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3 1822 00461 4657
UNIVERSITY OF CALIFORNIA, SAN DIEGO
A Study of Twentieth-Century Violin and Viola Duos,
Including Critical Reviews and Analyses of Selected Works
A dissertation submitted in partial satisfaction of the
requirements for the degree Doctor of Philosophy in
Music
by
Conrad David Bruderer

o\
Committee in charge:
Professor Bertram Turetzky, Chair
Professor Neal H. Bertram
Professor John Fonville
Professor Jose N. Onuchic
Professor Rand Steiger
1998
Reproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.
UMI Number: 9839494
Copyright 1998 by
Bruderer, Conrad David
All rights reserved.
UMI Microform 9839494

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iair
University of California. San Diego
1998
iii
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TABLE OF CONTENTS
Signature P a g e ....................................................................................... iii
Table of Contents................................................................................... iv
List of Figures......................................................................................... vi
List of T a b le s ......................................................................................... vii
List of Examples..................................................................................... viii
V ita ......................................................................................................... xi
Abstract................................................................................................... xii
I. Introduction............................................................................................ 1
II. A Neglected G e n re ................................................................................ 4
III. History and Function of Violin and Viola Duos................................... 9
Overview of Duo Repertoire............................................................ 9

Concert Duos..................................................................................... 11
Pedagogical Use of D u o s................................................................. 13
Historical Sketch of Violin and Viola Duo Literature from
Origins Through the Twentieth Century.................................... 17
The Twentieth-Century Duos: An O verview .................................. 31
IV. Critical Reviews of Twentieth Century Violin andViola D uos 42
V. Discography of Recorded Violin and Viola Duosof the

Twentieth Century................................................................................... 181
VI. List of Violin and Viola Duo Literature of the Twentieth

C e n tu ry ................................................................................................... 213
VII. Analyses of Selected W orks.................................................................. 235
Introduction....................................................................................... 235
Analysis of Divertimento. Op. 37, No. 2, byErnst T o c h ................ 237
Formal Analysis of Three Madrigals, for Violin and Viola,

by Bohuslav Martinu, Including a Motivic Analysis of the
First Movement........................................................................... 251
Analysis of Wallingford Riegger’s Variations, for Violin

and Viola , Op. 5 7 ....................................................................... 268
iv
Harmonic and Rhythmic Sets and Symmetries as Structural
Components in Ideas and Transformations, no. 1, for
Violin and Viola, by Kenneth G aburo..................................... 284
Analysis of Duetto, for Violin and Viola (1986) by Goffredo
Petrassi....................................................................................... 314
Analysis of Ingolf Dahl's Little Canonic Suite, for Violin

and Viola (1970)........................................................................ 331
Analysis of Duo Concertante. for Violin and Viola, by Paul
C hihara....................................................................................... 344
Works Consulted.................................................................................... 360
LIST OF FIGURES
Analysis of Divertimento. Op. 37, No. 2, by Ernst Toch

Figure 7 .1.-Formal melodic structure and keys of Divertimento . . . . 246
Analysis of Wallingford Riegger’s Variations, for Violin and Viola , Op. 57
Figure 7.2.-ClassicaI phrase structure in the theme............................. 270

Figure 7.3.-Pitches and pitch groups within the original r o w ............. 274
Figure 7.4.-Distribution of row permutations throughout Variations . 274
Figure 7.5.-12-tone matrix for the row ................................................ 275
Harmonic and Rhythmic Sets and Symmetries as Structural Components in

Ideas and Transformations. no. 1, for Violin and Viola, by Kenneth Gaburo
Figure 7.6.-Attack points per measure. Transformation: II. mm.

18-29, violin...................................................................................... 288
Figure 7.7.-Formal graph of Idea: I I I ................................................... 289
Figure 7.8.-Root-m otives..................................................................... 302
Figure 7.9.-Attack points of root-motives a and b and their
relationship to pc-sets A and B ........................................................ 303
Figure 7.10: a.-Motive C ....................................................................... 306
Figure 7.10: b.-Additional m otives...................................................... 306
Analysis of Duo Concertante. for Violin and Viola, by Paul Chihara
Figure 7.11. Formal Structure of Duo Concertante. first movement.. 345

Figure 7.12. Formal structure of Duo Concertante. third movement.. 354
vi
LIST OF TABLES
Table 3.1.-Categorized Dates of Composition of Violin and Viola Duos

Listed in Franz Zeyringer’s Literatur fur Viola, pp. 106-121 ............. 10
Discography of Recorded Violin and Viola Duos of the Twentieth Century
Table 5.1-Index to Composers.............................................................. 209

Table 5.2-Index to Violinists................................................................ 210
Table 5.3-Index to Violists..................................................................... 211
Table 5.4-Index to Ensem bles.............................................................. 212
Table 6.1.-List of Violin and Viola Duo Literature of the Twentieth

Century.................................................................................................... 214
Formal Analysis of Three Madrigals, for Violin and Viola, by Bohuslav

Martinu. Including a Motivic Analysis of the First Movement
Table 7.1 .-Development of motive “b,” mvt. o n e ............................... 262

Table 7.2.-Development of motive “b,” mvt. o n e ............................... 265
Table 7.3.-Development of theme “T.” mvt. o n e ............................... 266

Ideas and Transformations, no. I, for Violin and Viola, by Kenneth Gaburo
Table 7.4.-Permutations of sets A and B .............................................. 291
Analysis of Duetto, for violin and viola (1986) by Goffredo Petrassi
Table 7.5.-Hexachord set....................................................................... 325
Analysis of Ingolf Dahl's Little Canonic Suite, for Violin and Viola (1970)
Table 7.6.-Corresponding pitch realizations between violin and viola 335
vii
LIST OF EXAMPLES
Analysis of Divertimento. Op. 37, No. 2 by Ernst Toch

Example 7.1.-Movement one, mm. 1-7................................................ 238
Example 7.2.-Movement one, mm. 21-23 ........................................... 239
Example 7.5.-Movement one, mm. 38 -9 ............................................. 242
Example 7.6.-Movement one, mm. 62-5 ............................................. 242
Example 7.7-Movement two, mm. 1-8................................................ 243
Example 7.8.-Movement three, mm. 1-19........................................... 245
Example 7.9.-Movement three, mm. 40-41 ......................................... 246
Example 7. lO.-Movement three, mm. 115-116................................... 248
Formal Analysis of Three Madrigals, for Violin and Viola, by Bohuslav

Martinu. Including a Motivic Analysis of the First Movement
Example 7.11 -Movement one, mm. 1-8.............................................. 253
Example 7.l2.-Movement one, principal theme, mm. 14-17 ............. 254
Example 7.13.- Movement one, second theme and closing theme . . . 254
Example 7.14-Movement two, mm. 1-2.............................................. 255
Example 7.15.-Movement three, mm. 1-5........................................... 256
Example 7.16.-Reference to mvt. two within mvt. three, mm. 38-40 . 257
Example 7.17-Movement three, second theme, mm. 48-54 ............... 257
Example 7.18.-Movement three, closing theme, mm. 62-67 ............... 258
Example 7.19. Theme “T” and motives “a” and “b,” mvt. one, m. 1 . 260
Analysis of Wallingford Riegger’s Variations, for Violin and Viola, Op. 57

Example 7.20.-Measures 1-7 of the th e m e ......................................... 270
Example 7.21.-The final two measures of Variation I V ..................... 273
Example 7.22.-Variation III, mm. 10-11 .............................................. 276
Example 7.23.-Variation VII, mm. 5 - 6 ................................................ 276
Example 7.24.-Variation VIII, mm. 1 4 -1 6 ......................................... 277
Example 7.25: a.-Variation I, mm. 1 1 -1 3 ........................................... 279
Example 7.25: b.-Variation VI, mm. 24-25 .......................................... 279
Example 7.25: c.—Variation IX, mm. 10-13.......................................... 279

Ideas and Transformations. no. I, for Violin and Viola, by Kenneth Gaburo
Example 7.26: a. b. and c.-Idea: I. mm. 1-4 ........................................ 293

Example 7.27.-Symmetrical pc-sets. Transformation: II. mm. 10-12 . 298
Example 7.28.-Symmetrical pc-sets. Transformation: III, mm. 22-23 299
Example 7.29.-CircuIar pc-set placement. Transformation: I.
mm. 23-25 ........................................................................................ 299
Example 7.30.-Symmetrical pc-sets. Transformation: III, mm. 14-18 300
Example 7.31.-Symmetrically Dyadic pitch relationships, Idea: I I I . . 300
Example 7.32: a and b.-Idea: 1. mm. 5-6 and 4 - 5 ................................ 302
Example 7.33.-Root-motive a .............................................................. 302
Example 7.34: a and b.-Root-motive b ................................................ 302
Example 7.35: a and b.-Variants of rhythmic set b ............................. 303
Example 7.36: a and b.-Unions of rhythmic sets a and b ................... 304
Example 7.37: a and b.-Symmetrical rhythmic conglomerates 305
Example 7.38.-Rhythmic and pitch symmetry. Idea: I. m. 2, viola .. 308
Example 7.39.-Rhythmic and pitch symmetry. Idea: I. mm. 2-3,
violin................................................................................................. 309
Example 7.40.-Rhythmic and pitch symmetry. Idea: I. mm. 3-4 . . . . 310
Example 7.41.-Layered pitch symmetry in Idea: I. mm. 6-8, viola . . . 311
Example 7.42.-Pitch symmetry in Idea: I. mm. 6 -8 ............................. 311
Analysis of Duetto, for violin and viola (1986) by Goffredo Petrassi
Example 7.43.-Accompaniment, mm. 1-2, viola............................. 316

Example 7.44.-Accompaniment “interruptions,” mm. 22-23, violin . . 316
Example 7.45,-Initial appearance of the thematic group, mm. 7-17 .. 317
Example 7.46.-First thematic variation, mm. 19-28, v io la ............ 319
Example 7.47.-Second variation, mm. 31-34, violin....................... 320
Example 7.48.-Transition between variations one and two,
mm. 28-31 ......................................................................................... 320
Example 7.49.-Measures 57-58, v io lin ........................................... 321
Example 7.50.-Measures 74-77 ............................................................. 322
Example 7.51.-Single gesture in both instruments. Page ten, lines 1-2 322
Example 7.52.- Single gesture in both instruments. Page ten, line 4 . 323
Example 7.53.-Combination of varying timbres within a single
gesture............................................................................................... 323
Example 7.54.-Theme (excerpt), mm. 10-13, v io lin ...................... 327
Example 7.55.-Development (excerpt), mm. 60-61 ............................. 327
Example 7.56.-Chordal response, mm. 12-16, violin...................... 328
Example 7.57. Symmetrical permutations, mm. 37-41 ....................... 329
Example 7.58.-Common rhythmic basis and pc-set........................ 329
Analysis of Ingolf Dahl’s Little Canonic Suite, for Violin and Viola (1970)
Example 7.59.-Measures 1-4 and 24-27 ................................................ 331

Example 7.60: a and b.-First movement, mm. 9-10 and 18-19........... 334
Example 7.61.-Movement one, mm. 1 - 3 .............................................. 336
Example 7.62.-Comparison of mm. 13-14 with mm. 23-24, mvt. two . 337
Example 7.63.-Beginning of mvt. tw o .................................................. 339
Example 7.64.-Movement three, mm. 14-18........................................ 341
Example 7.65. Beginning of mvt fo u r.................................................. 342
Example 7.66. Accompaniment figure in mvt. four, violin................. 342
ix
Analysis of Duo Concertante. for Violin and Viola, by Paul Chihara
Example 7.67-Movement one, mm. 1-6.............................................. 346
Example 7.68.-Movement one, mm. 7 -1 0 ............................................ 346
Example 7.69.-Movement one, mm. 13-17.......................................... 347
Example 7.70.-Movement one, mm. 20-30 ......................................... 348
Example 7.73.-Movement one, mm. 51 -5 4 ......................................... 349
Example 7.74.-Movement one, mm. 84-85 .......................................... 350
Example 7.75.-Movement one, mm. 89-91 .......................................... 351
Example 7.76.-Movement one, mm. 106-107 ...................................... 351
Example 7.77.-Movement one, mm. 114-115...................................... 352
Example 7.78.-Movement one, mm. 127-134...................................... 352
Example 7.79.-Movement two, mm. 1-4.............................................. 353
Example 7.80.-Movement two, mm. 9-14............................................ 354
Example 7.81 .-Movement three, mm. 4 -5 ............................................ 355
Example 7.82.-Movement three, mm. 16-23 ........................................ 356
Vita
EDUCATION
Ph.D., 1998: University of California, San Diego. Emphasis in Critical Studies
M.M. Master of Music Degree, 1990: The Wichita State University
B.M. Bachelor of Music Degree, 1988: San Diego State University
Summer Studies at The Music Academy of the West* Santa Barbara, California
TEACHERS and MASTER CLASSES

Donald Mclnnes Janos Negyesy Benson Headley Howard Hill
PUBLICATIONS
“An Analysis of Bela Bartok’s Concerto for Viola and Orchestra. Second
Movement,” in Journal of the American Viola Society. May, 1994
TEACHING EXPERIENCE
Instructor of Strings: Bethel College, Newton, Kansas, 1990-91
Applied Teacher of Violin, Part-time: The Wichita State University, 1991
Teacher Assistant to Janos Negyesy in Chamber Music: University of California,
San Diego, 1992-94
Apprentice Teacher to Bertram Turetzky in Chamber Music: University of
California. San Diego, 1992
Instructor of Violin and Viola: Community Music School, San Diego State
University, 1992-present
ORCHESTRAL EXPERIENCE
Opera Pacific, Section Viola, 1997-present: Patrick L. Veitch, General Director
Pacific Symphony Orchestra, Substitute Viola, 1994-present: Carl St. Clair, Music
Director
The Wichita Symphony Orchestra, Section Viola, 1989-91: Michael Palmer, Music
Director; Zuohuang Chen, Music Director
The San Diego Symphony, Substitute Viola, 1991-95: Yoav Talmi. Music Director
SCHOLARSHIPS and AWARDS

Graduate Stipend for Viola: University of California, San Diego, 1991-92
Graduate Assistantship for Orchestral Playing: The Wichita State University, 1989
The Ellen Woolley Scholarship for Chamber Music and Orchestral Playing:
San Diego State University, 1988-89
Winner The Academic Achievement Award in Music: San Diego State University,
1987
Winner: Annual Performance Awards, San Diego State University, 1984-89
xi
perm ission of the copyright owner. Further reproduction prohibited without permission.
ABSTRACT OF THE DISSERTATION
A Study of Twentieth-Century Violin and Viola Duos,
Including Critical Reviews and Analyses of Selected Works
by
Doctor of Philosophy in Music
University of California, San Diego, 1998
Professor Bertram Turetzky, Chair
As a distinct genre and subject, twentieth-century violin and viola duos have
not been examined in depth or detail. Existing catalogues which list works for this
ensemble are incomplete and historical information concerning the genre as a whole
is sparse. Only a few brief articles concerning twentieth-century violin and viola
duos and one analysis of a work have been published. The genre is even considered
by many to be of non-standard instrumentation. Yet, the combination of violin and
viola is unquestionably viable and has been chosen as a means of expression by at
least 360 composers during this century alone. Over 400 modem works for the
combination have been written and scores and/or parts for approximately 200 of
perm ission of the copyright owner. Further reproduction prohibited without perm ission.
these duos are readily available. In addition, recordings of 26 compositions have
been released commercially.

This dissertation addresses the under-researched topic of twentieth-century
violin and viola duos. First it is shown that the topic has not been adequately studied
and possible reasons for this are given. Second, the musical function of duos is
discussed and a historical groundwork is established which traces duo literature from
the seventeenth century. An overview of the modem violin and viola duos follows.
Next, critical reviews of 202 works and a discography of recorded duos, both
commercial and non-commercial, precede a list of titles, composers, publishers and
referential listings of over 400 violin and viola duos. Finally, analyses of seven of
the more prominent twentieth-century violin and viola duos are presented.
xiii
I. INTRODUCTION
This [violin and viola] is in fact a highly attractive combination: the

addition of four notes lower than the violin’s bottom G string adds a
surprising depth and richness, in comparison to the combination of
two violins. The key works in this repertoire, indeed the only works
at all known generally for this combination are the two duets in G and
B flat (K. 423 and 424) by Wolfgang Amadeus Mozart (1756-1791),
composed in 1783.1
In the preceding excerpt from his article in Strad. Peter Marcan, one of the
few investigators into violin and viola duo literature, summarizes the qualities and
potential of this ensemble. Karl Kroeger, in a review of Quincy Porter’s Duo for
violin and viola, presents a contrasting view of the genre:

Quincy Porter’s Duo . . . does represent a serious attempt to come to
grips with a difficult and not terribly rewarding medium. Without a
real bass instrument, and because of the similarity between the sound
of the two instruments in various segments of their tonal range, the
medium is often less than successful; and few serious efforts have
been made to write in it. Porter has made an admirable try, and, on
the whole, has been remarkably successful.2
When Marcan’s and Kroeger’s differing opinions regarding the merits of the
medium are put aside, however, both authors apparently agree that there is a limited
repertoire for the combination of violin and viola. Since the publication of these
reviews over twenty years ago, little has changed regarding the general knowledge of
violin and viola duos. Aside from the duos of Mozart, perhaps the only other work
1 Peter Marcan, “Music for Violin and Viola,” The Strad. 86 (February,
1976) p. 743.
2 Karl Kroeger, Review of Duo for Violin and Viola, by Quincy Porter. In
“Music Reviews,” Frank C. Campbell, David Ossenkop and David Stam, eds. Notes
21 (Winter-Spring, 1963-64) p. 262.
2
for this combination which is widely known is Three Madrigals, composed by

Bohuslav Martinu in 1947.3 Yet there is no valid reason inherent to the genre which
suggests this literature should be unfamiliar.

An examination of the modem violin and viola duos shows that more than a
mere “few serious efforts” to write for the combination have been made. In fact, this
study dispels the entirety of Karl Kroeger’s apparent dismissal of the medium. The
combination presents a gratifying and substantial genre of chamber music. The two
instruments have the unique potential to blend or remain distinct in tone, and the lack
of a “real bass instrument” noted by Kroeger does not seem to present a problem to
the skilled composer. As a testimony to its potential, the violin and viola duo has
proven compelling to a great number of twentieth-century composers: nearly 440

works for violin and viola have been written during this century, representing more
than 360 composers. Approximately 200 of these duos have been published or are
obtainable in manuscript form. Also, several works scored for unspecified
instrumentation are possible additions to the repertoire. Even with such availability,
however, the violin and viola duo is not considered a standard genre.
This investigation will first show that the violin and viola duo of the
twentieth century has not been adequately studied and present possible reasons for
this. Subsequently, a discussion concerning the function of duos and a summarized
history of string duos with an emphasis on works for violin and viola provides a
context in which the violin and viola duos of this century can be understood. Then,
an overview of the twentieth-century compositions is presented. Next is a detailed
* The asterisk (*) indicates a work analyzed in the chapter “Analyses of

Selected Works.”
3 Even those who are familiar with Martinu’s Three Madrigals are often
surprised to learn that he composed a second duo for violin and viola in 1950, the
Duo, no. 2, Paris: Editions Max Eschig, 1964.
3
examination of the repertoire, including a list o f obtainable scores (both published
and unpublished) with critical descriptions and bibliographic information concerning
each work. A discography of recorded twentieth-century duos and a list of
twentieth-century works written for violin and viola follow. Finally, in order to
show the musical depth of the repertoire, analyses of seven prominent compositions
for violin and viola are presented.

This work is intended for the violist as part of the continuing research into
literature for the viola4 and also for use by violinists and others interested in the
chamber music of our day. The critical reviews should prove useful to researchers,
performers and teachers. To be of further assistance, brief descriptions of concert

works are arranged by style and pedagogical literature is discussed as a separate
category in the section “Overview of Modem Duos.” The analyses should be
particularly useful to the performer, as a performance-oriented outlook was
maintained during the preparation of each. The selection of works for analysis is
representative of the various styles found in the genre. This does not suggest that
only these seven works deserve analysis.
4 This research began earlier this century and is being continued today by
such notable researchers as David Dalton, Tully Potter, Maurice Riley, Thomas
Tatton and Franz Zeyringer.
II. A NEGLECTED GENRE
Kroeger’s point of view, that the combination of violin and viola lacks solid
repertoire, is a misconception. To a great extent, this genre has simply been ignored.
As with most classifications of string duo literature, violin and viola duo literature,
especially that of the twentieth century, is relatively unknown and as a subject has
not been adequately studied. Yet the quality and quantity of the repertoire warrant
investigation, documentation and cataloguing. There are only two dissertations
which examine eighteenth-century violin and viola duo literature and a handful of
brief articles and reviews which discuss twentieth-century works. Only one analysis
of a modem violin and viola duo has been published.5 Even when the scope of
research is broadened to include generalized information concerning string duos,
source materials do not exist or are not always relevant. In many general references,
string duos are treated as insignificant. As an example, in Cobbett’s Cyclopedic

Survey of Chamber Music, still considered by many as one of the more important
sources for listings and descriptions of chamber music, W. Henley’s article “Duets
for Strings” states: ‘T hey [string duos| are mostly to be treated as teaching material,
especially the innumerable duets written for two violins unaccompanied .. .”6 The
article dismisses the entire subject of violin and viola duos in three sentences: “.. .
5 The only published analysis of a violin and viola duo is by Jorge Barron
Corvera: “Harmonic Aspects of Manuel Ponce’s Sonata a Duo (19381 for Violin and
Viola.” Journal of the American Viola Society Vol. 11, no. 3 (1985) 9-17.
6 W. Henley, “Duets for Strings.” Cobbett’s Cyclopedic Survey of Chamber

Music, vol. 3, 2nd ed. Colin Mason, editor. New York: Oxford University Press,
1963.
with perm ission of the copyright owner. Further reproduction prohibited without permission
5
these are not very numerous, many of those which do exist being arrangements.
Among the more important are works by Haensel, the two Haydns, Fiorillo and
Pieyel. There are also two by Mozart, K 423, K 424.,T7 The dearth of information
concerning violin and viola duos and string duos extends to the New Grove and other
common resources.8 Without adequate historical source materials it is not surprising
that relatively few works of this genre are heard, much less studied.
One likely factor which has contributed to the neglect of the genre is a bias
against the viola as a solo instrument. Violists have long contended with an adverse
general opinion of their instrument and its literature. Franz Zeyringer, one of today’s
leading researchers of solo viola repertoire, summarizes and comments upon these
opinions: ‘T he viola is a bastard instrument It was never and never will be
considered a solo instrument. There is too little music written for the viola for one to
become really serious about it anyway. To a certain extent this opinion remains even
today, but stems from a superficial knowledge of the matter.”9 An example of a
typically condescending statement toward violists, perhaps inadvertendy so, is found
in Philip T. Barford’s review of Duo for violin and viola, by Nikos Skalkottas.
Barford does not note the equity (or inequity) between the parts, but mendons that
the double-stopping in the work would present problems to the .. average viola-
amateur, who is frequendy a violinist manque wishing to make himself useful in the
local orchestra,” further stadng ‘T he violin line should present no difficulties to a
7 Ibid.
8 Martha Anne Edge also notes the lack of available information concerning
duos in several sources. Martha Anne Edge, Violin and Viola Duos of the Late
Eighteenth and Early Nineteenth Centuries. Masters Thesis: University of Victoria,
1992, p. 3.
9 Franz Zeyringer, Literatur fur Viola. Hartberg: Verlag Julius Schonwetter,
1985, p. 45.
6
competent violinist” At least later in the article Barford implies that both violinist
and violist would be challenged by the work’s twelve-tone structure.10 Violists of
today should be outraged by such characterization. However, this review was
published in 1962 and Barford may have been merely portraying the attitudes and,
perhaps, general state of viola playing of that year.11
It is Zeyringer’s contention that the frequently assumed status of the viola as

subordinate to the violin is due to a stylistic preference for the outer voices, as
opposed to the middle register. This trend began in the late eighteenth century.12
Though poorly constructed inner voices which are left technically undemanding
often result from this stylistic preference, it can not be then concluded that the viola
is an inferior instrument to the violin. In Zeyringer’s words: ‘T he viola has the same
technical potential as the violin; its tone has strength, nobility and carrying power.
These characteristics were exploited by great musicians of every age who, having an
affinity for the viola, used it as a solo instrument.” 13
10 Barford, Philip T. Review of Duo per Violino e Viola, by Nikos

Skalkottas. In “Reviews of Music,” The Music Review 23 (1962), p. 171.
11 Another example of condescension toward violists is discussed by Edge,

who notes the disparaging manner in which string duos as a subject are treated by
Cobbett’s. and considers the remarks to be characteristic of the stereotypical views
of violists and the viola in the early twentieth century. Edge, xi.
12 Zeyringer also contends with the common reference to violins, violas,
violoncellos and contrabasses as being members of the “violin family.” On pages 45-
48, Zeyringer traces a history of the viola, or more specifically, the rivalry of two
string instrument families: the viola da gamba and the viola da braccio. The latter
instrument, during its early development in the sixteenth century most frequently
resembled the modem viola in tone, pitch and function, and eventually superseded
the viola da gamba in importance and use. Also, the discant (upper) voice was
generally subordinate to the tenor (middle) voice during the sixteenth century. For
these reasons, Zeyringer concludes that the viola, as a member of the “viola da
braccio family,” rather than the violin, should correctly be called the “mother of our
present day stringed instruments.”
13 Zeyringer, p. 45.
7
An in-depth examination of the twentieth-century violin and viola duo
literature reveals with few exceptions an equality between the two instrumental parts.
While frequently treated in different ways, the violin and viola are given equal roles
in almost all of the twentieth-century duos. This alone does not prove that the viola
has finally “come into its own” but does hint at the possibility. Concluding that the
viola has finally “arrived” can not be drawn simply from an examination of a single
genre. It would also be necessary to study the contents of concert programs,
admissions requirements to universities and conservatories, examine other chamber

and solo genres, and so forth.14 Perhaps the proof of the establishment of the viola as
a solo instrument in this century will not be seen by the researchers of today, but by
future historians who will have a time-tested perspective. Nevertheless, it should be
gratifying to the violist of today to know there is an entire genre of literature in

which the viola is treated equally to, though often differently than, the violin: in
other words, a literature in which the viola is treated as a separate, distinct and viable
instrument15
A second reason that the violin and viola duo literature has not been
adequately studied is that it has been overshadowed by other chamber genres. The
14 Even so, in certain contexts, the viola will not achieve more than it already
has: in a nineteenth-century setting the viola will behave accordingly. The viola will
never have a Beethoven, Mendelssohn or Tchaikovsky concerto with a status
equivalent to that of the violin concerti by these composers. Though a modem viola
equivalent thereof could be composed, the context would not be the same. Even
should this new equivalent be a masterpiece in its own right, the traditions behind
these great violin concerti will never be exactly matched.
15 On the whole, composers of this century do seem to be treating the viola as
a unique instrument capable of a solo role. Violists must encourage the continuation
of this trend, not only by performing the rich repertoire that exists already, but by
becoming viola advocates-requesting and performing new works for the viola. The
standard for this “advocacy approach” to the viola was set by the early twentieth-
century great, Lionel Tertis, who insisted on performing the viola and implored
composers to write works for him to play. This legacy must continue.
8
lack of research on the subject, though regrettable, is understandable. It may simply

be the result of direct comparison to, and indirect competition with, other more
prevalent chamber music forms which are treated with higher regard by composers
and musicologists. While detailed information concerning string duos would be

welcomed, their importance from a historical standpoint is not comparable to that of
genres such as the trio sonata and string quartet. The trio sonata, though it lacked a
completely standardized instrumentation, was the most established form of chamber
music during the Baroque Era. The string quartet, since its origin in the late
eighteenth century, has become established as the main medium and vehicle for
chamber music. This genre frequently appears as “absolute” music, written without
regard for performers or events, often a “non-Gebrauchsmusik” sort of rite-of-
passage for the composer in which mastery of four parts in a full harmonic range is
expected. One can clearly trace the development of the string quartet: it reached the
level of concert music in Haydn’s String Quartets, op. 76, was pushed to the frontiers
of nineteenth-century composition by Beethoven, continued the push toward
modernity in the works of Bartok, and is still at the forefront of today’s music with
composers such as Helmut Lachenmann, George Crumb and Brian Femeyhough. In
contrast, there is a certain practicality to the duo: only two parts are needed (though
the essentials of chamber music remain unchanged) and compositional techniques
tend to be reflective of, rather than at the forefront of, established style. Its history is
tied to pedagogical literature and Hausmusik. Only during this century has the genre
been used, though somewhat infrequently, as concert music.
III. HISTORY AND FUNCTION OF VIOLIN AND VIOLA DUOS
In order to establish a context for studying modem violin and viola duos, one
must examine their function and history. The insufficiency of published research on
the subject of violin and viola duo literature, however, necessitates inclusion of
research concerning other duo genres. Duos can be classified by their intended or
most appropriate usage as concert duos, Hausmusik (music for amateurs), or
pedagogical works. Often, a single duo falls into more than one of these categories.
The subsequent section presents an overview of the duo repertoire. Concert duos
and pedagogical use of duo literature are then examined. A historical sketch of
violin and viola duo literature, including a discussion concerning Hausmusik.
follows.
Overview of Duo Repertoire
Unique in music literature, duos are generally less formal than more standard
chamber genres such as sonatas for violin and piano, string quartets or trio sonatas.
A striking characteristic of the duo is its practicality. It requires only two
performers, yet is complete in form. The duo fits neatly into recitals or pedagogical
plans and a variety of works in nearly any style can be found.

W. Henley, in Cobbett’s. lists three periods of composition in the history of
string duet literature: the end of the seventeenth century to circa 1735, circa 1735
until the latter part of the eighteenth century, and the later eighteenth century and
10
most of the nineteenth.16 A fourth period, that of twentieth century string duos,
should be added. In contrast, a cursory survey of all listed violin and viola duos in
Zeyringer’s Literatur fur Viola 1985 edition, the most complete listing of existing
violin and viola duos of all eras, reveals two main periods of composition.
Approximately 41% of the total listed opii were composed between the years 1750
and 1825, which correspond to the Classical Era. Approximately 53% of the listed
works originate in the twentieth century.17 Table 3.1, see below, lists the results
of this survey. Though these figures apparently attribute the majority of the
Table 3 .1.-Categorized Dates of Composition of Violin and Viola Duos Listed in

Franz Zevringer’s Literatur fur Viola, p p . 106-121.
Dates of Composition % of Total Compositions
before 1750 .85

1750- 1825 41.33
(unsure, c. 1825) (68)
1826-1900 4.25
Twentieth century 52.89
works to the twentieth century, the survey may skew the results for two reasons.
First, most of the opii of the Classical Era are in sets of three or six duos, as was
customary, while modem works usually consist of a single duo. If individual duos
were tallied. Classical duos would greatly outnumber modem works. Second, a
greater number of Classical duos may have been lost over the years (especially those
works which were not published).18 This survey reveals that over ninety-four
16 W. Henley, p. 341.
17 This survey only includes those duos listed on pages 106-121 of Literatur
fur Viola which are designated as original compositions (as opposed to
arrangements).
18 Countless works were lost during the heavy bombardments of Europe
during the world wars.
11
percent of the listed duos originated in the Classical and Modern eras and only close
to four percent of the opii were composed between the years 1826 and 1900. A
confirmation of this finding is found in William S. Newman’s survey of nineteenth-
century sonata settings listed in the cumulative volumes of Hofmeister.19 Of 115

listed duos of mixed (unlike) instrumentation without piano, 51 were composed
between 1800-1828 and 49 originated between 1815-1843. Only 15 of the listed
works were written between 1843 and the end of the nineteenth century.
Concert Duos
Chamber music is the medium between the extremes of solo and orchestral
performance: one must, in chamber music, be able to perform the parts with the
strength and conviction of a soloist, yet blend, balance and accompany as an

orchestral player. The duo. the smallest ensemble form of chamber music, still
contains all these essential characteristics. Nevertheless, while it is common for the
string soloist to join with a pianist and perform sonatas (essentially piano and string
duos), it is less frequent for the same soloist to perform in duo with another string
player. Why do the great chamber musicians that constitute established string
quartets, for instance, perform almost exclusively string quartet literature? Peter
Marcan laments: “It is to be regretted that chamber musicians do not include in their
programmes more often works for instrumental duet: interesting programmes could
be constructed if a string quartet for example at times broke up into trios and duos.”20
One work that is rarely heard but specifically intended for this purpose is the
Divertimento, op. 37 nos. 1 and 2 (1926), composed by Ernst Toch and dedicated to
19 William S. Newman, The Sonata Since Beethoven. New York: W. W.

Norton and Co., 1983, p. 94.
20 Marcan. p. 753.
12
the Vienna String Q uartet21 The first duo (op. 37, no. 1) is scored for violin and
cello and the second (* op. 37, no. 2) is for violin and viola, thereby involving the
complete quartet though in pairs. A similar example is Three Duos, for String Trio,
by Robert Pollock, the three movements of which are performed in turn by violin
and viola, violin and cello, and viola and cello.22 Obviously, numerous other works
could be presented by part of a quartet adding variety to programs and bringing

special attention to the talents of each performer in the ensemble. Perhaps it is the
overwhelming number of excellent string quartets from which to select repertoire,
unawareness of the repertoire for other ensembles, the challenge of interesting
programming, the perception that the audience expects to see four performers on
stage, or even a concern about the generally diminished volume of a smaller
ensemble that deter quartet ensembles from utilizing duos and trios in concert as
much as they could. In fact, the duo need not have a thinner sound than that of larger
string ensembles. Two examples of works which exemplify the potential rich, full
sound of the duo are the duets of Mozart, K. 423 and 424, and ‘Three Madrigals, by
Martinu. Kenneth Dommett writes o f the strong sonorities of these compositions
and notes the differing means of tone production utilized by each of these
composers.23
Concert music intended for professional performance in the form of the string
duo is a relatively new phenomenon. All but a few of the string duos written before
21 Mainz: B. Schott’s Sohne, 1926.

*The asterisk (*) indicates a work analyzed in the chapter “Analyses of
Selected Works.”
22 Association for the Promotion of New Music, 1980.
23 Martinu. The Dartington Ensemble. Oliver Butterworth, violin and
Patrick Ireland, viola. Hyperion Records, Ltd. A66I3.
13
the twentieth century were intended for amateurs or to be used as pedagogical

material. By today’s standards, Mozart’s two duos, K. 423 and 424, which are likely
the most performed violin and viola duos of all time, are considered concert
repertoire. However, these works were originally written for amateur players.24 The
first significant violin and viola duo intended for professional players may, in fact,
be Toch’s ‘Divertimento, op. 37, no. 2, composed in 1926. It was approximately at
this date that concert repertoire for violin and viola began to be written for the
professional ensemble.
Pedagogical Use o f Duos
Since the emergence of the duo, one of its most practical and traditional
applications has been in pedagogy. Duos can assist the instructor in assessing and
encouraging the musicality of the student, and help the student by allowing him to
directly compare his phrasing, rhythm and technique with that of his teacher. While
many string duos are specifically intended as etudes, several concert pieces and
works written for amateurs are also appropriate pedagogical material (for examples,
see p. 39).
Likely for their practical application in the private lesson, most pedagogical
duets are for same-instrument combinations. Though string duos of the eighteenth
and early nineteenth centuries which were specifically intended as pedagogical
studies are predominantly scored for two violins, most of the violin and viola duos
from this era are also appropriate for, and have been used in, instruction. Duos
scored for dissimilar instrumental combinations, however, may have the greater
musical potential, as implied by Marcan.25 Since violin teachers often teach viola
24 The genesis of Mozart’s violin and viola duos is related by Maurice Riley
in The History of the Viola.
14
(and vice versa), the violin and viola duo may also have a greater pedagogical
potential than do most other duo works for two different instruments.
Pedagogical use of the duo can help to solve a common problem in the
private lesson situation: too often a student is pushed through etudes and solo works
without learning to sense the ensemble aspects of performance. This includes
communication, reaction, cooperation in musical direction, proper balance of

dynamics, matched articulation, etc. These practical skills are imperative when
performing with other musicians, regardless of the size of the ensemble. As the
teacher must prepare the student for solo, chamber and orchestral performance, the
duo, which acts on all three levels within the confines of the student/teacher
relationship, should be an integral part of the private lesson. In the preface to a set of
six instructional duets dating from 1759, the eighteenth-century flutist and
pedagogue Johann Joachim Quantz describes the benefits of duets in instrumental
instruction:
Through them [duos] one becomes, first, more sure in the
correct and exact observation of the value of notes, and of time in
general, since an associated concertante part, that usually has counter-
motion, is always heard. Through them in addition one gradually
acquires a feeling for the effects of harmony, and for phrases that
form suspensions against one another, and imitate one another,
particularly since the complete harmony needed in the duet is always
heard. Finally, through duets one prepares oneself for the sure and
exact execution of any part that does not proceed with the same
motion as the others, and must hold its own by itself against a
different motion in the other parts; and in this way much less
difficulty will be encountered in the performance of concertos for two
or more instruments.
None of these indispensable benefits can be obtained entirely
through the practice of little pieces in which there is only one
predominant melody, or through the practice of concertos and solos.26
25 Marcan, p. 743. See the quotation on p. 1.

26 Johann Joachim Quantz, “Preface” to Opera Secunda. trans. Edward R
Reilly in “Further Musical Examples for Quantz’s Versuch.” in Journal of the
American Musicological Society, vol. 17, no. 2 (1964), 162-3.
15
The consistent pedagogical use of duos, whether played by student and teacher or by
two students, can help provide the student with the necessary background for future
musical activities. Too often, chamber music is left to be learned as an adult and
orchestral techniques to be acquired, as if through osmosis, in an orchestra. Yet

most professional and amateur music making revolves around chamber and
orchestral ensembles.
While duet playing can provide good ensemble experience within the setting
of the private lesson, it should not be a substitute for accompaniment of the student.
Morrette Rider, in an article in The Instrumentalist, discusses the utilization of violin
duos in private lessons and suggests that students should share part of their lesson
times to devote to duet playing. “Although there are numerous advantages to be
found in the study of the duet, I believe the most vital ones are in the development of
sight reading skills, the acquiring of knowledge about interpretive styles of the
various musical periods, and the advancement of truly musical playing, including the
balancing of parts in their proper relation and the blending of tone, vibrato, and
bowings.”27 Rider also believes that it is the intermediate level student, in particular,
who benefits from duet study, as it is critical for students of this level to explore
music of various styles and periods. In addition, the technical difficulties within the
selected duets should not be too far above the grasp of the student if musical playing
is the desired end, and the duos should be relatively sight-readable by the student.28
In another article advocating the use of duos in private instruction, Thomas
Filas explains that the greatest pedagogical property, or “ultimate value,” of the duo
is the necessity of the players to focus on and tune the vertical interval between parts.
27 Morette Rider, ‘T he Violin Duet-a Neglected Ensemble,” in “NSOA

Soundpost,” Ed. Howard Olsen, The Instrumentalist 20 (January, 1966). p. 79.
28 Ibid.
16
“Since one is usually playing music with (or against) another, the study of musical
“togetherness” must properly begin with the basic form, the duet. This very
simplicity is the why of the duet, and the source of its great pedagogical value. It
reduces the problem of playing together to the first form: two solo voices with an
interval between them.”29 Filas states that one essential difference between the
professional and student is the ability of the professional to adjust to the correct
vertical interval. This should be taught from the beginning. As the “basic form,” the
duet is the beginning of all chamber and orchestral music. ‘T he duet expands to the
trio, quartet, quintet, chamber group, small orchestra, and finally to the large group.
The problem is essentially the same; only the numbers differ.”30
Duo playing by student and teacher, where melodic and accompaniment
figures are interchanged between the parts, allows the student to compare his playing
directly with that of the teacher. Presumably, the student can hear proper phrasing
and musical execution together with their corresponding techniques. Also, proper
timing can be monitored, as simultaneous rhythms must align, counterpointed
rhythms must interlock and phrasing must be in agreement. In short, all aspects of
chamber music are found in the duo. Rider states: ‘T he complete homogeneity of
two like-string instruments provides opportunity for the student to experience all the
obligations and values of the intimate chamber ensemble in a good teaching situation
where guidance can accompany the introduction of the student to the music.”31
Study of duet literature can also be utilized when a student changes from
violin to viola. In Literatur fiir Viola. Zeyringer proves there is an abundance of
29 Thomas Filas, “Why Duets?” The Instrumentalist 22 (February. 1968). p.

40.
30 Ibid.
31 Rider, p. 80. Unfortunately, among half a dozen works recommended by

Rider, the only listed modem work is 44 Duets by Bartok.
17
original viola literature of every genre and era. Yet in his conclusion Zeyringer
notes:
There is a branch of the [violaj literature that is relatively weak,
however, in regard to original works. This paucity exists in the area
of pedagogical materials and elementary instructional methods for
beginners. This condition is understandable. The main body of
violists always came and continues to emerge from the ranks of the
violinists. Formerly, there were no beginners on viola who had not
had earlier preparation on the violin. Even today there are few
schools in which beginning instruction is given on viola. Because of
this, composers found no inducement to write easy viola music and
methods for the viola; nor was it lucrative for a firm to publish such
music. There was simply not enough demand.32
To address this situation, those violin and viola duos specifically intended as
pedagogical pieces are discussed on p. 39. Each is reviewed separately in the section
“Critical Reviews.” Most of these works can be utilized by beginning or newly
“converted” violists as easy introductions or transitions to the larger instrument, the
alto clef and new techniques. The violinist who is making the transition to viola
could leam the violin part of a given duo prior to studying the viola part of the same
work. This may assist in the change of instrument, allowing for direct comparison of
musical materials and corresponding technical differences in execution between
violin and viola.
Historical Sketch of Violin and Viola Duo Literature from
Origins Through the Twentieth Century
The origins of the string duo are closely related to its pedagogical use. The
practice of student and teacher or student and student duo playing predates the
Renaissance and Early Baroque:

In the sixteenth century the Italians had composed pedagogical duos
or duets which teacher and pupil performed together. The
compositions intended to catch the pupil’s fancy, were mostly in
18
canon, based on vivid and lively motives of the canon francese. In

the seventeenth century composers took these duos for two melodic
instruments, and added basses to them.33
During the Renaissance the vocal and instrumental Bicinium
exemplifies the beginnings of a duet literature which is didactic in
intention, and persists through such works like Pepusch’s Aires for
two Violins made on Purpose for the Improvement of Practitioners in
Consort (1709) and Haydn’s piano duet II maestro e lo scolare to such
20th-century pieces as the violin duets of Bartdk or nos. 43 and 55 of
his Mikrokosmos.34
The early string duos, those written before 1750, are primarily pedagogical
works. The first published duo for two unaccompanied soprano instruments, as cited
by William S. Newman in The Sonata in the Baroque Era, is contained in the
trumpet method of Girolamo Fantini, dating from 1638.35 W. Henley credits Torelli
with the first string duo, the Concertino per Camera, op. 4, for violin and cello (c.
1690), and lists Pepusch as the first to compose unaccompanied violin duets.36 The
few violin and viola duos that appeared before 1750 and which are listed in Franz
Zeyringer’s Literature fiir Viola include works attributed to Giardini, Stadler, Tonelli
and Torelli.37 Several modem arrangements for violin and viola of Pre-Baroque
33 Ruth Halle Rowen, Early Chamber Music. New York: Da Capo Press,
1974. p. 42. It is interesting to compare this statement with Henley’s description of
the duet-like trio sonata in which the activity of the continuo is minimal (see the
“Historical Sketch” in this dissertation).
34 Michael Tilmouth, “Duet,” in The New Grove Dictionary of Music and
Musicians, vol. 5. Stanley Sadie, ed. Washington D.C.: Macmillan Publishers
Limited, 1980, p. 673.
35 William S. Newman, The Sonata in the Baroque Era. Fourth Edition. New
York: W. W. Norton and Company, 1983, p. 19.
36 W. Henley, p. 340.
37 Zeyringer, pp. 106-121.
19
works also exist, including duos by Vincenzo Galilei, Orlando di Lasso and Thomas
Morley.38
The string duo factored in the formation and eventual demise of the trio
sonata. In Rowen’s Earlv Chamber Music, the unaccompanied duo is discussed as
being a direct precursor in the development of the early trio sonata: the trio sonata
can not only be viewed as the result of a contraction of the four- and five-voice
chanson, madrigal or canzone, but as the result of the expansion of voices from a
duet39 In Cobbett’s. Henley describes a Baroque trio form which closely resembles
a duo. In these mid-seventeenth century works, the bass or cello line is limited to
merely supplying the harmonic foundation. It is only when the cello takes a
significant portion of the thematic material and figuration that the composition
becomes a trio sonata.40

Italian Baroque ideals, as exemplified in many trio sonatas, likely influenced
string duo literature. For considerations of register and of the blending of two solo
voices, the Italian composers of trio sonatas often utilized instruments of similar
range and timbre, for instance two violins or violin and flute, rather than two distinct
voices.41 These characteristics, in conjunction with certain pedagogical
considerations, may explain why Baroque and Classical Era duos for two violins
greatly outnumber those for other combinations.
Rowen notes that it was toward the end of the Baroque Era that the
prominence of the string duo was re-established, possibly a de-evolution of the trio
38 Works by the latter two composers have been heartily recommended to the
author by Professor Bertram Turetzky.
39 Rowen, pp. 34-5.
40 W. Henley, p. 340.
41 Rowen, p. 37.
20
sonata to one of several originating influences: ‘T he development of the

unaccompanied duet, a re-incamation from pre-continuo days, constituted one of the
factors in the neglect and ultimate disappearance of a well-established continuo.”42
Likewise, in order to arrange suitable literature within the confines of the private
lesson, it would have been simple to dispense with the perhaps unnecessary continuo
lines of the trios described by Henley.43 In his article concerning the seventeenth-
and eighteenth-century interpreter, Marc Pincherie cites several examples of Baroque
and Classical Era composers who permitted the performers) to decide which parts or
even movements were to be included in the performance of a given work.44
As a separate and distinct genre violin and viola duos peaked in popularity
during the eighteenth and early nineteenth centuries. Approximately 70 composers
wrote violin and viola duos during this era.45 Ulrich Mazurowicz, in Das
Streichduett in Wein. lists twenty composers of violin and viola duos living in
Vienna between 1760-1809.46 Yet. few violin and viola duos were written for the
concert hall. Instead, these works were written for amateurs. It was to these
amateurs that the majority of published music of that era was directed. Edge writes:
“Regardless of the patron or occasion for the duos, public performances seem to
have been rare, as most of this music was probably never conceived for use outside
42 Ibid., p. 140.
43 W. Henley, p. 340.
44 Marc Pincherie, “On the Rights of the Interpreter in the Performance of
17th- and 18th-Century Music,” Translated by Isabelle Cazeau. The Musical
Quarterly Vol. 44, no. 2 (April, 1958) pp. 145-66.
45 Edge, pp. 6-10.

46 Ulrich Mazurowicz, Das Streichduett in Wein von 1760 bis zum Tode
Joseph Havdns. Tutzing: Hans Schneider, 1982.
21
the home. The exceptions to this custom are works by Karl Stamitz.. Z’47 Of the
many violin and viola duos remaining from the Classical Era, only those by Mozart
are still consistently performed and recorded. Participation in music at the amateur
level during this time spawned a literature which today is often referred to by
historians as Hausmusik. This music, however, was not originally referred to by this
term. Instead, this music was “chamber music”-literally music to be played in

chambers, or rooms. This distinction set chamber music apart-categorically as well
as musically-from larger genres such as operas and symphonies, which were to be

performed by professionals in theaters and concert halls. An understanding of what
constitutes Hausmusik is important in order to understand the nature of these violin
and viola duos.

In the mid-eighteenth century the emerging upper-middle class began to
participate in the arts. Many well-to-do dilettantes could afford the time and money
to enjoy music, which became commonplace in their homes in the form of duos and
other small chamber works. These pieces, now classified as Hausmusik are similar
to concert music as both styles are complete in form and should be fully developed
(as opposed to many etudes). So that Hausmusik was accessible to the amateur, the
music was usually less difficult technically, less demanding musically and required
fewer performers than concert works of the same era. The distinction between
chamber music and larger genres is discussed by Charles Rosen in The Classical
Style:
Toward the middle of the [eighteenth] century, however, the
symphonies and overtures written for public performance, and the
sonatas, duos and trios written for amateurs are noticeably different in
style. The chamber music is more relaxed, diffuse, and simple, in
both outline and detail; the finale is often a minuet, the opening
47 Edge, p. 68.
R eproduced with perm ission of the copyright owner. Further reproduction prohibited without permission
22
movement a set of variations. Public works began to be more

formal.48
Frequently, amateur music is overlooked or denigrated when compared to
more complex and professional concert works, but amateur music of the eighteenth
and early nineteenth centuries should not be treated as musically insignificant: it had
a strong influence upon the musical society of the late eighteenth and early
nineteenth centuries and an indirect influence upon concert music. “It was the
music-loving dilettante who elevated the use of duos to the level of the concert
repertoire, by introducing the genre to the salons and other types of musical
gatherings fashionable at the time.”49 Many works of various genres which were
originally intended as Hausmusik have become concert repertoire.
Most violin and viola duos of the Classical Era are formally and stylistically
typical of the period, containing two to four movements, basic harmonic schemes,
clearly delineated melodies, and varied light accompaniments. ‘T heir [the duos’|
pleasing melodies, which gave instant gratification to the players, as well as varying
degrees of technical demands, made them a popular form of chamber music among
students, dilettantes, and professionals alike.”50 The parts range from moderately
easy to difficult and, on the average, slightly favor the violin in the consideration of
melodic and musical importance.51 Much of this music, though a difficult read for
most amateurs of today, was entirely sight-readable by amateur musicians of the
eighteenth and nineteenth centuries.
48 Charles Rosen, The Classical Stvle. New York: W. W. Norton and Co.,
1972, p. 45.
49 Edge, p. 66-7.
50 Ibid., p. 87.
51 Ibid., pp. 29-31.
23
Eighteenth- and early nineteenth-century Hausmusik in the form of string

duets appeared in great numbers and often in groups of three or six. They were
usually scored for two treble instruments, frequently for violin and viola. Henley
notes the influence of the eighteenth-century duet on this genre of Hausmusik: “As
music was at that time chiefly cultivated in the homes of the people, where the violin
and the flute were practiced to a far greater extent than the ‘cello, the unaccompanied
duet became very popular, as it supplied a complete form of concerted music, even
in the absence of any bass or keyboard instrument.”52

Several of the eighteenth-centuiy duos are not, in a sense, true duets, but
instead so favor the violin over the viola that they could be referred to as violin
solos, since the viola merely accompanies in a pseudo-continuo manner. The six
duos of Franz Joseph Haydn, Hob. VI, nos. 1-6, op. 77, as described by Rowen, are
examples of this practice:

In the middle of the 1770s Haydn wrote string compositions for violin
and viola which he originally titled Solo per il violino. As the
accompanist, the viola was so definitely subsidiary that Haydn
omitted mention of it in the title. However, its presence could not be
so completely ignored, and the title was altered to read 6 Violin Solo
mit Besleitung einer Viola. Yet they were not really “duets,” and he
refrained from using that word in the heading.53
Similar duos which favor the violin include Michael Haydn’s sonatas nos. 2 and 3,
and the sonatas by Luigi Gatti and Franz Christoph Neubaur.54 However, violin and
viola duos in this style only appeared in the Classical Era.
Though several of the violin and viola duos from the late eighteenth and early
nineteenth centuries favor the violin, the majority are nearly, if not completely equal
52 Cobbett, p. 340.
53 Rowen, p. 139.
54 Edge, p. 71.
24
in the distribution of musically prominent material. In her thesis. Edge classifies
thirty-five of the Classical Era violin and viola duos by the melodic prominence of
the instruments and concludes that the works fall into three categories: (1) both parts
are of equal prominence; (2) the viola has some melodic importance but still
functions primarily as an accompaniment to the violin; (3) the viola has only slight
melodic importance, almost always accompanying the violin.55 Edge further grades
the degree of technical difficulty of the analyzed works. In fifteen duos the violin
and viola are rated as equals when judged in terms of their technical difficulty. In
another ten duos the instruments are rated as being nearly equal.56 .. One will
notice an overall correlation between the viola’s melodic role and its technical rating.
The more melodic material given to the instrument, the more the writing for both
lines become (sic) evenly matched.”57 It is notable that Edge rates each of the four
works by Karl Stamitz as being of equal difficulty for violin and viola. Stamitz, a
violist, and his brother Anton were two of the few professional concertizing
eighteenth-century performers of violin and viola duos. Edge also notes that in the
more formal sinfonia concertante literature for violin and viola with orchestra the
part writing between the soloists is almost always equal.
Toward the mid-nineteenth century, interest in amateur music waned.
Differences in stylistic preference between the Classical and Romantic pushed the
violin and viola duo from its popular though amateur status to an almost exclusively
pedagogical genre. In part. Hausmusik also helped to bring about its own decline.
Concurrent with the popularity of Hausmusik. public curiosity, fueled by its new-
55 Ibid., pp. 30-31.

56 Ibid., p. 71.
57 Ibid.
25
found interest in the arts, rewarded the virtuoso for performing music which was
technically beyond the reach of the amateur. The virtuoso won this battle of
opposing interests. Edge states:

In social history, changes in style and taste began to occur after the
turn of the century.. . . Although amateur Hausmusik continued to
survive, it began to take on a lesser role. With audiences acquiring an
appetite for dramatic flair and technical fireworks, some areas of
chamber music gradually came to be more often performed by
professionals in the concert hall than in the home.38
Participation in a musical pastime was no longer as important as was the musical
spectacle:
As to why this genre of the period is not better known or why. in a
sense, it may have gone out of fashion, probably has to do with the
changing place of chamber music in a society after aristocratic
patronage diminished. The nineteenth century audiences' emerging
preoccupation with virtuosity and the element of the dramatic
(associated with the concerto and other symphonic forms) was the
predominant criterion with respect to what was known and popular in
the late nineteenth and early twentieth centuries. Except for a few
works, eighteenth century composers such as Bach, Handel, Haydn
and Mozart had to be rediscovered gradually after the discipline of
musicology began around 1850.59
The emerging importance of the musical exhibition, together with a declining appeal
for Hausmusik. left a gap between performers and composers, and audience. ‘T he
duo literature was not seen as serious or dramatic music. Only a handful of works
meant for virtuosic performance survived; others intended as ‘hausmusik’ were
mainly in use as pedagogical materials.”60
The height of pedagogical string duo usage had occurred during the early
nineteenth century with such composers and pedagogues as Fiorillo, Pleyel and
Rolla. However, with the increasing public appetite for technical mastery and
38 Ibid., p. 87.
39 Ibid., p 87.
60 Ibid.
26
sonority in the latter half of the nineteenth century, attention was diverted from
pedagogical duets and less time in private study was spent on musicianship. Henley,
in Cobbett’s. links the decline in pedagogical use of the duo with the rise in
virtuosity and harmonic complexity in the latter half of the nineteenth century:
When form and figuration had reached a certain stage of perfection,
and harmony had entered upon its evolutionary career, the interest in
the duet began to decline, and lessened still more when the intense
system of instrumental training began during the latter part of the
nineteenth century, for the teacher who had to give his undivided
attention to technical detail no longer found leisure to take up another
instrument and play duets with his pupil, however instructive they
might be.61
The duet was not lost, of course, but neglected for a time by the most
prominent composers of the day. Certainly Pleyel, Rolla, Spohr, Sechter, Kalliwoda,
Fuchs or Kreuz, though known in the string world, did not have the universal impact
on the musical world as did Beethoven, Schubert, Brahms, Schumann, Chopin or

Verdi.
Romantic Violin and Viola Duos
As shown in Table 3.1. violin and viola duos composed between the years
1826 and 1900 are scarce: only twenty-five existing opii (about four percent of the
total number of violin and viola duos) are listed in Zeyringer’s volume. Probably the
most-known works of this period are the Passacaslia and Sarabande con Variationi.
which were principally composed by Johan Halvorsen but published as arrangements

of works by G. F. Handel. Other lesser-known late nineteenth-century works
include: 12 Duets, op. 60, of Robert Fuchs; 2 Duos, op. 208, by Johann Wenzel
Kalliwoda; and 4 Duos, op. 39, by Emil Kreuz. Pedagogical etudes among the
Romantic violin and viola duos include works by Richard Hofmann, Karl Machts,
61 W. Henley, p. 341.
27
August Schultz and Robert Wohlfahrt62 Additional works in the Romantic style can
be found among the compositions of this century (see p. 34).

