JAVS Fall 1993

58

Since the autograph manuscript exists for only the first suite, Beyer relied upon the first printed edition issued by Simrock in 1916 for this urtext version. Welcome for the absence of bowings and fingerings as well as for the correction and discussion of printing errors in previous editions, this edition is beautifully engraved on fine quality paper and offers to both advanced student and professional a fresh perspective on this warhorse of the viola repertoire.-Patricia McCarty

This short work (about eight minutes) consists of four movements that explore a few aspects of modern viola technique. The first movement is of a playful nature and has some signing gestures achieved through glissandi. Pizzicato and collegno are featured in the second movement. The third is very slow and lyrical, while the fourth and final movement is fast and rhythmical. One can't help but be reminded of the solo works for viola by Paul Hindemith and Max Reger when listening to and studying this piece. The structure of "Sonatine" is quite formal, and tension and relaxation playa dominant role in its shaping. Rhythm and the influence of the Orient are notable aspects of Ebenhoh's compositional style.-Korey Konkol This volume of approximately 50 pages presents a comprehensive approach to intermediate-level viola technique. The text is organized into 10 sections, progressively introducing exercises on single strings (extensive), on all four strings, in seven positions, scales and arpeggios (minimal), and double stops in thirds, fourths, fifths, sixths, sevenths, and octaves. The exercises are generally notated as arhythmic note groups excluding accidentals (with instruc tions to repeat appropriate exercises with a variety of prescribed key signatures and bowing variants). These materials are intended to constitute a rotating, five-day routine requiring approximately one hour per day: A student who diligently adopted this excellent course of study would be assured of outstanding technical development. Unlike the excellent Kreutzer edition in this same series, the explanatory text is provided here in Italian and English.-James Richards

A violin student of Ferdinand Spohr, Richard Hofmann (1844-1918) was highly regarded in Leipzig at the turn of the century as a teacher, performer, and composer of didactic material for both brass and stringed instruments. Editor Pauler suggests that these studies aim "to make the proficient violinist's introduction to viola playing as attractive as possible...." In that regard, they could be seen as a low-impact workout in reading alto cle£ since there is little use of treble clef or positions higher than fourth, and key signatures do not venture beyond four sharps or three flats. These studies could be useful to viola students past the level of Mazas and ready to begin Kreutzer. Several studies offer material for creative application of bowing and articulation variations, and some may be particularly therapeutic for introducing practice of thirds and sixths, string crossings, ornaments, chromatic scales, and octaves.- Patricia McCarty

-Courtesy ofthe American String Teacher