JAVS Summer 2026

Features: Richard Young and ‘The Deal’ Inspiring Curiosity, Self-discovery and Connection The Classical Cadenza: A Historically Informed Approach The Viola Behind the Iron Curtain, Part IV Journal of the AmericanViola Society Volume 42 Summer Online

Journal of the American Viola Society A publication of the American Viola Society Summer 2026: Volume 42, Summer Online p. 3 From the Editor p. 4 From the President News p. 5 2026 International Viola Congress Review Feature Articles p. 11 The Classical Cadenza: A Historically Informed Approach to Stamitz’s Viola Concerto by Xue Ding p. 27 The Viola Behind the Iron Curtain, Part IV: Original Soviet Scale Systems and Etude Books for Viola by Nethanel E. Pollak p. 41 Richard Young and ‘The Deal’ by Les Jacobson p. 53 Inspiring Curiosity, Self-discovery and Connection in the Collegiate Viola Studio Setting by Molly Wilkens-Reed Departments p. 64 Development Corner: Who Gets Access? The Cost of Career Development in Music p. 68 With Viola In Hand: Reimagining The Rite of Spring, by Stephen Wyrczynski and Aram Arakelyan p. 75 Ask a Pedagogue: Introducing Ask a Pedagogue p. 77 Reviews: Restrung by Vijay Gupta and Veneer by Stephen Upshaw: JAVS Review, by Kayleigh Miller

On the Cover: Landmark 50th International Viola Congress in Paris, France by Kristofer Skaug

Karine Lethiec performing contemporary French music for solo viola in the magnificent CNSMDP Salle d’Orgue. Inspired by her MUSICoMAN project, the recital explored connections between musical creation, ancient artistic gestures, and the archaeological traces of the distant past. https://dutchviolasociety.nl/2026/02/ivc-paris-blog-day-4/

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The Journal of the American Viola Society is published in spring and fall and as an online only issue in summer. The American Viola Society is a nonprofit organization of viola enthusiasts, including students, performers, teachers, scholars, composers, makers, and friends, who seek to encourage excellence in performance, pedagogy, research, composition, and lutherie. United in our commitment to promote the viola and its related activities, the AVS fosters communication and friendship among violists of all skill levels, ages,

Editor: Christina Ebersohl-Van Scyoc Assistant Editor: Lanson Wells Consultant Dwight Pounds Tom Tatton AVS National Board of Directors: Officers President: Ames Asbell (2026) President-Elect: Daphne Gerling (2026) Secretary: Katrin Meidell (2028) Treasurer: Ann-Marie Brink (2025) Board Members Ruben Balboa (2028) DJ Creek (2028) Caroline Coade (2027) Anthony Devroye (2028) Christina Ebersohl -Van Scyoc (2028) Renate Falkner (2027) Misha Galaganov (2026)

nationalities, and backgrounds. ©2024, American Viola Society ISSN 0898-5987 (print) ISSN 2378-007X (online)

Kimia Hesabi (2026) Andrea Houde (2027) Gabrille Padilla Molina (2026) Diane Phoenix-Neal (2027) Marcus Pyle (2026) Sheronda Shorter (2026) Steven Tenenbom (2026) Joyce Tseng (2028) Rose Wollman (2026) AVS General Manager Madeleine Crouch AVS National Office 14070 Proton Road, Suite 100 Dallas, TX 75244 (972) 233-9107 ext. 204

JAVS welcomes articles from its readers. Submission deadlines are December 1 for the Spring issue, April 1

for the Summer online issue, and August 1 for the Fall issue. Send submissions to the AVS Editorial Office, Christina Ebersohl-Van Scyoc editor@americanviolasociety.org or to

Madeleine Crouch, 14070 Proton Rd., Suite 100 Dallas, TX 75244

JAVS offers print and web advertising for a receptive and influential readership. For advertising rates please contact JAVS Editor Christina Ebersohl-Van Scyoc editor@americanviolasociety.org

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Journal of the American Viola Society / Vol. 42, Summer 2026 Online Issue

From the Editor

Dearest friends of the alto clef persuasion, I am writing this Letter from the Editor with a full heart, a slightly emptier inbox, and a deep appreciation for the extraordinary community that makes the American Viola Society what it is. First and foremost, I want to extend my heartfelt thanks to everyone who helped make the 2026 AVS Festival in Harrisonburg such a

appear in the Fall issue. For now, we are delighted to turn our attention to another major gathering of our international viola family: the International Viola Congress, held in Paris, France this past January. In addition to our Congress coverage, this issue features four wonderful featured articles that reflect the breadth, curiosity, and richness of our field. Nethanel Pollak offers the final installment in his series on Soviet viola music, while Molly Wilkens-Reed invites us into a thoughtful exploration of inspiring curiosity and self-discovery. In “ The Deal,” readers can take an in-depth look at the philanthropy behind music through Richard Young’s advocacy and mentorship programs, while Xue Ding brings us into the world of historically informed composition practices with an exploration of a new cadenza for the Stamitz concerto. Together—along with our Departmental articles—these contributions create an issue that truly has something for everyone: modern approaches, historical research, personal reflection, advocacy, artistry, and the steady heartbeat of a community that continues to ask big questions, make beautiful sounds, and occasionally debate fingerings with great passion. As summer draws to a close, I wish each of you warmth, rest, safety, and maybe even a few quiet moments away from your own inboxes. Whether you are heading back to school, back to rehearsals, back to teaching, back to composing, or just diving forward into the unknown, may you carry with you the strength, humor, and generosity of this community.

