JAVS Fall 2003

ranee and badjudgment in every bar ofthe whole piece. They play without method and without expression (215). Whether or not the present day performer chooses to incorporate some of the eighteenth century practices is a matter of personal opinion. Primrose, for example, was "heartened that some artists and recording companies today have had the enterprise to share with the public what they believe to be more authentic renderings of early music" (Dalton 191). Pinchas Zukerman, on the other hand, considers historically-based per formances to be "complete asinine stuff" and "complete rubbish," in some of his more reserved com ments about the topic (Duffin 3). Perhaps Leopold Auer was the most adamant about expressing one's feelings through music, no mat ter what interpretation is taken: I have already said that the [musician] must enter into the spirit ofa composi tion. .. W0 do the greatest honor to art when we offer our own very best, not the best we can borrow.from someone else. .. Forget tradition. Dismiss the idea thatyou must try to play such and such a work just as so and so plays it. Do not think ofstyle! Concentrate quite simply and honestly on putting your whole heart and soul into the task ofmaking the musicyou areplaying live, expressing it as you ftel the com poser meant it to be expressed (83). Surely such a wide spectrum of view points shows that there simply is not only one way to perform earlier reper toire. Many will agree, however, that

Example 14: Zeiter Viola Concerto, Movement III, mm. 1-8 f:.' .a-- f:. f:..fL.fL#f;. .~ ---..._ ~ ~ ---..._ ---- ~ IIRI·~~~!f Dr f I crrJr ;riLLL:ttCrfi[F§Bttdl

Example 15: Zeiter Viola Concerto, Movement III, mm. 21-24 3 3 3 3 * ~ 1 '1, J]j~JD[f[fifl '11J~JJJ[f[fifl ~r~qrr afrff[ffrr~rl F $ 3

Example 16: Zeiter Viola Concerto, Movement Ill, mm. 49-56 IIR 1.~~ , rTr frcr I Wcf V I'frr fffi I rffr r IV F f I

FTUl I#Ff

IIRih 0 F

Example 17: Zeiter Viola Concerto, Movement Ill, mm. 103-108 IRI.'o Jffi IFf I l(fft lffl ! E l~tw rr Example 18: Zeiter Viola Concerto, Movement III, mm. 129-132 1K1h- '·'lttiUhNMfhrl'tEiSfCIDir r

Example 19: Zeiter Viola Concerto, Movement III, mm. 82-87

C'o:i liB 1h i EEd r q iit I f ~

form only a couple ofminuets melodiously according to the instructions ofthe composer, they are unable to do so ... For as long as they play an allegro, all goes well: but when it comes to an adagio, there they betray their great igno

straight into the company ofvirtu osi. Many succeed so far that they play offwith uncommon dexterity the most difficult passages in vari ous concertos or solos which they have practiced with great indus try... But should they have to per

JOURNAL OF THE AMERICAN VIOLA SOCIETY 22