a popular staple of todays repertoire,

not only for its virtuosity, but its application of standard features and then-popular styles of the

Classical Viennese concerto genre. In fact, this concerto, along with Stamitzs Concerto in D

Major, has become one of the representative Classical concertos for the viola repertoire.

Today, Hoffmeisters Viola Concerto in D Majoris 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

Orchestra request this concerto as one of the required solo pieces.

It is a popular solo work at competitions and auditions for many reasons. It is a

representative of the Classical style, it brings out the warm tones in the middle range of the viola

register, and the virtuosic passages demonstrate a players technical proficiency. Given the small

amount of solo viola repertoire written during the Classical period, Hoffmeisters Viola Concerto

in D Majoris a major work worthy of discussion.

The purpose of this document is to provide a performance guide of Hoffmeisters Viola

Concerto in D Major. Since performance practice of the instrumental concerto has changed over

the past two hundred years, there are several issues that one must consider before undertaking a

thorough study of the work. Through this guide, I hope to provide a general idea for those who

would like to learn about viola concertos in the Classical period, and also comprehensive

information and the proper manners for those who would like to perform this piece.


13/56

5

Franz Anton Hoffmeisters Music and Contributions

Franz Anton Hoffmeister was born in Rottenburg of Neckar in 1754 and died in Vienna

in 1812. He studied law before tuning to music. He then stayed in Vienna, serving as a church

music master, and became a composer and a conductor. However, his reputation today is mainly

on music publishing.

In 1784, he opened a book shop which also provided art and music score, and then

established his music publishing firmF. A. Hoffmeister & Co. in the same year in Vienna.

F. A. Hoffmeister & Co. has an extensive catalogue of composers at that time, including

Clementi, Beethoven, Haydn, and Pleyel. He was one of the Mozarts friends. Mozarts

compositions between K478 and K577 were all published by this firm. 3His String Quartet in D

Major, K499, was published by Hoffmeister, and acquired a nickname, Hoffmeister.

In October 1799, when attending two concerts for his own compositions in Gewandhaus

in Leipzig, Hoffmeister met organist Ambrosius Khnel. They founded another music publishing

firm in Leipzig in 1800, which was calledHoffmeiser & Khnel, Leipzig, Bureau de Musique.

Later, this firm became the basis of one of the most famous publishing firms of the music world:

C. F. Peters. During 1800-1805, Hoffmeister and Khnel cooperated in this firm. Their

contributions during this time were enormous. For examples, they published the complete

editions of String Quartets by Haydn, the most popular composer at the time. In addition, they

started reviving the interests of J.S. Bachs music. The first edition of Bachs keyboard music

3Alexander Weinmann, Hoffmeister, Franz Anton., in Oxford Music Online[http://www.oxfordmusiconline.com/] (accessed April 15, 2010).


14/56

6

was published by this firm between 1801 and 1803.4It was the first attempt to collect J.S. Bachs

complete keyboard works.

However, in 1805, Hoffmeister decided to go back to Vienna to continue composing and

working on his original publishing company. He sold his part ofHoffmeiser & Khnel, Leipzig,

Bureau de Musiqueto Khnel. Later, this firm was renamed asNeuer Verlag des Bureau de

Musique von A Khnel 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 Classical

period, Hoffmeister was a popular and prolific composer at that time. In his thirty years of

composing, his oeuvre includes eight operas, several symphonies, many church works (part of

the duty as a church music master in Vienna), thirty-four string quartets, thirty concertos, and

many chamber works. In addition to Vienna, his music was very popular in foreign cities.Der

Konigssohn aus Ithaka, his most successful opera,was performed in Budapest, Prague and

Warsaw. Most of his works, such as symphonies and chamber music, were published in

Amsterdam, Paris and London.5One of the reasons that his music was popular outside Vienna is

that it included several music styles popular at that time in Europe, such as the flowing melody

and the balanced formal structure. However, today his music has been criticized for the lack of

originality and depth.

Hoffmeisters compositions perfectly reflect the Viennese style of the Classical period

and make good companions to the works he published. This is why he enjoyed a great reputation

4 Irene Lawford-Hinrichsen, Music Publishing and Patronage: C. F. Peters, 1800 to theHolocaus (Kenton: Edition Press, 2000).

5Weinmann, Hoffmeister, Franz Anton.


15/56

7

and audience outside Vienna, even though he suffered from Haydns and Mozarts shadows in

Vienna during his lifetime.

A work worth mentioning ishis 12 Viola-Etuden.As a music-publisher and a composer,

he found that there were too few pedagogic materials for violists. He decided to compose some

himself.12 Viola-Etudenis not only a pedagogic work which specifically focuses on fingering

and bowing exercises, but is in the formal structure of the Classical style. For example, the fifth

etude in G major, a theme-and-variations, starts with anAndante with a musical theme in double-

stops. Then the Variations 1 and 2contain the material from the theme inAllegro. The Variation

3 is based on the contrapuntal writing from the theme. The Variation 4 is in the parallel minor

key of the G major. At the end, the Variation 5is back to the original key with aDa Capo

recapitulation of the theme. This etude has been considered more than an etude and been

performed as a concert piece. Moreover, it is exactly in the formal structure of the theme-and-

variations in the Classical period.

Hoffmeisters Viola Concerto in D Majorboasts the standard features and styles for the

concerto genre of Classical Vienna. In the next chapters, the analysis will present this standard

music styles and features.


