1

The Two Viola Concertos by Franz Anton Hoffmeister (1754

1812) in context

Wissenschaftliche Masterarbeit

By

Ziying He

Matriculation number: 1173061

In partial fulfillment of the requirements for the degree of

MASTER STUDY IN

ORCHESTRA INSTRUMENT/VIOLA

A document submitted to

University of Music and Performing Arts Graz

Institute three: string instruments

Advisor

Uni.Prof. Dr.Phil. M.A. Andreas Dorschel

June 2015
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ABSTRACT

Franz Anton Hoffmeister had in fact written two viola concertos (D major and
B flat major), and the better known concerto in D major has become one of
the mandatory pieces for viola auditions and competitions since the twentieth
century. The rising popularity of performing the music is not only due to its
elegant and pleasant melody, but it also aims at challenging musicians with
the stylistic forms from the classical period, which also showcases the ability
of performing other works from the similar style.

The first goal in this study is to introduce the history and the development of
the viola. I want to give a comprehensive idea on how the viola as an
orchestra, chamber and solo instrument changed its role through 18th to 20th
centuries. Moreover, I would also like to include my personal ideas and
perspectives of performing practices for works from the classical period.

My second aim is to introduce Hoffmeisters life, and his other major

compositions. For example, he also wrote 12 etudes for viola. I wish to show
how Hoffmeister lived as a composer and publisher in the second half of the
18th century and to scrutinize his musical life situation in comparison with
other principal composers during his time. In addition, another important
information is that Carl Stamitz also wrote one concerto for viola, which is also
in D major, around the same time as when Hoffmeister wrote his concerto,
and it has been recently frequently performed too. Therefore, I would like to
analyze both concertos regarding the musical forms, ornamentations, as well
as the main recordings that have been published.
 3

ACKNOWLEDGEMENTS

The music from the classical period has been an outstanding attraction alone
the way in my music study. The elegance and classic style brings me joy and
happiness. In addition, I would like to thank my parents for their continuous
support for my study. I would also like to thank my beloved Professor Matthias
Maurer, from whom I have learnt a lot from during the course of my Masters
studies. Lastly, I would like to thank my Thesis mentor Prof. Andreas Dorschel
and my friend Jaryl Luo, who gave me good ideas and advices and
tremendous help in completing this work.
 4

PREFACE

The increasing importance placed on the viola since the 18 th century has
drawn the attention of great composers to write music for this versatile
instrument, which had not been much appreciated. The first solo pieces for
the viola were probably borrowed or adapted from the plentiful supply of
compositions for the viola da gamba. Very few works were written specifically
for the viola as a solo instrument, probably because there were very few
demands for viola solos. By the end of the 17th century, the viola was
considered an accompanying instrument. It remained for the Germans and
the Austrians in the 18th century to exploit the potential of the viola as a solo
instrument.
In the early years, the viola has suffered as a solo instrument in comparison
with the violin. However, according to a research by German musicologist
Ulrich Druener, Georg Philipp Telemann broke the deadlock in 1737 by
composing the very first viola concerto. After that, composers began to write
more compositions for the instrument. Representatives of the Baroque and
classical period such as George Frederic Handels Concerto in B minor,
Johann Sebastian Bachs Viola Concerto in C Major, Franz Anton
Hoffmeisters Concerto in D Major and Carl Stamitz Concerto in D Major.
From 1870 onwards, the viola concertos went into its golden period, where
composers began to write over a hundred concertos for the instrument.

The viola concerto in D Major by Hoffmeister has become one of the most
important viola repertoires since the 20th century. It is an obligatory piece
among most of the viola auditions and competitions. The reason that this
concerto has been such a popular repertoire is because it fully shows off the
typical characteristics of the music style from the classical period, in terms of
the structure, the contrasts of the mood, the melodies and so on.
 5

CONTENTS

ABSTRACT ----------------------------------------------------------------------------------- 1

ACKNOWLEDGEMENT ----------------------------------------------------------------------------- 2

PREFACE ----------------------------------------------------------------------------------------------- 3

CHAPTER ONE --- INTRODUCTION ------------------------------------------------------------ 7

History of the Viola Concertos

CHAPTER TWO --- FRANZ ANTON HOFFMEISTERS LIFE AND MUSICAL

CONTRIBUTIONS ----------------------------------------------------------------------------------- 15

Franz Anton Hoffmeisers Life as a Publisher; Franz Anton Hoffmeisters Life as a

Composer

CHAPTER THREE --- THE TIMES OF HOFFMEISTER (1754-1812) ----------------- 20

The Times of Hoffmeister; Other Great Composers of the Times of Hoffmeister;

The Market for Music of the Times of Hoffmeister; Stringed Instruments
Development of the Times of Hoffmeister (Classical Area); Sonata Form; Notation
and Interpretation of the Classical Period; Summary of the Chapter

CHAPTER FOUR --- HOFFMEISTERS VIOLA CONCERTO IN D MAJOR -------------

------------------------------------------------------------------------------------------------------------- 28

First Movement --- Allegro; Second Movement --- Adagio; Third Movement ---
Rondo

CHAPTER FIVE --- HOFFMEISTERS VIOLA CONCERTO IN B FLAT MAJOR ------

------------------------------------------------------------------------------------------------------------- 40

First Movement --- Allegro con spirit; Second Movement --- Poco adagio; Third
Movement --- Rondo allegro

CHAPTER SIX --- PERFORMANCE PRACTICE OF HOFFMEISTERS VIOLA

CONCERTOS ---------------------------------------------------------------------------------------- 51

Ornamentations; Appoggiatura; Trill; The Turn; Dynamics (The Echo Effect, Forte
and Piano, Mannheim Crescendo and Mannheim Sigh)

CHAPTER SEVEN --- HOW TO PRACTICE HOFFMEISTERS VIOLA

CONCERTOS ----------------------------------------------------------------------------------------- 62

The Left Hand Position; Fingering and Shifting; Vibrato; Bow

Management/Techniques; Phrasing; How to Listen;
 6

CHAPTER EIGHT --- COMPARATION OF THREE EDITIONS OF HOFFMEISTERS

VIOLA CONCERTO IN D MAJOR -------------------------------------------------------------- 72

Edition Kunzelmann; H.L.Grahl Edition; Edition Peters

CHAPTER NINE --- PUBLISHED RECORDINGS OF HOFFMEISTERS VIOLA

CONCERTO D MAJOR AND B FLAT MAJOR --------------------------------------------- 77
Hariolf Schlichtig and Mnchener Kammerorchester; Victoria Chiang and Baltimore
Chamber Orchestra; Hartmut Rohde and Lithauisches Kammerorchester Uilnius; Nils
Mnkemeyer and Kapellsolisten Dresden; Ashan Pilai and Gulbenkian Orchestra;
Gerard Causse and Les Solistes de Montpellier Moscou

BIBLIOGRAPHY ------------------------------------------------------------------------------------- 86
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CHAPTER ONE --- INTRODUCTION

History of the Viola Concertos

There is a common assumption that not until the Classical period did the viola
starts to enjoy its solo literature from major composers. The viola has suffered
from neglect as a solo instrument for several decades. Even prolific
composers of concertos such as Leopold Hofmann shied away from writing
concertos for the viola.1 It is true that, the viola solo parts made only modest
technical demands and were musically unpretentious compared to the solo
material assigned to the violins and cello. 2 Unlike the first violin concerto
which was composed by Giuseppe Torelli in 1698, most of the viola repertoire
before the 18th century are in the form of transcriptions from other
instruments, such as Johann Sebastian Bachs well-known Unaccompanied
Suites BWV 1007-1012 for cello, and later Johannes Brahmss Two Viola
Sonatas in f minor and E-flat Major, Op.120, which were originally written for
clarinet and piano.

There are few reasons of why the viola has received such neglect. Firstly, as
a versatile chamber and orchestra instrument, the acoustical range of the
instrument always stays under the shadow of two other outstanding string
instruments (Violin and Cello); its lack of character in sound for composers,
who usually like to present a contrasting and bright solo voice, therefore the
viola was to play a much easier melody line, which was only used to filling the
harmonies at the time. (Example 1-1)

1 Allan Badley, Program notes on Victoria Chiangs recording (F.A. Hoffmeister and C.
Stamitz concertos)
http://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.572162&catNum=572162&
filetype=About%20this%20Recording&language=English
2
Waurice W Riley, The History of the Viola P. 87
 8

Therefore, there were much less demands for the violists to improve their
technique of playing during the time. Secondly, because of afore-mentioned
reason, there were no great violists. The viola was a standard orchestra
instrument and was a member of the most progressive and important
chamber music genre, the string quartet. Thus, it was difficult for the viola and
its music to progress as much as other string instruments.

Example 1-1:Corelli Concerto Grosso No.1 First movement Bar.1-4

This was finally changed by Georg Philipp Telemann, who gave the viola its
very first concerto. Telemann composed the concerto between 1716 and
1721, which is the only Baroque viola concerto. Later he also wrote a
 9

concerto for two violas and orchestra. Telemann was also one of the most
prolific composers among Baroque period, with his compositions probably
numbering up to 3000. This viola concerto is very well written, showing fully
the capability of the instrument at the time. The melody is very playable and
full of joy, and the sound of the viola blends very well together with the
background orchestra, which disproves the traditional view that the viola is
lesser in characteristics as compared to the violin and cello, and not suitable
as a solo instrument. (Example 1-2)

Example 1-2: Georg Philipp Telemann Viola Concerto in D Major. Fourth

Movement Bar 1-13

Just right after Telemann wrote his viola concerto, J.S. Bach wrote his Sixth
Brandenburg Concerto in 1721. Though it is the least performed composition
among his other Brandenburg Concertos, the interesting and special aspect
about this piece is its instrumentation, which contains no violins, but rather
two violas to represent the solo part. From this point onwards, the viola
started to slowly move its way to being a more important member of the string
family.

From the early classical period, the standard of orchestra playing was higher
than before, which inspired composers to write more instrumental music with
higher complexity. At around the middle of the 18th century, Mannheim
became the home of the earliest symphony orchestras. Moreover, many
musicians from the orchestra were composers too. Among the many fine
 10

composers and performers, the Stamitz family was particularly outstanding.

Johann Stamitz (1717-1757) and his two sons, Carl Stamitz (1745-1801) and
Anton Stamitz were all virtuosos on violin, viola and viola damore. Johann
was originally joined the orchestra as a violist, and became its conductor later
on. He also wrote one concerto for the viola.

Carl Stamitz was the older son of Johann Stamitz and the founder of the
Mannheim School. He was later best known as a violin, viola and viola
damore virtuoso. He composed three concertos for the viola, and the best
known Viola Concerto in D Major has become one of the most frequently
performed pieces amongst the viola repertoire. This work is in Galant Style3,
and it is full of technical challenges. The musicians have to be able to deal
with fast sixteen-notes on the left hand, and at the same time not lose the
joyful and lively sense of the style. There is a famous passage with a group of
sixteen notes in octaves. It is fast and requires accurate shifting for the
intonation. (Example 1-3) Thus, this piece is, together with Hoffmeisters Viola
Concerto in D Major, included as one of the important audition repertoire of
the viola these days.

Example 1-3 Carl Stamitz Viola Concerto D Major, First Movement Bar 88

Other classical concertos for viola include:

Anton Stamitz (Karls Brother) wrote four concertos for viola, in B
Major, in F Major, in G Major and in D Major.
Franz Kaver Brixi Konzert in C Major.

3
Galant Style was popular between the 1720s and the 1770s. The movement of the style
focuses on the simplicity, rather than the complexity of the Baroque period.
 11

Giuseppe Maria Cambini Concerto in D Major.

Johann Nepomuk Hummel Fantasy Op96 for Viola and Orchestra.
Joseph Schubert Concerto for Viola in C Major and E-flat Major.
Karl Friederich Zelter Concerto for Viola in E-flat Major.
Johann Baptist Vanhal Viola Concerto in C Major and F major.

There are still more viola concertos which are not included in the list above,
but one can clearly see that the composers in the classical period have
already started to make much more compositions for the instrument, and the
viola starts to shine out its tenor and mysterious voice from now on.

