JAVS Fall 2011

(offset by half a measure), example 2b reproduces just the first violin and cello parts for illustrative purposes. The circled notes in examples 2a and 2b are the pitch es that both passages have in common; the first violins play an octave above the equivalent notes in the viola sonata, but the cellos even play in the same register. Comparing all three movements—the second and third movements of the viola sonata and the third movement of the first symphony—reveals fascinating insight into Mendelssohn’s compositional process. however interesting the theme-and-variations move ment is from a theorist’s perspective, it can be problem atic to performers and listeners. Brin raises the contro versial issue of cuts (though he stops short of advocating any); as he points out, since this work was not pub lished within Mendelssohn’s lifetime, some performers have felt they have some liberty to make a few edits. 26 having played the viola sonata and heard it on col leagues’ recitals, it does not seem disproportionately The problems in the third movement mostly concern two variations: the fifth and the eighth. In the fifth variation, the viola is relegated to an accompanimental role, playing the open C string ninety-nine times in pianissimo between measures 91 and 109—the move to E-flat for five measures starting in measure 100 does little to relieve the monotony. It is, to put it bluntly, boring for the violist. It can be frustrating to violists that this variation allows them to contribute so little while also denying the opportunity for rest and recov ery. Cutting this variation is not necessary, but there is some musical justification for leaving it out. With the exception of variation 5, each variation from 3–6 increases the number of subdivisions per beat: four per beat in variation 3, six in variation 4, then eight in variation 6. This process is a fairly common variation technique; another famous example can be found in the second movement of Beethoven’s fifth symphony. Without variation 5, this process can continue without interruption, though the pianist may appreciate the momentary respite of the relative inactivity.

long, though I am not adverse to making minor cuts or changes to this movement—so long as they are approached thoughtfully. The technical demands of the piano can affect such cuts; many of the variations fea ture the piano more than the viola, so one might decide to cut some of the longer passages to relieve the pianist of rather difficult passages—or to maintain an emphasis on the viola as soloist. The movement is worthy enough to be performed as Mendelssohn wrote it, however, and many violists choose to perform it in its entirety. For all its (arguable) flaws, Mendelssohn’s sonata remains a valuable contribution to the comparatively small body of nineteenth-century solo viola repertoire. Perhaps Mendelssohn’s greater contribution was to write viola parts in orchestral and chamber music informed by personal experience. So, next time you toil away on a Beethoven symphony or play the sec ond viola part of Mendelssohn’s Octet, remember who occupied your seat nearly two centuries ago. intense, driven C minor, the move to C major in the adagio variation creates a transcendently serene moment. This variation features an extremely florid piano part replete with runs, turns, and trills. This pianistic display comes at the expense of the viola, however: the viola is entirely missing from thirty-four of the variation’s fifty-eight measures. Although the violist might appreciate a little down time at the end of the sonata, these vast expanses of rests may seem excessive, particularly if the sonata is programmed on a recital intended to feature the violist. To listeners, this variation can be unsatisfying for a different rea son: everything happens twice, so the variation feels drawn out and repetitive. The piano part is beautiful when performed well, and the leap in measure 179 stands out as a particularly breathtaking moment— but when a very similar moment occurs in measure 195, it loses its uniqueness and becomes less special. Making cuts in this variation is more complicated than just ensuring that certain events only happen once, however: over the course of the variation, there is a modulation from C major to G major and anoth er to get back to C major. People wishing to make a cut in this variation must be aware of what key they

Possible Cuts in theThird Movement

The eighth variation’s problems are more obvious, yet more difficult to address. After 162 measures of

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