THE HISTORY OF
Addenda and Errata
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THE HISTORY OF THE VIOLA,
Addenda and Errata:
P. vii: PREFACE TO THE HISTORY OF THE VIOLA, VOLUME I, THE
SECOND AND REVISED EDITION, 1993.
P. viii: [Staff: correction. This page is also inserted in the new reprint.]
7 ^ -
n ^ /
BB C Be be’ b* c" b" c ,M etc.
P. xii: If 5, In 8: Uthal (in italic, not: Uthal).
P. 13: fn 3 , In 2: Frangois I (not: Francis I).
P. 27: 1 2, In 8-9: See Volume II, Chapter II, Viola Making in Brescia in the
16th and 17th Centuries, concerning Zanettos.
P. 30: Plate 12, caption beneath: Gasparo da Said: Viola lira, formerly in the
Geiser Collection; now the property of the State Govern¬
P. 32: If 4, In 10: Prevost (not: Prevost).
P. 34: fn 27 , In 2: Hans (not: Michael and Rena).
P. 57: If 2, In 2: now Australia (not: Bellingham, Washington).
If 3, In 3: replaced with higher ribs (not: replaced).
P. 58: Plate 24, in caption, insert after In 1: Paul Doktor, with his Petrus
Guarnerius Viola. The bust is of Pablo Casals, ASTA gift to
the recipient of the “Artist Teacher of the Year Award,
P. 64: If 2, In 2: El Palacio Real (not: El Placido Royal).
The History of the Viola
P. 66: 12, In 7: Zaslav (not: Zaslov).
P. 71: 13, In 10: delete: 43 , insert after century:
Walter Lebermann, who had done extensive research
into the earliest solo material for viola, disputed Zeyringer’s
statements here. In a letter to the author, January 8, 1981,
he explained that Neri’s 1651 Sonata is a published work,
Sonata, Op.2, with twelve parts, not a solo for viola. The
Kempis duet, Sonata for Violin and Viola, according to
Lebermann, was actually entitled Symphoniae for 1, 2, and
3 Violins and Continuo, published in 1644. 42 The Sonata by
Marino, Lebermann added, did not appear late in the 17th
century. Furthermore, it is a Sonata for Viola da Gamba.
A modern edition was published in 1973, not I960. 43
fn 41 , In 1: Literatur (not: Literature); p. 53 (not: p. 51).
Delete material for 42 and 43 in book and substitute:
fn 42 , In 1: According to Lebermann, a modern edition of the Kempis
duet was published in Wilhelmshaven by Heinrichshofen
fn 43 , In 1: Published in Vienna by Doblinger, 1973.
P. 77: If 5, In 1: Venetian (not: Ventian).
P. 85: If 1, In 3: tenth edition (1683) did contain some material about the
tenor viola; (not: twelfth edition (1694) did contain some
material about the viola;).
P. 87: If 5, In 4: United States Air Force Chamber Orchestra (not: United
States Chamber Orchestra).
P. 112: If 2, In 4: cantatas (not: contatas).
P. 116: fn 21 : add: Paul Doktor explained, “Only the 2nd Sonata transcribed
into F works very well, because the right hand keyboard
parts of the 1st and 3rd Sonatas are often too high for a
P. 117: f 2, In 6-7: insert after G Major: c. 1731, remained in manuscript. 23
(not: was published in 1731 . 23 ).
fn 23 , In 1: insert after was: in manuscript (not: out of print).
P. 118: If 5, add after:
Prof. Dr. Wolfgang Sawodny recommended in a letter
dated May 17, 1981, that it would be appropriate in Chap-_
Addenda and Errata
ter VI to place the section “The Viola in Berlin and in the
Court at Potsdam” (p. 123) right after “Telemann’s Com¬
positions” (p. 118), and before “The Viola in Mannheim,”
because this is the chronological order of development.
P. 119: If 2, In 3: 1745 (not: 1746).
In 4: 1750-after 1796? (not: 1754-1809?).
P. 120: f 2, In 1: five (not: eight).
P. 121: If 1, In 2: insert after 1774: No. 1 Concerto in D Major was also
published not later than 1780 by Haueisen (Frankfurt am
Main, without plate number) erroneously designated as
Op. 1. The Haueisen Verzeichnis of 1784 corrected this
listing as No. 1, not Op. 1.