From the second half of the 18th century, the viola received much more
attention than before. Famous composers such as Wolfgang Amadeus Mozart
and Ludwig van Beethoven themselves have played the viola. Mozart
especially wrote many works and important parts/melodies for the instrument.
His famous compositions include: Sinfonia Concertante for violin, viola and
orchestra; and Kegelstatt Trio. Mozarts Sinfonia Concertante is a masterwork
which showpieces all his compositional characteristics. The two solo
instruments were given an equally important role in this work. They depict two
children chasing after each other and speaking of interesting stories.
Throughout the whole concertante, the two solo instruments and the orchestra
are having constant dialogue.

Another interesting work from Mozart is his Kegelstatt Trio, which consists of
the viola, clarinet and piano. This instrumentation was quite unique during his
time. This work was written for his student Franziska Jacquin on piano, his
friend Anton Stadler on clarinet and himself on viola. I have played this work
myself, and I find that there are quite few places that are technically
challenging. For example, there is a trio part from the second movement. It is
 12

fast in tempo and staccato on the right hand, which requires the player to
have good coordination between the right and left hand.

Example 1-4: Wolfgang Amadeus Mozart Kegelstatt Trio for Viola,

Clarinet/Violin and Piano. Second Movement Bar 42-62.

Moving on to the first half of 19th century, Hector Berlioz wrote an

extraordinary work for the viola, Harold in Italy. This work was a commission
by Niccol Paganini, one of the most celebrated violinists of his time. This
work has reached a new level of playing both for the soloist and the orchestra.
After Paganini heard the performance of this piece, he was totally impressed
and touched. He wrote a letter to Berlioz said that:

My dear friend, Beethoven has being died only Berlioz could make him alive
again, and I who have heard your divine compositions, so worthy of the
genius you are, humbly beg you to accept, as a token of my homage, twenty
thousands francs

There are a few virtuosic passages in this work, which appears typically in
instrumental concertos. The viola has since then become progressively more
popular among composers and musicians. The reputation of the instrument
 13

has been rising up not only with the solo repertoires, but also with chamber
music and orchestra symphonies. Composers start to write difficult passages
and solo, melodic part for the instrument such as Antonn Dvok American
Quartet Op. 96, and Pyotr Ilyich Tchaikovskys String Quartet Op.11.

By the end of the 19th century, the general standard of viola playing was still
very poor. However, due to the increasing technical demands of the viola
parts in orchestra music, the concern of improving the standard has drawn
attention in most of the leading European Conservatories. Composers also
began to explore more potential from the instrument.

In the stream of developing the technical standard, German composer and

violist Paul Hindemith was one of the prestigious violists in Germany and
Austria. Hindemith wrote quite few outstanding works for the instrument, one
of the most well-known composition is his viola Concerto der
Schwanendreher. The concerto begins with a big solo introduction, which
requires the full energy and technical proficiency from the player. Hindemith
also brings out all possibilities from the instrument through this piece, in terms
of the tone colors, the phrasing, and the left-hand proficiency.

In 1929, British composer William Walton wrote his master viola concerto.
Waltons compositional style is characterized by romantic melodies, intense
harmonies, strong rhythmic pulses and large intervals, and it is quite dark and
sad. These features can clearly heard from this composition. (Example 1-5)
This work was originally written for violist Lionel Tertis, however due to the
rejection of the manuscript by Tertis, Hindemith gave the first performance.

Example 1-5 Walton Viola Concerto First Movement Bar 1-6

 14

Last but not least is one of the greatest viola concerto composed by Bla
Bartk in 1945. The piece was commissioned by William Primrose, who was a
celebrated violist of the 20th Century. However, this piece was left unfinished,
due to the illness and subsequent death of Bartk. The piece was completed
later by Bartks close friend, Tibor Serly. Today, this piece has been,
together with the other two concertos from Hindemith and Walton, became the
most-performed and well-known viola concertos in the world.

The viola concerto repertoire has been developing all along with the making of
the instrument, the development of the society historically, as well as the
capability of the violists. These are the reasons why concertos like Bartk and
Walton had not been written until the 20th Century. Looking back at the
concertos in the classical period, especially the ones which will be discussed
in this article, Franz Anton Hoffmeisters Viola Concerto in D major and B flat
major. These two concertos are the typical ones represent the music and the
musical scene of the classical time. Though the classical concertos sound
lighter and simpler, however they are actually no less complex than the ones
from the 20th century. One important reason why classical concertos are
difficult to play is because it was composed a long time ago. Therefore, it
 15

takes effort to understand the musical style.

In these two concertos, Hoffmeister chose D major and B flat major as the key
of the pieces, which brings out the warm tones in the middle range of the viola
register, and the virtuosic passages demonstrate the player's technical
proficiency. Today, the D major concerto has become not only popular viola
work for concerts and performances but also standard for solo competitions
and auditions all around the world.

The purpose of this document is to provide a general performance guide of

Hoffmeisters two viola concertos. Either of these viola concertos represent
the general style of the music from the classical period, especially those that
were composed from the Classical Viennese genre. Therefore, it is necessary
for viola students to having a comprehensive idea on how classical viola
concertos should sound like through practice.
 16

CHAPTER TWO --- FRANZ ANTON HOFFMEISTERS LIFE AND

MUSIC CONTRIBUTIONS

Austrian music publisher and composer, Franz Anton Hoffmeister was born in
Rottenburg of Neckar in May 1757. He went to Vienna in 1768 to study law,
but after qualifying for this study, he devoted his time to music publishing and
composition.

Franz Anton Hoffmeisters Life as a Publisher

As early as 1783, when Viennese music publishing was still in its early stage,
he published two symphonies and some quartets and duets for flute. In 1784
he announced in the Wiener Zeitung that he planned to publish all his musical
works at his own expense. By 1785, he had established a firm under his own
name F.A. Hoffmeister & Co, second only to Austria & Co which had only
begun publishing music five years earlier 4 . Over the next fifteen years,
Hoffmeister published works of other major composers, which include
orchestral and chamber music by Haydn, Mozart, Beethoven,
Albrechtsberger, Ordonez and other foreign composers. He is also
remembered today as one of the first publisher of Mozarts Works. Mozarts
compositions between K478 and K557 were all published by his firm 5 .
Mozarts String Quartet in D Major K499, was published by Hoffmeister and
acquired a nickname Hoffmeister

On 16 March 1791 Hoffmeister announced a branch in Linz, but this was later
auctioned to the Vienna bookseller Johann Georg Binz (1748-1824), who was
4
Allan Badley, Program notes on Victoria Chiangs recording (F.A. Hoffmeister and C.
Stamitz concertos)
http://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.572162&catNum=572162&
filetype=About%20this%20Recording&language=English
5
Alexander Weinmann, Hoffmeister, Franz Anton., in Oxford Music Online
http://www.oxfordmusiconline.com/public/
 17

later in a looser connection with Hoffmeister. J.G. Binz frequently advertised

works by Hoffmeister in the Wiener Zeitung. By April 1793, the firms
publication number achieved a high total of 293, but there were only 30 more
publications added in the next ten years and the firm lacked a well
programmed organization. From 1797 and 1798, Hoffmeister started the
beginning of the firms negotiation with Beethoven, whose Sonata No.13
appeared in a first edition on 18 December 1799.

About the end of 1799, Hoffmeister planned a concert tour to Prague and
London, but in Leipzig he met organist Ambrosius Khnel, and they together
established Hoffmeister & Khnel, Leipzig, Bureau de Musique. This initial
venture extended its business to printing and music engraving as well as
combined with the sale of instrument and sheet music. The publishing side of
the business included Haydns string quartet, and Mozarts quartets and
quintets. The first edition of J.S.Bachs complete keyboard works in 14
volumes. Later, this firm became the basis of one of the most productive
publishing firms C.F. Peters.

Example 1-7: Beethovens Piano Sonata in an old bound edition of C.F.

Peters.
 18

However in 1805, Hoffmeister decided to go back to Vienna to continue

composing and publishing works under his own initiative. He sold his part of
Hoffmeister & Khnel, Leipzig, Bureau de Musique.

Franz Anton Hoffmeisters Life as a Composer

Apart from Hoffmeisters extraordinary contributions to the music publishing

scene during the classical period, he was also a prolific and popular
composer. Many of his works were also popular in foreign cities. His
compositions include eight operas, several symphonies, thirty-four string
quartets, thirty concertos, many chamber works and church works. He has
also worked as a church music master in Vienna. Hoffmeister composed
works both on commission and in later years with publication. His instrumental
 19

music gained many compliments. It was as if he was a virtuoso on all the

instruments which he wrote music for. His flute concertos have found a ready
market at the time, involving professional and amateur musicians. Moreover,
his most successful opera der Koenigssohn aus Ithaka was performed in
Budapest and Prague.

Hoffmeisters compositions brought him recognition and fame outside of

Vienna. One of the most important reasons was his extraordinary
compositional techniques, the flowing melodies, the exquisite formal structure,
as well as a well-constructed harmony progression. However, not many of his
music still remain popular till today, one of the reasons being that his music
has been criticized for a lack of depth and originality.

Despite the two viola concertos, Hoffmeister also wrote 12-Etudes for viola,
which are worth discussing. Unlike other instrumental etudes, which usually
specifically focus on fingering and bowing exercises, this pedagogic work by
Hoffmeister has a strong classical style structure, which is more pleasant to
perform and interesting to practice for the musicians. Some of them can be
perfect Encore pieces of choice.

For example, the fifth etude in G major is in the structure of theme-and

variations, which starts with an Andante with a double-stop symmetrical

theme:

This theme appeared once again with a contrapuntal writing in Variation 3

 20

The variation 4 is in a parallel minor key of the G major:

The variation 5 returns to the original key of G major, with a Da Capo

recapitulation from the theme. This Etude has been considered more as a
concert piece than an etude, which is exactly in the form of a typical classical
Theme and variations.

Hoffmeister used many elements and motivations, which he has also used for
his viola concertos. For example, the beginning of both his first etude and the
concerto in D major represent a typical compositional characteristic of
Hoffmeister. They are both start with an up-beat to theme one, which shows a
strong statue of a typical classical theme.

Example 1-8 a: F.A. Hoffmeister Etude No.1 Bar 1 2

Example 1-8 b: F.A. Hoffmeister Viola Concerto D Major

Hoffmeister also frequently used motives in the form of scales, which is

played in the way of alternating with a stable tone. This character has also
appeared in both his concerto and etude.
 21

Example 1-9 a: F.A. Hoffmeister Etude No.1 Bar 92

Example 1-9 b: F.A. Hoffmeister Viola Concerto D Major Bar 82

Hoffmeisters compositions typically represent the music from the classical

Viennese style. As a composer, he has suffered less recognition in
comparison with composers from the same period such as Haydn and Mozart,
but his flowing melodies and rigorous compositional style remained precious
historical contributions for the music world of the classical period.
 22

CHAPTER THREE --- THE TIMES OF HOFFMEISTER (1754-

1812)

In this chapter, I would like to talk about the historical background of the time
when Hoffmeister wrote his viola concertos, in aims to provide a
comprehensive understanding of his life situation. It is necessary for
musicians who would like to pick up these concertos in the future to have a
better understanding of the music and the composer of the piece. I would
firstly introduce the time background of Hoffmeister, what the major occasions
in 18th century as well as the influences historically are. Secondly, I would like
to provide a quick conclusion on which other major composers of
Hoffmeisters time were. Thirdly, I will talk about the music market for
musicians and composers of the time, such as the economic and financial
conditions. Lastly, I will talk about topics which are related with Hoffmeisters
concertos. For example, I find that it is necessary to know about the
instrumental development of the 18th century, because it tells the reason of
why music was been composed in that specific way. Moreover, the Sonata
Form and the Classical Ornamentations are also important topics for music,
which were composed during this time. Therefore, with a better understanding
of the musical style and the background of the pieces, it will help students
who wish to take on the piece, or even those in the similar style, practically.

