JAVS Spring 2022

to welcome you, given the not exactly rich original literature for your instrument. Johannes Palaschko in style and expression of the older post-Roman style hunting piece (right there) with piano accompaniment also forms an excellent double-stop study for the violist. 18 Palaschko’s middle period publications showed his love for pedagogy, with his Children’s Symphony and etudes intended for student performances, and some exploration in short piano pieces. Additionally, his works were performed frequently and evidence surfaced describing a “Palaschko Method.” Opus 58: 26 Studies for Violin [Steingräber], 1919. Opus 59: Children Symphony [Zimmerman Leipzig], 1920. Opus 60: Ballet Music for Piano [Presser Philadelphia], 1923. Opus 61: Album for the Young: 10 Easy Little Pieces [Presser-Philadelphia], 1919. Opus 62: 12 Studies for Viola [Ricordi-Mailand], 1923. Opus 63: Picture Book: 10 Pieces for Violin and Piano [Ricordi-Mailand], 1923. Opus 64: Colorful Sketches: 12 Pieces for Violin and Piano [Schott-London], 1923. Opus 65: For the Young: 12 Easy Pieces for Violin and Piano [Bosworth], 1926. Opus 66: 15 Studies for Viola [Schott-London], 1926. Opus 67: Rondoletto four Piano [Leignich-London], 1924. Opus 70: 15 Studies for Violin [Leignich-London], 1926. Opus 71: 18 Position Studies for Violin [Ricordi Milan], 1926. Opus 73: 20 Little Etudes for Violin [Leignich London], 1926. Opus 75: 20 Etudes for Violin [Schott-Londong], 1928. Opus 76: 50 Melodic Elementary Etudes for Violin [Schott-Mainz]. Opus 77: 24 Melodic Etudes for Viola [Leduc-Parix], 1927.

Figure 8: Palaschko letter head.

NewWorks for the Concert Hall Hermann Ambrosius has completed a motet for the 96th psalm for mixed choir a capella, which was premiered in the city church of Jena under the direction of the Music Director Böttcher. 16 It was during this time Palaschko took his first residence and Berlin’s records reveal more esoteric details. Inhaltsverzeuchnic des Berliner Adressbuches lists and describes the physical addresses of Berliners during this period. Each entry in the book refers to a person, what job they had, where they lived, and the residents in each Berlin residential building. Palaschko’s physical address remained at N. 24 Krausnick St. #5 until 1943. 17 “Violin virtuoso” and “pianist” was mentioned only once, and it can be inferred that the building’s resident would fill out this information. Palaschko and his wife would remain at this residence through Palaschko’s life. After his appointment, he would continue to publish and advertise new works, and more reviews and performances surfaced that challenged the validity of his compositional style. Palaschko’s previously mentioned reviews claimed to assist in double stops as well as work with the bow. More notably his compositional voice was characterized as pleasantly strange; but it was in the review of another work where his voice is more palatable to the listener. In 1914’s Signale , no. 7, a chamber work by Paul Klengel was compared to Palaschko’s compositional voice: Paul Klengel, op.46: Three Romances, op.48: Four fantasy pieces for viola and piano. (There) They offer usable material for teaching, are of impeccable texture, although somewhat dry and conventional in the invention. Our viola players will still be happy Figure 9: Address book registry.

Journal of the American Viola Society / Vol. 38, No. 1, Spring 2022

37