JAVS Summer 2025

Features: Viola as Prima Donna

A Mirror of the Soul: The Viola in Arvo Pärt’s S piegel im Spiegel

The Viola Behind the Iron Curtain Pt. I

Journal of the AmericanViola Society Volume 41 Summer Online

Journal of the American Viola Society A publication of the American Viola Society Summer 2025: Volume 41, Summer Online

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From the Editor From the President

News & Notes

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In Memoriam: Scott Nickrenz (1937–2025) AVS News: Welcome Newly Elected Board Members

Feature Articles Viola as Prima Donna by Fan Yang

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A Mirror of the Soul: The Viola in Arvo Pärt’s Spiegel im Spiegel by Xue Ding The Viola Behind the Iron Curtain Pt. I: Revealing A New Corpus Research of Original Soviet Viola Works by Nethanel E. Pollak Departments History and Heritage: The Forgotten Instrument, by Jeanne Clausen

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p. 45 In The Studio: Finding Your Voice: Arts Integration as a Catalyst for Confidence and Community in Viola Teaching, by Christina Ebersohl-Van Scyoc p. 49 Score Review: Score Review: Stacy Garrop, Krakatoa: Concerto for Viola, Strings, and Percussion—Solo Viola Part and Piano Reduction

On the Cover: Neal Acree Viola-matic

The convergence of art and music in the “Viola-matic” sculpture is no mere coincidence. In addition to having a lifelong passion for art in all forms Neal Acree is by trade a film, television and video game composer whose work can be heard in shows like The Legend of Vox Machina, Stargate SG-1 and the video games World of Warcraft, Overwatch, Diablo, StarCraft and Avatar: Frontiers of Pandora. The “Viola-matic” is part of a series of music themed sculptures and images that can be viewed at http://www.nealacree.com/art.

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The Journal of the American Viola Society is published in spring and fall and as an online only issue in summer. The American Viola Society is a nonprofit organization of viola enthusiasts, including students, performers, teachers, scholars, composers, makers, and friends, who seek to encourage excellence in performance, pedagogy, research, composition, and lutherie. United in our commitment to promote the viola and its related activities, the AVS fosters communication and friendship among violists of all skill levels, ages,

Editor: Christina Ebersohl-Van Scyoc Assistant Editor: Lanson Wells Consultant Dwight Pounds Tom Tatton AVS National Board of Directors: Officers President: Ames Asbell (2026) President-Elect: Daphne Gerling (2026) Secretary: Katrin Meidell (2028) Treasurer: Ann-Marie Brink (2025) Webmaster Tony Devroye (2025) Board Members Caroline Coade (2027) Anthony Devroye (2025) Christina Ebersohl -Van Scyoc (2028) Renate Falkner (2027) Misha Galaganov (2025)

nationalities, and backgrounds. ©2024, American Viola Society ISSN 0898-5987 (print) ISSN 2378-007X (online)

JAVS welcomes articles from its readers. Submission deadlines are December 1 for the Spring issue, April 1

Kimia Hesabi (2027) Andrea Houde (2027) Hsiaopei Lee (2025) Gabrille Padilla Molina (2026) Diane Phoenix-Neal (2027) Steven Tenenbom (2025) Molly Wilkens-Reed (2026) Rose Wollman (2026) JAVS Volunteer Kayleigh Miller AVS General Manager Madeleine Crouch AVS National Office 14070 Proton Road, Suite 100 Dallas, TX 75244 (972) 233-9107 ext. 204

for the Summer online issue, and August 1 for the Fall issue. Send submissions to the AVS Editorial Office, Christina Ebersohl-Van Scyoc editor@americanviolasociety.org or to

Madeleine Crouch, 14070 Proton Rd., Suite 100 Dallas, TX 75244

JAVS offers print and web advertising for a receptive and influential readership. For advertising rates please contact JAVS Editor Christina Ebersohl-Van Scyoc editor@americanviolasociety.org

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Journal of the American Viola Society / Vol. 41, Summer 2025 Online Issue

From the Editor

Dearest friends of the alto clef persuasion,

As your Editor, I’ve had the great privilege of curating this issue—but I’ve also been wearing another hat: that of Festival Coordinator for the 2026 American Viola Society Festival, to be held at James Madison University in Harrisonburg, Virginia. Planning is already well underway! I’ve been connecting with our partners on campus—including Dean Rubén Graciani, our wonderful host Diane Phoenix-Neal, and conductor Dr. Kira Omelchenko, who will lead two of our Signature Artist Recitals with chamber orchestra. We’re thrilled to be partnering with local artisans and businesses to infuse the Festival with the warmth and creativity of the Blue Ridge Mountains. Our festival logo, designed by Virginia artist and Eastern Mennonite University grad Melanie Pritchard, will soon adorn some truly exciting conference swag. We’ll also be unveiling our Signature Artist lineup, which traces a vibrant arc from historical elegance to contemporary expression and bold new musical explorations. Panels and roundtable programming will also dive into topics like career development, instrument craft and care, and the growing importance of trauma-informed pedagogy. And for the adventurous, we’ll have new electric viola workshops, demonstrations, and shops that promise to spark fresh inspiration. Keep an eye on the upcoming JAVS and the AVS social media channels, there’s so much more to come, and a save-the-date is headed your way soon. Whether you are a student, professional, teacher, researcher, or lifelong viola enthusiast, we can’t wait to welcome you to what’s next. Until then, may this issue offer you moments of discovery, delight, and deeper connection. Thank you for being part of our vibrant and ever-evolving viola community.

