JAVS Fall 2022

Figure 5: Sonata No. 5, mov. 1, Original.

Figure 6: Sonata No. 5, mov. 1, Viola Transcription.

A sub-category of this is when the melody sits on a trill while the bass has a characteristic octave drop. Again, the bass notes only need to sound briefly to achieve the a ect. Another option when combining the melody and bass line was to integrate both lines into a single melody. There are basically four reiterations of the motif in the example below. I chose to ornament each one a little di erently.

Final Thoughts Anna’s scores do not give much guidance to either dynamics or ornamentation—as is expected. There are, however, many treatises that have survived from this period on how to play music, some of them in direct conflict with each other. I decided to follow On Playing the Flute by Johann Joachim Quantz. Quantz was the flute teacher of the Margrave Frederick of Bayreuth, for whom these pieces were written. He was a frequent guest at the Bayreuth court. 6 It seems plausible that Anna was influenced by his teaching and therefore, that his writing can be applied to her works as well.

And occasionally, I decided to invert the voices for variety and interest.

Figure 7: Sonata No. 4, mov. 3, Original.

Figure 8: Sonata No. 4, mov. 3, Viola Transcription.

Journal of the American Viola Society / Vol. 38, No. 2, Fall 2022

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