remarkable gathering. To my incredible team—Gabi Padilla, Tony Devroye, Rose Wollman, and Lanson Wells—thank you for your brilliance, patience, good humor, and willingness to solve approximately 10,000 tiny problems before most people had finished their morning coffee. To Ames Asbell and Daphne Gerling, thank you for your tireless commitment, generosity, and sacrifice in helping make every part of the Festival not only possible, but wonderful. And to every sponsor, exhibitor, competitor, judge, performer, presenter, volunteer, and attendee: thank you . Truly. A festival is never just a schedule of events. It is a living, breathing, slightly sleep-deprived ecosystem of people who care deeply about the viola and about one another. I cannot honestly say that I am sad my inbox has returned to its normal state of controlled chaos, but I can say that the experience was one I will carry with me for a very long time. It reminds me, every day, that the viola community is—and always will be—my home and family. This Summer issue arrives fashionably late, with emphasis on both “fashionably” and “late,” as we wrapped up Festival matters and all caught our collective breath. A full Festival review, along with the announcement of all competition and EMVB winners, and a proper salute to our judges, will

And, of course, may the viola power be with you.

With appreciation (and with a slightly tired but very happy bow arm),

Dr. Ebersohl-Van Scyoc

Join the American Viola Society Your membership supports the viola community through performance, education, research, mentoring, publishing, commissioning new works and more. www.americanviolasociety.org/Join.php

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From the President

Dear Viola Lovers and Friends, Happy summer! I hope this issue of the JAVS finds you enjoying the gifts of the season, whether spending time with family, relaxing with a good book, getting outdoors for a swim or hike, or practicing and performing at a festival. The AVS team is still buzzing with excitement from the thrilling and highly

volunteers, and staff has streamlined operations, increasing both productivity and institutional continuity. Our financial position is stronger than ever, and we are well positioned for continued stability and growth. At the same time, our team continues to build enduring professional partnerships and collaborations that extend our reach, deepen our impact, and open new avenues for service and innovation within our vibrant viola community. With the steadfast support of our members and partners, the future of the AVS is exceptionally bright! Thank you, from the bottom of my heart, for trusting me to lead our organization during such a dynamic and rewarding time. It has truly been one of the greatest joys of my life. I look forward to seeing the AVS reach new heights under the leadership of our incoming President, Daphne Gerling, and our outstanding Board. I will remain a lifelong AVS member, cheering enthusiastically for all that lies ahead. I invite you to join me!

successful 2026 AVS Festival this past June at James Madison University. Heartfelt thanks to those of you who joined us in the beautiful Shenandoah Valley to celebrate our beloved instrument and community. Please mark your calendar for June 2028 as we plan our next AVS Festival at Northern Illinois University, with additional special events to be announced in Chicago! When I first discovered the AVS by paging through issues of the JAVS in my middle school teacher’s living room, I never imagined that I might one day serve in a leadership role within our organization. It feels especially meaningful, then, that my final communication as President appears here – a true “full circle” moment. As I conclude my term and prepare to transition into the role of Past President, I reflect with deep gratitude on the many gifts I have received through my membership and service to the AVS: the tangible gifts of support, education, and community, as well as the less tangible but equally profound gifts of inspiration and motivation. I am honored to have helped guide our organization through a period of growth, strength, and expanding relevance. Together, our team of extremely dedicated board members, Advertiser Index Anderson Musical Instrument Insurance Solutions. . . . . . . ....... 80 AVS History & Reference Guide . . . . . . . . . . . . . . ............. 73 Carriage House Violins . . . . . . . . . . . . . . . . . ................. 73 David Dalton Competition . . . . . . . . . . . . . . . .............. 6, 63 Journal of the American Viola Society . . . . . . . . . . . . ........... 10 Moes & Moes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

With warmest thanks and best wishes,

Ames Asbell AVS President (2023-2026)

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IVC Paris Review

In Review: The 50th International Viola Congress by the Viola Faculty Zi Ye from the Xinghai Conservatory of Music in Guangzhou China With highlights from attendees from the AVS