16/56

8

CHAPTER TWOAN ANALYSIS OF HOFFMEISTERSVIOLA CONCERTO IN

D MAJOR

One of the most important features for the Classical period is the formal structure, which

is built on the melodic and harmonic structures. This chapter intends to provide a formal analysis

of Hoffmeisters Viola Concerto in D Major,which gives information about harmonic

progressions and melodic line.

First MovementAllegro

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 the

themes at the beginning without the soloist, the true exposition occurs with entry of the soloist in

the first movement of the concerto. This was originally from the ritornello from the Baroque

period but was blended with sonata form. Using the current sonata theory terminology proposed

by James Hepokoski and Warren Darcy,6I will analyze the first movement.

The first movement of Hoffmeisters Viola Concerto in D Majorhas a typical formal

structure of the time. At the beginning without the soloist, Ritornello 1 (R1) presents the primary

theme, which is a periodical phrase in tonic key of D major. The primary theme is made up of a

4+4 phrasing structure, which was common in the Classical period.

6James Hepokoski, and Warren Darcy,Elements of Sonata Theory: Norms, Types, andDeformations in the Late Eighteenth-Century Sonata(Oxford: Oxford University Press, 2006),430.


17/56

9

Example 1: The Primary Theme in Ritornello 1 in D Major

After the statement of the primary theme, the R1:\TR1.1

follows and concludes with

medial cadence with a caesura fill in measure 15. R1:\TR1.1 contains another periodic phrase in

piano and is followed by a Mannheim crescendo toforte until it culminates with a PAC (Perfect

Authentic Cadence) in measure 30.

The R1:\TR1.2starts withpiano, and it follows an EEC (Essential Expositional Closure)

at the end. After a cadential extension of the closing section in tonic, the soloist completely

represents the primary theme with an arpeggio extension in the Solo 1.


18/56

10

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 major.

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 dolce

character. It is a 4+4 periodic phrase as well.

Example 3: The Secondary Theme in Solo 1 in A Major

After the secondary theme, the solo enters the Display Episode (S1:\DE) which contains

two groups of phrases for the echo effect. Please refer to the Chapter Three. An echo effect often

occurs in repeated phrases in the Classical period. At the end of the second groups phrase, the

solo has crescendo with an extended arpeggio in V of A major. Later, this PAC in A major links

to the development.


19/56

11

Led by the orchestra, the Ritornello 2 (R2) contains the same primary theme in A Major,

as an orchestral interlude. The primary theme contains the same structure as presented in R1 as

well.

Example 4: The Primary Theme in R2 in A Major

In Ritornello 2, R1:\ TR1

has the same material with the previous one in the Ritornello 1,

except it is in dominant key. And it is also followed by a medial close effect followed by a


20/56

12

caesura fill in measure 103. R2:\TR1.2has the same situation as above. It starts the same periodic

phrase inpiano.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 the

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 measures of

the primary theme in B minor, which begins the Ritornello 3 (R3.) However, this primary theme

serves as an exit phase of the development. In brief, the orchestra starts to modulate back to tonic

key, D major, for the recapitulation.

Example 5: The Primary Theme in Ritornello 3 in B minor

In the recapitulation, the primary theme returns to the home key: D major. This theme and

the secondary theme are both presented by the soloist in tonic key. The phrase structure remains


21/56

13

the same. Later, this section ends with a PAC, as an ESC (Essential Structure Closure) in D major.

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 tonic

chord. Later, Ritornello 4, led by the orchestra, is straddled by a cadenza that divides this zone.

Ritornello 4 starts with two scale-sequences and uses syncopation to create the tension. These

syncopations land on the obligatory cadential six-four chord to prepare the cadenza. After the

cadenza, a codetta ends the movement.

A summary of the analysis is presented in Table 1. This table provides information of the

large-scale formal structure, which includes the measure numbers, section names, and key areas.


22/56

14


23/56

15

Second MovementAdagio

An adagio second movement is a typical choice for a concerto during the Classical period

and is structured as the rounded binary form. The piece starts with an orchestral introduction in

periodic phrases in the key of D minor. Then the solo presents the main theme a1, which is a

2+2+2 periodic phrase. The beginning of the phrase contains a descending triadic motive, which

first appears during the orchestral introduction. There is also a syncopation motive that comes

from the introduction as well.

Example 7: The main theme: a

1

, in D minor

Then the theme b starts to modulate from D minor to its relative major, F, and finally

stays in this key and leads to the theme c. These two themes have the transitory function.

Moreover, the orchestra presents the introduction theme again in F major. The function of this

interlude is an opening for the section B.

In the section B, although the theme a2

has the same two-measure beginning of the theme

a1

, the rest of the four measures creates a new color because of the change to F major.

Furthermore, it has more embellishments than before, just like a singer that improvises.


24/56

16

Example 8: The theme a2in F minor

However, the theme d brings us back from F major to D minor. This time, without the

theme from the orchestral introduction, the solo returns with a1. In the section A1, there is only an

extension on the theme a1

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 to

movement.

A Summary of the analysis is presented in Table 2, and provides information regarding

the large-scale formal structure, which includes the measure numbers, section names, and key

areas.

Table 2the Formal Structure of the Second Movement/ Rounded Binary Form

IntroductionOrchestra

Section ASolo

InterludeOrchestra

Section BSolo

SectionA1

Solo

CodaOrchestra

Theme Introduction

Theme

a b C Introduction

theme

a d a and

extension

coda

KeyArea

d minor dminor

dminor

to F

major

Fmajor

F major Fmajor

Fmajor

to d

minor

d minor d minor

Measure

number

mm.1-6 mm.7-

12

mm.

