JAVS Summer 2025

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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