A typical January in Paris, France, is marked by relentless rain and biting cold winds. Yet amid the dreary weather, a grand viola event was unfolding, From January 19 to 23, 2026, the 50th International Viola Congress (IVC), organized by the French Viola Society, welcomed nearly 800 viola players from around the world to a large and wide-ranging event in Paris, making it the largest International Viola Congress in both scale and attendance since its inception in 1973 in Germany. The congress lasted for five days – a typical length. However, unlike previous editions which were typically held in a single venue, this year’s event took place across five different locations in Paris — in major venues such as the Conservatoire National Supérieur de Musique et de Danse de Paris, the Conservatoire National Supérieur d’Art Dramatique, and the Conservatoire à Rayonnement Régional de Paris – Ida Rubinstein, as well as the famed Opéra Bastille. A total of 211 events, including concerts, lectures, masterclasses and workshops, were held

concurrently in various formats. This made the experience a true test of both stamina as well as scheduling and travel logistics for participants and audiences alike. The opening ceremony of the congress took place on the morning of January 19 at the Conservatoire National Supérieur d’Art Dramatique. It began with the main theme from Berlioz’s Harold in Italy transcribed for viola sextet, performed by retiring International Viola Society President Jutta Puchhammer, French Viola Society President Françoise Gneri, and members of the French Viola Society. Notably, this very theater was also the venue where Harold in Italy premiered in 1834. As the familiar viola melody of the first movement, Harold in the Mountains, unfolded, it seemed to echo the half century journey of the International Viola Congress— honoring the dedication of countless predecessors whose efforts have brought the International Viola Society to this milestone, allowing it to shine with a distinctive brilliance in its 50th year.

Figure 1. Jutta Puchhammer and Françoise Gneri performed at the opening ceremony at the 50th IVC. Photo courtesy of Zi Ye.

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elements of theatrical expression, further enhancing the narrative dimension of the work. The piece was rich in contrast and dramatic intensity, filled with originality, surprise, and touches of irony—leaving a powerful and lasting impression on the audience. Performances like these were also in great demand and seats filled early, meaning some congress attendees were unable to find a seat and resorted to standing room in the crowded balconies, or missing the performances entirely. This year’s congress showcased a remarkable variety of formats. A standout event on the morning of the second day was a roundtable devoted to the American viola pedagogue Karen Tuttle. Participants reflected on her teaching across different stages of her life, sharing how her students—now thriving as performers and educators—embraced her unique pedagogical system, particularly her insights on the coordination between body and instrument, and how this approach has been passed down and evolved through successive generations. The discussion not only offered the audience a deeper understanding of Tuttle’s teaching philosophy but also served as a poignant reminder that the impact of an extraordinary teacher can transcend time, shaping and inspiring generations of musicians. That afternoon, another roundtable carried even greater historical resonance. Fourteen former hosts of the International Viola Congress from around the world convened, complemented by archival footage of past organizers featured in a documentary by Karin Dolman. Each speaker shared their journey from the initial planning stages to the conclusion of their respective congresses, revealing a process intertwined with both challenges and triumphs, moments of pressure, and moments of joy. For the audience, it became vividly clear that the 50th Congress could only be realized through the unwavering dedication and perseverance of these organizers over the past fifty years. Thoughtful, moving, and richly reflective, the conversation stood as a powerful tribute—imbued with historical depth and enduring significance.

Beginning on the second day of the congress, a rich program of masterclasses unfolded daily across multiple venues, drawing viola students from around the world to engage directly with distinguished artists. These sessions offered exceptional opportunities for in-depth learning, artistic exchange, and personal refinement. Many of the eminent performers—whom students often know only through recordings and social media—were present in person, including Tabea Zimmermann, Kim Kashkashian, Lawrence Power, and Garth Knox, among others. Over the course of just a few days, leading violists from Europe and North America devoted themselves to mentoring the next generation, offering insight, guidance, and inspiration. These dynamic and captivating masterclasses left students fully immersed, often lingering long after sessions had ended. Such rare encounters not only deepened their musical understanding but also created lasting memories that will accompany them throughout their artistic journeys. These masterclasses were in such great demand that they generated long lines, and the organizers rotated the crowd between performers so that everyone had a chance to learn from these master teachers. The congress also featured a number of world premieres written for the occasion. Among them was The Ancient Mariner for Solo Viola and String Orchestra by Garth Knox, performed by Lawrence Power together with Ostinato Orchestra. In a striking departure from traditional orchestral staging, the ensemble began the performance facing away from the audience. The work itself evoked the image of a ship journeying at sea: in its opening sections, the music vividly imitated waves crashing against the vessel, with different sections of the orchestra suggesting a range of maritime sounds. As the piece unfolded, the initially disoriented seating arrangement was gradually and ingeniously realigned, first into the shape of a ship, then into a conventional orchestral formation by the end. In addition to his instrumental performance, Lawrence Power incorporated

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Figure 2. International Viola Society (IVS) Round Table. Photo courtesy of 50th IVC.

day of the congress to create a seamless ensemble for the performance. The actors, drawn from the board members of the International Viola Society and volunteers, brought the story to life across ten vividly staged scenes, using music to convey history, imagination, and human experience, while simultaneously reflecting on the fifty year legacy of the Society itself. The production was both an artistic feast and a multisensory symphony of history, creativity, music, and theater. Through the interplay of drama and live performance, the audience experienced the profound depth and distinctive charm of viola artistry, spanning half a century of dedication and evolution.