Summer is often a time of reflection and

reconnection—a chance to listen more deeply, breathe more fully, and return to what grounds and inspires us. This season’s Journal of the American Viola Society offers just that: a space where voices long overlooked, freshly discovered, or creatively reimagined come into vibrant focus.

Our feature articles explore the rich and varied world of viola repertoire and history. We begin with the introspective beauty of “Mirror of the Soul: The Viola in Arvo Pärt’s Spiegel im Spiegel ,” then turn to “The Viola as Prima Donna,” which traces the operatic spirit woven into some of the instrument’s most iconic early works. Finally, “Viola Behind the Iron Curtain”— part one of a mini-series by the author—opens a window into a powerful archive of Soviet-era compositions—newly unearthed, deeply expressive, and poised to reshape our understanding of the viola’s voice and legacy. In our departmental articles, we continue exploring voice and identity through pedagogy and history. “In the Studio: Finding Your Voice” reveals how arts integration—where music, storytelling, and cross-disciplinary creativity merge— can empower students in transformative ways. “History and Heritage: The Forgotten Instrument” brings the ancient lira da braccio to life, highlighting this overlooked ancestor of the modern viola and reminding us that our roots are often deeper and more poetic than we imagine.

Warmly,

Christina Ebersohl-Van Scyoc

Join the American Viola Society Your membership supports the viola community through performance, education, research, mentoring, publishing, commissioning new works and more. www.americanviolasociety.org/Join.php

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From the President

Dear Fellow Viola Lovers, I hope this finds you enjoying the blissful moments of summer, whether it’s lingering in warm, golden evenings, relaxing with a cool drink and a good book, or practicing and performing at a festival. This summer, I’m catching up on some long-overdue reading and creative projects, and looking

and participate in these incredible learning experiences. We will continue to update information on the AVS website, social media, and our newsletter as well. Each July 1st marks the beginning of the AVS Board year, and this year we have one board member-at-large completing a term of service and four others preparing to contribute their time, talent, and vision. We thank Hsiaopei Lee for her excellent service on the Education Committee, as 2024 AVS Festival Competitions Coordinator, and in many other roles. New (or returning) members welcomed to the board this July are: Ruben Balboa , DJ Cheek , Tony Devroye , and Joyce Tseng . Many thanks to all of these individuals for their dedication to the viola community and their past and future service to the AVS. We hope you enjoy this summer digital issue of the JAVS! Highlights include part one of Dr. Nethanel Pollak’s “The Viola Behind the Iron Curtain,” and a look at the historical lira da braccio , among other features and reviews. In our “In the Studio” column, “Finding your Voice: Arts Integration in Teaching” will inspire us for the new season of teaching, which will begin all too soon. The whole issue will be on my summer reading list, and I hope you’ll join me. If you have an idea for an article for inclusion in the journal, whether a scholarly paper or a practical feature, please contact editor@ americanviolasociety.org. We want to hear from you! Thank you so much for supporting the AVS through your membership! As you are able, we hope that you might consider a small donation to a program that may be meaningful to you. If you are enjoying your membership, please tell a friend, and help us grow and support our community!

forward to curling up with our summer journal!

This is a quiet summer for viola events – we are in between AVS festival summers, and the upcoming International Viola Congress is scheduled for this coming winter. If you haven’t already done so, please put the 50th International Viola Congress on your calendar and plan to attend. The event will take place on January 19-23, 2026 in the beautiful “city of lights” – Paris, France! Guest artists feature many current luminaries of the viola world, including Gérard Caussé, Kim Kashkashian, Garth Knox, Tatjana Masurenko, Bruno Pasquier, Lawrence Power, Timothy Ridout, Jennifer Stumm, and Tabea Zimmerman. More information will be announced as the event approaches at: https://www.the50thinternationalviolacongress. com/en Our festival team is also in the midst of intense planning for the 2026 AVS Festival , to be held June 3-6, 2026 at James Madison University in Harrisonburg, VA. The Festival Call for Proposals will be open through August 15, 2025, so please be sure to submit your performance and presentation ideas and plan to join us in the gorgeous Shenandoah Valley of Western Virginia. Details of our AVS Festival competitions – the 2026 AVS Solo Competitions, Ensemble Invitational Competition, and Orchestral Audition Competition –are also available, so please encourage your students and student groups to prepare

Wishing you a safe and restful summer,

Ames Asbell President

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Journal of the American Viola Society / Vol. 41, Summer 2025 Online Issue

In Memoriam

Scott Nickrenz (1937–2025)

Scott Nickeren (1937–2025). Photo courtesy of New England Conservatory.

The musical world mourns the passing of Scott Nickrenz, a visionary violist, devoted mentor, and tireless advocate for chamber music, who died on March 17, 2025, at the age of 87. With his extraordinary intuition, generosity, and uncompromising musical ideals, Scott leaves behind a legacy that resonates far beyond the concert stage. Born in Buffalo, New York, Scott’s journey began on piano, then violin, before settling into his life’s voice—the viola—on the recommendation of his mentor, Alexander Schneider. He went on to study at the Curtis Institute of Music on scholarship and was a Tanglewood fellow, working with such luminaries as Aaron Copland, Elliott Carter, Gunther Schuller, and John Cage. His artistry as a violist found expression in ensembles he co-founded, including the Lenox and Vermeer String Quartets and the Orpheus Trio. He was a regular guest at the Chamber Music Society of Lincoln Center from 1972 through 1989, and is remembered fondly for his warmth, humor, and musical depth.