13-24

mm.

24-31

mm. 31-37 mm.

38-43

mm.

43-52

mm. 53-

89

mm. 89-

94


25/56

17

Third MovementRondo

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 a

periodic melody and repeated it several times rather than developing it. This gives the audience a

strong impression of the melody. Usually, the beginning of the movement will directly present

the refrain by the soloist (with or without an orchestra accompany) and then the orchestra enters.7

The third movement of Hoffmeisters Viola Concerto in D Major,is no exception, as the refrain

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 emphasize the impression.

Example 9: The refrain in D Major

After the nice statement of the refrain, the solo begins to lead the whole movement with

repeated phrases and virtuosic sequences. In the section B, there are two pairs of sequences by

the soloist that have an echo effect. Furthermore, these sequences modulate from D major to A

major in this section. However, as the dominant of D, the solo naturally returns to the refrain.

7Charles Rosen, The Classical Style: Haydn, Mozart, Beethoven (New York: W. W.

Norton, 1997), 213.


26/56

18

In the section C, the solo suddenly jumps to the relative minor, B minor. It starts with a

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

registers and is following by a rapid modulation. The key starts with B minor, followed by D

major, A major, and D major, respectively, and then back to the minor-mode theme. These

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 fermata

notes. As a link to the section, these fermatas create a suspended feeling for the audience.

After the second time of the section A, the solo presents another theme in the parallel key,

D minor. This theme is 2+2+4 phrase. And again, the solo starts to modulate in this section as

well. The key starts with D minor, follows by F major, D minor, and D major. It culminates with

a half cadence in D minor. Later, the solo returns to the section A with the orchestra. The modal

mixture is another way to enrich this section, which also consists of repeated phrases and

sequences in the solo part.


27/56

19

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 3the Formal Structure of the Third Movement/ Rondo Form

Section A B A C A D A

Key area D major A major

(dominant

key)

D major B minor

(relative

key)

D major D minor

(parallel

mode)

D major

Measure

number

mm.1-16 mm.16-

36

mm.36-

52

mm.53-

96

mm.

97-112

mm.

113-148

mm.

149-164

Hoffmeisters Viola Concerto in D majoris a truly typical concerto of its time and

presents a popular musical style of the period. Through the analysis, we can understand the

music better. Moreover, it can help serve as a performance guide.


28/56

20

CHAPTER THREE

PERFORMANCE PRACTICE OF HOFFMEISTERS VIOLA CONCERTO IN D MAJOR

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 HoffmeistersViola Concerto in D Majoris a typical classical concerto at that time.

Therefore, it is important to discuss the performance practice with this piece for this type of

music of the Classical period.

Current music publishers show the same concerns for this piece. Presently, there are eight

publications of Hoffmeisters Viola Concerto in D Major.It is rare for a viola concerto that this

number of publications shows the importance and worth of the piece. In addition, several editors

put several important performance practice issues into the music score for the performers.

The manuscript is incomplete and is in the care of the Dresden Royal Public Library (the

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 Basso.

del Signore Hoffmeister.Several editors indicated circumstances about the manuscript. For

instance, the manuscript consists of 12 separate instrumental parts. The solo viola, basses, and

winds (ob 1, ob2, hn1 and hn2) were written out by Copyist I. The remaining strings (vn1, vn2

and va) were by Copyist II. And additional ripieno parts for the tutti sections (vn1, vn2 and bs)

were by Copyist III.8Unfortunately, these were not Hoffmeisters autograph and we are not sure

whether these copyists followed Hoffmeisters original ideas exactly. In addition, since these

parts were for performance purposes, there are different markings in dynamics and articulation

8Franz Anton Hoffmeister, Violakonzert D-dur: Klavierauszug, ed. Norbert Gertsch and

Julia Ronge, with cadenza by Robert D. Levin (Mnchen: G. Henle Verlag, 2003).


29/56

21

between the solo part and the orchestral part. These markings are likely to be made by several

performers who played it at that time.

This chapter will not discuss the differences between the manuscript and the published

scores, sufficient information of which has been provided on eight publications. Instead, this

chapter will provide issues of performance practice in the 18thcentury based on the historical

point of view. Information for interpretation will also be provided.

In the following, such detailed aspects of performance practice as ornamentation and

dynamics are discussed, and music examples will refer to the only publication in full score and

its viola solo part, since the original manuscript was also a full score. This score was edited by

Ulrich Drner and published by Lottstetten: Kunzelmann in 1982.

Ornamentation

Ornamentation is one of the greatest challenges for both current performers and scholars

when facing the music in the seventeenth and eighteenth century. The music score during this

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 and conventions at that time.

Indication of the ornamentations by composers was unnecessary. In the following content, we

will base the performance practice of ornamentations on Violineschule-- A Treatise on the

Fundamental Principles of Violin Playingby Leopold Mozart (1719-87),9father of W.A. Mozart.

Violineschulewas written in 1756 in Salzburg. In the preface, Mozart pointed out that he wrote

down the following rules for those who needed instructions in violin playing.

9Leopold Mozart,A Treatise on the Fundamental Principles of Violin Playing, trans.Editha Knocker (Oxford: Oxford University Press, 1948).


30/56

22

Three kinds of ornamentations will be extracted from the viola solo part, and the ways to

play will be provided as followings. The orchestra should also employ the same manner as the

soloist in ornamentation. Therefore, this section will also provide a table including both the solo

and orchestral parts by measure numbers for the rest of the piece. These measures in the table

should follow the same manner as the music examples.