Another highlight of this year’s congress came on the final day, with the premiere of a truly unique theatrical production at the renowned Opéra National de Paris— Bastille. The play was conceived and directed by Karin Dolman, current President of the International Viola Society, who crafted both the music and script specifically for the 50th International Viola Congress. The work, titled Raiders of the Lost Tone: An Epic Hunt through 50 Years of Congresses, offered a spectacular fusion of music and drama. The score was performed live by nearly one hundred violists of all ages from around the world, who had been rehearsing together since the first

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Figure 3. Dress rehearsal at the Opéra National de Paris--Bastille. Photo courtesy of Zi Ye.

This year’s congress was titled “New Horizons: Honoring Heritage and Diversity,” a theme that aptly captures the mission and significance of the International Viola Society. Fifty years of tradition and diversity have brought renewed vitality and growth to the art of the viola in the present day. Originally serving as an accompanying voice within ensembles, the viola has, through the unremitting efforts of generations of performers and educators, gradually emerged onto the solo stage. It has evolved from a once niche instrument into a vibrant and dynamic artistic field on a global scale. testament to the viola’s flourishing development, while also highlighting the promising and ever-expanding future of viola artistry worldwide. The conclusion of a single congress does not mark the end of violists’ passion for and exploration of their instrument. Let us honor the past fifty years together, and look ahead with anticipation and best wishes for another brilliant fifty years of the International Viola Society. Long live the viola! The diversity and innovation presented at this International Viola Congress stand as a powerful

Highlights from other attendees from the AVS:

Ruben Balboa: This concert marked my first opportunity to hear Tabea Zimmermann perform live, and the experience was profoundly different from encountering her artistry through recordings or online performances. Hearing an artist of her caliber in the hall revealed a physical presence of sound and gesture that simply cannot be captured digitally, with color, nuance, and dynamic range unfolding in real time. Her portion of the program focused on the music of György Kurtág, including Movement for Viola and Orchestra and excerpts from Signs, Games, and Messages , each gesture shaped with remarkable clarity and expressive intent. The Orchestre de chambre de Paris, performing a program that also included works by Beethoven, Bartók, and Schubert, played with an energizing, chamber-like responsiveness that heightened the sense of musical dialogue throughout the evening. As an encore, Zimmermann performed the Capriccio by Henri Vieuxtemps, offering a breathtaking and deeply moving display of technical control and expressive

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focus. Experiencing this performance alongside fellow International Viola Congress participants felt especially meaningful within a congress shaped by ideas of legacy, diversity, and artistic exchange. Katrin Meidell: Hearing Marcin Murawski perform is always a treat, as he has an incredible technique and penchant for flair. While he did not perform live in this lecture-recital, he presented the inventive theory that, perhaps, the famous J. S. Bach Toccata and Fugue (BWV 565) for organ, may in fact have been composed for viola! His excellent transcription and thoughtful research made for a compelling argument. While the audience heard a recording of him playing his transcription, they also got to view the sheet music and hear commentary from Mr. Murawski on the technical/performance aspects of the work. As with all things Murawski, it was viola rock and roll at its best.

Ames Asbell: On Thursday, violist Matthew Dane presented a lovely recital of new works for viola d’amore by American composers Reena Esmail, Marcus Maroney, Dianne Link, Jonah Sirota, Conor Abbott Brown. His silvery sound and improvisatory feel perfectly suited the raga-inspired work by Esmail, while the addition of flutist Christina Jennings created an otherworldly, ethereal quality in the compositions by Link and Sirota. The warm lighting and wood-paneled walls of the Salon Vinteuil (CNSMDP) created a perfect setting for this intimate exploration of sound and emotion. These thoughts and impressions represent just a few of the incredible offerings of the 50th International Viola Congress in Paris, France. The 51st International Viola Congress will be held September 20-24, 2027 in Tenerife, in Spain’s Canary Islands. For those interested in performing or presenting, the Call for Proposals will be open August 1-November 1, 2026 and more information is available at the congress website.

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Featured Article

The Classical Cadenza: A Historically Informed Approach to Stamitz’s Viola Concerto by Xue Ding

orchestral traditions of the eighteenth century. A violinist in the Mannheim orchestra before establishing himself in Paris as a composer and performer, Stamitz was widely admired as both a violist and composer. His three surviving viola concertos were likely written for his own performances, and the D-major concerto, first published in 1773–74, remains his best-known contribution to the instrument’s repertoire. The History of Cadenza The cadenza originated as an improvised embellishment of a cadence and gradually evolved into a distinct feature of the Baroque and Classical concerto. Because cadenzas were typically extemporized, their early history is difficult to trace. Most scholars agree that they emerged from the seventeenth-century practice of elaborating final cadences, a tradition that allowed performers to demonstrate both technical skill and musical imagination. 4 Early references appear in performance instructions rather than fully notated examples. In a 1688 sinfonia by Pietro Sammartini, for example, performers were instructed to “improvise a capriccio” over a written bass line. 5 By the early eighteenth century, short solo passages over sustained bass notes—sometimes referred to as perfidie —had become increasingly common. 6 The earliest surviving written instrumental cadenzas date from this period, suggesting that a practice once transmitted primarily through performance was gradually being codified. 7 Johann Joachim Quantz later observed that the standardized concerto cadenza, in which the bass temporarily ceased and the soloist performed alone, became widespread between approximately 1710 and 1716. 8