There were several factors which led to the decline in the number of
compositions written for violin and viola duo during the later nineteenth century,
including the preeminence of the violin and piano as solo instruments, a
corresponding bias against the viola (and other “more orchestral” instruments) and
the general trend toward larger ensembles.63 As the duo was still used in string
pedagogy for ensemble or sight-reading study, though to a lesser degree than in

previous years, an additional (though speculative) reason for the minimal output of
Romantic Era duos is also suggested. Perhaps those Classical Era violin and viola
duos, many of which dated from the early nineteenth century, were deemed
sufficient for the needs of students. Evidence for this can be seen in the publication
dates for the Classical Era duos as listed by Zeyringer.64 Numerous editions were
published in the latter half of the nineteenth century. Further evidence of this

63 There is evidence of some public interest in the string duo during the
Romantic era. Leslie Sheppard, in “The Fair Duettists,” describes the brief
popularity of violin duos being performed in the concert hall by Women in the mid
nineteenth century. Sheppard blames the abandonment of this short-lived
phenomenon on the genre’s meager repertoire. The repertoire of the Milanollo
sisters included violin duo literature and concerti performed in divided fashion. The
playing was apparently well rehearsed and favorably spoken of by commentators of
the time. Sheppard cites the gradual emancipation of women as an influential factor
and the spectacle of women performers would have drawn audiences. As to why the
Milanollos performed concertos in divided fashion, Sheppard speculates: 1) that
management thought the strain would be to great for a woman to perform a concerto
alone; 2) it would display both performers more equally; 3) it would soften the jolt to
conservative audiences unaccustomed to seeing a woman performing solo. Three
ensembles are cited, with approximate dates of performance activity: Teresa and
Maria Milanollo, 1840-48; Eldrede and Isabel Watts, early twentieth century; and
Adola and Jelly von Aranyi, c. 1910. Leslie Sheppard, ‘T he Fair Duettists.” The
Strad. 91 (October, 1980) pp. 413-16.
28
attitude can be seen in the subsequent reemergence of the violin and viola duo in the
this century. The great majority of twentieth-century works are concert pieces and
are not specifically intended for students, with the few modem pedagogical duos
composed after 1970.
Twentieth Century Violin and Viola Duos
Subsequent to the Romantic era of violin and viola duo composition (1826-
1900), which was typified by a lack of interest in the ensemble, this century has seen
a sharp increase in the number of works written for the combination. This rebirth of
the genre coincides with, and is indebted to, the reemergence and re-popularization
of chamber music in the twentieth century.65 While it was the trend of many
nineteenth-century composers, such as Richard Strauss, Gustav Mahler and Richard
Wagner to invest the majority of their creative energy in music for larger ensembles,
composers of this century, in contrast, re-embraced chamber music genres, both of
standard and non-standard instrumentations, as viable media of expression.

Accordingly, the general popularity of chamber music has grown. Also influential
upon this trend is the improved status of the viola. Zeyringer states: “If one
considers the Golden age of the viols and the incipient phase of the viola as being the
16th and 17th centuries, then the 20th century can be adjudged a renaissance of viola
playing. Today, after a period of neglect during the Romantic era, the viola has
again become a popular and frequently played solo instrument.”66
While the popularity of chamber music has dramatically increased during this
century, the status of Hausmusik has only slightly improved. Today, the diminished
importance of amateur music, in comparison to its widespread usage in the
65 See Table 3.1, p. 10.
29
eighteenth and early nineteenth centuries, may be a reflection of the public’s absence
from the arts. In the article “Music for Amateurs,” Day Thorpe writes: .. the
practice of ‘hausmusik’ has fallen on comparatively evil times. It is easier now than
ever before to hear good performances without paying the price of playing, and
technique is certainly more exclusively the property of the virtuoso than it was in the
eighteenth century, when most individuals who made music a part of their lives
could play or sing a little.”67 In his review of Duo, by Nikos Skalkottas, Philip
Barford notes that in today’s society enjoyment of music is primarily passive
(auditory) rather than active (participatory), and the distinction between the two is
often considered irrelevant:
. . . often we forget that the insight which emerges from painstaking

technical preparation and performance is of quite a different order
from the summary verdicts arrived at by the listener after a hearing or
two. The enjoyment of two amateur violinists playing duos in first
position by Pleyel cannot be measured by the state of mind of the
non-violinist whose knowledge of classical string music is
conditioned by his armchair sensitivity and the familiar list of
recorded classics, and who would doubtless find Pleyel rather feeble.
The satisfaction derived from Pleyel, who wrote music to play, is an
intrinsically musical satisfaction bound up with the delight taken by
instrumentalists in purely functional relationships.68
Hausmusik had a number of twentieth-century advocates such as Paul Hindemith,
who composed numerous works for amateur musicians. Of the numerous twentieth-
century works for violin and viola, a handful are specifically intended as Hausmusik.
including compositions by Gerhard Maasz, Otto Siegl and Theodore Wilhelm
Werner. Modem Hausmusik of other genres is also available.
The number of violin and viola duos composed and published increased
dramatically after 1925 and has continued to climb through the end of this century.
67 Day Thorpe, “Music for Amateurs,” Notes 12 (Sept., 1955) p. 652.

68 Barford, p. 171.
30
Graph.-Dates of composition and dates of publication or copyright of twentieth-

century violin and viola duos, grouped by decade.
■ Works Composed (262)

0 Works Published or Copyrighted (169)
60
50
Number
40
of Duos 30
20 'm
1=1
11 I
10
0
1900- 1910- 1920- 1930- 1940- 1950- 1960- 1970- 1980- 1990-
1909 1919 1929 1939 1949 1959 1969 1979 1989 1998
Years, by Decade
The graph (below) plots the dates of composition and publication of twentieth-
century violin and viola duos, grouped by decade. The shaded bar above each
decade listed on the graph represents the number of duos composed during that time
span. Not all of the 430-plus known violin and viola duos (listed in Table 6.1) have
been included, but only 262 for which the year of composition is definitely known.
The crosshatched bar above each decade on the graph represents the number of duos
published or having copyright dates during those years. The majority of these 169
tallied duos are the same as those represented in the first survey. Though neither of
these tallies necessarily reflects the actual popularity of violin and viola duos in this
century,69 some inference as to the increasing status of the genre can be made,
especially from the data of the first survey, which inventories the dates of
69 In the second representation depicted by the graph, publication or

copyright dates are not considered for duos composed prior to the year 1900, though
many of these works have been published this century. The survey, therefore, is
almost inherently skewed to show an increase of activity toward the latter half of the
century.
31
composition. The graph clearly does show, however, that the number of
compositions and published works has grown steadily since 1900. It is interesting to
note that the increase of the 1940s is almost entirely during to the years following
World War II: there were 22 duos composed during the five year span 1945-1949.
The apparent decrease since 1985 is likely due to the length of time between
composition and availability of a work.70
The Twentieth-Centurv Duos: An Overview
When investigating any given musical form, it is perhaps necessary and
appealing to look toward one or a few hallmark compositions which serve as
defining works of that genre and, in some way, relate all findings to the standards set
by such a piece. Compositions that fit this classification may include, for instance,
Beethoven’s Symphony in C minor in the genre of the Late Classical symphony,
Puccini’s La Boheme in the genre of post-Romantic opera, or even Stravinsky’s

L’histoire du Soldat in the genre of modem chamber opera. For the genre of
twentieth-century violin and viola duo literature, the unrivaled hallmark composition
is Bohuslav Martinu’s ’Three Madrigals.

Three Madrigals is distinguished as the defining composition of its genre in
several ways. First, it is written by one of the well known composers of this century.
Though not of the historical magnitude of Stravinsky or Bartok, for instance,
Martinu did achieve a distinct, consistent and accepted style in an age of iconoclasm.
His compositions are and were, at the time of the composition of Three Madrigals,
respected throughout the world of Western art music. A second reason that Three
70 While 36 duos (of those whose dates of composition are known) were
written between the years 1980-1984, only 14 can be found with dates of
composition between 1985-1989 and 11 more between the years 1990-1998.
32
Madriyals has become this defining work is due to the quality of the composition
itself. It is of an established twentieth-century style: Neo-Classicism (to be

more exact, Neo-Baroque with hints of a Czech influence). Three Madrigals is
also an evocative work with both emotional and intellectual depth. Martinu makes
good use of the ensemble, providing equally balanced, virtuosic, musically satisfying
parts that are enjoyable to play and hear. A final testimony to the important position
Three Madrigals holds in the duo repertoire can be seen in the relative popularity of
the work (with no comparison being made to significant works of other genres). It is
certainly the most recorded modem violin and viola duo. Of sixty-five listed
recordings in the “Discography,” twenty-two are of Three Madrigals. The work was
written for, premiered and frequently performed by the duo of Joseph and Lillian
Fuchs. Since its origin, it has more than likely become the most performed violin
and viola duo of this century and, of all time, is probably second only to the two
duos of Mozart, K. 423 and 424.71 Fortunately, Martinu’s Three Madrigals is not the
only excellent work of this genre: there are many other pieces which, perhaps in the
future, will be seen as distinguishing works in the repertoire. It is also important to

remember that Martinu’s work did not incite the rise in the number of modem violin
and viola duos, but was merely a part of an ongoing trend.

To the genre as a whole, it is significant that the selection of well-crafted
violin and viola duos is not limited to a handful of works in a single style. As
diverse compositional types have emerged this century, so have varying styles of
twentieth-century violin and viola duos. This range of styles includes: Neo-
Classicism, other “neo-” types, bi-tonalism, new complexity, experimentalism, the
avant-garde, popular, humorous, Hausmusik. impressionism, microtonalism,
71 It is interesting to note that Three Madrigals was inspired by one of the

Mozart duos.
33
nationalism, seriaiism, pedagogical works, post-Romantic compositions and those
with original forms.

The most predominant twentieth-century violin and viola duos are, perhaps
expectedly, Neo-Classical in sound and form. Though this style of composition has
been common since the first half of this century, its influence on the combination of
violin and viola duos is likely more pronounced due to the Classical origins of the
genre itself. Neo-Classical violin and viola duos of this century include three of the
best-known works: ’Three Madrigals, by Bohuslav Martinu; ‘Divertimento, op. 37,
no. 2, by Ernst Toch; and the duo by Heitor Villa-Lobos. There are also first-rate
duos in the Neo-Classical style written by Willi Burkhard, Ingolf Dahl, Thomas
Christian David, Ottomar Gerster, Miroslav Hlavac, Gordon Jacob, Leo Kraft,
Marijana Lipovcek (First Duo-Suite’). David Loeb (Sonata, no. 3), Matuszewski
(Second Duet). Rudolf Moser, Will Ogdon and Lloyd Ultan. Other important Neo-
Classical duos include works by Henk Badings, Conrad Beck, Rene Bernier, Walter
Berten, Bjame Brustad, Mario Castelnuovo-Tedesco, Karl Heinrich David, Alvin
Etler, Johan Franco, Erik Freitag, Harald Genzmer, Walter S. Hartley, David Loeb
(Nocturnes and Arias and Sonata, no. 1), Bohuslav Martinu (Duo, no. 2), Marusz
Matuszewski (First Duo). Roger Nixon, Quincy Porter, Robert Starer, Paul Tufts and
Laszlo Weiner. The majority of these works are typically Neo-Classical in sound
and texture, for example, the duos of Jacob, Castelnuovo-Tedesco, and Quincy
Porter. Others with a more modem pitch spectrum, such as the works of Ingolf Dahl,
Marusz Matuszewski and Will Ogdon, still possess an underlying Classical form.72
The divertimentos of Ottomar Gerster and Rudolf Moser are, at least in part,
impressionistic in sound, though not necessarily in form.
72 For description of the works listed in this discussion, see the section
“Critical Reviews.”
34
Closely related are several duos which are primarily Romantic in character
and texture. This includes commendable compositions by Adolph Busch, Jacques
Chailley, Hans Gal, Ebbe Grims-Land (Concerto Gavotto per Otto). Joseph Jongen,
Charles Koechlin and Fritz Skorzeny. Those by Gal, Grims-Land, Jongen and
Skorzeny are post-Romantic works. Ebbe Grims-Land’s Concerto is a humorous
setting of the Kaiser Hvmn. while the duo of Adolph Busch (originally for violin and
saxophone) is Reger-like, with thick textures. The works by Chailley and Koechlin
are short character pieces.

Also related to the Neo-Classical duos are numerous works perhaps best
described as modem: these may contain Classical elements, but are not entirely
Classical in form. As described by Marcan, “Much music has been written this
century which can fit neither into the neo-classical nor the serial schools, but comes
somewhere in the middle, modem in harmony and rhythm, but based on traditional
techniques.”73 The more important of these modem duos includes compositions by
Paul Chihara, James Cohn and Arthur Cummings. Several other well written works
in this category include those by George P. Andrix (Fourteen Duets). John Biggs,
William Bolcom, Henry Leland Clarke, David Cleary, Paul Cooper (both Canons
d’amore and Verses). Walter J. Divossen, Yehuda Engel, Karel Janacek, Augustin
Kubizek, Claus Kiihnl, David Loeb (Sonata, no. 6), Marcel Poot, Gordon B. Ramsey,
Dennis Riley, Max Saunders, Gerhard Schmalzle, Margaret Sutherland, Irwin Swack
and James Yannatos. In addition, well-formed works have been written by Turgut
Aldemir, Josef Alexander, Niels Viggo Bentzon, Klaus Egge, Maurice Gardner,
Kenneth Harding, Jan Ingenhoven, David Jaffe, Robert Kelly, Walter Klepper,
Detlef Kobjela, Gy orgy Kosa, Lowell Liebermann, Bruno Madema, Harold Owen,
73 Marcan, p. 751.
35
Burrill Phillips (both Conversations and Dialogues). Robert Pollock, Erzsebet
Szonyi, Ladislav Vycpdlek, Peter Clark Woodard and Grete von Zieritz.
Two works in the repertoire, those by Henry Leland Q arke and Gerhard
Schmalzle, are distinctive as being bitonal. Each of the four movements in the work
by Schmalzle is particularly striking, while the duo by Clarke is unique in several
ways (discussed later).

Nationalistic works comprise another category of violin and viola duos.
Works which reflect the music of the country or region of the world from which they
originate can be found from Brazil, England, Greece, Hungary, Israel, Mexico,
Russia, the Scandinavian countries, South America, Switzerland and the United
States of America.
In addition to the respected and well-known duo by Heitor Villa-Lobos,

another substantial work which captures the flavor of South America is the Sonata a
duo by Juan Orrego-Sallas. While Villa-Lobos’s work, as expected, is reflective of
his Brazilian heritage, the composition of Orrego-Sallas is reminiscent of the raw
Argentinean sound heard in some works of Alberto Ginastero.

Violin and viola duos with a Scandinavian flavor include excellent works by
both Swedish and Norwegian composers. Karl Andersen’s En Spillemannstubb [A
Fiddler’s Catchl is a short somewhat-rustic Norwegian character piece, while Bjame
Brustad’s Capricci is a substantial Neo-Classical work. Ebbe Grims-Land’s Fern
Duetter i Folkton is an enjoyable, yet solid work in a Swedish folk-fiddle style.
Three works by Hungarian composers are worthy of note. The duos by

Erzsebet Szonyi and L£szl6 Weiner each have a typically Hungarian sound, the work
by Weiner perhaps the better of the two. Similar in style and scope to the 44 Duos of
Bartok, the 24 Duos by Kamil 16 Lendvay is an important pedagogical work intended
for violins, violas or violin and viola.
36
Numerous duos have been written by composers from the United States of
America, and several particularly exemplify American music. The works of Jean
Berger, Roger Nixon and Burrill Phillips (both Conversations and Dialogues) are
typical, well-composed mid-century Neo-Classical or modem works of Americana.

Three Raes. by William Ryden, and the two sets of duos by William Zinn provide
several “American-sounding” dances, forms and styles. Finally, Three Pieces (1979-
1980) of Christian Wolff is a set of dissonant variations based on American folk
songs.
Six additional countries are included in this group of nationalistic violin and
viola duos. The two duos that comprise Musica Aeolica by Dimitri Terzakis have a
Greek flavor, utilizing quarter-tones in the rhapsodic movement-length pieces, while
the Sonatina by Geoffrey Codings is reflective of the English pastoral style of the
early twentieth century. The work by Yehuda Engel, In Memoriam. though chiefly
absolute in style, does contain some hints of its Hebrew origins. The only work
which shows its Russian roots is Vissarion V. Shebalin’s three-movement Sonata.
The three Suites Montagnardes by Emil de Ribaupierre are Swiss in style, each with
several short “folksy” movements. The Sonata en Duo by Manuel Ponce is an
excellent work which shows its Mexican heritage in lively dances and colorful
harmonies.
Numerous works have been written for the combination using a serial or
dodecaphonic pitch structure. Perhaps surprising is the variety of styles found within
these compositions. Kenneth Gaburo’s "Ideas and Transformations is a well-written,
densely organized serial work, while Wallingford Riegger’s ‘Variations is a straight
forward, yet witty and creative 12-tone duo. Goffredo Petrassi, in ‘Duetto, not only
treats its 6-tone row as a serialized pitch-set, but as the basis for the work’s modality.
The duo by Ralph Shapey, in which both players must play violin and viola, presents
37
extreme challenges for the instrumentalists. Monade VII. a colorful work by
Clermont Pepin, and Duo, a Classically structured work by Nikos Skalkottas, are
each substantial, well-developed serial compositions. 19 Momente. by Francesco
Valdambrini, is a delightful set of character-filled variations. Additional strong

works include those by George P. Andrix (Theme and Derivations). Fritz
Eggermann, Stanley Glasser, Hanno Haag, Andree Rochat, and Bruce Saylor.
Four of the violin and viola duos employ microtones. The aforementioned
works by Terzakis and Pepin only use occasional quarter-tones, but the works of
Gideon Klein and Ezra Sims utilize involved microtonal systems. The Klein duo.
Neo-Classical in form, makes use of a quarter-tone system of twenty-four notes per

octave. Two for One, by Sims, is based on nine microtonal scales, each with
eighteen non-symmetrically spaced notes per octave.

One work can be found from the new complexity idiom, Ivar Frounberg's
stochastically based ‘D’. a substantial, involved and detailed composition. At least
three additional compositions are equally as difficult but are not necessarily of the
new complexity style. Alain Banquarf s £corces I. Gunter Becker’s Doppelte

Ebenen and Ralph Shapey’s Mann Duo are each significant additions to the
literature. Also related are several well-crafted works of an experimental or avant-
garde nature that merit performance and recording. These include the compositions:
To Be Sung on the Water, by Donald Crockett; Duo, by Otto Luening; Entre nous,
by Ellsworth Milbum; Three for Two, by Stuart Saunders Smith; and Nexii. by
Robert Thompson. Other avant-garde works include those by Brian Banks, Eduardo
Bertola, Erik Freitag, Josef Haselbach, Robert Mann (Invocation). Loren Rush and
Douglas Young.
Several works of various styles should be noted for their unique ideas. These
include formally unusual duos by Walter Michael Berten-with a repeated movement
38
left untitled; the third movement of Divertimento, by Klaus KUhnl, which, as a

separate work, can be repeated forward and backward (continuously until
exhaustion); and the uncommon recapitulatory structure of Otto Luening’s Duo.
Henry Leland Clarke’s A Game That Two Can Plav is an interesting work texturally
in which the typical, stereotyped roles of violin and viola are exploited. Similarly, a
work that uniquely addresses the nature of the ensemble itself is the ‘Little Canonic
Suite, by Ingolf Dahl, in which the score is read by the violinist from one side of the
page in treble clef, while the violist reads the music from the other side of the page-
upside down and backward-in alto clef. Twelve Duets, by William Henry Presser,
consists of short pieces, each of which is in a different composer’s style-including
Brahms, Debussy and Palestrina-or compositional form such as chaconne, waltz and
canon. Christian W olffs Three Pieces contains a surprising mixture of folk tunes
with dissonant variation, and Tom Johnson’s Counting to Eight has an apt title, as
the instrumentalists count out loud before performing each of the eight patterns in
each of the eight movements.

Also found in the repertoire are several pieces which have a humorous,
popular or simply fun aspect. The works of John Biggs, William Bolcom, Walter
Divossen, Ebbe Grims-Land (Concerto Gavotto) and Mark Hatch are each good-
natured and comical. Divossen’s Ronduo is even slightly slapstick. William
Ryden’s Three Rags. Peter Schickele’s Little Suite for Autumn and both of William
Zinn’s sets of duos contain popular forms and/or sounds. At least one duo, Eberhard
Werdin’s Senioren-duo. is an outright attempt at humor, with a narrative that
correlates with the progression of the work.

Five duos in the repertoire specifically address the need for Hausmusik. Duo
in E-dur, by Gerhard Maasz, while intended for the enjoyment of amateurs, is a
substantial work in its own right. Another solid piece written as Hausmusik is II
39
Suite by Theodore Wilhelm Werner. Both of these works specifically written for
amateur players do not sacrifice musicality. Three additional pieces intended as

Hausmusik are the duos by Otto Freudenthal, Oswald Lutz and Otto Siegl.
Numerous well-written duos which could be of use to amateur players include the
works by Rene Bernier, Henry Leland Clarke, Alvin Etler, Anthony Gariick, Hanno
Haag, Mark Hatch, Charles Koechlin, Augustin Kubizek and Peter Schickele.
Additional repertoire can be found in the works of Karl Andersen, Arnold Berleant,
Ruth Bodenstein-Hoyme, Dennis Busch, Reinhold Gliere, Kenneth Harding, Paul
Klengel, Detlef Kobjela, Jaroslav Kricka, Jiri Matys, Roger Nichols, Burrill Phillips
(Conversations'). William Presser, Emil de Ribaupierre, Charles V. Rychlfk, Ernest
Schauss, Susan Spain-Dunk. Eberhard Werdin and William Zinn.
Several duos have been written as pedagogical works. Two excellent sets of
pieces are the Duet and Theme and Variations of Alan Shulman and the Ten Short
Pieces, in first position, by Louis Calabro. These works intended for elementary
players are solid compositions, presenting musical ideas in enjoyable settings. The
well-written intermediate-level 24 Duos of Kamillo Lendvay is similar in style to
Bartok’s 44 Duos for two violins. The works by Jean Berger and Elizabeth
Maconchy are good works for advanced-intermediate level students. Two additional
pedagogical works are those by Ottomar Gerster (Sechs Kleine Stucke) and Fred
Malige. Many of the works listed previously as being appropriate Hausmusik. as
well as Fourteen Duets by George P. Andrix and Four Duos by Roger Nixon, would
also be suitable for advanced students.
Other Observations
It is surprising that the technique of scordatura. the non-standard tuning of a
stringed instrument, is almost non-existent in the violin and viola repertoire, though
40
it may seem logical to extend the pitch-range of the duo by tuning the strings of the
viola lower.74 Only one example can be found in the twentieth-century literature,
that being Ralph Shapey’s Mann Duo (see the listing in “Critical Reviews” for more
description), and only one additional example can be found in the entire repertoire-
the Serenade, op. 8, of Allesandro Rolla, for violin and viola tuned one third below,
composed in 1810. Three likely reasons for the lack of scordatura writing are: first,
a general satisfaction with the genre-the “missing” bass line is not missed and
composers are truly writing for the instruments in an unaltered form; second, a
possibly diminished volume or impeded resonance for either of the instruments in an
already small ensemble; and third, the light, unpretentious nature of the genre may
not warrant the additional effort in composition and execution that scordatura
requires.
While clearly a trend has developed over approximately the past seventy
years to write for the ensemble of violin and viola, little or no direct relationship
exists between individual works or composers. The most influential factors upon
this trend may, in fact, lie in the realm of the performing violist, who, until this
century, did not begin to be accepted as a soloist. Great is the likelihood that a study
of twentieth-century duo ensembles will reveal a strong relationship between the
activities of these groups and the composition of new duos.
Finally, the revelation that there are in existence today such a great number
and variety of excellent, fully developed works may be the most important result of
this historical investigation. Whether the goals of an ensemble are to perform
publicly or simply for enjoyment, several works can be found representing most
twentieth-century styles. Numerous effective recital programs could be formed from
74 Edge, pp. 83-4, also notes the general lack of scordatura writing in violin
and viola duos.
41
these works alone, and in conjunction with literature of other string genres the
possibilities are greater. Also, the pedagogical repertoire that is suitable for study by
intermediate through advanced level players would be useful for violin and/or viola
teachers. Again, the emphasis here could be on ensemble playing in a variety of
styles.
IV. CRITICAL REVIEWS OF
TWENTIETH CENTURY VIOLIN AND VIOLA DUOS
In preparation of the “Critical Reviews o f Twentieth Century Violin and
Viola Duos,” a search was conducted for references to scores of this genre. Those
duos not immediately available at the Geisel Library of UCSD were ordered through
UCSD’s inter-library loan services. Approximately 180 scores were thus obtained.
Eighteen additional scores were obtained through the American Music Center, Inc.
Altogether, approximately 200 scores were obtained and reviewed. Two scores, both
works by Paul Cooper, were not located and the reviews of these works were written
after listening to the recording.

For each work, either the violin or viola part (the entirety or selected sections
thereof) was recorded by the author. Next, the other part was performed along with
the recorded selection. After further examination of the score, the review was
completed. In the preparation of the critical reviews the attempt was made to assess
the overall sound, form, style and pitch structure of each work, while determining its
general quality, probable function, level of difficulty and use of the instruments.
Along with the critical reviews, bibliographic information has been listed.
This includes the name of the composer, his dates of birth and death (where available
or applicable), title of the work, date and place of composition (if available), length
of work (if indicated in the score or a recording of the work), number and title of
movements (where applicable), tempo markings, publication information, number of
pages in the publication, actual pages of the score (where pagination does not match
42
43
it is shown in parentheses), and any other pertinent details. In addition, a sample of
other reviewers’ comments may be included, along with a list of recordings and any
dedication found in the score.
Aldemir, Turgut (1943-)
Duo.
I. Allegretto. IV. Allegro vivace.
II. Moderato energico. V. Andante.
III. Adagio. VI. Allegro.
Published: Munich: Orlando-Musikverlag, 1970. Score: 17 (16) pp.
Duo, by Turgut Aldemir consists of five shorter movements followed by a
single extensive movement Throughout the writing remains consistent: a modem,

somewhat dissonant and usually contrapuntal style prevails. Often brief reiterated
motives are placed within varying contexts or given simple accompaniments. The
overall effect is of a work not fully developed, but still enjoyable. The parts are
equally distributed and not difficult technically.
Alexander, Josef. (1910-)

Three Inventions for Two Instruments, (oboe or violin and viola)
I. Allegro energico. J = 116.
II. Andante espressivo. J = 72.
III. Allegro molto. J = 120.
Published: New York: General Music Publishing Co., Inc., 1968. Score:
15 (14) pp.
44
Three Inventions for oboe or violin and viola may be better-suited for the
combination with oboe. Much of the writing seems especially intended and
idiomatic for oboe. The viola part is noticeably more difficult technically than that
of the violin. As might be expected from the title, the work is motivically
constructed. The third movement is the most tuneful of the three, with an off-beat,
dancing trilled theme that is developed through the course of the invention. The
overall style is moderately dissonant with occasional flashes of tonalism.
Allgen, Claude Loyola. (1920-)

Dialog.
Allegro. J = 112.
Manuscript obtained from PIVA, Brigham Young University. Score 9

pp.
The manuscript score of Claude Loyola Allgen’s Dialog does not appear to
be a playing score: the nearly indecipherable writing is likely a draft. The piece is in
single-movement multi-sectional form, and the writing, dissonant with fairly harsh
sonorities, appears at first glance to be dodecaphonic or serial in origin. Both parts
are equally difficult.
Andersen, Karl. (1903-1970)
En Spillemannstubb. IA Fiddler’s Catch I
Tempo quasi hailing. J = 92. Allegro vivace. J = 112. Andante. J =

92.
Published: Oslo: Norsk Musikforiag, 1955. Score: 7 (6) pp.
Dedication: ‘T il professor dr. med. Eivind Horven.”
45
En Spillemannstubb. by Karl Andersen, is a stylized Scandinavian
(Norwegian) fiddle tune. The work is lyrical and moderately challenging. The parts
are equally balanced and contain many open-string drones and simple
accompaniments. The work is to be played without break. The first section contains
a pleasant, flowing and often repeated theme. The second section is an expressive
canon in the minor mode. This work may be appropriate as Hausmusik or in recital.
Andrix, George P. (1932-)
Fourteen Duets. (July, 1957) dun ca. 10’
I. J = 120. VIII. J.= 108-116.
II. J = 116. IX. J = 80.
III. Freely. J = 38-44. X. J = 96.
IV. J= 138. XI. Freely. J= 46-52.
V. J = 69. XII. J = 116.
VI. J = 144. XIII. J = 46.
VII. Funky. J =80. XIV. J = 126.
Published: New York: Seesaw Music Corp., 1978. Score: 13 pp.
Fourteen Duets, by George P. Andrix, is a collection of brief pieces or
movements in a modem style. The work contains some harsh sonorities but this is
moderated by its contrapuntal texture. The duets would best serve as pedagogical
etudes for advanced or college level students, though a selection of the pieces may
work well in recital. Many of the movements emphasize a certain technique such as
giissando, pizzicato or chromatic scales. All the movements focus on varying
aspects of the duo’s ensemble, requiring the performers to closely follow the other
player’s part. Overall, the work’s character-filled writing provides interest to the
46
listener as well as the player. Both parts are gratifying and treated equally. The
manuscript part is not too difficult to read, but it would be good to see Fourteen
Duets in print.
Theme and Derivations. (January 10, 1960) dun ca. 6’
Theme. Variations: Lamination. Decoration, Permutation,

Bifurcation, Configuration, Fragmentation, Adulteration.
Theme and Derivations, by George Andrix, is likely composed from a four-
pitch set. Its movement names are descriptive of the set manipulations employed.
The final variation, “Adulteration,” is a parody of the Prelude to Bach’s Partita in E-
Major for solo violin. Unlike Andrix’s Fourteen Duets. Theme and Derivations is a
concert work. The writing is moderately dissonant, but quite filled with character,
and the piece would work well in most recitals. Both instruments are treated with
equality throughout.
Badings, Henk. (1907-1987)
Sonata. (1928) dur ca. 12’
I. Molto Allegro. J = ca. 160.
II. Andante. J = ca. 96.
III. Allegro. J = ca. 80.
Published: Amsterdam: Donemus, 1958. Score: 9 pp.

Short Review: “. . . similar in style to the Sonata for two violins: dissonant,
chordal, dark and brooding.” The composer began using lighter textures after about
1940.7S
75 Marcan, p. 753.
47
Henk Badings’ Sonata is a substantial work in a Neo-Gassical style typical
for the 1920’s and 1930’s. The manuscript is difficult to read and the work deserves
publication. The first movement is ever-moving and chromatic, marked at a brisk
tempo and has a Hindemithian sound. The second movement is the most expressive
of the three, with thick, dark melodies accompanied by ostinati. The final movement
is an upbeat, though serious fugue. The writing is consistently chromatic with strong
tonal centers. The instrumental parts are both well written and of equal importance.
Bagdonas, Valentinas Iono. (1929-)
Sonata.
I. Prelude. Moderato capriccioso.
II. Fuga. Allegro.

III. Kantiiena. Moderato.
IV. Toccatina. Presto.
Published: Moscow: State Publishers, 1974. Score: 23 (21) pp.
Sonata, by Valentinas Iono Bagdonas, is a non-tonal, serial work. The first
movement requires a certain amount of coordination, as the parts are often in

rhythmic unison. The second movement is a crisp fugue and the third movement is
lyrical with varying accompaniments. The fourth movement begins and ends with
the performers’ bows behind the bridge, the central portion of the movement making
a gradual progression to sul tasto and back. The parts are idiomatic, the instruments
treated equally.
Banks, Brian. (1964-)

Six Variants (Prolegomenon I). (13 September, 1990, S. F.) dur: ca. 7’30”
48
Published: Obtained from the American Music Center, Inc. Copyright by

the composer, 1990. Score: 9 pp.
Dedication: To James Gomez and Kim Nolan, on the occasion of their
marriage.
Six Variants (Prolegomenon I), by Brian Banks, is a modern experimental
work for the combination. The writing is dissonant, likely dodecaphonic or serial in
origin, utilizing a variety of techniques, including flautando, ponticello, glissandi and
harmonics. The settings are generally contrapuntal, containing moderately difficult
rhythms. Overall, the work shows an excellent variety of textures, tempi and
character. Both instruments are given challenging parts.
Banquart, Alain. (1934-)

Ecorces I. (1955/56) dun ca. 15’
I. J =48. VI. J>= ca. 108.
II. J = 88. VII. J>.= 92.

III. Tressouple. J = VIII. Tres lent et legato.
ca. 60.
IX. 168-176.
IV. Violent. J = 104.
X. J>= 112.
V. J =54.
Published: Paris: Societe des Editions J. Jobert, 1968. Score: 13 (12) pp.
Dedication: “Pour Max Bigot.”
Ecorces I. by Alain Banquart, is a work typical of the 1960’s avant-garde.
The ten movements present a variety of textures, a consistency in style and utilize
many techniques, such as harmonics, Bartok pizzicato, ponticello and col legno. The
movements range in texture from chord clusters in slow tempi, to gruff, even violent
settings, to passages of complex rhythm. The entire work requires much effort in
49
preparation, though the score is well edited. The parts are equally demanding and
both instruments are treated in kind.
Barab, Seymour. (1921-)
Duo.
I. Allegro giocoso.
II. Andante con moto.

III. Allegro scherzando.
IV. Presto.
Dedication: ‘T o the Rockland Arts Council.”
Seymour Barab’s Duo is a difficult work for the combination. The overall
form of the piece is Neo-Classical with modem tonal harmonies. Constant

throughout the work is the use of implied mixed and changing meters, which makes
the combination of instruments awkward. Also, a few nearly impossible double-
stops can be found in the second movement However, the work is energetic and
upbeat and may prove enjoyable in recital.
Beck, Conrad. ( 1901 - 1989)
Duo. (1934)
I. [no indication, perhaps Allegro, J = 84]
II. Andante. J = 76.

III. Allegretto amabile. J = 96.
IV. Adagio. J = 69.
V. Allegro vivace. J. = 160.
50
Published: Mainz: B. Schott’s Sohne, 1935 (renewed 1963). Score: 15

(14) pp.
Dedicated: “Willy Burkhard zugeeignet.”
Duo, by Conrad Beck, is a dark, expressive Neo-Classical work. Its five
movements alternate fast and slow tempi and present the instruments with equal
prominence. The writing fits the instruments well and is fully developed. The first
movement, which is bi-tonal at times, has a strong, upbeat principal theme which is
later contrasted by a slower melody. The second movement is an andante,
contrapuntal lament The third movement begins and ends with extended sections in
which the instruments play the same material in octaves and has a contrasting
imitative central portion. The fourth movement is a soulful dialogue and the final
movement is a rondo set as a stem allegro vivace fugue. In all, the writing is
excellent and moving-this work is an overlooked addition to the growing repertoire.
Becker, Gunter. (I924-)
Doppelte Ebenen. (1984/85) dur. ca. 15’

Published: Wiesbaden: Breitkopf und Hartel, 1985. Score: 15 (14) pp.
Dedication: Ranier und Jiirgen Kussmaul.
Gunter Becker’s Doppelte Ebenen is an extended, substantial work in an
experimental, moderately complex style from the mid-1980’s. Both instruments are
equally presented and are given fairly difficult parts which require careful
preparation. The rewards of such work should be great. The manuscript score is
surprisingly legible. This expressive work contains free and complex rhythms,
quarter tones, glissandi and many changes of color, including harmonics, Bartok
pizzicato, col legno, ponticello and playing on the bridge.
51
Bentzon, Jorgen. (1897-1981)

Three Expressive Sketches, op. 16. (violin and violoncello or viola)
I. Zart. J = ca. 100; Con anima. J = ca. 116
II. Scharf und leicht. J = ca. 112
III. Spielend. J = ca. 144
Published: Copenhagen: Wilhelm Hansen, Musik-Forlag, 1928. Score:

11 (10) pp. [only score for violin and violoncello obtained].
Dedication: To Michala.
Three Expressive Sketches by Jorgen Bentzon is originally for violin and
cello, though a transcription for violin and viola apparently does exist. Judging from
a score of the original instrumentation, a good transcription for violin and viola
should work well. The sketches are appropriately titled. Frequently, the instrument
accompanying the more prominent line only sustains chords or makes brief
comments. Both instruments are given satisfying parts, however it is usually the
violin which is given the more melodic, interesting line. In general, the writing is
expressive and often scherzo-like and scurrying. Each movement is upbeat and
playful, always with a driving momentum. The piece should work well in nearly any
concert program.
Bentzon, Niels Viggo. (1919-)
Duo, op. 539. (1989) dun ca. 6’

Published: Copenhagen: Edition Wilhelm Hansen, 1993. Score 17 (15)
pp.
Duo, op. 539, of Niels Viggo Bentzon, is an extended, rhapsodic work in a
modem idiom. The piece is written in single-movement form with several
contrasting sections. Many string techniques are employed, including col legno
52
tratto and battuto, sul ponticello and quarter-tones. Many of the harmonics,
especially those found in double-stops, are nearly, if not completely, unplayable, and
their intended realizations should have been clearly indicated in the score.
Berger, Jean. (1909-)
Three Impromptus. dun ca. T
I. Quite fast J =69. (1’45”)

II. Slowly. J> = 96. (3’00”)
III. Lively. J= 9 6 . (2’15”)

Published: San Diego: Neil A. Kjos Jr. Publisher, 1983. Score 12 (11)
pp.
Three Impromptus is appropriate for intermediate level junior/senior high
school study and performance. This work reflects the choral style for which Jean
Berger is more known. The work contains a variety of sounds and textures, with
accents, pizzicati and muted sections. Though the pitches do not extend above those
found in first position, some shifting is necessary and additional shifts are
appropriate. Bowings and fingerings are marked only occasionally. The quick
tempos of the outer movements may prove challenging, as might the meter changes:
the first movement contains mixed time signatures of 5/4,6/4,7/4, 8/4 and 9/4. The
double-stops of the second movement may also be difficult for the intermediate level
violinist. Though the pitches of the viola nearly always remain below the pitches of
the violin, the part-writing is equal throughout, withboth instruments sharing in the
melodic presentation. Photocopying the parts may be necessary to avoid awkward
page turns.
53
Berleant, Arnold. (1932-)

Duo. (April 5, 1982)
I. Andante. J = ca. 52.
II. Allegro molto. J = ca. 92.

III. Lento. J = ca. 60.
IV. Allegretto. J = ca. 84.

Published: Obtained from the American Music Center, Inc. [no
copyright information] Score: 20 pp.
Arnold Berleant’s Duo is an amiable Neo-Classical work. The writing is
moderately dissonant with clearly delineated melodies and accompaniments. The

work contains well crafted phrases, which are especially apparent in the first
movement, the most polyphonic of the four. The second movement sets a slower
marcato melody against a backdrop of running sixteenth-note triplets. The lento
third movement consists of an arched melody with a sparse but resonant pizzicato
accompaniment. The final movement is an arpeggiated perpetual motion. Overall,
both instruments fill similar and equal roles. The work may function well in a more
intimate recital, but would likely be most useful as pedagogical literature for
advanced students or as Hausmusik.
Bernier, Rene. (1905-1984)
Sonatine.
I. Divertimento. Allegro comodo. J = ca. 126.
II. Arioso. Adagietto. J = ca. 66.
III. Rondino. Quasi Presto. J = ca. 152.

Published: Brussels: Editions A. Cranz, 1952. Score 17 (14) pp.
54
Short Review: .. it is not particularly striking as music, but it offers the

two players some effective writing. Its three movements are compact and well
contrasted in mood and texture. It would be useful for advanced students both
technically and musically, for it is written in a fairly sophisticated harmonic idiom,
and the double stops alone form a stimulating challenge.”76
Sonatine. by Ren6 Bemier, is a well written Neo-Classical work typical o f the
mid-twentieth century. The movements are tuneful and delightful, if somewhat

predictable. The first movement contrasts a determined sweeping chordal theme
with one more subdued and pensive. The second movement has the air of a folk
song and, at times, sounds almost impressionistic. The work concludes with the
triumphant, upbeat “Rondino.” In all, the instruments are given equally gratifying
parts. The work may be appropriate in recital, but makes enjoyable Hausmusik as
well.
Berten, Walter Michael. (1902-1956)
Duo-Sonata.
I. Intrada. Leggerio (Leicht bewegt [J'J).
II. Rota. Espressivo (GroBe,gemessen-schwere[Jl).
III. Scherzando (Frische schneile (J |).
IV. [untitled-see below]
V. Exludium. Con fuoco (Kraftige, sehr straffe [J]).
Published: Augsberg: Dr. Benno Filser Verlag GmbH, 1930. Score 12

(11) pp.
The Duo-Sonata. by Walter Michael Berten, is formally unique in the Neo-
Classical violin and viola duo repertoire. The complete work is in a large-scale arch
form. The first movement is of moderate tempo, imitative and modal, while the final
76 Sabin, p. 26.
55
movement, “Exludium” (as opposed to “Preludium”), presents a swaying dance-like
theme that does seem to beat a rhythmic retreat The central movement which
evokes an enjoyable timeless feeling, is repeated as the fourth movement77 The
middle movement is an easy-going da capo Scherzo with a harmonically thick,
contrasting central section. Overall, the writing is melodic with accompaniments,
occasionally imitative, prominently chromatic and the instrumental parts are well
conceived. This is especially true of the first movement which has sections of
sliding first-inversion chords.
Bertola, Eduardo. (20th c.)
Duo dos temperamentos e das cores. (1951)
J = 72.
Published: Brasilia: Musimed, 1984. Score: 6 pp. and Parts: 3 + 2 pp.
Eduardo Bertola’s Duo dos temperamentos e das cores is an experimental
mid-century work of sound exploration. The piece primarily consists of both
instruments sustaining pitches in slow dissonant counterpoint. A variety of attacks
and tonal colorations are also explored. Both instruments are utilized equally, with a
wide pitch range. Duo dos temperamentos is similar in concept to McDonald’s
Hypnotic Fragment and, under the right circumstances, would work well in recital.
Biggs, John. (1932-)
Excursions. dun ca. 10’
I. Overture. Allegro vivo. J = 84.
77 It is interesting that the fourth movement is left untitled in the score while
the second movement is labeled “Rota.” Though this may have been a simple
oversight, the missing title may also have been excluded intentionally, perhaps to
keep the audience from anticipating a repeat of the earlier movement.
56
II. Tango. Moderato-Seducente. J = 120.
III. Chase. Allegro. J = 138.

IV. Devil Dance. Moderato. J = 88
V. Chorale. Serioso-Semplice. J = 60.

VI. Finale. Allegro Furioso. J = 160.
Published: Santa Barbara: Consort Press, 1985. Score: 20 (19) pp. and
Parts: 12 (11) + 12 (11) pp.
Dedication: Stefan Krayk and Donald Mclnnes.
Excursions, by John Biggs, is composed in a modern, somewhat popular style
and contains six enjoyable, occasionally humorous movements. Both instruments
are given gratifying parts. The first movement is Neo-Classical in style with
repeated eighth-note figures and is surprisingly reminiscent of the third movement of
Bohuslav Martinu's * Three Madrigals. The second movement is a stylized, though
still “slinky” tango. No break is heard between the third and fourth movements, a
rhythmically shifting pizzicato canon at the major third and a virtuosic dance,
respectively. The fifth movement is a resonant chorale and the final movement is an
innocuous dance in changing metric subdivision. The entire work would be suited to
nearly any program and should be well received by most audiences. The Consort
Press edition comes with two parts and a small score.
Bodenstein-Hoyme, Ruth. (1924-)

Fiinf Miniaturen.
I. Ruhiges tempo. J' =ca. 92.
II. Sehr ruhig und besinnlich. J = ca. 60.
* The asterisk (*) indicates a work analyzed in the chapter “Analyses of

Selected Works.”
57
III. Aufierst Schnell. J = ca. 110-112.
IV. Ruhig, lieblich. J. = 72.

V. [no marking-probably ca. J = 120. March?]
Published: Leipzig: Veb. Friedrich Hofmeister, 1963. Score 11 (10) pp.
Fiinf Miniaturen. by Ruth Bodenstein-Hoyme, is a collection of short pieces
in a modern style with a Neo-Classical sound. The pieces are pleasant and have a
natural musical flow to them. The most memorable is the third, an upbeat jazzy
dance. Overall, the violin tends to be used more melodically, the viola more often
functioning in accompaniment. The work would serve well as Hausmusik. for
pedagogical purposes or even in a recital.
Bolcom, William Elden. (1938-)

Session II. (1966)
Published: Bryn Mawn Merion Music, Inc., 1976. Score 8 (7) pp.
Recorded (not commercially released): Indiana University New Music

Ensemble; Harvey Sollberger, director.
Dedication: Mark Sokol.

Short Review: “The piece revolves around a D-major key center which
moves in and out of focus as the work unfolds, making it more or less an early (mid
sixties) study in contrasting tonal languages (diatonic verses freely chromatic).. . .
There is a whimsical quality to Session II which is charming, and lends a lightness
and gaiety which is altogether fitting in a work of such brevity.. . . an attractive and
witty piece . . . both musically stimulating and fun to play.”78
Session II. by William Bolcom, is a pastiche work which mixes dissonant and
tonal odds and ends in order to create the atmosphere of an improvisation. It is from
this nature that the work derives its title. There are three additional works of Bolcom
78 Frank, p. 718.
58
which are titled “Session,” each scored for other instrumental combinations. Much
of Session II is written senza misura and several passages are of moderate
dissonance. These sections are juxtaposed with tonal “riffs” or “licks,” which appear
almost as brief excerpts that the performers spontaneously “remember to throw in”
along the way. The effect is humorous and the piece should go over well in most
venues. In all, the parts are well balanced and must be well rehearsed for
performance.
Brings, Allen. (1934-)
Three Inventions after J. S. Bach. dun ca. 3,30”

(Ad maiorem gloriam Dei, Wilton: July 27, 1972) (Two clarinets, or
clarinet in B-flat and alto clarinet in E-flat, or violin and viola)
I. Allegro vivace. J = 126.
II. Molto adagio ma sempre a tempo rubato. J = 48.
III. Allegro molto energico. J = 116.

Published: Wilton, Connecticut: Mira Music Associates, 1982. Score: 8
(7) pp. [only score for two clarinets obtained).
Three Inventions after J. S. Bach of Allen Brings is (likely) originally scored
for two clarinets or clarinet in B-flat and alto clarinet in E-flat. Judging from the
version for two clarinets, the piece would work equally well for the combination of
violin and viola. The inventions are, indeed, in the same canonically imitative and
rhythmic style as those of Bach. However, Brings’ writing is moderately dissonant
and nearly atonal. The three short movements, which treat both instruments with
equality, contrast each other well and are ordered fast-slow fast.
Brustad, Bjame. (1895-1978)
Capricci. dun ca. 11’
59
I. Moderato. J = ca. 104.
II. Lento. J = 48-72.
III. Allegretto. J = 84.

IV. Vivace, [no mm. given in score]
Published: Oslo: Norsk Musikforlag, 1937. Score 10 (9) pp.
Recorded: Bjame Larsen, violin; Arne Sletsjoe, viola.

Terje Tonnesen, violin; Lars Anders Tomter (1959-), viola.
Short Review: A noted violinist and violist, Bjame Brustad is one of the most
distinguished Norwegian composers of his day. Capricci reflects folk music idioms
(not necessarily Norwegian), bi-tonality/modality and expressive lyricism.79
Bjame Brustad's Capricci is an excellent work for the combination. The
piece shows off its Scandinavian origin and is enjoyable for performer and audience.
The first movement is a soft, though ever-moving prelude to the remaining
movements. The second movement is expressive and rhapsodic, perhaps evocative

of a winter morning. The final two movements are spirited: the third is a folk dance,
the fourth seems to twirl about in prancing circles. Overall, the writing has a distinct
flavor and good use is made of both stringed instruments. Frequent open fifths and
pizzicati are utilized and much of the first three movements is muted.
Burkhard, Willy. (1900-1955)
Kleine Serenade, op. 15. dun ca. 10’
I. Gemtlich - Lebhaft.
II. Ruhig, mit Anmut.
III. MaBig -Lebhaft
IV. Gemiitlich - Lebhaft.
79 Contemporary Music.
60
Published: Kassel: Barenreiter-Verlag, 1966. Score 13 (12) pp.

Recorded: Christoph Schiller, viola; Hansheinz Schneeberger(1926-),
violin.
Short Review: Burkhard considered the viola to be “an instrument of
sadness.” Thomas Gartmann calls this a “shadow of quiet mourning,” an
“unconscious reflection of the illness that menaced him for half of his life.” The
Kleine Serenade is “lighthearted and humourous music.”80
Kleine Suite, by Willy Burkhard, is a substantial and expressive work for the
genre. The piece is distinctly tonal, though modem, similar in sound and structure to
the early works of Paul Hindemith. In the first movement, the music seems
somewhat nostalgic. The thematic canon, which serves as much of its basis, has an
unmistakable Mahler-like Alpine quality about i t The second movement both
evocative and singing, sounds similar to a berceuse. After a slow introduction, the
third movement becomes a lively comedic dance. The final movement is slower and
recalls the opening measures of the first movement. Altogether, the writing is
excellent and shows off the instruments well, with both parts being of equal
importance.
Busch, Adolph. (1891-1952)

Suite. (Arosa, July 5, 1926) (violin and saxophone, clarinet or viola)
I. Praeludium.
II. Sarabande.
III. Gavotte.
IV. Gigue.
Published: Winterthur Amadeus Verlag (Bernhard Pauler), 1988. Edited
by Hinner Bauch. Score: 7 (6) pp.
80 Burkhard.
61
Dedication: “Meiner lieben Kate Ronisch zur Erinnerung an den 8. Juli

1926.”
Suite, for violin and saxophone, clarinet or viola, by Adolph Busch, is a well
written work in a late Romantic, though also quasi-Baroque style similar to many of
the works of Max Reger. The second part (for saxophone, clarinet or viola) is not as
technically difficult as the moderately virtuosic writing for violin (at least in style).
However, this does not detract from the overall effect of the piece. The first
movement shows the heaviest Baroque influence and is convincingly similar to

music of Bach. The sarabande is beautiful and melodious, but does not have the
characteristic metric weight on the second beat of the measure as would a sarabande
of Bach. The final two movements are dancing and light. “Gavotte” is particularly
elegant and “Gigue” is crisp with hemiola rhythms.
Busch, Dennis. (I947-)
Duo Concertante. op. 324. (1991)
I. Allegro vivace.
II. Andante moderato.

III. Presto.
Published: Obtained from the American Music Center, Inc. Score: 6 pp.
Duo Concertante. by Dennis Busch, is a short three movement work in a light
Classical style. The chirpy, upbeat writing is fun to play and appropriate as
Hausmusik. though the manuscript score is awkward to read. While each instrument
is given melodic material, the viola is too often left with minimal accompaniment.
62
Calabro, Louis. (1926-)

Ten Short Pieces, in first position. (January, 1990) dun ca. 12’
I. Little March. J = 116.

II. Sailing on the Mixolydian Mode. J = 120.
III. Canon. J = 60.

IV. The King Takes a Stroll. J = 100.
V. Walking on Tip-toe. J = 76.

VI. Merrily, We Grope Along. J = 76.
VII. Lullaby. J= 8 4 .
VIII. Two Horns in the Meadow. J = 60.
IX. Follow the Leader. J = 80.
X. Skip It J = 104.
Published: Bryn Mawn Elkan-Vogel, Inc., 1992. Score 11 pp.
Dedication: For Finnegan J. Calabro.
These ten brief pieces are individually appropriate for beginning violinists
and violists, and intermediate level players may enjoy playing the complete set. The
one to two page movements are well-written and in a variety of forms, containing
descriptive titles for each. The editing is clear and the dynamic changes, numerous
pizzicati and occasional chromatics keep these modem though modal pieces lively
and refreshing. All bowings and fingerings are left to the discretion of the student or
teacher. Overall, both parts are equal in difficulty-especially within the canonic
movements. Yet, when the style of the pieces changes to a melody with
accompaniment the violin is given the melody more often than is the viola. The
parts rarely cross and both instruments use their highest string infrequently.
63
However, this would allow the violist who is learning to read treble clef to play the
violin part and still remain in first position.
Castelnuovo-Tedesco, Mario. (1895-1968)
Sonata, op. 127. (1945)

I. Con brio (but not too fast).
II. Theme with Variations.

III. Scherzo - Rondo. Molto vivace (in one: 3/8).
Published: New York: Mercury Music Corporation, 1949. 2 Parts: 28
(14+ 14) pp.
The Sonata by Mario Castelnuovo-Tedesco is a substantial, fully developed
Neo-Classical work. The writing is functional and extended, with a thick sound
often similar to the music of Brahms. The parts are well balanced, each instrument
being of equal prominence. The first movement is in sonata form with two
contrasting, engaging themes. Though of extended length, the theme of the second
movement is simple, with much potential for variation. Each of the succeeding
variations is of a different, stylistically Romantic character, and often include bold
open-fifth harmonies. The final movement is a dancing rondo. Unmistakable in the
final two movements is a stylized Spanish or Mexican influence.
Chailley, Jacques. (1910-)

Improvisation a Deux. (1949) dur. ca. 3’30”
Andante. J = 72 env.
Published: Paris: Alphonse Leduc, 1952. Score 3 (2) pp.

Recorded: Alexis Galperine, violin; Marie-Therese Chailley, viola.
Dedication: “Pour la Vierge Martincamp et ceux qui l’y ont dress€e.”
64
Short Review: . a short meditative movement in C minor.”81
Improvisation k Deux, by Jacques Chailley, is a short Romantic character
piece (approximately three minutes in length) and would function well in recital with
other shorter compositions. The piece sounds like an expressive nocturne or song
without words-its emotive melody is set to simple block chords or strumming
pizzicato accompaniments. The instruments are treated equally, each with satisfying
parts.
Chihara, Paul. (1938-)
‘Duo Concertante. (1986) dun ca. 15’

I. Andante con fantasia - Allegro ma non troppo.
II. Molto moderato.
III. Allegro molto.
Published: New York: Henmar Press, Inc., 1989. Score 22 pp.
Dedication: Yukiko Kamei and Milton Thomas.
The ‘Duo Concertante of Paul Chihara is an extended three movement
fantasia to be played without break. The writing is expressive, with Romantic
textures but a modem tonal sound. The instruments, though treated differently, are
of equal importance. Both are given virtuosic, satisfying parts. For a more complete
description of Duo Concertante. see the analysis later in this dissertation.
Clarke, Henry Leland. (1907-)

A Game that Two Can Plav. (Seattle, Easter Even, 1959)
Andante piacevole. J = 92.
81 Marcan, p. 751.
Published: Composers Facsimile Edition, 1959. Score 5 (4) pp.
A Game that Two Can Plav. by Henry Leland Clarke, is a short one
movement work (four minutes in length) that contrasts the typical instrumental
characters of violin and viola. This is done through articulation, rhythm and
harmony. The violin part contains upbeat, frequently dotted eighth and sixteenth
rhythms, is marked staccato or given accents, and is in the key of A major. In
contrast, the viola is more rhythmically stoic, with legato indications, few accents
and is in the key of D minor. Only occasionally do the contrasting keys
harmonically coincide. The writing is generally polyphonic, though each instrument
sometimes does accompany the other-usually in a contrasting key. Overall, the parts
are of equal prominence and difficulty. The piece would suit a recital or be
enjoyable as Hausmusik. The manuscript score is very legible and the parts are not
technically difficult.
Cleary, David. (20th c.)
The Deeper Magic. (1995-96; Cambridge and Summerville, MA)
I. Very slowly. Ferocious, intense, passionate. J = ca. 52.
II. Slowly. Like a funeral march. J = ca. 58.
III. Very fast Hopeful. J = ca. 72, J = ca. 144.
Published: Manuscript: Obtained from the American Music Center, Inc.

Copyright by the composer, 1996. Score: 19 pp.
Dedication: Matt Robinson.
Commissioned: Duo Renard (Mark Miller, Ute Miller).
The Deeper Magic, by David Cleary, is a substantial work in a moderately
dissonant style. Perhaps serially derived, the piece still containing strong tonal
66
centers and its three movements are each in arch form. The first movement is
dramatic and intense, the second more lyrical with a faster central portion. The final
movement is upbeat with several contrasting sections. Overall, the writing is solid
and equally distributed between the instruments. Each movement could possibly
stand alone, though this is not the desire of the composer. The manuscript score is
extremely neat, though enlargement may be helpful.
Cohn, James. (1928-)

Duo, in C. (1950-51) dun ca. 10’
I. Allegro Marcato. J = 192. (Dec. 4, 1950-Apr. 7, 1951) 2’30”
II. Allegro Energico. J = 132. (April 8-20, 1951) 2’

III. Andante, Nulla Rubato. J = 50. (May 2-3, 1951) 3 ’
IV. Allegro. J = 132. (May 8-21, 1951) 2’20”
Published: Obtained from the American Music Center, Inc. Copyright

by the composer, 1952. Score: 18 (17) pp.
First performed: by Margaret Johnson and Carl Schaiovitz at the

Contemporary Music Festival, Music Educators Association.
Dedication: To Joseph and Lillian Fuchs.
Duo, in C, by James Cohn, is an excellent work for the combination. Both
parts are equal in technical difficulty, each with well written and expressive roles.
Overall, the writing is consistent, in a somewhat Hindemithian tonal style with
traditional forms. The first, second, and final movements are faster in tempo, with
lyrical themes and simple sustained or brief ostinato accompaniments. The second
movement is a lively, rhythmically active and dance-like scherzo. The third
movement is slower in tempo, marked “con sordino,” expressive and resonant. The
manuscript score is generally legible and well edited.
67
Codings, Geoffrey. (20th c.)

Sonatina, in A. dun ca. 21’
I. Andante. J = 116.
II. Larghetto. J = 48.