A. Appoggiatura (Appoggiature)

An appoggiatura is a little note before a full-size note with or without a slur. There are

two kinds of appoggiaturas in this piece.

One is the long appoggiatura. Mozart indicated that if an appoggiatura is written before a

fourth, eighth, or sixteenth note in a descending motion, it is to be played as a long appoggiatura,

a half time value of the principle note. The way to play this is to sustain the appoggiatura and

continue to be equal value with the follower smoothly. So the appoggiatura and its main note

share the time value evenly.10

Example 1: The long appoggiatura

Thus is it written so is it played

10Ibid., 167.


31/56

23

Table: The long appoggiatura

Movement Measure number in the solo part Measure number in the orchestra part

I mm8, mm10, mm61, mm65, mm67, mm98,

mm100, mm137, mm139, mm141, mm173,

mm177, mm180, mm184,

mm8, mm10, mm98, mm100,

II mm5, mm9, mm12, mm18, mm35, mm48,

mm55, mm59, mm62,

mm5, mm35,

III mm82,

The other is the short appoggiatura. Mozart indicated that if an appoggiatura is written

before a half note in an ascending motion, it is to be played rapidly and softly, the following

principlenote should be emphasized.11

Example 2: The short appoggiatura

Table: The short appoggiatura


I mm117,

II mm 6, mm37, mm80 mm6, mm37, mm80

III mm121,

11Ibid., 167.


32/56

24

In addition, if an appoggiatura appears with a group of notes in a descending consecutive

or thirds within an allegro or other playful tempo, it should be treated as the short appoggiatura.12

Example 3: The short appoggiatura

Table: The short appoggiatura


I mm94,

II mm10,

III

(Allegretto)

mm1, mm5, mm20, mm31, mm37, mm41, mm55,

mm97, mm101, mm123,mm141, mm142,

mm149, mm153,

Mm9, mm13, mm45, mm49, mm105,

mm109,mm157, mm161,

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 or a half-step trill according to the

key of the piece, unless the composer indicated the alternated note. The most common trill

begins at once from the upper note downwards.

Example 4: The trill

12Ibid., 167.


33/56

25

Table: The trill


I mm 39, mm85, mm120, mm145,

mm165,

II mm66 mm33,

If a trill appears in the middle of a descending cadence passage, it is preferred to add few

little notes with a slur as a turn after the trill. And these little notes should be played a little

slower toward the closing note.13

Example 5: The trill with a turn at the end


Table: The trill with a turn at the end


I mm7, mm29, mm44, mm58, mm67,

mm90, mm115, mm123, mm136,

mm150, mm168, mm196, mm206,

mm212

mm7, mm29, mm97, mm115,

II mm5, mm23, mm30, mm36, mm42,

mm59, mm68, mm74

mm5, mm36,

III mm60, mm70, mm83, mm119, mm134,

13Ibid., 191.


34/56

26

The last trill before a cadenza, called Ribattuta, is to be treated differently.14The

beginning of the upper note has flexible time up to the performer, unlike a common trill, which

needs to start quickly. There are two Ribattutas in this piece, in measure 206 of the 1stmovement

and in measure 68 of the 2nd

movement, respectively.

Example 6: The Ribattuta

Mozart indicated that a trill may be divided into four levels according to its speed: slow

medium, rapid, and accelerating.15The slow is for a sad and slow piece, and thus the trills in the

2nd

movement should be played slowly. On the other hand, the rapid trill is for a lively movement,

such as the 1stand 3rdmovements. The accelerating trill is for Ribattuta, which can start slow and

then accelerate with a crescendo before a cadenza. They are customary manners in concertos at

that time.

C. Written-out embellishment and turn

In Violineschule, there is no modern notation sign ( ) for a turn. However, he still

discussed about it as a written-out embellishment of four rapid little notes which occurs between

14Ibid., 188.

15Ibid., 189.


35/56

27

the two ascending notes, called the Doppelschlag.16The first principle note is to be played with

an emphasis, followed by a little turn with a diminuendo continuing to the second principle note.

Example 7: The Doppelschlag


Table: The Doppelschlag


I mm 2, mm37, mm42, mm60, mm64,

mm118, mm125, mm131, mm133,

mm163, mm179, mm183,

mm2, mm92,

II mm25,

III mm2, mm6, mm38, mm42, mm98,

mm102, mm150, mm154

Dynamics

The dynamics first appeared in a deliberately, expressive style of vocal music in the

Florentine Camarata in 1600.17The instrumental music followed this style at that time. However,

16Ibid., 184.

17David D. Boyden, Dynamics in Seventeenth- and Eighteenth-Century Music, inEssayson Music in Honor of Archibald Thompson Davison by His Associates(Cambridge: CambridgeUniversity Press, 1957), 185.


36/56

28

notations for dynamics were not quiet developed until 1712, when the signs of crescendo(), andmessa di voce(< >) first appeared in Paris. These graphic signs were not

popular. In Violineschule, without using these signs, Mozart defined these terms nonetheless and

indicated how to play.18

In Hoffemsiters Viola concerto in D major, the dynamic indication is similar to Mozarts

treatise. There are onlyforte, piano, and crescendo in the score, and performers at that time knew

how to play this piece in customary manners. Here are three manners possible.

A.

ForteandPiano

All publications for this piece haveforteandpiano, as provided on the manuscript and

based on editorial suggestions. The dynamics are marked in two ways; while some are as the

original on the manuscript, others are presented in [ ] or () as editorial suggestions. Some

publications point out that the original dynamic markings may not be from Hoffmeister, the

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 part

are unclear, and are occasionally inconsistent with those in the solo part. Dynamics marked as

original in each edition may be contradictory to each other.