Introduction Carl Stamitz’s Viola Concerto in D Major is one of the few surviving viola concertos from the Classical period and remains a cornerstone of the modern viola repertoire. Like many eighteenth-century concertos, however, it survives without a written first-movement cadenza. Because cadenzas were traditionally improvised by performers, modern violists must decide whether to adopt an existing cadenza or create one of their own. This article argues that a historically informed cadenza for Stamitz’s concerto can be constructed through the synthesis of eighteenth-century performance treatises, surviving Classical-period cadenzas, and stylistic features of the concerto itself. To establish such a framework, I examine writings by Johann Joachim Quantz and Daniel Gottlob Türk, modern studies of Classical cadenza practice by David Lasocki and Betty Bang Mather, and selected cadenzas by Wolfgang Amadeus Mozart. I also consider modern cadenzas for the Stamitz concerto by Robert Levin, Clements Meyer, and Franz Beyer, both Levin and Beyer encouraging performers to create their own cadenzas. Although no known source discusses cadenza composition specifically for Stamitz’s viola concerto, eighteenth-century treatises and surviving cadenzas provide valuable evidence for reconstructing appropriate stylistic conventions. While much of this evidence originates from keyboard, violin, and woodwind traditions, the shared musical language of the Classical period makes these sources relevant to viola performance practice. As the son of Johann Stamitz and a prominent representative of the Mannheim School, Carl Stamitz (1745–1801) inherited one of the most influential

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The development of the cadenza is closely associated with Italian concerto traditions, particularly those of Antonio Vivaldi. Contemporary accounts describe Vivaldi as an accomplished improviser, although only a small number of his cadenzas survive in written form. 9 These surviving examples are significant because they reveal many characteristics that would remain central to later Classical cadenzas: the use of motives derived from the movement, arpeggiated passagework, expressive tempo changes, and preparation for a concluding trill. 10 Written cadenzas also served an important pedagogical function, providing models for performers who were less experienced in improvisation. By the middle of the eighteenth century, the cadenza had become an expected feature of concerto performance. At the same time, theorists such as Quantz warned against excessive length and empty virtuosity, emphasizing that cadenzas should remain connected to the character and musical material of the movement. 11 These concerns are especially relevant when considering a historically informed approach to Stamitz’s Viola Concerto . The surviving treatises and written cadenzas of the eighteenth century suggest that a successful cadenza was not an unrelated display piece but an extension of the concerto itself, drawing upon its thematic material, affect, and harmonic language. 12 Useful Sources: Quantz and the Classical Cadenza Among eighteenth-century writers, Johann Joachim Quantz provides one of the earliest and most detailed discussions of cadenza practice. In Chapter XV of On Playing the Flute (1752), he acknowledges that cadenzas originated as an improvised art and that few formal rules governed their composition. 13 Nevertheless, his observations offer valuable guidance for reconstructing historically informed cadenzas. connected to the character of the movement. Rather than functioning as an independent display piece, it should reflect the movement’s affect and draw upon its musical material. Quantz specifically recommends recalling and developing attractive motives from the concerto itself, thereby preserving the work’s identity while allowing the performer creative freedom. 14 Several principles emerge repeatedly throughout Quantz’s discussion. First, a cadenza should remain closely

Second, Quantz emphasizes brevity and spontaneity. He compares a successful cadenza to a witty remark ( bon mot ): concise, unexpected, and engaging 15 Although cadenzas were expected to demonstrate a performer’s skill, excessive length or unnecessary repetition could undermine their effectiveness. Repeated figures, excessive sequential treatment, and mechanical reuse of stock formulas were discouraged because they weakened the impression of improvisation. Third, Quantz stresses that cadenzas must remain compositionally coherent despite their improvisatory character. Performers were expected to understand harmony and voice leading rather than simply memorize prepared passages. Correct treatment of dissonance, careful resolution of intervals, and logical harmonic motion were essential components of successful cadenza construction. 16 Finally, Quantz discusses modulation. Short cadenzas should generally remain in the home key, while longer cadenzas may briefly explore related tonal areas such as the subdominant and dominant before returning to the tonic. 17 Although the harmonic range remains relatively limited, these excursions provide variety without obscuring the tonal identity of the movement. Taken together, Quantz’s recommendations suggest that an effective eighteenth-century cadenza balances freedom with restraint. It should sound spontaneous while remaining firmly grounded in the thematic material, affect, and harmonic language of the concerto. These principles provide an important foundation for constructing a historically informed cadenza for Stamitz’s Viola Concerto in D Major. Quantz further emphasizes several principles that are particularly relevant to a historically informed approach to Stamitz’s concerto. He argues that the emotional character of a cadenza should correspond to the affect of the movement itself: lively movements invite energetic figures, larger leaps, and brilliant passagework, while more serious or expressive movements require a more restrained vocabulary. 18 He also notes that cadenzas should not be governed by a strict sense of meter but should project an improvisatory freedom through flexible pacing and the juxtaposition of short musical ideas. 19 Although string players may perform longer cadenzas than wind players,