III. Allegro spiritoso. J = 144.
Published: London: J. and W. Chester, Ltd., 1949. Score: 15 (14) pp.
Short Review: “. . . this is a fluent work, even though a little academic in its
contrapuntal writing. The third movement in particular is to be noted for its verve
and fluidity.”82
Sonatina, by Geoffrey Coilings, is an extended work in the modal English
style of the early twentieth century. The three movements, which correspond in
setting to an aria, pastorale and rondo, form a cheerful, if somewhat meandering
suite. The writing treats both instruments as equals, though each part has some
awkward moments.
Cooper, Paul. (1926-)

C anons H’a m o re . (1981) dun 10’31”
I. 2’08” IV. 58”

II. 1’49” V. 3’ 17”
III. T 19”
Recorded: Duo Patterson: Ronald Patterson, violin; Roxanna Patterson,
viola.
Recording (short review): Each movement is described by the composer
as a “Rule of Love.” “Five short free canons of different tempi, moods and textures.
The fifth canon contains a quote of nine measures from the Archibald MacLeish/
82 Ibid.
68
Ross Lee Finney choral work Edge of Shadow.”83
Though the scores to Paul Cooper’s Canons d’amore and Verses are difficult
to obtain, the recording by Duo Patterson is widely available and both works are well
played.
Canons d’amore was composed for the wedding of Roxanna and Ronald
Patterson. The work contains five movements in a moderately dissonant, polyphonic
style. The first canon is lento with tense sustained lines. The second is rapid, with
scurrying pizzicati, ponticello and harmonics. The third movement is slower and
somewhat misterioso, also containing numerous harmonics. The brief fourth
movement contains sweeping arpeggios, while the final canon is austere and calm.
Overall, both instruments are treated with equality.
Verses. dun 13’14”
I. 5’34” IV. 2’15”

II. I ’54” V. 2’41”
III. 1’40”
Recorded: Duo Patterson: Ronald Patterson, violin; Roxanna Patterson,
viola.
Recording (short review): Based on five of the seven movements of the
Song-cycle Last Call, a setting of the last seven poems by the C. E. Cooper, the
composer’s late wife.84
Versus, written for the tenth anniversary of Roxanna and Ronald Patterson
and based on the song cycle Last Call, also contains five movements in a similar
style to Canons d’amore. The first movement is lyrical, with several sections of
83 Cooper.
84 Ibid.
69
harmonics in slow tremolo. The second movement consists of two seemingly
separate parts occurring simultaneously, the viola playing a lyrical, more vocal line
while the violin is rapid and scurrying. The third movement is adagio with
numerous trills. The fourth movement is reverent and warm in a choral style. The
final movement is lively and exuberant Though the instruments are often treated
differently, the are equally presented and prominent
Crockett Donald. (1951 -)

To Be Sung on the Water. (La Canada, CA, January 14, 1988) dur: ca. 10’
Flexible tempo. J = ca. 56.

Published: S t Louis: Norruth Music, Inc., 1989. Score 7 (11) pp.
Recorded (not commercially released): Farquhar, Jennifer, violin;

Suzannah Famy, viola.
Dedication: Michelle Makarski and Ronald Copes.
To Be Suns on the Water, by Donald Crockett, is a peaceful, calming work,
unique in the repertoire. Though the title is taken from songs by Schubert and
Barber, neither composer is quoted in Crockett’s work.85 ‘The music unfolds as a
series of stanzas, generally increasing in length, and separated by silence... Double
stops and non-synchronous rhythms predominate (as water images).. .”86 The music
does have an overall stability in the sonorous, not always tertian, but often extended,
harmonies. Waves of varying strengths and durations seem to lap against the ear.
This is especially true of the more chordal sections. These are gradually supplanted
by more florid, melismatic writing, though this is again harmonically static
85 This is according to the notes (likely written by the composer) which are
included at the end of the score.
86 Ibid.
70
(intentionally so, and not in a negative sense). Both parts are given satisfying
integrated parts. The manuscript is legible and arranged for smooth page turns.
Cummings, Arthur M. (1924-)
Duo. (1956)
I. Adagio.
II. Allegro. Adagio.

Published: Santiago de Cuba: Universidad de Oriente. 1959. Score: 29
(18) pp.
It is not clear from the score whether Arthur M. Cummings’ Duo is meant to
be played without a break between the two movements, and unfortunately, the
manuscript itself is difficult to read. However, the piece is an excellent work and
wading through the sections of near illegibility would be worth the added effort.
Publication of the score would be the best altemative-it is deserving of that. The
first movement is slow and expressive with extended harmonically tense phrases.
The second movement is vigorous and angry, with a stoically repeated contrasting
figure and a central adagio section that recalls the slower tension of the first
movement. The overall sound is modem, though with traditional dissonance to
consonance resolutions. Both parts are expressive, satisfying and of equal stature.
Dahl, Ingolf. (1912-1970)

‘Little Canonic Suite. (1970)
I. Allegro energico. J =112.
II. Presto. J = 126.
III. Lento cantabile. = 108-112.
IV. Allegro grazioso. J. = 76-80.
71
Published: Hackensack, NJ: Joseph Boonin, Inc., 1975. Kurt Stone, ed.
Score 10 (7) pp.
Dedication: Paul and Kathie Poiivnick.
The ’Little Canonic Suite by Ingolf Dahl is a work written uniquely for the
combination of violin and viola. Though, in the published edition, the score is
realized in a traditional two-stave manner, the work was conceived as remaining on
one stave. The score was to be placed on a flat surface between the players, the
violinist reading the score from top to bottom in treble clef, the violist reading
backward and upside down in alto clef (though, from the violist’s perspective, it is
the violinist who is playing “upside down and backward” and in the “other” clef). A
more detailed analysis of the work is found later in this dissertation.
David, Karl Heinrich. (1884-1951)

Capriccio.
I. Vivace.
II. Andante.
III. Allegretto vivace.

Published: Leipzig: Gebriider Hug and Co., 1930. Score: 7 pp.
Capriccio. by Karl Heinrich David, is a Neo-Classical, though moderately
dissonant work. The three movements are to be played without break. Each is
textured with motivic melodies and fairly simple accompaniments, though the
transitions are more polyphonic. The first movement has a somewhat whimsical
harmonic progression, but an intense drive throughout The second movement is
more rhapsodic, the phrases ending in florid melismas. The final movement is a
72
lively 6/8 dance with many hemiolas. The instruments are treated equally
throughout the course of the piece. The work would serve well as a recital piece.
David, Thomas Christian. (1925-)

Sonata (1. Duosonate). (1980) dun c a 8 ’
I. Preludium. Moderato.
II. Aria. Andante.
III. Finale. Vivace.
Published: Vienna: Ludwig Dobiinger (Bernhard Herzmansky) K.G.,
1985. Score: 11 (10) pp.
Sonata, no. 1, by Thomas Christian David, is an impressive Neo-Classical,
though more modem sounding work characterized by a virtuosic and harmonic
intensity. Both parts are well written and show off the instruments. The “Prelude” is
expressive and moderately dissonant, but otherwise traditional in form. The second
movement makes use of sliding sixth chords throughout The central section is a
suspenseful allegro which is surrounded by a lyrical, yet chromatically driven
andante. The final movement is an extended relentless race to the finish. This work
should go over well with almost any audience and is excellent recital literature.
Diamond, Arline. (1928-)
Perambulation. (1968)
Perambulation, by Arline Diamond, is a substantial 1960’s experimental
work that explores tone color and ensemble in a formally non-traditional setting.
The piece, which utilizes pizzicato extensively, is rhythmically tame and the
73
coordination of the ensemble is not difficult The generally slow tempo may make
the phrasing and drama of the work difficult to sustain, however. Both instrumental
parts are well written, and each is given a moderate pitch range. The manuscript
score is legible and well edited.
Divossen, Walter J. (20th c.)

Ronduo: Duo for violin and viola.
I. Vivo. J = 108.
II. Arioso. Empfindsam und unaufdringiich. J = 92.
III. Giocoso. J = 120.
Published: Bonn: Musik Edition Walter J. Divossen, 1984. Score 7 pp.
Ronduo. by Walter J. Divossen, is a mirthful work-humorous, good natured
and slightly slapstick. The writing is generally modem and polyphonic. The first
movement juxtaposes brief and occasional tonal flashes within a dissonant texture of
motivic, quirky character, creating a comical effect The second movement is slower
and contrasts the first The final movement is cheery, the instruments laughing and
chuckling throughout Ronduo would work in a casual program or toward the end of
a more formal concert Each part is expressive and of equal importance.
Domansky, Alfred. (1897-)
Three Duos. (1924)
Duet B-dur.
I. Mit Schwung.
II. Thema mit Variationen. Langsam.
III. Rondo. Munteres ZeitmaB.
74
Duet G-dur.
I. Festes, nicht zu schnelles ZeitmaB.
II. Langsam mit Ausdruck.
III. Finale. Ganz langsam. Schnell. aber nicht eilen (Marsch-
ZeitmaB).
Duet A-dur.
I. Lebhaft und freudig.
II. Langsam und innig.
IH.Sehr lebhaft.
Published: [no location given|: Cranz, 1930. Score: 40 (39), (14+10+15)
pp.
The Three Duos of Alfred Domansky, though written in 1924, are Romantic
works. Thepieces are well written and appear to be orderedin a progressively more
difficult and more modem (yet still Romantic) series.Each would beappropriate in
recital and the first may also serve as Hausmusik or pedagogical literature. All three
have formally typical movements ordered fast-slow-fast. Occasionally, the violin
predominates, but the viola is usually given a prominent role even though it may
have a smaller pitch range.
Egge, Klaus. (1906-1979)

Duo Concertante. op. 23. (1950) dun ca. 18’
I. Allegro capriccioso. J = 88-92.
II. Adagio molto espressivo. J> = 56.
III. Finale. Allegro giocoso. J = 92.
Published: Oslo: Harald Lyche and Co. Musikkforlag, 1970. Score 28

pp.
75
Review: “Klaus Egge, the distinguished Norwegian composer, has written a

tautly conceived, thoroughly integrated piece of music in the Duo Concertante for
violin and viola, op. 23. The work successfully exploits many of the difficulties and
many of the beauties of this combinations of instruments.. . This is an enjoyable,
well written work which should be welcomed by all advanced violinists and
violists.” Schmidt speaks of Egge’s contrapuntal work as having an “eighteenth
century sense of imitation, balance, and derivation of material from a basic idea.”
The opening statement of the first movement provides musical material utilized in
all three movements. Short descriptions of each movement follow.87
Duo Concertante. by Klaus Egge, has a distinct style of its own and is an
excellent work for the combination. The harmonies are dissonant or extended,
sometimes quartal or quintal in origin, often providing strong tonal centers. The
writing is motivic, imitative and polyphonic, but never static. The first movement is
colorful and festive, with dancing rhythms and interlocking parts. The second
movement, though rhapsodic, is brooding and unsettled. The final movement returns
to the bright, upbeat and lively mood of the first movement. Overall, both parts are
equally prominent, with difficult rhythms and wide intervallic leaps.
Eggermann, Fritz. (1898-)
Six Skizzen. [Sketches]

I. Andante. IV. Moderato.
II. Allegretto. V. Adagio.

III. Lento. VI. Allegro giusto.
Published: Vienna: Universal Edition, 1967. Score 9 (7) pp.
Six Skizzen. by Fritz Eggermann, is a dodecaphonic work exploring varying
parameters of duo string playing, including chordal resonance, pizzicato, rapid
pointalistic ensemble and phrasing. The work is, in many ways, comparable to 19
87 Schmidt, pp. 716-7.
76
Momente of Francesco Valdambrini (see below). The six movements are each
different, with an excellent variety of moods and textures. The work should be well
received by audiences appreciative of contemporary music. The pieces are
enjoyable, light and inventive. Both instruments are treated in an equal manner.
Engel, Yehuda. (1924-)

In memorium: Elegy. (1978)
Lento. J = 48.
Published: Tel-Aviv: “Or-Tav,” Music Publications, 1980. Score 7 (6)
pp.
Dedication: “In memory of my dear parents Eduard and Blanka Engel.”
In memorium: Elegy, by Yehuda Engel, is a sincere work written from
the heart. The tempo is slow and the style moderately rhapsodic, often canonic, with
modem harmonies and hints of the composer’s Jewish heritage (the writing is not
stylized Jewish folk music, but may be inspired by or contain certain elements taken
from the Hebrew tradition). The work is deeply expressive and appropriate as recital
music. Each part is satisfying and of equal prominence.
Etler, Alvin. (1913-1973)
Duo. (1945) (violin or flute or oboe and viola or clarinet)
I. Jk = 76.
II. J = 108-112.
III. J = 66.
IV. J = 104-108.
Published: Northhampton, MA: New Valley Music Press, 1964 (by

composer). Score: ms. 7 pp.
77
Duo, for violin or flute or oboe and viola or clarinet, by Alvin Etler, appears
to have originally been written for the combination of oboe and viola. The version
for violin and viola seems to work equally well, though the viola is given a slightly
more prominent role than is the violin. The writing is fluid and the manuscript parts
well edited and legible enough not to distract from the performance. The work is
suitable as recital music and would serve as Hausmusik or pedagogical literature as
well. The parts remain in the lower positions of the violin and viola. The
compositional style sounds Neo-Classical but is not formally so. The first and third
movements are rhapsodic and expressive, though imitative. The second and fourth
movements, based on the same pitch series, treat the upbeat, perky themes
canonically. Overall, the work is enjoyable and light.
Franco, Johan. (1908-88)
Sonatina. (1962)
I. Pastorale. J' = 184.
II. Cantabile molto espressivo. J = 92.
III. Scherzando. J = 126.
IV. Capriccioso. J = 88.

Dedication: To Lilajane and Angelo Frascarelli.
Sonatina, by Johan Franco, is a well formed work. The overall style is of a
simple modal counterpoint, each part with its own voice in the outcome. The first
movement, “Pastorale,” especially sounds like the writing of Milhaud. The second
movement is quiet and graceful. The final two movements are more upbeat, the third
78
a scherzo and trio, the fourth, jazzy and syncopated. The instruments are treated as
equals, both contributing equally to the ensemble.
Freitag, Erik. (1940-)

Sonata: “Nachtstiicke.” d u r ca. 11’ - 12’
I. Introduzione. Molto sostenuto. J = 58-60.

II. Scherzo. Allegro molto. J' = ca. 160.
III. Intermezzo. Andante, poco rubato. J = ca. 63.
IV. Finale. Larghetto. J = 60. Allegretto. J> = 116. Allegretto. J =

112-116.
Published: Vienna: Ludwig Doblinger (Bernhard Herzmansky), 1985.
Score: 15 (13) pp.
Sonata: “Nachtstiicke,” by Erik Freitag, is an extended four movement work
which contains modem string techniques and textures, though its formal structure is
of traditional neo-classicism. The writing is both colorful and expressive, with
difficult, yet equal parts for each instrument. The work is well conceived, consistent
and progresses naturally. Much of the first movement consists of sliding half-step
gestures in both parts. The second movement is a rapid, difficult scherzo. In the
slower third movement, Freitag makes use of many string techniques, including
giissando, col legno, ponticello and Bartok pizzicato. The final movement is a
spirited dance with a slower introduction and conclusion.
Freudenthal, Otto. (1934-)
12 Veranderungen. (oboe or violin and viola)
I. Marcia. III. ErregL
II. Zart Und Gebunden. IV. Cantabile ed espressivo.
79
V. Brutal. VIII. Fliichtig.
VI. Scherzhaft IX. Mesto.

VII. Cantabile. X, XI, XII. FlieBend. [played without
break-no further tempi indicated]
Published: Muenchen-Graefelfing, Verlag Walter WoIIenweber, 1975.

Score: 7 (5) pp.
“. . . I have taken the amateur musician into consideration. I hope to show
that music of our time is as enjoyable as that of the past.” So is stated in the
composer’s notes included with the score. The success of Otto Freudenthal’s 12
Veranderun£en is difficult to assess, though his goal is noble. This composition
consists of a dodecaphonic set of duets, but is not altogether a technically simple

work. Aside from Hausmusik. the duets may work well in recital. The pieces vary
in texture and spirit, though each demands special attention be paid to ensemble and
rhythmic skills. Both instrumental parts are treated equally and
either violin or oboe should fair well with viola.
Fried, Minita. (1914-)

Duo. (1945)
I. Lento.
II. Lento. J1=72.
III. Variations and Finale. Allegro moderato

Finale. Allegro.
Published: Buenos Aires: Ediciones Musicales “Politonia,” 1946. Score:
11(10) pp.
Dedication: “A Geni Marcondes Koellreutter.”
Duo, by Minita Fried, is an extended, likely dodecaphonic work in a
moderately complex pre-Babbitt style. The work is technically difficult, appears to
80
be well written and presents the instruments with equal prominence. The three
movements exhibit a good contrast: the first, a demanding agitato preceded by a
slower introduction; the second, expressive and lento; the final movement a theme
and variations.
Frounberg, Ivar. (1950-)

j r . (1986) dunca. 8’
Published: Copenhagen: Samfundet til Udgivelse af Dansk Musik, [no
date}. Score: 12 (9) pp.
Dedication: Louise Lerche.
As the composer states in the notes which accompany the score, “I have set
two stochastic patterns of movement against each other a Brownian motion contra a
Gaussian distributuion.” CD \ by Ivar Frounberg, is a work of the modem complexity
genre. The colorful, yet extremely difficult parts often consist of glissando passages
in quarter-tones, notated in successive rhythmic ratios, for instance 4:5 J>, 6:7 j*, etc.
The other instrument is usually playing additional quarter-tone glissandi in differing

non-synchronous rhythmic ratios. Most of the remaining textures also reach
technically difficult levels. Overall, the work seems well conceived. Performance,
as difficult as the preparation may be, should be well received by audiences who
appreciate new music.
Gaburo, Kenneth. (1926-1993)

‘Ideas and Transformations, no. 1. (1955)
Ideas:
I. Allegro.
II. Moderato.
III. Lento.
81
T ransformations:
I. Allegro.
II. A. Lento sostenuto.
B. Allegro marcato.
C. Moderato.
D. Allegro.
E. Lento tranquillo.
III. Allegro molto.
Published: Bryn Mawn Theodore Presser Co., 1964. Score 9 pp.
Dedication: Goffredo Petrassi.
‘Ideas and Transformations, no. 1, by Kenneth Gaburo is one of the more

important duos of the genre. It is an integrated hyper-serialist work from the 1950’s.
The piece is in an arch form, constructed around motives which are derivatives of the
pitch-sets employed. The instruments are treated with equality throughout For a
detailed description, see the analysis later in this dissertation.
Gagneux, Renaud. (1947-)
Duo. (1973),J= 120.
Published: Paris: Durand S. A.. 1987. Score 6 (5) pp. Appears to be

incomplete.
The score of Duo, by Renaud Gagneux, at least in the Durand edition,
appears to be incomplete, stopping suddenly in measure 104 (page six) without a
double bar. The work also seems undeveloped, with large sections of ponticello,
pizzicato and harmonics, but no integration of elements.
Gil, Hans. (1890-1987)
Divertimento, op. 90, no. 3.
I. Meditazione. Allegretto molto tranquillo. J = 63.
82
II. Folletti. Presto. J. = 80.
III. Figurina. Menuetto lento. J = 120.

IV. Burletta. Allegro vivace. J = 132.
Published: London: N. Simrock. 1969. Score: 19 (18) pp.
The Divertimento, op. 90, no. 3, of Hans Gal is a substantial work in the post-
Romantic style of the early twentieth century. The large-scale form is Classical or
Romantic, its order of movements corresponding to the traditional from of allegretto,
scherzo, menuetto and rondo. The general harmonic language is of extended tonal
chromaticism. This, along with its distinct motives, give it a Viennese flavor,
vaguely Strauss-like in its musical progression. Each movement is distinct in
character. The first contains the most chromatic writing, especially at the beginning.
The second is a swift scherzo with a contrasting allegretto. The third movement is a
delicate menuetto and the final movement a bouncy, staccato burlesque. The
instrumental parts are difficult, but idiomatic, equal and well written.
Gardner, Maurice. (1909-)
Suite. (1983)
I. Intrada. Moderato. J = 88.
II. Invention. Allegro. J = 126.
III. Indigo. Andante. J = 72.
IV. Intermezzo. Andantino. J = 88.
V. Infemale. Confuoco J = 184.
Published: Fort Lauderdale: Staff Music Publishing Co. Inc., 1983. 2

Parts: 7 pp. each.
Recorded: Charmian Gadd, violin; Yizhak Schotten, viola.
83
Suite, by Maurice Gardner, is a solid work of this genre, and strongly
oriented toward the dual nature of the combination. The performers, in all
movements but the third, are playing interlocking canonic motives, the moving notes
rapidly alternating between the instruments. “Indigo,” the only non-canonic
movement, presents a rhapsodic melody in the violin accompanied by an ostinato in
the viola. The most expressive movements are the second-a rapid scurrying scherzo;
the third-a quasi-blues love song; and the final-a fiery dance. The remaining
movements are rather innocuous. The harmonic language is of modem tonalism,

though it occasionally seems to need more direction. The part writing is solid and
balanced, though the violin does receive more of the melodic lines.
Garlick, Anthony. (1927-)
The Peter Duos.
I. Passepied. Allegro moderato.

II. Ecossaise. Bruscamente.
III. Tarantella. Vivo.
IV. Espringale. Energico.
V. Reel. Gioioso.
Published: New York: Seesaw Music Corp., 1981. Score 8 pp.
The five brief dances that make up Anthony Garlick’s The Peter Duos (the
origin of the title remains unknown to the author) are pleasantly engaging. They are
light and idiomatic, written in common modes. Most appropriate for students or
casual reading, the duos, especially the “Espringale,” sound Pre-Baroque in style.
The clearly defined melodies are given light accompaniments or simple harmonic
backgrounds, the combination often creating attractive, though traditional sounds.
84
The instruments are treated equally and the parts, though reproductions of the
manuscript, are easily read.
Genzmer, Harald. (1909-)
Duo. (1995) dun ca. 14’
I. Allegro, ca. 2’30”
II. Tranquillo, dolce. ca. 2’45”

III. Pizzicato. Allegro giocoso, moderato. ca. 2’ 15”
IV. Allegretto, ca. 2’
V. Finale. Vivace, ca. 4 ’30”
Published: Berlin: Ries and Erler, 1996. Score: 21 (19) pp.
The Duo of Harald Genzmer is a substantial five movement Neo-Classical
work, at times similar in style to music of Paul Hindemith. This is particularly true
of the second movement, in which the structure consists of a gradual expansion and
development of the material in the opening phrase. The first movement is dark and
thick, almost Brahmsian in style. The second movement is bitonal with expressive
sliding chromatics. The third movement is a brief pizzicato scherzo alternating
between major and minor. The fourth movement is slower and expressive. The final
movement is a vivace rondo with running eighth-notes in 12/8 time. Each movement
of the work is strong and well constructed, with both parts being of equal
importance.
Gerster, Ottmar. (1897-1969)
Divertimento.
I. Munter, in steter Bewegung.
85
II. Intermezzo. Gemachlich flieBend.
III. Scherzo. Prestissimo.

Trio.
IV. Improvisation. Sehr ruhig, ganz frei.
V. Fuga. Lebhaft.
Published: Mainz: B. Schott’s Sohne, no date. Score: 15 pp.
The Divertimento of Ottmar Gerster is an excellent composition. It is well
constructed and enjoyable for listeners and performers alike. The piece is virtuosic
and in a modem tonal style which, at times, is Neo-Classical and chromatic, but
often impressionistic in the slower movements. The first and last movements are
exciting fugues, with quick tempos and rapid, sometimes harsh spiccato themes. The
middle movement, a laughing, almost taunting scherzo, is also of similar style,

though it is not fugal. The second movement is delicate and expressive and the
fourth movement is quasi-impressionistic, with a beautiful and soaring theme.

Overall, the parts are equally expressive and prominent, though the violin perhaps
has the greater harmonic range.
Sechs Kleine Stticke.

I. Langsam. IV. Ziemlich lebhaft, sehr rythmisch.
II. Lebhaft. V. Ruhig.
III. MaBig rasch. VI. Ziemlich rasch.
Published: In Leichte Duos. Leipzig: V.E.B. Friedrich Hofmeister

Musikveriag, 1980. Score fSechs Kleine Stticke I: 5 pp.
Sechs Kleine Stiicke. by Ottmar Gerster, published as part of the volume
Leichte Duos, seems most appropriate for violinist who recently has begun learning
86
viola. All except one of the pieces are at a lower-intermediate level for the violinist.
In contrast, the viola only plays open strings during the first two pieces and, in two
later movements, simply plays scalar patterns. The work provides good reading
material without any technically difficult sections and is, at times, beautiful in the
combination of parts. The asymmetrical phrases may offer some musical challenge
as well.
Glasser, Stanley. (1926-)
Four Inventions.
I. Risoiuto. J. = 60.
II. Sostenuto ed espressivo. J = 76.
III. Moderato. J = 104
IV. Allegro. J = c. 120.

Published: Banbury, Oxon: The Piers Press, 1972. Score 10 pp.
Dedication: Joseph Spira.
Short Review: ‘These are concentrated, intense pieces; the last piece is a
perpetuo mobile.”88
The Four Inventions of Stanley Glasser is most likely dodecaphonic (or a
serial variant) and, despite its rather innocuous appearance (the piece appears on the
page to be somewhat similar to a work of Milhaud), is awkward to play. Both
instruments remain in the lower positions, but the parts are extremely chromatic.
The movements are consistent in style. Each has distinctive melodies and a
generally canonic or polyphonic construction. The overall sound is dodecaphonic,

often with near-functional sliding chromatic harmonies. Also striking are sections in
88 Marcan, p. 751.
which the instruments establish a phrase in harmonic consonance (sometimes in
octaves) and suddenly shift to harsh dissonances for the remainder of the phrase.
Throughout, the instruments are treated equally.
Gliere, Reinhold. (1875-1956)

Eight Pieces, op. 39. (violin and violoncello or viola)
I. Prelude. Andante. V. Intermezzo. Andantino.
II. Gavotte. Allegretto. VI. Impromptu. Poco animato.
III. Berceuse. Tranquillo. VII. Scherzo. Vivace.

IV. Canzonetta. Moderato. VIII. Etude. Allegro molto.
Published: Bad Godesberg: Rob. Forberg-P. Jurgenson, Musikverlag,

[no date). 2 parts: 10 + 10 pp. [only score for violin and violoncello
obtained].
Recorded: Henry Raudales, violin; Freddy Van Goethem, viola.
Eight Pieces by Reinhold Gliere is a suite of character pieces typical for the
late Romantic era. Each movement contrasts and the parts are balanced and well
written. Though several sources list a version transcribed for violin and viola and
the work has been recorded with this combination, a score for this combination is
difficult to obtain. It is not known whether the transcription is authorized. The cello
score seems to work adequately when played an octave higher by viola. If the violin
and viola score can be obtained, the pieces would be most appropriate for advanced
students.
Grims-Land, Ebbe. (1915-)

Concerto Gavotto per Otto (von Habsburg). dun ca. 10’
Werk V, 1984 (December 3, 1984)
Published: Stockholm: Stim. (composer as publisher), 1984. Score 8 pp.
88
As implied by its title, Concerto Gavotto per Otto (von Habsburg) by Ebbe
Grims-Land is a variations on Haydn’s “Kaiser Hymn.” The work is extensive and
moderately difficult The writing style is an interesting blend of post-Romantic and
modem techniques (with a hint of Classical ornamentation). Though the viola is

restricted to the lower positions, the two instruments are of equal importance. The
juxtaposition of styles and the thematic basis for the work make it musically
humorous in an enjoyable way, and the piece would “go over” well with most
audiences. In the composer’s own words (at the work’s conclusion): “frag nicht
warum.”
Fern Duetter i Folkton. (ScenerfrSn Adelso) Werk III, 1989. dun ca 13’
I. J = 88. ca. 3’
II. Andante con moto. J = 69. ca. 2’
III. “Schottis. = 144. ca. 2’20”
IV. J = 100. ca. 2’30”
V. j = 104. ca. 3’
Published: Stockholm: Svensk Musik, 1989. Score 15 (17) pp.
Fern Duetter i Folkton (Scener frin Adelso) by Ebbe Grims-Land is a suite of
five Scandinavian folk dances arranged for violin and viola. The writing is strong
and balanced between the instruments with the melodies alternating between the two
parts. The piece would make an excellent contrasting work in recital and should be
enjoyable to most audiences. Being somewhat raw in character and without a
softening stylization, the folk dances remain true to an authentic Scandinavian
sound. The five movements contrast well, alternating between fast and slow tempi,
each piece with a differing character.
89
Haag, Hanno. (1939-)

Divertissement, o p . 18. (1979)
I. Langsam. IV. Menuett
II. Sehrschnell. V. Sehr lebhaft.
III. Ruhig schreitend. VI. BreiL

mit Ausdruck.
Published: Wolfenbiittel: Karl Heinrich Mdseler Verlag, 1982. Score: 10

(8) pp.
Dedication: “Fur Hartmut Haug.”
Divertissement, by Hanno Haag, is a suite of six contrasting movements.
This work is refreshing because, though the piece appears to be intended for
advanced-intermediate students or as Hausmusik. it is completely dodecaphonic in
its pitch construction. The pieces are light, fun to play and not difficult, as they
contain many repeated measures or sections, frequently in the form of idiomatic
ostinatos. Haag's formal style also includes canons and simple or sustained
accompaniments. As neither part exceeds the third position and the score is easily
read and well edited. The work would serve students as an excellent introduction to
modem dissonant styles.
Hall, Richard. (1903-)
Suite. dur: 16'
I. Prelude. Andante. 2’15”
II. Scherzo. Allegro ritmico. 3'30”
III. Intermezzo. Larghetto. 2’30”
IV. Ostinato. Allegretto: rimoto. 3’45”
V. Rondo. Allegro molto. 3’45”
90
Published: London: Hinrichsen Edition Ltd., 1953. 2 parts: 7 + 7 (6) pp.

Short Review: .. valuable study material for rhythmic irregularities.. . .
Regretfully the melodic inspiration seems to evaporate after the first movement.”89
Richard Hall’s Suite is a puzzling work which, on the surface, appears to be a
straightforward Neo-Classical piece typical for the first half of this century. Its
themes, however, are more dissonant than perhaps expected and often rely upon
changing half-step chromatics. The writing remains solid and cerebral throughout,
with little break-even in the concluding rondo. This, maybe more than any other
thing, keeps the movements from contrasting as much as one might wish.
Throughout, the instruments are treated with equal regard, though each part has some
awkward moments.
Hampe, Charlotte. (1910-)
Variations, tiber einen Choral von Johann Sebastian Bach.
Published: Berlin: Ries and Erler, 1982. 2 parts: 4 (2+2) pp.
Variations, by Charlotte Hampe, is a short unpretentious work which presents
five solid variations of a Bach choral preceded by an introduction. The contrasting
variations retain the grace of the original choral without becoming unduly virtuosic
or shallow. Both instruments are treated equally, each alternately presenting the
theme. The work is appropriate for advanced students, as Hausmusik or could even
be used in recital.
Harding, Kenneth. (1903-)
Scherzo (Enigma). dun 4’
89 Ibid.
91
Allegro con brio; Allegretto; Presto.
Published: London: J. and W. Chester, Ltd., 1950. Score: 7 pp.
Dedication: For Leslie Richards.

Short Review: .. a lively little work with some interesting textures.”
Harding has composed a number of works for viola, including a concetto, duo for
two violas, a Divertimento Quartet for four violas and a Quintet for five violas,
which remain in manuscript90
Kenneth Harding’s Scherzo: Enigma is a tuneful work in a modem tonal

style. It is not demanding and could be played by advanced students as well as being
appropriate as an easier work in recital. The piece is Neo-Classical in nature, with
clearly delineated melodies and light accompaniments. The work begins and
concludes with an upbeat 6/8 tempo. A slower chordal section replaces the more
standard trio in the work’s central section. The instruments are treated idiomatically,
though the violin is given more of the melodies.
H artley,W alters. (1927 )

Three Duets. (1959)
Prelude: Andante. (March 15, 1959) 1’30”
Gavotte. Allegro moderato. (April 12,1959)

Aria. Andante con moto. (March 19, 1959) I ’45”
No publication information. Manuscript score obtained from the

University of Kansas Libraries. Score: 6 (2+2+2) pp.
Dedication: “For Dr. Joseph E Maddy.”

The Three Duets of Walter S. Hartley is a brief three movement Neo-
Classical work which includes some very solid writing. In the chordal first
movement Hartley creates a warm and resonant sound that makes the two
90 Ibid.
92
instruments sound as full as a quartet This movement also shows a strong vocal
quality to the writing. The second movement is a Gavotte with a contrasting central
portion. This serves as a second Gavotte. The final movement is an aria which
quietly concludes the work. The general harmonic language of the piece is modem,
tonal and often functional. The duets, and especially the outer movements, seem
melodically weak, though this may have been the intention. In all, the instrumental
parts are well written with the violin slightly favored of the two.
Haselbach, Josef. (1936-)
Zeichen.
Manuscript: Obtained from University of California, Berkeley. Score: 15
pp.
Zeichen. by Josef Haselbach, is a work typical of the experimentalism of the
1970’s. The piece, though difficult, is not complex. Fortunately, the manuscript
score is fairly legible. Zeichen is probably most challenging in its interpretation-
turning the rhythmically and intervallically awkward (in execution) writing into
expressive music. The work is sectional with occasional brief repetitions, but
otherwise played without break. Haselbach presents a well balanced variety of
material, ranging from sections marked senza misura to rhythmically measured
material to relative durations within temporal guidelines. The sound is slightly

Webemesque, but far more extensive with regards to the total duration of the single
movement work. The two instruments are treated with equality throughout.
Hatch, Mark. (20th c.)
Grape and H o ps. (1984)
I. Allegro con moto. J = 112. (June 5, 1984)
93
II. Adagio. J. = 44-48. Allegro con moto. J = 96.

Grape and Hops, by Mark Hatch, is a short, two-movement work in a modem
tonal style. As the title implies, the music is good-natured, raucous and never too
serious. The piece could possibly be used in a recital, but is probably best suited as
Hausmusik. Overall, the instruments are treated with equality and the parts are not
difficult.
Hlavac, Miroslav. (1923-)
Musica Dialogica. (1965)
I. Allegro appassionato. J = 104. 3’

II. Larghetto cantabile. J = 69. 7*
III. Allegro giocoso. J = 138. 4’
Published: Prague: Panton, 1970. Score: 16(15) pp.
Dedication: “Jin'mu Tomaskovi a Hubertu Simackovi.”
Musica Dialoeica by Miroslav Hlavac is an appropriately titled duo: each
movement presents a different style of conversation between the two instruments.

The first movement most closely resembles an impassioned debate in which the two
antagonists have opposing ideas about the same topic. The music is chattery and
choppy. The parts sound outspokenly opinionated, answering each other in contrary
motion. The second movement speaks in hushed whispers that, for a short time, give
way to passioned declarations. The final movement is jolly, loud and boastful. The
writing is generally motive oriented and at times fussy. The second movement
especially resembles the central movement of Martinu’s 'Three Madrigals. Though
94
the dissonances are often harsh and the individual parts feel unsettled, the overall
effect is balanced and resonant The instrumental parts are difficult, but equally so.
Ingenhoven, Jan. (1876-1921)

Sonadne. (1925) (violin and clarinet or viola)
Allegretto. J = 80-76.
Allegro energico. J = 92.
Andante con moto. J = 72-69.
Published: Coin: Verlag Tischer und Jagenburg, no date. Score: 3 pp.
The Sonadne for violin and clarinet or viola by Jan Ingenhoven is to be
played without breaks between the movements. Included are parts for each
instrument The piece is an awkward work for the combination of violin and viola,
and the viola part may be better suited to the clarinet The general style is also
peculiar, the two parts play contrasting ideas and rarely imitate or exchange musical
ideas, both instruments remaining almost entirely distinct. The work is somewhat
dissonant and seems to lack resolution. In all, the parts are equal in importance and
difficulty.
Jacob, Gordon. (1895-)

Prelude. Passacaglia and Fugue. (1948) dur: ca. 8’
I. Prelude. Adagio maestoso. J = 52.
U. Passacaglia. Andante serioso. J = 60.
III. Fugue. Allegro. J = 132.
Published: London: Joseph Williams, Ltd., 1949. 2 Parts 7 (4+3) pp.
95
The Prelude. Passacaglia and Fugue by Gordon Jacob is an excellent work in

a strongly Neo-Baroque style. Much of the writing sounds truly Baroque-several
passages sound strikingly like Bach-though modern progressions are also found,
especially in the fugue. The three movements contrast well, and, being contrapuntal,
feature each instrument with equal prominence. The first movement is grand and
expressive. In the second movement, the viola is given the majority of the
underlying passacaglia bass, yet is varied enough to keep the part meiodically
important The fugue presents the only technically demanding parts in its ever-
moving gallop. The piece could be used in nearly any venue as a Baroque work in
the program.
JafTe, David A. (1955-)

String Quartet for Two Instruments. (November, 1982, Stanford, CA)
J =60.
Published: Obtained from the American Music Center, Inc. Copyright

by the composer, 1983. Score: 10 pp.
First Performed: March, 1983, in Stanford, California.
String Quartet for Two Instruments, by David JafTe, as perhaps expected,
utilizes thick contrapuntal chordal sections in both instruments. These are

periodically broken by rhapsodic melodies and cadenzas in one instrument while the
other sustains pitches as harmonic bases. The writing is tonal, with modem
harmonies, though the piece is post Romantic in texture and style. The work is
moderately difficult and the quality of the manuscript makes reading awkward.
Overall, the instruments are treated with equality and are given resonant parts.
96
Janacek, Karel. (1903-1974)

Duo, op. 19. (1938) dun ca. 13’
I. Preludio. Allegro. J = 104.
II. Aria. Andante cantabile. J = SO.
III. Danza. Allegretto. J = 138.
IV. Fuga. Andante maestoso. J = 50.

Published: Praha: Panton, 1984. Rev. Milan Skampa. Score 15 (13) pp.
Dedication: “Milosi Snejdarovi a Janu Konsalovi.”
Duo, by Karel Janacek, is a strong well written work for the combination.
The piece has a distinctive Eastern European sound in the melodies and motives,
with both instruments treated prominently and idiomatically. The general sound of
Duo is a combination of modem modal harmonies with Baroque forms and motivic
phrase construction. The first movement has a polyphonic texture in which the
counterpointed voices are of more or less equal importance. The second movement
is truly beautiful-simple, yet containing intellectual as well as emotional depth. The
third movement is a delicate, staccato dance in 3/4. The final movement consists of
a chordal prelude and light, bouncing fugue.
Jensen, Walther. (20th c.)
Duo, op. 39. (1980)
I. Allegro moderato. J = ca. 120.
II. Lento. J' = ca. 72.
III. Allegro fluente. J = ca. 144.

Published: Denmark: SamfundetTil Udgivelse Af Dansk Musik, 1980. 2
Parts: 12 (6+6) pp.
97
Duo, by Walther Jensen, appears to be a student work in a Neo-Classical
style. The motivic and rhythmic structures of the piece are sound, but the harmonies
and progressions remain unsatisfying. The themes seem to lack harmonic tension
and momentum. The work proceeds somewhat aimlessly, both in the individual
parts and in combination.
Johnson. Tom. (1939-)

Counting to Eight (1981)
Published: Village Station, NY: Two-Eighteen Press, 1981. Manuscript

score: 8 pp.
Tom Johnson’s somewhat minimalistic Counting to Eight is certainly unique
in the repertoire. The eight movements, or sequences, that comprise the work
alternate between slow and fast tempi and are composed of orderly expansions of E
major scalar fragments. As the piece progresses, the players take turns announcing
the succeeding pattern, which is titled and numbered “One” through “Eight” in each
sequence-hence the title of the work. The manuscript parts are slightly awkward to
read and the piece is more involved than it may at first appear. Both instruments are
treated equally throughout.
Jongen,Joseph. (1873-1953)
Adagio, op. 22, no. 1. (1901) dun ca. 8’
Published: Brussels: CeBeDeM, 1958. Score 7 (6) pp.
Adagio, by Joseph Jongen, possibly the first duo written for this combination
in the twentieth century, is a beautiful, lush post-Romantic work typical in style for
the period. The piece is strongly resonant, with thick, often double-stopped parts
that allow the duo to sound as if there were more instruments performing. The two
98
parts are well written and of equal importance, though the violin is given a slightly
more virtuosic nature.
Kelly, R obert (1916-)

Three Expressions, op. 49. (violin and cello or viola)
(Begun: MacDowell Colony, Peterborough, N.H.,
June 10, 1968. Finished: Urbana, IL, July 16, 1971)
I. Dramatic. J =66. 6’30”
II. Serene. =ca. 60.
III. Jovial. J. =100. 3’30”

Manuscript: Obtained from Illinois State University, 1979. 2 Parts: (13 +
13) pp.
Three Expressions by Robert Kelly is a moderately difficult work, in part
constructed around repetitive motives which are rapidly exchanged between the
instruments. This technique is a constant throughout the three contrasting
movements of the piece. The general dissonance of the work is of secondary

importance to Kelly’s characteristic use of motives. “Jovial” is perhaps the most
expressive of the three-the music sings and laughs, remaining bubbly and giddy
through the duration of the movement Both instruments are equals in prominence
and importance.
Klein, Gideon. (1919-1945)

Duo: v systemu l/4tonovem. (1939-1940) dur. ca. 9’
I. Andante. J = 60.
II. Tempo di marcia. J = 120.
III. (Maestoso), [no tempo indicated].
IV. Allegro, [no tempo indicated]. Incomplete.
99
Published: Berlin: Bote und Bock, 1993. Notes by Vojtech Saudek.

German translation by Jaroslav Konsai. English by Richard Howard.
Score 13 (12) pp.
Recorded: Ensemble 2e2m.
Dedication: “Prof. Aloisi Habovi v uete a oddanosti venovano.”
Duo, by Gideon Klein, is harmonically based on a quarter-tone scale system.
The quality of the work, which shows equal favor to both violin and viola, is difficult
to assess. Accurate performance of the profuse quarter-tones requires much
preparation. Apart from this, the piece is not technically difficult. The over-riding
style of the work is Neo-Classical in form and phrase structure. The four movements
provide good contrast, though the final movement was left incomplete at the
composer’s death, a bitter reminder of those lost in the Nazi concentration camps
during World War II.
Klengel, Paul. (1854-1935)
Serenade, op. 45.
I. Andante con moto. J. = 54.
II. Molto vivace. J = 144.
III. Lento ma non troppo. J = 66-69.

IV. Allegretto (Tempo di Minuetto). J = 60.
Published: New York: Breitkopf und Hartel, 1911. Score: 11 (10) pp.
plus viola part 5 pp.
The Serenade of Paul Klengel is a handsome work in the Romantic style of
Schumann or Brahms. The work may have, in fact, been composed prior to 1900,
though it was only published in 1911. The four contrasting movements are well
written, however, the violin is given the more difficult line (with more double-stops).
100
The work is appropriate for advanced students, as Hausmusik or could even serve in
recitals.
Klepper, Walter Mihai. (1922-)
Sonata. (1963) (flute or violin and viola)
I. Passacaglia. Moderato. J = 56.

II. Toccata. Animato. J = 120.
III. Invenzione. Largo, parlando e molto rubato. J = 42.
IV. Fuga. Allegro risoluto. J = 132.

Published: Bucharest: Editura Muzicala, 1969. Score: 11 (10) pp.
Dedication: “Sotiei mele Hildegard.”
The Sonata for flute or violin and viola by Walter Mihai Klepper seems
equally appropriate for either possible soprano instrument Characteristic markings

for both flute and violin are included in the score. However, in order to better match
the viola, the violin may wish to add more string colorations. The work is generally
colorful, though, with equally important parts for both instruments. The overall
sound is modem with moderate dissonances. Each movement is contrapuntal, as
their titles imply. The first and second movements appear to be the most powerful
and well written of the four. The slow Passacaglia manages to hold the tension
through the extended arch form construction. The second movement is faster and
scherzo-like. The viola pizzicati at the end of the Toccata may prove unplayable at
the indicated tempo.
Kobjela, Detlef. (1944-)
Duo, no. 1. [Theme and Four Variations)
101
Theme-EJegy. Andante espressivo.

Variation I. Figuracije serbske. Moderato.
Variation II. Fuga. Allegretto.
Variation III. Mazurka.

Variation IV. Konstrukcije a finale. Moderato. Allegretto.
Published: Wudawa Dom za Serbske Ludowe Wumelstowo w Budysinje,

1970. Score 8 pp.
With the exception of a few musical passages that reveal to the listener the
true century of its origin, Duo no. 1 of Detlef Kobjela sounds like a nineteenth
century Romantic theme and variations. The work is quite resonant, with thick
sonorities. The theme is plain, but expressive, and a fertile basis for variation. The
tides of the theme and its variations are descriptive and hint at the contrasts found in
the work-Elegia (theme), Figuracije Serbske (variation I), Fuga (variation II),
Mazurka (variation III) and Konstrukcije a finale (variation IV). The parts are not
difficult and would be useful for advanced students or as Hausmusik.
Koechlin, Charles. (1867-1950)

Idvlle. (two clarinets or violin and viola)
Andante con moto.

Published: Paris: Editions Sociales Internationales, 1936. Score 3 (2) pp.
Idvlle. by Charles Koechlin, was originally intended for two clarinets,
however, the transcription for violin and viola works well. Though the score is only
two pages in length, the work is quite enjoyable and should be played. The writing
style is late-Romantic, thin and delicate. Both parts are of equal importance, though
102
the violin is most often given the melodic role. The piece is appropriate for
advanced students, casual enjoyment or performance in recital.
Kosa, Gyorgy. (1897-1984)

Duo. (1943)
I. Allegro animato.
II. Andante sostenuto.

Published: Budapest: Edito Musica, 1977. Edited by S. Gustav Szeredi.
Score: 16 (13) pp.
The two movements that comprise Duo, by Gyorgy Kosa, are unique in the
repertoire. The first presents a juxtaposition of differing textures. Initially, the
instruments alternate eighth-note melodic fragments in an ever-flowing, yet
constantly shifting sound panoply. This is then replaced with running arpeggiated
figures in both instruments which continue in contrary motion at a rhythmic ratio of
4:3. This finally gives way to sustained chords with accompanying pedals. The
remainder of the movement repeats these textures, though in a different order. The
second movement is a chaconne. The thick chordal harmonic bases which begin the
movement are only hinted at during the remainder of the work. Many of the
variations retain only a minimal texture. The harmonic language is consistently
chromatic, both functionally and extended. The instruments, though used in
differing ways, are treated with equality.
Kraft, Leo. (1922-)
Partita, no. 2. (August - October, 1961)
I. Prelude. Allegro deciso. J= 120-132.
II. Aria. Largo. J = 72-76.
103
III. Intermezzo. Gaio. J = 166-176.
IV. Fantasia. Senza rigore del tempo.

V. Gigue. Allegro giocoso. J. = 112-120.
Published: New York: Seesaw Music Corp., 1991. Score 11 pp.
Partita no. 2, by Leo Kraft, is a substantial work for the combination. It is

unfortunate that the score has not been typeset or made more legible-Partita is
already difficult without the added burden of deciphering the manuscript The
writing is excellent however, and it should prove to be a rewarding work to study.
The piece is in a modem tonal, Neo-Classical style. The first movement has a
driving, jazzy first theme with a contrasting obligato-like second theme. “Aria” is
slower and expressive, with a contrasting central section. The intermezzo is bright,
rhythmically challenging at the indicated tempo and substitutes for a scherzo. The
fourth movement is a rhythmically free fantasia. The work concludes with a rondo
form gigue. Overall, the parts are equal in difficulty and importance.
Kricka. Jaroslav. (1882-1969)

Sonatina, op. 48. (1926) dur. ca. T
I. Allegro non troppo. J = 92.
III. Allegro vivo. J = 138.

Published: Prague: Hudebni Matice, 1932. Revised by: Josef Beran.
Score: 10 (9) pp.
Dedication: ‘T o Mrs. Elizabeth Sprague-Coolidge (New York).”
The Sonatina by Jaroslav Kricka is a Neo-Classical work fairly typical of the
1920’s. The first movement is the best of the three, with an optimistic and joyous
104
sound. It is occasionally polyrhythmic, with measures simultaneously in 4/4 and
12/8. The second movement is a serenade, each instrument at times playing the
melody while the other part accompanies with a quasi-ostinato. The final movement
is an upbeat rondo. In all, the work is idiomatic, with both instruments of equal
prominence.
Kubizek, Augustin. (1918-)

Kleine Suite. (1953)
I. Marsch.
II. Menuett.
III. Burleske. Lebhaft

Score: 7 (6) pp.
Augustin Kubizek’s Kleine Suite is a handsome work for the combination.
The piece is not too difficult, remaining in the lower positions, and is appropriate as
Hausmusik or in recital. The first movement is a spirited, if typical march. The
second movement, though modem in its sonorities, is elegantly styled and contains a
contrasting trio. The final movement is lively and dancing, with a changing pulse
and off-beat motives. The overall harmonic language is quartal and quintal in origin
and moderately dissonant The two parts are equally important.
Kiihnl, Claus. (1957-)
Divertimento. (1982) dun ca. 10’
I. Allegro moderato. 2'
II. Adagio. 2’
105
III. Allegro giocoso. 1’15”
IV. Finale. Allegro molto. 3’15”

Published: Wiesbaden: Breitkopf und Hartel, 1984. Score: 13 pp. Third
movement can be performed separately, [see notes |
Dedication: “Meinen Freunden Silvia Richter und Matthias Fischer.”
The Divertimento of Claus Kiihnl is a curious work, modem and fairly
substantial, with a bright, perhaps blaring, pitch language. Most of the piece is
motivically constructed and occasionally contrapuntal. Overall, the writing is
equally divided between the parts. The first movement is similar in style to the
music of Shostakovich in its drive and changing motivic pulse. The second
movement is a taut, tense arch-form adagio. The third movement is a quirky comical
canon at the octave. The final movement is bright and upbeat, sometimes recalling
material from the first three movements. The third movement, the shortest of the
four, also serves as a separate work. According to the author’s enclosed note “as
soon as the piece [that is, the third movement when played as a separate piece] has
been played once through, it is to be played backwards without pausing, thus from
the end to the beginning. When the beginning is reached, the piece is to be played
again in the normal m anner.. . ” This continues, the piece ending when one of the
performers “collapses in exhaustion.” Presumably, accidentals are to remain in
effect for the same pitches during the retrograde. It is not advisable to rehearse this
work in its entirety during the dress rehearsal.
Le Gallienne, Dorian. (19I5-)
Duo. (1956)
I. Moderato. J = 120.
106
II. Presto.
III. Lento.
Published: Victoria: Melbourne University Press, 1958. Score: 15 (12)
pp.
Dedication: Sybil Copeland and John Glickman.
Duo, by Dorian Le Gallienne, is in a modern tonal style, somewhat
Hindemithian in pitch content and Neo-Classical in form. The work is a mix of

melody with accompaniment and contrapuntal textures. The movements are
arranged slow-fast-slow. The second movement appears to be a variations and is the
most interesting of the three. The final movement is a canon at the octave. In
general, the writing is a bit nondescript. The instruments are treated adequately, the
violin receiving slightly more technically demanding material and melodically
interesting parts than the viola.
Leitermeyer, Fritz. (I925-)
Zwolf Dialoge. op. 58.

I. J =60. VII. J = ca. 152.
II. J =72-80. VIII. J = ca. 80.
III. J =144-152. IX.J = ca. 80.
IV. J = ca. 100. X. Presto possible.
V. J = ca. 50. XI. J = ca. 132.
VI. J' = ca. 200. XII. J = ca. 66.
Published: Vienna: Verlag Doblinger, 1975. Score 13 (12) pp.
The Zwolf Dialoee of Fritz Leitermeyer is a dodecaphonic work similar in
construction to the violin and viola duos of Wallingford Riegger and Francesco
10 7
Valdambrini. Zwolf Dialoee presents twelve short contrapuntal movements, or
character pieces. The variety of moods within the work is good, but the writing is
plain, at times seeming to lack harmonic direction. Both instruments are equally
challenged in this work and of equal importance.
Lendvay, Kami116. (1928-)

24 Duos. (1985) (two violins or violin and viola)
Published: Budapest: Edito Musica Budapest, 1988. Fingering and

bowing by Sandor Devich. Score: 27 (26) pp.
Entirely in treble clef, 24 Duos is appropriate for two violins, two violas or
violin and viola (there is no specification for which instrument performs which part).
Most of these pieces are in the musical style of the 44 Duos of Bela Bartok. The
Kamilio Lendvay duos contain spirited Hungarian rhythms and sparring canonic
melodies, often within bitonal folk modalities. A wide range of tempi and flexible
programmatic possibilities, within the well-constructed carefully edited movements,
make these duos appropriate for students or in recital. Generally equal in the
distribution of parts, 24 Duos ranges in difficulty from intermediate through
advanced-intermediate levels and includes pieces with differing key signatures (or
more than one possible key signature), unmeasured notation and a rag (of obvious
Hungarian influence) at the conclusion of the work.
Liebermann, Lowell. (1961-)
Two Pieces, op . 4. (1978)

I. Andante.
II. Allegro.
Published: Bryn Mawn Theodore PresserCo., 1993. Score: 8 pp.
108
Two Pieces by Lowell Liebermann is a moderately dissonant work written in
a contrapuntal style. The two equally balanced parts interact well, especially during
the second piece, which is based on a repeating, self-accompanying twelve measure
theme played in canon by the instruments. The quirky nature of the theme, when
combined with this manner of construction creates a motivic mosaic similar to the
motivic construction of ‘Ideas and Transformations, though it is not known to the

author if Liebermann’s work is as fully integrated as that of Kenneth Gaburo (see the
analysis of Gaburo’s duo later in this dissertation). The first of Liebermann’s Two
Pieces is also enjoyable.
Lipovsek, Marijana. (1910-)
Two Duos. (1956)
First Duo-Suite.
I. Prelude. Moderato. J = 76. ca. 5’50”

II. Dance. Allegretto giocoso. J = 126. ca. 2’
III. Meditation and Vision. Liberamente, recitando e meditativo.

ca. 3’20”
IV. Second Dance. Sciolto, assai vivace. J = 132. ca. 2’10”
V. To Finish With. Lento, Giacome e vivo, non troppo presto.
J = 108-120. ca. 2 ’5”
Published: Ljubljana: Drustvo Slovenskih Skladateljev, 1963. Scores:

21 (19) pp. Published together with the Second Duo. 12 pp.
The First Duo-Suite by Marijana Lipovsek is an excellent piece and one of
the most expressive, well written works in the genre. The movements, which each
progress naturally and enjoyably, provide good contrasts. The first movement is
mournful and weeping, with an angry contrasting central portion. The second
109
movement is a light dance that gradually takes on a mock-serious character. The

third movement is aptly titled “Meditation and Vision,” and contrasts two ideas. The
first idea is slow and somewhat unresolved, the meditation. The second idea, the
vision, catches fire and drives the movement forward. These two textures alternate
several times through the course of the movement. The fourth movement is a
spirited Eastem-European style dance and the last movement is lively and optimistic.
In general, the writing is decidedly Neo-Classical, especially the lighter movements.

Each part takes on the differing characters of the movements and remains of equal
importance, though the violin is given a greater portion of the melodic passages than
is the viola.
Second Duo.
I. Fantasy. Lento, ma non troppo, molto appassionato. Allegro
molto.
II. Fugue.
Published: Ljubljana: Drustvo Slovenskih Skladateljev, 1963. Score: 12
pp. Published together with the First Duo-Suite. 21 (19) pp.
Dedicated: To John Tannert.
The Second Duo. “Fantasy and Fugue,” by Marijana Lipovsek, is an
interesting and extensive work for the combination. The “Fantasy” is chaconne-like
in style, somewhat halting and awkward. The “Fugue” is chromatic and moderately
dissonant, but otherwise traditional. In both movements, the harmonic language is
modem, though tonal and/or modal throughout. The writing is contrapuntal and the
instruments are treated equally.
110
Loeb, David. (1939-)
Nocturnes and Arias.

I. Poco Allegro. J = 108-112.
II. Allegro non troppo. J = 138.

III. Poco adagio, sempre affettuoso. J = 56.
IV. Moderate. J = 88.

V. Lento assai. J = 50.
VI. Allegro tranquillo. J = 138 sempre scorrevole.
Manuscript Obtained from The Curtis Institute of Music. Score: 11 (10)
pp.
Nocturnes and Arias, by David Loeb, consists of six short movements. If
there is meant to be a distinction between which movements are the Nocturnes and
which are the Arias, it is not clearly indicated in the score. The harmonic language is
similar in style throughout—modem, though with distinctive tonal centers and

progressions. The piece generally sounds delicate, almost like the thin yet strong
strands of a spider’s web. The music itself winds its way through both parts, at times
with accompaniment, occasionally without. Both instruments are treated equally and
the writing reflects the string nature of the duo. Much use is made of harmonics and
double-stops involving open string pedals.
Sonata, no. 1. (January 14, 1960)
I. J = 104.
II. J = 72.
III. J= 116.
Manuscript: Obtained from Stanford University Libraries. Copyright
by the composer, 1960. Score: 13 pp. On inside (blank) page: “gift
of Kenneth and Pamela Goldsmith.”
Ill
Dedication: ‘T o the Zaidis.”
Sonata, no. 1, by David Loeb is a solid Neo-Classical work typical for the
mid-twentieth century. The first movement, in sonata form, begins the work with an
optimistic, upbeat first theme. This is contrasted by a slower second theme. The
second movement, though technically simple, is musically demanding, progressing
slowly and powerfully in two voice polyphony. The final movement is an ever-
moving jazzy (though refined) dance. Overall, the parts are of equal importance.
Loeb, David. (1939-)
Sonata, no. 3.
I. Lento. J = 66. Poco Allegretto. J = 84.
II. Presto. J. = 132.
III. Lento. J = 69.
IV. Adagio. J =40. Allegro. J = 100.

