JAVS Fall 2000

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VIOLA CONCERTO IN E-FLAT MAjOR BY jOSEPH SCHUBERT

Third movement The final movement is an extended rondo form, specifically A-B-A-C-A-D-A-Coda. Each state ment of the rondo is comprised of two eight-measure phrases, the first in the solo viola, the sec ond by the tutti orchestra. The ~ theme is light and energetic and dominated by dotted rhythms, a perfect foil to the lyrical second movement. ORCHESTRATION The revised version of Schubert's Concerto is for large orchestra. It actually ranks among the largest of concerto orchestras when compared to those of the masters of the mature Viennese Classical Style. This is particularly unusual because it accompanies the viola, an instrument with limited powers of projection. Available evidence suggests that this Concerto was likely revised and reorchestrated between 1795 and 1800. This is the time just after Mozart's death, of Haydn's maturity, and when Beethoven began publishing his first works. The earlier date can be fixed with relative certainty, as clarinets, included in the revised edition, were not added to the Dresden Hojkapelle until then. While the original version (and thus also the revision) could possibly have been composed after 1795, the concerto could not have been revised before 1795. The latter date is suggested in a contemporary source. Gerber documents the performance of a Schubert viola concerto at a pub lic concert in 1800; 23 unfortunately, he does not identifY which of Schubert's two viola concer tos he heard. Most likely, though, it was the revised version of the Concerto in E-Hat Major. This concerto is certainly the grander of the two and a public performance would certainly pro vide motivation for revising the score. While this concerto may show certain Haws in form and phrasing, the orchestration is generally quite effective. Tutti passages are solidly written and the accompanying passages show sensitivity to the limitations of the viola as a solo instrument. The revised version of the Concerto is scored for pairs of flutes, oboes, clarinets, bassoons, horns, trumpets, timpani, and the regular complement of strings. This is larger than any concerto orchestra of Mozart or Haydn. Only five symphonies of Haydn and two of Mozart have an orchestra as large as this one. 24 By 1800, Beethoven had com posed his first two piano concertos and first symphony. The orchestra of Schubert's Concerto is larger than that of both Beethoven concertos and the same size as that of the symphony. Co-ExiSTENCE OF DIFFERENT STYLES A notable feature of this concerto is the presence of both Classical and Romantic phrasing. The orchestral parts and the original, unmarked viola solo part contain phrase markings typical for Classical music: they group entire beats, half and full measures, but do not cross barlines. Anacruses and final notes of phrases after barlines are usually not included in phrases. In con trast, the slurs added to the viola solo part by D regularly cross the barline, in effect, lengthen ing the melody. The emerging Romantic style is partly characterized by extended melodies. The example below, measures 76-82 of the first movement, demonstrates the simultaneous notation of the two styles. The slurs in the violin I part (in both A and B) are similar to those in the original viola solo part (placed underneath the notes by A). The slurs placed over the notes by D indicate a preference for crossing the barlines and dividing beats.

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Example 3. Schubert, Viola Concerto in E-jlat Major, I, mm. 76-82, original version. Note the differences in articulation between the original Viola solo and Violin I parts, and the revised Viola solo part.