P. 125: If 4: delete entire If and substitute:
Sawodny stated in a letter to the author dated September
6, 1981, concerning viola music composed in the court of
Frederick the Great: “The only genuine compositions for
the viola by C. P. E. Bach were the Trios in D Major, A
Minor, and G Major (Zeyringer, p. 256). All of the other
works mentioned by Zeyringer are arrangements.”
P. 126: If 2, add at end:
Sawodny added, “Johann Gottlieb Graun composed Vi¬
ola Concertos in G Major and F Major, which are men¬
tioned in old catalogues, but are not found yet. The Con¬
certo in E b Major published by Simrock (Lebermann) may
be spurious. Graun composed also a Concerto in C Minor
for Violin, Viola, and Strings. In addition he composed six
Trios for Violin (Flute), Viola, and Bass, and four Trios for
Violin, Viola and Cembalo Concertante (two are identical
with the Trios for Violin, Viola, and Bass).”
If 3, In 10; insert after Sonata]. 55 : Sawodny pointed out that “some of
Janitsch’s works are described incorrectly. Sonata 1 and 2
are for Viola, Violin (not Cello), Flute/Oboe, and Continuo.
There are more quartets in the Breitkopf Verzeichnis,
1763. The most interesting works for viola by Janitsch are
two Sonatas for Oboe, two Violas, and Bass Continuo in E b
Major and in E Minor (preserved in the Staatsbibliothek in
Berlin) Breitkopf Verzeichnis, 1762, No. 3.
P. 128: If 1, In 3: G Major (not: D Major).
After In 9: insert before next If:
The History of the Viola
Sawodny believed that although Hoffstetter modeled
some of his works on compositions by Joseph Haydn, he
was mainly influenced by the Mannheim composers, not
the Viennese. He lived in Amorbach, which is just a few
miles from Mannheim.
P. 130: after If 3, add: Michael composed also three Viola Quintets: in C
Major, G Major (with a lovely Minuet), and F Major. The
F Major is in six-movement divertimento form.
P. 135: after If 4 insert:
Gluck s innovative use of the viola was not limited to his
operas. In his De Profundis he omitted the use of violins
and scored for mixed choir, violas, cellos, oboe, French
horn, three trombones, and basso, giving the violas the
type of prominence generally assigned to the violins.
P. 168: If 3, In 8: Theophile (not: Theodore).
P. 172: If 2, In 2-3: “ Marche des Ostrogoths, Visigoths, et Allobroges,” (not:
Marche des Ostrogots, Visigots, et Allobroges,”).
P. 190: insert following If 1:
Brahms demonstrated his high regard for the viola by
eliminating violins from the first movement of his German
Requiem and from the entire composition of the Serenade
in A Major, Op. 16. The Serenade was in the divertimento
form with short movements, and was scored for two Flutes,
two Oboes, two B b Clarinets (alternating with A and C
Clarinets), two E b Horns (alternating with E and C Horns),
and strings without Violins.
P. 191: If 4, In 3: Les (not: Des).
P. 195: If 2, In 9: Der Freischiitz (not: Der Freichiitz).
P. 200: If 4, In 9: Henri (not: Henry).
P. 202: after If 1, insert:
One of Rolla’s most outstanding pupils was his son, An¬
tonio Rolla (1798-1837), a virtuoso on both the violin and
the viola. Antonio became concertmaster of the Dresden
Orchestra in 1823; and as his father did, he composed bril¬
liant works for the viola. His most important compositions
for the viola are Variations Brilliantes in F Minor for Viola
and Orchestra, and 6 ldylles for Viola Solo, Op. 13,.
P. 232: If 5, In 5: Weisshaar (not: Weisshauer).
Addenda and Errata
P. 248: f 1, In 1: Rubinstein (not: Rubenstein).
fn 12 : Rubinstein (not: Rubenstein).