Though a gifted performer, Scott’s greatest and most enduring impact was as a presenter, educator, and nurturer of talent. As director of chamber music at the Brooklyn Academy of Music, the Spoleto Festivals in Scott Nickrenz and his wife Paula Robison in 1985 outside the Caio Melisso Theatre in Spoleto; courtesy Maria Lambros and WBUR.

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In his final days, the outpouring of love from colleagues and former students spoke volumes. Yo-Yo Ma played Bach at his bedside. Joshua Bell called from Rome. Jean Yves Thibaudet played Liszt. Their music, like their lives, bore Scott’s indelible influence. Through every student he taught, concert he shaped, and hall he filled with music, Scott Nickrenz’s spirit continues to resonate. His was a life lived in harmony with art, and in service to its future. We are all the richer for his having been among us.

both Charleston and Spoleto, Italy, the New World Symphony, and the Isabella Stewart Gardner Museum in Boston, Scott shaped generations of musicians and audiences alike. He also taught and advised at the New England Conservatory, where he served on the faculty and as director of chamber music, returning in the 1990s at the invitation of President Laurence Lesser to revitalize chamber music education at the institution. Scott’s unique ability to identify and elevate rising artists—“chops and a good sense of humor,” he said— helped launch the careers of many, including Joshua Bell, Jean-Yves Thibaudet, and the Borromeo String Quartet. His programming was not only artistically daring but human-centered, and always crafted with the musician and listener in mind. This ethos culminated in the design of Calderwood Hall at the Gardner Museum: an intimate, cube-shaped venue where music would envelop both player and listener in a shared, sonic embrace. “It’s like my whole life, my whole career was aiming for the ‘sonic cube,’” he once reflected. “I’m so proud of it.” He was, above all, a mentor—generous with his time, devoted to younger artists, and unwavering in his belief that music should inspire, uplift, and connect. Whether encouraging a student, curating a concert, or simply listening, Scott’s presence was both reassuring and galvanizing. As Nicholas Kitchen of the Borromeo Quartet once said, “There is no more meaningful mentor to us than Scott Nickrenz.” Lunch break, the Dock Street Theater, Charleston, South Carolina, June 1981. Left to right: Philip Setzer, Eugene Drucker, Kenneth Cooper, Scott Nickrenz, Jean-Yves Thibaudet. Photo by David Finckel.

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News

News from the American Viola Society: Welcome Newly Elected AVS Board Members!

The American Viola Society warmly welcomes our 2025 2028 cohort of elected AVS Board Members!

Ruben Balboa is a violist, educator, and conductor dedicated to performance, mentorship, and expanding viola education. He will join the faculty at Wichita State University as Assistant Professor of Viola/Violin and String Music Education in Fall 2025. Prior to this appointment, he held faculty positions at The University of Texas at Austin, Illinois State University, Texas State University, and Southwestern University, including serving as Assistant Director of the UT String Project. A versatile performer, he has collaborated with ensembles such as Austin Camerata, Invoke, and the Miró Quartet, and regularly performs with orchestras and opera companies, including Austin Opera and Dallas Opera. Passionate about expanding the viola’s repertoire, he has commissioned and premiered new works, including Tejano Suite for Viola & Piano by Alex Molina Shawver at the 2024 American

Ruben Balboa DJ Cheek Anthony Devroye Joyce Tseng

Please read their bios below to get to know them better as they prepare to begin their terms of service on July 1, 2025. The organization is grateful to these individuals for their dedication and service to the viola community, and we look forward to their contributions to further American Viola Society programs over the next three years.

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Viola Society Festival in Los Angeles. Committed to fostering the next generation of musicians and educators, he actively mentors students, leads youth orchestras, and engages in community music initiatives. One of his greatest joys is performing viola, voice, and piano recitals with his wife, Samantha. DJ Cheek joined the Fort Worth Symphony Orchestra as Principal Viola in August 2021 and made his solo debut with the orchestra in 2023 performing the Bartók Viola Concerto. This season he will appear as soloist in works by Bruch and Mozart. Prior to his current appointment, DJ played Principal Viola in the Jacksonville Symphony. In recent years he appeared as guest Principal with the Indianapolis Symphony and IRIS Orchestra in Tennessee, and as a substitute with the Dallas Symphony. For the 2024-2025 academic year, DJ is Visiting Artist / Teacher of Viola at Baylor University. He recently joined the faculty of Kneisel Hall and Texas Chamber Music Institute, and he performs at the Colorado Music Festival and teaches at the Interlochen Chamber Music Camp. He has appeared at festivals such as Music@Menlo, the Perlman Music Program, Lucerne, Sarasota, Olympic, and Yellow Barn. DJ performed as a guest artist with Donald Weilerstein and Kim Kashkashian in support of Music for Food, and he continues to perform with the Music for Food chapter in Fort Worth. DJ holds a master’s degree from New England Conservatory and a bachelor’s degree from Oberlin College Conservatory, where he studied with Kim Kashkashian and Peter Slowik, respectively. He was further mentored by Beth Guterman Chu. Anthony Devroye is violist of the Avalon String Quartet and Professor of Viola at Northern Illinois University. He has performed with the quartet throughout the US and internationally. The quartet’s recordings on the Cedille, Bridge, and Albany labels have garnered critical and popular acclaim. Outside of the quartet Mr. Devroye performs frequently with the Chicago Symphony and as a guest with chamber ensembles. As an administrator he previously served as Artistic Director of Rush Hour Concerts in Chicago, and has been on the Executive Board of the American Viola Society since 2022. He is a graduate of Columbia University and the Curtis Institute, where he studied with Michael Tree and Roberto Diaz.