Published: New York: Harold Branch Publishing, Inc., [no date). Score:
9 (8) pp.
Sonata, no. 3, by David Loeb, is a dynamic work for violin and viola. Most
strong is the sense of the duo as a complete ensemble. Also, the polyphonic writing
is so essential that the individual parts can not stand alone. Though the sound is
tonal with more modem harmonies, the style is similar to the contrapuntal works of
Beethoven-the scherzo and trio, movement two, is especially Beethoven-esque. The
third movement, Lento, is expressive and resonant. The first and last movements are
solid as well. Overall, the parts have a good harmonic and coloristic range and are
written well for the instruments.
112
Sonata, no. 6.
I. Lento, sempre lirico. J = 52.
II. Allegro. J = 92.
III. Poco Allegro. J= 72-76.

Published: Obtained from The Curtis Institute of Music (note on score:
“gift of the composer 10/87”). Score: 7 (6) pp.
Sonata, no. 6, by David Loeb, differs considerably from the Neo-Classical
structures of sonatas nos. 1 and 3, though the musical awareness of the combination
of violin and viola is just as great This is especially true in the first and last
movements of the work, which are written senza misura. The rhapsodic
compositional style lends itself to the interchange of ideas and combined musical
figures between the players. Neither part creates the entire melodic content of a
section. Rather, the melody and accompanying figures are woven between the
instruments. The central movement is close in character to a scherzo, with rapid
hockets and counterpointed themes. Overall, the instruments are treated with
equality. The manuscript score is clear to read, but does contain some obvious and
easily remedied errors.
Loyola, Claude-see Allgen, Claude Loyola.
Luening, Otto. (1900-)
Duo.
I. Vivace. IV. Slow.
II. Slow. V. Moderato.
III. Allegro. VI. Fast.
113
VII. [no indication] XI. Slow.
VIII. Presto. XII. Moderato.
IX. Moderato. X III. F a s t
X. As fast as possible. XIV. [no indication]

Published: Hastings-on-Hudson, New York: Joshua Corporation (BMI);
G. Schirmer, Inc., Exclusive Representatives, 1976. Score 12 (11) pp.
Duo, by Otto Luening, is one of the unique pieces in the repertoire.
Throughout the fourteen movements that comprise Duo. Luening is experimenting
with tone color, pitch, vibrato, resonance, articulation, tempo, dynamics and so forth.
A variety of harmonic styles are utilized as well. The music is modem in style, often
contrapuntal and polyphonic, yet is generally not dissonant. The formal construction
of the work is also unique. The first nine movements present original material.
After a rapid introduction to the tenth movement, a recapitulation is begun. This
lasts through movement fourteen, the work’s conclusion, and consists of synopses of
movements one through six. In general, the music is well balanced, though the range
of the viola is almost always less than that o f the violin.
Lutz, Oswald. (1908-)

Kleine Musik. op. 81.
I. Praludium. Allegro moderato.
II. Siziliano. Andante sostenuto.
III. Menuett Allegretto.
IV. Fuge. Allegro.

Score: 8 (7) pp.
114
Kleine Musik. by Oswald Lutz, appears to be intended as Hausmusik. The
parts are technically easy with occasional shifts into position. These are specifically
marked. The four movements are in a modern modal, Neo-Classical style. The
writing tends to favor the violin with respect to the melodic interest. The “Siziliano”
is perhaps the best movement of the four.
Maasz, Gerhard. (1906-)

Duo, in E-dur.
I. Ruhig und ausdrucksvoil. J = 88.
II. Fliissig und gebunden. J = 80.
III. Sehr ruhig. J = 46.

IV. Frisch. J =96.
Published: Wolfenbiittel: Karl Heinrich Moseler Verlag, 1980. Score: 10
(9) pp.
The Duo, in E major, of Gerhard Maasz is labeled (on its cover) as
Hausmusik. yet there is much expressive writing within its four movements. The
two outer movements, “Ruhig und ausdrucksvoil” and “Frisch,” are quite expressive.
Frequently, other Hausmusik of this genre seems to be written “down” to the

performers or dashed-off. Maasz’s Duo, though not difficult technically, can still be
appreciated as a work of beauty. Though at times treated differently, the viola part is
no less challenging, important or expressive than that of the violin.
Maconchy, Elizabeth. (1907-)
Three Easy Pieces.

I. Lullaby. Allegretto.
II. Moto perpetuo. Allegro vigoroso.
115
III. The Waterwheel. Allegro commodo.

Published: London: Faber Music Limited (G. Schirmer, Inc., New York),
1972. Score: 7 (6) pp.
The Three Easy Pieces of Elizabeth Maconchy are solid intermediate level
additions to the pedagogy repertoire. Each piece is modem in style, appropriately
titled and contains good bowings and usually appropriate fingerings. The two parts
are well balanced with clearly delineated melodies and accompaniments. Lullaby is
especially beautiful, with a rich, resonant sound. Moto perpetuo is solid but not
spectacular and The Waterwheel utilizes shifting chromatic fingerings. All could be
used for performance, study or reading. Overall, the parts contain a good variety of
clearly indicated lower-position fingerings.
Madema, Bruno. (1920-1973)

Stanchen fur Tini. (1972)
Published: Milan: Edizioni Suvini Zerboni, 1983. Score 2 pp.
Stanchen fur Tini by Bruno Madema is a curious two page piece that differs
in style from most of the composer’s other works. The piece is written in an
imitative tonal style and presumably slow tempo (this is not indicated in the score).
The work is expressive and the parts are well balanced. Stanchen would work well in
recital along with several other shorter works.
Malige, Fred. (1895-)

Acht Studien im Stil alter Tanzformen.
I. Ailemande. Moderato. III. Sarabande. Andante.
II. Courante. Allegro. IV. Gigue. Allegro.
116
V. Gavotte. VII. Menuett.

VI. Musette. VIII. Polonaise.
Published as part of Leichte Duos: V.E.B. Friedrich Hofmeister
Musikverlag, 1980. Score: 11 pp.
Acht Studien im Stil alter Tanzformen. by Fred Malige, captures the
rhythmic construction of the various dance-forms, but not the general style. The
meandering melodies and somewhat extended tonalities leave each part unsatisfying.
The combination fares slightly better. This is good sight-reading material for the
study of phrasing and rhythm, which includes numerous hemiolas. The overall pitch
range is confined to those notes in first position. However, shifting within the first
three positions (including much needed work in second position) is necessary and
well-indicated.
Mann, Robert (1920-)

Invocation. (1980) dur: ca. 5’
Molto espressivo. J' = 60, J = 30.

Published: Bryn Mawn Merion Music, Inc., Theodore Presser Company,
Sole Representative, 1997. Score: 3 (2) pp.
Dedication: “Composed for the wedding of my daughter Lisa Mann and

Rocco Marotta.”
Invocation, by Robert Mann, is a short expressive work in a dissonant style.
The piece is in a slower tempo with moderately difficult rhythms, and both
instruments are given lyric, generally contrapuntal parts. The rhapsodic motion of
the work tends to outweigh the dissonant pitch structure. This construction enhances
the emotive atmosphere, though many harsh sonorities are heard in the ever-
changing textures. Both instruments are treated equally throughout.
117
Martini, Manlio. (1923-)
10 Duetti. (1%7)
I. Andante marcato. J = 92. VI. Andantino. J = ca. 76.
II. Allegretto. J.= ca. 72. VII. Allegro. J = ca. 100.

III. Lentamente. J = ca 54. VIII. Adagio. J* = ca. 52.
IV. Moderato. J = ca. 92. IX. Vivo. J. = ca. 100.
V. Tempo di minuetto. J = c a . X. Allegro energico. J = ca. 104.

94.
Published by the composer. Ancona (Italy), 1967. Score: 11 pp.
Ten Duetti. by Manlio Martini, is a curious collection of short characteristic
pieces for the genre. The two instruments, though often treated differently, are equal
in importance. The compositional style is somewhat pastiche with a mixture of

Romantic and modem textures and harmonies. The pieces, in a variety of tempi, are
tonal or modal in nature, with limited dissonance and functional progressions. Ten
Duetti may be most appropriate in a less formal recital. Many of the short
movements are delightful and none are heavy-handed. The manuscript score is
usually legible, though occasional mistakes can be found.
Martinu, Bohuslav. (1890-1959)
Duo, no. 2. (New York, Oct. 13, 1950)
I. Allegro.
II. Lento.
III. Allegro (poco).
Published: Paris: Editions Max Eschig, 1964. Score 24 pp.
Recorded: Oscar Shumsky, violin; Eric Shumsky, viola.
Dedication: Madame Rosalie Levintritt.
118
The Duo, no. 2, by Bohuslav Martinu. is not as well known as the 'Three
Madrigals, though it has been recorded (see the Discography later in this
dissertation). Nevertheless, it is a substantial, well written work for the combination.
The style is quite similar to the Madrigals, with a motivic construction, interlocking
rhythms and rich harmonies. At times, however, the harmonies are more strident
than those in Martinu’s earlier work. The first movement of Duo is similar in spirit
to the final Madrigal, with a characteristic optimism. The motivic writing is
interspersed with short chordal sections. The second movement is an expressive
variations with a slow, restless chromatic theme. The final movement is darker than
the first, but stylistically similar. The parts are virtuosic, each instrument equally
well treated.
'Three Madrigals. (1947) dun ca. 16’
I. Poco Allegro.
II. Poco Andante.
III. Allegro.
Published: London: Boosey and Hawkes, Ltd.. 1949. Score 22 (21) pp.
Recorded: numerous recordings-see Discography.
Dedication: Lillian and Joseph Fuchs.
Recordings: Madrigals is based on Czech folk music, “characterized by short

motives which return periodically,” and virtuosic figuration for the instruments.
Martinu’s background as a violinist and mastery of string writing is also evident.
‘The second madrigal, Poco andante, is dark and moody, not unlike Bartok’s “night
music.. . . Tremolos, trills and modal melodies reflect the Czech folk songs which
remained in Martinu’s memory during his years of residence in France and
America.”91
Some resemblance to the Piano quartet-the “quasi concerto-grosso
techniques of writing” and same “success” in the concert hall. ‘T h e extreme
91 Dohnanyi/Martinu Chamber Music.
119
movements evolve from micro motivic fragments and develop into a closely woven
polyphonic texture.. .’’-bearing comparison with KV 423/424.92
“Although they do not subscribe to any conventional classical form, these
three pieces . . . recall the sonata structure of Mozart’s celebrated duos for this same
combination. It would be fair to say, however, that Martinu’s handling of the
medium appears to be less fluent than the Viennese master’s since he relies more on
the cutting edge of the clashing voices for his effects than Mozart who invoked the
voluptuousness of the viola to provide a resonant cushion of implied harmony alien
to Martinu’s linear intentions.”93
The most performed and recorded modem work of this genre, ‘Three
Madrigals, by Bohuslav Martinu, is certainly the best known violin and viola duo
and one of the strongest, most musically substantial pieces in the repertoire. It is a
Neo-Classical work, constructed motivically, with modem modal harmonies and
progressions. A detailed description of this work can be found in the analysis
section of this dissertation.
Matuszewski, Marusz. (20th c.)

Two Duetti.
Moiei Matce. (1972)
I. Allegro moderato.
II. Largo.
III. Con moto.
Zonie Marii. (1973) dun 9 ’
I. J' =112.
II. Vivacissimo. J. = 152.

III. Moderato cantabile. J = 60.
92 Martinu Kammermusik.
93 Martinu. Dartington.
120
IV. Allegro scherzando. J = 132.
Published: Krakow: Poiskie Wydawnictwo Muzyczne, 1975. Stefan

Kamasa, ed. Score 23 (22) pp.
The two duos of Matuszewski, published together, are first-rate virtuosic
works for the combination. The parts are well proportioned, equally challenging for
both players, and should be rewarding works in performance. The second duo
appears more integrated and texturaily complete than the first Overall, both
compositions are substantial and are important contributions to the repertoire. Their
general forms are Neo-Classical, and often shades of Hindemith orToch can be
found, though the sonorities within these duos are sometimes more harsh than what
is typical for those earlier twentieth century composers.
The first duo, the shorter of the two, is refreshing and expressive. Its first
movement contains driving fifths in a dance-like changing meter, and is reminiscent

of the first movement of the Ernst Toch ‘Divertimento, op. 37, no. 2. The second
movement is composed of thick sliding chromatic harmonies within well-balanced,
well-phrased melodies. The third movement, a spirited, chromatic rondo, concludes
the work.
The second duo begins with a substantial movement, tonally extended and
chromatic, with numerous chordal passages, short exclaimative bursts and a variety
of colors. The second movement, less than a minute in length, takes off in a
vivacissimo tarantella-like dance with jarring off-beat hemiola rhythms. The third
movement is a playful theme and variations, its main theme reminiscent of
Hindemith-especially at the cadences. The final movement, like that of the first duo,
is a rondo, spirited and witty, and makes brief reference to the initial movement of
the duo.
121
Matys, Jin. (1927-)

Duo, op. 39. (1963) dur. c a 9 ’
I. Allegro vivace. J = ca. 80-88.
II. Adagio. J = ca. 50-54.

III. Allegro giocoso. J = ca. 132-144.
IV. Allegro energico. J = ca. 92-%.

Published: Prague: Editio Supraphon Praha, 1976. Revised by Rudolf
Srubar. Notes by Milan Kuna, Translation into German by Zofie
Brozkova. Score: 19 (15) pp.
Recorded: Adolf Sykora, violin; Jiri Kratochvil, viola.
Dedication: “Venovano MUDr Vaclavu Kucerovi.”
Duo, op. 39, by Jiri Matys, is a four movement Neo-Classical work. The
writing is fluid, though typical for its year of composition. The first movement is in
sonata form. The second is slower with a speech-like melody and accompaniment.
The third movement is playful and the final movement is a quick rondo. In each
movement, while the instruments are treated differently, both are of equal
importance.
McDonald, John D. (20th c.)
Hypnotic Fragment.
Published: Troy, MI: Encore Music Publishers, 1991. Score 3 pp.
Experimental and intimate, Hypnotic Fragment is well named. This is a
minimal, sparse work (though not of the Minimalist style), roughly four to five
minutes in length, consisting primarily of minor thirds played in harmonics,
flautando non-harmonics and glissandi. In the proper setting the piece would work
well. The parts are equally balanced, each instrument sharing in the overall
122
presentation. The score is reasonably well edited with a few exceptions. More
lettered dynamics may clarify some phrases and the initial pitch of the violin is
ambiguously notated. A harmonic on the B-natural (fourth finger on the E-string)
produces the pitch B-natural one octave above the notated pitch, not a fifteenth
above, as indicated. A simple solution would be to play the harmonic at the location
of a G raised by a quarter-tone (second finger on the E-string, between G and G-

sharp). Also, the use (or non-use) of vibrato is apparently left to the discretion of the
performers.
McKay, George Frederick. (1899-1977)
Dao.
I. Prelude. Andantino poetico.
II. Allegro giocoso e ritmico.

Manuscript: obtained from The University of Washington Libraries,
1947. Score: 6 pp.
McKay’s work is good-humored, with a sonorous Andantino poetico
introduction and a chirpy rondo (it is not clear if the work is meant as one movement
with two sections or as two separate movements). Though the score is handwritten
and somewhat difficult to read, it may serve well as a short (four to five minutes in
length) informal work within part of a longer program. The parts are well balanced
and rarely exceed the lower three positions
Michelet, Michel. (1894-)

Eisenach Suite. (1950) (violin and cello or viola)
123
II. Allegro ma non troppo.

Interlude. Andantino (quasi recitativo).
III. Andante ma non troppo.

Manuscript: Obtained from the Primrose International Viola Archive,
Brigham Young University. Copyright by the composer, 1950. Score
and Viola part: 13 and 6 pp.
This suite is named for the city in which J. S. Bach was born. Appropriately,
the three movements plus interlude (which serves as an introduction to the final
movement) are composed in a Baroque (though somewhat Romantically influenced)
style similar to that of Bach. The first movement is by far the most convincing in the
work-a dark and brooding fugue at the fifth. The final two movements are weaker.
The interlude is Romantic and in the style of a prelude. The handwritten score is for
violin and cello and comes with a separate part for the viola, which could be played
instead of the cello. The writing is well balanced, though the cello is given a wider
range than the transcribed viola part, which remains in the lower three positions.
Milbum, Ellsworth. (1938-)

Entre nous. (Stockholm, March 16, 1986 - Houston, March 17, 1988)
I. Recitatif. Senza misura.
II. Deux. Senza misura.

III. Voutes. J = 48.
IV. Fantaisie. Fast J = 120.

Published: St. Louis: MMB Music, Inc., 1988. Score 15 pp.
Dedication: Ronald and Roxanna Patterson.
Though the score to Entre nous is handwritten and a little difficult to read,
Milbum’s duo is worth the added effort in preparation. Entre nous is modem in
style, employing a wide range of colors, several recitative/senza misura sections, and
124
controlled chance elements. In the second movement, a gesturally based “game” is

played by the performers. The entire work is expressive. Milbum especially focuses
on the duo nature of the ensemble, as the performers must musically as well as
visually carry out a many-faceted, often sparring dialogue. The work is dedicated to,
and appropriate for performance by, an experienced ensemble. The writing is
technically and musically equal for both violin and viola.
Milhaud, Darius. (1892-1974)
Sonatine. B. 226. (Oakland. CA, May 6-8, 1941)
I. Decide. J = 88.
II. Lent = 72.

III. Vif (fugue). [J.) = 132.
Published: New York: Mercury Music Corp., 1947. Score 15 (14) pp.
Recorded: Alexis Galperine, violin; Miles Hoffman, viola.
Dedication: Laurent et Germain Prevost.

Short Review: ‘This is a typically fluent work, but as so often [Darius
Milhaud] has really little to communicate.”94
The Sonatine is a very typical work for the composer, similar in many ways
to his string trio. The two parts are balanced, use a moderately wide pitch range and
are idiomatic for the instruments. The three movements, arranged fast-slow-fast, are
of Baroque and Classical forms: sonata, passacaglia or chaconne and fugue. All
three movements are easy-going, never aurally demanding and in sunny tonalities.
The clear Neo-Classical writing allows the melodies and accompaniments to be
easily distinguishable.
94 Marcan, p. 749.
125
Mitzscherlich, Erich. (1906-)

Drei Stucke. Werk 27, 1953/4.
I. Kanon. Allegro moderato. J = 94. (1953)
II. Pastoral. Andante. = 78. (August, 1954)

III. Rondo. Allegretto. J = 84.
Manuscript: Obtained from the Primrose International Viola Archive,
Brigham Young University, 1954. 2 Parts: 4 pp. each.
This amiable Neo-Baroque work (with modem harmonic progressions) is
most appropriate for reading or for students. The final movement seems the most
presentable. The individual parts are not so satisfying, as they seem to meander, but
the combination fares somewhat better. The writing is mostly equal, but at times
favors the violin. The separate parts of this work are handwritten and difficult to
read.
Mohler, Philipp. (1908-)
Divertimento, o p . 13. (1947)
I. Allegro con brio.
II. Thema. Ruhig.

Variationen.
1. Elegie.
2. Lieser March. Allegro.
3. Tanz. Molto vivace (Ganze Takte).
4. Lied. Andantino. Quasi Allegretto.
5. Humoreske (Finale). Allegro molto.
Published: Heidelberg: Willy Muller, Siiddeutscher Musikverlag, 1960.

Score: 17 (15) pp.
Dedication: “Dr. Adalbert Kalix”
Short Review: “. . . a vigorous first movement and an interesting set of
variations.”95
95 Ibid.
126
Philipp Mohler’s Divertimento is a handsome work. Though composed in
1947, its style hearkens back to the early years of twentieth century neo-classicism
and impressionism. The sonata form first movement is energetic and uplifting,
somewhat Hindemithian in tonality, though not in melodic material. The second

movement is a beautiful theme and variations. The theme is tonally rich as well as
impressionistically delicate (reminiscent of Ravel), with unisons, fourths and fifths,
this work can be found in the analysis section of this dissertation. The five variations
provide some excellent contrasts. Overall, the writing is well balanced, though it
rarely exceeds those pitches in the third position. The piece should be well received
by audiences and should be played.
Moser, Rudolf. (1892-1960)
Divertimento, op. 48, no. 2. (April 8, 1931) dun 12’

I. Allemande. IV. Loure.
II. Menuett. V. Courante.

III. Bouree I.
Bouree II.
Published: Arlescheim: Gertrud Moser, 1970. Score: 10 pp.
The Divertimento, op. 48, no. 2, of Rudolf Moser is categorically as well as
musically problematic. It is closest in form to the late Baroque dance suite (though
the movements are not in the traditional sequence), yet it is Pre-Baroque in tone with
somewhat chromatic progressions. Neither can it be classified as performance or
Hausmusik: its subjects are too bland (banal) for the concert hall and too awkward to
enjoy playing. The work’s constant quasi-minor modalities leave it sounding cold
rather than austere. The two instruments are treated equally, if awkwardly.
127
In op. 48, no 2, the first and final movements fare the best The middle
movements become thick and stodgy. This is contrary to the traditional distribution
of musical weight in a Baroque dance suite, and perhaps this presents the most
problems to the overall success of the work.
Divertimento, op . 48. no. 3. (1931)

I. Entree. IV. Courante.
II. Menuett I. V. Chaconne.

Menuett II.
III. Gavotte.
Musette.
Published: Arlescheim: Gertrud Moser, 1979. Score: 13 (12) pp.
Divertimento, op. 48, no. 3, is similar in content and quality to the earlier
opus. It may serve as a pleasant, if meaningless read.
Nichols, Roger. (1934—

)
Fantasia. (August 14, 1988) dur: 14’
Lento.
Dedication: For Nancy and Paul Bryan.
Fantasia, by Roger Nichols, is a tonal work in a Romantic style. Both
instruments are treated equally, each instrument taking turns performing the lyrical,
lento melody while the other accompanies. This work would be appropriate in
intimate settings and possibly in place of a Romantic work in a longer program.
128
Nixon, Roger. (1921-)
Four Duos.
I. Andante cantabile. J' = 100.
II. Larghetto. J = 54.

III. Alla Barcarolle. J. = 44.
IV. Allegro giocoso. J = 138.

Published: Bryn Mawr, PA: Theodore Presser Co., 1966. Score 9 (8) pp.
Dedication: the Phi Mu Alpha Fraternity of America.
Roger Nixon’s Four Duos are typically cheerful optimistic Americana. Each
remains technically easy, yet is decidedly modem in style. The duos are consistent
in content, though differing in texture. Formally Neo-Classical, the movements are
constructed in canon or as melody with accompaniment. Unfortunately, the viola is

given too many of the accompaniments, with little melody. However, the viola is the
more challenging part of the two. The duos would work well for advanced students,
yet are also suitable for professional performance. Overall, the work reflects the
nature of a duo, with a necessary emphasis on communication and ensemble.
Ogdon, Will. (1921-)

Variations Suite. (1995/96) dun ca. 9’
Unpublished: Manuscript, 1995-1996. Score: 9 pp.
Recorded: Jdnos Negyesy, violin; Paivikki Nykter, viola.
Dedication: (at end) “Remembering Bartok.”
Variations Suite, by Will Ogdon, is a moving, expressive work, meticulously
detailed and finely crafted. The writing is modem, moderately dissonant, with clear
tonal centers and frequent Mahler-like gestures. Variations Suite is polyphonic.
129
often with the two lines separated by coloristic devices-tremolo, pizzicato or

ponticello-or with the voices alternating between each part. The formal construction
of the work is unique. The work begins with a prelude and concludes with a
postlude, after which is found the inscription “Remembering Bartok.” Following the
prelude is the theme, marked “quasi giocoso.” The theme is repeated, almost
verbatim, as the final section or variation before the postlude. Between the two
statements of the theme are five variations, the first four of which are titled Scherzo,
Trio, Scherzando and Tango. The fifth variation remains untitled. Though the work
remains unpublished (hopefully this will be rectified in the near future), it has been
recorded by Janos Negyesy and Paivikki Nykter (see “Discography”). Copies of the
work could likely be obtained by contacting Professor Will Ogdon through the
Music Department of the University of California, San Diego.96
Oliver, Harold. (1942-)

Duet (June-July, 1972)
I. J = ca. 63.
II. J = 116-120.
III. J = ca. 88.
IV. Con rubato, violently. J = ca. 152.
V. Slower tempo, con rubato. J = ca. 66.
VI. [(no pause)]
VII. [Molto tenuto]
Published: New York: Carl Fischer, Inc., 1976. Score: 10 (9) pp.
96 Special thanks to Janos Negyesy and Paivikki Nykter for providing to the
author a copy of this score and a tape of their performance.
130
Duet by Harold Oliver, is an experimental work reflective of the 1960’s and
‘70’s style. The piece is likely dodecaphonic or a serial derivative, though the focus
of the writing is on the ensemble-the two instruments combining to create gestures
and resonances. This is especially evident in the arpeggios which often sweep
through both staves, the chordal structures, and the tremolos in movement six. The
duration of the seven movement work is not long, as several of the movements are
shorter. The final movement consists of only silence. The manuscript score is well
edited and legible, and both instruments are treated with equality.
Ore, Harry Bruno Johannes. (1885-)
The Four Temperaments (Four Sketches), op. 3.
I. The Choleric. Allegro moderato.
II. The Melancholic. Adagio.
III. The Phlegmatic. Allegretto.
IV. The Sanguinic. Allegro.
Published: London: W. Paxton and Co., Ltd., 1961. Score: 12 (11) pp.
This work is probably best suited as Hausmusik. and makes for a moderately
interesting, if slightly tedious read. The four movements treat the instruments
equally well, and are written in a Neo-CIassical/mid-Romantic style with many
sliding chromatic harmonies. Many of the numerous chords are awkward, but work.
Orrego-Salas, Juan. (1919-)
Sonata a duo, op. 11. (1945)
I. Lento. J = 40. Allegro. J = 116.
II. Adagio cantabiie. J* = 72.
131
III. Vivacissimo. J = 152.

Published: Saint Louis: Norruth Music, Inc. (BMI), 1990. Revised in
1971. Score: 12 pp.
Dedication: “a Carmen.”
The Sonata en duo by Juan Orrego-Salas has a decidedly South American
flair and sounds strikingly similar to works of Ginastera, especially the outer
movements which utilize busy, primitive driving rhythms with simple-sounding folk
tunes. After a brief introduction, the first movement contrasts jumpy, quirky dance
rhythms with a slower pastoral melody. The second movement presents an evening
lullaby or love song. The last movement is a tarantella-like dance in relentless

perpetual motion. The work is of a virtuosic nature, incorporating some difficult
techniques and quick tempos. The instruments are well balanced in the presentation
of material.
Owen, Harold. (1932-)
Duo. (1960) dunca8’

With quiet motion, ^ =104. Poco piu mosso, J = 66. Fast, J = 108.
Flowing, J. = 138. As Before, J = 108. Moderately slow, J = 132.
Very Tranquil, J = 46.

Published: CMP Library Edition, University Microfilms, approx. 1970.
Score: 8 pp.
Duo, by Harold Owen, is a through-composed piece with four movement-
length sections and an epilogue which recalls the beginning of the work. The music
alternates between polyphony and rhythmic unisons, and the sound, though not the
form, is Neo-Classical. The movements generally consist of one or two melodic
132
voices in less structured, more rhapsodic counterpoint Overall, the instruments are
treated with equality, though the violin is given a greater pitch range than is the
viola. The manuscript score is moderately difficult to read.
Pepin, Clermont (1926-)

Monade VII. (1986) dun 14’
I. Legno. J =ca. 60.

II. Complainte. Sans mesure. Libre et tres expressif.
III. Pizzicati. Libre.
IV. 5/16. = ca. 66.

Published: Outremont, Quebec: Les Editions Clermont Pepin, 1986.
Score: 16 (15) pp. The score was commissioned by la Societe Radio-
Canada. Premiered by violinist Gyorgy Terebesi and violist Robert
Verebes at a “Grand Concert de Radio-Canada” on November 21,
1986.
Monade VII (apparently a work within a series of pieces with the title
Monadft-likelv meaning: of a single elementary substance, such as an atom), by
Clermont Pepin, is a moderately difficult, colorful work, described in the notes
which accompany the work as being “composed of four pieces in which the diverse
aspects of string playing are exploited.” The first piece is a slowly developing
inverse canon at the unison and utilizes quarter tones, glissandi. ponticello and col
legno. It also serves as an overview of the remaining movements. The free (senza
misura) second piece is a slow, melodic passioned work. The scherzo-like third
piece is again marked senza misura and, as its title impious, utilizes (mostly)
pizzicati. The final piece is a driving perpetual motion in 5/16 (see the final
movement of Starer’s Duo). The entirety of the work presents each instrument well
and equally.
13 3
Petrassi, Goffredo. (1904-)

‘Duetto. dur: ca. 7’
Molto moderato. J = 66/68.
Published: Rome: Edizioni Musicali RCA S.p.A., 1986. Score 12 pp.

Recorded: on “Musica da camera due.” See “Discography.”
Dedication: Adriana Panni.
‘Duetto, by Goffredo Petrassi, is one of the prime compositions of this genre.
It is virtuosic, evocative and unique in style. The single movement work
incorporates modal and serial techniques in its harmonically lush and rhythmically
difficult variations. The work is discussed in detail in the analysis section of this
dissertation.
Phillips, Burrill. (1907-1988)
Conversations.
I. Allegro comodo. J= 138.
II. Lento. J = 80.
III. Allegro e ben ritmico. J = 100.

Published: New York: Southern Music Publishing Co., Inc., 1962. Score
7 (6) pp.
Short Reviews: [titled ‘Four’ Conversations) “. . . most original (of the

reviewed American works] in inventiveness and imagination.”97
“Burrill Philips’ Conversations comprises three short movements with the
character of teaching pieces. Viewed as such, the are quite successful, unpretentious,
not difficult, and have a great deal of charm. They cannot, however, be considered
be considered as a serious attempt to write in the medium.”98
97 Marcan, p. 753.
98 Kroeger, p. 262.
134
Conversations, by Burrill Phillips, exactly reflects its title: the work is
pleasant, unencumbered and cheerful, typical of mid-century Americana. The parts

are well balanced and technically easy-there are no pitches above first position in
either part The overall style is modem modalaism with a few chromatics. The
piece is enjoyable to play and is appropriate for intermediate level students and as
Hausmusik.
Dialogues.
I. Adagio. J = 48.
II. Allegretto energico. J = 126.
Published: New York: Southern Music Publishing Co., Inc., 1963. Score
10 (9) pp.
Of a similar tonal style to Phillips’ other violin and viola duo, though slightly
more chromatic (see above), Dialogues is surprisingly different than its (likely)
predecessor. This work would be much more difficult for students and appears to
reflects a more detailed effort in construction. The slow first movement is cerebral
and expressive. The second and final movement presents an energetic dance with
snappy syncopated rhythms. The instruments are again of equal importance and the
middle registers are used in each.
Pollock, Robert. (1946-)
Duo no. 1, from Three Duos, for String Trio. (1978-80) dun ca. 4 ’
Lento. J = 72. (Ship Bottom, January 29, 1978)
Published: Association for the Promotion of New Music, 1980. Score 20

(6) pp.
Dedication: Linda Quan and Lois Martin.
135
Slow and expressive, Duo no. I of Robert Pollock also serves as the opening
movement of the larger opus Three Duos for string trio. The second duo is scored
for violin and cello and the third for viola and cello. The entire work would be
appropriate for a string trio to perform to an audience committed to contemporary

music. The entire work is similar in structure to the Divertimento, op. 37, nos. 1 and
2 of Ernst Toch which, in essence, presents a string quartet in paired duos. The Duo
no 1 (for violin and viola) is expressive, though the pitch content, if not
dodecaphonic, is similar in structure. The work is rhythmically demanding, both

within each part and in the combination as well. The violin is perhaps given the
larger pitch range of the instruments, but the viola part is no less expressive or
technically difficult The remaining movements are similar in style, though the
middle one is of a faster tempo.
Ponce, Manuel. (1882-1948)
Sonata en Duo. (Mexico, 1938)
I. Allegro, piuttosto moderato. J = 100.
II. In tempo di Sarabande, Andante espressivo. J = 54.
III. Allegro. J' = 132.
Published: Paris: Editions Maurice Senart, 1939. Score: pp.
Dedication: Cecile y Carlos Prieto.
Analysis: Corvera, Jorge Barron. “Harmonic Aspects of Manuel Ponce’s

Sonata a Duo (1938^ for Violin and Viola.” Journal of the American
Viola Society. Vol. 11, no. 3 (1985) 9-17.
Apart from the analyses contained in this dissertation, Corvera’s analysis of
Ponce’s Sonata en Duo is the only known analysis of a 20th century violin and viola
duo. Corvera gives an appropriate synoptic biography of the composer and discusses
136
the place of Sonata in Ponce’s repertoire before detailing the harmonic and melodic
aspects of the work. In summary: Ponce is recognized as one of Mexico’s greatest

composers and the founder of Mexican musical nationalism. He studied with Torchi
and Dall’Olio in Italy and Dukas in Paris. Sonata represents the composer’s mature
style and “is permeated with a Spanish musical flavor-one that is evident in the
presence of arabesques, the frequent use of Neapolitan harmony, and the occasional
use of the phrygian mode typical of Spanish music.”99

As Orrego-Salas’s duo captures the South American flavor, so does Ponce’s
Sonata en Duo evoke a Mexican (or Spanish) atmosphere. Many sections of this
beautiful work are of the same texture as Debussy’s Spanish depictions, Iberia, for
instance. The first movement is a sonata form exploration of a modal folk scale in a
rhythmically active setting. The second movement is a melismatic sarabande. The
rapid meter changes of the dashing final movement end the piece with a Mexican
flair. Overall, the violin is more often given the melodic passages, but the viola part
is of equal difficulty and importance. This is a first-rate piece and would provide an
exotic contrast in nearly any program. A more comprehensive description, together
with an analysis of the work can be found in Corvera’s article referenced above.
Poot, Marcel. (1901-1988)

Duo. (1962) dur: ca. 8’30”
Allegro moderato.
Published: Brussels: CeBeDeM, 1981. Score 12 (11) pp.
99 Jorge Barr6n Corvera, “Harmonic Aspects of Manuel Ponce’s Sonata a

Duo (1938) for Violin and Viola,” Journal of the American Viola Society. Vol. 11,
no. 3(1985)9-17.
137
Perhaps the most surprising characteristic of Marcel Poot’s Duo is the

manner in which Poot is stretching the upper dynamic range of the ensemble. Much
of the work consists of double-stops which are frequendy marked fortissimo-much
of the opening few pages could easily be scored for string quartet The work is
through-composed with several contrasting sections. The calmer areas of the piece
contain some beautifully counterpointed themes. Perhaps the most difficult aspect of
the work is the poor manuscript Several rhythmic errors can be detected, many
triplet signs are apparently missing and obvious dynamic markings have probably
been left out in some places. However, the work is finely crafted and well
conceived. Both instruments are finely utilized and are of equal standing. The style
of Duo is moderately dissonant though the most prominent aspect of the piece is its
rhythmic vitality and contrast
Porter, Quincy. (1897-1966)
Duo. (New Haven, Jan. 4, 1954)
I. Allegretto. J. = 66.
II. Lento. J = 54.
III. Allegro molto. J = 92.

Published: Northhampton, MA: Valley Music Press, 1962. 2 Parts 14 (7
+ 7) pp.
Dedication: Joseph and Lillian Fuchs.

Short Review: “Striving at all times to employ the greatest contrast between
the instruments, fPorterj has produced a well constructed work that holds the interest
and almost always sounds.” 100
The Duo by Quincy Porter is a substantial addition to the repertoire. The
work is typical for mid-twentieth century neo-classicism, achieving a well-
100 Kroeger, p. 262.
138
proportioned balance within the modal (at times bi-modal) phrases. The work opens
with a sweeping syncopated theme which is gradually developed though the duration
of the first movement. The second movement is of similar construction: the simple,
stately opening theme is varied through the increasingly more elaborate figuration.
The work concludes with a lively dance-like movement containing a contrasting
central portion. In general, the instruments are well utilized, though the violin is
given slightly more melodic and technical display.
Presser, William Henry. (1916-)

Twelve Duets. (Hattiesburg, Mississippi, 1969/70) d u r ca: 18’ 17”
I. J =96. (Bartok) 48” VII. J =66. (chaconne) 2’18”
II. J =112. 1’35” VIII. J= 124. (waltz) 1’45”
III. J =60. (Palestrina) 2’52” IX. J =60. (Debussy) 1’42”
IV. J =128. 1’09” X. J =88. (canon) 44”
V. J = 108. 1’26” XI. J =72. (Brahms) 1’ 10”
VI. J =76. 2’ 14” XII. J =120. 37”

Publication: Bryn Mawn Tenuto Publications (Theodore Presser), 1979.
Score: 20 pp.
As explained in the notes accompanying the score “the composer wrote these
duets for his son, who played the viola while in high school. Some of the
movements are meant to reflect various styles and forms.” These styles and forms
make this work additionally instructive for the advanced-intermediate level violin or
viola student The work would be enjoyable Hausmusik as well. Perhaps the most
striking of the parodies are those of Bartok, Palestrina and Debussy. The true
pedagogical value of the movements, however, is found in the ensemble, phrasing
and gained understanding of each movement’s structural implications. These should
139
prove stimulating to the younger inquisitive mind. The parts are well balanced and
extend into the mid-range of the instruments.
Ramsey, Gordon. (1926-)

Four Descriptive Pieces. (December 8, 1973, Vientaine, Laos)
I. Calmando. J = 50. 2’55”
II. Giocoso. J = 100. 2’55”

III. Amore. Rubato. J = 76. 2’25”
IV. Allegro. J = 120. T 15”

Dedication: Marguerite and Edgar Schenkman.
Recorded: Harold Wolf, violin; Harry Rumpler, viola. ‘Though bom and
raised in Utah, Ramsey has lived throughout the world. His formative studies
include those with Arthur Honegger in Paris, where he was awarded a “License de
Contrepoint” from the Ecole Normale de Musique. His music does not reflect his
extensive travels, rather reflecting purely musical ideas, occasionally using twelve-
tone techniques.. . . [The Four descriptive Pieces! are descriptive in the sense that
they grew out of improvisations by the composer in reaction to the poetry of Innis
Marshall, Ogden Nash and Hillaire Belloc.”101
Four Descriptive Pieces, by Gordon B. Ramsey, is a solid work in a modem
tonal style. The writing is generally Neo-Classical in function (though not
necessarily sound), with lyrical melodies, clear themes and supporting
accompaniments. The violin is given slightly more melodic presence, yet the viola is
certainly of equal standing throughout. After a canonic beginning, the first
movement sounds improvisatory and resonant, and is, at times chorale-like in
texture. The second movement is cheerful, alternating melody and accompaniment
with polyphonic sections. The third movement sets a lyrical melody in the violin
101 Ramsev.
140
with a pizzicato accompaniment in the viola. The final movement is upbeat and
rhythmic, with an intense drive.
Raphael, Gunter. (1903-1960)

Duo, in C, op. 47, no. 2, from “Kammermusik.” (1940)
I. Mafiig ruhig. J =72-76. dun 4 ’ 10”
II. Unruhig bewegt (Halbe) J. =66-69. dur. 3’

III. Langsam und wuchtig (J = J. vorhergehend). dun 3’30”
IV. AuBersy lebhaft, mit Schwung. J =120-126. dur. 3’35”
Published: Heidelberg: Willy Muller, Suddeutscher Musikverlag, 1959.

Score: 15 (14) pp.
Short Review: “. . . a rather brooding and intense work .. .”102
The Duo, op. 47, no. 2, of Gunter Raphael is Baroque in both its textures and
formal construction. The first movement is an expressive and austere passacaglia
with melodic elaborations in the violin above the steady harmonic bass of the viola.
The third movement is a slow, emotive fugue. The two remaining movements are
canonic, the final one somewhat reminiscent of Handel. Harmonically, the Duo is
slightly more extended or dissonant than the works of Max Reger and has a strongly
Germanic feel. The part writing is generally equal, however the violin is given a
greater pitch range. Any seeming imbalance in melodic prominence is due in part to
the formal design of the work. The piece is well written, though not of a style
typically thought of as “modem,” and could take the place of a eighteenth century
work in concert.
102 Marcan, p. 749.
141
Ribaupierre, Emil de. (1887-)
Suites Montaenardes. nos. 1-3.
Premiere Suite.
I. Entree. Allegro.
II. Harmonica. Allegretto.
III. Montferrine. Allegro.
IV. Airtendre. Lento.
V. Valse.
Dedication: “a Meê F. E. Masson.”
Deuxieme Suite.
I. Marche des Hauderes. Allegro.
II. Airaimable. Allegretto.
III. Evolene. Lento.
IV. Luc. Allegretto.
V. Lucette. Allegro quasi presto.
VI. Menetriers. Allegro.
Dedication: “a Andre de Ribaupierre.”
Troisieme Suite.
I. Entree. Gaiment.
II. Vielle historie. Largo.
III. Le petit mulet. Lent et comme en improvisant Allegro giocoso.
IV. Chanson. Modere.
V. Le Mulin. Lent. Allegro vivace.
Dedication: “a Me^ e Magda Lavanchy.”
Published: Lucerne: Foetisch Freres (Rouart Lerolle and Co., Paris),

1930. Scores: 9 (7), 11 (10), and 11(10) pp.
The three Suites Montagnardes of Emil de Ribaupierre are stylized Swiss
folk-dance suites. All three works are charming and, at times, challenging. Though
these pieces are, in essence, Hausmusik. they would be appropriate for advanced
students or informal concertizing. The melodic interest decidedly falls in favor of

the violin. Both parts occasionally use techniques such as harmonics and left hand
pizzicato. The three suites appear to be arranged in a progressive order of difficulty.
The first suite is the most pleasant and earthy of the three.
142
Riegger, Wallingford. (1885-1961)
‘Variations, op 57.
Theme and 10 Variations [various tempi.]
Published: New York: Associated Music Publishers, Inc., 1960.

Score 16(15) pp.
To be performed in Soli or in Choirs.

Short Review: “Much serial music in the quirkiness of its intervailic range
and peculiar rhythmic fragmentation can have an avowedly comic effect and this is a
noteworthy feature of the Riegger variations.”103
This is one of the most important works of the genre. ‘Variations is strictly
dodecaphonic, yet charming and witty. For a detailed description see the analysis of
Variations later in this dissertation.
Riley, Dennis. (1943-)

Winter Music. (1981) dun ca. 10’30”
I. Lento espressivo. J>= ca. 84.
II. J' = 126.

Interlude. S = 92.
III. J. = 72.
Published: New York: C.F. Peters Corp.. 1987. Score 11 pp.
Though Dennis Riley’s Winter Music often contains harsh sonorities (it is
likely dodecaphonically or serially based), the work is filled with character and
expression. Careful rehearsal of the first two movements is necessary, a heightened
communication between the players essential, adding to the depth of the work. The
first movement seems to most reflect the title: both parts are carefully balanced,
103 Ibid., 751.
143
delicate and evocative of Winter. The second movement is a scherzo with a song
like interlude following its conclusion. The work ends with a rondo, the instruments
frequently in rhythmic unison. Riley uses the full range of each instrument well,
creating a good balance between the two parts and incorporating techniques such as
harmonics and left hand pizzicato.
Roc hat, Andree. (1900-)

Suite, op. 25. dun 10’
I. Moderato.
II. Allegretto.
III. Adagio.
IV. Allegro.
Published: Milan: Carisch, 1955. Score: 11 (10) pp.
Andree Rochat’s Suite, op. 25, is a fascinating work that deserves to be
performed. The work follows the Classical four movement structure, yet its overall
construction is somewhat puzzling. Suite opens with the most cerebral writing and
concludes with a sprightly, dancing march. Between these extremes is a

rhythmically textured Allegretto and a slower, expressive movement The pitch
content also progresses from-heavy dodecaphonicism at the outset of the work to
more tonal, even bi-tonal (though perhaps still dodecaphonically based) writing in
the final movement. The overall contrast in musical ideas is striking. The “stodgy”
canonic counterpoint of the first movement is supplanted by a scherzo-like
presentation of repeated rhythmic textures in the second. Here, the instruments are
in differing rhythmic ratios, 4:3, 3:2, 2:1, etc. The beauty and deep expression of the
144
third movement is well contrasted by the jolly 12/8 march that concludes the work.
The part writing throughout is well done and the instruments remain equals.
Roger, Denise. (1924-)

Concert (1966) dur. 9’30”
I. Allegro. J = 96.
II. Lent J = 46.

III. Anime. J = 104.
Published: Paris: composer as publisher, 1978. 2 parts 12 (6 + 6) pp.
Though Neo-Classical or Neo-Baroque in form, Concert by Denise Roger, is
one of the more dissonant works of this genre. The overall structure of the work is
Classical, with the movements arranged fast-slow-fast the final movement a rondo.
Y et the counterpoint and dual melodic lines give the phrases a distinctly Baroque
feel. At the local level, the harmonies are often comprised of unresolved seconds
and sevenths. In all, the parts are treated equally and the full ranges of both
instruments are utilized. The profuse chromaticism and messy manuscript parts
make this work difficult to approach.
Rosse, Francois. (1945-)
Dawn’ Flash. (Leognan, November 14, 1992)
Assez lent J = 52-60; Un poco piu vivo. J = 76-80; Lent. J = 46-50.
Published: Courlay, Editions J. M. Fuzeau, 1994. Score: 2 pp. and 2

parts: 2+ 2 pp.
Dedication: For Aude Millon-Enocq.
145
Francois Rosse’s Dawn’ Flash, though brief (it is only about two minutes in
length), is a well written work for the combination. It is modem in style, though not
dissonant, and incorporates some twentieth century techniques such as harmonics,
Bartok pizzicato, sul ponticello and sul tasto. Coloristically French, the work is
accessible and should be well received in most venues. Though fairly quick in
tempo, Dawn’ Hash is not rhythmically difficult and, with the well edited score,
ensemble should not be a problem. The harmonics are occasionally marked at their
sounding rather than the fingered pitch. The parts play differing roles, but are of
equal importance.
Rush, Loren. (I935-)

Serenade. (December 31, 1959)
I. Intrada. = 180. IV. Scherzo. J. = 60. Trio. J = 90.
II. Quasi cadenza. V. Aria II. J = 60.
III. Aria I. J = 60. VI. Finale. J = 45.
Published: No Publication information. Score: 31 pp.
Serenade, by Loren Rush is a substantial work typical of 1950’s

experimentalism. Throughout its duration, Serenade is consistent in style. The
rhythm is especially challenging for the combination of two instruments-the brief

gestural arrangements of motives (at least the rhythms) would be much easier for a
single performer, say, a pianist, to execute. These motives are slightly Webem-
esque in appearance, and are often combined with various coioristic effects to
produce a single gesture between the players. Particularly difficult, due to its rapid
tempo, is the Scherzo and Trio. Fortunately, the manuscript score is very legible and
146
well edited. The instruments are treated equally and their full pitch and color ranges
are utilized.
Rychlik, Charles V. (1875-)
Sonata, in A, op. 26.

II. Andante.
III. Allegro con brio.
Published: Prague: Fr. A. Urbanek a Synove, 1930. 2 Parts: 19 (18 + 18)

pp. each.
Dedication: ‘T o Mr. D. S. Blossom.”
Sonata, by Charles V. Rychlik, is a three movement work typical of late
nineteenth century writing. It has little counterpoint and is generally set as melody
with harmony or light accompaniment-offbeats or Alberti bass. The first movement
is triumphant in spirit, the second a romance, and the final a playful rondo. Though
the parts are not easy, it is probably most appropriate as Hausmusik.
Ryden, William. (1939-)
Three Rags.
I. Allegro con spirito. J = 100
II. Adagio. = 74
III. Allegro ben ritmato. J = 88
Published: Boca Raton: Masters Music Publications. Inc., 1997. Score:

11 (9) pp. and Parts.
Three Rags of William Ryden is a well written, resonant work for the
combination and the pieces contrast surprisingly well. The first rag is probably the
147
most traditional (Joplinesque) in form of the three, and makes use of several string
colors including pizzicato, Bartdk pizzicato, tremolo and glissando. The second rag
is slower (similar to Joplin’s rather subdued Bethena Slow Waltz) and sultry,
showing a strong Classical influence. The final rag is again upbeat, rapidly
switching between major and minor. Overall, the writing is well balanced and fits
each instrument.
Saunders, Max. (1903-)
Five Fancies. [Fantasien]
I. Preamble. Allegro moderato.
II. Interlude. Andantino.
III. Pastiche. Maestoso.
IV. Pastoral. Moderato.

V. Buffo. Allegro vivo.
Published: London: Augener Ltd., 1955. Score: 16 (15) pp.
Short Review: “Fluent, graceful writing in an unusual chamber-music

form.” tw
Max Saunders’ Five Fancies is a pleasant, cheerful work of the pre-1950’s
modem English modal style. The five movements are diverse in content and would
be amusing for most audiences. The “Preamble” is a chromatic fugue. The second
movement is a bi-tonal “Interlude.” The third movement is the most serious of the
five, a forceful gallop in the minor mode with introduction and coda marked
Maestoso. The “Pastoral” has a surprisingly dark, exotic quality. The final
movement, as its name implies, is a slapstick romp. The instruments are treated well
104 “Saunders,” Mus. Op., p. 547.
148
and each has challenging, satisfying parts, though the viola is given most of the
many ostinato accompaniments.
Saylor, Bruce Stuart. (I946-)
Duo.
Tempo rubato. J = 56-60.
Published: New York: Columbia Music Corp., Galaxie Music Corp.,
agents, 1974. Score 8 (7) pp.
Duo, by Bruce Saylor, is a dodecaphonic work in the post-1950’s academic
avant-garde style. Both instrumental parts are equally written and each player is
given extensive solos and cadenzas. The two are combined to create many coloristic
string textures, including harmonics, tremolos, glissandi, flautando, etc. The overall
tempo remains moderate, though the piece is difficult However, with careful
preparation the work should be expressive and well received.
Schauss, Ernest (1882-)
Duo in Drei Satzen. (violin and viola or violoncello)
I. Energig. J^= 126.

II. Andante elegiaco.
III. Allegro moderato ma energico.
Published: Berlin: Afas Musikverlag, Hans Dunnebeil, 1950. Score:

(violin and violoncello) 7 (6) pp. with viola part, 3 pp.
Ernest Schauss’s Duo in Drei Satzen. though originating from this century, is
composed in a thick, late-Romantic style similar to the character pieces of Robert
Schumann or the music of Max Reger. For each instrument the writing is fluid and
not difficult to read, though the music wanders a b it The three movements contrast
149
well. The first movement is in 3/8 with an energetic drive. The second is a canonic
lied. The final movement is a dancing rondo with dotted rhythms. Originally for
violin and cello (the edition published by Afas Musikverlag includes a violin and
cello score with a separate viola part), both parts remain in the lower positions (first
to third). The pitches of the transcribed part for viola remain entirely in first
position. Overall, both instruments are treated with equality.
Schickele, Peter. (1935-)

Little Suite for Autumn. dur. ca. 7’30”
I. Simple, flowing. J = ca. 76
II. Bright, smooth. J = ca. 160

III. Slow. J = ca. 56
IV. Fast. J = ca. 176

V. Simple, flowing. J = ca. 76
Published: Bryn Mawn Elkan-Vogel, Inc., 1981. Score: 8 (6) pp.
Dedication: For Gil and Mary Scott.
Peter Schickele’s Little Suite for Autumn is one of the more unusual works
for this combination. The movements are light, simple, charming and tuneful, with a
pop-ish “folksy” air about them. The overall sound is warm, though the entirety of
the suite seems to vanish in an ethereal wisp. The writing is flowing and easy to
enjoy-whether as a performer or listener. Most movements are bases on and
incorporate modal scales into the music. The piece is probably best classified as
Hausmusik. though it is appropriate for intermediate students and could be used in
informal concerts by professionals.
150
Schmalzle, Gerhard. (I930-)

Vier Stiicke.
I. Moderato.
II. Allegretto.
III. Andante.
IV. Presto.
Published: Berlin: Sirius-Verlag, (no date). Score 11 pp.
Vier Stiicke of Gerhard Schmalzle is a unique work in the repertoire and
consists of four short contrasting character pieces. The first piece is brooding, the
second somewhat sultry. The third piece presents an plaintive melody over an
ostinato in a contrasting key. The final movement is a brief canonic presto. Overall,
the writing is delightfully quirky and bi-tonal. The parts, which are equally
balanced, are not too difficult. The music may be enjoyable for advanced students,
but could be used as performance repertoire as well.
Schroder, Hanning. (1896-1987)
Duo-Sonata. (flute or violin and viola)
I. Markante lebhaft Viertel. J = 106-112.

II. Leicht und in flieBender Bewegung. J' = 92-96.
III. Lebhaft. J = ca. 112-120.
Published: Leipzig: V.E.B. Friedrich Hofmeister Musikverlag, 1955.

Score: 19 (17) p. and violin part: 7 pp.
The Duo-Sonata for flute or violin and viola by Hanning Schroder is typical
of early Twentieth century neo-classicism. The opening movement presents an

optimistic quartal/quintal theme that is gradually developed. The second movement
151
flows along in a moderate tempo, the melody “lapping” as waves between the two
instruments. The final movement is a lively dance. The parts are well-balanced and
not too difficult In this piece, the flute is perhaps the better combination with the
viola, however, the violin part is edited and arranged specifically for the instrument
and works nearly as well.
Shapey, Ralph. (1921-)

Mann Duo. (June 8-19, 1983) dun ca. 12’30”
I. Variations. Maestoso. J = 48.
II. Song. Tenero. J>. = = 58.33. [viola/viola]

III. Vivo. J = 80. [violin/violinj
IV. Epilogue. Con esaltazione. J = / = 40. [violin/violinJ
Published: Bryn Mawn Theodore Presser Co., 1987. Score: 11 pp.
Recorded: Mann Duo: Robert and Nicholas Mann.
Dedication: Bobby and Nicholas Mann.
Violin also plays viola, viola also plays violin. Scordatura viola in
movements I and II.
The Mann Duo (named for its dedicatees) is a unique work in the genre for
several reasons. First both players are required to perform both violin and viola.
The first movement is for violin and viola, the second movement is for two violas,
the third and fourth for two violins. Second, the writing uses the extreme ranges of
both instrumental parts and is characterized by its many wide intervals. This is seen
whether the music is legato, slurred, separately bowed or chordal. Overall, the
compositional style is almost pointiilistic due to this use of intervals, though in
comparison to Webern’s pointillism there is a greater preponderance of legatos,
152
faster tempos and general note density in Shapey’s writing.105 Also unique is the use
of scordatura: both viola parts require that the C string be tuned down to A. The
reading of this is not so difficult for a violist who also plays violin. Extra care must
be taken that the beauty of the C string is not lost during passages affected by this
scordatura. This is, perhaps, the only 20th century work of the genre which utilizes
scordatura. The piece also has several rhythmically challenging sections. Overall,
the writing is as excellent as it is virtuosic. Both players must be accomplished
performers (this may be the most technically demanding work in the genre) and both
parts (though not necessarily both performers, as explained in the note above) are
treated with equal regard.
Shebalin, Vissarion V. (1902-1963)
Sonata, in c. op. 35. (1940/44)
I. Allegro assai.
II. Andante espressivo.
III. Vivace.
Published: Moscow: State Music Publishers, 1946. Score: 21 (20) pp.
Premiered: Joseph and Lillian Fuchs in New York. 1946.
Short Review: ‘This is a fluent work with rhythmic drive and neither part is
of great technical difficulty.”106
105 It is interesting to note that in the second movement, which is written for
two violas, neither part is technically demanding, as the title “Song” might imply.
However, in the final two movements, which are scored for two violins, both parts
are quite challenging and include wide leaps into the extreme positions and chords
which are difficult to perform in tune. These two properties could be viewed as
evidence that the composer assumes the violinist (for movements one, three and
four) to have little experience on the viola, yet the violist (for movements one and
two) be an accomplished violinist
106 Marcan, p. 753.
153
The Sonata by Vissarion Shebalin is a solid, but somewhat heavy work.
Though absolute music, the writing has a Russian, Eastern European quality and
expansive sweep. This is especially true of the first movement, an ever-moving and
developing melody and accompaniment. The second movement is slower and
expressive. The third movement is a stem march. The overall style is Neo-
Classical, with clearly delineated themes which are either doubled in harmonies or
set to simple accompaniments. The parts are each given melodic prominence,
though the distribution slightly favors the violin. The score is well edited and, with
close attention to details, is performable.
Shulman, Alan. (1915-)
Duet
Poco allegro. J = 144.
Published: Bryn Mawn Theodore Presser Company, 1972. In series:

“New Directions for Strings,” Margaret Farish, General Editor.
Score: 1 pp.
Theme and Variations.
Published: Bryn Mawr. Theodore Presser Company, 1972. In series:

“New Directions for Strings,” Margaret Farish, General Editor.
Score: 2 pp.
Both Theme and Variations and Duet are part of the series “New Directions
for Strings.” Margaret Farish, the Series Editor, includes a pertinent note stressing
the need for beginning pedagogical materials which utilize modem compositional
styles. Both Theme and Variations and Duet are intended for more than one
combination of instruments. Scores are provided for each combination. Theme and
Variations (there are two variations) uses simple modal scale patterns similar to
those found in Bartok’s Mikrokosmos. The pedagogical focus of this canonic two-
154
page piece seems to be on ensemble-rhythm and dynamics in particular. Duet is in
5/4 and makes use of double-stops in each part Careful attention to the balance of
melody and accompaniment is clearly important Both pieces would be appropriate
for one player per part or for larger ensembles.
Siegl, Otto. (1896-1978)

Duo-Sonatina. in F, op. 138. (1944)
I. Allegro.
II. Adagio.
III. Fuga. Vivo.
IV. Largo.
Published: Vienna: Osterreichischer Bundesverlag, 1949. Score: 12 pp.
Short Reviews: “. . . an unpretentious piece of moderate difficulty. If it has

little to assure it a future, it nevertheless will make pleasant sight reading. In his
preface the composer himself makes no greater claim.” 107
“. . . has a rather haunting nostalgic slow movement.” 108
The composer’s preface to the score gives a brief history of the Duo-
Sonatina-this is a work intended as Hausmusik and written for the enjoyment of the
players-and a special encouragement which notes the thematic material intended for
the viola. Indeed, the music is enjoyable to play and occasionally beautiful. The
parts are interactive, utilizing melodic imitation and rhythmic interlocking. The
combination usually sustains a pleasant air, though the parts, which are equally
divided, are not always satisfying on their own. The writing is in a mid-Classical
style and consistent throughout. None of the movements are particularly strong or
striking. This would be of most use to students and for pleasurable reading.
107 Thorpe, p. 563-4.
108 Marcan, p. 749.
155
Silversteen, Rosemary. (20th c.)