P. 249: f 1, In 1: insert after -ance: Frank Howes, in his book, The Music of
William Walton (1965), concerning the Tertis-Walton rela¬
tionship, quoted Walton as follows (p. 80): “It was Beecham
who suggested my writing a viola concerto for Lionel Ter¬
tis. When it was completed, I sent it to Tertis who turned
it down sharply by return post, which depressed me a good
deal, as virtuoso violists were scarce. However, Edward
Clark, who at that time was in charge of the music section
of the B.B.C. and was rather the William Glock of this day,
suggested we should go to Hindemith. So I duly conducted
Hindemith in it at the first performance at a Prom in 1929.
Tertis came and was completely won over, and [thereafter]
he played the work whenever he had the chance.”
Sir William Walton (1902-83) composed his Viola Con¬
certo in 1928-9. It was premiered in 1929 by the composer-
violist Paul Hindemith, with Walton conducting. A jury
selected the Concerto for performance at the International
Festival of Contemporary Music held in Liege in 1930.
Lionel Tertis was the soloist with Walton conducting. It was
a success for both performer and conductor. The composi¬
tion was accepted as part of the standard repertoire of the
viola. Walton, however, was not satisfied with the orches¬
tral accompaniment. He completely revised the work in
1962. The full orchestral score was scaled down, particu¬
larly in the wind parts by reducing the flutes from three to
two (second flute doubling on piccolo); and the clarinets
from three to two (the second clarinet doubling on bass
clarinet); and eliminating the bassoon and the tuba alto¬
gether. He did, however, add an important part for the
harp. Some of the material assigned to the horns, in the
first version of the work was reduced. All of this gave the
orchestral accompaniment a lighter texture.
P. 255: f 3, In 5: B Minor (not: B b Major).
In 6: C Minor (not: C Major).
P. 259: f 2, In 5: G Minor (not: E Minor).
P. 260: f 4, In 6: Giuranna (not: Giurana).
P. 267: H 1, In 2: “Pensioninstruments” (not: “Penzioninstruments.”).
The History of the Viola
If 3, In 5: Four (not: Three); insert after violists: Karl Doktor, before:
P. 275: If 1, In 2: add at end: Also see Volume II, Chapter XI, Paul Hen-
demith’s 90th Birthday and The Paul Hindemith Institute.
f 2, In 9: Elchingen (not: Oberelchingen)
In 10: delete: Prof.
P. 278: add at end after 1796: Also see Volume II, Chapter VII, A Tentative
List of Available Viola Concertos from the Baroque, the
Classic, and the early Romantic Periods.
P. 281: If 4, In 4: sat at the first desk along side Carlton Cooley, (not: played
the viola solo parts for the great maestro).
P. 285: If 7, In 10: Gardner (not: Gardiner).
P. 288: add after If 2,:
As noted on pg. 287 of the first edition of The History of
the Viola, Volume I, the first recording of the Bartok Con¬
certo for Viola and Orchestra was made with William Prim¬
rose performing the solo part and with Tibor Serly conduct¬
ing. The recording engineer was Peter Bartok, son of the
composer. It is significant that Peter Bartok is collaborating
with Nelson Dellamaggiore, a composer and musicologist,
and Paul Neubauer, a virtuoso violist, in the preparation of
a revision of the Barkok Concerto.
Paul Neubauer won first prizes in the Lionel Tertis Com¬
petition in 1980; the D’Angelo Competition in 1982; the
Mae M. Whitaker Competition in 1983; a special prize in
the Naumburg Competition in 1982; and the Avery Fisher
Career Grant in 1989. In September, 1984, at the age of 21,
Neubauer became the youngest performer to ever become
the principal of a string section of the New York Philhar¬
monic Orchestra. He held this position as Principal of the
Viola Section until September of 1989 when he was reap¬
pointed a “guest Principal” until May, 1990. He resigned
from this prestigious position so that he could pursue a
full-time career as a virtuoso viola soloist, and also to be¬
come a member of the Chamber Music Society of Lincoln
Neubauer’s solo repertoire includes practically the entire
gamut of works composed for the viola, including the Bela
Bartok Concerto for Viola and Orchestra. After several
Addenda and Errata
years of performing the Concerto, Neubauer realized after
examination of Bartok’s manuscript that there were some
places in the solo and in the orchestral parts of the Con¬
certo, as worked out by Tibor Serly, where Neubauer was
not comfortable. He approached Peter Bartok with his mis¬
givings about the Serly version with regard to the numer¬
ous discrepancies between the solo part and what Bartok
actually wrote in the manuscript. Initially Bartok was re¬
luctant to question Serly’s work. But after further consid¬
eration, he informed Neubauer that the entire Concerto
should be examined with the idea of comparing it to his
father s original notes and manuscript.