The Times of Hoffmeister

Hoffmeister was born at the beginning of the classical period (1750-1820). It

was also the age of Enlightenment. At about the second half of the 18th
century, the Enlightenment movement was washing all over Western Europe.
A new kind of general thought were raised up by the scholars and
philosophers of the Enlightenment, where the slogans such as freedom,
equality and rationality were brought up importantly. Those fundamental
 23

philosophies influenced the European society massively at the beginning of

the classical period. The Enlightenment movement also brought up a new way
of thinking and composing for the composers of the period.
The musical scene in the classical period reflected the changes occurring in
the society. For the first time in music history, public concerts became an
important part of the musical scene. Music was still written for the church and
the court, but the advent of public concerts reflected that music should be also
written for the enjoyment of the common person.

The music of the classical period remained the fundamental style and
substances from the Baroque period, but it has developed further upon this
point. New style, new materials and new musical forms had been created and
used in this area. Instrumental works made a speedy development. New
genres such as symphony, solo sonata, piano trio emerged due to the
development of the music scene as well as the social economy of the
classical period. The development of the symphony brought up the
appearance of a more standardized orchestra and of public concerts.

Classical composers were trying to get away from the comparably chaotic
music of the Baroque period. Preserving the melodies in the clearest way was
the center philosophy of this period. Based on this, chords in the classical
period were very straightforward. The sonata form 6 required composers to
write music in a simpler texture than the older polyphonic music. This occurs a
new kind of sound to be emerged, which we call it homophonic. Therefore,
the music from this period can be clearly distinguished by this character.
Composers began to be more concerned about the tempo, dynamics, and
expressive qualities under consideration of this period.

6 th th
A three part musical form, which was evolved in music of the 17 and early 18 centuries.
 24

Classical choral music tends to be lighter in texture than that of the Baroque
period. There is still rhythmic energy and drive, but without the weightiness of
Baroque music.

Other Great Composers of the Times of Hoffmeister

During the Baroque period, there were many major composers and trends
such as J.S. Bach, George Frederic Handel, G.P. Telemann, Antonio Vivaldi.
However, the choral music of the classical period was dominated by three
main composers: Franz Joseph Haydn (1732-1809), Wolfgang Amadeus
Mozart (1757-1791) and Ludwig van Beethoven (1770-1827). This period in
music history is sometimes referred to as the Viennese Classical Period,
and it was centered in Vienna. Beethoven, Mozart and Haydn were not native
Viennese; nevertheless, they all worked important figures in Vienna for a
significant period in their life. Vienna therefore became the center of the music
scene in this time, and classical music was not parochial but universal in style
and in spirit.

Haydn: Franz Joseph Haydn was born in the Rohrau, Austria, in 1732. At age
eight he was accepted as a choirboy at St. Stephen's Cathedral in Vienna.
When he left St. Stephen's in 1749, he became an assistant to Nicola
Porpora. In 1759, he worked briefly as musical director for Count Morzin, and
in 1761 was employed as assistant music director and then music director for
the Esterhazy family, residing at their estate. He remained with the
Esterhazys for nearly thirty years, until 1790. During the last decade of the
eighteenth century, Haydn made two trips to London. He had been hired by
Johann Peter Salomon to compose and conduct six symphonies for his first
trip (1791-1792) and six for his second (1794-1795). Haydn's London
appearances were highly successful. Upon his return to Vienna in 1795,
Haydn composed some of his most significant choral music. The six masses
from this period, composed for Prince Nicholas Esterhazy (the son of Haydn's
 25

earlier employer), and his two oratorios, The Creation and The Seasons are
his most significant choral works. Haydn's total choral output included twelve
masses, three oratorios, a passion, two Te Deums, a Stabat Mater, and a few
other smaller works. In his later years, Haydn was a celebrity whose works
were widely recognized and appreciated, in contrast to the decades spent in
the relative isolation of the Esterhazy estate. He died in 1809 in Vienna.

Mozart: Wolfgang Amadeus Mozart was born in Salzburg, Austria, in 1756. At

the age of six, he could play the harpsichord and violin, compose, and
performed in Munich and Vienna. Between the ages of six and fifteen, Mozart
was taken on tours of Europe and England, organized by his father, Leopold
Mozart, a Salzburg court composer. Although he was away from home more
than half of the time, he produced a steady stream of compositions during this
period. In 1781, Mozart left Salzburg and moved to Vienna, teaching, playing
concerts, traveling, and continuing to compose constantly. In contrast to
Haydn, who worked in the isolation and relative obscurity of the Esterhazy
estate for many years and then became an international celebrity in his
sixties, Mozart was thrust into international prominence as a child and
encountered decreasing public acceptance of his music when he was an
adult. By 1791, Mozart's health was failing. He received a commission that
resulted in the composition of The Magic Flute. Mozart may have believed he
was writing a requiem for himself. He died before completing the work, and it
was finished by a pupil of Mozart's named Sussmayer, working from Mozart's
sketches of the unfinished portion. Mozart's choral output includes eighteen
masses, the Requiem, two Vespers settings, and a variety of shorter choral
pieces.

Beethoven: Ludwig van Beethoven was born in Bonn, Germany, in 1770. He

first came to Vienna in 1792, where he studied with Haydn and
Albrechtsberger. His first public performances in Vienna as a pianist and
composer came in 1795. Beethoven protested against the patronage system
 26

that bound musicians to the service of an employer. Increasingly deaf,

Beethoven eventually was forced to retire from public performance and to
concentrate on composition. Unlike Mozart, who seemed to conceive of music
in final form and who simply wrote down his conceptions, Beethoven's
sketchbooks provide a record of his agonizing struggle to arrive at a
composition he felt was satisfactory. Beethoven was primarily a composer of
instrumental music, and it is in his symphonies, piano music, and string
quartets that the transition from Classic to Romantic style is most clearly
discernible. Nevertheless, his choral music is an important part of the
repertoire, and his Mass in D Major, the Missa Solemnis, is one of the
monuments of Western musical tradition. Beethoven's choral output included
two masses, an oratorio, two symphonic works with large choral sections and
a few smaller pieces.

The Market for Music of the Times of Hoffmeister

During the 18th century, the economy began to improve and people starting
making more money. The middle class could offer larger homes, nicer clothes
and better food. After people had the general satisfaction in their daily life,
they began to seek more in spirit. In addition, followed by the Enlightenment
movement where the importance of equality was drawn huge attentions in the
society, the lower class also wanted aristocratic luxuries such as literatures,
theater and music. People started paying to go to concerts and theaters.
Therefore, public concerts as well as rapid expansion in the worlds of music
publishing, music journalism, music teaching and instrument manufacture and
sales were increased. Composers began to write more music, which were
easy enough to play for amateur musicians.

The lives of most professional musicians in the 18th century did not
correspond to modern norms. Many earned income from non-musical pursuits,
and semi-professional musicians found it hard even to earn a steady income
 27

from making music. By the late 18th century, a sustained economic growth of
musicians increased. One could benefit much more financially in the
profession as a composer or a musician. One significant change in the
classical period is that, composers began to control their own music instead of
to write music only for monarchy and aristocracy. For example, compositions
such as Hoffmeisters 12 Etudes for Viola were written for pedagogic purpose.

Stringed Instrument Development of the Times of Hoffmeister (Classical

Area)

The 18th century saw the rise of the great instrumental genres, which would
dominate the musical scene throughout the following century and beyond.
Around mid-18th century, we can observe a remarkably intensified period of
activity. It reached its culmination in the late 1760s and 1770s, the years of
when the Mannheim school had reached its zenith, and the early symphonies
of Haydn and Mozart make their appearance. Today we often remember
Classical music for its poise and balance, but at the time the period must have
seemed one of rapid change. Certain instruments were under speedy
development such as the piano, clarinet and guitar. The stringed instruments
had much less progress of development. However, violinists, violists, cellists
and double-bass players were still able to make all the changes that the
musical development of these years demanded. The strings of this period
continued to form as the background of the orchestra. The distinguished
strings repertoire of the classical solo and chamber music shows how much
the instruments and the performing techniques have successfully been
achieved. The publications of this period increased significantly in numbers,
and took on a noticeably more practical approach to music.

The most significant development of this period was the bow. The variety of
different designs in the early eighteenth century was replaced by what has
 28

ever since been the standard model. Franois Xavier Tourte7 is one of those
who made an important contribution to the classical bow. Tortes bow
combined a number of trends in bow design, which includes a greater length,
a wider band of hair as well as a more weighty point. It was well adopted by
most of the players of the Classical period. The double bass players however
still preferred the out-curved Italian-style bow, which brings a better attack and
strength. The violin, viola and cello had also experienced certain changes, but
without big changes in the appearance of the instruments. However, the
instruments made big improvement in the sound. The neck was made to be
longer and slimmer, for ease of playing. The bridge was made to more
curved, in order to take bigger bow pressure. Inside the instruments, the
sound-post was increased in diameter and the bass-bar made longer and
thicker.

The reason to improve all these different changes on the instrument was to
produce a greater and stronger sound as well as provide the most technical
possibilities for the performance practice. During the eighteenth century,
Italian violin makers began using gut to make very thick strings which
perfectly matches with the great sounding instruments made by Stradivari and
Giuseppe Guarneri. The combination of gut strings and great Italian
instruments had soon become the preference among musicians in Europe,
and it has also somehow brought a new style of playing.

Sonata Form

Just like the importance of opera for Baroque period, the improvement of
instrumental music was also remarkable for the classical period. The factors,
which led to the great improvement in instrumental music was varied,
however the Sonata Form occupied one of the most important episodes of
this period.
7
(1747 25 April 1835) A Frenchman, who was originally a watchmaker, but later changed to
making bows for classical string instruments
 29

Sonata form is also called sonata-allegro form. The word Sonata originates
from Italian word Sonare, which means sounded. The word Sonata as a
musical term can be date back earliest to the 13th century. In the 18th century,
the word appeared as a particular form of composition, which almost
dominates all the instrumental compositions of the classical period. The new
way of composition had been widely used among composers of classical
period. Notable composers such as Haydn, Beethoven and Mahler had all
applied this form in their compositions. It is to be contrasted against the
polyphonic style of the Baroque era, and it embodied the conventions against
the modern style later on.

The basic elements of sonata form are exposition, development,

recapitulation, in which the musical subject matter is stated, explored and
restated. There may also be an introduction, usually in slow tempo, and a
coda.

The exposition generally has two sections, and each section can have one or
more themes. Usually the opening of the exposition is rooted in the tonic key,
in the later second section the theme of the exposition modulates to the key of
the dominant or a relative but distinct key. The two sections are connected by
a transition, and the transition usually modulates to a new key. The exposition
ends with a codetta.

The Development may begin like the transposed exposition or a new theme in
a new relative key. The development is the area, which usually modulates or
change keys frequently. It is free in musical ideas, such as themes, textures,
dynamics and tempos, which represent unexpected surprises and tense.
Fragments of themes may appear in a new key. However, sometimes it may
introduce entirely new materials.

The recapitulation section is much like a reverse of the exposition in structure

 30

and may employ an identical first theme. This section is one of the most
important moments in the sonata form. The recapitulation presents the
principal subject in a new state of equilibrium. The most important difference
is that the second section is now in the main key. The composer can add,
remove or develop sections and make variations in the texture and
orchestration in the case of orchestral works. The movement ends with a coda
that sometimes becomes a second development.

Notation and Interpretation of the Classical Period

The classical notation system has been in use for hundreds of years. It is the
most complete system of written music. It contains information on the rhythm,
pitch, tempo, articulation, phrasing, dynamic, and other characteristics of the
music all in one place. For this issue, we will discuss it in details in chapter six
alone with the use of Hoffmeisters concertos as the samples.

Summary of the Chapter

To conclude this chapter, the music scene of Hoffmeisters time is truly a

flourishing period in classical music. The technique of composition, the
instruments and the market are well prepared and in a speedy development.
All these facts stimulate the music scene to change further. Therefore, many
great works were composed during that time.
 31

CHAPTER FOUR --- HOFFMEISTERS VIOLA CONCERTO IN D

MAJOR

This chapter will provide a formal analysis of Hoffmeisters Viola Concerto in

D Major. This viola concerto is one of the best well-known compositions from
Hoffmeister, and it has become one of the mandatory pieces for viola
auditions and competitions since the twentieth century. This concerto has
been performed and recorded frequently by great viola players around the
world. This chapter intends to give a formal analysis of the piece, to discuss
the musical elements such as the harmonies, the melodic lines, as well as the
structure of each movement.