Joyce Tseng is an experienced performer in a diverse range of musical styles and ensembles. She has appeared with the Rochester Philharmonic Orchestra, Eastman Philharmonia, Aspen Festival Orchestra, Heifetz International Music Institute, and the Hong Kong Festival Orchestra. As a chamber musician, Joyce has studied at the Ashkenasi/Kirshbaum Chamber Music Seminar at the Heifetz International Music Institute, as well as with the Ying Quartet. She has delivered solo recitals at the American Viola Society Festivals and Eastman School of Music, featuring repertoire from Bach to contemporary commissions, and her concerto highlights include the Hoffmeister Viola Concerto with the Macao Orchestra. Joyce’s awards include the Robert L. Oppelt Viola Prize (2019 & 2022; an award presented annually to an outstanding violist at Eastman), third prize in the 2024 Orchestral Audition Competition at AVS, second prize in the 2018 AVS Solo Competition (Collegiate Division), and first prizes in the Macao Young Musicians Competitions (Viola Solo and String Concerto, 2014). A dedicated educator, Joyce spent five years as Teaching Assistant in Professor George Taylor’s viola studio at the Eastman School of Music, where she coached undergraduates and led small‑group Strings I & II technique classes for Music Education majors. She also served as a secondary viola instructor at Eastman and currently serves as a chamber ensemble coach at the University of Rochester. As a violin/viola mentor for New Horizons Green Strings at the Eastman Community Music School, she guided adult learners in developing performance skills. Currently pursuing a Doctor of Musical Arts in Viola Performance and Literature under Phillip Ying, Joyce holds Bachelor’s and Master’s degrees from Eastman and has refined her artistry through summer studies with Masao Kawasaki, Roberto Díaz, Robert Vernon, and masterclasses by Kim Kashkashian, Atar Arad, Hsin‑Yun Huang, and others.

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Featured Article

Viola as Prima Donna by Fan Yang

Around the turn of the seventeenth century, the earliest operas were staged in Florence, Italy, quickly becoming a cultural sensation. The emergence of opera was the result of integrating various performance traditions from the Medieval and Renaissance periods. These spectacular productions, full of pageantry and often incorporating the latest technological innovations, were originally designed for aristocratic celebrations, bringing together nearly every imaginable art form. 1

As opera evolved, it underwent numerous stylistic and structural reforms. The rise of the European middle class in the eighteenth and nineteenth centuries expanded access to public concerts and opera performances. Yet prior to the invention of the gramophone in 1877, opportunities to hear popular operatic melodies—especially from large scale productions—were limited. The distinction between “classical” and “popular” music, as we understand it today, only began to emerge in the late nineteenth century. Before that, a wide variety of musical styles enjoyed public attention. In this context, many instrumental arrangements of operatic material were created. Vocal and instrumental performers alike admired each other’s techniques and often strove to imitate one another. These arrangements typically served two purposes. First, were virtuosic works composed by instrumentalists for public concert performance—technically demanding pieces designed to captivate audiences with familiar melodies and dazzling execution. Second, were simpler arrangements intended for amateur musicians to enjoy at home. These works helped generate income for composers through publication royalties and allowed purchasers to experience operatic music in a domestic setting. Even the viola—historically less prominent as a solo instrument—benefited from this widespread enthusiasm for opera. A surprising number of works for viola, both directly and indirectly influenced by opera, emerged during this period. This article surveys a selection of such works, each exemplifying operatic style through form, expressive content, and melodic design reminiscent of early nineteenth-century opera. Together, they form a cohesive recital program lasting approximately 72 minutes, without intermission. When performed with attention to vocal phrasing and stylistic nuance, these pieces have the power to evoke the same dramatic intensity and lyrical beauty found on the operatic stage.

Figure 1. Historically Informed Reimagination of demolished Teatro di San Cassiano.

The opening of the Teatro di San Cassiano in Venice in 1637—the first public opera house—marked a turning point. Opera, once reserved for the elite, became accessible to the general public. Just two years later, Venice opened a second, larger venue: the Teatro Santi Giovanni e Paolo. Opera’s popularity soon spread across Europe, with France, Germany, and England developing national styles shaped by their unique linguistic and cultural traditions.

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Potpourri aus “Lohengrin” based on the original opera by Richard Wagner (1813–1883), arranged by Friedrich Hermann (1828–1907) While many operatic transcriptions for viola are highly virtuosic and intended for professional performers—often originally scored with orchestral accompaniment— Potpourri aus “Lohengrin” occupies a different category. Designed for the amateur market, this arrangement nevertheless features melodious and lyrical selections that make it a fitting prelude to a recital program. Richard Wagner holds an unassailable place in operatic history. His opera “Lohengrin,” in three acts, premiered on August 28, 1850, at the Großherzogliches Hoftheater in Weimar (a theater now lost to history), conducted by Franz Liszt. Wagner himself was absent from the premiere, as he had fled political persecution and was living in exile in Switzerland under a false passport. He did not hear the work performed until May 15, 1861, in Vienna. “Lohengrin” left a profound impression on audiences and became a cultural touchstone. Germany, home to the largest number of castles in the world, boasts the iconic Schloss Neuschwanstein (New Swan Stone Castle), inspired by Wagner’s operas—particularly Lohengrin— and designed by King Ludwig II of Bavaria (1845–1886), one of Wagner’s most ardent patrons. Ludwig, who first heard Lohengrin at age fifteen, was enthralled by Wagner’s music. Upon ascending the throne at eighteen, he summoned the composer, paid off his debts, and later funded the construction of the Bayreuther Festspielhaus, the famed theater dedicated to Wagner’s works. Though the cost of building Neuschwanstein plunged the king into debt and led to his forced abdication, the castle has since become one of Germany’s most visited tourist destinations, with annual tourism revenue far exceeding its original construction costs. 2 One of the opera’s best-known melodies—the Bridal Chorus (“Here Comes the Bride”)—remains a staple at Western weddings, alongside the Wedding March from Mendelssohn’s A Midsummer Night’s Dream . However, Wagner’s legacy remains controversial, particularly due to his writings on Judaism and the later appropriation of his music by the Nazi regime. Although Wagner’s antisemitic views are documented, it is important to note that Lohengrin predates the rise of Nazism by several decades.