The echo effect was one of the common manners at that time. The effect started during

the Baroque period and continued to be favored by the composers during the Classical period,

while they may or may not markforte andpianounder a pair of a repeating passage. Repeating

passages, along with periodic phrasings and sequences, are a popular technique for composers to

create flavors in their music. Hoffmeisters Concertois such a case. Example is shown below,

18Ibid., 187.


37/56

29

followed by a table providing the dynamics for the solo and orchestra parts, phrase by phrase,

throughout the piece.

Example 8: The echo effect

Table: The echo effect

Movement and

measure number

The solo part and the dynamic The orchestral part and the dynamic

Forte Piano forte Piano

I mm73-74

mm82-85

mm139-140

mm189-190

mm-198-199

mm 75-76

mm86-91 ( with cresc.

to the cadence)

mm141-142

mm191-192

mm200-201

mm73-74

mm82-85

mm139-140

mm189-190

mm-198-199

mm 75-76

mm86-91 ( with cresc. to

the cadence)

mm141-142

mm191-192

mm200-201

III mm27

mm34

mm63-64

mm72-73

mm76

mm128-129

mm28

mm35

mm65-66

mm74-75

mm77

mm130-131

mm27

mm34

mm63-64

mm72-73

mm76

mm128-129

mm28

mm35

mm65-66

mm74-75

mm77

mm130-131


38/56

30

The phrase following the echo effect should be back toforteor crescendo toforte.In

addition, when the soloist plays the pairs of the echo effect, the orchestra should follow the same

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 inspired

several composers which later became the Mannheim school, but also created several music

styles at that time. One of the most famous is the Mannheim crescendo. It is a passage with a

rising melodic line over an ostinato bass. A Mannheim crescendo starts with apianoor less, and

adds the volume gradually until the end of the phrase. It occurs in measures 23-26 and measures

154-156 in the orchestral part of the 1stmovement.

On the other hand, Mannheim sigh is a type of decrescendo. In a descending pair of

slurred notes at the end of the phrase, a performer should put more weight on the first note to

create a sighing quality. It occurs in measures 6, 37 and 80 in the orchestral part, and in measures

8, 51 and 54 in the solo part with the orchestra, in the 2ndmovement.

Moreover, the orchestration of this piece is also one of the customary of its time which

starts from Jonhann Stamitz in Mannheim orchestra. It was a full string orchestra with 2 oboes

and 2 horns, which is the exactly same in HoffmeistersViola Concerto in D Major.


39/56

31

Example 9: The Mannheim crescendo

Example 10: The Mannheim sigh


40/56

32

Solo part within tutti

According to the title on the manuscript, Concerto ex D# [sic] a Viola Principale. Due

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 virtuosic

and violists rarely had sufficient famility for it, it is likely that it was performed by a violinist

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 tuttipart throughout. In the eighteenth century, it was customary that the soloist,

except pianists, in instrumental concertos played the tuttipart throughout. This practice is shown

on the manuscript of Hoffmeisters Viola Concerto in D Major, which was for performance

purposes. Four of the eight publications support this practice, including Verlag,19Kunzelmann,20

Kalmus,21and H.L. Grahl.22Their scores for the soloist include both the solo and the tuttiparts.

The tuttiextracts lines from the first violin and the viola sections.

While four publications offer choices for violists nowadays who prefer to play

Hoffmeisters Concertoin the eighteenth-century manner, the other three offer scores in the

current practice, which allows a soloist to pace him/herself without the tuttiduty.

19Franz Anton Hoffmeister, Violakonzert D-dur: Klavierauszug, ed. Norbert Gertsch and

Julia Ronge, with cadenza by Robert D. Levin (Mnchen: G. Henle Verlag, 2003).

20Franz Anton Hoffmeister,Konzert D-dur fr Viola und Orchestra [piano reduction],ed.

Ulrich Drner (Lottstetten: Kunzelmann, 1983).

21Franz Anton Hoffmeister, Concerto for Viola and Orchestra (Miami, Florida: Kalmus,n.d).

22Franz Anton Hoffmeister, Concerto pour Viola et Orchestre (Frankfurt: H. L. Grahl,n.d).


41/56

33

The International Music Company edition

Among the eight publications of Hoffmeisters Concerto, only one is published in full

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 the

other editions contain. One is in measure 174. 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 exist in the exposition. (Example 12) Moreover,

these two measures are not absent in the other seven publications. (Example 13 from

Kunzelmann23)

Example 11: Cut in the Recapitulation

Example 12: No cut in the Exposition

23Franz Anton Hoffmeister,Konzert D-dur fr Viola und Orchestra,ed. Ulrich Drner(Lottstetten: Kunzelmann, 1983), 9.


42/56

34

Example 13: Measure 177-179 in Kunzelmann

Another problem is in the third movement. This movement is in typical rondo form. (See

Chapter 2) However, the editor connected the C section in B minor to the D section in D minor

directly by using the soloists cadenza. In a standard rondo form, there should be a refrain in

tonic key between these two sections. Especially, these two sections are in different key areas.

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 the

first movement, the editor indicated how to cut from the end of the exposition to the

development without a long orchestral tutti in between. While it is practical in rehearsals, for

auditions and competitions, it destroys the balances in form, is unfaithful to the music, and is

inappropriate for formal performances.