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Quantz consistently warns against excessive length and empty virtuosity. Ultimately, he argues that the purpose of a cadenza is not merely technical display but the creation of a striking and expressive musical statement. 20 Daniel Gottlob Türk’s School of Clavier Playing (1789) largely reinforces Quantz’s observations. Türk explicitly acknowledges his familiarity with Quantz’s treatise, and many of his comments on cadenza construction echo the same concerns regarding stylistic appropriateness, improvisatory character, and expressive restraint. Consequently, Quantz and Türk together provide a remarkably consistent picture of late eighteenth-century expectations for cadenza performance. A second major source for this study is Mozart’s own concerto cadenzas. Because Stamitz and Mozart belonged to closely related musical traditions and worked during the same period, Mozart’s surviving cadenzas offer valuable evidence of how Classical performers transformed concerto material into extended solo passages. As Lili Kraus observes, Mozart’s cadenzas frequently combine thematic quotations, virtuosic passagework, recitative-like gestures, and unexpected harmonic turns while maintaining a clear relationship to the movement from which they arise. 21 Particularly in first movements, Mozart often organizes his cadenzas around a loose multi-sectional design that balances thematic recall with opportunities for display. 22 Finally, David Lasocki and Betty Bang Mather’s The Classical Woodwind Cadenza: A Workbook provides a practical framework for understanding Classical cadenza construction. Their approach begins not with abstract rules but with stylistic immersion: studying repertoire, listening to representative examples, and identifying recurring formal, harmonic, melodic, and rhythmic patterns. 23 This methodology aligns closely with the present study. Rather than attempting to reconstruct a lost Stamitz cadenza directly, the goal is to identify principles shared across eighteenth-century treatises, surviving cadenzas, and Stamitz’s own musical language. The following sections examine those common characteristics and consider how they may inform the creation of a historically informed cadenza for the first movement of Stamitz’s Viola Concerto in D major .

length and complexity, surviving treatises and written examples reveal several common structural conventions. Understanding these conventions is essential for constructing a historically informed cadenza for Stamitz’s Viola Concerto . A cadenza functions as an extended embellishment of a cadence and typically occurs immediately before the final orchestral tutti of a concerto movement. The soloist enters on a fermata, often over a cadential 6/4 harmony, temporarily delaying the expected harmonic resolution. During this passage the orchestra either sustains the harmony or falls silent, allowing the soloist complete freedom of expression. the soloist normally sustains a trill on the supertonic, implying a dominant harmony before resolving to the tonic. In eighteenth-century practice, the trill begins on the upper note and is commonly intensified through a gradual crescendo and acceleration, signaling the orchestra’s return. 24 The final tonic note simultaneously concludes the soloist’s improvisation and initiates the closing tutti. While Classical aesthetics generally favored balance, symmetry, and formal clarity, the cadenza provided a rare opportunity for controlled freedom. Within a relatively stable harmonic framework, performers could depart from the movement’s regular meter and phrase structure, demonstrating both technical skill and imaginative invention. This balance between convention and spontaneity is central to understanding eighteenth century cadenza practice. Notational conventions further reflect the consistency of this tradition. Lasocki and Mather document several common methods of indicating the beginning and end of a cadenza, while surviving concerto repertory demonstrates remarkably similar cadential patterns across different composers. Figures 1 and 2 illustrate these conventions and show that the cadential framework found in Stamitz’s concerto closely resembles those found in the viola concertos of Hoffmeister and Zelter. 25 These similarities suggest a shared performance tradition and provide an important foundation for reconstructing a stylistically appropriate cadenza for Stamitz’s concerto. The conclusion of the cadenza follows a particularly standardized pattern. As described by Lasocki and Mather,

Structural Conventions of Classical Cadenzas Although Classical cadenzas vary considerably in

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Figure 1. Common eighteenth-century notational conventions for indicating the beginning and end of a cadenza. 26

Figure 2. Cadential formulas indicating cadenza entrances and conclusions in the viola concertos of Stamitz, Hoffmeister, and Zelter. 27

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first movement of Stamitz’s concerto with passages from Mozart’s cadenza to Piano Concerto No. 5. Although the specific musical contexts differ, the underlying vocabulary is remarkably similar. Both examples rely primarily on stepwise motion, passing tones, neighbor-note figures, arpeggiated patterns, and octave-based gestures. 29 The significance of these similarities extends beyond mere stylistic resemblance. Because Mozart’s cadenzas survive in written form, they provide valuable evidence of how a late eighteenth-century musician could transform familiar melodic figures into extended improvisatory passages. The comparable figuration found in Stamitz’s concerto suggests that these same materials can serve as the foundation for a historically informed viola cadenza. The prevalence of sixteenth-note figuration is particularly relevant to the first movement of Stamitz’s concerto. Like the first movements of the viola concertos by Hoffmeister and Zelter, it is written in common time, a meter Quantz associates with a serious and elevated character. 30 The rhythmic patterns and figuration employed in the cadenza should therefore remain consistent with the movement’s established musical language, allowing the cadenza to emerge as a natural extension of the concerto rather than as an unrelated virtuoso display.

