JAVS Fall 1996

68

idioms found in the viola writing of both the third and sixth "Brandenburg" Concertos, i.e. bariolage or arpeggio figures. Nothing appears here that couldn't be f~und in an oboe con certo or an obligato organ part. Yet the work sounds like a Bach concerto, and ifwe cannot be completely sure that Bach had the viola in mind specifically, this is only a small matter and nothing like the spurious viola concertos that have appeared previously with famous names attached. This edition has been issued with the cooperation of the International Viola Society. We owe all concerned our thanks. -Thomas Hall Chapman University, ( thall@ nexus.chapman.edu) with thanks to all those who helped with information for this review: Mrs. Uta Lenkewitz, chair, German Section of T his well-researched volume provides a solid introduction to the lira da braccio, a sixteenth-century bowed string instrument thought to be the missing link between the medieval fiddle and the modern violin. The author provides a brief history of the lira da braccio, descriptions of extant sixteenth century instruments, a discussion of depic tions of the instrument in the visual arts, fingering charts, and a brief anthology of repertoire by such composers as Marco Cra and Jacob Arcadelt. Most of the eight pieces in the anthology were arranged by the author. Fingering charts and repertoire are notated both in staff notation and in tablature.

JVG; Wesley Morgan, professor emeritus, University ofKentucky; Dwight Pounds, Wes tern Kentucky University; and Thomas Tatton, AVS president. Notes 1 Neue Bach-Ausgabe, series I, vol. 24 (Kassel: Barenreiter-Verlag), p. 61. 2 Ibid p. 97. 3 Herz, G., ed., Bach, Cantata No. 140, "Wachet auf, ruft uns die Stimme," (New York: W. W. Norton & Co., 1972), p. 35. 4 J S. Bach: Werke, vol. 10 (Leipzig: Bach-Gesellschaft, 1851-99), p. 301. 5 Schmieder, Wolfgang von, Thematisch-Systematisches Verzeichnis der Musickalishen Werke von johann Sebastian Bach (Leipzig: Breitkopf & Hartel, 1966), p. 587-88. 6 Sadie, Stanley, ed., The New Grove Dictionary of Music andMusiciansvol. 1 (London: Macmillan, 1980), p. 835.

A t last! An authoritative edition, based solely on Schubert's autograph, to replace previous mistake-ridden and aggres sively edited versions. As with other Henle Urtext editions, comprehensive notes explain ambiguities. All octave registration changes in the viola part are clearly indicated. This edition is a necessity for any serious violist playing this piece. -Courtesy of American String Teacher

-Courtesy of American String Teacher