JAVS Fall 2003
Movement I To lay the foundation for the per formance of this era's repertoire, it would be historically accurate to say that the composers used (in common time) beat one as the strong beat, beat two as a (lesser) "traveling" beat, beat three similar to beat one in a slighter strength, and beat four as a "leading" beat back into one. One may directly apply this throughout the compo sition with appropriate right and left hand technique and expres sion. A simple example of this can be seen in the opening statement by the soloist. (See example 1.) The next entrance is another clear example of this idea, with the slight difference that the accompa niment has the strong first beat in measure 45. The soloist should react to this with the same energy as if he or she played the down beat. This section also allows for the distinction to be made between slurred and non-slurred notes. According to one of the eighteenth century's venerable vio linists, Leopold Mozart, "The first [of the slurred] notes coming together in one stroke is accented more strongly and held slightly longer, while the [following notes are] slurred on to it quite quietly and ratherlate" (115). Expanding upon this idea leads one to believe that a) all of the slurred eighth/six
teenth notes are not to be played with the same length or articula tion, and b) there should be a slight break in between slurs in order to emphasize the first note of the next series. (See example 2.) While Zeiter's original notation did not slur the final "b flat" and "a," Mozart's valid "rule without exception: The appoggiatura is never separated from its main note, but is taken at all times in the same stroke" (166) is certainly applicable here. Concerning fingerings, the use of open strings is considered reason able in pre-romantic music. William Primrose suggested their use in all types of music "because of the color that is induced by a commingling of overtones. This adds glamour to the sound of the instrument" (Dalton 92). The degree to which this is to be applied is up to the performer. Perhaps one may apply this to the very opening. The minimal use of slurs in the original manuscripts of many of the eighteenth century composers leads one to infer that when slurs are notated, they are of significant importance. (See example 3.)
Zeiter's exuberance aside, his Viola Concerto is not recognized as a tremendous masterpiece when compared to other contemporary concertos by Haydn, C.P.E. Bach, and Mozart. However, it is impor tant to understand that much of ~e repertoire of Zeiter's time is not comprised of inspired master pieces. The musicians of the eigh teenth century lived very different lives from those of the present day. Composers were always writing for the moment and trying to meet ridiculous deadlines imposed upon them by their wealthy patrons. The result of this was an enormous amount of substandard repertoire with little emotional feeling and much repetitiveness. Thankfully (as the above quotes show), this was not the case with Zeiter's Viola Concerto, as he made a sincere attempt to create a truly sublime work, even before his extensive training as a composer. Some Fundamental Eighteenth Century Techniques Scored for two trumpets, strings, and solo viola, Zeiter's Viola Concerto in E Flat Major consists of three movements (Allegro con fuoco, Adagio non troppo, and Rondo), typical of the eighteenth century concerto. Many historical ly-based practices can be imple mented in a performance of the concerto, and some of the more pertinent examples will be addressed as they appear in the composition. While different interpretations will lead to differ ent bowings, phrasing, etc., the same guidelines can still be applied.
Mozart's performance practices can be applied here as well. To avoid
Example 1: Zeiter Viola Concerto, mvt. ], mm. 33-41 1e1h rfiiir Ffr 1fr r J u?pw 1ffh r r ifl
JOURNAL OF THE AMERICAN VIOLA SOCIETY 18
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