Duo. dun 11’
I. Coquetry. Allegro.
II. Prayer. Largo. J = c. 56.
III. Rondine. Allegro.

Published: Obtained from the American Music Center. Copyright by the
composer, 1984. Score: 10 pp.
Rosemary Silversteen three movements Duo shows a good contrast of ideas.
The first is of solid neo-classicism. The second is resonant and rhapsodic. The final
movement is a demanding and somewhat frantic rondo. In all, the instruments are
treated with equality, each given energetic and significant roles. The manuscript
score is well edited and not difficult to read.
Sims, Ezra. (1928-)

Two for One. (1980, Cambridge) dunca. U ’30”
Not fast J = 50-56; Fluent and very flexible. J = ca. 140.
Published: Obtained for the American Music Center, Inc. [no copyright
information |. Score: 8 pp.
Dedication: ‘T o Scott-for the canons.”

Recorded: Dinosaur Annex Music Ensemble: Janet Packer, violin; Anne
Black, viola.
Recording: The work was premiered on March 6, 1981 at the Somerville
(MA) Public Library.109
Two for One, by Ezra Sims, is a microtonal work based on an earlier
composition for solo bass clarinet titled Ruminations. This explains the generally
109 All Done from Memory and Other Works (Northeastern Records NR
224).
156
homophonic texture that sets both instruments in a similar range with a similar
melodic line. Two for One is in arch form with constantly changing meter and a
pensive tempo. Harmonically, the piece is based on nine microtonal keys of
eighteen asymmetrical notes per octave. The keys are shown in scalar form on the
back page of the score. An explanation of these symbols is given by the composer
in the article “Reflections on This and That-”110 Overall, the instruments are treated
equally.
Skalkottas, Nikos. (1904-1949)
Duo.
I. Allegro vivo. J = 100-108.
II. Andante. J* = 76.

III. Ben ritenuto. J = 96-104.
Published: London: Universal Edition. 1961. Score 8 pp.
Recorded: Nina Patrikidou, violin; Yannis Vatikiotis, viola.
Review: Barford likens Duo to a work of Pleyel, implying that it is perhaps

more musically satisfying and enjoyable to perform than to listen to. He also notes
that the 12-tone structure of the work is softened by classical rhythms: “a
consistently traditional rhythmical impulsion, within which the composer achieves
remarkable subtleties of harmonic gradation.” Barford states that the work could be
best approached from the inside, first by beginning the practicing with the middle
movement, and second, by keeping in mind what is of interest to the performer.111
Short Review: [with Valdambrini’s 19 Momentel “[uses] the serial technique

in a less fragmentary way and . . . [has] a greater emotional range and appeal.. . .
much of his [Skalkottas’s] music is characterized by an intense rhythmic drive.” 112
In another article, Marcan relates that Skalkottas’s music is being rediscovered, and
mentions the Society of Skalkottas Friends (SSF) in Athens.113
110 Ezra Sims, “Reflections on This and That,” in Perspectives of New Music.
29, no. 1 (Winter, 1991) pp. 236-257.
111 Barford, p. 170-171.
112 Marcan, p. 751.
157
Duo, by Nikos Skalkottas, is a first-rate composition, enjoyable to listen to as
well as to play. The work is of serial pitch construction and Classical form. The
outer movements possess a musical drive and vitality not always found in fast
dodecaphonic works. Each movement has clearly defined themes marked with
character. The slower middle movement is haunting and expressive. The
instruments are treated well and equally, with satisfying parts and difficult passages
that show off the full range of both.
Skorzeny, Fritz. (I900-)

Duo-Studien. (1954)
I. Frisch.
II. In gleichem SchrittmaB.
III. Scherzando.
IV. Langsam.
V. Lebendig, doch nicht eilen.

Score: 19 pp.
The Duo-Studien of Fritz Skorzeny are in a late Romantic/early twentieth-
century style, occasionally similar to the writing of Richard Strauss. The five
movements (though not necessarily titled as such) follow Classical/Romantic forms
and progressions: Allegro-of a solid driving intensity, romance-of particular beauty,
scherzando-ihe most extended movement, slower variations, and lively though
abbreviated rondo. The work is well written and both parts are expressive and of
equal weight.
"3 Marcan. Feb., 1976.
158
Smith, Stuart Saunders. (1948-)

Three for Two. (1972) dun ca. 8’ - 9 ’
I. Across the Kennebec. J = 60.
II. The Forks.

III. Caratunk.
Published: Baltimore: Smith Publications, 1990. 2 parts 8 (4 + 4) pp.
Recorded: possibly the UMBC New Music Ensemble.
Three for Two, by Stuart Saunders Smith is a strange and wonderful work,
unique for this genre of literature. The movement titles are the names of villages,
and, as stated in the author’s Program Note, “each movement is a musical portrait of
my memory of three places from my childhood in Maine.”114 The music is perhaps

serial or of a serial-type construction. Both instruments are written for well and
treated equally. In the first two movements the two instrumental parts also serve as
the score, and “the relationship between musical phrases or events in each movement
is not fixed, but mobile and flexible.” 115 The players perform their own parts-the
exact coordination between the two not a set event However, the results “should be
spontaneous, but very well rehearsed.” 116 In the final movement, perhaps the most
moving of the three, the players must sing in addition to performing on their
instruments (the singing is not extremely involved!). The text is comprised of
reordered syllables of the village name “Caratunk.” This movement is in score form.
The parts, though the same, are to be performed in spontaneous coordination. This
114 Program notes, composer.

115 Ibid.
116 Ibid.
15 9
experimental work deserves to be performed and should “go over” well almost
anywhere. The writing is witty, fresh and from the heart
Spain-Dunk. Susan. (1880-1962)

Two Pieces.
I. The Lonely Moor. Moderato espressivo.
II. Jig. Bright and cheerful.
Published: London: Augener, Ltd., 1960. Score 7 (6) pp.
Two Pieces, by Susan Spain-Dunk, is in the style of a nineteenth century
suite of character pieces, the titles apt descriptions of the musical portrayals. The
pieces are most appropriate, and were likely written, for advanced students, or were
intended as Hausmusik. Both instruments are given satisfying parts of moderate

pitch-range. The writing in each piece is fresh and flows naturally.
Starer, Robert. (1924-)

Duo. (New York: April 16-18, 1954; revised: October, 1956)
I. Colloquy. Non troppo lento. J = 58.
II. Dance. Allegretto scherzando. J = 160.
III. Lamento. Andante. J = 63-66.

IV. In Moto Perpetuo. Presto. J. + J, 5/8, = 84.
Published: New York: Southern Music Publishing Company, Inc., I960.

Score: 20 (19) pp.
Short Review: “By far the most interesting movements are the first and third,
in which imagination and depth of expression are given free rein. The second and
fourth movements are rather stereotyped musical expressions, with a static and
predetermined quality, that are not so interesting or impressive. The work is well
160
written for the instruments and should be received with enthusiasm by

performers.”117
Duo by Robert Starer is a finely crafted work for the combination in a
modem style typical of the first half of this century. Of the four movements, the first
two are the most captivating. The first movement is an impassioned rhapsodic
dialogue similar in sound (especially the fluctuating chromatics) to many works of

Bartok. The movement favors the violin, though this imbalance is compensated for
in the third movement. The second movement, marked Allegretto Scherzando. is an
off-balance humorous dance in changing meter. This movement is fairly extensive.

The third movement is a somewhat dreary lament It seems as if Starer is attempting
to generate a rich tone through the use of cutting sustained dissonance. The final
movement is a perpetual motion in 5/8 time (see also the final movement of Pepin’s
Monade VII).
Sutherland, Margaret. (1897-1984)
Six Bagatelles. dur: 9’30”
I. Molto semplice. J = 56.
II. Agitato.
III. (no indication]
IV. [no indication]
V. J = 58.
VI. J = 128.
Published: Broadway: Australia Music Centre, Ltd. [no date]
Manuscript score: 12 pp.
117 Kroeger, p. 262.
1 61
The Six Bagatelles of Margaret Sutherland is a well written, dancing work in

a modern, though tonal style typical of the early twentieth century. The pieces are
light and cheerful, though certainly not casual. The movements (each two pages in
length) contrast in texture and tempo, often utilizing ostinati as harmonic bases. The
work is mildly dissonant with some bi-tonal shadings. The individual parts are also
satisfying and are of equal prominence. Unfortunately, the manuscript is messy and
difficult to read.
Swack, Irwin. (1916-)

Four Duets. (June, 1979) dur. ca. 11’30”
I. Scherzando. J = 104.
II. Giocoso con amore. J = 69.

III. Tranquillo e dolce. J' = 72-74.
IV. Acciaccato. J. = 96-100.

First Performed: First performed at Carnegie Hall, January 10, 1983.

Recorded: Oscar Ravina, violin: Kenneth Nirkin, viola.
Recording: Irwin Swack is a violinist, has attended Juliiard and Cleveland

Institute of Music, and earned a doctorate from Columbia University. ‘The music of
Eastern Europe has a special appeal for him, especially that of Bartok and
Shostakovich A range of emotions are portrayed fin Four Duets I. i.e. humor.
caprice, contemplation and vigorous movement Other considerations are
contrasting timbres, changing dynamics, rhythms and accents. Materials are
reworked in new ways with prominent jazz elements.”118
Four Duets, by Irwin Swack, consists of four movement-length
conversational style duos. Consistent through the entirety of the work is a sparring
dialogue between the two instruments. This is interspersed with sections of unity,
118 Swack.
162
where the same material is played by both instruments at the octave. The writing is
moderately dissonant (perhaps serial), though the character of the duos, arranged
scherzo, moderate, adagio and allegro, seems to outweigh the importance of pitch
structure. Both instruments are treated with equality, though usually the parts are
rhythmically or motivically (rather than melodically) oriented. The manuscript score
is legible, however, this work deserves to be published.
Szonyi, Erzsebet (1924-)

Duo. dun ca. 7’
I. Allegro.
II. Appassionato, rubato.
III. Vivace.
Published: Budapest: Zenemiikiado Vallalat, EMB, 1958. Score 9 (8) pp.
Recorded: Dortha Manning De Wit, violin; Brek Renzeiman. viola.
Erzsebet Szonyi’s Duo is a moderately difficult work in a modem, somewhat
dissonant Hungarian style. This nationalistic feeling is most evident in the
interlocking, lively changing rhythms and the frequent use of open fifth chords.
However, the work displays a personal style and is not a copy of the typical
“Hungarian sound.” The first movement is dark and driving, with a thick sound and
marked pesante. The second movement is a moving soulful rhapsody. The third
movement is a lively dance in changing meter. Both parts are well balanced and
satisfying. The viola is given special prominence in the third movement
Terzakis, Dimitri. (1938-)

Musica Aeolica. [Two pieces] (1979)
16 3
I. [Piece I)
II. [Piece III
Published: Wiesbaden: Breitkopf und Hartel, 1982. Score 9 (6) pp.
Dedication: Nada Geroulanos.
Though both pieces in the suite Musica Aeolica. by Dimitri Terzakis, could
stand on their own, they also function as a single two-movement work. Both pieces
are written in a slow rhapsodic Greek style and utilize quarter-tones which lead
naturally toward the phrase resolutions. Each piece tends to display the instruments
separately, with one performing the melody, the other usually sustaining one or more
drones. The melodies of the first piece have a distinctly vocal recitative quality. Its
central section is of a faster tempo than the opening and concluding measures. In the
second work, written senza misura, the instruments are each given solos and the
music takes on a chant-like character. The complete work is unique to the genre and
would be appreciated by most audiences.
Thilman, Johannes Paul. (1906-1973)
Sechs Duette.
I. Spielerisch belebt. IV. Wiegend bewegt, nicht zu schnell.
II. Ruhig, mit melancholie. V. Ruhig, vertraumt.
III. Sehr geschwind. VI. Lebhaft und keck.
Published: Leipzig: Edition Peters, 1964. Edited by Hugo Seling. Score:

9 (8) pp.
Dedication: “Geschrieben auf Wunsch der Musikschule Berlin-
Lichtenberg.”
Sechs Duette of Johannes Paul Thilman is intended for students, as the
dedication indicates. This work may also prove adequate as Hausmusik. The pieces
164
are in a quasi-Baroque, quasi-modern style. Their tides are descriptive of their

content and the duets present a spirited variety of moods. The writing tends to lack
some direction and cohesion, however, which detracts from the pedagogical values
found in the music. The violin and viola are treated with near equality, the violin
with the greater amount of activity. The range of the viola is usually limited to the
lower three strings.
Thompson, Robert. (20th c.)

Nexii. (Killyglen, Northern Ireland, September 10, 1993)
Published: Los Angeles: Aucourant Music, 1993. Manuscript score: 19

pp.
Nexii. by Robert Thompson, is a substantial and expressive experimental
work from the mid 1990’s. According to the program notes, the formal and pitch
structures are stochastically generated, yet the writing comes across deep and
soulful. Proportional notation is often used and careful attention to ensemble is
critical. Some of the more prominent textures have an a unique sound. In the
beginning, the instruments alternate playful glissandi with sudden bursts of notes.
Later, there is a extended section of pizzicato. Toward the end, the musical line
alternates between the two instruments, creating an austere chanting effect. The
work has been performed exquisitely by J£nos Negyesy and Paivikki Nykter.
Toch, Ernst. (1887-1964)

' Divertimento, op. 37, no. 2. (Mannheim, 1925) dur: ca. 8’30”
I. Vivace molto.
II. Adagio. Espressivo molto.
III. Flott und lustig. J = ca. 138.
165
Published: Mainz: B. Schott’s Sohne, 1926. Score 13 (12) pp.

Recorded: Charmian Gadd, violin; Yizhak Schotten, viola (two
recordings). Nicholas Mann, violin; Katherine Murdock, viola.
Dedication: [with op. 37, no. 1] Dem Wiener Streichquartett (R.

Kolisch/F. Rothschild/M. Dick/J. Stutschewsky)
Premiere: October 29, 1926, Vienna string Quartet.
Recording: The first duo won the Schott Prize for Chamber Music in 1926.
“Although the first divertimento [op. 37, no. 1] is the prizewinner, the second, for
violin and viola, is quite clearly the more virtuosic work.”119
Short Review: “. . . has two extremely energetic and rhythmic outer
movements.” 120
The “Divertimento, op. 37, no. 2, together with the Divertimento, op. 37, no.
1, for violin and cello, are dedicated to the Vienna String Quartet, thereby involving
each member of the famed ensemble, though in pairs. The opus for violin and viola
is one of the more known and recorded works of its genre. For further discussion,
see the analysis later in this dissertation.
Tufts, Paul. (1924-)

Three Pieces. (Seattle, December 23, 1981)
I. Allegro.
II. Adagio.
III. Allegro vivace.
Published: Obtained from the University of Washington Libraries,

Seattle. Manuscript score 20 pp.
119 Music.
120 Marcan, p. 749.
166
Paul Tufts’s Three Pieces is a substantial set of works that, despite the
difficult legibility of the score, is certainly worthy of performance. The three form a
well-balanced suite with the typical fast-slow-fast ordering of movements. The first
two movements, which appear to be more complete than the third, could also stand
on their own merit. The first piece is characterized by a bouncy drive and a joy that
approaches many of the string works of Prokofiev. The work’s neo-classicism is

apparent in the clearly defined melodic lines and accompaniments. The second
movement is akin to a nineteenth century romanza, tense and fragile, yet always
moving. The final piece is a saltarello rondo that may lack depth but always remains
dancing. In all, both instruments have been given satisfying expressive parts.
Twinn, Sydney. (1889-)

Four Discussions. dur: ca. 7’
I. Prelude. Andante con moto.
II. Etude. Allegretto.
III. Fughetta. Moderato.
IV. Arietta. Andante con espress.

Published: London: Hinrichsen Edition Ltd., 1963. Score: 8 (7) pp.
The Four Discussions by Sydney Twinn are probably best suited as
pedagogical reading material or as Hausmusik. The writing tends to be thick and
somewhat dreary, at times lacking direction. Perhaps the most convincing
movement is the Fughetta. Here the Neo-Classical style blends with the Baroque
counterpoint, combining traditional harmonic schemes and phrase structures with a
modem sound. Overall, the instruments are treated equally.
167
Ultan, Lloyd. (1929-)

Dialogues III. (1982) dun ca. 15’30”
I. Allegro. J = c. 60.
II. Largo. J = c. 44.

III. Scherzando. J. = c. 72.
IV. Adagio e espressivo. J = c. 54.
V. Allegro agitato. J = c. 72.

the composer, 1983. Score 18 pp.
First Performed: Wendy J. Ultan, violin, and David Wright, cello, at
St. Paul, Minn., on Mar. 22, 1984.
Recorded: Young-Nam Kim, violin; Tamas Strasser, viola.
Dedication: To Wendy and Alice.
Lloyd Ultan’s Dialogues III is a substantial work in a modem tonal style.
There is a profound sense of beauty and depth to the two slower movements, nos.
two and four. The second movement is thinner in texture and generally lies in the
upper ranges of both instruments. In contrast, the fourth movement is darker and is
based, at least in part, on a resonant ostinato. The surrounding movements are faster.
The first is similar in style to the neo-classicism of Paul Hindemith’s music. The
third, entirely pizzicato, bubbles along in mixed meters, the instruments frequently in
unison (or octaves), but occasionally with brief contrapuntal moments. The final
movement is spirited, ending the work with a flurry of chromatic sixteenth-notes.
Overall, the instruments are treated well, each with a significant share of the
prominent lines. Legible and easily read, the manuscript score furnished by the
American Music Center contains some editing marks which may be in the hand of
the composer.
168
Valdambrini, Francesco. (1933-)
19 Momente. (flute or violin and viola)
Published: Vienna: Universal Edition, 1964. Score: 13 (12) pp.
Short Review: “[with Skalkottas uses| the serial technique in a less

fragmentary way and . . . [has] a greater emotional range and appeal.”121
19 Momente [moments] by Francesco Valdambrini is appropriately tided.
This is an assemblage of brief advertisement-like musical portrayals. Some of these

are as short as ten to twelve seconds, some are up to a minute in length. The pitch
structure of each movement is presumably based on the same twelve-tone row. The
writing is witty and fresh, full of character and vitality, with well-edited nuances.
The parts, at times seemingly directionless in themselves, are focused and especially
enjoyable in combination. The writing for the viola seems more difficult than that
for the violin, one of the few works with this distinction. This is perhaps due to the
alternate, possibly original, choice of flute rather than violin. Also, occasional
harmonics and color changes would seem appropriate when violin is used.
Frequendy, a respelling of certain pitches would make reading easier.
Veretti, Antonio. (1900-1978)

Bicinia. (1975) dun ca. 6’
I. Adagio. J.= ca. 46.
II. Allegro moderato. J = ca. 108.

Published: Milan: Edizioni Suvini Zerboni, 1976. Score 6 (5) pp.
Dedication: “A Gian Carlo Reda.”
•2I Ibid., p. 751.
169
Antonio Veretti’s Bicinia is a fairly substantial piece. The work follows the
Classical introduction (prelude) and allegro two-movement arrangement, though its

motivic and phrase structures are Baroque or even Pre-Baroque in nature. Both
movements are polyphonic, the two distinct parts in counterpoint, hocket or simply
progressing in their own manner. The pitch structure is dodecaphonic and
melodically dissonant The first movement is haunting, with sustained chordal
sections and slow hemiolas. The second movement is faster, often with a
characteristic brief series of widely spaced intervals. The instrumental writing is
well conceived, the parts challenging and gratifying.
Villa-Lobos, Heitor. (1887-1959)

Duo. (Rio, 1946) dun ca. 14'
I. Allegro. J = 126.
II. Adagio. J = 69-72.

III. Allegro agitato. J = 126.
Published: New York: Music Press, Inc., 1947. Score 16 pp.

Recorded: Louis Persinger, violin; Rolf Persinger, viola. Charmian
Gadd, violin; Yizhak Schotten, viola. Ani Kavafian, violin; Walter
Trampler, viola.
Dedication: Paulina d’Ambrozio.
Duo, by Heitor Villa-Lobos, is one of the premier works of this genre. The
pieces are characteristic of the general style of Villa-Lobos-Neo-Classical and
slightly exotic. The first movement is in sonata form with two contrasting themes.
The first theme is an urgent melody accompanied by a chromatically narrowing

ostinato. The second theme is a less-hurried chordal chant that shows how sonorous
the combination of violin and viola can be. The movement is fluid and melodic.
17 0
with little sense of rigorous development The second movement is a warm, good-
natured rhapsody, with a faster contrasting central portion. The final movement is a
playful dance with a furious ending. Overall, the part-writing is excellent and the
instruments are given satisfying idiomatic lines. This substantial piece has been
enjoyed by many and should be and well received by most audiences.
Vycpalek, Ladislav. (1882-1969)
Duo, op. 20. (1929)

I. Allegro non tanto. J = 108-112.

III. Allegro moderato. J = ca. 100.
Published: Praha: Hudebnf Matice, 1929. Ed. Dr. Josefu Pickovi. Score
11 (10) pp. At end of score: “Ryla a tiskla Pumyalova tiskama v
Praze.”
Duo, by Ladislav Vycpalek, is idiomatic to both violin and viola (though not
in the sense of being boring or predictable), and the fast tempos and ever-moving
parts keep the parts virtuosic. The overall harmonic sound is similar to that of Paul
Hindemith, though the motivic and phrase structures are markedly different and
original. The work does not have a typically Eastern European sound. Instead, the
parts are more polyphonic and melodically independent The first and last
movements are similar in their constant relentless drive. The central movement is
slower and dark, with accompanying left hand pizzicati. Overall, the parts are well
written for each instrument, though on their own the parts lose direction. Both
instruments are treated equally, often using the upper-middle registers.
171
Weiner, Ldszld. (1916-1944)
Duo.
I. Moderate. J = 76-84.
II. Allegro vivace. J = 104.
III. Lento. J = 48.
IV. Allegro molto. J = 120-128.

Published: Budapest: Zenemiikiado Vallalat, 1958. Fingerings and
bowings by P£1 Lukacs. Score: 20 (19) pp.
Dedication: “Ajtay Viktomak es Lukacs Palnak ajanlva.’'
Duo, by Laszlo Weiner, is a strongly Neo-Classical work. Of the four
movements, organized slow (moderate)-fast-slow-fast, the second and fourth are the
most substantial. The second movement is bouncy and spirited, with brief flourishes
and sharp chords. The central section is a slower scherzando marked with a chirpy
melody. The final movement is a driving, dark rondo with a principal motive that is
Hungarian and characteristically snappy. The other two movements tend to lack a
certain harmonic intensity, but are otherwise finely crafted. In general, the writing
fits the instruments well and both violin and viola are of equal importance.
Weiss-Dumbert, Erwin. (20th c.)
Duo I. (197-?)
I. Frohlich.
II. Largo.
III. Munter.
Published: Burgstadt: J. Groppe, (no date). Score: 4 pp.

Dedication: “Konzertmeister Carno Bronnle in defer Dankbarkeit”
172
Duo 11. (197-?)

I. Munter.
II. Langsam.
III. Schnell.
Published: Biirgstadt: J. Groppe, (no date). Score: 6 pp.
The duos, nos. one and two, of Erwin Weiss-Dumbert are composed of short
undeveloped movements which are similar in content to stylized folk dances. These
works are probably intended as Hausmusik and light reading material. The two parts
in combination are of much greater interest than when played separately. The pieces
are in easy, though modem tonalities, and usually dwell on the upbeat melodies,
frequently with minimal or no accompaniment. The two instruments share equally
in melodic presentation.
Werdin, Eberhard. (1911-)

Senioren-Duo. (1981) dun ca. 6’
Introduction. Kanon. Tarantella. Sehr ruhig und ausdrucksvoll.
Presto.
Published: Vienna: Ludwig Dobiinger (Bernhard Herzmansky), 1987.
Score: 7 (4) pp. and Parts: 2 pp. Each.
Dedication: “Herbert Vogg"
The three movements of Eberhard Werdin’s Senioren-Duo IDuet for Senior
Citizens I are played without pause and are in a light Germanic Classical style with
some modem progressions. The program notes which accompany the score and
parts give a detailed account of the senior performers’ journey through the duo.
Though somewhat disparaging to the viola and the elderly (or perhaps self-
deprecating), the notes are possibly, on a deeper level, a sarcastic general
173
commentary on insipid story-line program notes. Overall, the musical writing is well
balanced between the instruments, pleasant and easy. The work certainly functions
as Hausmusik and could possibly serve in recital.
Werner, Theodore Wilhelm. (1874-1957)
Zweite Suite. (1933)

I. Frei schreitend.
II. Versonnen.
III. An mutig bewegL
IV. Ruhevoll, doch nicht iangsam.
V. Hurtig fliessend.
Published: Wolfenbiittel: Verlag fiir Musikaiische Kultur und

Wissenschaft, 1933. Score 15 pp.
The extensive five movement Second Suite of Theodore Wilhelm Werner is
published as the first volume of the series “Deutsche Hausmusik der Gegenwart.”
The music does make for affable, moderately challenging, but straightforward
reading. In general, the parts are canonic and rhythmically interlocking, quasi-
Baroque and Classical in style and with eliding phrases to keep the music moving.
The tonalities are in the brighter, easier keys for the violin, A and D major. The
movements contrast in content and construction, including sonata and passacaglia
forms. The parts do not exceed the fifth position and are usually well balanced, with
some exceptions that favor the violin.
Wishart, Peter. (1921-1984)
Cassation. dun ca. 23’
I. Fanfare. Lento. J = 48.
174
II. Fughetta. Vivace. J = 112.

III. Siciliano. Tempo di Siciliano. = 120.
IV. Scherzo and Chorale. Presto. J = 144.
V. Waltz. Allegretto. J* = 120.

VI. Ballade. Adagio non troppo. J = 50.
VII. Badinerie. Allegretto. J = 100.

VIII. Chaconne. Andante maestoso. J = 80.
Published: London: Oxford University Press, 1949. Score: 19 (18) pp.
Dedication: “For Dorothy Hemming.”
Short Review: “Interesting material. . . although the writing is at times

perhaps a little elaborate.” 122
Cassation, by Peter Wishart, is an extensive work with eight contrasting
movements in a modem Neo-Classical style. Unfortunately, the writing is not
particularly beautiful and the dissonances are not musically directional. The first
movement. Fanfare, shows the strongest potential, though it comes across as being
somewhat heavy-handed instead of triumphant Even the lighter movements, such as
Badinerie. are made clumsy by the numerous thick double-stops. In general, the
writing is evenly distributed between violin and viola.
Wolff, Christian. (1934-)
Three Pieces. (1979-80) dun ca. 12’

I. Rock A bout J = ca. 120. (March 25, 1979)
II. Instrumental. Not fast.

III. Starving to Death on a Government Claim. 3/8 = ca. 60.
(May 23, 1980)
122 Ibid.
1 75
Published: New York: C.F. Peters Corporation, 1981. Score 10 pp.
Dedication: Elisabeth Perry and Alexander Balanescu.
The score to Three Pieces by Christian Wolff is awkwardly manuscripted,
making reading of the work quite difficult. The notes are poorly spaced and the
beams are uneven. The first and third movements are variations on folk tunes, the
variations manipulated to a moderate degree. In these movements, the writing is

dissonant and scurrying, with off-beat chaotic rhythms. The second movement is
slower, but in the same style. In all movements, coordination of the two equal parts
is frequendy difficult The variations are abstract, with very little legato writing.
Coloration is left to the discretion of the performers. The work may be well received
in some venues.
Woodard, Peter Clark. (20th c.)
Dialogue.
Published: Masters Thesis (first of five compositions in thesis): The
University of Connecticut, 1989. Score: 6 (5) pp.
Peter Woodard Clark’s Dialogue is a short modem work originally submitted
as part of a Masters Thesis at The University of Connecticut. The handwritten
manuscript is legible and the parts are not difficult. The piece is quite pleasant and
appropriately titied-rarely do the instruments speak at once. Instead, one rests or
sustains pitches, as a thought, while the other speaks. Dissonances are mild, though
the work may be dodecaphonic. Throughout, the instruments are treated with equal
regard.
176
Woods, Michael E. (20th c.)

Three Psalms.
I. Psalm 91. Moderate. (1981) (Inspires by Jesus Christ)
II. Psalm 92. Praise the Lord. Moderate. (1981) (Inspired by Jesus
Christ)
III. Psalm 93. Vivace. J = 160. (1988) (Inspired by God)
Three Psalms, by Michael E. Woods, consists of three dissonant, likely
dodecaphonic settings that are based on the themes of the Biblical texts. Though
each movement is distinct, some gestures seem to be carried through the three
pieces. Each Psalm begins with a shorter introduction and is followed by the main
body of music. In each piece, the instruments are treated with equality. The
manuscript score is small and awkward to read-eniargement may make it more
legible, however.
Yannatos, James. (1929-)
Madrigals, (flute or violin and viola)

I. Serenade. J = 66-69.
II. Dance. J.= 60-63.
III. Duet J = 48-52.
IV. Finale. J = 90.

Published: Sonory Publications, 1981. Score: 17 pp.
Dedication: Sam and Debbie Bruskin.
Madrigals, by James Yannatos, are scored for flute or violin and viola. The
work is characterized by a crystalline sound with many wide intervals and
intentionally awkward rhythm. The wide intervals, more idiomatic to the flute, are
177
difficult on the violin. However, substituting harmonics for the higher pitches may
be acceptable and would, in fact, create a more unified sound between the violin and
viola, which often does employ harmonics. The overall style is modem, though not
harshly dissonant, and the individual parts, which function polyphonically, meander
at times, yet work well in combination. Perhaps the first movement, a sorrowful and
singing serenade, is the most beautiful in the work. The remaining movements have
a simple clarity and grace. Occasionally, the manuscript score is difficult to read,
but is usually quite legible.
Young, Douglas. (1947-)

Slieve League. (1979) dun ca. 9 ’
Published: London: G. Ricordi and Co., Ltd., 1983. Score: 9 pp.
Dedicated to Elizabeth Perry, Alexander Balanescu, Susan, and Anne
Crookshank.
As explained in the notes which accompany the score, Slieve League, by
Douglas Young, is intended as the last of four movements in The Journey to Slieve
League, for violin and viola, a work in progress (in 1982). Much of Slieve League
consists of hockets of varying lengths and rapid arpeggiated passages. The writing is
moderately dissonant, though the pitch structure does not constitute the greatest
musical weight in the piece. Rather, it is the character of the arpeggiated figures and
hockets which propel the interest, creating note-filled clouds from which emerges a
vital and unique work for the combination. Hopefully, the first three movements
will soon be forthcoming. Both parts are fairly difficult and ensemble will require
special attention. Throughout, each instrument is treated with equality.
178
Zieritz, Grete von. (1899-)

Kaleidoskop. (begun: Freilassing, July 20, 1969 - finished: Bad
Schallerbach: September 19, 1969)
I. Langere Schatten-Weg wohin? Langsam, melancholisch. S =

ca. 86-92.
II. Ode. Getragen und feierlich. J = ca. 40.
III. LunomisTanz. Schnell, mit Laune! J.= ca. 92.
IV. Zweigesang in Terzen. Ruhig flieBend, gesangvoll. J = 66.
V. Das Lichtfest. Mit Schnung und Feuer! J = 104.
Published by the composer Berlin, 1969. Manuscript. Score: 23 pp.
The five movements that make up Kaleidoskop. by Grete von Zieritz, form
an extended work written in a dissonant style which, when combined with the poor
manuscript, make it difficult for performer and audience. The final two movements
show the best writing, though the first three, with detailed study, would also be
expressive. Overall, the parts are of equal difficulty. The writing is chromatic and
likely of serial construction. The music often seems to lack impetus, whether in
polyphonic settings, as is the first movement, or in the form of melody with
accompaniment, as is the second movement.
Zinn, William. (1924-)
Six Concert Duets.

I. A Ragtime Duet. Lively. IV. A Waltzing Duet. Waltz tempo.
II. A Concert March. V. Latin Memories. Moderato.

March tempo.
VI. Aloha (Hawaiian Serenade). J =
III. Greased Lightning (A 63.
Bluegrass Duet).
Quick as a wink.
179
Published: New York: Excelsior Music Publishing Co. (Theodore

Presser), 1988. 2 Parts: 10 (9) pp. each.
Dedicated: Riana and William Muller.
The Six Duets o f William Zinn forms a suite of Americana dance music-
even the march and waltz feel distinctly non-European. The writing, melodically of
near equality between the instruments, admirably reflects the different styles
indicated by the movement titles. In each case the music is stylized and has been
given pleasant contours. The work is appropriate as Hausmusik. for advanced
students or possibly for informal performances.
[Six More Duets] (Untitled)
I. Flute and Mandolin. J. = 52-56.

II. Rondo. Moderate. J. = 66-72.
III. Chorale. Lento.
IV. Scherzo Hebraic. Lively. J = 120.
V. Elegy. Plaintively. J = 56.
VI. Polka Dot Lively. J = 88.
Manuscript: Score provided by the composer, composed c. 1996.
The second set of six duets, by William Zinn, is a continuation, at least in
spirit, of the first set.123 The pieces are tuneful and enjoyable, the titles apt
descriptions of the musical content of each. The duets contrast well and the
instruments share equally in the presentation of musical material. Though the pieces
are not technically easy-many of the double-stops are difficult to execute-the work
123 Special thanks must be given to William Zinn for graciously sending a
copy of the second set of six duets to the author in advance of the publishing date.
Hopefully this work will soon be seen in print
180
would best serve as Hausmusik or toward the end of a recital. The duets could even
be used as pedagogical literature.
V. DISCOGRAPHY OF RECORDED VIOUN AND VIOLA DUOS
OF THE TWENTIETH CENTURY
Introduction
The following discography of twentieth century violin and viola duos has
been assembled exclusively from information found on the WORLDCAT124 and
EUREKA125 information systems. Any and all listed recordings of duos of this genre
(through January, 1998) have been included. The discography has been assembled
and included in this dissertation as a logical addition to the critical reviews, listing
references to published duo-related material. It clearly shows which of the twentieth
century violin and viola duos have been selected as performance works.
Surprisingly, only four works have been recorded more than once and twenty-two of
the sixty-five individually listed works are of *Three Madrigals by Bohuslav
Martinu.
The listings are divided into two general categories: first, commercially
released recordings, and second, other recordings. This second category mainly
includes faculty performances at colleges and universities and recorded
performances under the auspices of the Library of Congress. As the works are listed
124 WORLDCAT Library System [On-line]. On-line Computer Library

Catalog OCLC(R)'s On-line Union Catalog.
125 EUREKA Library System [On-line]. R. L. G.’s Library Catalog.
* The asterisk (’) indicates a work analyzed in the chapter “Analyses of
Selected Works.”
181
182
alphabetically by composer, several recordings (those that contain more than one
recorded twentieth-century violin and viola duo) appear more than once.
As much available information deemed relevant to the genre is provided for
each listing, including composer, composer’s dates, title, date of composition (in
parentheses), duration, performers, performance/recording information,
bibliographic information and other works included on the same recording. Other
violin and viola contained on the same recording are listed in boldface. The
discography is followed by indexes (tables 5.1, 5.2, 5.3 and 5.4) of composers,
performers and ensembles.
183
Commercially Released Recordings
1. Alwyn, William, 1905-. Sonata Impromptu, for violin and viola, dun 15’ 12”
Performers: [not listed] Recorded Aug. 19-23, 1992 in the Faculty of Music
Concert Hall, West Road, Cambridge.
Title: Chamber music. Vol. 2/William Alwyn. Program notes by Mary

Alwyn.
Publisher No.: Chandos: CHAN 9197. Colchester, Essex, England: Chandos,
p. 1994.
1 sound disc: digital; 4 3/4 in. Compact disc.
With: Sonata, for clarinet and piano (11 ’34”)

Divertimento, for solo flute (13’32”)
Crepuscule: for oboe and piano (3’24”)
Sonata, for oboe and piano (16’06”)
Sonata, for flute and piano (7’55”).
2. Bartos, Frantisek, I905-. Duo, for violin and viola, op. 13.
Performers: Jiri Tomasek, violin; Hubert Simacek, viola.
Title: Koncert pro housle a orchestra/Jan Zdenek Bartos. Cemy: cyklus pisni
pro baryton a klavir/Frantisek Bartos; orig. text Langston Hughes,
preklad Amost Vanecek. Duo pro housle a violu, op. 13/Frantisek
Bartos.
Publisher No.: 11 0429 Panton. Praha: Panton, c. 1974.

1 sound disc: 33 1/3 rpm, stereo.; 12 in.
With: Koncert. pro housle a orchestra/Jan Zdenek Bartos

Cemv: cvklus pisni. pro baryton a klavir/Frantisek Bartos.
3. Brustad, Bjarae, 1895-1978. Capricci.
Performers: Bjame Larsen, violin; Ame Sletsjoe, viola.
Title: Capricci/Bjame Brustad. 1967. [S.I.J: Philips, 12 in.

Program notes by Dag Schjelderup-Ebbe on container.
Series: Contemporary Music from Norway.
184
Publisher No.: 839.249 AY Philips.

With: Trio, woodwinds, no. 1/C. Baden

Canon, for chamber orchestra and magnetic tape/A. Janson
Quintet woodwinds and hom, op. 13/K. Egge.
4. Brustad, Bjame. Capricci. for violin and viola. dun 11’40”
Performers: TeijeTonnesen, violin; Lars Anders Tomter (1959-), viola.

Recorded at Uranienborg Church, Oslo in June 1989.
Tide: Terje Tonnesen. Norway: Victoria, p. 1990.

Program notes in English and Norwegian (11 p.) in container.
Publisher No.: VCD 19006 Victoria.

1 sound disc (63 min.): digital; 4/34 in.
With: Sonata, no. 3 for violin and piano in C minor, op. 45/Edvard Grieg
(24’13”)
Eventvrsuite = Fairytale Suite: for solo violin/Edvard Grieg (10’ 11”)
Passacaglia. for violin and viola/Johann Halvorsen (6’46”)
Sarabande con variazioni: for violin and viola/Johann Halvorsen
9:’19”).
5. Burkhard, Willy, 1900-1955. Kleine Serenade, fur Violine und Viola, op. 15.
Performers: Christoph Schiller, viola; Hansheinz Schneeberger (1926-),
violin. Recorded in 1985 and 1989 at the Radio DRS, Studio Lugano,
Zurich, Basel.
Tide: Viola-Konzert, Serenaden u.a./WilIy Burkhard. Zurich, Schweiz:

Jecklin, p. 1990.
Program notes in German and English (12 p.) inserted in container.
Publisher No.: JD 647-2 Jecklin. Zurich, Schweiz: Jecklin, p. 1990.

1 sound disc (64 min.): digital, stereo.; 4 3/4 in. Compact disc.
With: Konzert. fur Viola und Orchester op. 93

Sonate. fur Solo Viola op. 59
Serenade, fur Flote, Klarinette, Fagott, Hom, Harfe, Violine, Viola
und Kontrabass, op. 77.
6. Chailley, Jacques, 1910-. Improvisation a deux. dun 3’26”
Performers: Alexis Galperine, violin; Marie-Therese Chailley, viola.
Tide: Musiques pour cordes Jacques Chailley.
185
Publisher No: 311101 REM. Lyon, France: REM, [1989?].

1 sound disc: digital, stereo.; 4 3/4 in. Compact disc.
With: Ouatuor. a cordes (25’00”)

Pieces contemplatives: Organum (4:52) Alleluia, arr. (3’ 17”)
Sonate. pour violon seul (12’00”)
Prelude et allegro (6’00”): deux duos avec alto.
7. Cooper, Paul, 1926-. Canons d’amore. dun I0’31”
Performers: Duo Patterson: Ronald Patterson, violin; Roxanna Patterson,

viola. Recorded in Nice, France.
Title: Chamber Works/Paul Cooper. New York, NY: CRI, p. 1995.
Series: Forty Years of Discovery.
Publisher No.: CD 687 Composers recordings.

1 sound disc (60 min.): digital; 4 3/4 in. Compact disc.
With: String Quartet no. 5: Umbrae (14’51”)

String Quartet no. 6 (21 ’00”)
Verses, pour violon et alto (13’ 14”).
8. Cooper, Paul. Verses, pour violon et alto. dun 13’ 14”
Performers: Duo Patterson: Ronald Patterson, violin; Roxanna Patterson,

viola. Recorded in Nice, France.
Title: Chamber Works/Paul Cooper. New York, NY: CRI. p. 1995.
Series: Forty Years of Discovery.
Publisher No.: CD 687 Composers recordings.

With: String Quartet no. 5: Umbrae ( 14’5 1”)

String Quartet no. 6 (21’00”)
Canons d ’amnre ( 10’3 1”).
9. Gliere, Reinhold Moritsevich, 1875-1956. Eight Duets, for violin and

violoncello, arranged for violin and viola, opus 39.
Performers: Henry Raudales, violin; Freddy Van Goethem, viola. Recorded

at Kapel Paters Kapucijnen, Aalst, Belgium, March 1993.
Title: Duets for violin and viola [sound recording].
186
Publisher No.: ADW 7308 Pavane Records. Brussels: Pavane Records, c.

1994.
1 sound disc: digital, stereo.; 4 3/4 in. Compact disc.
With: Passacaelia/Johann Halvorsen (6’51”)

Duo, no. 3/Alessandro Rolla
Sarabande con variazioni/Johann Halvorsen (8’34”>-
10. Hvoslef, Ketil, 1939-. Duodu. dun 7’27”

Performers: Stephan Barratt-Due (1956-), violin; Soon-Mi Chung (1956-),
viola. Recorded at Uranienborg Church, 1993.
Title: Duodu: Duos for Violin and Viola. [Norwayl: Victoria, p. 1994.
Program notes by Arvid Vollsnes in Norwegian with English
translation (11 p.) inserted in container.

With: Duo, for violin and viola in Bb major, KV 524 [i.e. 424[/Wolfgang
Amadeus Mozart (2 TOO”)
Duo, for violin and viola in G major, KV 523 [i.e. 423 [/Wolfgang
Amadeus Mozart (17’00”)
Duplex/Arne Nordheim (13’00”).
II. Joachim, Otto, 1910-. Music, for violin and viola.
Performers: Harvey Seigel, violin; Robert Verebes, viola.
Title: Music for violin and viola.

Program notes in English and French on container.
Publisher [Montreal! Radio Canada International RCI459. [I977?[

Canadian Broadcasting Corporation. International Service.
On side 2 of 1 disc. 33 1/3 rpm. mono. 12 in.
With: Sonata, for viola and piano, op. 17/L. Mann

Sonata, for viola and piano, D minor, Transcription/M. I. Glinka.
12. Klein, Gideon, 1919-1945. Duo, pour violon et alto. dun 9’ 18”
Performers: Ensemble 2e2m: Paul Mefano (1937-), conductor. Recorded in

the Conservatoire National Superior de Musique de Paris, July 1992.
Title: Ouvres instrumentales et vocales/Gideon Klein. Paris: Arion, p. 1993.

Program notes in French with English translations.
187
Series: Les Joyaux de votre discotheque.

Publisher No.: ARN 68272 Arion.
With: Sonate. pour piano (9’43”)

Deux Madrieaux. pour 2 sopranos, alto, tenor, bass (6’39”)
Le Peche original: pour tenor et chour d'hommes (5’00”)
Trois chansons, pour voix elevee et piano, op. 1: Le jet d'eau; Au
milieu de al vie; Le crepuscule est tombe sur la terre (7’52”)
Divertimento (14’04”)
Duo, pour violon et violoncelle (7’51”)
Quatre mouvements. pour quatuor a cordes, op. 2 ( 12’48”).
13. Martinu, Bohusiav, 1890-1959. Duo no. 2. for violin and viola.
Performers: Oscar Shumsky, violin; Eric Shumsky, viola.
Title: Duos for violin and viola.

Publisher No: 333774Z (and 533774W) Musical Heritage Society. Ocean,
NJ: MHS, p. 1994.
3 sound cassettes.
With: Duo, no. 1, in G major, K. 423; Duo, no. 2, in B-flat major, K. 424/
Mozart
Sarabande con variazioni/Handel-Hal vorsen
Gran duo, in E minor, op. 13/Spohr
Duo concertante. in C major/Rolla
Passacael ia/Handel-Hal vorsen
Sonata, no. 6, in C major, Hob. VI: 6/Haydn
Three M adrigals, for violin and viola/Martinu
Sonata, no. I, in F major, Hob. VI: 1/Haydn.
14. Martinu, Bohusiav, 1890-1959. “Three Madrigals, for violin and viola.
Performers: Joseph Fuchs, violin; Lillian Fuchs (1902-), viola.
Title: Three Madrigals for violin and viola/Bohuslav Martinu. Duo no. 2 in
B flat major. K. 424/Wolfgang Amadeus Mozart. New York: Decca.
[196-?|.
Series: Gold Label.
Publisher No.: Decca DL 8510. New York: Decca. [1950].

1 sound disc: 33 1/3 rpm. mono.; 12 in.
With: Duo, no. 2, in B flat major, K. 424/Wolfgang Amadeus Mozart
15. Martinu, Bohusiav. ‘3 Madrigale. for violin and viola. dun 17’02”
Performers: Pina Carmirelli, violin: Philipp Naegele, viola.

Title: Klavierquartett; 3 Madrigale fur Violine und Viola/Bohuslav Martinu.
[Germany?]: Da Camera Magna, 1979.
Notes in German, English and French on container.
Series: Kammermusik/Martinu; T. 2.
Publisher No.: SM 92417 Da Camera Magna [ 19791.

1 sound disc. (41 min.): 33 1/3 rpm; 12 in.
With: Klaviemuartett/Bohuslav Martinu.
16. Martinu. Bohusiav. ‘Three Madrigals, for violin and viola. (1947) dur. 15’53”
Performers: Eliot Chapo, violin; Barbara Hustis, viola. An die Musik

(musical group). Recorded in New York City, July 1981.
Title: Dohnanyi/Martinu chamber music. [Tinton Falls, N.J. j: Musical

Heritage Society, c. 1981.
Program notes by Rita H. Mead on container.
Publisher No.: MHS 4451 Musical Heritage Society.

1 sound disc (48’41”): 33 1/3 rpm, stereo.; 12 in.
With: Quartet, for oboe, violin, cello and piano, 1947/Bohuslav Martinu
(11’39”)
Serenade, for violin, viola, and cello in C major, op. 10/Emo von
Dohnanyi (21’10” ).
17. Martinu, Bohusiav. ‘Three Madrigals, for violin and viola. dun 15’ 10”
Performers: Charmian Gadd, violin; Yizhak Schotten, viola.
Title: Violin and Viola Virtuosic Duos.
Publisher No.: S632 Crystal. Sedro Woolley, WA: Crystal, p. 1982.

1 sound disc: analog, 33 1/3 rpm, stereo.; 12 in.
With: Passacaelia. in G minor/George Frederick Handel; am Johann

Halvorsen (i.e. by Halvorsen based on Handel) (6’30”)
‘Divertimento, op. 37, no. 2/EmstToch (8’21” )
Duo, for violin and viola/Heitor Villa-Lobos (14’ 15”).
189
18. Martinu, Bohusiav. ’Three Madrigals, for violin and viola.

Performers: The Dartington Ensemble. Recorded in Dartington Hall, Totnes,
Devon, on September 24,25, 1983, and St. Michael’s Church,
Highgate, London, on May 25, 1984.
Title: Five Madrigal Stanzas for violin and piano; Four Madrigals for oboe,
clarinet and bassoon; Three Madrigals for violin and viola; Madrigal
Sonata for piano, flute and violin/Martinu. Germany: Hyperion, p.
1984.
Program notes by Kenneth Dommet on container.
Publisher No.: A66133 Hyperion.

With: Five Madrigal Stanzas, for violin and piano
Four Madrigals, for oboe, clarinet and bassoon
Madrigal Sonata, for piano, flute and violin.
19. Martinu, Bohusiav. ‘Three Madrigals, for violin and viola.
Performers: Alea III (Musical group); Theodore Antoniou, Music Director.

Recorded in the Boston University Concert Hall, December 4, 1987.
Title: Alea on Parade.

Publisher: [19871
2 sound cassettes: analog, I 7/8 ips, mono.
With: Passacaglia Uneherese. 1978/Gyorgy Ligeti

Continuum. 1968/Gyorgy Ligeti
Rights of Fancy. 1984/Ruth Wylie
Duo, for flute and oboe, 1971/Gordon Binkerd
Paravasis. 1987/Theodore Antoniou (Premiere performance)
Back to Life. 1981/Ned Rorem
Four Short Fantasies. 1987/Majorie Merry man
Utterances. 1978/Robert Cogan
String Quartet no. 3, 1987/Sophia Gubaidulina.
20. Martinu. Bohusiav. ‘Three Madrigals, for violin and viola. (1947) dur: 15’ 16”
Performers: Jiri Novak (Jiri Frantisek, 1913-), violin; Milan Skampa, viola.
Recorded at the House of Artists, Prague, on Sept. 5, 1985.
Title: Piano quintet no. 2 (1944); Three Madrigals for violin and viola
(1947)/Bohuslav Martinu. [Prague): Supraphon, [ 1988J, p. 1987.
Program notes by Jaroslav Mihule in English, Japanese, German and
French (11 p.) inserted in container.
190
Publisher No.: CO-2049 Supraphon. 32CO-2049 Supraphon.

1 sound disc: digital, stereo.; 4 3/4 in. Compact disc. Analog
recording.
also: 1111 4116 Supraphon.
also: SUA 10191 Supraphon.
1 sound disc: 33 1/3 rpm, mono.; 12 in.
With: Piano Quintet no. 2 (19441.
21. Martinu, Bohusiav. ‘Three Madrigals, for violin and viola. dur. 16’ 14”
Performers: Elmar Oliveira, violin; Sandra Robbins, viola. Recorded Sept.
1988, at S t Matthew’s Church, Hyattsville, Maryland.
Tide: Elmar Oliveira plays Bach and Martinu. Extraordinary artistry of
Elmar Oliveira.
Publisher No.: CD 2212 Elan. Adelphi, Md.: Elan, p. 1989. Compact disc.
1 sound disc: digital; 4 3/4 in.
With: Sonata, no. 1 in G minor, BWV 1001/Johann Sebastian Bach (19’12”)
Partita, no. 2 in D minor, BWV 1004/Johann Sebastian Bach
(35’ 15”).
22. Martinu, Bohusiav. ‘131 Madrigale. fur Violine und Viola. dun 16’ 16”
Performers: Stamitz-Quartett Recorded in Prague, 1989.
Tide: Streichquartette: Gesamtaufnahme/Bohuslav Martinu. Bietigheim-

Bissingen, Germany: Bayer Records, p. 1990.
Notes by Milan Slavicky, in English, French and German ([ 161 P-:
ill.) inserted in container.
Publisher No.: BR 100152-54 CD Bayer. 100152-54 Bayer. 100152-100154
Bayer. Compact discs.
3 sound discs (192 min.): digital, stereo.; 4 3/4 in.
With: Streichquartett. Nr. 1 (40’02”)

Streichquartett. Nr. 2 (19’27”)
Streichquartett. Nr. 7 (21 ’01”)
Streichtrio (14’39”).
191
23. Martinu. Bohusiav. ' Trois Madrigaux. pour violon et alto. dun I8’28”
Performers: Trio a cordes Milliere. Marie-Christine Milliere, violin; Jean-
Francois Benatar, viola. Recorded Nov. 1990, Chateau de Ville
d’Avray, Auditorium du Conservatoire de Rueil Malmaison.
Title: Trio, duos, quatuor/Martinu. Paris: Quantum, 1990.

Program notes by Georges Gourdet in French and English ([111 P-
port) in container.
Publisher No.: QM 6910 Quantum.

1 sound disc (76 min.): digital; 4 3/4 in. Compact disc (DDD).
With: Trio a cordes. pour violon, alto et violoncelle (15’08”)

Duo, pour violon et violoncelle (14’47”)
Le auatuor. pour trio a cordes et piano (26’ 14”).
24. Martinu. Bohusiav. 'Three Madrigals. dun 16’19”

Performers: Raphael Ensemble. Recorded July 21-23, 1991.
Title: String sextet; Three madrigals/Bohuslav Martinu. String sextet/Ervin

Schulhoff. London, England: Hyperion, p. 1992.
Program notes in English, French and German (23 p.) inserted in
container.
Publisher No.: CDA 66516 Hyperion.

1 sound disc (56’ 11”): digital, stereo.; 4 3/4 in. Compact disc.
With: String Sextet/Bohuslav Martinu

String Sextet/Ervin Schulhoff.
Performers: Oscar Shumsky, violin; Eric Shumsky, viola.
Title: Duos for violin and viola.
Publisher No: 333774Z (and 533774W) Musical Heritage Society. Ocean,

NJ: MHS, p. 1994.
3 sound cassettes.
With: Duo, no. 1, in G major, K. 423; Duo, no. 2 in B-flat major, K.

424/Mozart
Sarabande con variazioni/Handel-Halvorsen
Gran duo, in E minor, op. 13/Spohr
Duo concertante. in C major/Rolla
Passacagl ia/Handel-Hal vorsen
Sonata, no. 6 in C major. Hob. VI: 6/Haydn
192
Dno no. 2. for violin and viola/Martinu

Sonata, no. 1 in F major, Hob. VI: 1/Haydn.
26. Martinu, Bohusiav. ‘Three Madrigals. d u r 15’22”

Performers: Glenn Dicterow, violin; Karen Dreyfus, viola. Recorded at
Concordia College, Bronxville, NY. June 20, September 8-10, 1996.
Program notes by Ates Orga and biographical notes on the performers
(10 pp.: ill.) in container.
Title: Glen Dicterow, concert master. Recitals with principals from the New
York Philharmonic.
Series: New York legends. Artists.

Publisher No.: CACD0514; Cala. New York, NY: Cala, p. 1997.
With: Sonata, for violin and piano/Bernstein ( 15’38”)

Four pieces from Much Ado about Nothing: Bridal Morning;
Dogberrry and Verges; The Garden Scene;
Masquerade/Komgold (12’35”)
Sonata, for violin and piano/Corigliano (22’26”).
27. Mathias, William. Divertimento, for violin and viola, op. 1. dun 7’48”
Performers: Michael Davis (1937-), violin; Edward Adelson, viola.

Recorded in Weigel Hall, Columbus, Ohio, December 1994, June
1995 and August 1995.
Title: Instrumental music [of William Mathias]. Selections.
Publisher No.: Koch: 3-7326-2 HI. Port Washington, NY: Koch, p. 1996.
With: Sonata, for violin and piano, no. 1, op. 15 (15’27”)

Little Suite (8’25”)
Piano Trio, op. 30 (16’09”>
Toccata alia danza (2’53”)
Sonata, no. 2, for violin and piano, op. 94 (19’26”).
28. Matys, Jiri, 1927-. Duo, for violin and viola.
Performers: Adolf Sykora, violin; Jiri Kratochvil, viola. Recorded at the

Supraphon Domovina studio, Prague, from Sept. 2 to Oct. 7, 1980.
193
Title: Sonata a tre, for violin, viola and harp/Vaclav Felix. Preludio e
scherzino for bass clarinet/Stephan Lucky. Argot three movements
for brass quintet/Vaclav Kucera. Duo for violin and viola/Jiri Matys
Program notes in Czech, English, French, and German on container.
Series: Musica nova Bohemica.