Leopold Mozart wrote, Before beginning to play, the piece must be well looked at and

considered. The character, tempo and kind of movement demanded by the piece must be sought

out, and carefully observed whether a passage occurs not therein which often at first sight seems

of little importance, but on account of its special style of execution and expression is not quite


43/56

35

easy to play at sight.24By analyzing the piece and comparing editions on significant issues, I

hope this chapter provides violists performing approaches toward concertos of the Classical

period.

24Leopold Mozart,A Treatise on the Fundamental Principles of Violin Playing, trans.

Editha Knocker (Oxford: Oxford University Press, 1948), 218.


44/56

36

CHAPTER FOURANALYTICAL SYUDY OF PUBLISHED CADANZAS

Given the nature of the cadenza in the Classical period compared to today, the violist

must ponder his or her cadenza very carefully. In the Classical period, the soloist would invent or

improvise the cadenza in an instrumental concertoa practice handed down from Baroque vocal

music. As a result, during the eighteenth century, there were very few written-out cadenzas from

the composers in a solo concerto. It is no different in the Hoffmeisteran examination of the

original manuscript of the Hoffmeisters Viola Concerto in D Majorreveals several hand-written

passages in the cadenza section, most likely left by the soloist at that time, and probably

amended according to the editors judgment.

Beginning in the twentieth century, music publishers began to consult major players of

the time and write out the cadenza in a Classical instrumental concerto. In 1941, the first edition

of the HoffmeistersConcertowith a written-out cadenza appeared, and several other editions

all with different cadenzashave followed in the years since. Because the proficiency of the

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 aspects.

The Types of the Cadenza

According to a treatise, Violinschule, by Pierre Baillot in 1830, there are three types of

cadenzas. First, continuing after the six-fourth chord from the orchestra, the soloist creates a free

short passage based on the chord. This was from the previous style in the Baroque period, in

which the singer usually embellished a cadence near the end of the piece. In the second type, the

cadenza can contain thematic material from the movement. The third type uses an accompanied

cadenza within the movement.


45/56

37

We can also observe the writing of cadenza from the beginning to the end. With what

kind of opening does the cadenza start? How does it develop in the middle? And, finally, how

does it conclude to the cadence? In the following analysis, we will describe each of them

according to these rules.

In this performers guide, the author has collected most common seven publishers of

HoffmeistersViola Concerto in D Major,which were provided in the bibliography. About the

cadenza of this piece, there are five of them with the cadenza, except the Peters edition and the

Kunzelmann edition. Moreover, Franz Beyer and Herbert Blendinger both wrote a cadenza for

this piece and published it separately.

Beyers Cadenzas

Beyers cadenza was published by Kunzelmann; this publisher is the only one that

publishedboth the full score and the piano reduction of Hoffmeisters Viola Concerto. There is

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

soloists cadenza. In my opinion, the editor made the choice open for the performers today. This

not only covers the current performance practice but also reflects back to the eighteenth century

customary, that the performer can improvise their cadenza as well.

Beyers cadenza is the most popular onebecause it is well-written. The cadenza for the

first movement starts on the pick-up beat, just like the beginning of the movement, and then it

lands on a tonic chord. The soloist starts with two repeating arpeggios of sixteenth notes, an echo

effect included. This allows the soloist to start with his own tempo and a warm-up for the

cadenza passage. After that, Beyer used a thematic material derived from the movement for the


46/56

38

harmonic progression. Finally, it lands on the dominant 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 mosso

topoco a poco accelerando. Finally, it lands on a six-fourth chord withforteand states the

primary theme. The solo starts the D major scale from the low register, and then ascends to the

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, but

also presents several important techniques for the violist, such as staccato and speedy rhythmic

patterns. Furthermore, the whole cadenza is like a separate piece on its own. When performers

choose to play it, they not only need to take care of the basic technique, but also the grouping of

the phrases into the larger phase.

Example 1: The quotation from the secondary theme

Beyers cadenza for the second movement starts with thematic development reminiscent

of the theme a1. Then the second group of phrases, starting withpiano,also takes another

thematic motive to expand. Along with the sequences, the harmonic progression becomes intense


47/56

39

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, Beyers cadenza

writing is full of the requirements for a cadenza. It is virtuosic, is reminiscent of the themes, and

has a structure on its own. Moreover, this publication ,Kadenzen zu Viola-Konzerten von Stamitz,

Zelter und Hoffmeisterby Beyer, also has the cadenza for Carl Stamitzs Viola Concerto Opus 1

and for Carl Friedrich Zelters Viola Concerto in E-flat major,which are among the standard

classical viola concertos. There is no doubt that Beyers writing is a very high quality.

Bledingers Cadenza

InKadenzen zu Klassischen Bratschen-Konzerten, Bledinger wrote several cadenzas for

the classical viola concertos of Stamitz, Zelter, G. P. Telemann and Hoffmeister. Instead of

starting with a pick-up like Beyers cadanza, Bledingers directly presents the first three notes of

the primary theme in full chords as the beginning of the first movement. However, it uses short

thematic motive to modulate to a series of V of Vs. First, it lands on the parallel key as is

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 a tempo with

the first two notes from the primary theme. Bledinger used chords to settle the tonic key and

ended with a trill on D.

The cadenza for the second movement starts with the syncopation motive from the

second measure of the orchestras beginning. Then, the beginning of the theme a1appears in the

upper part of double-stops as a reminder of the movement. Like the previous one, the harmony is


48/56

40

unsettled. However, after the high-G with the dotted-rhythm motive, the solo lands on a six-four

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 is

for measure 96. It is short with a writing in circle of fifth into double-stops by the soloist. The

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 before

as a cadenza. However, Blendinger did have his own creativity for these cadenzas which shows a

different flavor.

