JAVS Fall 2000

44

VOL. 16 No.3

jOURNAL OF THE AMERICAN VIOLA SOCIETY

an undisciplined tremolo.) The same principle applies at the seventh bar of K. Play rhythmic sixteenths in bars such as the tenth of K. 11) Count out the two-bar rest. 12) The bar following the two-bar rest should be legato with the exception of the last note marked by a space before it. (This articulation sounds the cleanest to my ears for this motive throughout the overture.) Two bows in this bar are indeed permitted. Further corresponding eighth notes with dots should be identically detached. 13) Try the passage two bars later on the a string by shifting and then in the fifth position. Make a fingering decision based on which sounds best in tone and rhythm. (I personally like the brilliance of the a string.) Don't forget the crescendo one bar later to the c# as well as the accent on it. 14) Practice all doubled notes as single notes. (Repeat the process as outlined in (6).) Intonation is very precarious in this territory since the task is to play broken diminished seventh chords. (Unfortunately, diminished seventh chords have no root and therefore have no basic pitch with which to tune the remaining notes.) Again, play the accents where printed and avoid accents where not printed. 15) Notice that K until six before L is sempre f.f. Do not drop in volume and intensity. Sustain the sound in this entire section!