Figure 2. Interior of Schloss Neuschwanstein.

The opera itself is based on a medieval German legend about a mysterious knight who arrives in a swan-drawn boat to defend Princess Elsa and ultimately marries her— on the condition that she never ask his name. When she breaks this vow, he reveals his identity as Lohengrin and departs. Wagner first encountered the Lohengrin legend around 1841/42 through a synopsis and commentary presented by the Königsberg Germanic Society. As with many of his works, Wagner wrote both the libretto and the music. He completed the full score between January and April 1848. 3 The arranger of this Potpourri, Friedrich Hermann (1828 1907), was a distinguished violinist, violist, composer, and pedagogue. He entered the Leipzig Conservatory in 1843 as one of its earliest students. There, he studied composition with Felix Mendelssohn and violin with Ferdinand David (1810-1873), two towering figures of the Romantic era. At age eighteen, Hermann was appointed principal violist of the Gewandhaus Orchestra and began teaching at the Leipzig Conservatory just one year later. Today, he is primarily remembered for his pedagogical editions for violin and viola, published by Peters and Augener, and for his Concert Studies for Viola, Op. 18. The amateur orientation of Potpourri aus “Lohengrin” is evident in its original scoring for viola and piano (rather than orchestra), with the piano often taking a leading role. Hermann also arranged versions for violin and cello, all published between 1896 and 1899. He created several other brief arrangements from Lohengrin for violin or violin ensemble as well. True to the potpourri tradition— the term originally referring to a mixture of dried flowers used to fragrance a room—Hermann selected and

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reordered musical excerpts for their expressive character rather than narrative continuity. The result is a charming and accessible homage to one of Wagner’s most beloved operas, well suited to intimate performance settings. Sechs Variationen über das Thema “A Schüsserl und a Rein’dl,” J. 49 by Carl Maria von Weber (1786-1826) Carl Maria von Weber was a pivotal figure in the early development of German Romantic opera and was internationally acclaimed during his lifetime. For many years following his death, he was remembered chiefly for Der Freischütz and the overtures to Euryanthe and Oberon . It was not until after World War II that Weber’s broader oeuvre began to regain recognition, thanks largely to Kurt Eulenburg—the second-generation head of the Eulenburg publishing house—who, as a devoted admirer of Weber, published a vast range of his works across nearly every genre of the period. Weber was more than a composer: he was also an accomplished conductor, pianist, and music critic. His innovative use of folk melodies and exotic musical elements marked him as one of the earliest composers to incorporate such features. His incidental music for Turandot , based on a Chinese story, predates Puccini’s famous opera of the same name by over a century. Interestingly, Weber was also related by marriage to another titan of classical music: Constanze Mozart, widow of Wolfgang Amadeus Mozart, was his cousin.

Weber’s early life was shaped by a theatrical upbringing. Less than a year after his birth, his father gave up his position as a town musician and founded the Weber Theater Company, which toured extensively throughout Bavaria. As a child, Weber traveled with the troupe and was exposed to a wide repertoire of popular plays and Singspiels . His early musical instruction came from his half-brother Fridolin (known as Fritz), as well as from various tutors encountered during the family’s travels. After the death of his mother in 1798, the family settled temporarily in Munich, where Weber became acquainted with a broader range of French operas and Singspiels . It was during this time, at the age of thirteen, that he composed his first opera, Die Macht der Liebe und des Weins , though the score was later lost in a fire. The best-known viola work by Weber is the Andante and Hungarian Rondo , J. 79, composed in 1809 for his brother Fritz, who was a violinist and violist. This piece, rich in operatic style, serves as an ideal alternative to Sechs Variationen über das Thema “A Schüsserl und a Rein’dl” and would extend a recital program by approximately four minutes. Notably, Weber arranged the Andante and Hungarian Rondo for bassoon in 1813, attesting to the flexibility and popularity of the music. 4 Sechs Variationen über das Thema “A Schüsserl und a Rein’dl” was likely also composed for Fritz, probably around 1802 and revised in 1806. The orchestration for this set of variations is lighter than that of the Hungarian Rondo , consisting only of strings and woodwinds. The theme itself is a well-known Austrian folk tune of the time—its title appears in several spelling variants—and was frequently heard in Vienna’s popular theaters. Other composers, including Beethoven, in his op. 105, no. 3, also used the tune as the basis for variations. The text of the folk song begins humorously: “A dish and a pot is all my kitchenware,” and then unexpectedly turns romantic with the line: “and when I think of you, my shirt tightens instantly, and I imagine I am with you.” The remaining stanzas introduce comedic and dramatic twists, and Weber heightens these contrasts through playful exaggeration in his musical treatment. Variation sets on operatic themes were a hallmark of early nineteenth-century instrumental writing, and Weber’s contribution is no exception. Although most of the variations remain in C major, with only the fourth variation introducing a slower tempo and minor tonal

Figure 3. Carl Maria von Weber Museum, was Weber's summer home (1818-1824) near Dresden.