Publisher No.: 1111 2838 Supraphon. Prague: Supraphon, p. 1981.
With: Sonata a tre. for violin, viola, and harp/Vaclav Felix
Preludio e scherzino. for bass clarinet/Stephan Lucky
Argot three movements for brass quintetAVaclav Kucera.
29. Nordheim, Ame, 1931-. Duplex. dun 13’00”
Performers: Stephan Barratt-Due (1956-), violin; Soon-Mi Chung (1956-),

viola. Recorded at Uranienborg Church, 1993.
Title: Duodu: Duos For Violin and Viola. [Norway): Victoria, p. 1994.
Program notes by Arvid Vollsnes in Norwegian with English
translation (11 p.) inserted in container.
With: Duo, for violin and viola in Bb major, KV 524 [i.e. 424]/Wolfgang
Amadeus Mozart (21 ’00”)
Duo, for violin and viola in G major, KV 523 [i.e. 423 [/Wolfgang
Amadeus Mozart (17’00”)
Duodu/Ketil Hvoslef (7’27”>.
30. Ogdon, Will, 1921-. Variations Suite dur 9 ’08”

Performers: Janos Negyesy, violin; Paivikki Nykter, viola. Recorded at
Studio A, UCSD Music Department.
Title: The music of Will Ogdon.
Publisher No.: CD 763; CRI. New York, NY: CRI, p. 1997.

With: Three Piano Pieces (3’32”)

Three Baritone Songs (7’01”)
Two Kechwa Songs (5’54”)
Three Trifles: for cello and piano (2’45”)
Bv the Isar(5’16”)
Six Small Trios (6’37”)
Five Preludes (SÔ”)
Serenade, no. 1: for wind quintet (9’21”)
Two Capriccios: for piano (6’47” )
Six Small Trios (6’39”).
31. Petrassi, Goffredo, 1904-. “Duetto, for violin and viola. dun T 10”
Performers: Various soloists and ensembles. Editing and recording: Edizione

Musicali BMG Ariola.
Title: Musica da camera due.

Series: ‘900 musica ciassica contemporanea.
Publisher No.: CCD 3007; RCA Original C ast [Rome, Italy?]: RCA
Original Cast; Italy: Worldwide distribution, Milano Dischi, p. 1992.
With: Divertimento, for violin, viola and violoncello/Luciano Berio (5’35”)

Hurtus fragilis: for two pianos, flute, oboe, clarinet, bassoon and hom/
Francesco Pennisi (5’20”)
Serenata: nuova versione: for 9 instruments/Flavio Emilio Scogna
( i r i 3 ”)
Bevond the Moonshine’s Watery Beams: for violin, flute in g and
piano/Claude Lenners (8’00”)
Game: for piano, flute, clarinet and string quartet/Piero Niro (9’37”)
Da Sei haiku: n. 2 ,5 and 6: for nine instruments and soprano/Giulio
Castagnoii; no. 6 with lyrics by Eugenio Montale (13’00”)
Lac us fulminis: for flute in G/ottavino, bass clarinet, violin and
violoncello/Fabrizio de Rossi Re (10’09”)
Wirbel: for flute, clarinet, hom and piano/Marco Stassi (3’58”).
32. Procaccini, Teresa, 1934-. Duo, per violino e viola. dun 4’ 17”
Performers: Trio d’Archi di Roma: Antonio Salvatore, violin; Paolo

Centurioni, viola.
Title: Musiche di Teresa Procaccini.

Program notes in Italian by Erasmo Valente on container.
Publisher No.: PAN PRC S20-10 Edipan. Roma: Edipan, [198-J.

With: Fantasia, per violino e pianoforte, op. 10 (9’45”)

Improvisazioni. per violino, viola e violoncello, op. 37 (lO’OO”)
Sonatina, per violoncello, op. 28 (8’00”)
Dialopo. per viola e pianoforte, op. 34 (6’05”).
1 95
33. Ramsey, Gordon, 1926-. Four Descriptive Pieces. (1979) dun ca. l l ’OO”
Performers: Harold Wolf, violin; Harry Rumpler, viola.
Title: String quartet. Four Descriptive Pieces for violin and viola. Flute
quartet. Orion ORS 79354. [1979].
Program notes on container.
Publisher No.: ORS 79354 Orion.
1 disc. 33 1/3 rpm. stereo. 12 in.
With: String Quartet
Flute Quartet.
34. Sims, Ezra, 1928-. Two for One. (1980) dun 11’38”
Performers: Dinosaur Annex Music Ensemble: Janet Packer, violin; Anne
Black, viola. Recorded June-July, 1982, at the First and Second
Church, Boston, MA.
Title: All Done from Memory, and Other Works/Ezra Sims. Boston, Mass.:
Northeastern Records, p. 1985.
Program notes by Nicholas Slonimsky on container.
Publisher No.: NR 224 Northeastern Records.

1 sound disc: analog, 33 1/3 rpm, stereo.; 12 in. Eds. recorded:
American Composers Alliance/BMI. “. . . distributed under license
from the Dinosaur Annex Music Ensemble, Inc.”
With: AH Done from Memory. 1980 (7’46”)

And. As I Was Saving. 1979 (5’29”)
Sextet 1981 (21’58”).
35. Skalkottas, Nikos, 1904-1949. Duo, for violin and viola.
Performers: Nina Patrikidou, violin; Yannis Vatikiotis, viola.
Title: Nikos Skalkottas.
Publisher No: EMI: 14C 163 70981-14C 163 70984. Greece: EMI, [1979?1.
4 sound discs: analog, 33 1/3 rpm, stereo.; 12 in.
With: Ten Sketches, for strings

Five Greek Dances, for strings
String Quartet no. 3
Sonatina, no. 4 for piano and violin
Berceuse: no. 20 from the “32 piano pieces”
Eight Variations on a Greek Folk Theme: for piano trio
196
From the .3rd Piano Suite: Theme with variations-Greek folk theme-
Marcia funehra
Sonatina, no. 3 for piano and violin
Sonatina, for cello and piano
Tender Melodv: for cello and piano
Largo, for cello and piano
Bolero, for cello and piano
Little Serenade: for cello and piano.
36. Swack, Irwin, 1916-. Four Duets, for violin and viola. dun 11’35”
Performers: Oscar Ravina, violin; Kenneth Nirkin, viola.
Title: String quartet no. 3; Profiles: for clarinet, violin and cello; Four Duets
for violin and viola/Irwin Swack. Malibu, CA: Orion, 11983?|.
Publisher No.: ORS 84466 Orion.

With: String Quartet no. 3

Profiles: for clarinet, violin and cello.
37. Toch, Ernst, 1887-1964. ‘Divertimento, op. 37, no. 2. dun 8’2 1”
Performers: Charmian Gadd. violin: Yizhak Schotten, viola.


With: ‘Three M adrigals, for violin and viola/Bohuslav Martinu (15’ 10”)
Passacaglia. in G minor/George Frederick Handel; am Johann
Duo, for violin and viola/Heitor Villa-Lobos (14’ 15”).
38. Toch, Ernst. ‘Divertimento, fur Violine und Viola, op. 37, no. 2. dun 8’53”
Performers: Nicholas Mann, violin; Katherine Murdock, viola.

Title: Music by Ernst Toch. Los Angeles, Calif.: Laurel Record, p. 1991.
Program notes by Lawrence Weschler and Charlotte Erwin and
biographical notes on the performers (15 p.: ill.) inserted in container.
Publisher No.: LR-850CD Laurel.

1 sound disc (69’54”): digital, stereo.; 4 3/4 in. Compact disc.
With: String Quartet in C major, op. 26 (24’24”)
197
flir Vio,ine und Violoncello, op. 37 no 1 (7’0 I”1

Stnng Quartet op. 70 (2 6 ’2 0 ”) ' ]
Dedication [for string quartet] (3 ’03”).
39. Ultan, Lloyd, 1929-. Dialogues III. (1982) dun I5’25”
Performers: Young-Nam Kim, violin; Tamas Strasser, viola. Recorded at

Ordway McKnight Theatre, S t Paul, MN.
Title: Open Boundaries.

Publisher No.: MN-108 Innova Recordings. S t Paul, MN: Minnesota
Composers Forum, p. 1989.
With: Cafe Music. 1986/Paul Schoenfield (14’32”)

Parterre. 1988/Mary Ellen Childs (14’25”)
Motherless Child Songs. 1988/Leslie B. Dunner (I3 ’00”)
Arabesques. 1986/Arthur Campbell (13’10”).
40. Villa-Lobos, Heitor, 1887-1959. Duo, for violin and viola. dur: I4’00”
Performers: Louis Persinger, violin; Rolf Persinger, viola.
Title: Scene Andalouse/Turina; Passacaglia/Handel; Trauermusik/Hindemith;

and Duo for violin and viola/Villa-Lobos.
Publisher No.: STR 608 Stradivari. Stradivari Records, 195-?
1 sound disc: 33 1/3 rpm, microgroove: 12 in.
With: Scene Andalouse/Turina

Passacaille: arr. Halvorsen/George Frideric Handel
Trauermusik/Paul Hindemith.
41. Villa-Lobos, Heitor. Duo for violin and viola. dun 14’15”
Performers: Charmian Gadd, violin; Yizhak Schotten, viola.

With: ’Three Madrigals, for violin and vioIa/Bohuslav Martinu

(15’10”)
Passacaalia. in G minor/George Frederick Handel; arr. Johann
’Divertimento, op. 37, no. 2/Ernst Toch (8’21”).
198
Additional Recordings
1. Beer, Laura. Duo, for violin and viola. (1984)

Performers: Various performers. Recorded April 29, 1984. in Sage Hall,
Smith College, Northampton, MA.
Title: Student Composers’ Concert
Publisher 1984; Smith College, Northampton, MA. Department of Music.
2 sound cassettes: 1 7/8 ips; 3 7/8 x 2 1/2 in.
With: Dancework. no. 5/Aimee Milbum

Bon appetit/Laura Bryan
Elves/David Bogartz
Duo, for viola and harp/Laura Beer
Duet for flute and harp/Karen Murphy
Music, for viola and harp/Anne Rubel
Three Sones/Anne Rubel
Percussivedx7/John Quinn
Tape Piece/John Weiss
Oh. E t A1 /Carolyn Macartney
Duo, for flute and harp/Vanessa Ploumis
Three Son as (Dreams; Salley Gardens; AbsolutesVSharmini De Silva
Two Poems of Walt Whitman, for mixed chorus (SATB solo version)
(A Noiseless Patient Spider. One’s Self I SineVJohn Schaeffer.
2. Bolcom, William, 1938-. Session II. (1966)

Performers: Indiana University New Music Ensemble; Harvey Sollberger,
director. Recorded on April 23, 1984.
Title: Program, 1983-1984, no. 814.
Series: Program/Indiana University School of Music; 1983-1984, no. 814.
Published: Indiana University School of Music.

3 sound tape reels: 7 1/2 ips, 2 track, stereo.; 7 in.
With: Space Model. 1971/Marta Ptaszvnska

Vier Stucke. op. 5, 1913/Alban Berg
59 1/2” . 1960/John Cage
Garden Rain. 1976/Toru Takemitsu
Madrigals, book I, 1965/George Crumb
Drei Kleine Stucke. op. 11, 1914/Anton Webern
199
Sonata. 1914/Anton Webern

Killapata/Chaskapata. 1983/Harvey Sollberger.
3. Crockett, Donald, 1951-. To Be Sung On The Water. (1988) dur. 11’54”
Performers: Farquhar, Jennifer, violin; Suzannah Famy, viola. Recorded in

Kilboum Hall, October 27, 1991.
Title: Jennifer Farquhar, violin.

Series: Program/Eastman School of Music, University of Rochester; 1991-92.
Publisher: Eastman School of Music, University of Rochester, October 27,

1991. “Candidate for the degree Bachelor of Music in Applied
Violin.”
1 sound tape reel: digital, 2 track, stereo; 12 in. “PD format, 48 kHz.”
With: Sonata, in A major, K. 526/Wolfgang Amadeus Mozart (22:48)

Sonata, no. 3: “Ballade,” op. 27, no. 3/Eugene Ysaye (7:55)
Sonata, in G major, op. 30, no. 3/Ludwig van Beethoven (20:33).
4. Gardner, Maurice, 1909-. Suite, for violin and viola. (1983)
Performers: Charmian Gadd, violin; Yizhak Schotten, viola. Recorded June

3, 1983, at 4:00 p.m., in Dudley Recital Hall, University of Houston,
Houston, Texas, as the fourth recital of the 11th International Viola
Congress. Premiere of Gardner’s Suite.
Title: Divertimento/Emst Toch. Duo concertante in C minor, op. 4. no. 2/
Alessandro Rolla. Suite/Maurice Gardner. Madrigals/Bohuslav
Martinu.
Publisher Houston, Tex.: American Viola Society, 1983 (University of
Houston, School of Music).
1 sound cassette: 1 7/8 ips.
Conference: International Viola Congress.
With: ,T>ivertimentn. for violin and viola, op. 37, no. 2/Emst Toch
Duo concertante. in C minor, op. 4, no. 2/Alessandro Rolla
Madrigals, for violin and viola/Bohuslav Martinu.
5. John F. Kaefer. Contrasts no. 1. for violin and viola. dun 5 ’35”
Performers: James Chamholm, violin; Jennifer Warwick, viola. Recorded in

Kilboum Hall, March 5, 1997.
Title: Program/Eastman School of Music, University of Rochester; 1996-97.
200
Publisher Eastman School of Music, University of Rochester. March 5,

1997.
1 sound tape reel: digital, 2 track, stereo; 10 in. “PD format. 48 kHz.”
With: From Partita, no. 1, in B minor, BWV 1002: Sarabande;

Double/Johann Sebastian Bach (4’20”)
Sonata, no. 8, in G major, op. 30, no. 3/Ludwig van Beethoven
(17’23”)
Sonata, no. 1, in A minor, op. 105/Robert Schumann (14’44”).
6. Kerr, Louise Lincoln, 1892-1977. Etude, for violin and viola.
Performers: Eugene Lombardi, violin; William Magers, viola. Recorded

during performance, March 13, 1975.
Title: Program of Her Compositions Louise Lincoln Kerr.
Publisher Tempe, Ariz.: Arizona State University, 1975.
1 sound reel tape (ca. 50 min.): 7 1/2 ips, 4 track, stereo.; 7 in.
With: Cancion Espanole: based on the Spanish folksong Senor Alcalde

Mayor
Prelude, no. I, in E minor
Prelude, no. VII, in G minor
Prelude, no. Ill, in C major
Song of an Indian Woman
Indian Serenade
Trio, for clarinet, cello and piano.
7. Mann, Robert, 1920-. In Time of Wan for violin and viola. (1945)
Performers: Robert Mann, violin, Samuel Rhodes, viola, of the Juilliard

String Quartet Recorded in the Coolidge Auditorium of the Library
of Congress, Washington, D.C., Apr. 26 and 27, 1979. Concert given
under auspices of the Gertrude Clarke Whittall Foundation in the
Library of Congress.
Title: Library of Congress Music Division concert, 1979-04-26 and 1979-04-

27.
Publisher: Produced by the Music Division and the Recording Laboratory of

the Library of Congress. Cataloged from printed program; actual tape
contents may vary. 1979.
4 sound tape reels: analog, 7 1/2 ips, 2 track, stereo.; 10 in. + 1
program (3 pp.).
With: Serenade, in C major for violin, viola, and violoncello, op. 10,
1902/Ernst von Dohnanyi
Quartet in A minor, op. 132, 1825/Ludwig van Beethoven.
201
8. Martinu, Bohusiav, 1890-1959. ’Three Madrigals, for violin and viola. (1947)
Performers: Joseph Fuchs, violin; Lillian Fuchs (1902-), viola. Recorded in

the Coolidge Auditorium of the Library of Congress, Washington,
D.C., Mar. 12,1954. Concert given under the auspices of the
Elizabeth Sprague Coolidge Foundation in the Library of Congress.
Title: Library of Congress Music Division concert, 1954-03-12: Concert of

chamber music for violin and viola.
Publisher Produced by the Music Division and the Recording Laboratory of

the Library of Congress. Cataloged from printed program; actual tape
contents may vary. 1954.
1 sound tape reel: analog, 7 1/2 ips, 2 track, mono.; 10 in. (acetate) +
1 program ( 3 pp.) 1 sound tape reel: analog, 15 ips, 2 track, mono.;
10 in.
With: Duo, in B flat major for violin and viola, K.V. 424,1783/Wolfgang
Amadeus Mozart
“Prelude: Sarabande; Bourree I; Bourree II; Gigue,” from Suite, no. 4
in Eflat major, ca. 1720/Johann Sebastian Bach
“Chaconne:” from Partita, no. 2 in D minor, ca. 1720/Johann
Sebastian Bach.
9. Martinu, Bohusiav. ‘Three Madrigals. dur. 16’45”
Performers: Miriam Fried, violin; Paul Biss, viola. Recorded on April 6,

1982.
Title: Faculty/guest recital. Paul Biss.

Published: Indiana University, Bloomington. School of Music. 1982.
5 sound tape reels (98 min.): 7 1/2 ips, 2 track, stereo.; 7 in.
With: Sonata, no. 3, in C major/Jean Marie Leclair (11 ’45”)

Sonatina. 1920/Arthur Honegger (7’55”)
Sonata. 1915: Poco lento maestoso-Allegro fermo; Allegretto poco
lento/Eugene Y saye
Sonata. 1915: Finale: Allegro vivo e con fuoco/Eugene Ysaye
(33’34”)
Duo, in B-flat major, K. 424: Adagio-Allegro; Andante cantabiie/
Wolfgang Amadeus Mozart
Duo, in B-flat major, K. 424: Thema con variazioni: Andante
grazioso/Wolfgang Amadeus Mozart (19’55”).
202
10. Martinu, Bohusiav. “Three Madrigals, for violin and viola.

3, 1983, at 4:00 p.m., in Dudley Recital Hail, University of Houston,
Title: Divertimento/Ernst Toch. Duo concertante in C minor, op. 4, no. 21
Alessandro Rolla. Suite/Maurice Gardner. Madrigals/Bohusiav
Martinu.
With: *Divertimento, for violin and viola, op. 37, no. 2/Emst Toch
Duo concertante. in C minor, op. 4, no. 2/AIessandro Rolla
Suite, for violin and viola/Maurice Gardner.
11. Martinu, Bohusiav. ‘Three Madrigals, for violin and viola.
Performers: Paul Makara, violin; Pamela Ryan, viola. Recorded at Bowling

Green State University College of Musical Arts, Bryan Recital Hall,
January 25, 1987.
Title: Faculty recital, January 25, 1987, Paul Makara.
Publisher: Bowling Green, OH: College of Musical Arts, p. 1987.

1 sound cassette: analog, stereo., Dolby processed.
With: Sonata, in A major/Cesar Franck

Fantasia, in C major, op. 159/Schubert
Malaguena/Albeniz: Kreisler
Spanish Dance/Granados: Kreisler
La veda breve: Danse espaenola/de Falla; Kreisler.
12. Martinu, Bohusiav. ‘Three Madrigals, for violin and viola. (1947)
Performers: Alexis Galperine, violin; Miles Hoffman, viola. Recorded at the

Library of Congress Summer Chamber Festival in the Coolidge
Auditorium of the Library of Congress, Washington, D.C., June 16,
1987.
Title: Library of Congress Music Division concert, 1987-06-16.
Conference: Library of Congress Summer Chamber Festival. Festival made

possible in part by COMSAT.
203

the Library of Congress. Library of Congress also holds version
edited for broadcast: RWB 6176-6177. Cataloged from printed
program; actual tape contents may vary. 1987.
program (23 pp.) 2 sound tape reels: analog, 7 1/2 ips, 2 track, stereo.;
10 in.
With: Marchenbilder Fairv Tales: for viola and piano, op. 113, 1851/Robert
Schumann
Sonata, for hom and piano, 1939/Paul Hindemith
En blanc et noin for two pianos, 1915/Claude Debussy
Suite, no. 2 for two pianos, op. 17, 1900-01/Sergei Rachmaninoff.
13. Martinu. Bohusiav. ’Three Madrigals, for violin and viola. (1947) dur: 18’20”
Performers: Miriam Fried, violin; Paul Biss, viola. Recorded on September

29, 1987.
Title: Faculty recital. Paul Biss, violin/viola.
Series: Program/Indiana University, Bloomington. School of Music; 1987-

1988, no. 152.
Publisher: 1987. Indiana University, Bloomington. School of Music.

4 sound tape reels (69 min.): analog, 7 1/2 ips, 2 track, stereo.; 7 in.
With: Suite, in G major, S. 1007/Johann Sebastian Bach (17’26”)

Fantaisie. for violin and harp, op. 124, 1907/Camille Saint-Saens
(14’23”)
Berceuse, op. 16/Gabriel Faure (3’45”)
Aus der Heimat. 1878/Bedrich Smetana (1 1’30”)
Encore: Sicilienne/Maria Theresa von Paradis (3’20”).
14. Martinu, Bohusiav. ‘Three Madrigals. dun 16’43”
Performers: Alfred Abel, violin; Colette Grossman Abel, viola. Recorded on

October 30, 1990.
Title: Graduate recital, Colette Grossman Abel, viola. “Viola (S641).”
Publisher: 1990. Indiana University, Bloomington. School of Music.

2 sound tape reels: analog, 7 1/2 ips, 2 track, stereo.; 7 in.
With: Two Songs, op. 91/Johannes Brahms (12’ 16”)

Terzetto, in C major, op. 74/Antonin Dvorak (20’52”).
204

Performers: Laurie Carney, violin; Michael Tree, viola. Recorded in John C.
Borden Auditorium, Manhattan School of Music, April 7, 1992.
Title: Manhattan School of Music, Concert of April 7, 1992.
Publisher Manhattan School of Music, New York, N.Y., 1992.

With: Quintet in Eb major, K. 614/Wolfgang Amadeus Mozart

Quartet in F major, op. 135/Ludwig van Beethoven.
Performers: Lucie Robert, violin; Karen Ritscher, viola. Recorded in

Hubbard Recital Hall, Manhattan School of Music, Feb. 18, 1993.
Title: Concert of February 18, 1993.

Publisher Manhattan School of Music, New York, N.Y., 1993.
With: Sonata, for piano and violin in E minor, K.V. 304/Wolfgang Amadeus
Mozart
Sonata, for violin and piano/Leos Janacek
Sonata, for violin and piano in E flat major, op. 18/Richard Strauss.
17. Milhaud, Darius, 1892-1974. Sonatina, for violin and viola. (1941)
Performers: Alexis Galperine, violin; Miles Hoffman, viola. Recorded at the

Library of Congress Summer Chamber Festival in the Coolidge
Auditorium of the Library of Congress, Washington, D.C., June 24,
1986. Concert given under the auspices of the Atlantic Richfield
Foundation, COMSAT, T. Rowe Price Associates, and others.

Conference: Library of Congress Summer Chamber Festival.

edited for broadcast: RWB 3839-3840.: Cataloged from printed
program; actual tape contents may vary. 1986. LCCN: 96-702274/R.
program (26 pp.).
With: Five Portraits: for violin and piano. 1972/Ulysses Kay
205
Adagio, for glass harmonica, K. 617a, 1791 /Wolfgang Amadeus

Mozart
Sonata, in D major for two pianos, K. 375a, 1781/Wolfgang Amadeus
Mozart
Le camaval des animaux. 1886/Camille Saint-Saens.
18. Munger, Paula. Duo, for violin and viola.

Performers: Boston Conservatory student soloists and ensembles. Recorded
April 10, 1989, by The Boston Conservatory.
Title: Student composers concert featuring the 1989 Young composers

competition winners/Russell B. Grazier,. . . [et al.].
Includes brief program note and personnel list for Wind Ensemble
(HI p.).
Publisher Boston Conservatory, 1989.
1 sound tape reel: analog, 7 1/2 ips, 4 track, stereo.; 7 in.
With: In Memoriam Kelly Rvan. 1989/Russell B. Grazier

Shadows on the Rock: Windows of Leon. 1988, 1989/Louis M. Conti
Sketches/Craig Walsh
Spring Showers in Kvoto/Jennifer Leach.
19. Raimi, Maxwell, 1956-. Duo, for violin and viola. (1983)
Performers: Bayia Keyes, violin; Maxwell Raimi ( 1956-), viola. Recorded
at the Library of Congress Summer Chamber Festival in the Coolidge
Auditorium of the Library of Congress, Washington, D.C., June 10.
1986. Concert given under the auspices of the Atlantic Richfield
Foundation, COMSAT, T. Rowe Price Associates, and others.
Conference: Library o f Congress Summer Chamber Festival.

2 sound tape reels: analog, 7 1/2 ips, 2 track, stereo.: 10 in. + 1
10 in.
With: Three Fantasias in Three Parts. D minor; F major; G minor; c. 1680/
Henry Purcell
Quartet, in B minor for piano and strings, op. 3, 1825/Felix
Mendelssohn
Sextet, in B-flat major, op. 18, 1858-60/Johannes Brahms.
206
20. Shapey, Ralph, 1921-. Mann Duo.

Performer. Mann Duo: Robert and Nicholas Mann. Recorded in the
Coolidge Auditorium of the Library of Congress, Washington, D.C.,
Nov. 7, 1986. Concert given under the auspices of the Gertrude
Clarke Whittall Foundation in the Library of Congress.

10 in.
With: Duo, in E major for two violins, op. 110. no. 2, 1829/Franz Krommer
Sonata, in C major for two violins, op. 56, 1932/Sergei Prokofiev
Six Duets, for two violins and piano, op. 18, 1878/Benjamin Godard
Fourteen Duos: from Forty-four Duos for two violins, op. 98,
1931/B£la Bartdk.
21. Smith, Stuart Saunders, 1948-. Three for Two.

[likely a recording of this work—incomplete information provided 1
Performers: Several listed, including the UMBC New Music Ensemble.

Friday, October 6 and Saturday, October 7, 8 p.m. in the UMBC Fine
Arts Recital Hall/UMBC Department of Music.
Title: Stuart Saunders Smith, 25 year retrospective at UMBC Department of
Music.
Publisher: Baltimore, MD: Department of Music, UMBC, [1995?1-
2 videocassettes (110, 115 min.): sd., col.; 1/2 in. VHS format.
Videotape lacks title screen and credits.
Other Stuart Smith speaks about his philosophy of music to a live audience,
and acclaimed musicians play several of his pieces. Includes world
premieres of “Brenda” from Family Portraits: Sylvia Smith’s
California Driving, the literary realization of Return and Recall: and
the Baltimore premiere of Links No. 11.
22. Szonyi, Erzsdbet. Duo, for violin and viola. (1955) d u r 6’45”
Performers: Dortha Manning De Wit, violin; Brek Renzelman, viola.

Recorded on February 11, 1984.
207
Title: Graduate recital. De Wit, Dortha Manning. “Doctor of Music in

Violin (S642).”
Publisher. Indiana University, Bloomington. School of Music.

2 sound tape reels (36 min.): 7 1/2 ips, 2 track, stereo.; 7 in.
With: Passacaslia. in G minor for violin and viola/George Frideric Handel;

arr. Johann Halvorsen (8’06”)
Terzetto, op. 74/Antonin Dvorak (21’04”).
23. Toch, Ernst, 1887-1964. ' Divertimento, for violin and viola, op. 37, no. 2.

3, 1983, at 4:00 p.m., in Dudley Recital Hall, University of Houston,
Title: Divertimento/Emst Toch. Duo concertante in C minor, op. 4, no. 2/

Alessandro Rolla. Suite/Maurice Gardner. Madrigals/Bohuslav
Martinu.
With: Duo concertante. in C minor, op. 4, no. 2/Alessandro Rolla

Suite, for violin and viola, 1983/Maurice Gardner
Madrigals, for violin and vioIa/Bohuslav Martinu.
24. Heitor Villa-Lobos, 1887-1959. Duo, for violin and viola. (1946)
Performers: Ani Kavafian, violin; Walter Trampler, viola. Recorded in

Coolidge Auditorium of the Library of Congress, Washington, D.C.,
April 29, 1983. Concert given under the auspices of the McKim Fund
in the Library of Congress.

the Library of Congress. Version edited for broadcast: RWA 5939-
5940. Cataloged from printed program; actual tape contents may
vary. 1983.
program (4 pp.)
208
With: Three Pieces, for two like instruments: from II primo libro della
musica a due voci, 1598/Giovanni Giacomo Gastoldi
Sonata, in F minor for violin and piano, op. 4, 1825/Felix
Mendelssohn
Sonata, for violin and piano, op. 25, no. 4, 1922 (Originally for viola
and piano)/Paul Hindemith
Four Pieces, for violin, viola, and piano. Op. 83, no. 2; Op. 83, no. 3;
Op. 83, no. 6; Op. 83, no. 7, 1910/Max Bruch.
209
Table 5.1—Index to Composers.126
ComDoser Work Listing
Alwyn, William Sonata Impromptu 1

Bartos, Frantisek Duo 2
Beer, Laura Duo (1)
Bolcom, William Session II (2)
2 Brustad, Bjame Capricci 3 ,4
Burkhard, Willy Kleine Serenade 5
Chailley, Jacques Improvisation a deux 6
Cooper, Paul Canons d’amore 7
Cooper, Paul Verses 8
Crockett, Donald To Be Sune On The Water (3)
Gardner, Maurice Suite (4)
Gliere, Reinhold Moritsevich Eieht Duets 9
Hvoslef, Ketil Duodu 10
Joachim, Otto Music 11
Kaefer, John F Contrasts no. 1 (5)
Kerr, Louise Lincoln Etude (6)
Klein, Gideon Duo 12
Mann, Robert In Time of War (7)
Martinu, Bohuslav Duo no. 2 13
22 Martinu, Bohuslav ‘Three Madrigals 14-26. (8-16)
Mathias, William Divertimento 27
Matys, Jiri Duo 28
Milhaud, Darius Sonatina (17)
Munger, Paula Duo (18)
Nordheim, Arne Dunlex 29
Ogdon, Will Variations Suite 30
Petrassi, Goffredo Duetto 31
Procaccini, Teresa Duo 32
Raimi, Maxwell Duo (19)
Ramsey, Gordon Four DescriDtive Pieces 33
Shapey, Ralph Mann Duo (20)
Sims, Ezra Two for One 34
Skalkottas, Nikos Duo 35
Smith, Stuart Saunders Three for Two (21)
Swack, Irwin Four Duets 36
Szonyi, Erzsebet Duo (22)
3 Toch, Ernst Divertimento 37,38, (23)
Ultan, Lloyd Dialogues III 39
3 Villa-Lobos, Heitor Duo 40,41,(24)
126 The column on the left notes the number of recordings (when more than
one exist) for each listed work. The number in the right column corresponds to the
reference number in the discography. Parenthesized numbers indicate those
recordings which have not been released commercially.
210
Table 5.2-Index to Violinists
Performers: Violin_______ (Viola)_________________ Listing
Abel, Alfred (Abel, Colette Grossman) (14)

Barratt-Due, Stephan (Chung, Soon-Mi) 10,29
Carmirelli, Pina (Naegele, Philipp) 15
Camey, Laurie (Tree, Michael) (15)
Chapo, Eliot (Hustis, Barbara) 16
Chamholm, James (Warwick, Jennifer) (5)
Davis, Michael (Adelson, Edward) 27
De Wit, Dortha Manning (Renzelman, Brek) (22)
Dicterow, Glenn (Dreyfus, Karen) 26
Farquhar, Jennifer (Famy, Suzannah) (3)
Fried, Miriam (Biss, Paul) (9, 13)
Fuchs, Joseph (Fuchs, Lillian) 14, (8)
Gadd, Charmian (Schotten, Yizhak) 17, 37,41 (4, 10,23)
Galperine, Alexis (Chailley, Marie-Therese) 6
(Hoffman, Miles) (12,17)
Kavafian, Ani (Trampler, Walter) (24)
Keyes, Bayla (Raimi, Maxwell) (19)
Kim, Young-Nam (Strasser, Tamas) 39
Larsen, Bjame (Sletsjoe, Ame) 3
Lombardi, Eugene (Magers, William) (6)
Makara, Paul (Ryan, Pamela) (11)
Mann, Nicholas (Murdock, Katherine) 38
Mann, Robert (Rhodes, Samuel) (7)
(Mann, Nicholas) (20)
Milliere, Marie-Christine (Benatar, Jean-Francois) 23
Negyesy, Janos (Nykter, Paivikki) 30
Novak, Jiri (Skampa, Milan) 20
Oliveira, Elmar (Robbins, Sandra) 21
Packer, Janet (Black, Anne) 34
Patrikidou, Nina (Vatikiotis, Yannis) 35
Patterson, Ronald (Patterson, Roxanna) 7 ,8
Persinger, Louis (Persinger, Rolf) 40
Raudales, Henry (Van Goethem, Freddy) 9
Ravina, Oscar (Nirkin, Kenneth) 36
Robert, Lucie (Ritscher, Karen) (16)
Salvatore, Antonio (Centurioni, Paolo) 32
Schneeberger, Hansheinz (Schiller, Christoph) 5
Shumsky, Oscar (Shumsky, Eric) 13, 25
Seigel, Harvey (Verebes, Robert) 11
Sykora, Adolf (Kratochvil, Jiri) 28
Tomasek, Jiri (Simacek, Hubert) 2
Tonnesen, Terje (Tomter, Lars Anders) 4
Wolf, Harold (Rumpler, Harry) 33
211
Table 5.3-Index to Violists
Performers: Viola (Violin) Listing
Abel, Colette Grossman (Abel, Alfred) (14)

Adelson, Edward (Davis, Michael) 27
Benatar, Jean-Francois (Milliere, Marie-Christine) 23
Biss, Paul (Fried, Miriam) (9, 13)
Black, Anne (Packer, Janet) 34
Centurioni, Paolo (Salvatore, Antonio) 32
Chailley, Marie-Therese (Galperine, Alexis) 6
Chung, Soon-Mi (Barratt-Due, Stephan) 10,29
Dreyfus, Karen (Dicterow, Glenn) 26
Fuchs, Lillian (Fuchs, Joseph) 14, (8)
Famy, Suzannah (Farquhar, Jennifer) (3)
Hoffman, Miles (Galperine, Alexis) (12, 17
Hustis, Barbara (Chapo, Eliot) 16
Kratochvil, Jiri (Sykora, Adolf) 28
Magers, William (Lombardi, Eugene) (6)
M ann, Nicholas (Mann, Robert) (20)
Murdock, Katherine (Mann, Nicholas) 38
Naegele Philipp (Carmirelli, Pina) 15
Nirkin, Kenneth (Ravina, Oscar) 36
Nykter, Paivikki (Negyesy, Janos) 30
Persinger, Louis (Persinger, Rolf) 40
Patterson, Roxanna (Patterson, Ronald) 7 ,8
Raimi, Maxwell (Keyes, Bayla) (19)
Renzelman, Brek (De Wit, Dortha Manning) (22)
Rhodes, Samuel (Mann, Robert) (7)
Ritscher, Karen (Robert, Lucie) (16)
Robbins, Sandra (Elmar, Oliveira) 21
Rumpler, Harry (Wolf, Harold) 33
Ryan, Pamela (Makara, Paul) (11)
Schiller, Christoph (Schneeberger, Hansheinz) 5
Schotten Yizhak (Gadd, Charmian) 17, 37,
Shumsky, Eric (Shumsky, Oscar) 13.25
Simacek, Hubert (Tomasek, Jiri) 2
Skampa, Milan (Novak, Jiri) 20
Sletsjoe, Arne (Larsen, Bjame) 3
Strasser, Tamas (Kim, Young-Nam) 39
Tomter, Lars Anders (Tonnesen, Terje) 4
Trampler, Walter (Kavafian, Ani) (24)
Tree, Michael (Carney, Laurie) (15)
Van Goethem, Freddy (Raudales, Henry) 9
Vatikiotis, Yannis (Patrikidou, Nina) 35
Verebes, Robert (Seigel, Harvey) 11
Warwick, Jennifer (Chamholm, James) (5)
212
Table 5.4—Index to Ensembles

Ensembles_____________________________________ Listing
Alea III 19
An die Musik 16
Boston Conservatory student soloists and ensembles (18)
The Dartington Ensemble 18
Dinosaur Annex Music Ensemble 34
Ensemble 2e2m 12
Indiana University New Music Ensemble (2)
Raphael Ensemble 24
Stamitz-Quartett 22
Trio a cordes Milliere 23
Trio d’Archi di Roma 32
UMBC New Music Ensemble (21)
VI. LIST OF VIOLIN AND VIOLA DUO LITERATURE
OF THE TWENTIETH CENTURY
Introduction
The following alphabetized table is a concise listing, as complete as possible,

of all violin and viola duos composed this century, from 1900 through January, 1998.
Indications (where applicable) are given for the name of the composer, his year of
birth and death, titles, reference source(s), and manuscript state (ms.) or publisher(s)
of the score. Abbreviations are defined at the beginning of the table. Several listed
works have been transcribed for other combinations or are transcriptions of duos
originally for another instrumentation. Most transcriptions appear to be authorized.

Unless otherwise indicated, works are assumed to be intended by the composer as
principally for violin and viola. Inclusion of a work within the “Critical Reviews”
section of this dissertation is indicated by parentheses around the birth and death
dates of the composer, capitalization of composer’s last name and underlining the
title of the work. The bullet (•) next to the name of the composer indicates inclusion
of his bibliography in Baker’s Bibliographic Dictionary of Musicians. Eighth
Edition. The asterisk (*) next to the name of the composer indicates inclusion of the
work in the “Analyses” section of this dissertation. A handful of the listed works are
questionably of the twentieth century or are of dubious existence altogether. These
works are indicated by a question mark (?) at the extreme right of the listing.
Occasional blanks indicate where information is not available. Following the main
body of the table is a short list of other possible works for the combination. These
are compositions for ensembles of unspecified instrumentation.
213
Table 6.1 -L ist o f V iolin and V iola Duo Literature o f the Twentieth Century
Brackets around the composers’ dates, capitalized last names and underlined titles indicate works listed in the chapter “Critical
Reviews” of this dissertation.
The symbol (•) denotes a listing for the composer in Baker’s Biographical Dictionary of Musicians. Eighth Edition, 1992.
The asterisk (*) indicates a work which is analyzed in the chapter “Analyses of Selected Works.”
Abbreviations for references: A, Altmann Kammermusik-Kataloe: A , American Music Center Library; B, BBC Chamber
Music Catalog; E, Eureka; I, Index of Violin Music or Index of Viola Music; M , “Music for Violin and Viola ,” by Peter
Marcan; M, Melvyl; S. String Music in Print and 1984 Supplement; UCSD, University of California, San Diego; W, World
Catalogue; Z, Literature fiir Viola.
Abbreviations for Publishers and Sources:
ACA American Composers Alliance Branch Harald Branch Publishing, Inc.

AdPor. Ad Potam Ed., Walter Knape B&B Bote und Bock
Afas Afas Musikverlag, Hans DUnnebeil B&H Breitkopf und Hftrtel
Allans Allans Music Pty. Ltd. Can. Canadian
Amad. Amadeus Verlag (Bernhard Pauler) Car. Carisch
AMCL American Music Center Library CBDM Centre Beige de Documentation Musicale
AMP Associated Music Publishers, Inc. CdM Chant du Monde
APNM Association for the Promotion of New Cesky Cesky Hudebni Fond
Music CFE Composer's Facsimile Edition
Ast. Astoria-Verlag Che. J. and W. Chester, Ltd.
Aug. Augener, Ltd. comp. published by the composer
AusMC Australia Music Centre Con. Consort Press
Bar. BSrenreiter-Verlag Cr. Editions A. Cranz
BFV Dr. Benno Filser Verlag Cresc. Crescendo Music Sales Company
BIMC Bibliothlque International de Musique DaRua Da Rua Music Publishers
Contemporaire DCLC Library of Congress, Washington, D.C.
BMIC British Music Information Centre Div. Musik Edition Walter J. Divossen
Boon. Joseph Boonin, Inc Dob. Ludwig Doblinger
Boos. Boosey and Hawkes, Ltd. Dohr Verlag Dohr
Table 6 . 1.-continued.
Dom Dom za Serbske Ludowe Wumelstowo w Gro. J. Groppe

Budysinje Hans. Edition Wilhelm Hansen
Don. Jacob Donemus Helios Helios Music Edition
DSS Drustvo Slovenskih Skladateljev Hen. Henmar Press, Inc.
Dur. Durand S. A. Hhfn. Heinrichshofen
Elkan Henri Elkan HHkn. H. Hockner
Elkan-V Elkan-Vogel, Inc. (Theodore Presser) Hin. Hinrichsen Edition Ltd.
EM Edizioni Musicali Hiob Heinrich Hiob
EMB Edito Musica, Budapest Hof. Friedrich Hofmeister
EMod. Edition Modern, Hans Wewerka Howl. Howlet Press
EMP Ediciones Musicales "Politonia" Hud. Hudebnf Matice
EMuz. Editura Muzicala Hug Gebriider Hug and Co.
Enc. Encore Music Publishers JC Joshua Corporation (BMI)
EPet. Edition Peters Job. Soci6t6 des Editions J. Jobert
Esch. Editions Max Eschig Kjos Neil A. Kjos Jr. Publisher
ESP Edito Supraphon Praha KMK KUrschners Musikerkalender
Excel. Excelsior Music Publishing Co. (Theodore Led. Alphonse Leduc
Presser) Leeds Leeds Music Corp.
Fab. Faber Music Limited (G. Schirmer, Inc., New Lem. Henri Lemoine & Cie.
York) Lit. Henry Litolff
Fazer Fazer Musik Lyche Harald Lyche and Co. Musikforlag
Fema Fema Music Publications MCA MCA Music Corp.
Fis. Carl Fischer, Inc. Mel. Melbourne University Press
Feet. Foetisch Frfcres Mer. Mercury Music Corp.
For. Foreningen Svenska Tonsattare Mira Mira Music Associates
Forb. Rob. Forberg-P. Jurgenson, Musikverlag MKW Verlag fiir Musikalische Kultur und
Fran. Francais Wissenschaft (Wolfenbiittel)
Fuz. Editions J.M. Fuzeau MMB M.M.B. Music Publishers
Gal. Galaxie Music Corp. (Columbia Music Corp.) MMI Merion Music, Inc.
Gen. General Music Publishing Co., Inc. MMP Masters Music Publications, Inc.
Gerig Hans Gerig Mos. Karl Heinrich Moseler Verlag
GM Gertrud Moser MPI Music Press, Inc.
ms. manuscript Miill. Willy Muller, Siiddeutscher Musikverlag

MusiM Musimed Soc. Editions Sociales Internationales
NME New Music Edition Son. Sonory Publications
Norr. Norruth Music, Inc. Sou. Southern Music Publishing Co., Inc.
Norsk Norsk Musikforlag Spart. Spartan Press
NV New Valiev SPM State Publishers, Moscow
NY PL New York Public Library Staff Staff Music Publishing Co. Inc.
Orl. Orlando-Musikverlag Statni Statni Hudebni vydavatelstvi
OT "Or-Tav" Music Publications Stim. Stim's Informations-Zentrale fUr schwedische
Oxf. Oxford University Press Musik
OB Osterreichischer Bundesverlag Sven. Svensk Musik
Pan. Rini Panton SWK Simbriger Werkkatalog
Paris Edition Paris Tech. Edition Technisonor
Pax. W. Paxton and Co. Ten. Tenuto Publications (Theodore Presser)
Pet. C.F. Peters Corp. Two-18 Two-Eighteen Press
Piers The Piers Press T&J Verlag Tischer und Jagenberg
Port. Fr. Portius Uniu. Uniunea Compozitorilor
Pres. Theodore Presser Co. UdO Universidad de Oriente
PWM Polskie Wydawnictwo Muzyczne UE Universal Edition
Ric. G. Ricordi and Co., Ltd. Ullm. Ullmann
R&E Ries and Erler UM CMP Library Edition, University Microfilms
Sal. Francais Salabert Urb. Fr. A. Urbdnek a Synorv6
Samf. Samfundet Til Udgivelse Af Dansk Musik Val. Valley Music Press
Savez Savez Organizacija Kompozitora Jugoslavije Vogel Ernst Vogel
Sch. B. Schott's Sohne Wean. M. Weaner
See. Seesaw Music Corp. Wms. Joseph Williams, Ltd.
Sen. Editions Maurice Senart Woll. Verlag Walter Wollenweber
Sim. N. Simrock Zerb. Edizioni Suvini Zerboni
Sir. Sirius-Verlag ZV Zenemiikiadd Vtillalat, EMB.
SKB Schumanns KammermusikbuchSlov. Slovensky Hudebni Fond
T able 6.1 .-continued.
Composer Work Reference Publisher/Source
1893-1974 •Absil.Jean Sonatine en duo, op. 112 SZ CBDM

1900- Adair, James Suite, op. 65 z ms.
1924- 'Aitken, Hugh Duets (some missing) EW ms. DCLC
1876-1945 'Akimenko, Theodor Sonata Z ms.
1885-1958 'Albrecht, Alexander Kanon Z ms.
(1943-) ALDEMlR.Turgut Duo SEWZ Orl.
(1907-1989) 'ALEXANDER, Josef Three Inventions for Two EW Gen.
Instruments (oboe or violin and viola)
(1920-) Allgen, Claude Loyola Dialog E ms.
1905-1985 'Alwyn, William Sonata-Imprompu (1937) Z ms.
1897-1983 'Ambrosius, Hermann Duo, in d, (1947) Z ms.
(1903-1970) 'ANDERSEN, Karl En Spillemannstubb ISWZ Norsk
jA Fiddler's Catch 1
(I932-) ANDRIX, George P. Fourteen Duets (1957) WIZ See.
Theme and Derivations (1960) w See.
1927- 'Angerer, Paul Duo, (1951) z Sir.?
Dies natalis (1979) z ms.
1875- Ast, Max Duo conc. z ms.
1919- 'Avshalomov, Jacob Poem-fantasies (1995) A Howl.
1937- Baber, Joseph Duo, no. 1, in G major EW ms.?
1961- Bacri, Nicolas T rois Duos EW Dur., DCLC
1. Croisements, op. 9 (ca. 4 ’00”)
2. Quatre Intermezzi, op. 16 (ca. 3’00”)
3. Chaconne, op. 30 (ca. 6’00”)
(1907-1987) 'BADINGS, Henk Sonata (1928) EMS(DN)WZ Don.
(1929-) BAGDONAS, Valentinas lono Sonata EWZ SPM
1888- Bammer, Johan Kleine Suite in Drei AZ Ullm.
Kanonsatzen(1940)
(1964-) BANKS, Brian Six Variants (Prolegomenon I, EW ms. AMCL
Sept. 13, 1990, S. F.)
Table 6.1.-continued.
(1934 ) BANQUART, Alain Ecorces I ( 1955/56) EI(EV)MSWZJob.

(1921) BARAB, Seymour Duo EW See.
1905-1973 •Bartos, Frantisek Duo, op. 13 (1937) EWZ Hud., ESP
1908-1981 •Bartos, Jan Zdenek Duo(1978) Z ms.
1903- Baumann, Paul Duos Z ms.
1929- Bechtel, Helmut Duo (1980) Z ms.
(1901-1989) •BECK, Conrad Duo (1934) AEIiWSWZ Sch.
(1924-) •BECKER, Gunter Doppelte Ebenen (1984/85) EMW B&H
19-? Beer, Laura Duo (1984) |from student W (recording only)
composers recital)
(1897-1981) •BENTZON, Jorgen Three Expressive Sketches, o d . 16 EWZ Hans.
lonly score for violin and violoncello obtained!
(1919) •BENTZON, Niels Viggo Duo, op. 539 (1989) EMW Hans.
(1909-) •BERGER, Jean Three ImpromDtus W Kjos
1929- •Berger, Wilhelm Georg Sonata (1967) Z Uniu.
(1932-) BERLEANT, Arnold Jerome Duo (1982) A ms. AMCL
(1905-1984) •BERNIER, Ren6 Sonatine EMWZ Cr.
(1902-1956) BERTEN, Walter Michael Duo-Sonata AEWZ BFV, R&E, Bohm
20th c. BfiRTOLA, Eduardo Duo dos temDeramentos e das cores W MusiM
(1951)
(1932-) BIGGS, John Excursions W Con.
1925- •Blank, Allen Duo (1972) EIZ CFE, ACA, NYPL
(1924-) BODENSTEliN-HOY ME, Ruth Fiinf Miniaturen EIAfSWZ Hof.
1937- Bogdr, Istvdn Duo-Suite (1972) Z ms.
(1938-) •BOLCOM, William Elden Session 11 (1966) EIMSWZ MM1 (Pres.)
? 20th c. Boucheril(t?), Le Faure L6gende AIZ Led., Sal.
1929- Braunlich, Helmut Duet (1951) Z ms.
(1934-) BRINGS, Allen Three Inventions after J.S. Bach EW Mira

(Two clarinets or violin and viola) (1972)
jonly score for two clarinets obtained)
? 1840-1913 •Bronsart, Ingeborg von Schellendorf Music for Strings
(1895-1978) •BRUSTAD, Bjarne Capricci EIMSWZ Norsk
Duos(1935) Z ms.
1904-1959 •Burian, Emil Frantisek Passacaglia (19257/1929) Z ms.
(1900-1955) •BURKHARD, Willy Kleine Serenade, op. 15 EIMSWZ Bar.
(1891-1952) •BUSCH, Adolf Suite (violin and saxophone. 9 Amad.
clarinet or viola)
1947- BUSCH, Dennis Duo Concertante. op. 324 (1991) EW ms. AMCL
1922- Campagne, Conny 3 Adagios (1979) Z ms.
(1926-) •CALABRO, Louis Ten Short Pieces (1990) (in 1st EW Elkan-V
position)
(1895-1968) •CASTELNUOVO-TEDESCO, M. Sonata, op. 127 (1945) BEISWZ Mer. (Pres.)
20th c. Cathrine, Terry Flexible Christmas Jazz Duets EW Spart.
|Several combinations, Grades 4 ■6|
1910- •CHAILLEY, Jacques Improvisation £ deux (1949) ELWSWZ Led.
(1938-) •CHIHARA, Paul *Duo Concertante (1986) EMW Hen.
1893-1971 •Chlubna, Oswald Phantasie, op. 71 (1949) Z ms.
1911- •Cikker, J in Duo Z ms.
(1907 ) •CLARKE, Henry Leland A Game that Two Can Plav (1959) EWZ CFE, AMC
(20th c.) CLEARY, David The Deeper Mafiic (1995-96) A ms. AMCL
? Cogul, Joseph Minuet Z ms.
(1928 ) •COHN, James Duo, in C ( 1950-51) EW ms. AMCL
(20th c.) COLLINGS, Geoffrey Sonatina, in A B1A/WZ Che.
1951- C6n, Karel Musik zur Vernissage (1982) Z ms.
1906- •Cooke, Arnold Duo(1935) BZ(ms. lost) ms.
1926- •Cooper, Paul Versus (1991) EMW
Canons d’amour (1981) EMW
1900- •Copland, Aaron Elegies 0932. New York) Z. Baker's

First performed April 2, 1933. The manuscript was misplaced in New York.
(1951 -) CROCKETT, Donald To Be Sung on the Water (1988) EW Norr.
1885-1978 •Cuclin, Dimitrie Menuet, Gavot6 si Arie (1928) Z Uniu.
(1924-) CUMMINGS, Arthur M. D uo(1956) EMW UdO
(1912-1970) •DAHL, Ingolf ‘Little Canonic Suite (1970) EIS Boon.
1930- David, Avram Duo, op. 85 Z ms.
1895-1977 •David, Johann Nepomuk Praludium und Fuge, in g (1934) z ms.
1944- David, John Jeffery Music for While You Slept the Sun E ms. AMCL
Shined (muted violin and viola) (1976)
(1884-1951) •DAVID, Karl Heinrich CaDriccio AEISZ Hug
(1925-) •DAVID, Thomas Christian Sonata (1. Duosonate) (1980) EW Dob.
1911- •Degen, Helmut 10 StUcke IZ MUll
Unisono-StUcke (1950) Z HHkn, Hhfn.
(I928-) DIAMOND, Arline Perambulation (1968) EWZ ms. AMCL
1952- Diedrichs, Yann Part a deux (1980) Z ms. BIMC
1935- •Dimov, Bojidar Incantations II E Emod. NYPL
(20th c.) DIVOSSEN, Walter J. Ronduo: Duo for violin and viola E Div. (comp.)
(1897-) DOMANSKY, Alfred Three Duos: B dur. G Dur, A Dur AEZ Cr.
(1924)
2 Duos (1936) Z ms.
1888-1979 •Durey, Louis 5 Duos, op. 35b |op. 35a for ESWZ Fran., Tech.
violin and violoncello|
1955- Dusapin, Pascal Ohime: Duo no. 1 EW Sal., DCLC
1930- Ebenhoh, Horst Suite “Das unvollstandige Z Sir.
Streichquartett,” op. 9, no. 2b
(1906-1979) •EGGE, Klaus Duo Concertante. o d . 23 (1950) ESWZ Lyche
(1898-) EGGERMANN, Fritz Six Skizzen 1Sketches 1 EIMSWZ UE
? Eichler, Ernest 6 Duos, op. 10 Z Paris
1908- Eisbrenner, Werner Divertimento in C (1958) z ms.
Table 6 .1.-continued.
(1924 ) ENGEL, Yehuda In memorium: Eleev (1978) EWZ OT

(1913-1973) -ETLER, Alvin Duo (1945) (oboe or flute or EWIZ NV
violin and clarinet or viola)
1901- Ernst, Wolfgang Duo, in a, op. 1 (1951) Z ms.
Essner, Walter Spielbuch fUr Streicher, Abt. I AE Port.
1929- Franceschini, Romulus Duet (1964) Z AMCL
(1908-1988) -FRANCO, Johan Sonatina (1962) EIWZ CFE, ACA,
ms. AMCL
(1940-) FREITAG, Erik Sonata “NachtstUcke” EW Dob.
(1934-) FREUDENTHAL, Otto 12 veranderungen (oboe or violin EIWZ Woll., ms. Stim.
and viola)
Backfall-Musik, no. 1, in 6 Z ms.Stim
Satzen (1975)
Musik fUr Irene, in 6 Satzen (1975) Z ms.Stim
Kindheitserinnerungen (1976) Z ms.Stim
Duo “Pilze” (1976) Z ms.Stim
Music (1976) Z ms.Stim
Geburtstagsmusik (1976) Z Woll.
Duo(1977) Z Stim
(20th c.) FRIED, Minita Duo (1945) EW EMP
? 20th c. Friedemann, Lili Tanzduette Z Mos
1901- Frohlen, Max Duo, in d, op. 5, no. 14 Z Hiob
1894- Frohlich, Willy Duo, op. 43 (1943) Z ms.
(1950 ) FROUNBERG, War ‘D1(1986) EW Samf
1938- Friihauf, Herbert Duo, op. 4 Z ms.
1902- Fuchs, Franz d. Jungere Duo, op. 37 Z ms.
(1926-1993) -GABURO, Kenneth 'Ideas and Transformations, no. 1 EIMMSWZ Pre., NME
(1955)
(1947-) GAGNEUX, Renaud Duo (1973) | appears to be EW Dur.
incomplete!
1934- Gaher, Josef |Jozef| Duos 1,11(1968) Z ms.

1922- Gaillard, Paul-Andr6 Sonatine (1947) Z ms.
(1890-1987) •GAL, Hans Divertimento, od . 90. no. 3 EIMSZ Sim.
(1909-) GARDNER, Maurice Suite (1983) EWZ Staff
(1927 ) GARLICK, Anthony The Peter Duos MW See.
1900- Geiger, Waclaw Duettino, op. 14, no. 1 (1941) Z ms.
1957- Gemrot, Jiri 6 Inventionen (1984) Z ms.
(1909) •GENZMER, Harald Duo (1995) EW R&E
(1897-1969) •GERSTER, Ottomar Divertimento AEISWZ Sch.
Sechs kleine StUcke Hof.
(1926-) GLASSER, Stanley Four Inventions EMMWZ Piers
(1875-1956) •GLIERE, Reinhold Eieht Duets, od . 39 I (Cor) Forb.
(only score for violin and violoncello obtained!
1917-1989 •Goldstein, Michael |Mikhail | Duo (1984) Z ms.
1909- Gorl, Willibald Kleine Musik, No. 1 u. 2. z SWK
(1915) GRIMS-LAND, Ebbe Concerto Gavotto per Otto (von EW comp.
Habsburg)
Fern Duetter i Folkton (Scener EW Sven.
fr&n Adelso)
Fiinf Wiener Horbilden, Werk V, EW Sven., NY PL,
1989 DCLC
1946- Gutmann, Joseph Sonatine (1969) Z ms.
(1939 ) HAAG, Hanno Divertissement, op. 18 (1979) EZ Mos.
? 1865-1945 Haeser, Georg Duo, op. 51 Z ms.
1930- Halen, Walter J. Suite (1961) Z ms.
(1903 ) HALL, Richard Suite EIMSZ Hin. (Pet.)
1869-1929 •Halm, August Three Duets (G ma, d mi, Ema) AZ Bar.
(1910) HAMPE, Charlotte Variationen. liber einen Choral EWZ R&E
von J. S. Bach
Petits Airs. 20 Duette (early 19 c.?) 1Z Bar.
C om poser Work Reference Publisher/Source
(1903 ) HARDING, Kenneth Scherzo (Enigma! BEIMWZ Che.