Now after two years of work, Peter Bartok with the help
of Nelson Dellamaggiore, using Bela Bartok’s own initial
notes and manuscript, and with the advice of violist Neu¬
bauer, has constructed a reivsed version of the Concerto,
which they believe represents the original intentions of the
One of the many, many changes that they have made is
to pitch part of the Concerto a half-step lower to conform
with the manuscript. Serly had pitched it a half-step higher
than the original indicates. They have made many signifi¬
cant changes in both the solo part and the orchestration of
the accompaniment. The new version uses the timpani as a
solo instrument in the opening passage and contains a sec¬
tion that Serly had omitted.
They point out that their revision does not in any way
discredit Serly’s almost insurmountable task of deciphering
the very ill composer’s manuscripts. In fact they maintain
that they have the greatest respect and admiration for Serly
and for the arduous work he did in deciphering the Bartok
manuscript. However, they consider their revision, based
on their study and patient analysis of the composer’s notes
and manuscript, a more authentic version of what the com¬
Serly had been one of Bartok’s most avid students. Peter
Bartok and Nelson Dellamaggiore realized that Serly, as a
composer himself, may have used much his own style of
Paul Neubauer will give the world premier performance
of the revised version of the Bartok Viola Concerto with the
Beethovenhalle Orchestra, conducted by Dennis Russell
Davies, in Bonn, Germany, May 27, 1993. This revision of
The History of the Viola
the Concerto, edited by Neubauer, will be published by
Boosey & Hawkes.
Peter Bartok and Nelson Dellamaggiore will publish also
a monograph in which they will explain their rationale, and
identify the numerous changes they have made in their
revision of the Bartok Viola Concerto.
P. 296: If 3: insert following Casals’ letter:
Terese Rochette, of Montreal, Quebec, Canada, a stu¬
dent and later a benefactor of Louis Bailly, stated in a letter
to the author, dated November 6, 1986, that she had just
returned from France where she had attended a reception
honoring Bailly at the City Hall in Valenciennes, France,
his birthplace. Her host, Mr. Rene Goube, a retired vio¬
linist, was in charge of activities designed to honor Bailly,
who had had a distinguished career in France, The United
States, and Canada.
P. 300: If 5, In 4: Austria (not: Germany).
P. 302: If 2, In 11: change to: as of 1980, Die Internationale Viola-Gesellschaft
or IVG (was: Die Internationale Viola-Forschungsgesell-
schaft or IVFG ).
P. 306: If 1, In 7: insert after identity?: Also see Volume II, Chapter X, The
Identity of L. Casimir-Ney . . .
P. 309: If 2, In 1: insert after 18th: and early 19th.
In 9: insert after Janitsch (1708-c. 1763) 10 : Georg Abraham Schneider
In 11: insert after viola:
Walter Lebermann did extensive research regarding
Hauff’s works for viola. HaufFs Viola Concerto No. 1 in E b
Major was performed by Geraldine Walther at the XI In¬
ternational Viola Congress in Houston, June 4, 1983. She
was accompanied by the Texas Chamber Orchestra, con¬
ducted by Milton Katims. The performance edition was
prepared by Dr. Michael D. Williams (now deceased), Pro¬
fessor of Musicology at Houston University, from manu¬
script parts furnished by the Toonkunst-Bibliotheek in Am¬
sterdam (MS HaufF 41). Cadenzas were by Geraldine
Walther. Some of the HaufF concertos may soon find their
way into print. 11
At end oF If 2: add: So Far nothing significant has been Found.