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coloring, the piece is no less technically demanding than other virtuosic works of the period. A particularly striking feature is the use of left-hand pizzicato—an effect reminiscent of Paganini’s Caprice No. 24 , composed at nearly the same time. Additionally, Weber’s employment of right-hand pizzicato connects intriguingly with operatic history: although the technique first appeared in viol repertoire roughly twenty years earlier, its most notable early use on modern string instruments is in Claudio Monteverdi’s Combattimento di Tancredi e Clorinda (1624), where pizzicato vividly depicts a battle scene. To most violinists—and violists—today, Jacques-Féréol Mazas is remembered primarily for his pedagogical études, but his contributions to the musical world extend far beyond his educational legacy. At the age of twenty, he was admitted to the Paris Conservatoire, where he studied under Pierre Baillot (1771–1842). Upon graduation, he quickly drew public attention and embarked on a successful solo career that took him across Europe. In addition to performing, Mazas served as concertmaster of the Palais-Royal Orchestra, taught violin in Orléans— where he also directed the city’s Opéra Comique—and later became director of the Cambrai Conservatoire. His compositional output is wide-ranging and includes vocal works, operas, chamber music, and numerous pieces for violin. Notably, Mazas appeared to be one of the many violinists of his era who regularly performed on the viola, likely due to his appreciation for its distinctive timbre. In 1830, during a series of concerts in Paris, Mazas consistently featured a viola work in nearly every program. A contemporary review praised his approach, noting that he deeply understood the instrument’s capabilities and established a distinctive style focused on expressive, singing phrasing rather than technical showiness. Mazas wrote both a Method for Viola and a Fantaisie for Viola and Orchestra , the latter of which he performed on March 9, 1834, for the Société des Concerts du Conservatoire. Unfortunately, both works appear to be lost. His Élégie , Op. 73 for viola and orchestra, published in 1838, survives and reveals his operatic style and his sensitivity to the viola’s warm, plaintive tone. 5 Le Songe - Fantaisie sur La Favorite, Op. 92 by Jacques Féréol Mazas (1782-1849)

Figure 4. Paris Opéra, where La Favorite was premiered.

The Fantaisie discussed here is a posthumously published work, issued around 1850 by the Parisian publisher Aulagnier. It was likely composed between 1840 and 1845 and may have originally included orchestral accompaniment, though only the version with piano reduction survives. The principal theme is drawn from La Favorite , a four-act French grand opera by Gaetano Donizetti (1797–1848), composed during the Italian composer’s prolific late period while he was working in Paris. La Favorite premiered at the Paris Opéra on December 2, 1840, with a libretto by Alphonse Royer (1803–1875) and Gustave Vaëz (1812–1862). The opera repurposed material from Donizetti’s earlier, unperformed L’Ange de Nisida , originally intended for the Théâtre de la Renaissance, which had gone bankrupt. Notably, Richard Wagner edited the vocal score of La Favorite . Set against the backdrop of fourteenth-century Spain during the Moorish invasion and tensions between the monarchy and the Church, the opera follows the tragic love story between the monk Fernando and Leonora, the mistress of King Alphonse XI. After renouncing his monastic vows for love, Fernando learns of Leonora’s true identity and returns to the monastery in anguish. In the final act, Leonora finds him and pleads for forgiveness. Moved but unable to alter their fate, Fernando embraces her as she dies in his arms. The theme Mazas chose for his Fantaisie comes from Fernando’s aria in Act IV, Scene 3, a classic da capo aria newly composed for La Favorite . The aria was so stirring that it often interrupted performances with applause— an uncommon occurrence in continuous operatic productions. The English translation of the aria’s opening line reads: “Pure angel, whom I thought I had found in a

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dream, how I loved you!...” The title of Mazas’s Fantaisie , “Rêve” (Dream), derives from this poignant line.

family, Hummel became a de facto family member, often seen alongside Mozart playing billiards or testing new compositions. During this time, he also encountered many of the distinguished guests who frequented the Mozart household, including Joseph Haydn, who sometimes came to rehearse string quartets with Mozart. As a conductor, Hummel led the concert during Niccolò Paganini’s 1829 visit to Weimar. By then, Hummel had been grand-ducal Kapellmeister at Weimar for a decade—a position he held until his death. Later, Liszt succeeded him in this role and premiered Lohengrin there. However, Hummel’s 1831 London visit was overshadowed by Paganini’s simultaneous presence, which limited Hummel’s success. Although his experience directing opera was considerable, Hummel’s operatic compositions met with tepid reception. Hummel’s relative obscurity after his death is largely attributed to his delicate classical style, which was eclipsed by the bold innovations of Beethoven and the evolution of the piano. His relationship with Beethoven oscillated between friendship and rivalry. While Hummel maintained a significant following in Vienna as a concert pianist and improviser, Beethoven’s emergence challenged his confidence. Hummel composed in almost every genre except the symphony—an absence reflecting his rivalry with Beethoven. Despite this, their stormy friendship culminated in Hummel’s final visit to the dying Beethoven and his role as a pallbearer at Beethoven’s funeral. Around 1814, Hummel’s wife Elisabeth encouraged him to perform more frequently. Her timing was impeccable: the Congress of Vienna brought numerous concerts and social events where Hummel’s improvisations were met with almost unanimous praise. Notably, violinist Louis Spohr witnessed one such improvisation after a Congress event. A successful tour in spring 1816 further cemented Hummel’s celebrity. 6 From the 1970s onward, Hummel and his music gradually regained attention, as did the potpourri genre. Although “potpourri” literally means “rotten pot,” a somewhat unflattering term, this negative connotation likely arose because many potpourris—collections of popular stage works—were hastily assembled for amateurs or less-skilled musicians. In contrast, celebrated composers often improvised potpourris live in concerts, and these exquisite works rarely survived in written form.