First Movement --- Allegro

Sonata form was the dominant musical form for compositions of the classical
period. Most instrumental cycles such as sonatas, quartets and symphonies
have at least one movement in sonata form. However, sonata form in
concertos is slightly different with other musical genres. The orchestra usually
starts with an introduction before the soloist enters, and the true exposition
occurs with the entry of the soloist in the first movement of a concerto.
Hoffmeister gave a good example of this characteristic.

The first movement begins with a long orchestral introduction, with the
statement of the first theme, the R1. The orchestra begins without the soloist
until measure 35.

The first movement was originally from the ritornello form from the Baroque
period, but it is blended well with the sonata form. The beginning theme is a 4-
to-4 symmetrical phrase, which is typically from the music of classical period.
Composers such as Mozart and Haydn had frequently used it in their
 32

compositions. After the first ritornello at measure eight, it follows a media

cadence until measure 15, complementing of the first phrase.
Example 4 -1: The Primary Theme Ritornello 1 in D Major, beginning to Bar 8

Measure 16 onwards begins a periodic phrase in piano, a symmetrical phrase

appears again but with a change of key.

Example 4-2: Hoffmeister Viola Concerto D Major Bar 16 - 23

 33

The key returns back to D Major from the following transition, which is written
with a Mannheim crescendo and it reaches the culmination at bar 26, and the
culmination goes further to bar 30. A PAC (Perfect Authentic Cadence) ends
the phrase in bar 30, and the Tutti introduction ends at bar 35 in tonic, where
the soloist enters with a complete primary theme.

Example 4-3: F.A Hoffmeister Viola Concerto D Major MM 35-41, first subject.

A transition is added after the first subject at measure 47, with a modulation to
A Major at bar 51. The first appearance of the secondary subject is presented
with dominant key, with dolce character, it is also a 4-to-4 symmetrical phrase.

Example 4-4: F.A. Hoffmeister Viola Concerto D Major first Movement MM59-
67, secondary subject.

After the secondary subject, the solo enters with a technique transition with
double stops. The melody line contains two groups of phrases for the echo
effect. Before completing the exposition, the solo has a crescendo with an
extended arpeggio towards the next section, which is the development section.
 34

Example 4-5: F.A Hoffmeister Viola Concerto in D Major Measure 86-94

At the beginning of development section, the orchestra enters with a

restatement of the primary subject in A Major. The primary subject in
development section contains the same structure as the primary theme in the
exposition section.
Example 4-6: F.A. Hoffmeister Viola Concerto D Major MM 91-94
 35

After the orchestra reiterates the theme, a periodic phrase appears again in
the same structure in piano. However, it stays in the major key here without
changing to the minor key, which is different from the exposition, where it
goes to a relative minor key for the second time in bar 20. The phrase ends
with a cadential extension instead of a Mannheim crescendo before the solo
enters again.

The solo in bar 117 comes in with the primary theme in A Major. Afterwards,
the soloist starts the central section of the development. Hoffmeister used B
minor here to enhance the enrichment of this section. This part is also based
on the echo effect phrases.

Example 4-7: Solo section in B minor of development, bar 130-139

At the end of the development, composer added some new elements into the
solo part. The soloist begins a cadenza at bar 139. And later a two beats of
repeated sixteen notes in both bar 144 and 148 to 149 appears the first time
in the concerto.

Example 4-8: repeated sixteen notes, bar 143-149

 36

After the cadenza in B minor from the soloist, the orchestra comes in with a
transition before the final recapitulation. The orchestra starts the primary
theme, and later modulates back from B minor to the D Major for the
recapitulation.

Example 4-9: Orchestra transaction before the recapitulation, bar 151-167

In the recapitulation, the phrase structure remained the same as the

exposition. The solo enters with the tonic key, and the key stays the same for
the secondary theme here, instead of like in the exposition, where the
secondary theme was in dominant key.

Example 4-10: Secondary theme in the recapitulation 179-187

After the secondary theme, an 8-bars transition enters before the final coda
appears. Following several scaled-sequences, the solo plays an arpeggio and
 37

a long trio in tonic chord. Later, the solo repeats the scaled-sequences again
to bring the final section before the final Cadenza. After the final Cadenza, the
orchestra enters in with a very short codetta to end the movement.

A large-scale formal structure analysis is provided below in Table 1. This will

provide an overview of the movement in a formal structure. It includes the
section names, the key changes as well as clear bar numbers.

Table 1: the Formal Structure of Hoffmeisters Viola Concerto in D Major First

Movement Allegro (Sonata Form)

Introductio
n of Exposition Development Recapitulatio Coda
Orchestra n
Theme Primary Primary Primary Theme Primary Coda
Theme Theme+ by Theme by Solo
Secondary Orchestra+Prima Solo +
Theme + ry theme by Secondary
Orchestra Solo+Orchestra Theme
Transactio Transaction
n
Key D Major D Major + A Major + A D Major + D D
Area A Major + Major, B minor + Major Major
A Major B minor
Measur mm.1 - 34 mm.35 - mm.91 - 167 mm.168 + mm.18
e 90 187 8 +217
Number
 38

Second Movement --- Adagio

In the classical period, a typical second movement of concerto is structured

with the rounded binary form. This form consists three main sections, typically
labeled with letters A-B-A. These sections can also be labeled with terms that
indicate their formal function, A is Exposition, B is Contrasting Middle, A is
Recapitulation. For this movement, it starts with an orchestra introduction in D
minor, and the solo then enters at measure 7 with the main theme (a). The
theme is a periodic phrase of 2+2+2. The introduction also consists of a
syncopation motive, which appears again later in the movement.

Example 4-11: Theme A of Second Movement Adagio

After the theme A, the music goes further to theme B, which appears in
measure 18 with a modulation to F Major. The music stays in F Major and
then goes to theme C in measure 27. Later, the orchestra plays a transition, in
order to open the section B.

Example 4-12: Theme A in section B

 39

Theme A opens the section B, with few motives which have appeared before
in section A appearing here again, such as the first two bars of the opening
theme A, which is the simplified version of theme A, and the third measure
motive is from theme B of the section A. After the solo part completes theme
A, the music goes further to a periodic phrase which is about having the
same structure as the theme A but with a short extension based on the
preceding phrase.

After the extended periodic phrase, the solo returns to the key of D minor, and
theme A returns. The solo ends with a descending chromatic cadenza-like
scale to complete this rounded binary form. Lastly, the orchestra plays the
coda by itself to ends the movement.
A large-scale formal structure analysis of the second movement is provided
below in Table 2. This will provide an overview of the movement in a formal
structure. It includes the section names, the key changes as well as clear bar
numbers.

Table 2: Hoffmeister Viola Concerto D Major second movement Adagio

(rounded binary form)

Orchestr Section A Transact Secti Sectio Coda

a ion by on B n A by
Introduct Orchestr Orches
 40

ion a tra
Them Orchestr The The The Introduct Them Theme Coda
e a me A me B me ion e A + A in
Introduct C Theme Perio extensi
ion dic on
Theme Phras
e
Key D minor D D F F Major F D D
mino mino Majo Major minor minor
r r to F r +D
Majo minor
r
Meas mm. 1-6 mm. mm. mm. mm. 31- mm. mm. mm.
ure 7-12 13- 24- 37 38-52 53-89 89-94
Numb 24 31
er

Third Movement --- Rondo

Rondo form was a common choice of classical concertos of the classical

period. The composers usually like to repeat a periodic melody several times
in this movement. This is to enhance a strong impression of the melody for
listeners. Usually the solo enters directly alone or with orchestra to play the
main theme, and the orchestra would then repeat the theme again by itself.
The rondo form itself can be varied, usually in a five-part rondo ABACA, but
sometimes it can be a 7-part rondo ABACADA or variation rondo
ABACADA or even truncated rondo ABACBA.
 41

Hoffmeister used a 7-part rondo form for this last movement of the concerto.
The movement begins with a 4+4 periodic melody in D major and then the
orchestra repeats exactly the same thing once again.

Example 4-13: Hoffmeister Viola Concerto D Major Third Movement Rondo,

theme A

After the happy statement of the refrain, the solo begins to lead the whole
movement with virtuosic phrases. In section B, soloist plays two pairs of
sequences, which have an echo effect. The key changes to A Major at bar 27,
where the second sequence starts. Because A is the dominant key of D major,
so the solo goes easily back to D major to end section B and begin the refrain
for the second time. Section C begins at bar 53 with a modulation to B minor.
In this section, the solo is followed by a rapid modulation, and represents
several sequences and repeated phrases in different registers. The solo
begins with B minor, and then modulates to D major after the first sequence.
After the two phrases of sixteen notes sequence, the key goes back to B
minor and the solo plays again the first phrase of section C. This section is
like a cadenza, which not only shows off the virtuosity of the soloist but also
enriches the colors of this section, and it brings surprises to the audiences.
Before the end of section C, the last bar contains three quarter notes with
fermata, in order to brings the music back to D major and to start the next
round. The fermata also creates a suspended feeling for the audience.
 42

After the third refrain, the solo begins the D Section with a 2+2+4 theme, and
it is in the parallel minor key, D minor.

Example 4-14: 2+2+4 Theme in D section

The solo continues to the next phrase where the key modulates back to D
major. Before finishing the D section, the solo returns to the theme again.
Lastly, the movement completes with the last appearance of A section.

A formal structure analysis of the third movement is provided below in Table 3.

This will provide an overview of the movement in a formal structure. It
includes the section names, the key changes as well as clear bar numbers.

Table 3: Franz Anton Hoffmeisters Viola Concerto Third Movement Rondo

(Rondo Form)

Section A B A C A D A
Name
Key D A D Major B D Major D minor D
Major Major minor (Parallel Major
Key)
Measure mm. 1- mm. mm.36- mm. mm.97- mm. mm.
Number 16 16-36 52 53-96 112 113-148 149-
164
 43

To summarize, Hoffmeisters viola concerto D major is a truly represent the

stylish compositions of the classical period. It fully represents the
characteristics of the music of the time. This piece is also a general guide to
all other classical works for violists. By analyzing the piece, we can
understand the typical style of classical playing better. By playing the piece,
we can learn the special performing techniques of the classical period, and
this helps us to understand how to play other works from the classical period
in the future, as well as share similar principles in technique. A detailed
performance guide will be provided in the later chapter.
 44

CHAPTER FIVE --- FRANZ ANTON HOFFMEISTERS VIOLA

CONCERTO IN B FLAT MAJOR

Apart from Hoffmeisters celebrated viola concerto in D major, he actually

wrote another wonderful concerto for viola in B flat major. However, not many
people know about this work, even professional violists have seldom
performed and recorded this piece. It is difficult even to find any information
regarding this concerto. However, with the fine compositional techniques that
Hoffmeister dedicated to this work, this concerto is worth discussing and
playing. This chapter intends to give a formal analysis of the piece, to discuss
the musical elements such as the harmonies, the melodic lines, and the
structure of each movement.

First Movement --- Allegro con spirit

Similar to the D major concerto, Hoffmeister chose the typical Sonata form for
this movement as well. The music begins with a 39 measures orchestra
introduction. The first theme is a five measures melody, Instead of a 4+4
symmetrical phrase like in the D major concerto.

Example 5-1: Hoffmeisters Viola Concerto B flat Major, Beginning to

 45

After the thematic melody, the orchestra continues with a four bars extension
to fill in the first theme. After that, a 7 bars transition is added and the key
modulates from B flat major to F major in order to introduce a new melody.
Hoffmeister used a very interesting method for both of the concertos here.
Usually the second theme should enter in after the transition of the first
statement theme, however instead of presenting the second theme, he
created a new theme specially for orchestra here, and it comes back again
later during the movement.

Example 5-2: Orchestra theme of the introduction measure 17- 22

 46

After that, the orchestra repeats the theme once again. At the end of the
phrase, the composer used a special F sharp in bar 31 to emphasize the
difference between the two phrases, as well as to lead the music to the
ending phrase of the introduction

Example 5-3: The special F sharp before the ending of the introduction

The beginning of the exposition, the solo enters at measure 40 with a strong
statement of the primary theme. Unlike the primary theme used by the
orchestra in the introduction, Hoffmeister extended the phrase to a 4+4
 47

symmetrical phrase here by the solo and it repeats once again. After
completing the statement of the primary theme, the solo plays two phrases for
the transition. The second transition phrase is made up by a group of
continuous sixteen notes, which shows off the technical proficiency of the
soloist. At the same time, the orchestra plays only simple quarter notes, in
contrast to the soloist. After the transition part, the music continues to the
secondary theme, which is also a 4-to-4 symmetrical phrase.