Melodic Figuration and Stylistic Vocabulary A historically informed cadenza should not introduce an entirely new musical language. Rather, it should develop the rhythmic and melodic vocabulary already present in the concerto itself. Quantz repeatedly emphasizes the importance of preserving the character of the movement, and surviving Classical cadenzas likewise demonstrate a close relationship between the cadenza and the surrounding musical material. 28 One of the most striking features of Classical cadenzas is their reliance on familiar figuration patterns. Rapid sixteenth-note passages occur frequently, particularly in first-movement cadenzas, where they serve both expressive and technical functions. These figures provide opportunities for virtuoso display while simultaneously maintaining stylistic continuity with the concerto. Rather than presenting new thematic material, they typically elaborate existing motives through scales, arpeggios, passing tones, neighbor-note figures, and octave displacement. This relationship can be observed in both Stamitz’s Viola Concerto and Mozart’s concerto cadenzas. Figure 3 compares characteristic sixteenth-note patterns from the

Figure 3. Comparable sixteenth-note figuration in the first movement of Stamitz's Viola Concerto in D Major and Mozart's cadenza to Piano Concerto No. 5, K. 175. 31

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the rhythmic patterns commonly encountered in Classical cadenzas. 32 Together, these figures create the impression of spontaneity and improvisatory freedom while maintaining a clear connection to the concerto’s underlying musical language.

Expansion, Sequence, and Ornamentation Although sixteenth-note figuration forms an important component of many Classical cadenzas, these passages employ a wide variety of rhythmic materials, including eighth notes, triplets, dotted rhythms, and rapid ornamental flourishes. Figure 4 illustrates several of

Figure 4. Rhythmic figures commonly employed in Classical-period cadenzas, including eighth-note, triplet, dotted-rhythm, and rapid ornamental patterns.

The construction of longer cadenza passages often begins with relatively short melodic figures. Rather than introducing entirely new themes, composers and performers typically expand existing material through

combination, repetition, and variation. Figure 5 demonstrates how simple melodic ideas can be joined into larger compound figures, creating longer and more expressive musical statements. 33

Figure 5. Construction of compound figures through the combination of smaller melodic and rhythmic units.

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One of the most important techniques for expanding these figures is sequential repetition. A melodic pattern may be restated at different pitch levels, creating forward motion while preserving its recognizable identity. Common procedures include chromatic sequences,

diatonic sequences, arpeggiated sequences, and octave displacement. Figure 6 illustrates several methods by which a short figure can generate a substantially longer passage. 34

Figure 6. Techniques for expanding a short musical figure through sequence, repetition, transposition, and octave displacement.

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a single extended melody, the passage develops through a succession of related figures, each growing organically from the previous one. This approach offers a useful model for constructing a cadenza from the motivic material found in Stamitz’s concerto.

Mozart’s concerto cadenzas provide particularly clear examples of this process. Figure 7, drawn from the opening measures of Mozart’s cadenza to Piano Concerto No. 5, demonstrates how contrasting ascending and descending gestures can be combined to create a continuous musical argument. 35 Rather than relying on

Figure 7. Development of contrasting ascending and descending figures in Mozart's cadenza to the first movement of Piano Concerto No. 5, K. 175, mm. 1–5.

underlying melodic framework. Near the conclusion of many cadenzas, rapid grace-note figures often intensify the musical momentum before the final trill and orchestral reentry, as illustrated in Figure 9. 37

Ornamentation serves a similar developmental function. As Figure 8 demonstrates, Mozart frequently embellishes structurally important notes through turns, grace notes, and other decorative figures. 36 These embellishments enrich the musical surface while preserving the

Figure 8. Ornamentation of structural tones in Mozart's concerto cadenzas through grace notes, turns, and decorative figuration.

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Figure 9. Grace-note figures preceding the final trill in Mozart's concerto cadenzas.

Taken together, these techniques demonstrate that Classical cadenzas were not arbitrary displays of virtuosity. Instead, they were carefully constructed from a relatively small collection of melodic, rhythmic, and ornamental patterns. The recurrence of these procedures in both treatises and surviving cadenzas provides a practical framework for developing a historically informed cadenza for Stamitz’s Viola Concerto .