Mazas composed the introduction, development, and coda himself. With the quoted melody closely mirroring Donizetti’s original, the work functions as a miniature operatic scene, employing vivid contrasts and drawing deeply on the viola’s characteristic lyricism and melancholy hues. Around 1832, Mazas published a treatise on harmonic technique, and the sensitive use of harmonics in this fantasy illustrates the ethereal quality they can lend—particularly apt for evoking the fragile atmosphere of a dream. The sudden, stormy conclusion on the piano suggests an abrupt awakening from that dream. Quoting operatic themes in instrumental music was a common practice in the nineteenth-century, and in this instance, Mazas was especially successful in transforming a beloved aria into a compelling concert piece. Of further interest to violists is the fact that Donizetti’s first composition teacher and lifelong mentor, Simon Mayr (1763–1845), was himself a violist. In his youth, Donizetti wrote chamber music for Mayr’s string quartet and even composed a viola concerto for him—though sadly, the solo part has not survived. Johann Nepomuk Hummel was regarded in his time as one of Europe’s greatest composers and arguably its finest pianist, as well as one of the most sought-after teachers. His influence on later generations of musicians, especially pianists, was profound. His comprehensive keyboard pedagogy, Ausführliche theoretisch-practische Anweisung zum Piano-Forte-Spiel , first published in 1828, remains a key reference for understanding the musical tastes and practices of his era. Although neither Robert Schumann nor Franz Liszt ultimately studied with him, both initially expressed a desire to do so. Like Mozart, Hummel was a child prodigy. At Mozart’s suggestion, Hummel’s father took him on a European performance tour to promote his talents, mirroring the path taken by Mozart’s own father. Interestingly, Hummel later became the piano teacher of Mozart’s son, Franz Xaver. In 1786, at age eight, Hummel’s family moved to Vienna, where he quickly advanced as a pianist and became a pupil of Mozart himself. Living with the Mozart Potpourri, op. 94 by Johann Nepomuk Hummel (1778-1837)

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Court Orchestra in Dresden, who helped revise it for publication. The work was an apparent success, as Hummel immediately arranged a cello version (op. 95), dedicated to cellist Nikolaus Kraft (1778–1853). Both versions were published in 1822. This potpourri is approximately twenty minutes long and features solo viola accompanied by flute, two oboes, two bassoons, two horns, two trumpets, timpani in D and A, and strings. Hummel employed several common techniques of musical borrowing, including modeling, paraphrasing, cantus firmus , and variations—all in original keys. Seeking to appeal to both connoisseurs and general audiences, Hummel incorporated themes from Mozart (whom he and the public revered) and Rossini (then extremely popular). At the heart of the piece lies a four-part fugue—most likely based on an original subject—offering an intricate contrapuntal centerpiece that connoisseurs would appreciate. Together with an expressive introduction, smooth transitions, and an energetic rondo coda, these elements form a charming

Figure 5. A Potpourri.

Hummel composed six potpourris featuring the piano; op. 94 is unique in that the piano does not hold the primary role. Completed in September 1820, it was written for Anton Schmiedl (also spelled Schmiedel or Schmidl, 1767–1822), a violist in the Saxon

Figure 6. Structure of Hummel’s Potpourri, op. 94.

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and artistically rich bouquet. Notably, the first edition allowed performers the option to omit the fugue. The dance-like coda is typical for potpourris, reflecting the significant presence of dance music in opera and its capacity to excite audiences. Many violists today are more familiar with the heavily abridged version of op. 94 , which retains only the introduction, the tune from Mozart’s Don Giovanni , and the coda. This version, renamed Fantasy but keeping the same opus number, lasts about two-fifths of the original potpourri and first appeared in 1899 without Hummel’s authorization. Around 1798, Hummel composed and published his Viola Sonata in E-flat Major, op. 5, no. 3, where the piano holds a more prominent role, typical of the classical period and possibly intended for home entertainment. Niccolò Paganini’s towering influence on violin playing and composition is well-known worldwide, and his performances were a major draw throughout Italy and beyond. However, Paganini’s connection with the viola remains less familiar. In 1808, he composed a trio for viola, cello, and guitar (MS 17) for the wedding of his sister Domenica Paganini on July 20. His first visit to Britain in 1831 led, in the following year, to the acquisition of a 1731 Antonio Stradivari viola, completing his collection of Stradivari string instruments and sparking his enthusiasm for the viola over the next two years. This sonata is closely linked with Hector Berlioz. By 1830, when Berlioz won the Prix de Rome to study in Italy, he already held Paganini in high regard. Paganini attended one of Berlioz’s concerts in Paris on December 9, 1832, and met him again a year later, shortly after Berlioz’s marriage. Paganini then commissioned Berlioz to compose a viola work for his upcoming tour in Britain. The result was Harold en Italie , a symphony tailored to Paganini’s playing style. Paganini, however, felt the piece had too many rests and preferred to keep playing continuously, so he never performed it. Despite this, their mutual respect and friendship endured. Although Harold en Italie had premiered several years prior, it was not until December 16, 1838, that Paganini—then gravely ill with throat cancer—attended a performance. So profoundly moved was he by the work that he dispatched his son, Sonata per la Grand Viola, MS 70 by Niccolò Paganini (1782-1840)