Example 5-4: Secondary Theme

After the first appearance of the secondary theme, Hoffmeister added a group
of triplet notes to color up the phrase and a group of sixteen notes were
added as the ending phrase of the exposition.

The beginning of development section, the orchestra enters with a

restatement of the primary subject in F Major. The primary subject in the
development section has almost the same structure as the primary subject in
the exposition, but with some small changes in rhythms. This opening by
orchestra of the development section contains many motives, which had
already appeared previously in the opening introduction. Examples include
the orchestra theme (see example 5-2, measure 17-19), as well as the ending
phrase of the development, which is similar to how it was written in the
introduction. Hoffmeister used this to create an impression for the coming
development section for audiences, to indicate a clear structure line between
the exposition and the development.
 48

Example 5-5: motive appeared both in the introduction and exposition by

orchestra

After the restatement by the orchestra, the solo joins in at bar 121 with a new
phrase, which has never appeared before This is different with how
Hoffmeister wrote the D major concerto, where the solo instead repeats the
primary theme. The key stays in F major until the central part of the
development section comes in later.

From bar 131, the soloist begins a virtuosic passage. After a few bars, the key
modulates from F major to G minor, to enhance the enrichment and the
density of this section. This passage can be divided into two sections and
each section has two relative phrases. First section is from bar 131 to 141,
and second one is from bar 142 to 157. The first section is played based on
the dolce character, its sweet and gentleness is like a girl talking. However,
the character changed in the second section where the dynamic here
switched to f, it is more intense and exciting in character and it is like a man
talking strongly and decisively.

Example 5-6: Section two of the Development, measure 142-157

 49

After completing the development section, the orchestra enters with a

transition before the recapitulation, and the key modulates back from g minor
to B flat major.

As usual, the recapitulation begins with a restatement of the primary theme.

But soon, Hoffmeister developed the melody with more fantasy, and he then
added a melodic extension to complete the phrase. After that, a group of
sixteen notes made up the transition, before the second theme enters. The
second theme follows the same structure as how it has appeared in the
exposition for the first time, but Hoffmeister created more fun into the melody,
and finished up the recapitulation with the last appearance of the secondary
theme.

Lastly, Hoffmeister built a technique coda, and the key stays in B flat major.

A formal structure analysis of the first movement is provided below in Table 4.

This will provide an overview of the movement in a formal structure. It
includes the section names, the key changes as well as clear bar numbers.
 50

Table 4: Hoffmeisters Viola Concerto in B flat Major --- Allegro con spirit
(Sonata Form)
Section Introductio Exposition Developmen Recapitulatio Coda
Names n t n
Theme Primary Primary Primary Primary Coda by
Theme + Theme by Theme by Theme by solo +
Orchestra Solo + Orchestra + Solo + Orchestr
Theme Secondar Solo Secondary a Ending
y Theme Developmen Theme by
by Solo t + Solo
Transaction
by Orchestra
Key B flat Major B flat F Major + F B flat Major B flat
+ F Major Major + F Major to g Major
Major minor + B
flat Major
Measure mm. 1-39 mm. 39- mm. 100 - mm.167-200 mm. 200-
Number 100 167 229
s

Second Movement --- Poco adagio

The second movement is in a normal ternary form, which usually consists of

three sections, and the last section normally a varied repeat of the first section.
The ternary form is normally in the structure of A-B-A, except for some
exceptions where it can be a compound ternary form, which is in the structure
of ABACABA. The A sections are nearly identical; the B section is usually
contrasts with A sections melodically and harmonically. The key of the B
 51

section is normally a closely relative key or a dominant key of the home key of
the A section.

Same to the D major concerto, Hoffmeister also wrote an introduction for the
orchestra for the second movement of the B flat concerto. The orchestra
opens the movement with the primary theme of the A section in F major. After
completing the theme, the orchestra continues the music with a melodic
extension of the primary theme. The melodic extension is made up by two
sequences and the music continues to measure 18, where the solo enters.

Example 5-6: Theme of the A Section by Soloist, mm. 18-24

The primary theme of the A section is followed by a transition phrase

afterwards, and the key modulates here from F major to G major. Soon after,
the solo plays the secondary theme of the A section. From measure 30, the
root note (G) is kept until the key modulates to C Major in bar 36.

Example 5-7: Secondary theme of A section, mm. 32-36

 52

The B section enters with a repeat of the introduction, and then the solo
enters at measure 51 with the theme of the section. It is a 2+2 phrase, and
Hoffmeister used double stops for the first time here to bring more intensity to
the chord. Later, the key continues to modulate to g minor at measure 59, and
then it comes the central section of the B section, where the harmonic
changes are various and intense. The key returns to F major at measure 66 to
prepare for the return of the A section as well as to close up the B section.

The last A section begins with its primary theme, the phrase structure
remained the same as the first A section. The solo enters with tonic key, but
the key does not stay for the secondary theme; instead, it modulates to the
dominant key, C major.

Example 5-8: the Secondary Theme in C Major, mm. 81-85

 53

The key returns to F major at the end of the secondary theme. After the solo
completes the secondary theme, the orchestra enters with a short transition
before the final cadenza.

A formal analysis of the structure of the second movement will be provided

below in table 5.

Table 5: Hoffmeisters Viola Concerto in B flat Major Second Movement Poco

adagio (Ternary Form)

Introduction A B A Ending
Theme Theme A Theme A Theme A Theme A Orchestra
by by Solo + by by Solo + Transaction
Orchestra Theme B Orchestra Theme B + Cadenza
by Solo + Theme by Solo
C by Solo
Key F Major F Major + C Major + F Major + F Major
G Major/C C Major/g C Major
Major minor/F
Major
Measure mm. 1-18 mm. 18-42 mm. 42-69 mm. 70-91 mm. 91-
Numbers 100

Third Movement --- Rondo allegro

Hoffmeister chose a standard five part rondo form ABACA for the last
movement of the B flat concerto.
 54

Same to the third movement of the D major concerto, the movement begins
with a 4+4 periodic melody (S1) in the tonic key, and then the orchestra
repeats exactly the same thing once again.

Example 5-9: Theme A ( Beginning to measure 8)

After the orchestra completes the main subject, the solo comes in at measure
17 in order to the B section. The solo plays the theme (S2) of the section,
which is a 2+2+4 melody. From measure 25, the solo begins a virtuosic
passage, where the whole passage is made up by groups of triplets. After that,
the solo continues to develop, from measure 37, the solo plays a new melody
(S3), which has never appeared before. Later, this melody will appear again in
C section, with slight changes in the rhythm.

Example 5-10: the melody from B section with. Mm.37- 40

After that, a small cadenza of triplets continues the solo part, and the key
modulates from F major to B flat major at the end of the phrase, to prepare for
the return of the second A-section.
 55

After the A-section, C-section comes in at measure 66 in g minor. The whole

section is like a small ternary in structure. The solo plays the main subject (S4)
of the C-section twice at first; following that, the same melody line from B-
section appears here again, but with some changes in the rhythm and pitch.
Also, the key modulates to E flat major. After completing the phrase, the solo
plays a series of triplets again before the second S4. The key modulates to g
minor for the second S4 of the section.

Lastly, the final A section comes in measure 172, but Hoffmeister did not
follows the original format of the melody, instead, he did a small variation
based on the original melody.

Example 5-11: the last A section mm. 121-129

Finally, the movement ends with the tutti.

A formal structure analysis of the third movement is provided below in Table 6.
This will provide an overview of the movement in a formal structure. It include
the section names, the key changes as well as clear bar numbers.

Table 6: Hoffmeisters Viola Concerto in B flat Major Third Movement, Rondo

allegro
Section A B A C A Ending
Name
 56

Theme S1 by S2 by S1 by S4 + S3 S1 Solo +
Solo + S1 Solo + Solo + S1 + S4, by Orchestra
by S3 by by Solo Ending
Orchestra Solo Orchestra
Key B flat B flat/F B flat B flat + g B flat B flat
Major + minor/E
F flat/B flat
Major/B + g
flat minor
Measure mm.1-16 mm. 17- mm. 50- mm. 66- mm. mm. 130-
Number 49 65 121 122-129 145

To summarize, Hoffmeisters viola concerto in B flat Major is a typical

composition, which represents the music from the classical period even
though this B flat concerto is not as well known as the D major concerto.
However, the beautiful melodies as well as the perfect/skillful technique of
composition of this piece fully show Hoffmeisters great talent as a versatile
musician. By analyzing the piece, we could quickly understand the structure,
the phrasing and more details of the piece, which aided us in learning the
music quickly, especially when dealing with Hoffmeisters work. By playing the
piece, we could learn the special playing techniques of the classical period,
and this helps us to achieve other works which from the same time period in
the future. A detailed performance guide will be provided in the later chapter.
 57

CHAPTER SIX --- PERFORMANCE PRACTICE OF

HOFFMEISTERS VIOLA CONCERTOS

In this chapter, we will continue to discuss about Hoffmeisters viola concertos,

albeit in details of the performance practice. As the music of this period
shares common characteristics, and Hoffmeisters music typically represents
the music style of classical Viennese School in the classical period, it is
therefore necessary and important to discuss the performance practice of this
type of music of the classical period.

Currently, there are eight publications of Hoffmeisters D major concerto. The

number also shows the concern on the piece from the music society. Based
on the historical point of view, we will discuss the issues of performance
practice of the 18th century in this chapter. This includes details aspects of
performance practice, such as ornamentations and dynamics. In addition, I
will include some personal perspectives of practicing as well as performing
the music from the classical period.

Ornamentations

Due to the performance practice of the 20th century phenomenon, musicians

and music scholars are striving to discover the right style to perform the
music from the seventeenth and the eighteenth century. However, composers
from that time do not write many indications on their music, compared to
those from the romantic period. Therefore, ornamentation is one of the
greatest challenges for both current musicians and scholars when dealing
with the music from this specific time period. The understanding of performing
the music was rather a common knowledge and style for trained musicians at
that time. The musicians should have the knowledge of ornamentations based
on the conventions and traditions before playing. Although, musicians should
 58

strictly follow the traditions when styling the music, there is still space to
develop ones own interpretation.
Three kinds of ornamentations will be discussed in the following text. The
musical samples will be extracted from both Hoffmeisters viola concertos.

Appoggiatura

Appoggiatura is a non-harmonic small note, usually played before the full-size

note. It can be played short or long based on the style of the music. In
classical period, the appoggiatura is slightly different with how it sounds in
romantic or modern period. It is usually played in the beat, and the emphasis
is on the main note instead of the grace note. There are two types of
Appoggiatura, one is long Appoggiatura, and another one is short
Appoggiatura. Hoffmeister wrote both types of Appoggiatura in his viola
concertos.

Long Appoggiatura: a long appoggiatura is written before a fourth, eighth or

sixteenth note in a descending motion. It should be played a half time value of
the main note. So, the appoggiatura and the main note equally share the time
value.

Example 6-1: Long Appoggiatura in Hoffmeisters Viola Concerto D Major

How it is written:

How it should be played:

 59

The same thing also appears in Hoffmeisters B flat Concerto. At measure 46,
the Appoggiatura should be played as two sixteenth notes, which share the
duration of the eighth notes.

Example: 6-2: Hoffmeisters Viola Concerto B flat Major, mm. 46

This type of Appoggiatura frequently appears in works from the Baroque

period as well. J.S Bach has also used this ornamentation in his Viola da
Gamba Sonata No. 3.

Example 6-3: J.S Bach Viola da Gamba Sonata No.3 Second movement Bar
4

The appoggiatura from example 6-2 should be played as an eight note on the
third beat of the bar, which shares the two beats with the F.