Max Eschig Edition, cadenza by Maurice Vieux

In this edition, the cadenza starts with the last measure of the orchestra. It continues the

six-four chord with a trill as a link between these two sections. The cadenza begins the solo

arpeggio of the dominant chord from the low to high register in sixteenth notes. Later, it lands on

the first chord of the primary theme and shows this theme partially. It continues another motive

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 edition. However, there is one short

cadenza for the third movement. Because the orchestra ends in the parallel key, D minor, the solo

starts the cadenza with a group of sequences in sixteenth notes for modulation to the tonic key.

This cadenza belongs to the first type of cadenza without the thematic development.


49/56

41

International Music Company Edition (New York), cadenza by Paul Doktor

The cadenza for the first movement starts with the same motive from the beginning of the

primary theme. And it continues with the same phrasing in sequence. Later, the secondary theme

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 double-

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 on

the tonic, it starts another rhythmic pattern for the harmonic progression to the dominant inforte.

At the end, it lands on the trill with double-stops as similar writing as previously style.

Example 2: The double-stops writing in cadenza for the second movement

Doktor specialized in double-stops writing. For the last cadenza, he simply starts with a

string-crossing sixteenth-notes pattern. Then the solo presents the refrain theme completely in

double-stops and chords for two times. This writing is like use the soloist instead of the orchestra

tutti for the refrain. All these three cadenzas show double-stops, the best technical point for the

performer.


50/56

42

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 the

similar texture from thematic material of the exposition. After the first statement, the solo goes to

the dominant through a few arpeggio sequences, and then it recalls two other thematic materials

in the movement. Finally, it continues with a scale pattern in IV and reaches V with a fermata. At

the end, a trill cue brings back to the tonic. It is very interesting that this cadenza follows the rule

of artful cadenza by Guiseppe Tartini.25

The harmonic progression is I-V7- V

7- I- IV- V- I,

which is Tartinis suggestion.

The second cadenza has a different opening. It starts with a chord after a pick-up, similar

to the first entrance of the soloist. However, the passages of sixteenth notes follow shortly and

then another thematic material comes in sequence. After landing on a fermata, the secondary

theme recalls and transforms into another thematic development. Finally, the solo reaches the

dominant by the ascending arpeggio passage and the trill cue ends in the tonic.

Levin provided two cadenzas for the second movement. General characteristics of both

cadenzas are similar. He chose the motive from the theme a1 and develops it to another harmonic

direction. This can remind the audience of the main theme, but, somehow, the solo leads to

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

embellishment makes this cadenza the only and unique one.

25Eduard Melkus, On the Problem of Cadenzas in Mozarts Violin Concertos,

Perspectives on Mozart Performance, ed. R. Larry Todd and Peter Williams (Cambridge:Cambridge University Press, 1991), 76.


51/56

43

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 two

cadenzas lack development, but have stronger connecting function between section C and section

A. Measures 36 and 96 are both in the middle section of the movement, so the cadenza has to be

short as not to lead the audience into misunderstanding that the end of the piece is approaching.

There are two choices for measure 148. The first one is of a short linkage function, and

the second one is much longer. Levin used rhythmic motives from the movement, but treated

these sequences to unsettle the harmony. Finally, he transformed another phrase to continue the

refrain.

H. L. Grahl Edition

This edition is the earliest edition of Hoffmeisters Viola Concerto in D Major.There is

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 introduces the

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 like

two voices. Later, the theme becomes to be virtuosic, with lots of embellishments within the two-

voice structure. It ends in the trill cue with strong chord.

Kalmus Edition

This edition has the same cadenza as H.L.Grahl, an analysis of which is provided above.


52/56

44

Pedagogical Suggestions

All these cadenzas have different levels of difficulty. There are several suggestions for

the performer. First, pick one suitable for yourself. Some of them are full of double-stops, the

intonation of which needs to be taken care of by left hand. Some of them focus on the rhythmic

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 what

kinds of variation they are, it is important to emphasize the main theme regarding the basic

writing of the cadenza. Same as the secondary theme or the motives, they should be expressed

more for recall.

Finally, these cadenzas can be considered as individual short pieces. The composer even

put more effort on the larger phase to create expectation and excitement between the audience

and the soloist. So the performer should observe the cadenza, organize the phrases, and build up

the tension from the structure of the music.


53/56

45

CONCLUSION

Basically, Franz Anton Hoffmeisters Viola Concerto in D Majorcan be performed in

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 tuttiparts. Although the

cadenzas were generally improvised in the eighteenth century, there are seven cadenzas currently

available in print. Various ways of playing ornaments are also characteristic in music from this

period. They can be particularly challenging since the details of playing them are usually not

marked on score, but rather depending on a performers understanding and knowledge of period

practice.

Through the analytical studies of the manuscript, eight publications and seven cadenzas,

and with the aid of Leopold MozartsA Treatise on the Fundamental Principles of Violin

Playing, this document provides a performance guide that I hope would enhance violists

understanding of performing eighteenth-century viola concertos.


54/56

46

BIBLIOGRAPHY

Boyden, David D. Dynamics in Seventeenth- and Eighteenth-Century Music. InEssays on

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: OxfordUniversity Press, 1999.

Castledine, Mellisa. Etudes and Viola Pedagogy. DMA thesis, University of Cincinnati, 1998.

Drner, Ulrich. Das Viola-Konzert vor 1840.Fontes Artis Musicae28, no 3 (July-Sept 1981):153-176.

