Quintet No.2 in C Minor, K. 406 by Wolfgang Amadeus Mozart (1792)
Mozart, Wolfgang A. String Quintet No.2 in C minor, K.406/516b. 1787. Germany: Breitkopf und Härtel, 1792. IMSLP. Web. 14 Dec. 2014. <http://javanese.imslp.info/files/imglnks/usimg/7/7c/IMSLP01921-Mozart_-_String_Quintet_No.2_Score.pdf>.
The source is the score of Wolfgang Amadeus Mozart’s Quintet No.2 in C Minor, K. 406. This is a score that was published an put on public domain hundreds of years ago, making it clear and relevant example of classical music. What is unique about this quintet is that there with two violin parts and a cello, there are two viola parts, a completely unique idea (especially at the time). Mozart was a violist himself and only wrote viola solos into his chamber music works, a number of which had two viola parts. This is significant because Mozart is one of the two most notable composers-the other being Telemann- that helped the viola gain attention, which led to improvements and later to its emergence. In the composition, it appears that the violas are relied on as heavily, if not more, as the violin parts. Mozart composed it so that the violas have melodies and complex rns in them. This is revolutionary because the viola was seen as a lesser violin meant to fill in holes in ensembles to many at the time. This clearly conveys a turning point in motion as Mozart composed this for violists like himself to play and take the melody to gain attention. This is one of the many chamber music works Mozart composed with the viola in mind that helped it gain momentum and are now revered as challenging ensembles that bring out the viola parts.
The source is the score of Wolfgang Amadeus Mozart’s Quintet No.2 in C Minor, K. 406. This is a score that was published an put on public domain hundreds of years ago, making it clear and relevant example of classical music. What is unique about this quintet is that there with two violin parts and a cello, there are two viola parts, a completely unique idea (especially at the time). Mozart was a violist himself and only wrote viola solos into his chamber music works, a number of which had two viola parts. This is significant because Mozart is one of the two most notable composers-the other being Telemann- that helped the viola gain attention, which led to improvements and later to its emergence. In the composition, it appears that the violas are relied on as heavily, if not more, as the violin parts. Mozart composed it so that the violas have melodies and complex rns in them. This is revolutionary because the viola was seen as a lesser violin meant to fill in holes in ensembles to many at the time. This clearly conveys a turning point in motion as Mozart composed this for violists like himself to play and take the melody to gain attention. This is one of the many chamber music works Mozart composed with the viola in mind that helped it gain momentum and are now revered as challenging ensembles that bring out the viola parts.
Austin, Michel. "Harold in Italy Memoirs, chapter 45." Berlioz Music Scores: Texts and Documents. Ed. Michel Austin and Monir Tayeb. Hector Berlioz Website, 2 Aug. 2002. Web. 18 Mar. 2015. <http://www.hberlioz.com/Scores/harold.htm>
http://imslp.org/wiki/Harold_en_Italie,_H_68_%28Berlioz,_Hector%29
Harold en Italie by Hector Berlioz (1834)
Paganini had acquired a Stradivarius viola, one of the most high-end violas in existence at the time, and approached Berlioz, saying, "But I have no suitable music. Would you like to write a solo for viola? You are the only one I can trust for this task." Berlioz began "by writing a solo for viola, but one which involved the orchestra in such a way as not to reduce the effectiveness of the orchestral contribution." When Paganini saw the sketch of the allegro movement, with all the rests in the viola part, he told Berlioz it would not do, and that he expected to be playing continuously. They then parted, with Paganini disappointed.
The source is score of Hector Belioz's
The source is score of Hector Belioz's
Sonata per la Grand Viola by Niccolò Paganini(1834)
In retaliation to Berlioz' "failed" viola composition, Paganini composed this viola sonata for himself. This is extremely challenging technically and is composed in a way that works well on the violin, but the structure, range, and less-responsive qualities of the viola make it nearly impossible to play. Therefore, the piece is not included in common viola repotoire.
- Christoph Graupner (1683–1760)
- Servaes de Koninck (c.1654–c.1701)
- Jean-Marie Leclair (1697–1764)
- Marin Marais (1656–1728)
- Christian Petzold (1677–1733)
http://imslp.org/wiki/Brandenburg_Concerto_No.6_in_B-flat_major,_BWV_1051_%28Bach,_Johann_Sebastian%29
http://www.musicolog.com/violadagamba.asp#.VPY3PPnF-So