JAVS Spring 2022

In January 1924’s Zeitschrift für Musik, heft 1, mentioned French premieres of new viola chamber music performed by Paul-Louis Neuberth: P.L. Neuberth in Paris organized several “Viola Alta” concerts, in which the Sonata op. 107 by Reger, a Sonata by Paul Juon and “Chasse” by J. Palaschko had their French premieres. 19 Neuberth was a viola student of Théophile Laforge (1863-1918). Palaschko eventually dedicated 24 Easy and Melodious Studies for the Viola, op. 86, to Neuberth. Palaschko’s dedication reads: “ To my friend Paul-Louis Neuberth of la Bourg, France .” However, in August 1924’s The Musical Times, v olume 65, no. 978, reviewed Palascko’s works for violin and piano, and a new attitude about the composer would surface: accompaniment) of mediocre difficulty and mediocre attainment, obviously intended to cheer the violinist during a trying period of study, these are the novelties which have reached me this month. Two composers only are the fathers of this budget. M. Fr. Godebski (director of the Conservatoire of Music at Perpignan) is the author of a “Danse” and a “Bagatelle,” while M. J. Palaschko has to his credit the rest of the set, published by Bosworth. On the whole M. Palaschko gets a little nearer to the ideal easy piece “pour la jeunesse” than M Godebsky. But unless I am much mistaken both labour under a misunderstanding. Their music is in keeping with the tradition of Dancla and Singelé; an excellent thing in its way which has only the fault of assuming the world stands still. Surely in these days, educational experiment and newly awakened interest it is foolish to presume that the younger generation will put up with what was never good for its predecessors. In the old days these things were tolerated because we knew no better. Today we study the needs of musical education more seriously and more intelligently than our parents did. And no thoughtful teacher will prescribe for his student’s music which however easy technically is not of the best quality. For the truth of the matter is that there is no period in the course of study when mediocre music can be practised without waste of New Music: New Violin Music. A dozen violin pieces (with pianoforte

time, of intelligence, and of energy. The great classics have given us all the music we need for training and amusement. To put the student deliberately in touch with mediocrity or the commonplace is tantamount to a negation of the very foundations of a sound education. When this has been said, however, it is still necessary to add that if we accept the limitations which restrict the aim and purpose of the compositions under review we shall find that bother composers have done their work ably enough, and have remained most faithful to their fallacious principle. In M. Palaschko’s pieces there even glimpses of originality – not to be sure, very startling, but ingenious enough. The comments “the great classics have given us all the music we need for training and amusement” and “putt[ing] the student in touch with mediocrity,” certainly was not the glowing reception he had hoped for; however, the reviewer commented Palaschko’s original melodies are “ingenious enough.” It was true that Palaschko was not writing in the new 20 th century style. Rather he was putting his romantic style voice in a setting that was easy to play and palatable for a young student. Palaschko’s teaching continues to be promoted in music journals and his light-hearted music was performed on the stage and radio, despite the review. B.V. 20

Figure 10: Radio Wien, Hexentanz performance.

The final set of publication were exclusively etudes and student pieces and was the composer’s most productive period. Many of the etudes included piano accompaniment in the viola etudes from op. 92, which received positive reviews.

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