JAVS Fall 2003

Example 2: Zeiter Viola Concerto, mvt.l, mm. 44-54 -~r·~ ~ 111 ~~~~ - f 1 ~r f!eeuw~l Dr 1 r ~=

One of the practices of the eigh teenth century was for the per formers to improvise their own cadenza. While this is rarely done in the present day, this idea helps one understand the logic behind Zeiter's first and second movement cadenzas, as the free scales and arpeggios have an improvised feel. (See example 7.) Movement II The solemn second movement requires the application of many of the above practices concerning beat emphasis, articulation, slurs, and trills. Written in 3/4 time, the downbeat maintains its strength, and beat three once again leads into beat one. Beat two, even though technically considered a strong beat, remains weaker than one and is a "traveling" beat. This movement enjoys significant dialogue between the soloist and the accompaniment, and much of the solo line allows for expressive and improvised orna mentation. (See example 8.) Contrasting this opening theme are the unsettled sixteenth notes which occur regularly throughout the movement. (See example 9.) Many ornaments of the day can be incorporated in this section to emphasize certain points, as well as to add interest. For example, the second held "d" in measure 36 could contrast the first one with the use of an upwards mordent. (See example 10.) When this "d" returns at the height and conclusion of the phrase, one may further ornament it with a rib attuta. (See example 11.)

monotony, every sixteenth note should not be played the same way; thus, the marked slurs require a change of color and articulation. Even the longer slurs at the end of the phrase must still be articulated in accordance to the hierarchy of beat importance. Often times, an excep tion occurs concerning the hierarchy of beats. According to Mozart, "In lively pieces the accent is mosdy used on the highest note, in order to make the performance right merry'' (221). Example 4 embodies this basic idea, and the new musical idea presented by Zeiter (triplets and sequencing) creates the need for dear phrasing. The trills throughout this piece are generally limited to the transition and conclusion of phrases. While there certainly is no "correct" way to perform a trill, one should be educat ed on the appropriate trills of the

time period. A final trill may a) be approached from above; b) approached with a descending appoggiarura; c) approached with an ascending appoggiarura; or in the case of long notes and cadenzas, d) be played without strict rhythmical time (ribarutta). (See example 5.) To conclude the trill, "it is always better by means of a few litde notes which are slurred on to the trill as a rum, and which are played somewhat slowly, to fall directly to the closing note rather than make the perform ance sleepy'' (Mozart 191). This is especially important to achieve a singing sound at the conclusion of the cadenza. The short, ornamental trills seen in the exposition are to be "played with a quick appoggiarura and a turn'' (Mozart 188, (See example 6.)

Example 3: Zeiter Viola Concerto, mvt. I, mm. 55-62 liM 1 h c9f£rUfr§frfrl Er1frrL£t&£TflCtl r9r£rUfre££rfrfrl

Example 4: Zeiter Viola Concerto, mvt. I, mm. 71-72

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