Cadential Closure and Orchestral Reentry A defining feature of the Classical cadenza is its highly conventionalized conclusion. As discussed earlier, the cadenza typically culminates in a prolonged trill on the supertonic, implying a dominant harmony and preparing the return of the orchestra. Contemporary sources indicate that this trill begins on the upper note and increases in both intensity and speed before resolving to the tonic. 38

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Eighteenth-century evidence further suggests that the orchestra may have reentered before the soloist reached the final tonic note. Drawing on Antonio Lorenzoni’s Saggio per ben sonare il flautotraverso (1779), Lasocki notes that the accompanying forces likely supplied a dominant seventh harmony during the trill itself, strengthening the harmonic motion toward the final resolution. 39 Although this practice is rarely observed in modern performances, it offers valuable insight into the collaborative nature of Classical concerto performance and the role of the cadenza within the larger musical structure. The trill is commonly followed by a brief closing figure that resolves to the tonic and signals the orchestra’s return. Figure 1 illustrates several examples of this convention. Together, these procedures complete the cadential progression and restore the movement’s formal momentum after the soloist’s improvisatory departure.

Tempo, Length, and Harmonic Design The evidence surveyed thus far suggests that a historically informed cadenza should remain closely connected to the character of the movement from which it emerges. This principle extends not only to melodic vocabulary but also to tempo, length, and harmonic design. Although some of Mozart’s written cadenzas include time signatures, their notation should not be interpreted as requiring strict metrical execution. Figures 10 and 11 demonstrate the flexibility with which Mozart treated rhythm and meter, occasionally altering time signatures or introducing passages whose expressive character transcends regular metric organization. 40 Such examples reinforce Quantz’s view that a successful cadenza should project the spontaneity of improvisation while remaining stylistically connected to the movement.

Figure 10. Rhythmic flexibility and metrical freedom in Mozart's cadenza to the first movement of Piano Concerto No. 5, K. 175. 41

Figure 11. Changes of meter within Mozart's cadenza to the third movement of Piano Concerto No. 18, K. 456. 42

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Questions of length and harmonic scope reveal a similar balance between freedom and restraint. Quantz generally recommends that shorter cadenzas remain within the home key, reserving modulation for longer and more elaborate examples. 41 Later eighteenth-century practice, however, demonstrates increasing flexibility. Vivaldi’s surviving cadenzas range from relatively concise statements to extended virtuoso passages, while Mozart’s later concerto cadenzas frequently incorporate brief modulations and contrasting sections that expand their expressive range. Despite these differences, a common principle remains: modulation serves to enrich and intensify the musical argument rather than to obscure the tonal identity of the concerto. Whether concise or expansive, successful cadenzas maintain a clear relationship to the movement’s affect, thematic material, and harmonic framework. These considerations provide an important foundation for the cadenza presented in the following section. Toward A Historically Informed Cadenza for Stamitz’s Viola Concerto The resulting cadenza is therefore offered not as a definitive reconstruction, but as one historically informed realization of the improvisatory traditions that originally surrounded the performance of Stamitz’s concerto. Rather than reconstructing a lost original cadenza—which would be impossible given the absence of documentary evidence—the goal is to create a stylistically plausible cadenza grounded in eighteenth-century performance practice. As demonstrated by Quantz, Türk, and other contemporary sources, a successful cadenza should remain closely connected to the character and musical material of the movement from which it arises. For this reason, the cadenza draws extensively upon melodic figures, rhythmic patterns, and technical gestures already present in Stamitz’s concerto. Rather than introducing new thematic ideas, it develops existing material through sequence, ornamentation, variation, and changes of register, following procedures commonly found in surviving Classical cadenzas.

Mozart’s cadenza to the first movement of Piano Concerto No. 5 served as an especially important model. Written during approximately the same period in which Stamitz’s concerto was published, it represents an early Classical approach to cadenza construction that is concise, structurally clear, and closely related to the surrounding movement. Like Mozart’s cadenza, the present work relies on familiar figuration, balanced phrase structures, and limited harmonic excursions while maintaining an improvisatory character. The cadenza also incorporates several conventions identified in eighteenth-century treatises and surviving concerto cadenzas. These include the use of sequential development, ornamental elaboration of structural tones, rhythmic flexibility within a broadly defined metric framework, and a traditional cadential conclusion culminating in the final trill and orchestral reentry. Together, these features seek to balance technical display with stylistic coherence, a concern repeatedly emphasized by Quantz and other contemporary writers. Although no cadenza can claim absolute historical authenticity, the synthesis of treatises, surviving Classical cadenzas, and the musical language of Stamitz’s concerto provides a practical framework for creating historically informed solutions. The cadenza that follows is therefore offered not as a definitive reconstruction, but as one possible realization of the improvisatory traditions that originally surrounded the performance of Stamitz’s concerto. To hear the Xue Ding’s version of the cadenza from Movement I, visit: https://www.youtube.com/ watch?v=JS1GWzhmzWU To hear the Xue Ding’s version of the cadenza from Movement II, visit: https://youtu.be/VwXEiHYhoc4

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