JAVS Fall 1992
4
THE VIOLA ETUDES OF JOHANNES PALASCHKO by Joel Belgique
Johannes Palaschko, who was born 13 July 1877 and died 21 October 1932 in Berlin, became in 1913 the director of the Bottcher Conservatory in the same city. He was a violinist who wrote thirteen volumes of viola etudes. Although not widely known to modern pedagogues, these are a veritable gold mine to us violists. The following presentation of each opus will enable a serious viola teacher or student to discover a plethora of useful exercises. Each opus number will be considered with the exception of Opus 70, which as yet has not be obtained. With this one exception, all of Palaschko's pedagogical works for viola are contained in the Primrose International Viola Archive at Brigham Young University. Opus 44 will be examined here in detail, and eight others will be reviewed. This etude book could easily be compared to the Paganini caprices. His twenty-four caprices played on the viola can be very difficult because of the extensions demanded in the left hand. Palaschko's Opus 44 (publisher: Zimmermann), while presenting the violist with some challenging problems, still lies within the grasp of a strong technique. Like Paganini's caprices, these can be presented as solos in a recital program. Since these caprices are musically oriented and technically exacting, the Kiinstler-Etuden are definitely worthy of exploration. After study and evaluation, I have tried to determine the pedagogical value of each caprice and identified Palaschko's specific teaching objective. As one explores these pieces, one will notice that these echt viola etudes can be used regularly in teaching. At first, this piece does not sound like a typical etude; it reminds me of the Reger Solo Sonata in G Minor. Since Palaschko is only a few years younger than Reger, this post-Romantic style would be expected. The opening is marked "larghetto," with a few unusual double stops that are awkward but playable. Musically, this opening has a lot of potential if the violist prepares for and anticipates the occasional double and triple stops. The player also needs to be prepared for some untraditional harmonies and voice leadings as compared to etudes by Kreutzer or Campangnoli, for instancp. The first section closes on the dominant after a difficult passage in half position: 1,12 Position . 4: 3, 2 : Opus 44: 10 Kiinstler-Etiiden fUr Viola I. Priiludium-Allegramente
1'1/ The piece continues in a more typical etude style. The 3/4 meter, with running eighth notes and bowing pattern, remain constant: Allegramente. o 0 0 2
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