JAVS Fall 2003

phrase, and controlled use leads to more expresswn.

Example 8: Zeiter Viola Concerto, Movement. II, mm. 22-29 (opening solo phrase)

Movement III The final movement follows the typical eighteenth century rondo form, and considering that each section requires many of the same performance practices used in the previous movements, only a sample from each section will be provided here. (See example 14-18.) Zelter's creativity can be seen in this section, as he reuses motives from the second movement in a quicker, livelier context. Interwoven throughout the rondo are slow recitatives (adagio, piu andante), which serve as transitions between theme A and the episodes. (See example 19.) The Spectrum of Opinions Concerning Eighteenth Century Performance The relevance of understanding the appropriate performance practices for eighteenth century composers is clearly addressed in Mozart's final address to the performer: The goodperformance ofa compo sition according to modern taste is not as easy as many imagine, who believe themselves to be doing well if they embellish and befrill a piece right foolishly out oftheir own heads, and who have no sensitive ness whatever for the ajfict which is to be expressed in the piece. And who are these people? They are mostly those who...force themselves

Example 9: Zeiter Viola Concerto, Movement II, mm. 32-40

Example I 0: Zeiter Viola Concerto, Movement II, m. 36

Example II: Zeiter Viola Concerto, Movement II, m.

Example I2: Zeiter Viola Concerto, Movement II, mm. 48-54

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Example I3: Zeiter Viola Concerto, mvt. I, mm. 50-25

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