(1927-) ‘HARTLEY, Walter S. Three Duets (19591 WISZ no pub. info.,
Fema?, Cresc
(1936) HASELBACH, Josef Zeichen EMW no pub. info.
(20th c.) HATCH, Mark Grape and Hops EW ms. AMCL
1912-1968 Hess, Ernst Duo, op. 29a (1945) Z ms.
1921- ‘Hewitt, Harry Preludes, op. 146(1949) z AMCL
1915- Heydebrand, Christa von Duo, op. 9(1964) z ms.
(identisch mit Iyalah Mizrahi) Traume zu Zweit. Musikalisches z ms.
Zvveigesprach als Introduktion
und Passacaglia, op. 59 (1968)
(1923 ) HLAVAC, Miroslav Musica Dialogica (19651 SWZ Pan., Gen.
1901-1987 ‘Hlobil, Emil Sonatina in C, op. 23 A Hud.
1939- Hold, T revor James Duo, op. 13 M BMIC
1905- ‘Holewa, Hans Suite (1961) z ms., Fdr.
1915- HUbner, Wilhelm 3 Konzert-Etuden (1966) z ms.
Vater und Sohn. 5 Kleine, Leichte z ms.
Duos(1969)
20th c. Hudak, Greg Three Short Pieces E ms.
1939- ‘Hvoslef, (Saeverud) Ketil Duodu(1982) MEW (recording only)
1924-1988 ‘Iliev, Konstantin Duo(1953) S(EDW)Z EMod.
(1876-1951) ‘1NGENHOVEN, Jan Sonatine (19251 (violin and AESZ T&J
clarinet or viola)
(1895-1984) ‘JACOB, Gordon Prelude. Passaca&lia and Fugue BEIMWZ Wms.
(1948)
(1955-) JAFFE, David String Quartet for Two EW ms. AMCL
Instruments (Stanford: November 1982)
(1903-1974) ‘JANACEK, Karel Duo, op. 19 (1938) BAEMWZ Pan., Hud.
1916- Jensch, Lothar 8 Bagatellen (1949) Z ms.
(20th c.) JENSEN, Walther Duo, op. 39 (1980) EWZ Samf.
1910- ‘Joachim, Otto Music (1953) EIS(Ber)WZ Can.

(1939 ) ‘JOHNSON, Tom Counting to Eight (1981) EW Two-18, AP
(also for flute and clarinet)
1912- ‘Jones, Daniel 8 Pieces (1948) BZ ms.
(1873-1953) ‘JONGEN, Joseph Adagio, op. 22, no. 1 (1901) EIMSWZ CBDM
1943- Jung, Helge Discorsi, op. 52a (originally for EW Hof.
two violins]
20th c. Kaefer, John F. Contrasts, no. 1 EW(recording only)
1927- ‘Karkoff, Maurice Duo, op. 71 (1964) Z For.
3 Sonatas (1955) Z ms.
1925- Kelch, Carleton Baldwin Duo, op. 56 (1984) EW ms? DCLC
(1916 ) ‘KELLY, Robert Three Expressions, op. 49 (1971) WZ ms., ACA
1900- Kempe, Harold |Harald?| Eskapader S(Stim)Z ms. For.
1925- Kenesei, Gyorgy Duo-Divertimento, op. 27 Z ms.
1892-1977 Kerr, Louise Lincoln Etude W (recording only)
?20thc. Kimura, M|asanobu?| Duo I, op. 22. Z ms.
1883- Kleemann, Hans Rondo, op. 7, no. 1 (1915) Z ms.
Intermezzo, op. 7, no. 2 (1916) Z ms.
2 Duos, op. 9 z KMK
Duos, op. 26 (c. 1925) z ms.
(1919-1945) KLEIN, Gideon Duo: v syst^mu 1/4 tdnov^m EMW B&B
(1939-1940)
1900- Kleist, Friedrich Duo Z ms.
? (1854-1935) ‘KLENGEL, Paul ? Serenade, op. 45 AEZ B&H
(1922-) KLEPPER, Walter Mihai Sonata (1963) (flute or violin E Emuz.
and viola)
1906- ‘Knape, Walter Musik flir Zwei, op. 78 (1979) Z AdPor.
1896-1973 ‘Knorr, Ernst Lothar Karl von Duo (1961) |possibly for viola and Z Arnad
violoncello, publ. Amad.|
224
1944- KOBJELA, Detlef Duo, no. 1 EWZ Div.
? 20th c. Koch, Frederick |*Friedrich?| Duo EW Sou. DCLC

7(1867-1950) •KOECHL1N, Charles Idvlle (two clarinets or violin EMSWZ Soc., CdM
and viola)
1939- •Kolb, Barbara Duo (1963) 1Won 1st prize in
Mu Phi Epsilon contest, 19631
? 20th c. Kornilova, J. Sonatine (1933?) Z ms.
(1897-1984) •K6SA, Gyorgy Duo (1943) ESWZ EMB
(1922-) •KRAFT, Leo Partita, no. 2 (1961) EW See.
1891-1964 •Krejci, Miroslav Duo, no. 1, in C, op. 64 (1944) Z Statm
Duo, no. 2, in A, op. 64 (1945) Z Statni
Ipossibly arrangements of a duo or duos for two violins |
(1882-1969) •KRICKA, Jaroslav Sonatina, op. 48 (1926) AEZ Hud.
1875- Kroder, Armin Suite (1911) Z (Ex.Stadtarchiv Hof, BRD)
(1918) KUB1ZEK, Augustin Kleine Suite (1953) E1SWZ Dob.
(1957-) KOHNL, Claus Divertimento (1982) EWZ B&H
1880- Kummer, Hans Aria und Gigue, op. 19 Z ms. KMK
1879- Kundigraber, Hermann Kammerduo (1928) Z SKB
1892-1958 •Kvapil, Jaroslav Duo (1949) Z ms.
1908-1986 •Larsson, Lars-Erik Duo, op. 6 (1931) Z ms.
1960- Laufer, Norbert In Bewegung (1990) EW Dohr
(1915-1963) •LEGALLIENNE, Dorian Duo (1956) W Mel.
1937- •Lehmann, Hans Ulrich Duo Z ms.
(1925-) LEITERMEYER, Fritz Zwolf Dialoee. od . 58 E1MWZ Dob.
1928- •LENDVAY, Kamill6 24 Duos(1985) EW EMB
(two violins or violin and viola)
(1961) LIEBERMANN, Lowell Two Pieces, od . 4(1978) EMW Pres.
Lillebjerka, Sigmund Eredita (violin and viola EW
or violoncello)
1910- L1POVSEK, Marijana Two Duos (1956) E1SWZ DSS
225
Duo-Suite (1963) Z DSS, Gerig
1902-1964 •Liviabella. Lino 6 Duetti in miniatura, op. 202 (1957) Z ms.

(1939-) LOEB, David Nocturnes and Arias W ms.
Sonata, no. 1 (1960) EW ms.
Sonata, no. 2 E
Sonata, no. 3 EWSZ Branch
Sonata, no. 4 E
Sonata, no. 5? |no reference found to a fifth sonata |
Sonata, no. 6 W ms.
Litanies (Three) ESZ Branch
1920- Loyola, Claude: see Allgen, Claude Loyola
(1900-) •LUENING, Otto Duo EMWZ JC
1928- •Lukris, Zdenek Divertimento, op. 96 (1973) Z Cesky
(1908 ) LUTZ, Oswald Kleine Musik. op. 81 EISWZ Dob.
Sonata, in C, op. 74 Z ms.
1906- MAASZ, Gerhard Duo, in E-dur ESWZ Mbs.
(1907 ) •MACONCHY, Dame Elizabeth Three Easy Pieces EISWZ Fab.
(1920-1973) •MADERNA, Bruno Stanchen fUrTini (1972) EMWZ Zerb.
1953- Maiben, William From the Five Hills Z ms.
(1895-) MAL1GE, Fred Acht Studien im Still alter Tanz- Hof.
formen (two violins or violin and viola)
6 Duos, mit benutzung Z ms.
kontrapunktischer formen (1973)
(1920) •MANN, Robert Invocation (1980) A MM1
In Time of War (1945) W (recording only)
1902-1980 Marckhl, Erich 1. Duo-Sonata (1957) Z ms.
2. Duo-Sonata (1958) Z ms.
[both possibly transcriptions of duos for violin and violoncello, I950|
1935- Maridtan, Pierre Duo (1981) Z ms.
1917-1982 •Maros, Rudolf Suite Miniature Z ms. to
to
Os
Table 6.1 .-continued.
(1923 ) MARTINI, Manlio 10 Duetti (1967) EWZ comp.

6 Duettini (1980) Z ms.
(1890-1959) •MARTINU, Bohuslav Duo. no. 2 (1950) EIMMSWZ Esch.
*Three Madrigals (1947) BElMAfSWZ Boos.
Duett (possibly a transcription AZ Hud., Che.
of the violin and violoncello duo, 1928|
1936- »Masson, Gdrard Duo (1982) Z ms.
20th c. 'Mathias, William Divertimento, op. 1 EW (recording only)
(20th c.) MATUSZEWSKI, Marusz Two Duetti EMWZ PWM
(1927-) *MATYS, Jirf Duo, op. 39 (1963) EWZ ESP, Cesky
(20th c.) MCDONALD, John D. Hvpnotic Fragment W Enc.
1868-1948 ‘McEwen, John Blackwood 5 Preludes and a Fugue (1939) Z(verl.n.erm)
1938- McGah, Thomas J. 4 Fantasies on Chorale Melodies Z ms.
(1977)
(1899-1970) »MCKAY, George Frederick Duo w ms.
1915- McLennan, John Stewart Prelude and Fugue IZ ACA
1961- Mejia, Jorge Duo (1981/82) z ms.
1905-1988 «Meyer, Ernst Hermann Serenade z Hof.
1928-1976 ‘Michalsky, Donal R. Duo conc. z ms.
(1894-) -MICHELET, Michel Eisenach Suite (1950) EZ ms.
(violin and cello or viola)
1904- Mikoda, Borivoj Duo (1933) Z Cesky
(1938 ) *M1LBURN, Ellsworth Entre nous (March 16. 1986 - EW MMB
March 17, 1988)
(1892-1974) -MILHAUD, Darius Sonatine. B. 226(1941) BEUWSWZ Mer.
(1906 ) MITZSCHERLICH, Erich Drei StUcke. Werk 27. 1953/4 EZ ms.
Sonata, in Es, Werk 19 (1947) Z ms.
(1908 ) MOHLER, Philipp Divertimento, op. 13(1947) AEIAfSZ MUII.
1891-1974 Moritz, Edvard Sonata, op. 83 Z Wean.
(1892-1960) •MOSER, Rudolf Divertimento, op. 48/2( 193 1) AESZ GM, Vogel
Divertimento, op. 48/3 (1931) AESZ GM, Vogel
20th c. Munger, Paula Duo (1989) W (recording only)
1915-11907? | Neumann, Friedrich |»Frederick?| Duo, in G (1951) Z ms.
(1934-) NICHOLS, Roger Fantasia (1988) EW ms. AMCL
1919- Nickson, Noel John Sonata SZ Allans
(1921) •NIXON, Roger Four Duos EIMMSWZ Pres.
1931- •Nordheim, Arne Duplex MW (recording only)
(1921) •OGDON, Will Variations Suite EW (rec. only)ms. UCSD
(1942-) OLIVER, Harold Duet (1972) EZ Fis.
(1885-) ORE, Harry Bruno Johannes The FourTempermants. op. 31 EWZ Pax.
(1919) •ORREGO-SALLAS, Juan Sonata a duo, op. II (1945) WZ Norr.
(1932-) OWEN, Harold Duo (1960) W UM
1922- •Patachich, Ivdn Duo (1961) Z ms.
(1926-) •PEPIN, Clermont Monade V1K1986) EW comp.
(I904-) •PETRASSI, Goffredo ‘Duetto EMW EM
1908- •Petzold, Rudolf Duett (1955) Z ms.
(1907-1988) •PHILLIPS, Burrill Dialogues E1MWZ Sou.
Conversations E1MWZ Sou.
1894-1976 •Piston, Walter Partita (1955) (possibly a work for Z Sch.
violin, viola and organ, 1951, or a transcription
of the duo for violin and violoncello, 1953J
1907- •Pol gar, Tibor In Private (1964) ISZ Can.
(I946-) POLLOCK, Robert Duo no. 1, from Three Duos, for EW APNM
String Trio (1978-80)
(1882-1948) •PONCE, Manuel Sonata en Duo (Mexico, 1938) A EWZ Sen.
(1901-1988) •POOT, Marcel Duo (1962) EMSW CBDM
1882-1948 Poplawski, Marceli Duo, in B (1920) Z(ms.Nat Bibl.Warschau, Mus.2451)
(1897-1966) •PORTER, Quincy Duo (New Haven, Jan. 4, 1954) EMSWZ Val.
(1916) PRESSER, William Henry Twelve Duets (1969/70) ESWZ Ten.
Table 6 .1 .-continued.
Com poser Work Reference Publisher/Source
1939- PreBI, Hermann Markus Duo (1970) Z(KglAfghan Erzeihungs-Minister)

1934- Procaccini, Teresa Duo W
1915-1986 ‘Quinet, Marcel Sonatina (1965) EISWZ CBDM
1956- Raimi, Maxwell Duo(1983) EMW (recording only)
(1926 ) RAMSEY, Gordon B. Four Descriptive Pieces (1973) EMWZ ms. AMCL
(1903-1960) ‘RAPHAEL, GUnter Duo, in C, op.47/2 from EIMSWZ MIDI.
“Kammermusik” (1940)
(1887-) R1BAUPIERRE, Emil de Suites Montagnardes. nos. 1-3 AESWZ Feet., Hug
1904- Richardson, Alan Duo Z ms.
(1885-1%1) ‘RIEGGER, Wallingford ’Variations, op 57 IMMSW AMP
(1943-) RILEY, Dennis Winter Music (1981) EMW Pet.
1907-1988 ‘Ringbom, Nils-Eric Duo (1945) Z ms.
1908-1982 ‘Ristic, Milan Duet (1931) Z Savez
Duet (1938) Z Savez
Prelid i groteska (1931) Z Savez
Suita (1937) Z Savez
(1900-) ROCHATAndnSe Suite, op. 25 EZ Car.
? 20th c. Rodrigues, Eugenio Manuel Apesar EW DaRua
(1924-) ROGER, Denise Concert (1966) EWZ comp. ms.
1895-1966 Roger, Kurt George Sonatine, op. 69 Z ms.
(1945-) ROSSE, Francois Dawn’ Flash (November 14, 1992) EW Fuz.
Cordes Croisees EW
(1935-) -RUSH, Loren Serenade (December 31, 1959) EMW ms.
1926- Rut, Josef Duo (1982) Z Cesky
(1875 ) RYCHL1K, Charles V. Sonata, in A, op. 26 AWZ Urb.
(1939 ) RYDEN, William Three Raes EW MMP
1915- *Saenz, Pedro Preludio y Fuga Pantonal (1984) Z ms.
1899-1976 ‘Salonen, Sulo 25 Duos, op. 44 (1971) Z Fazer
1908- Samter, Alice Episoden
1903- SAUNDERS, Max Five Fancies BEMWZ Aug.
(1946 ) *SAYLOR, Bruce Stuart Duo EIMSWZ Gal.

1882- SCHAUSS, Ernest Duo in Drei Satzen WZ Afas
(violin and viola or violincello)
(1935 ) ‘SCHICKELE, Peter Little Suite for Autumn ES Elkan-V
1902- Schlemm, Gustav Adolf Duo (1926) Z ms.
1930- SCHMALZLE, Gerhard 4 StUcke ESWZ Sir.
1886-1957 ‘Schoeck, Othmar Andante |possibly for clarinet or Z Hug
viola and piano|
1874-1951 ‘Schonberg, Arnold ? Rondo, in h Z ms.
1903-1967 Schramm, Werner Musik Z SWK
(1896-1987) ‘SCHRODER, Hanning Duo-Sonata (flute or violin EIWZ Hof.
and viola)
Kammermusik, 2. Satz Z Lit.
1914- Schumann, Gerhard Musik (1972) Z ms.
Air und Furioso (1972) Z ms.
Duo (1976) Fassung der Z ms.
Meditation 1956 for viola and orchestra
Meditation 11 (1976) Z ms.
1915- Schuster, Giora 3 Bicinien (1960) Z ms.
1905- Schwinn, Willi 2 Duette (1973, 1977) Z ms.
1879-1961 Senfter, Johanna Kleines Duo, op. 58 Z ms. KMK
1865-1949 ‘Serieyx, Auguste Prelude, Fugue and Rondeau, AZ(no info) Lem.
op. 14 (likely 20th c. as op. 7 has copyright in 1904|
(1921) ‘SHAPEY, Ralph Mann Duo (June 8-19. 1983) EMWZ Pres.
(1902-1963) ‘SHEBALIN, Vissarion V. Sonata, in c . o d . 35 (1940/44) EIMSWZ SPM, Leeds,
(1915 ) -SHULMAN, Alan Duet (violin and viola or cello) EISZ Pres.
Theme and Variations EISZ Pres.
(two violins or violin and viola)
(1896-1978) ‘SIEGL, Otto Duo-Sonatina. in F. op. 138 (1944) EIMSWZ OB, Dob.
(20th c.) S1LVERSTEEN, Rosemary Duo (1984) EW ms. AMCL
Table 6.1 .-continued.
1903- Simbriger, Heinrich Duo, op. 82 Z(ms. destroyed)

(1928 ) 'SIMS, Ezra Two for One (1980) EMWZ ms. AMCL
(1904-1949) •SKALKOTTAS, Nikos Duo BEIMMSWZ UE
1899- *Sk(jld, Yngve Klassische Suite Z For.
(I900-) SKORZENY, Fritz Duo-Studien (1954) EISWZ Dob.
(1948-) SMITH, Stuart Saunders Three for Two (1972) EIMSWZ comp., See.
1939- Smither, Michael Duncan 3 Pieces(1973) Z ms.
1944- Snyder, Randall Dualogue (1971) Z ms.
1908- •Sorenson, Torsten Napoleon 2 Duos, op. 15 S(Stim)Z For.
Duo, no. 4 (1968) S(Stim)Z For.
Duo, no. 9 S(Stim)
Duo, no. 10 S(Stim)
( 1880-1962) SPAIN-DUNK, Susan Two Pieces W Aug.
1892-1983 »Sprongl, Norbert Duo, op. 101, no. 1 Z ms.
1941- Stahmer, Klaus Sonatine (1963) Z ms.
1914- Stahuljak, Mladen 6 Preludien und Fugen, op. 28 z ms.
no. 2 (1963)
(1924 ) 'STARER, Robert Duo (1954) BEIMSWZ Sou.
1908-1989 'Stevens, Halsey 7 Duette (probably a transcription Z Helios
of the duets for violin and violoncello|
1886-1967 Stieber, Hans Duo “Zweigesprach 1965” Z ms.
20th c. Stiles, Frank Duo Z ms.
(1891-1973) *Suchy, Frantisek Sonatine, op. 36 (1949) Z ms.
1919-1988 *Sugilr, Rezso 8 Duos Z ms.
1919- 'Suter, Robert Suite (1942) Z ms.
(1897-1984) 'SUTHERLAND, Margaret Six Bagatelles EW ms. AusMC
1916- SWACK, Irwin Four Duets (June. 1979) EMW ms. AMCL
1904-1972 •Szel6nyi, Istv&i Duo (1933)
(1924-) •SZONYI, Erzs^bet Duo EIMSWZ ZV, Boos.
(1938-) •TERZAKIS, Dimitri Musica Aeolica ITwo pieces I (1979) EMSWZ B&H
1959- Tetelbaum, Daniel Duo (1979) Z ms.
(1906-1973) •TH1LMAN, Johannes Paul Sechs Duets EIMWZ EPet.
1953- Thoma, Xaver Kleine Sonata, op. 5 (1973) Z ms.
Nachtstiicke IV, op. 31c Z ms.
20th c. THOMPSON, Robert Nexii UCSD ms.
(1887-1964) •TOCH, Ernst ‘Divertimento, op. 37, no. 2 (1926) ABE1MMSW Sch.
1903- Todoroz, Lyuben Duo (1949) Z ms.
1908- T6th, D6nes Divertimento Z ms.
1923- Tremain, Ronald 9 Studies (1961) Z Can.
(1924-) TUFTS, Paul Three Pieces (1981) W ms.
(1889-) TW1NN, Sydney Four Discussions EISWZ Hin., Pet.
12 Student Songs (possibly 12 Old IZ Wms., Gal.
Welsh Songs for two violins)
20th c. Tylnak, Ivan Duo, op. 10 Z
(1929 ) ULTAN, Lloyd Dialogues 111. 1982 EW ms. AMCL
(1933-) VALDAMBRINI, Francesco 19 Moments (flute or violin E1MSZ UE
and viola)
(1900-1978) •VERETTI, Antonio Bicinia (1975) ESWZ Zerb.
ca. 1932- Vermes, Maria 2 Ungarische Volkslieder, Z ms.
Variationen
(1887-1959) •VILLA-LOBOS, Heitor Duo (Rio, 1946) BEIMMWZ MPI, Pres.
1913- Vlag, Harrend Bulgaarse Suite Z Don.
1901- Vollnier, Karl Duo Z ms.
1887-1965 •Vomdcka, Boleslav Duo (1936) Z ms.
(1882-1969) •VYCPALEK, Ladislav Duo, op. 20 (1929) AEWZ Hud., Sch.
1897- Waldstein, Wilhelm Duo Z ms.

Kleine Suite Z ms.
20th c. Warren, Betsy [Frost Warren-Davis| 4 Duets (1942) z ms.
1943- Waters, Greg 2 Melodies (1974) EW ms. AMCL
1923-11930 ? |Weber, Helmut Duo Z ms.
1894-1982 •Weigl, Valery (Vally) 3 Dialogues (1980) Z ACA
(1916-1944) WEINER, Ldszld Duo EISWZ ZV, Boos.
1885-1960 •Weiner, Le6 Duet M BMIC
1925- Weiner, Stanley Duo Concertante, op. 49 (1973) EL ms.
? 1858- Weinreich, Justus Duett, Serenade in D (1918) Z ms.
Serenade |same as above?| Z Ast.
(20th c.) WEISS-DUMBERT, Erwin Duo 1(197-?) EWZ Gro.
Duo 11 097-?) EWZ Gro.
(1911) WERDIN, Eberhard Senioren-Duo (1981) EZ Dob.
(1874-1957) WERNER, Theodore Wilhelm II Suite U933> AEZ MKW
I Suite Z(ms.Urschrift in Verlust geraten)
1897-1977 Weyrauch, Johannes Duo, op. 12 Z ms.
1918- •Wigglesworth, Frank Duos(1943) Z(verl n. erm)
1939- Wilkins, Margaret Lucy Suite for 2, op. 5 M BMIC
(1921-1984) •WISHART, Peter Cassation BEMSWZ Oxf.
(1934-) •WOLFF, Christian Three Pieces (1979-80) EMSWZ Pet.
20th c. WOODARD, Peter Clark Dialogue EW ms.
(20th c.) WOODS, Michael E. Three Psalms IPs. 91-931 (1981/88) EW ms. AMCL
(1929-) •YANNATOS, James Madrigals (flute or violin and viola) EW Son.
1947- •YOUNG, Douglas Slieve League EW Ric.
1923- Zehm, Friedrich Duo (1954) Z SWK
(1899 ) ZIER1TZ, Grete von Kaleidoskop (1969) EZ comp. ms.
(1924-) ZINN, William Six Concert Duets EW Excel.
1904- •Zuckert, Leon Sisterly Love (1963) ISZ Can.
Additional Possible Violin and Viola Duos-Unspecified Instrumentation
1926- •Childs, Barney Interbalances II Z ACA

(viola and optional instrument)
1895-1963 •Hindemith, Paul 8 Pieces, op. 44, no. 3 from Z (MGG?)
“Schulwerk”
1913- Simons, Netty Too Late the Bridge is Closed Z
(any number of strings)
1928- *Sims, Ezra Study (several combinations) Z
1928- •Stockhausen, Karlheinz Plus Minus (1963) Z
From the Seven Days (1968) Z
Violin and Viola Solo Literature
1906- Barazzetti, Luigi Dolce e Vivace EWZ Ric.?

1915- •Perle, George Solo Partita El Pres.
234
VII. ANALYSES OF SELECTED WORKS
Introduction
This chapter contains analyses of seven twentieth-century violin and viola
duos, including Divertimento, op. 37, no. 2, by Ernst Toch; Three Madrigals, by
Bohuslav Martinu; Variations, by Wallingford Riegger; Ideas and Transformations.
by Kenneth Gaburo; Duetto, by Goffredo Petrassi; Little Canonic Suite, by Ingolf
Dahl; and Duo Concertante. by Paul Chihara. These compositions have been chosen
for several reasons. First, the seven represent a variety of compositional styles, their
dates of composition spanning much of this century, 1926-1986. Next, each of the
composers is an established and respected figure of the twentieth century. In turn,
each work is substantial, well written and unique. Of the seven selected
compositions, the works by Toch, Martinu and Chihara are the most traditional in
form. Each contains three movements, arranged slow-fast-slow, the first movements
of which are in sonata form. Toch’s Divertimento is typically Neo-Classical in
sound, while the motivic construction of Three Madrigals, by Bohuslav Martinu,
creates Baroque textures in the first and last movements. Duo Concertante. by Paul
Chihara, mixes dissonant tonal harmonies with Romantic textures and a less distinct
cyclic form. The works by Gaburo, Riegger and Petrassi utilize serial pitch
structures. Wallingford Riegger’s Variations contains a generally strict and
traditional 12-tone row implementation, with a Classical theme and variations form.
Kenneth Gaburo’s Ideas and Transformations is of a densely organized pitch-class

set construction with motivic reiteration and variation. Duetto, by Goffredo Petrassi,
235
236
also uses a variations form, though here the pitch-class set structure also serves as
the modal harmonic basis for the work. Little Canonic Suite, by Ingolf Dahl, is
singular in the repertoire. The canzicrans canon form, in concept, is constructed so
that the score is read by the violinist from one side of the page in treble clef, while
the violist reads the music from the other side of the page—upside down and
backward-in alto clef. By no means are these works the only compositions of this
genre deserving analysis: among several significant works are compositions by Alain
Banquart, Gunter Becker, Willy Burkhard, Ivar Frounberg, Gordon Jacob, Otto
Luening, Ralph Shapey, Nikos Skalkottas and Heitor Villa-Lobos.
237
Analysis of
Divertimento. Op. 37, No. 2, by Ernst Toch
Ernst Toch’s two divertimenti, op. 37, nos. 1 and 2, were completed in 1925,
written for and dedicated to the Vienna String Quartet. While the first duo, scored
for violin and cello, won immediate acclaim as winner of the Schott Prize for
Chamber Music, the second, for violin and viola, is the more virtuosic of the two.127
Divertimento, op. 37, no. 2, has been performed and recorded numerous times since
its origins.128 The work is probably the first important work of this century for the
combination of violin and viola and its Neo-Classical structure foreshadows the
predominant form of violin and viola duos of this century. The following analysis
examines two aspects of Divertimento, op. 37, no. 2, by Ernst Toch: formal structure
and instrumental interaction. The presentation of musical materials in the work is
discussed throughout both sections.
Formal Structure
The overall form of Divertimento is standard for a three movement work: the
two fast-paced outer movements frame a lyrical slow movement. The internal
structures, however, do not always follow Classical tradition. Of the three
movements, the final has the most traditional structure, a rondo of form AABACA,
while the second movement is constructed in arch form. The first movement does
not appear to present a traditionally structured form: it is neither a rondo-as it is
virtually monothematic-nor is it a true variations movement. Instead, its perpetually
127 Ernst Toch, Divertimento op. 37, no. 2, in Music bv Ernst Toch. The
Mendelssohn Quartet. Nicholas Mann, violin and Katherine Murdock, viola. Laurel
Record LR-850CD. Liner notes by Lawrence Weschler and Charlotte Erwin, 1991.
128 Ernst Toch, Divertimento, op. 37, no. 2 (Mainz: B. Schott’s Sohne, 1926).
238
moving theme is fragmented, lengthened and altered, appearing in a variety of keys.

Its form, though not its textures, most resembles that of a prelude.
The opening six measures of the first movement, which introduces its
thematic material, is vital to setting the tone of the work and presents in encapsulated
form many characteristics found throughout the remainder of the piece. This
includes an expansion of the initial interval in the opening motive, a bitonal

harmonic relationship of the two instruments and the use of sliding chromatics. An
examination of the thematic characteristics and musical materials is discussed prior
to an examination of the way in which Toch carries these initial properties through to
the remainder of the work.
Example 7.1 -Movement one. mm. 1-7.

Vivace molto
The primary thematic material of the first movement, initially seen in mm. 1-
6 in the violin part, can be divided into two three-measure sections and consists of a
lengthening chain of eighth-note triplets (see Example 7.1). The first half of the
239
violin part begins in the key of C, on a double-stopped open fifth. C-G.129 In the
second measure, the interval is expanded (upward) to a major sixth, C-A. Again, in
the third measure, the interval is expanded, now to encompass a major-seventh, C-B.
The second half of the principal theme, beginning in m. 4, initially threatens to
continue this gradual intervallic expansion, but instead leaps by a ninth. Over the
next three measures the melody descends on a chromatic scalar figure, finally
settling on the open fifth, E-B, ostensibly beginning a restatement of the theme a
third higher in E. In comparison, the viola part remains on the open fifth A=,-B>
during the first half of the theme, then begins a chromatic counterpoint to the scalar
figure of the violin. In m. 7, the viola also initiates what appears to be a second
statement of the principal theme, though now on the open fifth C-G, the original
interval of the violin part

The intervallic expansion from a fifth, to a sixth and seventh, seen in the first
three measures, in some ways serves as a blueprint for the remainder of the
movement In m. 10, following a short transition which makes use of the opening
motives, is a second statement of the theme. The instruments retain their pitch
difference of a major-third, the violin in F# and the viola in D. When the theme is
Example 7.2.-Movement one, mm. 21-23.
21
i N
' | u - * - a ---- if—
— /— u j —4 i
-A— I l = M t
m = s= i Jk - | r —
21 P
—f } -m—
4 l
— j______
. '—• L f e J — >
129 Throughout the discussion of opus 37, major and minor tonalities are
referred to specifically. Several key areas function more as tonal centers and are of
indefinite modality. These are referred to by the letter name of the tonality only, for
example, F#.
240
Example 7.3.-Movement one, mm. 49-61
49
9—0 >»» d d d 0
pp
49
m
pp * # nJ l ' rn] " H
53
r a
a a a a .a a
i5tfl3j?g-.rri i n~i ni i g] m ■
rT]
Ei trr M!i ili i - ^ J

r- « 3 ?? 90 -
dim.
next heard, m. 21, the initial interval has been expanded to a sixth (see Example 7.2).
The intensity of the theme has also been weakened: first, the double-stops of the
viola are replaced with an accompanying pizzicato line, and second, the dynamic
level is changed to piano. After the entrance of the viola, the key is understood as G-
Major (rather than B-minor). The viola's accompaniment in duple eighth notes is a
variation of the second half of the theme, recalling the contours of the sliding
241
chromatic figure. In m. 26, the viola is given the theme for the first time, now in C-
major, with the violin accompanying in pizzicato. The next important entrance of
the theme is in the violin part, m. 49. This entrance also begins with the interval of a
sixth. Here, the theme is extended to thirteen measures (in effect augmented, but
retaining the triplet rhythm and motivic figures) and juxtaposed with two
accompanying motives (see Example 7.3). The first half of the theme is contrasted
with a variation of the sliding triplet chromatic motive, which originated in the first
appearance of the theme, mm. 4-6. The second half of the theme is set against a
thirty-second note figure (discussed below). In the final appearance of the thematic
material, m. 88, the initial interval in both parts is expanded to encompass a seventh-
minor in the violin, E-D, major in the viola, C-B (see Example 7.4). This third and
final intervallic expansion complements the third measure of the work. Following a
brief arpeggio in mm. 94-95 the movement ends.
( quasi presto)
87 flP , S_
MM.
pH
■*| ii ; ---- 3-----r f i t ■"H ~ r ~
MM \r -M J
§ 3 [ 3 —1
4 s* * * MMM M M 1
Apart from the triplet figure, two other motives are prominent in the
construction of the first movement. The only element which shows possible
resemblance to a second theme (its use, in fact, is more akin to that of a motto)
makes its appearance in m. 38. This motive consists of a three-note scalar ascent:
two thirty-second notes followed by a pitch of longer duration (see Example 7.5).
242
Initially, the final note is sustained as a half-note tied to an eighth-note. Frequently,

it is shortened to an eighth-note. The use of this motive is melodically tenuous, as it
is merely reiterated at various scale degrees, either in chordal outline or sliding
chromatics. Rather, its importance is in providing an energetic drive through the
central section of the movement and in effectively breaking the perpetuity of the
triplet eighth-notes.
1 rr.
t l !j i t f C ! ijf if B i
,/* (subilo)
The final important musical element in the first movement makes its
appearance in m. 62, as the triplet eighth-notes of the theme give way to 16th-notes
(see Example 7.6). Twice this has been foreshadowed by the viola during brief
passages leading to thematic restatements in mm. 20 and 25. The 16th-notes appear
as organized fragments of modal scales. Rather than continuing the sliding

chromatics of the triplet figure, this new figure presents scalar passagework in an
array of modes. Upon closer examination, the initial pitches in the prominent beats
it
P'
J yjjJ
243
of this passagework are seen as an outline of the sliding chromatic figure from the
theme. This passagework also provides one of the few breaks from the strong bi
tonality in the work when, in measure 78-82, the two instruments perform the 16th-
note scalar figuration in octaves.
Example 7.7.-Movement two, mm. 1-8.
Adagio
espr. motto
tranquillo (poco f i t }
pp
poco
The second movement is an arch from theme and variations. Whereas the
first movement displays the instruments with an intense motivic drive, the second
shows the lyric nature of the strings (see Example 7.7). The lengthy theme begins in
the violin in the key of F, while the viola accompanies with a triplet 16th-note figure
in sliding chromatic harmonies centering on C. The unevenly metered melody
244
moves slowly through chromatic key changes and melismatic figures before its
conclusion. Presentation of the melodic line in the subsequent three variations is
shared between the instruments, the violin with the melody in the first and third
variations. The central variation includes an extended development of the
accompanying figuration first heard in the theme.
Of more interest in the Adagio is the presence of material which has its origin
in the first movement. The second movement retains the bitonaJ harmonic
relationship between the instruments, uses the sliding chromatics from the second
half of the primary theme of movement one, and shows a similarity in phrase
structure to that of the first Though violin and viola have different tonal centers, the
violin in F and the viola in C, the primary harmonic relationship within and between
both parts is more chromatic than functional. The melody in the violin is generally
linear, while the viola outlines chordal structures. Both parts, however, move by
half-step. With respect to rhythm and harmony the accompanying figure in the viola
part closely resembles the chromatic triplets of the theme from the first movement,
mm. 4-6. A final resemblance between movements one and two is seen in the way in
which the phrases elide, the conclusion of one phrase overlapping with the beginning
of the next.
The most traditionally structured movement in Divertimento is the third. Its
rondo structure is diagrammed in Figure 7.1, below. Likewise, the thematic material
presented in the third movement is decisively rondo-like in spirit Harmonically,
however, the rondo is more complex than traditional models. The bi-tonal separation
of violin and viola seen in the previous movements is retained. To this Toch adds
abruptly-changing harmonies in each part An example of this is seen in m. 1-8, the
rondo theme (see Example 7.8). In the first eight measures, the violin presents the
most important thematic material of the movement, labeled “a” in Figure 7.1 and
245
Example 7.8.-Movement three, mm. 1-19. Thematic materials “a” and “b” are
labeled.
Fiott und lustig
arcop w
(sc h e rza n d o )
piZ2.
Example 7.8. Harmonically, the first four measures of the violin part are in the key
of B^-major. Measures 5-6 shift abruptly to A-major, and mm. 7-8 are in the key of
B-major. Yet another sudden key change occurs in m. 9, as the movement’s second
theme (labeled “b” in Figure 7.1 and Example 7.8) begins in c-minor. In mm. 1-4,
246
Figure 7.1. Formal melodic structure and keys of Divertimento. Viola presentations
of melodic material are indicated in italics.
Rondo form: A A B A
Thematic material: a b a’ b’ c c a' b*
Key(s): Bb c Bb d/g b,D/f#A a.G Bb f.b

Acc. key(s): Db g.c Db chrom. chrom. chrom. V-I in Db [leading
tones to f.b|
Measure number 1 9 21 32 40 48 66 74
Rondo form: C A’
Thematic material: b b (canon) a' b with c’a‘ b b b (canon)
Kev(s): cP, d /g.c Bb P , et c-E.f-A Bb f.b cP. d /g.

Acc. key(s): n/a Db n/a Db I.L to f.b n/a
Measure number 78 90 105 124 134 138
the viola provides the bi-tonal harmonies with a series of chords mostly centering on
I>-major. With the constantly shifting harmonies, this tonality is not truly
established as the accompanying key of the rondo theme until its clarification in mm.
66-69, where the accompaniment outlines an dominant 7th preceding the DP-
Major chord.
The movement’s third theme, labeled “c” in Figure 7.1 and Example 7.9,
begins section B of the rondo in measure 40. Though probably derived from “a,” the
new material seems to be a striking contrast to the previous melodies. Also, theme
Example 7.9.-Movement three, mm. 40-41. Thematic material “c” is labeled.
4° ?
e l i c - r Vi
~~ * P
247
“C” appears to be a reference to music of Dvorak.130 Its accompaniment brings a
return to the sliding chromatics and shows a similarity to mm. 21-22 of the first
movement
Though the second contrasting section of the rondo, labeled “C” in Figure
7.1, does not bring new material to the movement, it does consist of four new
treatments of previous themes. The first is a canonic treatment of theme “b.” Each
instrument performs two entrances of the canon, including the viola's initial
statement in m. 78. The imitation only lasts until m. 86, but makes a reappearance in
m. 138 as the final thematic presentation before the conclusion of the work. Part of a
longer transition, the second new setting is a two measure section, mm. 87-88, in
which the instruments are in octaves. This is briefly reminiscent of the first
movement, mm. 78-82. The third setting, m. 90, is an incomplete presentation of
“a,” which is heard for the only time without theme “b” immediately following. The
final new setting, mm. 105-116, is a simultaneous presentation of “c” in the violin
and “b” in the viola (see Example 7.10). Though both themes are altered to fit the
setting, the result is convincing.

The final section of the rondo is a complete statement of section A, though
now with the addition of the canonic treatment of thematic material “b,” as
mentioned earlier. The work’s conclusion is signaled in m. 145 as the violin remains
in harmonics for six beats while the viola plays ponticello. Both parts are in their
highest registers, and, in effect, run out of room to play. The work seemingly
concludes on two pizzicato chords, the violin in B-major, the viola in F-major. After
a one beat pause, they simultaneously perform whole-tone scales in contrary motion,
ending on a C-major chord reminiscent of the cadence in m. 19.
130 Perhaps an investigation into the standard repertoire performed by the

Vienna String Quartet in the 1920’s would reveal a connection between this theme
and a specific work of Dvorak.
248
Example 7.10.-Movement three, mm. 115-116. Simultaneous use of thematic

materials “b” and “c.”
Instrumental Interaction
One of the most important factors in the success of an instrumental work is
the craftsmanship with which the composer employs the instruments. In this study
of the instrumental interaction in Divertimento, both the relative equality of the two
instruments and the virtuosic nature of the writing is discussed. From a technical
standpoint, the violin part, which utilizes the higher register consistently, is slightly
more demanding than that of the viola. In addition, Toch appears to give more of the
melodically significant material to the violin. For instance, in the final movement
249
the violin presents thirteen of seventeen structurally prominent melodic passages.
However, the viola has a part of vital and equal importance. Though many of its
figures appear to be accompaniments, the viola part, at the very least, is providing a
bi-tonal foil that demands the listener’s consideration. In fact, these
accompaniments are not allowed to complacently add harmonic depth to the

prominent melodic line, but, in their own way, require an equal partnership with the
thematic material. A clear example of this nature is seen in the opening phrase of the
second movement (see Example 7.7). The theme played by the violin is a suspended
legato line that, even at a tempo of J* = 60, lasts some 40 seconds. At the same time,
while the viola line has few melodic characteristics, its distinctive rhythm and
harmonic movement draw attention to the part. In another example, at the outset of
the work (see Example 7.1), if the viola part is performed (as it should be) with the
same fervor as the more melodic line of the violin part, it creates a setting where two
equally determined virtuosi are competing for prominence. With their strong tonal
polarity, both instruments, in effect, portray their own versions of the opening theme
in movement one: the violin steadfastly remains in C while the viola insists on A?.
In a musical sense the two parts are equals, though each has a different role within
the composition. The part of the viola provides a contrasting character and harmonic
counterpoint to the generally more melodic violin part
From the beginning, Toch makes clear the virtuosic nature of Divertimento.
The first movement opens as a characteristically demanding perpetual motion and
continues in this spirit until its conclusion. Though the lack of a traditional formal
structure in the first movement might be viewed as a flaw, Toch’s vivid portrayal of
the dueling virtuosi offsets any perceived imperfection. The instruments remain
insistent in their own conceptions of the movement Rarely is the principal theme
repeated verbatim, as the presenting instrument usually adds its own slight variation.
250
For example, the violin’s thematic imitation in mm. 32-37 seems to be a reactionary
gesture to the capricious inventions on the theme by the viola. The motive initiated
by the viola in m. 38 is used by both instruments to disrupt and eclipse the other, as
seen in the violin in mm. 40-42 and the viola in m. 62-70. Though synchronized, the
two rivals do not even manage to end the movement in an agreeing tonality or
texture: the violin reiterates an E-major chord four times arco and the viola
concludes on a solitary C-major pizzicato chord.
The second movement, though it remains chromatic and bi-tonal in its
entirety, is one of the more beautiful settings for this combination of instruments.
The chromatics which accompany the extended lyrical theme give direction, rather
than add dissonance, to a melody that could become too placid for the general
dueling nature of Divertimento. Though the instruments are inter-dependent in
establishing the overall tone of the movement, their bi-tonal harmonies keep each
part distinct.
The third movement marks a return to the energetic dueling spirit of the first.
Toch replaces the perpetual motion of the first movement with the constant abrupt
shifts in harmony that characterize the third. The instruments attempt to outdo each
other with colorful splashes of tonality throughout ever-altered presentations of the

thematic material. That the instruments conclude the work together in C-Major is a
seemingly contrived settlement, for the instruments have simply run out of time to
compete.
251
Formal Analysis of Three Madrigals, for Violin and Viola,
by Bohuslav Martinu,
Including a Motivic Analysis of the First Movement
Three Madrigals, composed by Bohuslav Martinu (1890-1959) and dedicated
to Joseph and Lillian Fuchs, was completed in 1946 in New York.131 Martinu, who
had fled Paris in 1941, did not find America an appealing place: he did not
understand the language or the environment, and this made it difficult to become
established in his new surroundings. Martinu was ill and exhausted and it took
several years before he was able to again compose with ease. By the Spring of 1946,
however, Martinu was looking forward to a scheduled return to Prague and a new
position as Professor in the Master Class of Composition in the Prague

Conservatoire. Then tragically, on July 25, 1946, Martinu was injured in a fall from
the second story of his apartment. Instead of returning to his homeland, Martinu
spent 1946-47 recuperating from his injuries. What may have been one of the few
positive experiences for Martinu during this time was his attendance at the recital of
Lillian and Joseph Fuchs, who performed one of the W. A. Mozart duos for violin
and viola, K. 423 or 424. Martinu, apparently drawn to the clarity and beauty of the
work, composed Three Madrigals for the Duo Fuchs, intending to capture the charm
and spirit of the Mozart duo.

Three Madrigals is a mature work of Martinu, written after he had established
his own style. The work was inspired by, but is not an imitation of, a work by
Mozart. In his biography of Martinu, Brian Large states: “. . . . only from 1934 did
131 Bohuslav Martinu. Three Madrigals (London: Boosey and Hawkes, Ltd.,
1949).
252
[Martinu] emerge with a more consistent style that was recognizably his own. From
the welter of influences, Martinu at forty-four began to find himself. The years 1935
to 1940 show him in full command of his powers and in the United States he
established himself and reached maturity . . .”132 Large cites three predominant
influences that shape the music of Martinu, each of which are evident in Three
Madrigals. The first influence is the music of Martinu’s birthplace, the Bohemian-
Moravian highlands, as seen in the rhythmic vitality of his compositions. Next is
the music of Debussy, as expressed in the sonorities and textures of many of
Martinu’s slow movements. Third, the polyphony, if not the form, of Martinu’s
music is influenced by his admiration for the English madrigalists. The excellent
string writing found in Three Madrigals shows a fourth influence: that Martinu began
his musical career as violinist in the Prague Conservatoire.
The overall formal structure of Madrigals is Classical: the outer movements,
in faster tempi, are both in sonata form. The central, slower movement is a chaconne
or variations. However, details of the work’s construction do not always match its
Classical form. Rather than constructing pieces melodically, Martinu’s style is to
create phrases, thematic groups and entire movements out of brief, simple motives.
This micro-level method of construction did not always lend itself to Classical
organization:
Often whole passages reappear with minor modifications in scoring
or transposed into different keys, and sometimes, it seems, Martinu
seized on repetition merely as a means of patching a movement
together. Clearly he was no slave to orthodoxy and was apt to rely, if
anything, rather too much on the spontaneity of the moment. Caprice
often dictated the pattern of keys he used . . . . “133
132 Brian Large, Martinu. (London: Gerald Duckworth and Co. Ltd., 1975),
143.
>33 Ibid., 88.
253
In the analysis of Three Madrigals, the formal structure and thematic presentations
are first discussed, then the motivic construction of the first movement is examined.
Movement one begins with a fanfare-like figure, ostensibly in the key of D.

However, it is not until the 14th measure, after a string of jumbled, unstable
Example 7.11 .-Movement one, mm. 1-8.
^ V
* rrT r■ l/ \V n r»f— •# zs v «♦ ^ *1 u Ijfi
» m ■- ; 7 7 J P 7 : :4 ^
mf
'i i i \ +*mr *4 ~ f
—7 ffly j - ^
y y*
/• mf
p m
I
I a LL m m
harmonies and busy-sounding scalar passages (see Example 7.11), that the principal
theme of the sonata form movement is reached. Appearing first in the violin, this
theme contrasts the rambling scurried introduction with a sweeping grace, firmly
establishing the key of &>-minor (see Example 7.12). A repeat of the principal
254
Example 7.12.-Movement one, principal theme, mm. 14-17.
* ----- *—
i
l>*-- p-*~F—f ~»™r m—
tit
■i* C a j - Q j f f c j t g
theme an octave lower by the viola leads to a brief pause on F, before a lengthy
transition begins.
The second theme, in fact a harmonically stable, rhythmically reiterative
arpeggiation. is reached in measures 46-47. Contrasting with both the principal
theme and the introduction, the theme is presented simultaneously in both
Example 7.13.- Movement one, second theme, beginning in m. 46, and closing
theme, m. 51.
i
EEPfeE
m m
£ 4 -4
255
instruments, though at different degrees of the arpeggiated figure (Example 7.13).
The second theme leads directly to a hemiola-like closing figure (measure 51), which
subdivides into 3/16 the otherwise duple meter (see Example 7.13). The lengthy
development, measures 58-88, begins after a brief cadence in D, and is a working of
thematic material from the principal theme and introduction.
The recapitulation begins with a restatement of the principal theme in the
expected key of Bb-minor. Again it appears first in the violin and is followed by a
statement in the viola. The second theme, now in Bb-Major, appears in measure 103.
No closing figure is heard before the cadence in measure 126, which precedes a 14
measure Coda. The first movement ends in Bb-Major.

The second movement, Poco andante, marked with muted trills, tremolos,
sliding chromatics and long stretches of figuration, presents a series of more somber
settings. Though without the harmonies and tonal colors of Debussy, it presents
shrouded Debussy-like textures with veiled themes. The overall effect of the
sectional movement that begins and ends in g-minor is rather like a theme-less
chaconne, where extended figuration and variation supplant clear statements of
melody (see Example 7.14).
Poco andante
con sord.
con sord.
256
Construction of the third movement is similar to, but not a copy of, the first
movement The principal theme of the sonata form is heard immediately, with no
introduction (see Example 7.15). The theme is treated fugaliy at the outset: the
violin presents the subject in D-Major and the viola answers in the fifth measure in G
Example 7 .15.-Movement three, mm. 1-5.
Allegro
3 M
- J 'i'fT ] — j l j ' :
I -----------
— ^-------------------
—
f n f : - f ' f - - 1“ — - j r-
* 3
l ' i - - - -■
■■ ■ -
5^
(there is no countersubject). Continuing the fughetta at the fourth, the violin answers
again in C at measure six, though now without the opening chord. Though the
movement begins in the style of a fugue, this construction is not continued and
remains subordinate to the sonata form. Apart from the fugal treatment of the
principal theme at the movement’s outset and at the recapitulation, there are no other
fugal references. Though the second theme is foreshadowed in measure 17. it is not
reached until measure 49. During the lengthy transition to the second theme (mm.
257
Example 7.16.-Reference to mvt. two within mvt. three, mm. 38-40.
Example 7.17.-Movement three, second theme, mm. 48-54.
48
46
mf
34-39) and at one other time during the lively third movement (mm. 144-146)
Martinu makes melodic reference to the somber tremolos of the second movement
(see Example 7.16). The second theme, presented in the key of E (Example 7.17), it
is similar to the motivic second theme of the first movement. A closing motive,
similar in nature to the hemiola-like closing theme of the first movement, appears in
measure 62, leading directly to a brief cadence in B’-Major (see Example 7.18).
Most of the development section reflects Martinu’s style of motivic interplay
258
Example 7.18-M ovement three, closing theme, mm. 62-67. Compare this with the
closing motive of movement one (Example 7.13).
and repetition. The final moderate section of the development, however, shifts
abruptly to a polyphonic texture, leading to a cadence in A. The presentation is
contrapuntal, with only hints of canonic imitation. Following the cadence, the violin
plays a brief cadenza, leading into the recapitulation.

In the recapitulation, the principal theme is again presented as a fughetta,
with the three entrances of the subject remaining in keys D, G and C-major. The
second theme-now in Af-major-and the closing material-again in B^-major-are

reached more quickly in the recapitulation. Following a short transition and brief
cadenza figures in both instruments, a coda is played, leading to the final, G-major
cadence.
Overall, the textures of the work are thick and active, often reminiscent of the
string quartets of Brahms. The instruments are treated more or less equally, though
the violin usually is given the lead role in the presentation of themes and has the only
“true” cadenza in the work. Both performers must have quick reflexes and a high
259
degree of ensemble awareness to properly execute the ever-present motivic

imitations: for it is not the individual parts that create the music, but the coordinated
combination of musical fragments that create the texture and spirit of Three
Madrigals.
Predominant in the mature style of Martinu are “cells,” the fragments or
musical building blocks from which his compositions are formed. Two quotes
express the prominence of this constructional device in the music of Martinu:
More than Richard Strauss, Prokofiev or Bartok, Martinu evolved and

perfected a technique of germinal development which invites
comparison with that of Sibelius. The great tunes of early classical
composers can often be separated from their context and can be
successfully presented with different instrumentation, different
significance and even different harmonisation. With Martinu, the
tune is not a separate element. The three notes which generally form
the motif grow, change, acquire force as the movement pushes
forward until they are seen to be the very elements out of which the
whole musical structure has developed. This achievement of musical
unity through continuously developing motifs may well be Martinu’s
greatest contribution to the art of composition.134
Perhaps the most significant aspect of his formal organization is his

formal unity and continuity achieved in much of his music through
the use of his “cell technique.” This technique influences the
formal, melodic, and rhythmic characteristics of Martinu’s musical
style. The word “cell” is Martinu’s own term and refers to the short
and precise melodic and/or rhythmic motifs (usually 3 or four notes)
which are interspread throughout his compositions. The “cell” occurs
often as a main theme or can be grouped with several “cells” to
constitute a longer important theme.135
In Madrigals, these “cells” are used imitatively, thus interlocking the two parts. It is
not the specific use of a cell within the composition that distinguishes the work of
Martinu, since similar uses for motives are frequently seen in the works of Baroque
composers, such as Vivaldi, and in the opii of later composers such as the Fifth
134 Ibid.. 145.

135 Susan Lee Cable, ‘T he Piano Trios of Bohuslav Martinu (1890 - 1959)”
(D.A. diss., University of Northern Colorado, 1984), 54.
260
Symphony of Beethoven. Rather, it is the all-pervasive and developmental nature of
these motives that characterize the music of Martinu. Whereas Beethoven repeats
his four-note motive countless times and supports it with other material, nearly every
note in some compositions of Martinu can be traced to the theme or one of its
variants. Though present in each movement o f Madrigals. Martinu’s “cellular”
technique is most intricately used in the first movement. Therefore, attention to the
constructional detail of the first movement, to the exclusion of the remaining two, is
justified.
The construction of the first movement of Madrigals is founded on a single
motivic theme, which is developed in the germinal manner discussed by Large and
Cable. The motivic theme (as opposed to the principal theme in the analysis of the
formal structure) is stated in the first two and a half beats of the first movement and
is labeled “T” in Example 7.19. This theme serves as the basis from which all
motivic material and some harmonic material is derived. Though the theme in its
entirety is developed throughout the movement, it consists of two distinct motives, or
“cells,” labeled “a” and “b” in Example 7.19, each of which are independently
Example 7.19.-Theme “T” and motives “a” and “b.” Three Madrigals, mvt. 1, m. 1.
________T________
' a b
261
developed by Martinu. The development of theme “T” is not as clearly seen without
first observing the development of the motives “a” and “b.” Of these two shorter
motives, the development of “b” is more clearly seen and therefore is discussed first
N ext the development of motive “a” is traced and several cases are shown where
certain developments are not clearly “a” qt “b,” but are possibly both “a” and “b.”
Finally, the development of theme *T” is examined.

