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SUPPLEMENT 

TO 

THE HISTORY OF 
THE VIOLA 

VOLUME I 


Addenda and Errata 
May 1993 












Digitized by the Internet Archive 
in 2019 with funding from 
Brigham Young University 


https://archive.org/details/historyofviola1supp 


THE HISTORY OF THE VIOLA, 
VOLUME I, 


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.] 


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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¬ 
ment. 


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, 
1977”. 

P. 64: If 2, In 2: El Palacio Real (not: El Placido Royal). 


1 












2 


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 
Verlag, 1970. 

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 
harpsichord.” 

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-_ 

UPB 




Addenda and Errata 


3 


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: 


4 


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 


5 


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.”). 


6 


The History of the Viola 


If 3, In 5: Four (not: Three); insert after violists: Karl Doktor, before: 
Paul Doktor. 

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 
Center. 

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 


7 


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 
composer. 

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¬ 
poser intended. 

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 
expression. 

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 


8 


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 
(1770-1839), 

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 


9 


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 
Viola. 

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. 


10 


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 
quartette). 

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 


11 


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¬ 
ter. 

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, 
UT, USA; 

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). 


12 


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 
“viola.” 

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. 


INDEX 

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, 
309. 


P. 395. Vuillaume: 159 (not: 150); insert 227. 

Weisshaar (not: Weisshauer); insert: 34. 







Library of Congress Card Number 79-66348 

ISBN: 0-9603150-4-7 
0-9603150-5-5 

L.C. ML, 900, R43 

Copyright © 1980, 1993 by Maurice W. Riley 

Printed by Braun-Brumfield, Ann Arbor, Michigan, U.S.A.