Another is the short appoggiatura, which means one or more small notes
struck quickly before the main note. The note may occur below or above the
principal note, and the time value of the note is depends on the motion the
music. The duration of the appoggiatura can be different, it may be deducted
from the following note, the preceding note or the rest.
 60

Example 6-3: Hoffmeisters Viola Concerto in D Major, Beginning of Solo

Moreover, when an appoggiatura appears with a group of notes in a

descending movement or thirds within a playful tempo, it should then be
played as the short appoggiatura.
Example 6-4: Hoffmeisters Viola Concerto in D Major Third Movement,
Beginning.

Trill

The trill is a musical ornament, which consists of a rapid alteration between

two neighboring notes. The two neighboring notes are usually a semi-tone or
whole-tone apart, and the performer should decide which note should be
played based on the key of the piece, unless the composer specially indicated
the alternated note. The trill is usually a featured ornament for the solo line,
but nowadays the ornament also appears in orchestra and chamber works,
some times it aims to create a special sound effect. The way of playing the trill
has been continuously discussed. One most common way to play the trill is
begin from the upper note of the two neighboring notes, and it goes
downwards. Mozart has also indicated that, if a trill appears in the middle of a
descending cadence passage, it is preferred to add few little notes with a slur
 61

as a turn after the trill. And these little notes should be played a little slower
toward the closing note. 8

Example 6-5: Hoffmeister Viola Concerto D Major First Movement, Measure 5

of Solo.

Example 6-6: A trill with a turn at the end of the phrase. Hoffmeister Viola
Concerto D Major

How it is written

So it is actually played

The same thing also appears in the first movement of Hoffmeisters B flat
concerto. In measure 129, where the trill is on a quarter note G, and the
quarter G is the middle note of the three descending quarter notes. In this
case, the G should be played together with few additional notes as a turn, to
fulfill the emptiness of the passage. Hoffmeister has frequently used the trill in
his viola concertos. In the D major concerto, he wrote the trill with a turn at the
end 22 times. In the B flat major concerto, he also wrote the trill 17 times.

8
Leopold Mozart, A Treatise on the Fundamental Principals of Violin Playing, Translated by
Editha Knocker (Oxford University Press, 1948) p.191
 62

Table 7: A general overlook of the trill with a turn at the end in Hoffmeisters D
Major Concerto and the B flat Major Concerto.
Name of the Concerto D Major Concerto B Flat Major Concerto
Movement
First Movement mm.41 mm.43 mm.57 mm.72 mm89 mm.95
mm.66 mm.84 mm.89 mm.99 mm.129 mm.156
mm.122 mm.135 mm.175 mm.189
mm.149 mm.167 mm.216
mm.195 mm.205
Second Movement mm.24 mm.32 mm.44 mm.41 mm.58 mm.90
mm.68 mm.70 mm.95
Third Movement mm.61 mm.71 mm.84 mm.44 mm.110 mm.137
mm.120 mm.135

A trill may be divided into four levels, based on the speed. They are slow,
medium, rapid, and accelerating. A rapid trill is for a lively or fast movement;
on the other hand, a slow trill is for a slow or sad movement such as the
second movement of Hoffmeisters viola concerto in D major.

The Turn
Turn is a collective name for a group of graces that is related to one principal
design, to be called the standard turn.9 A Turn is an ornament, where the
rhythm of a song will not be interrupted without it, as long as the main note is
played. The first principal note before the turn should be played with an
emphasis, followed by a turn continuing to the next principal note.
Example 6-7: Hoffmeisters Viola Concerto in D Major

How is it written:

9 Frederick Neumann Ornamentation in Baroque and Post-Baroque Music P.41

 63

How is it played:

There are ten turns written in Hoffmeisters D major concerto, and six turns in
his B flat major concerto.
A detailed form of the number of the turns in Hoffmeisters two viola concertos
will be provided below in table 8.

Table 8: The turn

Name of the Measure Number in the Measure Number in the
concerto/Movement Solo Part (D Major Solo Part (B Flat Major
Concerto) Concerto)
First Movement mm.36, mm.59, mm.63, mm.51, mm.58
mm.117, mm.124,
mm.162, mm. 178,
mm.182
Second Movement mm.25, mm.46 mm.35, mm.66, mm.75,
mm.81
Third Movement

Dynamics

Musical dynamics usually indicate the volume changes of a piece. Until the
early eighteenth century, the dynamics in music were not quite developed. It
was not so popular during the first appearance of the signs of crescendo,
diminuendo and messa di voce in Paris. By the time of the classical period,
composers do not write many dynamic indications on the score, as the
musicians at the time normally knew how to play the piece in a traditional
manner instinctively. In Hoffmeisters viola concertos, only forte, piano and
 64

crescendo are indicated on the score. Moreover, dynamics are not fixed with
indications of the amplitude level. The performers have to adjust the
amplitude by themselves based on the different fact of the condition, such as
the instrument, the venue of performance and so on.

The Echo Effect:

The echo effect started during the Baroque period and continued to be
favored by the composers throughout the classical period. It was one of the
common ideas to have been used by composers at the time. The echo effect
refers to a pair of repeating passage, and they may or may not marked forte
or piano by composers. This compositional manner together with periodic
phrase and sequences were popular techniques for coloring the music at the
classical period. Hoffmeisters viola concertos are such examples for
demonstrating echo effect.

Example 6-8 a: Hoffmeister Viola Concerto D Major First Movement mm. 72-
76

Example 6-8 b: Also in Hoffmeisters B Flat Major Concerto First Movement

64-67
 65

When the soloist plays the echo effect phrase, the orchestra usually follows
the same effect but with a softer volume than the soloist.
A detailed table of echo effect phrases will be shown in table 9 below.

Table 8: Echo Effect Phrases in both Hoffmeisters Viola Concertos

Concerto/Movement Hoffmeisters Viola Hoffmeisters Viola
Concerto in D Major Concerto in B flat Major
First Movement mm. 72-76, mm.82-88, mm.64-67, mm.75-82,
mm.149-142, mm.189- mm.91-92
192, mm.198-201
Second Movement
Third Movement mm.1-8, mm.34-35, mm.25-28, mm.50-57,
mm.37-44, mm.63-66, mm.66-81, mm.103-
mm.72-73, mm.97-104, 106, mm.122-129
mm.128-131, mm.149-
156

Forte and Piano:

There are eight publications of Hoffmeisters viola concerto in D major, and all
of the publications have forte and piano indicated in the score. In this research,
we will only talk about three out of eight publications. They are Edition Peters,
Edition Kunzelmann and H.L Grahl. Frankfurt/M.

Forte and Piano were rarely used until the late eighteenth century. The
Kunzelmann edition uses the least forte and piano sign compare to the other
two editions. In contrast, the H.L Grahl Frankfurt/M uses the most forte and
piano signs. The dynamics are marked based on the original manuscript as
 66

well as editorial suggestions, which are presented with ( ) or [ ]. The dynamic

markings in the three editions are very different, but none of them are
consistent when it comes to the phrasing of analogous passages.

Mannheim Crescendo and Mannheim Sigh:

The earliest form of orchestra took place in the small town of Mannheim. In
late eighteenth century, John Stamitz was pointed to be the conductor of the
orchestra, where he changed everything. Under the direction of John and Carl
(his son), the orchestra hired all the best musicians of Europe at the time.
Together, they developed bunch of musical features, which were attributed to
the Mannheim School, and the famous Mannheim Crescendo and Mannheim
Sigh were among two of those.

Mannheim Crescendo: A slow and gradual crescendo, which designed to be

played by the whole orchestra. A Mannheim Crescendo starts with a piano or
a lesser volume, and the volume rises together with a continuous melody, and
the crescendo ends when the phrase closes.

Example 6-9: Mannheim Crescendo in Hoffmeisters Viola Concerto in D

Major First Movement. Mm. 23-26
 67

Mannheim Sigh: In the other hand, Mannheim Sigh is a form of decrescendo,

which happens in a descending pair of notes at the end of the phrase. It
designed to be played by putting more weight on the first note of every bar to
create a sighing tone. Hoffmeister also wrote this feature in his viola concerto.

Example 6-10: Hoffmeister Viola Concerto in D Major First Movement. Mm.

80-82
 68

To conclude, the ornamentations and musical features from Hoffmeisters two

viola concertos are the typical musical characteristics of the classical period.
Through a solid discussion of every ornamentation and musical feature, which
appeared in Hoffmeisters viola concerto, one could clearly get to know the
history of the ornamentations and the background of the musical features,
therefore, to improve the performance in the right sense of style.
 69

CHAPTER SEVEN --- HOW TO PRACTICE HOFFMEISTERS

VIOLA CONCERTOS

The D Major Concerto

Hoffmeisters D major concerto is a perfect piece for all violists from different
levels of playing to pick up and also to keep in hand. This concerto is truly a
master work of Hoffmeister, which fully shows out the charm and elegant style
especially from the music of the classical period. In order to achieve the
playing with the most right and authentic way, it is necessary for violists to
understand certain techniques when it comes to a classical work.

The left hand position

One of the most important principals of playing a classical work is the clarity of
finger stopping. Each note shares the equal importance of the phrase or the
movement, regardless of its time value or harmonic value, which is particular
important for classical music. Every note has its direction and meaning to the
phrase or the whole context of the movement. Therefore, to improve the
clarity of finger stopping is very important.

Firstly, one needs to always prepare the fingers for the next coming note. For
example, when there is big jump or shifting, it is important to know what
comes the next (where you finger should go), and keep moving the fingers. By
achieving this, practicing at a slower tempo is necessary, especially during the
first week of getting to know a new piece. However, practice slowly is not the
only thing one should think about while playing; at the same time, one should
use the time space to practice the strength of each finger as well and keep
repeating the patterns again and again. During this process, our fingers will
 70

receive the signal to remember the right position and the movement. After few
days of constantly repeating in a slow tempo, the proficiency will come by
itself, and our fingers will know where to go automatically.
Moreover, one needs to constantly check the left hand gesture. A good
gesture is the key for flexible fingers; in the other hand a wrong gesture may
cause unnecessary difficulties in playing and approaching correct intonations.
This is particularly important to those who have smaller hands like me. There
is one difficult passage in Hoffmeisters D major concerto that requires fast left
hand movements. Usually, our hands and shoulder tend to get nervous by
itself when a difficult passage comes, and the wrist may happens to go
outwards towards the scroll, therefore knowing how to adjust and cooperate is
very important. My viola Professor Matthias Maurer had once mentioned to
me that turning the wrist slightly inwards can help reduce the tension of left
hand, because that is the natural gesture that our hand and arm designed for.

Example 7-1: The complex passage from Hoffmeisters D Major Concerto

First Movement, mm. 189-192

Fingering and Shifting

Good fingerings are always very helpful in any piece. Therefore, it is also
recommended for musicians to look for a suitable edition for the piece of
choice. However there are usually not many fingering indications that come
together with the score, especially from the pieces of baroque and classical
 71

period. Therefore, kindly asking for suggestions from the professor or fellow
students can be beneficial in finding suitable fingerings. In addition, avoiding
unnecessary shifting is also the key to playing a classical piece. Mozart claims
that necessity, convenience and elegance were the only reasons for using
positions other than the first 10 . In classical period, most of the notes are
played in lower positions, especially for viola players, where most of the time
the viola plays only as an accompaniment instrument. Therefore, to avoid
using the same finger for shifting is highly necessary, because this may cause
glissando, which should be absolutely refrained from for classical music.

Vibrato

Vibrato has been discussed as early as the sixteenth century by theorists

such as Ganassi and Agricola; and it has passed in and out of fashion in
string playing 11 . The use of vibrato is very different in classical period,
compare to later on, where most of the romantic and contemporary music
demand an expressive or faster vibrato in order to express the emotions from
the score. In contrast, the vibrato in classical period seems like it is more calm
and elegant. Vibrato was employed particularly on long sustained or final
notes in a phrase12. Italian violist, composer, theorist Francesco Geminiani
indicated that To perform it, you must press the finger strongly upon the
string of the instrument, and move the wrist in and out slowly and equally 13.