Addenda and Errata
After If 2: insert:
Amon composed three works for viola and orchestra:
Concerto in G Major, Op. 10 , 9 Concerto in E b Major, and
Theme avec Six Variations. In the original score of the Con¬
certo in G Major, the violist is required to tune his instru¬
ment a whole-step higher than the standard accordatura.
In the Concerto in E b Major the soloist must tune his viola
a half-step higher. These scordatura tunings were advisable
in order to give the very small violas in general use at that
time more resonance, but are not necessary at the present
time. Amon composed also a large amount of chamber mu¬
sic, which included important and interesting parts for the
viola. See also Volume II, Chapter IX, Scordatura for The
The catalogue of Georg Abraham Schneider’s works for
viola mentions the following: Concerto in C Major, in MS
(1788); Concerto in B b Major (Gombart, 1801?); Concer-
tante in D Major for Violin, Viola, and Orchestra, Op. 10
(Gombart, 1801?); Concertante for 2 Violas and Orchestra
(performed in Berlin in 1803, but the score has not been
found); 6 Solos for Unaccompanied Viola, Op. 18 (Gom¬
bart, 1804?); 3 Sonatas for Viola with Violin Acompani-
ment. Op. 18 (Breitkopf & Hartel, 1802); 3 Duos for Viola
with Accompanying Violin, Op. 30 (Breitkopf & Hartel,
1805); and also much chamber music which has ingratiating
parts for the viola. Material about Georg Abraham Schnei¬
der was furnished by Prof. Dr. Wolfgang Sawodny, of El-
chingen, Germany, in a letter to the author dated Septem¬
ber 6, 1981.
11 3, In 1: available (not: at hand).
fn 9 : The Amon Viola Concerto in G Major was brilliantly performed
by Walter Trampler, accompanied by the United States Air
Force Symphony Orchestra, conducted by Capt. Lowell
Graham, at the V International Viola Congress, hosted by
the Eastman School of Music. For the problems related to
editing the Amon Concertos for present-day performance
see: Louise Goldberg and Wolfgang Sawodny, “Johann An¬
dreas Amon and his Solo Works for Viola, ” The Viola Year¬
book of the International Viola Research Society (1979), pp.
47-54; and also see Rosemary Glyde, “Johann Andreas
Amon: Concerto pour l’Alto Viola Principale,” The Ameri¬
can Viola Society Newsletter, No. 14 (1978), pp. 6-8.
The History of the Viola
P. 313: column 3-4, insert: Mus Music (after: Ms Manuscript).
P. 314: after ALFONS, In 1: 1795 (not: 1894).
P. 316: If 1, In 3: Inna (not: luna).
1 2, In 1: insert after City,: d 1981 Philadelphia.
P. 317: If 6, In 1: Schneidemiihl (not: Schneidermiihl).
If 7, In 1: After Switzerland: d 1982.
P. 319: f 1, In 1: insert after France: d 1979 Wellesley, MA, USA.
P. 320: f 6, In 1: Cuneo, Piemonte (not: Coni, Piedmont).
P. 322: f 1, In 4: add: Also see Volume II.
P. 323: If 4, In 1: insert after England: d 1979, NYC.
P. 327: After If 3: insert: de Pasquale (p. 352); de Veritch (p. 368), in order
to conform with conventional alphabetized listings.
If 4, In 1: Escuela (not: Excuela).
If 5, In 3: Lowe (not: Lowe); Konzertverein Q (not: Konzertvereins
P. 328: If 1, In 3: Adolf (not: Adolph).
In 9: Engelmann (not: Engelman); add: Wrote Va obligato pts for
about half of Paganini’s Violin Caprices; re-Ed Carl Philipp
Emanuel Bach Trio Sonata, and Trans various shorter
works for Va.
If 2, In 1: after Austria: d 1989, NYC.
In 13-14: remove: Mannes Trio;
In 14: Yaltah (not: Yalta);
In 19, Beornmudo (not: Beornmundo);
In 21: Odessey (not: Odessy); BASF (not Basf);
In 23: remove: Worldwide.
Add at end: Also see Volume II.
