JAVS Summer 2018

Recordings : Includes the name of each violist who uses a cadenza and indicates which movement(s); full details about the recording can be found in Section II.

SECTION II INCLUDES THESE DETAILS:

Soloist : Name of the soloist.

Editions : Provides bibliographic details of the recordings; includes releases in multiple formats.

Movements: Includes cadenza details for each movement with one of these identi ers:

[ Name of Composer Listed in Section IA or IB] : If a cadenza listed in this catalogue has been used, the composer and version is identi ed, along with any relevant notes.

None : e soloist does not play a cadenza in this movement.

Unidenti ed : e composer of the cadenza could not be determined.

Unpublished : e composer of the cadenza has been identi ed, but the cadenza has not been published and is not listed in section IA or IB.

Note : Includes various notes, generally regarding the cadenza or edition used on the recording.

SECTION IA: CADENZAS PUBLISHED AS PART OF THE COMPLETE CONCERTO

Composer : Movements :

Borisovsky, Vadim (1900–1972)

1, 2, and 3

Editions :

Moscow: Muzgiz, 1962, 29692. (Edited by Vadim Borisovsky.)

Note : Borisovsky was a Russian viola soloist and viola d’amore player. He served as Professor of Viola at the Moscow Conservatory and as violist in the Beethoven Quartet for more than thirty years. e music indicates that the concerto has been “freely arranged for viola and piano with cadenzas by V. Borisovsky.” 1 Violists may have di culty in recognizing the concerto from this “freely arranged” edition, as Borisovsky has made drastic alterations to Stamitz’s music. In addition to the second movement being transposed from D minor to G minor, more than 75% of the solo viola’s measures having some type of alteration.

Details : Mvmt. I: 58 measures

Mvmt. II: 10 measures (this cadenza cannot practicably be played in D minor)

Journal of the American Viola Society / Vol. 34, 2018 Online Issue

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