Unlike the expressive vibrato in romantic period, the classical vibrato requires
durative but small, calm and equal movements. It may sound easy but is
actually hard to achieve. This is because the years of the baroque and
classical period is far away from us today, so it is also why the historical
performance is always very challenging for musicians nowadays. In order to

10
Robin Stowell The Early Violin and Viola: A Practical Guide P.57
11
Robin Stowell The Early Violin and Viola: A Practical Guide P. 64
12
Ibid., P. 65
13
Ibid., P. 65
 72

have a calm vibrato, we need to really have the ability to control the left hand,
which can be achieved through a long-term smart practice.

Firstly, the use of metronome is very helpful. One needs to practice the hand
movement very slowly together with the metronome. The movement and the
beat should meet together and one beat for one movement, in and out. After
few minuets, one can increase the tempo step by step until the desired tempo
has been reached. Secondly, one needs to also practice the finger change
with vibrato, because our hands tend to stop the vibrato while multi-tasking.
Therefore, to avoid the stop and have a continuous movement is very
important.

Thirdly, our minds play a very important role in controlling the vibrato. One
needs to have a really calm mood for this practice. Patience and
concentration is also important.

Lastly, the last note of each phrase is particular important for classical pieces.
Each last note should be played softly based on the dynamic of the phrase,
therefore, the application of vibrato here should be much less than the
previous notes.

Bow Management / Techniques

The bow is the soul of the instrument it touches.14 A natural and flexible bow
hold is essential for approaching the relaxed sound. The method of bow
holding has been discussed and developed through the time. Nowadays, the
method of holding the bow is adopted by player, which usually depends on
the body size, the musical demands as well as personal taste. Nevertheless,
the fundamental principal of bow management is to produce a soft, gentle and

14 Ibid., P. 74
 73

catching sound, which is particular important for classical music. In

comparison with the expressive romantic style or the infinite variety from the
contemporary style, the elegance of classical style requires a very different
but exquisite application of the bow. Hoffmeisters viola concertos particularly
require such bowing technique.

The relaxation of the right hand and arm is particular important for achieving
the singing voice from the instrument. The control of the bow speed has to be
well organized. Knowing how to save and speed up the bow based on the
melody is very necessary during practice. For example, in Hoffmeisters viola
concerto in D major first movement measure 37, the three eight notes shares
one bow, but one should not play each note the same length of the bow,
instead, the first two eight notes shares half of the bow, and the last note
should speed up to complete the eight note by using the second half of the
bow.

Example 7-2: Bow management on Hoffmeisters Viola Concerto in D Major,

mm. 37 and 38

mm. 37

The reason to save bow for the last A is based on the next bar, where the
emphasis of the phrase falls on the first note of measure 38.

In addition, classical playing requires a very flexible and relaxing right hand.
The sound should be very lively and round, and every bow change must be
without accent. In order to achieve this, there are few methods for violists to
 74

try out. Firstly, use elbow to draw a circle motion in counterclockwise direction
while change the bow from down to upwards. However, one has to maintain
pressure at the tip of the bow, which may sometimes be released at the tip
before the change, and it may cause the reduction of sound volume. This tiny
circle motion can help us to find the continuous feeling when changing the
bow direction, thereby avoiding the accent from bow changes. Secondly,
remove several fingers from the bow, and practice a light tremolo near the
point to loosen muscles in the hand.15 This is because most of the accents
are caused by the tension from holding the bow. Therefore, when the tension
is released, the accent will be diminished.

In addition, the contact point of the bow also influences the sound produce.
Each instrument has its own characteristic; so, one should find the best
contact point on each string of ones own instrument. After that, try to
remember the sound from this point and also to watch out the contact point
and remember it.

Bowing

Bowing functions as an important role when phrasing melodies. Different

bowing causes direct change in interpretation. Bowing should follow the
direction of the phrase, and should not interrupt the phrase. Usually editors
include their preferred bowing when editing the score, but it is not necessary
to follow the exact bowing from the score, but also to discover ones own
suitable bowing in order to accomplish the phrase. The following examples
will show how bowing changes the phrasing and its musicality. Examples are
taken from three different editions of the third movement of Hoffmeisters viola
concerto in D major.

15 Henry Barrett The Viola: Complete Guide for Teachers and Students P. 80
 75

Example 7-3a: Edition C.F.Peters

Example 7-3b: Edition Kunzelmann

Example 7-3c: Edition H.L.Grahl

Phrasing
Music has the same power as language. Like any language, music is used to
communicate and to exchange feelings or emotions. They share the same
principals and concepts. The interpretation of languages has to be divided by
paragraphs or phrases. Therefore the listeners can clearly understand the
meaning of it. Otherwise, there is no sense to communicate or to catch the
meaning of it. Music has its own regulations to be expressed; that is why it is
called the language of music.

If music is a type of language, it must include many essential factors such as

the dynamics and musical ornaments and the most important, the phrases. To
 76

phrase the melodies is like writing punctuation into the text. The punctuation
of modern language determines the emotions and meaning of the text.
Inaccurate punctuation may change the meaning of the whole phrase.
However, music is like ancient Chinese, which has no punctuation within the
text. This is because music emphasizes more on the inner emotions than
narrating the words.

How to phrase:
a. Listen to different interpretations from great musicians to absorb ideas.
Some people may not agree with this, but in my opinion, when
someone has really no ideals on how to phrase the music, this can
help to build up a general concept of how the music should sounds like.
b. Learn the structure of the movement. This is especially useful for
classical pieces, because the structure is clearly written in classical
compositions. Therefore, by learning the structure, one can easily find
out the melody lines and hints on phrasing the music.
c. Understand the harmonics and strong point of each phrase. Knowing
where the music goes. Every phrase should have its direction and
strong point. It can be more or less based on the whole context of the
music. One can easily learn without playing the instrument.
d. Another good way to find out the pause of each phrase is to sing out
the music, which is the fastest and easiest way for finding your own
interpretations of phrasing the music.
e. Lastly, always remember to play creatively. This means, try to discover
different possibilities of phrasing. The music should sounds like a
conversation between two or more persons. There are questions and
answers, happy and sad, funny and serious. Also, try to exaggerate the
dynamics and the emotions, so that the listeners can enjoy the music
without feeling bored.
 77

A very good example goes to the first phrase (measure 34-44) of

Hoffmeisters viola concerto in D major, which has a very clear melody line.
The phrase can be divided into three small phrases, and each one has its
own characteristic.

The opening phrase, which should be played with confidence

The next phrase can be divided into two segments, and they are like two
naughty children asking questions. The characteristic of both segments
here should be similar to each other.

1. 2.

The third segment is like the bridge towards the answer.

And the last small phrase is the answer of the previous questions.

To summarize, the interpretation of the music can be varied based on

performers personal taste, the understanding towards the piece, as well
as the proficiency of ones techniques. But most importantly, is to be
 78

creative and imaginative as well as organized to each phrase, So that, the

audiences will never get bored by siting in the concert hall.

How to listen

We seldom realize that, listening plays such an important role in our practice.
The listening here is not just hearing but also reacting to what has been heard.
When we learned how to listen, our hands will then be under the control from
the brain. During the past few years of my study with professor Maurer, he
has always asked me questions like did you hear in lessons. He explained
that, many students do not listen to what they really play. They are too busy
with the emotions of the music, but forget to listen to what the hand does.
Sometimes we heard a wrong intonation but without reacting, this is because
that we are busy with the emotions, so we just ignore the note and carry on.
However, this is very harmful for our ears. If we keep repeating the wrong
things, our ears will get used to hearing the wrong note and think that is
correct. Therefore, when we play the same thing in future, we will not even
able to recognize the mistake. Therefore, correcting the mistake immediately
when we heard it is very necessary. In addition, while practicing, putting the
emotions away is also very important. So our concentration will go to the ears
and the hands, instead of only immersing ourselves into the feelings.

Another good method to practice the ability of bow control is to practice with a
loud speaking TV. This is because, when our ears are not able to hear the
sound from the instrument, our hands will then naturally follow the same
movement, which helps us to improve the stability of the right hand.

To summarize, both Hoffmeisters viola concertos were written in the typical

classical style. Therefore, they share the similarities in performance practice.
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The above ideals are based on my personal experiences and perspectives

through practicing and learning the music. I wish this guide is a useful
reference for violists who willing to take Hoffmeisters works into their study.
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CHAPTER EIGHT --- COMPARATION OF THREE EDITIONS OF

HOFFMEISTERS VIOLA CONCERTO IN D MAJOR

The manuscript of Hoffmeisters viola concerto in D major is in the keeping of

the Saxon State Library, Dresden.16 In press mark Mus.3944-0-5 No. 582. It
is entitled Concerto ex D#a Viola Principale Due Violini Due Oboi Due Corni in
D Viola et Basso del Signor Hoffmeister. According to the title of the
manuscript, the viola solo part was written to be played by the principal of the
viola section. This is typical of eighteenth century instrumental concertos,
where the soloists were also required to play along with the tutti part
throughout the whole concerto, while nowadays the soloist is allowed to place
him/herself out from the tutti part.

Hoffmeisters D Major concerto has eight publications. In this chapter we will

discuss three of the eight editions. They are edition Kunzelmann by Ulrich
Druener, edition C. F. Peters Frankfurt by Clemens Richter and edition H. L.
Grahl. Frankfurt/M. Each arrangement has some differences with the others
due to editors personal interpretation and taste.

Edition Kunzelmann --- Ulrich Druener

This edition is the only one, which was published with both piano reduction
and full-score, while the other two were only published only with piano
reduction. As we have mentioned in the last chapter, this edition has the least
dynamic markings compare to the other two. Ulrich Druener was very careful
with the phrasing and dynamic markings for this edition due to the concern of
unsure origins and authenticity. Therefore, he mentioned that, all other

16music score: F.A. Hoffmeister Konzert fuer Viola und Orchester D dur. D major Edition
Kunzelmann. Ed. Ulrich Druener
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necessary additions concerning phrasing, articulation, and dynamics are

clearly indicted by dotted lines or brackets.17
The soloist is designed to play with the tutti in this edition. The tutti part for
soloist extracts the melody lines from first violin and viola sections.

Example 8-1 a: Solo tutti part of Hoffmeister Viola Concerto First Movement.
Solo tutti part extracts from violin part.

Example 8-1 b: Solo tutti part of Hoffmeister Viola Concerto First Movement.
Solo tutti part extracts from viola part.

17 Ibid,.
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In measure 59, the solo plays the melody line together with the string sections,
while another two editions designed five rest beats for this bar, which is also
how violists normally play nowadays.

H. L. Grahl Edition

According to German musicologist Ulrich Druener, edtion Grahl is considered

inexact and at the time even incomplete.18 This edition shares a few places,
which are different with the other two.

The introduction of the first movement, Editon Grahl cuts bar 34 from the
orchestra, before the solo comes in. So the orchestra plays a 35-measures
introduction for this edition, and 36 measures for both edition C.F. Peters and
edition Kunzelmann.

18music score: F. A. Hoffmeister Konzert D-dur fuer Viola Concerto D major for Viola, ed.
Ulrich Druener Stuttgart, Dezember 1981. Edition Kunzelmann
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Example 8-2a: Ending of orchestra introduction (edition H.L. Grahl.

Frankfurt/M) mm. 32-34

Example 8-2b: Edition C.F. Peters mm. 32-35

Example 8-2c: Edition Kunzelmann mm.32-35

Another difference happens in the solo part of the second movement,

measure 16. With edition Grahl, the editor uses a B natural for the first note.
However, Both editors of edition Kunzelmann and C.F. Peters wrote B flat
here. However, many violists nowadays still play in both possibilities. I
personally prefer to play the note with B flat, as it adds more intense and color
to the harmony.
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Example 8-3a: Edition Grahl

Example 8-3b: Edition Kunzelmann

Example 8-3c: Edition C. F. Peters

C. F. Peters Edition

This edition is regarded as one of the standard edition for performance

nowadays. The dynamic and articulation markings followed the traditional way
of interpretation.

