JAVS Fall 2008

Example 4. Mozart, Sinfonia Concertante, movt. III, mm. 168-71.

Example 5. Mozart, Sinfonia Concertante, movt. III, mm. 136-39.

viola parts in particular as a support for the solo viola, but it can also be seen as providing balance in the orchestration. The recording with Pablo Casals conducting the Perpignan Festival Orchestra, with Isaac Stern and William Primrose, is a prime exam ple of the power-plays between a conductor and soloists, and how a symphonic approach may emerge. This is, in part, because of the his torical account of Primrose asking for a quicker tempo in rehearsal,

3. The final tutti return of the orchestra provides the same melodic autonomy to the winds as in the first movement. In con trast, the winds in the Concerto for Flute and Harp are overshad owed by the soloists until the end. The unique orchestral instrumenta tion, especially when contrasted with the violin concertos, is note worthy since there are two viola parts and independent lines for cel los and basses. Some see the two

2. The triplets by both soloists in measures 168-79 are distinctive because this is the first time in this movement when the soloists play a common rhythmic pattern (ex. 4). However, it is hardly an original statement, considering the subtle foreshadowing by the upper strings of the orchestra in measures 136-51 (ex. 5). Furthermore, the dotted-rhythm

motif first introduced by the winds and used by the strings throughout the movement remains exclusively orchestral.

J OURNAL OF THE AMERICAN VIOLA SOCIETY 34