Achille, to convey his admiration on his behalf. Two days later, Achille delivered a generous cheque of 20,000 francs to Berlioz, which greatly assisted the composer financially. In gratitude, Berlioz dedicated his symphony Roméo et Juliette to Paganini. During his second British tour, Paganini performed his trio for viola, cello, and guitar (MS 114), composed in 1833, at a private concert. Paganini played viola, Robert Lindley the cello, and Felix Mendelssohn sight-read the guitar part on the piano. For his solo repertoire, Paganini composed the Sonata per la Grand Viola, MS 70. The title “Grand Viola” refers to a large Parisian viola loaned to him by his friend Luigi Guglielmo Germi. On April 28, 1834, Paganini premiered the sonata at Hanover Square Rooms in London, where it received a lukewarm response. Some have suggested that the audience of the time was unprepared to embrace the viola as a virtuosic solo instrument, though such initial receptions are common even for masterpieces. Following this, the sonata was rarely performed, and Paganini’s interest in the viola waned. Nevertheless, the work remains a significant addition to the nineteenth-century virtuoso viola repertoire. 7 As an Italian musician, Paganini lived a life deeply entwined with the theater and was an avid theatergoer. Upon arriving in any new city on his tours, his first destination was always the theater. Many of his violin compositions are highly lyrical and operatic in character, and he also composed vocal music. This sonata is performed without interruption, though it consists of three distinct sections, each reflecting a typical operatic instrumental style. The sonata opens with a dramatic orchestral introduction, followed by a free recitative for the solo viola. As Paganini intended, the solo viola plays continuously until the conclusion. The second section, Andante Cantabile , features a melody in 9/8 time that quotes Paganini’s own theme from the third movement of his Trio for Violin, Cello, and Guitar, MS 69, composed on August 4, 1833, with minor adjustments. This melody lasts just eight measures. The final section is a textbook theme and variations, showcasing operatic writing that culminates in a brilliant finale. The theme here is borrowed from the first movement of his Sonata for Violin and Guitar, no. 15 ( Centone di Sonate, MS 112, no. 3), composed around 1828 or later, again with some modifications. While it was common practice for composers to recycle melodic ideas, few violists are familiar with Paganini’s ensemble

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compositions featuring guitar. Some CD booklets mistakenly claim that the opening melody of the Andante is derived from Paganini’s Sonata for Violin and Guitar, op. 2, MS 26, composed circa 1805; in reality, only the harmonic progression is similar. Though Paganini was notoriously extravagant, he was an astute investor in fine instruments. Upon his death, he left his only son a remarkable collection of priceless string instruments, including eleven Stradivari instruments (seven violins, one viola, and three cellos), two violins by Giuseppe Guarneri del Gesù, and two by Nicolò Amati. Tales abound of how Paganini acquired and lost priceless violins, but it is perhaps less surprising when considering that at the peak of his career, Paganini earned enough annually to buy 300 kilos of gold.

operatic style. From Hummel’s refined potpourri to Paganini’s ambitious Sonata per la Grand Viola , these compositions embody the blending of vocal-inspired phrasing and instrumental virtuosity characteristic of the bel canto tradition and early Romantic aesthetics. Performing these works with informed attention to their operatic roots—emphasizing phrasing, rhetoric, and stylistic authenticity—can deepen interpretative insight and illuminate the viola’s vital role within this rich historical context. Such exploration not only expands the instrument’s solo literature but also reconnects violists and audiences to a vibrant chapter of nineteenth-century musical culture, where the viola served as a powerful medium bridging the grandeur of opera with the intimacy of chamber and solo performance. Footnotes 1 Howard Mayer Brown et al., “Opera (i).” Grove Music Online (Oxford: Oxford University Press, 2001), accessed November 05, 2024, https://doi. org/10.1093/gmo/9781561592630.article.40726. 2 Millington, Barry et al., “Wagner, (Wilhelm) Richard.” Grove Music Online (Oxford: Oxford University Press, 2001), accessed November 05, 2024, https://doi. org/10.1093/gmo/9781561592630.article.6002278269. 3 Barry Millington, “Lohengrin (i),” Grove Music Online (Oxford: Oxford University Press, 2002), accessed November 05, 2024, https://doi.org/10.1093/ gmo/9781561592630.article.O902851. 4 Michael C. Tusa, “Weber, Carl Maria (Friedrich Ernst) von,” Grove Music Online (Oxford: Oxford University Press, 2001), accessed November 05, 2024, https://doi. org/10.1093/omo/9781561592630.013.90000380418. 5 David Charlton, “Mazas, Jacques-Féréol,” Grove Music Online (Oxford: Oxford University Press, 2001), revised by accessed November 05, 2024, https://doi. org/10.1093/gmo/9781561592630.article.18189. 6 Joel Sachs and Mark Kroll, “Hummel, Johann Nepomuk,” Grove Music Online (Oxford: Oxford University Press, 2001), accessed November 05, 2024, https://doi.org/10.1093/gmo/9781561592630. article.18189.

Figure 7. 1731 Stradivarius Viola once owned by Paganini.

Conclusion In conclusion, the operatic milieu of the early nineteenth century significantly enriched the viola repertoire, providing composers with fertile ground to explore the instrument’s expressive and lyrical capabilities. The works examined here demonstrate how operatic influence permeated viola music—not only through virtuosic showpieces designed to captivate concert audiences but also through nuanced arrangements that brought beloved operatic melodies into the domestic sphere. Though often overlooked in solo repertoire compared to its violin and cello counterparts, the viola’s unique tonal qualities made it an ideal vehicle for conveying the melodic beauty and dramatic intensity inherent in

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