Conclusion

In general, these three editions share very different taste and perspectives on
dynamics and ornamentations of Hoffmeisters D major concerto. Edition
Kunzelmann presents the least dynamic indications, thereby to allow violists
to discover their own interpretations within the certain style of the classical
area. In the other hand, edition Grahl gives more indications regarding
dynamics and articulations. By comparing editions on significant issues, I
hope this chapter provides violists ideals when they are looking for an
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appropriate edition of choice, which should suitable for their personal taste of
interpretation.
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CHAPTER NINE --- PUBLISHED RECORDINGS OF

HOFFMEISTERS VIOLA CONCERTO D MAJOR AND B FLAT
MAJOR

The viola concerto in D major by Hoffmeister is one of the most famous and
frequently performed viola concertos nowadays. Almost every violist learnt the
piece when they first came to play a classical concerto. However, despite the
years of learning the instrument, this concerto has always been very
challenging to most viola students, as it requires proficient techniques and fine
understanding towards the classical style. Today, many world-class violists
have made CD-recordings on this concerto, and there are over 200
recordings on Youtube by violists around the world. One can hear this piece
almost in every viola auditions all over the world.

In this chapter, I am going to discuss few recordings made by famous violists.

Recording by Hariolf Schlichtig and Mnchener Kammerorchester

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Hariolf Schlichtig was born in 1950 in Tuttlingen, Germany. He studied with

the famous Carl Fleschs student Max Rostal and the well-known Hungarian
violinist Sndor Vgh. Schlichtig is activating as soloist, chamber musician
and teacher. He is the founding member of Cherubini Quartet. Currently he is
Professor for viola and chamber music at Hochschule fr Musik und Theater
in Munich since 1987.

This recording that Schlichtig made with the Munich chamber orchestra was
highly regarded as outstanding recording in the past years. It was honored
with the Deutsche Schallplattenpreis, Echo Klassik, Diaposon dOr and Choc
de la Musique. This CD recorded together with another two viola concertos by
Carl Stamitz and Carl Friedrich Zelter.

In this recording, Hariolf Schlichtig masters this piece with perfect intonation,
vivid virtuosity as well as a keen sense of the right tone for the musical
language of the composer. Each note is completed flawlessly. The Munich
chamber orchestra carries out each detail as the background. The recording
is just a perfect fulfillment of Hoffmeisters D major concerto.

Recording by Victoria Chiang and Baltimore Chamber Orchestra

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Violist Victoria Chiang serves as faculty member of the Peabody institute. She
is activating as soloist, recitalist and chamber musician across North America,
Europe and Asia. She is also a founding member of the Aspen String Trio.
This recording that she made with Baltimore Chamber Orchestra was
released by Naxos to critical acclaim. The CD was made together with
another two concertos, they are Hoffmeisters B flat major concerto and C.
Stamitz D major concerto.

In this recording, Victoria Chiang pulls out a rich and powerful sound from the
instrument. Her warm and rich sound stands strongly and it well blends with
the background ensemble. Chiang stretched the tempo slightly slower than
the other recordings for the first movement of Hoffmeisters D major concerto.
The slower tempo provides the soloist more space for producing a quality
sound from the instrument but without reducing the elegance of the music
itself. Technically, this recording is not the best one among the others, but
Victoria Chiangs majestic sound is attractive enough as a bringer of melodic
cheer.

Hartmut Rohde and Lithauisches Kammerorchester Vilnius

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Violist Harmut Rohde was born in Hildesheim Deutschland. He is professor

for viola at Universitt der Knste Berlin and also a visiting professor at the
Royal Academy of Music London. Harmut Rohde is also a founding member
of the Mozart Piano Quartet. As a soloist, he has performed with best
orchestras such as NDR Hannover, the Kapellsolisten of Dresden. He was
also the chosen soloist for Franz Beyers version of Hoffmeisters viola
concerto. His performance was reviewed by The Strad as His personality
showed an experienced, confident but decidedly cerebral performer

This CD recorded together with the other three compositions by G.P.

Telemann, P. Hidemith and J.S. Bach.

Harmut Rohde pushes a rich and dynamic sound out of the viola. Especially in
the second movement of Hoffmeisters concerto, every note was played with
full emotions. His playing has a rich sense of color. The perfect intonation and
virtuosic playing drive the performance to a new height. In this recording, he
also composed his own cadenzas for the first and second movement of
Hoffmeisters concerto.

Nils Mnkemeyer and Kapellsolisten Dresden

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Born in Germany, violist Nils Mnkemeyer received international recognition

within a short time. His performance has reviewed by Harald Eggebrecht of
Sddeutsche Zeitung as one of the most successful international violist. He
has won many prizes such as the first prize of the International Yuri Bashmet
Viola Competition, the top prize of the German Music Competition and
Parkhouse Award London. He was Professor at the University of Music Carl
Maria von Weber in Dresden and assistant Professor at the Esuela Superior
of Musica Reina Sofia Madrid. Since 2011, he received Professor position at
the University of Music and Performing Arts Munich where he once studied
with Professor Hariolf Schlichtig.

This recording made together with Bohemian composer Antonio Rosetti 19s
viola concerto RWV C15, and it is also the world premier recording of the
concerto.

In this recording, Mnkemeyer has a brilliant performance with the

kapellsolisten Dresden that combines lyricism and urbane wit. The soloist has
a perfect pure-toned expressiveness towards the musical needs. Every bow
stroke was played with full attention. The flawless bow changes and the
perfect use of vibrato hit the just right sense for the musical language of the
classic style. In December 2011, Mnkemeyer had another successful
performance of Hoffmeisters viola concerto D major with the chamber
orchestra of Bayerishce Rundfunk lead by Radoslav Szulc and it was in a
program recorded by Bavarian State Radio. In this program, he talked about
how he considers himself fortunate to be able to respond to this piece.20

19 Antonio Reosetti was a composer of classical eara. He plays the double bass and was a
contemporary of Haydn and Mozart.
20
https://www.youtube.com/watch?v=9QT9VEEfGX0 Nils Mnkemeyers recording program
with the chamber orchestra of Bayerische Rundfunk.
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Ashan Pilai and Gulbenkian Orchestra

British violist Ashan Pilai was born in Colombo, Sri Lanka in 1969. He was
educated in Royal Academy of Music at the Junior department; later he went
to University of Southern California and the Juilliard School of Music. He won
several prizes at international and national competitions such as the Tertis
and Rome International Competitions, the Royal Overseas League and Park
Lane Group Competitions. He is currently principal viola of Barcelona
Symphony Orchestra and violist with Zukerman Chamber Players 21. Ashan
Pilai is also activating as recording artist. He has recorded for EMI, Naxos,
ASV, Altara, Verso, Meridian, Bel, Columna and Oehms Classics.

This recording that Pilai made with Oehms Classics includes Hoffmeisters
two viola concertos, two Hoffmeisters viola etudes no.1 and no. 4, also Franz
Schuberts Arpeggione Sonata in A minor, and Johann Wenzel Kalliwodas
Nocturne No. 6 Op.186. Pilai has a flowing sound from his right hand,
everything seem so easy for him. The recording was made with perfect
intonations and proficient techniques. Pilai also pushes out a unique and
personal style for Hoffmeisters concertos.

21The Zukerman Chamber Players is a world well-known chamber ensemble led by violinist
and violist Pinchas Zukerman. The Ensemble formed in 2013.
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Gerard Causse and Les Solistes de Montpellier Moscou

French violist Gerard Gausse was born in Tolouse and later trained at the
Paris Conservatorie. He and Nabuko Imai are two of the most significant
violists since William Primrose. He plays on a 1560 viola by Gasparo da Salo.
He won many first prizes in viola and chamber music, and also activating as a
particular champion of twentieth-century music. Gausse became international
renowned in the mid of 1970, where he was activating as a founding member
and solo viola player in Pierre Boulez Ensemble. He is also a leading
chamber musician and soloist, who has helped to establish the viola as a solo
instrument. Gausse regards Mozart as the first composer who brought up the
potential of viola as the mediator between the violin and cello and bass. He
said once in an interview that, with Mozart, we start to hear pieces interesting
for violin and viola at the same time. He currently serves as viola professor at
the Paris Conservatoire and the Queen Sofia College of Madrid.

The recording was a delicate performance of Causse and the soloists of

Moscow Montpellier. He showed complete command on his instrument, his
 93

rich, full tone and agility highlights the concertos inspired invention. In the last
movement of Hoffmeisters viola concerto, his intonation remained flawless.
 94

AFTERWORD

The idea of choosing Hoffmeisters two viola concertos as the topic of this
thesis stems from my interest in the music from the classical area. I still
remember how I have been touched and amazed by the elegance and beauty
when I first heard Stamitzs viola concerto and Bachs Brandenburg concertos,
which was probably more than ten years ago. Along my study of learning the
instrument, I have been always curious in learning these pieces from the
Baroque and Classical period, they seemed to be a myth for me to
understand the essence of achieving the stylish playing. I had numerous
questions about the bowing, the phrasing, the use of vibrato, but they
remained unanswered until I came to Europe.
During the years of my study with Prof. Maurer, I have learned a lot in music
and in life. Prof. Maurer has taught me many essential techniques in playing
the viola and he has always been very encouraged too. These three years
were probably the most efficient period that I with my instrument. I have
participated in few music festivals, and traveled to over 30 cities in Europe,
watched numerous concerts by great orchestras, seen magnificent
architectures from all different period of the history, lived in the city where
those great composers have lived. All these experiences irrigated my
thoughts towards the meaning of music, and they will continue to benefit my
life.

By researching the two viola concertos by Hoffmeister, I have got to know the
history of how viola has developed systematically, how the instrument made
its way in ensemble playing, and later as a solo instrument. Also, I have got to
know the life of Hoffmeister, how he has lived as a composer, and particular
his life journey as a great music publisher. Moreover, I saw the importance of
the society, how it plays the role in the development of music. Lastly, by
 95

discussing the performance practice, which helped me to review the

knowledge that I have learned in lessons and from practice room.

Now, I am about to complete my study and ready to move to the next step in
life. I hope this research can help violists in their way of learning Hoffmeisters
compositions, and enhance their understanding of performing eighteenth-
century viola concertos.
 96

BIBLIOGRAPHY

Barrett Henry. The Viola: Complete Guide for Teachers and Students, Second
Edition. The University of Alabama Press, 1978

Caplin William E. Analyzing Classical Form: An Approach for the Classroom.

Oxford University Press, 2013

Mozart Leopold. A Treatise on the Fundamental Principals of Violin Playing,

Translated by Editha Knocker. Oxford University Press, 1948

Mirka Danuta and Agawu Kofi. Communication in Eighteenth-Century Music.

Cambridge University Press, 2008

Neumann, Fredeick. Ornamentation in Baroque and Post-Baroque Music, with

special Emphasis on J.S. Bach. Princeton University Press, 1978

Riley Maurice W. The History of the Viola. Ann Arbor, Michigan, U.S.A, 1980

Samson, Jim. The Cambridge History of Nineteenth-Century Music.

Cambridge University Press

Stowell, Robin. The Early Violin and Viola: A Practical Guide. Cambridge
University Press, 2001

Music Scores

Hoffmeister F.A. Concerto pour Viola et Orchestre. Frankfurt: H.L.Grahl, n.d.

Hoffmeister F.A. Violakonzert D-dur Klavierauszug. G.Henle Verlag.

 97

--------------------. Konzert fr Viola und Orchester D dur. D major [Partitur]

Edited by Ulrich Drner. Edition Kunzelmann 1982.

--------------------. Konzert D-dur fr Viola. Edition Kunzelmann 1983.

--------------------. Konzert D-dur fr Viola und Orchester [Klavierauszug von

Dieter H. Frster]. Edited by Ulrich Drner. Edition Kunzelmann 1983.

--------------------. Konzert fr Viola und Orchester D-Dur [Viola Principale].

Edited by Clemens Richter. Edition C.F.Peters 1985

-------------------. Konzert D-Dur Viola und Orchester [Ausgabe fr Viola und

Klavier] Einrichtung des Klavierauszuges Gerhard Rolf Bauer, Bezeichnung
der Solostimme Clemens Richter. C.F.Peters 1985

-------------------. Concerto for Viola and Orchestra B flat major [Piano

Reduction] Edited by Alison A. Copland. Edition Schott 1975.

-------------------. Concerto for Viola and Orchestra B flat major [Solo Viola]
Edited by Alison A. Copland. Edition Schott 1975.

Hoffmeister F.A. Viola-Etden Edited by Carl Hermann. Edition C.F. Peters

1924. Edition C.F. Peters renewed 1952.