JAVS Fall 2000

30

VOL. 16 No.3

JOURNAL OF THE AMERICAN VIOLA SOCIETY

who presented the modern premiere ofthe Schubert E-Jlat Concerto and who edited the solo part for publication. Dr. David Sills oversaw the preparation ofthe critical edition ofthis work. A performing edition ofthis concerto should be available by the time this article appears in print. For publication information, please contact the author at alevin@clemson.edu. NOTES 1. Joseph Schubert, Concerto pour alto et orchestra en ut majeur, Gerard Causse, violist and conductor, Les Solistes de Montpellier-Moscou, EMI Classics, CDC 7 54817 2, 1983. 2. Ernst Ludwig Gerber, "Joseph Schubert," Neues Historisch-Biographisches Lexikon der Tonkiinstler, (1812-14; reprint Graz, Austria: Akademische Druck- und Verlagsanstalt, 1966), III, 131-33. 3. Hans-Gunther Ottenberg, "Joseph Schubert," The Symphony in Dresden: Ten Symphonies, Series C, Vol. 10 of The Symphony: 1720-1840, Barry S. Brook, ed. (New York: Garland Publishing, 1984), xxxi-xxxii. 4. Karl Laux, "Schubert," Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopiidie der Musik, ed. Friedrich Blume (Kassel, Germany: Barenreiter, 1965), XII. 5. Laux, 103. 6. Gerber, 132. 7. Ottenberg, 153-96. 8. Gerber, 132-33. 9. "Nachrichten," Allgemeine Musikalische Zeitung (7 July 1819; reprint Amsterdam, F. Knuf, 1969), 462-63. 10. Laux, 103. 11. Ottenberg, xxxii. 12. Ottenberg, xxxii. 13. Andrew Mikolajski, "Joseph Schubert, Viola Concerto inC and Alessandro Rolla, Viola Concerto in F," The Strad 92, July 1981, 201. 14. Charles Burney, The Present State ofMusic in Germany, The Netherlands, and United Provinces, vol. 2 (1775; fac simile, New York: Broude Brothers, 1969), 44-48. 15. Richard Englander, "Dresdner Musikleben und Dresdner Instrumentalpflege in der Zeit zwischen Hasse und Weber," Die Dresdner Instrumentalmusik in der Zeit der Wiener Klassik (Uppsala, Sweden: Almqvist & Wiksells, 1956), 412. 16. Laurie Ongley, "Liturgical Music in Late Eighteenth-Century Dresden: Johann Gottlieb Naumann, Joseph Schuster, and Franz Seydelmann" (Ph.D. diss., Yale Univ., 1992), 1. 17. Ongley, 114. 18. Elector Friedrich August I (ascended to the throne in 1694) converted to Catholicism for political reasons. Throughout the eighteenth century the court remained Catholic while the townspeople continued to be Lutheran. 19. Englander, 419. 20. The music for both this article and the critical edition of Schubert's Concerto is based on a set of parts used by permission from the Sachsische Landesbibliothek Dresden (no. 3983-0-1). The parts were accompanied by a tide page, which reads "Concerto I a I Viola Principale I Due Violini I Viola I Due flauti I Due oboi I Due Corni I et I Basso I da Giuseppe Schubert." In addition to these were parts also for pairs of clarinets, bassoons, trumpets, and timpani. 21. This last hand might actually be that of A (perhaps the composer himself), using a pencil or other writing uten sil. Karlheinz Schultz-Hauser, editor ofSchubert's C Major Concerto, asserts that the added cadenzas in that work were "written by Schubert probably for his own use." Since the author does not have access to those parts, nor can he positively identifY Schubert's own hand, he cannot assert the same regarding these parts in the D hand. 22. Andrew Levin, Concerto in E-jlat Major by joseph Schubert: A critical edition with commentary, Ball State University doctoral dissertation, 1993. 23. Gerber, 132. 24. One of Haydn's symphonies, No. 100 ("The Military"), does have three more percussion players, but these are for special effect and not intrinsic to the work. 25. In light of these difficulties it is unfortunate that the set of parts reputed to exist in Switzerland could not be found. If it contained the original wind parts, an invaluable source has been lost.