Hepokoski, James, and Warren Darcy.Elements of Sonata Theory: Norms, Types, andDeformations in the Late Eighteenth-Century Sonata.Oxford: Oxford University Press,2006.

Hickman, Roger. The Flowering of the Viennese String Quartet in the Late EighteenthCentury. The Music Review50 (1989): 157-161.

Hoffmeister, Franz Anton. 12 Viola-Etudes.Leipzig: Bureau de Musique, [c.1800].

Komlos, Katalin. The Viennese Keyboard Trio in the 1780s: Sociological Background and

Contemporary Reception. Music & Letters 68, no 3 (July 1987): 222-234.

Lawford-Hinrichsen, Irene. Music Publishing and Patronage: C. F. Peters, 1800 to theHolocaust. Kenton: Edition Press, 2000.

Melkus, Eduard. On the Problem of Cadenzas in Mozarts Violin Concertos. InPerspectiveson Mozart Performance, ed. R. Larry Todd and Peter Williams, 74-91. Cambridge:Cambridge University Press, 1991.

Mozart, Leopold.A Treatise on the Fundamental Principles of Violin Playing. Translated byEditha Knocker. Oxford: Oxford University Press, 1948.

Neumann, Frederick.New Essays on Performance Practice. Ann Arbor: UMI Research Press,c1989.

________________.Performance Practices of the Sseventeenth and Eighteenth Centuries.NewYork: Schirmer Books, c1993.


55/56

47

Radant, Else. Ignaz Pleyels Correspondence with Hoffmeister & Co. In The Haydn YearbookXII,ed. H.C. Robbins Landon, I.M. Bruce and David Wyn Jones. Bloomington: IndianaUniversity Press, 1981.

Riley, Maurice W. 18thCentury Concertos for the Viola.Journal of the Violin Society of

America3, 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 fr Viola und Orchester [2 ob., 2hn., strings] D dur, PartiturErstdruck; Konzert D-dur fr Viola, by Franz Anton Hoffmeister.Notes42, no 3 (March1986): 650-51.

Stauffer, George B. Forkels Letters to Hoffmeister & Khnel: A Bach Biographical SourceRecovered. The Journal of Musicology 5, no 4 (Autumn 1987): 549-561.

Stowell, Robin. The Early Violin and Viola: A Practical Guide. Cambridge: CambridgeUniversity Press, 2001.

____________. Performance Practice in the Eighteenth Century Concerto. In The CambridgeCompanion to the Concerto, ed. Simon P. Keefe, 192-226. Cambridge: CambridgeUniversity Press, 2005.

Veinus, Abraham. The Concerto. London: Cassell and Company Limited, 1948.

Watson, J. Arthur. Mozart andthe Viola. Music and Letters 22, no 1(January 1941): 41-53.

White, Chappell.From Vivaldi to Viotti: A Historical of the Early Classical Violin Concerto.Philadelphia: Gordon and Breach, 1992.

Zeyringer, Franz.Literatur fr Viola; Verzeichnis der Werke fr Viola-Solo, Duos mit Viola,Trios mit Viola, Viola-Solo mit Begleitung, Blockflte mit Viola, Gesang mit Viola und derSchul- und Studienwerke fr Viola. Hartberg: J. Schnwetter, 1963.

Internet Resources

Badura-Skoda, Eva, and William Drabkin. Cadenza. III: The Classical Period. In OxfordMusic Online. [http://www.oxfordmusiconline.com/] (accessed April 15, 2010).

Boyden, David D., and Ann M. Woodward. Viola. V: Repertory, (i): To 1800. In OxfordMusic Online.[http://www.oxfordmusiconline.com/] (accessed April 15, 2010).


56/56

Eisen, Cliff. Concerto. III: The Classical Period, (i): Composition, Performance,

Dissemination. InOxford Music Online.[http://www.oxfordmusiconline.com/] (accessedApril 15, 2010).

Weinmann, Alexander. Hoffmeister, Franz Anton. In Oxford Music Online.[http://www.oxfordmusiconline.com/] (accessed April 15, 2010).

Music Score

Beyer, Franz.Kadenzen zu Viola-Konzerten von Stamitz, Zelter und Hoffmeister. Switzerland:Kunzelmann, 1971.

Blendinger, Herbert.Kadenzen zu Klassischen Bratschen-Konzerten. Mnchen: Doblinger,1996.

Hoffmeister, F. A. Concerto en R pour Alto. Edited and with cadenza by Maurice Vieux. Paris:Max Eschig, 1951.

______________. Violakonzert D-dur: Klavierauszug. Edited by Norbert Gertsch and JuliaRonge. With cadenza by Robert D. Levin. Mnchen: G. Henle Verlag, 2003.

______________.Konzert fr Viola und Orchestra D dur [full score]. Edited by Ulrich Drner.Lottstetten: Kunzelmann, 1982.

______________.Konzert D-dur fr Viola und Orchestra[piano reduction]. Edited by UlrichDrner. Lottstetten: Kunzelmann, 1983.

______________.Konzert D-dur fr Viola und Orchestra. Edited by Clemens Richter. Leipzig:Peters, 1985.

______________. Concerto for Viola and Orchestra. Miami, Florida: Kalmus, n.d.

______________. Concerto in D Major for Viola and Orchestra. Edited and with cadenza byPaul Doktor. New York: International Music Company, 1961.

______________. Concerto pour Viola et Orchestre. Frankfurt: H. L. Grahl, n.d.

Hoffmeiste Analisis

Documents