P. 331: If 5, In 1: insert after b: 1755.
P. 335: insert after 1 2: GREITZER, SOL, b 1925 NYC, d 1989.
P. 336: If 5, In 1: 56 (not: 46).
Addenda and Errata
P. 339: If 2, In 1: after Scotland: d 1990.
If 4, add after Hungary: d Bloomington, Indiana 1989 at end of If:
Owned and played Andrea Guarneri Va.
If 5, In 2-3: Leon (not: Leon); Andre (not: Andre).
P. 341: If 4, In 1: after Conn.: d 1990 Los Angeles.
P. 342: If 1, after In 11: add: Sec’ty AVS 1981-1985.
P. 343: If 5, In 1: 1898 (not: 1897).
P. 344: If 5, In 1: insert after Ger.: d 1984 Bad Homburg, Ger.
P. 345: If 2, In 1: insert after SAMUEL: b 1887 NYC.
If 7, In 1: insert after PAL: b 1919, d 1981, Budapest.
P. 347: If 2, In 14: Gleghorn (not: Guyhorn); add at end: Also see Volume II.
P. 349: If 5, In 1: insert after Hungary: d 1985, Walnut Creek, CA; add at
end: Also see Volume II.
P. 350: If 7, In 1: NEDBAL (not NEDSAL); add at end: Also see Volume II,
Chapter XVII, The Viola in Czechoslovakia, by Tully Pot¬
P. 352: If 3, In 7-8: Willem, Robert, Joseph, and Frances (now deceased,
replaced by George Harpham, cellist), (not: William, Rob¬
ert, Joseph, & William Stokking (deceased) replaced by
George Harpham, cellist).
P. 353: If 2, In 1: b 1896 (not 1902); after France: d 1985.
P. 355: after If 2, insert: PREVOST, GERMAIN, b 1891 Tournai, Fr; d 1987
San Francisco. Also see Volume II.
If 3, In 1: August 23, 1904 (not: 1923); after Scotland: d 1982 in Provo,
add at end: Also see Volume II.
P. 356: If 6, In 1: 1933 (not: 1923).
P. 358: If 2, In 1: after Austria, insert: d 1987 Sunderland, Eng.
P. 360: If 5, In 1: after 1896; insert: d 1984.
P. 362: If 4, In 1: 1750 (not: 1754); after 1796 (not: c.1809).
If 5, In 1: 1745 (not: 1746).
P. 366: If 2, In 4: Phila, Los (not: Phila Los).
The History of the Viola
P. 370: If 2, In 2: Alberni Q (not: Albertini Q).
P. 371: If 3, In 2: Musik (not: Musick).
If 6, In 2: IVFG (not: VFG).
In 3: Musikschule (not: Musik Hochschule).
P. 374: If 1, In 1: CAYENTANO (not: CAKETANO).
P. 377: add at end of P. after languages:.
The word viola was a generic term in the Italian language
that usually referred to bowed string instruments, as op¬
posed to the terms lute and guitar, which referred generally
to plucked string instruments. As late as 1789, however,
there was sometimes a confusion of terms. This is illus¬
trated by the title of a five-stringed guitar tutor, Nova Arte
de Viola, by Manuel de Paixao Riberio (reprint available
from Minkoff Editeur, Geneva, 1985). Even in Spain today,
the author found the guitar being sometimes called a
P. 379: Besseler (not: Bessler).
P. 381: insert after Hoffmeister . . . :
Howes, Frank, The Music of William Walton, London:
Oxford University Press, 1965.
P. 383: If 3, In 3: add pp. 35-6.
P. 386: Bradshaw, Merrill: add: 364.
P. 388: Gardner, Maurice: add: 343.
Goldberg, Louise: insert: 309.
P. 392: Nedbal, Oscar (not: Nedsal).
P. 393: Ross, Gilbert: 308 (not: 114).
Sawodny, Wolfgang: insert: 118, 125-6, 128, 309.
insert after: Schneider, F. Louis 358: Schneider, Georg Abraham,
P. 395. Vuillaume: 159 (not: 150); insert 227.
Weisshaar (not: Weisshauer); insert: 34.
Library of Congress Card Number 79-66348
L.C. ML, 900, R43
Copyright © 1980, 1993 by Maurice W. Riley
Printed by Braun-Brumfield, Ann Arbor, Michigan, U.S.A.