Between motives “a” and “b” and theme “T,” “b” is the simplest and perhaps
has the most potential for distinct variation. In its original form, motive “b” consists
of two chords: an anacrusis and the subsequent beat The other distinct property of
“b” is its implication of change: the movement in the middle register from D to E,
when surrounded by Ds in the upper and lower registers creates an inherent
instability. Both of these properties are present in all variants of “b” (see Table 7.1,
below), with one exception: though the element of change is not apparent in example
bl5 (first present in mm. 69-70), its unresolved anacrusis produces instability.
Table 7.1 (below) traces the development of motive “b.” Though all
examples are variants or repetitions of “b,” attempt has been made to show
secondary lines of development, where the generation of a new variant can be more
closely traced to a previously generated variant than directly from “b.” Some of the
important developments include repetition (examples bl, b2, b5, blO, bl 1), changes
in articulation (examples b9, blS), additional notes in the anacrusis (examples b2,
b4, b5, b7, blO, bl 1, bl2, bl4, bl7), significantly extended lengths (example b3),
and a change from duple to triple subdivisions of the beat (examples b5, b6 and b8).
In its first statement, motive “a” consists of four sixteenth notes followed by
an eighth note, all reiterations of the same pitch. Motive “a” begins on a downbeat,
and is harmonically static, the antithesis of motive “b.” Accordingly, it is from
motive “a” that Martinu derives several ostinati figures. Both of these properties are
262
Table 7.1.-Development of motive “b,” m vt one.
bl N
J? k l«V«r 7 '*h A-3 *f s —
— «
| $ J» ;j W ^ j i s
r "
\
K) - ' - y - m & =
7 ^ 3 7 7 _ _2. .
+# J
b7 38
r £ -— •f - ^ H. ■-
* V- — =3-
p -*4 —• — 1— « 1 i i i-
:
k= p ^rf j j * i2- M---

Ha 7 §— = = 1 ^
—* «3E=§
:
----------
- • — *
■» #»
Ww ■* v
? *
-fa----------------------------------------- - T ^ ------ V-----

^ --#3 —*-----a •
v ' "
263
Table 7.1, continued.
&
b l2
£ i ff fZ ^
m m
. : mici—. .
$=g= j t --f =^g |ri'St^j
b l3
it
/k
J tE
i
/i
S
I b l4
jtijy ?j;f3—f 1— f?
tflijf
b !5 b !6
b !7
264
transformed during throughout the development The development of motive “a” is
traced in Table 7.2 (below). Beyond mere repetition and extension, the most
significant developments of a include fully sustaining the pitches (example a4),
increasing the number of notes in the first beat (example a6), and the motive
sustained in diminution. Possibly the most important development of “a” is the

gradual intervallic separation from the initial reiteration of D in the first statement of
the theme. Stretched to major and minor seconds, in examples a3 and a4, the
intervallic gap is slowly widened, examples a9, alO, al 1 and al2, to the interval of
the sixth. In most examples, though the single repeated pitch is no longer present,
the passage retains the property of harmonic stability associated with the first
statement of the theme with an implied or actual return to the initial pitch.
Frequently, there are variants which contain strong characteristics of both “a”
and “b,” such as examples a8 from Table 7.2 and bl7 from Table 7.1. Is the variant
found in example a8 an augmented, legato and non-repeated version of example a4

(as indicated by Table 7.2), or is it an inverted version of the middle register of “b,”
placed on the beat and repeated in an extended anacrusis (see Table 7.1)? Does the
anacrusic nature of the scales in example b!7 resemble the anacrusis of “b,” or does
the passage function as a legato scalar variant of “a,” spanning a similar beat and a
half? In each case, under different circumstances, both explanations could be
correct.
The development of the complete theme “T” is traced in Table 7.3. All
examples contain motives “a” and “b,” or their variants, and most variations o f ‘T ”
appear in only one voice at a time. In example T2, motives “a” and “b” are in
reverse order. Examples T4, T5, T6 and T7 show legato variants of “T.” In example
T6, Martinu is combining duple and triple (implied) meters. Similar rhythmic
juxtapositions are given in example T8, which also contains horizontal arrangements
265
Table 7.2.-Development of motive “b,” mvL one.
al a2 a3
K. K.
m
mg*i,J -V M " till U-1 1 I 11
a6 a7 a8
\ i \ , n n ^ S TBT- - ‘a l : ~ S r
J r u p *_5 -
Table 7.3 .-Development of theme “T ” m vt One.
fL ML m . M. M. / 'm
t8
with perm ission of the copyright owner. Further reproduction prohibited without perm ission.
267
of “a” and “b.” Example T3, from the final three measures of the movement, shows
the conclusion of an extended variant of “b,” leading to a sustained variant of motive
“a” as the final chord.
268
Analysis of Wallingford Riegger's
Variations, for Violin and V io la , Op. 57.
Variations, for violin and viola, opus 57, completed in 1956, was composed
by Wallingford Riegger between the time of Variations, for piano and orchestra, op.
54 (1953), and Variations, for violin and orchestra, op. 71 (1959).136 In his review of
Variations, op. 57, John Solum writes: “By using the various devices of serial
technique most ingeniously, and exploiting the color characteristics of his two
instruments to the utmost, he [Rieggerl has created ten terse epigrammatic
commentaries on his theme.”137 This statement is somewhat misleading, however,
for the “various devices” used by Riegger, though they may qualify as ingenious, are
not the standard manipulations utilized by serialist composers. The aims of the strict
serialists were not tonality or extended tonality. Rather, the serialists employed the
12-tone system as a means of breaking away from tonality. In contrast, Riegger’s
use of the 12-tone row does not hint at atonality. Instead, by limiting his use of row
permutations, keeping statements of the rows relatively uncomplicated, using quasi
functional cadential devices, and emphasizing and reiterating certain pitches or
portions of the row, Riegger avoids atonality. In Notes Tom Cleman states:
Though Riegger was one of the first to introduce twelve-tone

technique to America in the early 1930’s, his handling of the system
was never sophisticated. In his hands the row seems to be simply
another scale to use with traditional formal and melodic procedures.
136 Wallingford Riegger, Variations, op 57 (New York: Associated Music

Publishers, Inc., 1960).
137 John Solum, Review of Variations for Violin and Viola, by Wallingford
Riegger, in “Music Reviews,” Campbell, Frank C., ed. Notes 20 (Spring, 1963)
309.
269
and such is the case in these variations. The theme itself is a simple
linear statement of the row 138
The variations Cleman is reviewing, however, is the work for violin and orchestra,
op. 71. Cleman continues: ‘Though the procedures are transparent, the piece is not
simple-minded: in fact it has a great deal of charm and humor. Its laconic style is
ideally suited to a kind of crusty wit that is evident in much of Riegger’s music.”139
Since this same style is also apparent in op. 57, Cleman, in essence, could have been
discussing Variations, for violin and viola, op. 57. In a personal correspondence,
violist Thomas Hall mentions the light and humorous nature of Variations, op. 57,
and comments on favorable audience reaction to its performance.140 The formal
clarity and tonal nature of the work, together with its palette of colors and witty
writing, give Variations a certain charm. In the following analysis of Variations, op.
57, the dodecaphonic theme and its properties are first investigated. Then, the
progressive development of these properties through the course of the work is traced.
Next is presented an examination of Riegger’s use of the row and its permutations.
Finally, possible reasons why this work remains charming and accessible are
discussed.
Variations functions as does a typical theme and variations: a theme initiates
and sets the general tone of the work, then undergoes various transformations or
character changes, which, in some way, remain reflections of the theme. Together
with the individual variations are three processes that gradually transpire and shape
Variations as a whole: Riegger transforms phrase structure, complicates melodic
138 Tom Cleman, Review of Variations for Violin and Orchestra, by

Wallingford Riegger, in “Music Reviews,” Davis-Millis, Nina and Francis Barulich,
eds. Notes 45/3 (March, 1989)617-18.
139 Ibid.
140 Thomas Hall, Orange, CA, to Conrad D. Bruderer, La Mesa, CA, March
270
function and fragments the row. So that these changes are understood in context
first the theme itself is examined.

The theme of Variations is binary, each section consisting of two phrases.
These sections are both Classically structured, their phrases forming a “question and
answer.” The phrase structure of the theme is diagrammed in Figure 7.2, below.
The only non-Gassical structures in the phrase are an unequal subdivision of the
phrase into half-phrases-the four measure question receives only a three measure
answer-and the use of the linearly presented 12-tone row (see Example 7.201. The
Figure 7.2.-Classical phrase structure in the theme of Variations. Phrases in the

form of a “question” or “answer” are indicated by (?) and (.), respectively. In half
phrases a' and PO is incomplete, containing only pitches 4-11.
Section 1 Section 2
Phrases: A A* B B'
Thematic material: a? a'. a? a". b a’ ? b a".

(half phrases)
Rows used: p0 p0 I9p0 j9 pO
Example 7.20.-Measures 1-7 of the theme. This shows the “question and answer”
phrase structure in the violin with the C pedal in the viola. Also note the pitch
groupings consisting of notes 1-3,4-6 and 7-11 or 7-12 (0).
Theme
Allegro
pic
P H £ £
i
/ ~¥~ w
Po: 0 12 3 4 5 6 7 8 9 10 II 4 5 6 7 8 9 10 II
a
23, 19%. (Personal correspondence).
271
initial pitch in the theme, C, is sustained as a pedal point by the viola, while the
violin performs the pizzicato melody, completing the row. This forms the
“question.” The melodic function of this first half-phrase is evident in two ways:
first, the final note is on a weak beat, and second, the final two notes create an
ascending interval, an imitation of a verbal question. The answer is heard when the
final eight notes of the row are reiterated by the violin, as the viola continues to
sustain the pedal. The second phrase of the first section is a near-repetition of the
first phrase, another device of Classical structure. In the second phrase, the violin
sustains the pedal, C, while the viola plays the melody. The melodic function of the
second half-phrase, as an answer to the first half-phrase, is clear because the theme
ends on a downbeat and the final interval proceeds downward, as does a verbal
statement
The second section of the theme closely follows the form of the first: the
violin plays the melody of the first phrase and the viola carries the melody in the
second. In each phrase the accompanying instrument again sustains a pedal-point,
though now at pitch A. The “question and answer” form is also retained. In the
second section, however, question and answer each fill a complete phrase: it is the
entire seven measures of the first phrase that form the question and the entirety of the
second that provides the answer. Riegger uses 1^, an inversion of the original 12-
tone row, in the first half of each phrase of section two (a matrix of the row
permutations is shown in Figure 7.5, below). The question and answer that form the
second half-phrases of section two are restatements of the question and answer,
pitches 4-11 of the original row, which initially appear in section one (Figure 7.2).
Throughout Variations, as expected, it is the alteration of these basic thematic
properties which directly shapes the musical experience. Also an essential
characteristic in Riegger’s work, as seen in most Classical era theme and variations.
272
is the general trend toward greater complexity, or at least greater activity, in the latter
variations. This trend is evident in the formal and phrase structures, melodic
function, and use of row material.

The form of each variation, except the tenth and final variation, is binary, and
as the work progresses the phrases within the thematically established structure are
altered with increasing frequency. Of the first five variations, only the third changes
the basic phrase structure, A A’ B B’: there is only one phrase in the first section of
variation III. In variations VI and VII, short introductions precede otherwise

thematically consistent phrase structures. The phrase structure of variation VIII
resembles that of variation III, with only one phrase in the first section. Variation IX
contains only hints of binary form, with the return of the opening thematic material
in measure 13. In variation X, the binary structure, in favor of through-composed
writing, is abandoned altogether.
Coinciding with the ongoing formal transformation occurring throughout the

variations, from binary to through-composed, is a progression of melodic function
from Classical “melody with accompaniment” to polyphonic settings. Variations II,
IV, V and VI are primarily melodic with accompaniments or “question and answer”
phrases, while variations I, III, VII, VIII, IX and X are imitative and polyphonic.
Though the transition of melodic function does not progress as consistently as does
the formal transformation (each phrase of variation I is already canonic), some
middle-ground does exist In variations I, III, VII and VIII, much of the imitation is
of short interlocking motives. Variation IX and the first half of Variation X are
polyphonically more sophisticated, containing true themes (as opposed to simple
motivic material) played in canon.

A second transformation of melodic function can be seen in the cadences.
Riegger uses two main cadential formulae throughout Variations. The first, which
273
appears in the theme, mimics a traditional dominant to tonic cadence in B (see

Example 7.20). The second cadence, a reiterated chord that usually contains
intervals of a major seventh or minor ninth, makes a subtle appearance at the end of
the first variation and gradually lengthens and becomes more prominent throughout
the work, replacing the first “functional” cadence (see Example 7.21).
Example 7.21.-The final two measures of Variation IV illustrate the second

cadential type.
133
=*==:
d d'i0 0 0E'0-0
r
\ l - • " y *
— 1]-----
*
r/n — —
— jft
j
SEE
S = B 5 -d—4
Ifci
^
n i-
h-*-
*1*1 *1
dddddd0d
i —■. * = : :
d dd< 4-dd0-0 l0 0
P ----------------------------- J?
Another progression which gradually takes place throughout Variations is a
fragmentation of the 12-tone row.141 Just as it is necessary to first examine the
phrase structure of the theme before examining the variations, it is also necessary to
investigate how Riegger usually uses the 12-tone row in Variations before discussing
his use of row fragments. The tone row used in Variations, shown below in Figure
7.3, can be divided into two groups, the first consisting of pitches 1-6, the second,
pitches 7-11 or 7-0. Each group can be subdivided into two intervallically similar
three note segments. Notes 1-3 and notes 4-6 form similar pitch sets, as do notes 7-9
and 10-0.
141 Fragmentation of the row should not be confused with segmentation or
repetition. The term “fragmentation,” as used in this analysis, refers to the use of an
incomplete row when it is not a repetition of material from a complete row within
the same phrase or section. However, these fragments often contain unordered
pitches that appear to be related to previously stated rows from outside the phrase or
section in which the fragment is located.
274
Figure 7.3.-Pitches and pitch groups within the original row o f Variations.
Group 1 Group 2
pitches: 0 1 2 3 j 4 5 6 7 8 9 j 10 11 [0]
I I
p0: C G# A G C# D# D E F F# ! A# B [Cl
Riegger’s use of these groups is evident in the theme and in variations I and
II. In each section, the two phrases of the melody divide between pitches seven and
eight of row PO. The three-note pitch sets are clearly seen in the theme and in
variation I (see Example 7.20). The final motive, consisting of pitches A#-B-C, is
used in order to provide harmonic direction to the phrase and lead back to the
beginning of the row. Repetition of the rows is seen throughout Variations.
Throughout Variations. Riegger only uses the original row and five of its
permutations, I®, l9, R 1^ R I1 and RI1^ Figure 7.4 shows which rows are used
within each variation. Figure 7.5, below, is a matrix displaying all permutations of
the row. As stated earlier, most statements of the row and permutations remain
simple and straightforward. Perhaps because of the size of the ensemble, Riegger
usually presents, within any given section of the work, pairs of rows or simultaneous
Figure 7.4.-Distribution of row permutations throughout Variations.
Theme: p0 19
Variation I: p0 19
Variation II: p0 19 R ll R I10
Variation III: p0 19
Variation IV: R 11
Variation V: 10 R 11
Variation VI: R 11 R I1
Variation VII: p0 10
Variation VIII: p0 10
Variation IX: p0 19 R I10
Variation X: p0 I<\ 19 R 11 R I1, RI10
275
Figure 7 5.-12-tone matrix for the row used in Variations.
1° I8 I9 17 II I3 I2 I4 I3 I6 iio 1“
pitches 0 1 2 3 4 5 6 7 8 9 10 II
pO 0 c Gt A G ct D# D E F Ft At B R ll
p4 7 E C C# B F G Ft Gt A At D Dt R3
P3 5 D# B c A# E Ft F G Gt A ct D R2
P3 8 F C» D C F# Gt G A At B Dt E R4
PI I 11 B G Gt F# C D ct Dt E F A At r IO
P9 2 A F Ft E At C B ct D Dt G Gt R8
plO 10 A# Ft G F B ct C D Dt E Gt A R9
P8 1 G# E F Dt A B At C ct D Ft G R7
P7 3 G Dl E D Gt At A B c ct F Ft R6
p6 9 Ft D Df Ct G A Gt At B c E F R5
p2 6 D A# B A D# F E Ft G Gt C ct Rl
P1 4 Ct A A# Gt D E Dt F Ft G B C R°
Rll RI9 RllO RI8 RI2 RI4 RI3 RI5 Rl6 RI7 R I11 RI°
progressions of a single permutation. These paired rows have presumably been
chosen in order to create desired horizontal and vertical pitch relationships.
Occasionally, other factors in their selection are apparent. Usually P® is paired with
or I9 to create contrary motion in imitations, the usual function of an inversion
(see Example 7.22). Because of the similar progression of intervallic relationships
within each row, it also appears that rows Rl 1 and RI* are paired in variation VI and
rows pO and I® are used together in variation VII (see Example 7.23).
276
Example 7.22.-Variation III, mm. 10-11. Rows PO and 10 are likely paired to
produce imitation in contrary motion.
OO: 0 12 3 4 5 6 7 8 9 10 11
Example 7.23.-Variation VII. mm. 5-6. The similar intervallic content of two-note
chords in rows PO and 19 is utilized.
19: 2 3 5 7 9 11
1 4 6 8 1° 0
PO: 1 4 5 7 10 11
2 3 6 8 9 0
Riegger uses few standard manipulations of the rows. Of those he does use.
several instances can be found where a row initiated by one instrument is continued
by the other instrument One characteristic trait originating in the first phrase of the
theme is the separation of the first note from the remainder of the row. This is seen
in variations I, II and III. Two examples of row manipulation, however, deserve
special note. In variation III, the violin begins on the second note of inverted row I^,
C#, and proceeds to finish the row, apparently skipping the first note altogether.142
142 Perhaps this manipulation is only noticeable because when larger row
segments are utilized Riegger consistently presents concise, complete row
277
There are four possible solutions to the “missing” note. The first note of 1^, A-
natural, may occur later, either after the completion of the row in the viola part, or in
the violin part as the first note in the subsequent phrase. The A-natural may also
occur earlier, in the violin as the last note of variation II, or in the viola, measure 1 of
variation III, prior to the violin entrance. The latter solution appears to be the most
correct analysis, since this solution more closely mirrors the original row as
presented in the theme. A second example of row manipulation occurs in variation
VIII, where I® begins in ms. 15, beat 2, of the violin and P® begins on ms. 14, beat 3,
of the viola (see Example 7.24). At their conclusion, the rows are immediately
repeated. Both initial statements of the rows appear to be complete with the
exception o f their seventh notes. In each case, the missing note does appear in the
correct order, but in the other row as note one.
Example 7.24.-Variation VIII, mm. 14-16. The “missing” note of rows 10 and PO is
played by the other instrument.
As Variations becomes more complex, the presentation of rows becomes
less straightforward and more fragmented, with an increasing reliance upon
incomplete rows. The first occurrence of this is in variation I, where only the first
permutations or partial reiterations within a given phrase. Merely skipping one pitch
of a row is inconsistent
278
four pitches of 1^ are used.143 In variation IV, the only variation which contains one
solitary row permutation, Riegger reiterates several fragments of the row-two, three
and four notes in length. In the first section of variation V, I® is presented as a waltz
melody, while the viola accompanies on two repeated chords. The two chords,
which alternate in accompaniment to the waltz melody, are composed of notes eight
and nine from P and notes nine and ten from R ^ . Though these two chordal
fragments appear in the first phrase of variation V, their context and origin is not
apparent until the end of the fifth phrase, when R ^ is presented in its complete
form. Riegger’s use of row material in the final section of variation IX is the most
fragmented in the work. One, two and three note groups appear to be reiterated and
divided between both instruments in a somewhat arbitrary manner.

There is a recurring harmonic element, however, which is not adequately
accounted for by the row permutations or fragments. Three times within the
otherwise serial Variations Riegger includes scales-major, minor, modal and

chromatic. The first occurrence is in variation I, ms. 12 and 18, where a six-note
chromatic scale leads to the quasi-functional cadences in ms. 13 and 19 (see

Example 7.25: a). Though the scale could closely relate to the original row as
pitches 1-5-7-6-8-9, and this segment is necessary for the completion of row P°, it
does not sound as if this scalar segment is generated from the row. Instead, it
appears as functional movement to F#, the dominant of B, the final note of the phrase
and the row. The second occurrence of scalar material is in variation VI. Here, the
143 While the theme uses an eight-note segment of pO, this is a repetition of
the completed row immediately preceding the segment, and not a fragmentation of
the row.
279
Example 7.25: a.-The bracket indicates the chromatic scale and quasi-functional
cadence in variation I, mm. 11-13.
-6--------------
»-
PO: 0 1 2 6 (0 6 5) 7 8 9 10 11
-i
H
-H H f ■- •
J k - « . _ _ i: d - f ’ I . .1 _
a
Example 7.25: b.—Variation VI, mm. 24-25. Here, ascending A- and B-major scales
in the violin part are paired with descending modal scales in the viola part. The A-
major and F-minor/major scales produce all twelve pitches, as do the B-major and C-
mixolydian scales.
B-Major
A-Major
24
24
F-Minor/major
Example 7.25: c.-Variation IX, mm. 10-13. The C#-minor scale is indicated by the
bracket
RI10: 4 5 6 7 8 9 10 11 PO: 0 1 2
PH
*— — —
ip rf £ H r ,
— j-,— • jt^ ' '
4 (5)
iff— ~^— '— -=r]— 1: ^/ :

k-JU -1f-'-'frH
280
two cadences in the first section of the binary variation contain ascending major
scales, first A and then E, together with descending Bp-major scales in the other part
(see Example 7.25: b). In m. 18 and at the conclusion of the variation, ascending A-
major and B-major scales in the violin are matched with descending modal scales. F-
minor/ major and C-mixolydian, in the viola. This creates two scalar pairs, A-major
with F-minor/major and B-major with C-mixolydian. From a dodecaphonic

standpoint, the only concise explanation is that, when combined, each scalar pair in
the variation contains all twelve tones. The third appearance of a functional scale is
in variation IX, ms. 12, in the violin (see Example 7.25: c). The scale begins on C-
natural and ascends from there in C# minor, C# to B-natural, then concludes at the
next octave, C-natural. This scale can be analyzed functionally as the Neapolitan
sixth moving to the dominant (seen as the leading tone, B) and arriving at the tonic,
C-minor.144 The final pitch, C-natural, begins row PO. Apart from their cadential
function in variations I and IV, these three scalar passages appear to be used as brief
references to tonality. This utilization correlates with many of the distinguishing
characteristics of Variations.
For both instruments, the part writing presents challenges, due to both the
tempi and detailed markings. Musically, the parts are equals, as melody and
principle voices are exchanged between violin and viola at nearly every phrase. The
upper range of the violin is exploited more than is that of the viola, and, from a
strictly technical standpoint, the violin may have a slightly greater challenge.
Variations’ conversational imitations and peppy banter, however, require excellent
ensemble on the part of both performers, especially when adhering to the markings
in the music.
144The scales in variation I can also be analyzed as the same progression,

though in the key of B.
281
Riegger’s genius and craft is most evident in the accessible personality of

Variations. The two most notable character traits of the work are its capricious,
ever-changing nature and its unpretentious, unassuming style. All variations are
roughly equal (short) in length and the tempos remain quick. In addition, there are
several nuances which have their place throughout Variations. Riegger makes use of
the upper registers of both instruments frequently, even specifying that the violist
remain on the G-string for one phrase in the fifth variation. The frequent use of
pizzicato and staccato help to retain the buoyancy of the theme throughout the first
eight variations. Several sudden dynamic changes and well-placed accents keep
Variations playful and whimsical.

When viewed in its entirety, the work divides into three large sections. These
correspond to three subtlety different styles of composition. The first section of the
work, including the theme and the first three variations, fits the mold of the typical
Classical Mozart or Schubert theme and variations. The theme, a binary melody
with accompaniment, is simple and clear, changing registers between repeated
phrases. Variation I presents nearly the same musical elements, only now in
diminution, the instruments changing parts during the phrase. Pitch material is
altered in a quasi-tonal fashion, both by the addition of “chromatics” to the melody,
as in measure 12 (the six note chromatic scale-see Example 7.25: a), and by changes
in “harmony,” as, for example, the D-natural (as opposed to the C pedal in the
theme) of the viola, measure 2. In variation II, Riegger explores registers and,
during the second section, adds a dodecaphonic “close harmony” to the melody.
Variation III, the most “serious” variation thus far, begins with a lengthy canon,
marked “espressivo.” In the second section of the variation the instruments play
figuration, ending on a serious, or at least mock-serious note.
282
Variations IV-VIII group together as being more modem in character and
present parodies of late nineteenth, early twentieth century styles. Variation IV

begins with a soft laugh or snicker, perhaps at the seriousness of the previous
variation or at the upcoming “surprise” on the downbeat of measure 2. The surprise
is a “fortissimo” double-stopped pizzicato E, both on the open-E and on the A-string
of the violin. This playful mood continues to the end of the variation. Variation V,
reminiscent of the music of Mahler or early Webem and marked “Valse lente,” is
strikingly Viennese in character. Within Variation VI are the most compressed
character changes of the work, creating the least settled section in Variations. The
first three measures of variation VI serve as a fanfare, perhaps an imitation of a
“drum cadence.” Measures four through six shift abruptly from “forte” to “piano,
meno mosso,” with wide, expressive melodic intervals and ending on delicate legato
sixteenth notes. In mm. 7-8, marked Tempo I, “forte” major scales in both
instruments suddenly break the 12-tone or dissonant extended tonality. The violin
descends in sixteenth notes on a B-major scale from D-natural to B?, while the viola
ascends from E to B-natural on an A-major scale in triplet eighth notes. The
remainder of the variation develops through the juxtaposition of these differing
characters. Variation VII presents the performers with the most difficult rhythmic
and ensemble challenges. Changing frequently from duple to triple subdivisions of
the beat, as in measures 7-9 and 18-25, variation VII presents several rhythmically
awkward unison pizzicati. This might also add an element of gestural drama to this
variation, as the performers strive to maintain their coordination. Variation VIII,
which contrasts the Scherzo-like variation VII, is a fast-paced, somewhat frantic
gallop. In the first section, the imitative subject, which is initially four beats in
length, is successively shortened by one-half, until the instruments are alternating
eighth notes before finishing on a sustained chord. The second section of this
283
variation reverses this process. The final two measures, with a marked decrescendo
to “piano, morendo,” serve as a transition between the second, more expressive

group of variations, and the final, somewhat removed and introverted variations, IX
and X.
The whimsical, conversational nature of the theme, fostered throughout the
variations by frequent motivic imitations, voice exchanges, dynamic markings and

accents, is abandoned in the final two variations. Variation IX is suddenly more
serious and pensive than the preceding variations. The original row is presented as
the subject of a canon, in a polyphonic, continuous, and nearly non-conversational

setting. The subject resembles one of Bach or late-Beethoven and the binary form of
the previous movements is nearly non-existent Though variation X is again motivic
and divides easily into phrases, the serious tone established in variation IX is
continued through the first half of variation X, at which point begins the extended,
final cadence of the work.

An interesting parallel can be found between the theme plus variations I-III
and the work as a whole: each begins and remains light and whimsical throughout
most of its entirety, but concludes in a serious vein. Though it is not known
Riegger’s intentions for constructing the work in this way, three speculative
possibilities, more than one of which could be true, are: 1) variation III simply
foreshadows the final two variations; 2 ) after the whimsical parodic nature of
variations IV-VIII, Riegger, by the serious nature of the canonic subject in variation
IX, is making a respectful parody to past musical styles; or 3) the mock-serious

melodrama of variation III is being supplanted by the truly meaningful integrity of
variations IX and X. This final possibility also fits the laughing character of
variation IV.
284
Ideas and Transformations, no. 1, for Violin and Viola,

by Kenneth Gaburo
Introduction
Ideas and Transformations, no. 1, for violin and viola, dedicated to Goffredo
Petrassi, was composed in 1954-55 while Kenneth Gaburo was studying in Italy with
Petrassi.145 Baker’s Biographical Dictionary of Musicians lists three additional

works in the Ideas and Transformations series (nos. 2-4}-apparently these remain
unpublished. 146 Approximately ten minutes in length, Ideas and Transformations.
no. 1, consists of six short movements, the first three of which are titled Idea (I, II
and III), the second three titled Transformation (I, II and III). This substantial work
exhibits several of the compositional traits of the “hyperserialists” of the 1950’s.
The construction of Ideas and Transformations is, in part, grounded on two
fundamental numeric sets, {0,1,3} and {0,13}- These sets form the bases for pitch
and rhythmic properties and are combined and interwoven in a similar fashion
throughout the piece. The focus of this analysis is to examine the overall formal
construction of Ideas and Transformations, analyze the fundamental sets which serve
as a basis for the work, investigate their pitch organization and rhythmic application,
and study the simultaneous pitch and rhythmic relationships. Special attention will
be paid to symmetrically constructed segments exemplary of each area of focus.
145 Kenneth Gaburo, Ideas and Transformations, no. 1 (Bryn Mawn Theodore
Presser Co., 1964).
146 The other works in the Ideas and Transformations series includes No. 2
for violin and cello. No. 3 for viola and cello, and No. 4 for violin, viola and cello.
285
Palindromic Structure
Predominant in all levels of construction of Ideas and Transformations is a
concern with formal symmetry. This is often expressed as a retrograde ordering of
previous elements, thus creating structural arches. It seems appropriate for Gaburo,
the composer and poet who is also known for his experimental vocal works, to be
writing the musical equivalent of palindromes, or arch-form prose. “A man; a plan;

a canal; Panama!,” an example of a palindrome, is a phrase so constructed as to have
the letters spell the same both forward and backward. All the letters in this example
are ordered around the mid-point of the sentence, the “c” in canal. ‘Tom is gone!
Where, oh where? Gone is Tom.” is an example of a different type of palindrome in
which the words, though not the letters, read the same forward and backward.
In the construction of Ideas and Transformations Gaburo uses musical
equivalents of both types of palindromes. At all levels, from micro to macro, the
work is built around nearly-symmetrical arches which serve as an organized means
of presenting pitches, rhythms and motives; each movement, in its own way, is
reflective of arch form and many sections, phrases, motives or pitch groupings are
also of arched construction. While, on the large scale, pitches do not appear to be
ordered in a palindromic fashion, symmetrically constructed pitch groups of four to
six notes are abundant Two other forms of musical palindromes are prominent in
both small and large scale construction. These are referred to in this paper as
“rhythmic” and “motivic” palindromes and correspond to the two forms of prose
palindromes. By definition, each musical palindrome has two sections and, at least
from an analytical view, can be divided at its mid-point, the second section a
retrograde of the first. Rhythmic palindromes are those in which the rhythm of the
first half of a given section of music is nearly, if not exactly, duplicated in retrograde
following the mid-point of that section. These are the musical equivalent of “a man;
286
a plan;. . . ” Frequently, individual motives form rhythmic palindromes, the musical
equivalent of words such as “kayak” or “Otto.” Several examples of these rhythmic
palindromes can be seen in Idea: HI. In contrast to the rhythmic palindrome, the
retrograde of a motivic palindrome, as seen, for example, in Transformation: II.
consists of a reverse ordering of motivic elements, but not necessarily a retrograde of
the elements within each individual motive. The distinction between rhythmic and
motivic palindromes is sometimes blurred, but the difference is primarily in the
placement of articulations. Frequently, when individual articulations are examined,
as in the case of motive d-shown later in Figure 7.10: b, a retrograde of the
articulation makes little musical sense.

Just as in the prose palindrome, the thought and meaning of each arched
phrase or movement of Ideas and Transformations progresses in a temporal line of
single direction. As essential as the arched symmetry is to the construction of Ideas
and Transformations. strict adherence to the arch form does not appear to be the
principal concern of Gaburo. Rather, the musicality of the work remains of more
importance than a dogmatic adherence to form. Most likely for linear considerations
Gaburo often allows the conclusions of the large-scale palindromic structures to
dissolve, creating slightly imperfect but more musically conclusive arches.
As Ideas and Transformations unfolds there is a gradual and progressive
dilution of the intra-movement palindromic structures. This transpires within the
parameters of an all-encompassing arch form that links movements one and six, two
and five, and three and four. Idea: I consists of a single palindrome which extends
from the first to the last measure, its mid-point between measures nine and ten.
There are slight derivations between the two sections, but the second section is
nearly an exact rhythmic retrograde of the first. Occasionally motives do not appear
in strict retrograde. For instance, in m. 12 the viola part is not a true retrograde of m.
287
7 in the violin, as might be expected. The two sections of Idea: I are also loose
inversions of each other. In the second section, the violin plays the retrograde-
inversion of the first section viola part while the viola plays the retrograde-inversion
of the first section violin part. The melodic shape is an approximate inversion in the
retrograde, though exact intervallic relationships are not maintained. Of all the
palindromes found in the work, the arched construction of Idea: I most closely
resembles the canon canzicrans, where the rhythm and pitches of the second section
of the canon are retrograde-inversions of the first.

Transformation: III, the final movement of the work, only makes slight
reference to an intra-movement arch construction. Formally, it is closest to a theme
and variations, with two counterpointed motives that appear in varying
juxtapositions. Idea: I and Transformation: III are not only located at opposite ends
of the composition, but represent organizational extremes of arch construction: Idea:
I is composed of a single, clearly defined rhythmic palindrome, while the theme and
variations of Transformation: III seem to serve as complex motives and merely hint
at an overall palindromic structure.
Both Idea: II and Transformation: II. movements two and five, utilize
palindromes in their construction, but the placement of most smaller structures
within each movement is not symmetrically organized. Much of the material that
comprises Idea: II is palindromic. The movement is framed around a large-scale
motivic palindrome which encompasses the mid-section of the movement, mm. 8-14:
the first seven measures of the viola part are repeated in motivic retrograde during
mm. 15-21 in the violin part. Though the parts are inverted, as seen earlier in Idea: I.
the melodic shape of each is not. A similar palindrome is found later mm. 10-13 of
the violin and mm. 18-21 of the viola are retrogrades. However, this structure is not
symmetrical around the mid-point of the movement. In addition, three smaller
288
palindromes are found within the movement, each involving only a single
instrument; mm. 1-4 in the violin and mm. 10-14 and 14-17 in the viola.
In contrast, the majority of material in Transformation: II does not fall within
the compass of motivic or rhythmic palindromes. Yet, the entirety of

Transformation: II. the only movement with multiple tempos, is in the form of a
temporal arch. The five sections of the movement are ordered as follows: Lento
sostenuto J' = 54, Allegro marcato = 200, Moderate J' = 120, Allegro J' = 138 and
Lento tranquillo = 54. Apart from this all-encompassing temporal arch, the other
arch form most original to the fifth movement is located in mm. 18-29 of the violin.
While the rhythm and motives of this section are nearly palindromic, an exact
palindrome is seen in the number of distinct attack points (note-beginnings) per
measure throughout the segment. Shorter rhythmic palindromes within
Figure 7.6.-Attack points per measure in Transformation: II. mm. 18-29, violin part
Attack points: 3 3 3 4 5 5 4 3 3 3
Number of measures: 2 1 1 1 1 1 1 1 1 2
Transformation: II include mm. 7-12 (in each instrument separately), mm. 13-15 (in
each instrument separately), mm. 44-53 (in both parts), mm. 56-8 in the violin, mm.
56-60 in the viola and mm. 68-72 in the violin.

Movements three and four, Idea: III and Transformation: I. contain the most
complex, integrated ordering of palindromes in the work. During the course of the
third movement, each instrument performs an extended palindromic figure: that of
the violin encompasses mm. 1-18, with its mid-point in m. 12 , while the palindrome
of the viola covers mm. 1-17, with its mid-point in m. 11. 147 In addition, the first
147 Though there are not true bar lines in Idea: III, measure numbers, for the
purposes of this analysis, are determined by the vertical dotted-line markings which
extend through both parts.
289
section of one instrumental part is the retrograde of the first section of the other part.
The second sections of each part are also retrogrades. 148 The difference between the
lengths of each palindrome is accounted for with the added rests in the violin part.
Additional notes at the conclusion of the movement “even out” the parts. The
structure of the entire movement is shown in Figure 7.7.
Figure 7.7.-Formal structure of Idea: III. Letters “a” and “b” refer to phrase content,
measures: 1 11 12 14 17 18 19
Violin: I a b I (rests) I b a I end I
Viola: I b a______ j____ a b____ I end I
In Transformation: I there are three main palindromes. These are located in
mm. 1-11, 11-22 and 25-33 (the conclusion). Except for the material between the
second and third palindromes, mm. 22-24, the entire movement would be comprised
of a single extended palindrome. Further investigation reveals two smaller

palindromes that serve to more closely link the first two main palindromes. The first
of these lesser palindromes occurs in the viola, mm. 7-16, with its mid-point between
mm. 11-12, five eighth-notes after the conclusion of the first main palindrome. The
second smaller palindrome is found in the violin, mm. 5-16, surrounding non-
symmetrical material in mm. 10 - 1 1-also at the end of the first main palindrome.
The use of palindromes, though found at every level of the work, is only one
aspect of the piece’s construction. Most likely, the palindromes are not immediately
perceived by the listener, except on the level of the motive. Rather, the purpose of
the arched construction appears to be an organized presentation of the several
148 Another way to view this event would be that in each half of the
movement there occurs a thematic presentation simultaneous to its retrograde, with
an overlapping inversion of parts.
290
motives, most of which are seemingly as suitable in retrograde as in their original
forms. Gaburo keeps the constant repetition of these motives fresh and vital by
juxtaposing one motive with itself or another in a constantly shifting mosaic that
lasts through the duration of the work. It is for this purpose that the imperfect arches
and retrogrades remain better suited than exactly symmetrical structures.
Recognizing the motives which comprise Ideas and Transformations and

understanding Gaburo’s use thereof should be of vital importance to performers of
this work: these fragments which comprise the complete mosaic are often disguised,
yet a clear articulation of each would produce a lively realization of the piece. The
generation and use of these motives are discussed in detail in the third section of this
analysis. In the same vein, the following harmonic analysis may serve to clarify the
“nuts and bolts” of the pitch construction of Ideas and Transformations. This
understanding could assist the performer with more accurate voice-leading and
realization of layers within the work . 149
Pitch Structure
Ideas and Transformations, no. I, is a serial composition dually constructed
around two pitch class sets, {0,1,3} and {0,1^ } . 150 Though the analysis is most
149 One technique which assists in the analysis of this work and which may
also serve in performance is to color (in crayon on a Xerox of the score) the varying
motives for added visual definition.
150 For non-theorists: a pitch-class set, abbreviated pc-set, essentially refers to
a group of pitches. One of these pitches is determined (through various means which
are not discussed here) to be the starting pitch and is assigned the numeral “0.” The
subsequent numerals in the pc-set represent the ascending distance of the remaining
pitches (arranged in numerical order) in half-steps from the starting pitch. In the
case of pc-set {0,1,3}, if pitch A is “0,” then the set consists of pitches A-Bb-C. In
the musical source, though the pitches may be found together in any possible order—
i.e. A-Bb-C, A-C-Bb, Bb-A-C, Bb-C-A, C-A-Bb or C-Bb-A-the set is often
considered, in theory, to be the same, {0,1,3}. If one were to transpose this set a
whole step higher, the resulting set {B,C,D} could be viewed as either pc-set
{2,3,5}, which shows its relationship to the original pc-set {0,1,3}, or as pc-set
29 1
clear when examining the combined use of both sets, Gaburo has so intermeshed
these sets into his composition that a significant portion of the work can also be
analyzed as derivative of either set (see Example 7.26: c). A brief examination of
the properties of both sets, separately and in combination, is of value before
discussing their employment within the work.
Sets A and B.
Set {0,1,3}, also referred to as set A in this analysis, first appears at the
beginning of the work as A-C-A# in the viola. 151 Set {0,1,5}, also referred to as set
B, first appears as the initial three pitches of the violin part, C#-G#-A, or as the first
note of the viola plus the first two pitches of the violin, A-C#-G#. The following
table shows all unordered permutations of sets A and B :” 152
Table 7.4.-Permutations of sets A and B as found in Ideas and Transformations.
Set A:
s R S R I RI I RI
0 1 3 A A# C 0 11 9 A G# F#
1 2 4 A# B C# 1 0 10 A# A G
2 3 5 B C D 2 1 11 B A# G#
3 4 6 C C# D# 3 2 0 C B A
4 5 7 C# D E 4 3 1 C# C A#
5 6 8 D D# F 5 4 2 D C# B
6 7 9 D# E F# 6 5 3 D# D C
{0,1,3} T2, showing the original pc-set as transposed up by two half-steps. In both
cases, the new set is a form of the original pc-set {0,1,3}.
151 The initial appearance of set A could also be composed A-C-B, also
located in the viola part (see below).
152 Abbreviations S, I, R and RI refer to set, inversion, retrograde and
retrograde inversion. In trichord form, these are often indistinguishable, especially
when appearing vertically. Gaburo uses permutations of each trichord with such
frequency that distinguishing between original and retrograde often seems
insignificant in the analysis of Ideas and Transformations. The sets, therefore, are
considered “unordered” and generally only original and inversion are specifically
labeled in this paper.
292
Table 7.4, continued.-Permutations of sets A and B.
7 8 10 E F G 7 6 4 E D# C#
8 9 11 F F# G# 8 7 5 F E D
9 10 0 F# G A 9 8 6 F# F D#
10 11 1 G G# A# 10 9 7 G F# E
11 0 2 G# A B 11 10 8 G# G F
Set B:
S R S R I RI I RI
0 1 5 A A# D 0 11 7 A G# E
I 2 6 A# B D# 1 0 8 A# A F
2 3 7 B C E 2 1 9 B A# F#
3 4 8 C C# F 3 2 10 C B G
4 5 9 C# D F# 4 3 11 C# C G#
5 6 10 D D# G 5 4 0 D C# A
6 7 11 D# E G# 6 5 1 D# D A#
7 8 0 E F A 7 6 2 E D# B
8 9 1 F F# A# 8 7 3 F E C
9 10 2 F# G B 9 8 4 F# F C#
10 11 3 G G# C 10 9 5 G F# D
11 0 4 G# A C# 11 10 6 G# G D#
Set A is considered to be combinatorial, as it car be combined with three of

its own permutations (I5 , S6 and Ii 1) in such a way as to produce an aggregate 12-
tone row:
0 1 3 6 7 9
2 4 5 8 10 11
Set B also is combinatorial (here with S 3 , S$ and S9 ) : 153
0 1_________ 5 6_7__________ U
2 3 4_________ 8 9 10
Gaburo’s choice of sets is interesting because of their similarity. One interval of
each set is the same and the only interval not found within either set is the tritone.
153 Set B is also combinatorial with I7,19 and In-
293
While, from the standpoint of pitch content, the entirety of Ideas and
Transformations is most efficiently analyzed as being generated from the

combination of sets A and B, the principal pitch language of many large-scale
sections could also be viewed as being based on either set A or B. For instance,
every pitch of mm. 1-4 of Idea: I could be seen as being generated from permutations
of set A (see Example 7.26: a), or just as easily from permutations of set B (Example
7.26: b). Neither method, however, consistently or adequately explains every pitch
throughout every section of the work. It is only when the piece is analyzed as being
Example 7.26: a, b, and c.-Analysis of Idea: I. mm. 1-4, using set A (Example 7.26:
a), set B (Example 7.26: b), and sets A and B (Example 7.26: c).
294
generated from both sets that each pitch is explained efficiently and underlying
symmetries are revealed (Example 7.26: c).
Generation o f Tetrachords
Throughout much of Ideas and Transformations, as illustrated in Example
7.26: a, b and c, few appearances of sets A or B stand alone. Instead, the sets and
permutations appear linked to one another with one or two common pitches
intersecting between the sets . These varying pitch unions, composed of two or more
intersecting sets, make up the pitch layer which is most immediately heard. 154 For
this reason, an examination of the aggregate sets created by any possible union of
two sets, whether sets A and B, set A and a permutation of set A. or set B and a
permutation of set B, explains much of the general pitch language of Ideas and
T ransformations.
In an examination of the union of two sets, it is useful to classify the resulting
aggregate union by the absolute number of distinct pitches in the newly created
superset. 155 In Ideas and Transformations. Gaburo seems to have intentionally
avoided prominent unions of sets which have no intersecting pitches-for instance,

the union of sets AS2 and AI7 , {2,3,4,5,6 ,7 } . 156 When two or more sets of this pitch
relationship are found in close proximity there is little to indicate that the sets should
be united. Unions with three intersecting pitches, for instance the intersection of set
154 The occurrences of such pitch unions are so varied and occur so frequently
between two or more sets (or set permutations) that analysis of the work as if it were
constructed from a single superset, say {0,1,3,5} (later referred to as set or tetrachord
AB1), is too constraining and inadequate.
155 A “superset” is essentially a set composed of all members of one or more
other sets. The intersection of sets ASO with AS1 results in super set{0,l,3,I,2,4}
which can be reordered and reduced (by eliminating repeated pitches) to {0,1,2,3,4}.
156 The term “intersecting pitches” refers to any pitches or members which
may be in common between sets in a union.
295
ASo and A So, are redundant. Therefore, it is only necessary to examine the union of
two pc-sets where one or two pitches intersect.

Unions of set Apx with set Apy where two pitches intersect157 result in three
forms of symmetrical sets: 158

Set A l: ASo{0,l,3} U Al3{0,2,3}= {0,1,2,3 } 159 (combinatorial)
SetA2: AS2{2,3,5> U Al 3 {0 ,2 ,3 }= {0,2,3,5}(combinatorial)
Set A3: ASo{0,l,3> U Al4 {l, 3 ,4 }= {0,1,3,4} (non-combinatorial)
The importance of these unions is clear from the outset of the duo. The first four
pitches of the viola part (excluding the D, the lower voice of the double-stop below
A#) are A-C-Af-B, and are created by the union of ASo {0,1,3}, the first three
pitches heard, and ARIo {0,2,3 }the first, second and fourth pitches heard. 160 This
aggregate creates superset A l, {0,1,2,3} or A-A#-B-C. 161

Unions of set BpX with set Bpy where two pitches intersect also result in
three forms of symmetrical sets, though none are combinatorial:
Set Bl:BSo{0,l,5} U BRIo{0,4,5> = {0,1,4,5}

Set B2 :BS4 {4 ,5 ,9 } U BRIo{0,4,5} = {0,1,5,8 } (B2p = {0,4,5,9})
Set B3:BSo{0,l,5} U BRI j {1,5,6} = {0,1,5,6}
157 Symbols “px” and “py” denote different, but unspecified sets used in a
hypothetical union.
158 Several combinations can be used to create the. same form. For instance,
the form of Set A 1 could also be comprised A Ss{ 8 , 11,9}U Al 11 {11,8 ,10} =
{8,9,10,11}. Though of differing pitch material, sets {0,1,2,3} and {8,9,10,11} are
of the same form.
159 U is the mathematical symbol for the term “union.” Supersets are listed in
the most economical fashion in which repeated members are eliminated.
160 The double-stop A#-D could also, together with pitch A, be considered set
BSo, leaving the remaining pitches, C and B, with pitch A, as set ARIo. The
conglomerate forms a pentachord, with a single pitch intersecting between sets A
and B (see below, “Generation of Pentachords”).
161 See note 158.
296
Again, the importance of these unions is clear from the beginning. The first three
pitches of the violin part, C#-G#-A, are formed from set BS 1 1 . Pitches two through
four in the part, G#-A-E, are comprised of set Bio* This aggregate creates superset
B2 {0,1,5,8}, G#-A-C#-E.
The union of sets Ap and Bp, where two members intersect, results in two
possible tetrachords (neither of which is symmetrical) and their retrogrades:

SetAB1 ASo{0,l,3> U BSo{0,l,5} = {0,1,3,5} R = {0,2,4,5}
Set AB2 ARIo{0,2,3} U BS2 {2 ,3 ,7 }= {0,2,3,7} R = {0,4,5,7}
Examples of these unions can also be seen at the work’s outset. For example, as
stated earlier, the viola’s first three pitches, A-A#-C, comprise set ASo, {0,1,3}- Set
BSo is also present, seen as the initial pitch, A, combined instead with the A#-D
double-stop. This creates the four-note tetrachord AB1, {0,1,3,5} or A-A#-C-D.
C. Generation of Pentachords
Unions of set ApX with set Apy where one pitch intersects between the sets
result in five pentachords or set forms, three of which are symmetrical:

Set A4: ASo{0.1,3 } U AS [ { 1,2,4} = {0,1,2,3,4} (symmetrical)
SetA5: ARio{0,2,3} U AS 3 {3 ,4,6} = {0,2,3,4,6 } (symmetrical)
Set A6 : ASo{0,l,3} U ARl3{3,5,6} = {0,1,3,5,6 } (symmetrical)
Set A7: ASo{0,l,3} U AS 2 {2 ,3 ,5 } = {0,1,2,3,5} R = {0,2,3,4,5}
Set A 8 : ASo{0,l,3} U AS 3 {3 ,4 ,6 } = {0,1,3,4,6 } R = {0,2,3,5,6}
Unions of set Bp with set Bp, where one pitch intersects between sets, result in six
pentachords or set forms, three of which are symmetrical:

Set B4:BSi{ 1,2,6} U BRI8{0,1,8} = {0,1,2,6 ,8 } Symmetrical
Set B5 :BS3 {3 ,4 ,8 } U BRI8{0,1,8} = {0,1,3,4,8 } Symmetrical
SetB 6 :BS3 {3 ,4 ,8 } U BRIo{0,4,5} = {0,3,4,5,8 } Symmetrical
Set B7:BSo{0,l,5} U BSi{l,2,6} = {0,1,2,5,6 } R = {0,1,4,5,6}
Set B8:BRI3{3,7,8} U BRIs{0,l,8} = {0,1,3,7,8 } R = {0,1,5,7,8 }
Set B9:BS8{0,1,8} U BRIq{0,4^} = {0,1,4,5,8 } R = {0,3,4,7,8}
297
The union of trichords Ap and Bp, where one member intersects, results in
ten possible pentachords, only one of which is symmetrical:

Set AB3 ASo{0,l,3> U BRl6 { 1,5,6}={0,1,3,5,6} Symmetrical (set A5)
Set AB4 ARIo{0,2,3} U BS(){0,1,5}={0,1,2,3,5} R={0,2,3,4,5> (A7)
Set AB5 ARIo{0,2,3> U BSi{l,2,6} = {0,1,2,3,6} R = {0,3,4,5,6 }
SetAB 6 ASo{0,l,3} U BS2 {2 ,3 ,7 } = {0,1,2,3,7} R = {0,4,5,6,7}
Set AB7 ARI2 {2 ,4 ,5 } U BS(){0,1,5} = {0,1,2,4,5} R = {0,1,3,4,5}
SetAB 8 ASo{0,l,3} U BS3 {3 ,4 ,8 } = {0,1,3,4,8} R = {0,4,5,7,8}
Set AB9 AS4{4,5,7> U BSo{0,1,5} = {0,1,4,5,7} R = {0,2,3,6 ,7}
Set AB10 AS5 {5 ,6 , 8 > U BSo{0,1,5} = {0,1,5,6,8} R = {0,2,3,7,8 }
Set AB11 AS(){0,1,3} U BRl3 {3 ,7 ,8 } = {0,1,3,7,8} R = {0,1,5,7,8}
Set AB12 ARI(){0,2,3} U BS3 {3 ,4 ,8 > = {0,2,3,4,8 } R = {0,1,2,4,8 }
The following discussion attempts to provide some general description
concerning the spatial relationships of pc-sets A and B and their unions. It should be
noted that since both sets are, at times, so densely interwoven (for example the
opening measures of Transformation: ID. presumably not every set relationship
within Ideas and Transformations can be taken into account, much less analyzed.
Instead, the examination usually relies upon pitch groupings of maximum efficiency.
Two general principles of set construction can be seen. First, though each of
the unions which occur throughout the course of the work can be labeled, Gaburo’s
use of specific unions does not appear to follow an organized process in and of itself.
A varied assortment which includes most or all of the previously listed combined
sets is found in every movement This apparently relegates the exact set
relationships to the level of tools or frames by which another end result is intended.
Second, unions of pc-sets, though consistent in content throughout the work (that is,
consistent in terms of absolute pitch classes and being composed of the
aforementioned tetrachords and pentachords), tend to be sectional and progressively
“thin-out” as Ideas and Transformations proceeds. At times, Gaburo’s utilization of
these unified sets (for instance in movement five) seems to follow wave-like
298
patterns. First, use of one set (and its permutations) may predominate through a
certain section of music with the other set given prominence in the next section, or
areas of densely intermeshed set intersection may be interspersed with segments
where little or no set intersection occurs. Usually, gradations can be found between
the extremes of both parameters.
What does, at least on the surface, appear to be of greater pitch ordering is
the frequent symmetrical structuring of pc-sets. Many examples of symmetrically

spaced pc-sets, which take several forms and range in complexity from simple two-
set relationships to moderately-dense intersecting structures, can be found
throughout the work. A typical example is found in Transformation: II. mm. 10-12.
At the center of this structure are set A, G#-B-A in the violin and set B, G-E-flat-D
in the viola (see Example 7.27). The pitches of the violin part are also shared by two
additional permutations: G# and B, together with C# in the viola, form set B, while
pitches B and A, together with A? in the viola, form set A. These two pitches, C#
and & in the viola, surround the centrally located permutation of set B. At either
side of this five-note conglomerate are two vertical arrangements of set B, each with
two pitches in the violin and a single pitch in the viola, G-F#-E and A-B>-C.
Example 7.27.-Symmetrical pc-set structure in Transformation: II. mm. 10-12.
299
A similar example of symmetrical pitch structure which involves only

permutations of set A is found in mm. 22-23 of Transformation: III (see Example
7.28). At the center of the structure are pitches D, E and F in the violin, set AI8 .
The central pitch, E, together with pitches F# and G in the viola, form set AI10,
while the pitches at the extremes form additional permutations with pitches in both
parts, set AI10, D-B’-C, and set AI9, F-F#-B\
Example 7.28.-Symmetrical pc-set structure in Transformation: III, mm. 22-23.
m.
A circular placement of pc-sets occurs in mm. 23-25 of Transformation: I
(see Example 7.29). Each set realization contains a spatial division separating one
pitch from the remaining two. In the viola, Bb and F# are separated by rests from F
(the third pitch of set BS8 ). The tied Bb of the viola, together with pitches A and G
in the violin part, form set A ll. The subsequent pitch in the violin, Ab, is also
Example 7.29.-Circular placement of pc-sets in Transformation: I. mm. 23-25.
300
timbrally separated by the instrumentation from the remaining two pitches in set BIO,
E and A in the viola. Two additional permutadonal relationships are found in this
segment which further link these sets together.
Another example of symmetrical pitch structure, located in the violin part of

Transformation: III, mm. 14-18 (see Example 7.30), demonstrates a layered use of
pc-sets. In measures 15-17, the lower layer is comprised of a three-set complex
involving permutations of sets A and B: B'-B'-D, Bb-C#-C and Eb-C#-C. Above this,
at mid-level, between mm. 14-16, is set A S H , A-B-G#. At the upper level, mm. 16-
18, is set B S6 , E-B’-AK
Example 7.30.-Symmetrical pc-set structure in Transformation: III, mm. 14-18.
At the end of Idea: III, in m. 17 (see Example 7.31), five symmetrically
spaced dyadic pitch relationships can be found between the final three pitches in the
violin, B’-A^-B’, and the two lower pitches in the viola, E>-F (two of these dyad
Example 7.31.-Symmetrically spaced dyadic pitch relationships in Idea: III, m. 17.
301
relationships are the same) .162 Each dyad is linked to at least one of the three final
pitches of the movement, G-E-D, to form permutations of sets A and/or B.

An additional example of pitch symmetry, though it does not directly
correspond to pc-set structure, is also found in Idea: 1. A gradual expansion of the

pitch range can be seen throughout the movement In the first two measures the
viola rapidly extends the range lower by fifths, from the opening A, to D on the
second beat then to G on the first beat of the second measure. The descent of the
final fifth to the lowest note of the viola is not completed until the final measure of
the work: F is played at the end of m. 2 (F# is not heard until m. 4), E in m. 3, B> in
m. 5, D in m. 8 , C# in m. 16, and finally C-natural in the last measure. The inversion
of the chromatic descent (realized if the artificial harmonics are excluded) is found in
the violin. This begins on a C# in the first measure, ascends to D in m. 3, reaches Ep
in m. 9, E-natural in m. 11, skips a step to F# in m. 14, and concludes on F in the
final measure.
Motivic Structure
As noted earlier, the palindromic structure of Ideas and Transformations

appears to be an organized means for the presentation and reiteration of several
motivic elements. These elements are closely related and appear to stem from two
similar fundamental rhythmic motives, or root-motives. 163 These are shown in
Figure 7.8 as root-motives a and b. Root-motive a is easily detected throughout
Ideas and Transformations, as, for example, in Idea: I. mm. 5-6 of the violin part (see
Example 7.32: a), or split between the instruments, as in mm. 4-5 of the same
162 See note 146.

163 The term “root-motive” is used to refer to a rhythmic cell from which
other material is derived, whether through reiteration, combination, fragmentation,
etc. The term “rhythmic set,” refers to a serialized motive. In this paper, both terms
can be used interchangeably, as the root-motives are also rhythmic sets.
302
Figure 7.8.-Root-motives of Ideas and Transformations. no. I.

a b
n 7 7 7
Example 7.32: a and b.-Root motive a, Idea: I. mm. 5-6 (Example 7.32: a), and Idea:
I, mm. 4-5 (Example 7.32: b).
a b =-
$ 90 -
¥ £
Example 7.33.-Root-motive a augmented and legato, in Idea: II. m. 3.
movement (see Example 7.32: b). Root-motive a also appears augmented and in
legato form, as in Idea: II. m. 3 of the viola (see Example 7.33). Root-motive b, on
the other hand, does not often function as an independent motive and is usually
disguised, or at least not immediately obvious in its application. It is frequently
imbedded within other structures of more prominence and not in the foreground, as
seen in the viola part of Transformation: I. mm. 1-2, in the attack points of pitches E-
Example 7.34: a and b.-Root-motive b in Transformation: I. mm. 1-2, viola

(Example 7.34: a) and Transformation: II. mm. 16-17, viola (Example 7.34: b).
---------f — l — - HDj
► —
H ' ° ■1
Pf 2p J rj P
303
F#-F (see Example 7.34: a). In another instance, mm. 16-17 of the viola part in
Transformation: II (see Example 7.34: b), the retrograde of root-motive b is detected
in the forte, accented eighth notes.

A set or serial analysis of root-motives a and b clearly show that Gaburo is
attempting to relate pitch and rhythm. If attack points and rests are substituted for
pitches, root-motives a and b directly correspond to pitch class sets A and B:
Figure 7.9.-Attack points of root-motives a and b and their relationship to pc-sets A

and B.
7 7
(2 ) 0
7
(2
7
3
7
4)
Frequently, Gaburo treats root-motives a and b as rhythmic sets, creating unions of
sets in the same fashion as he does pc-sets A and B. When understood as a set, with
the possibility of intersecting and non-intersecting unions, rhythmic set b becomes
much more obvious and is now clearly seen, as, for example, in mm. 1-2 of
Transformation: I in the viola part, (see Example 7.34: a ).164 In union with its
Example 7.35: a and b.-Variants of rhythmic set b. Transformation: 1. mm. 16-17,

violin (Example 7.35: a) and Idea: II. mm. 1-2, violin (Example 7.35: b).
PI IP H PI
Wl
Q !_
164 See footnote 13.
304
inversion, as found in Transformation: I. mm. 16-17 of the violin part (see Example
7.35: a), rhythmic set b often appears as a combined set (of rhythmic attacks),
{0,1,4,5}, the rhythmic equivalent of pc-set B i. Other figures are also derived from
this same union where, for example in mm. 1-2 of Idea: II. violin part (see Example
7.35: b), if the repeated pitches are eliminated or tied, the resulting rhythm matches
set {0,1,4,5}. Unions of rhythmic sets a and b are numerous. A typical example is
found in Idea: I. mm. 14-15 of the viola, including the double-stop of the violin
which begins m. 15 (see Example 7.36: a):
Example 7.36: a and b.-Unions of rhythmic sets a and b. Idea: I. mm. 14-15
(Example 7.36: a) and Idea: I. mm. 17-18 (Example 7.36: b).
0 1_______________ 5
n 2 3
The notes at the outer extremes form rhythmic set b, while the accented notes
constitute the retrograde of rhythmic set a. This union is equivalent to pc-set AB7 ,
{0,1,2,4,5}. Two further examples of unions of root-motives a and b are seen at the
close of the first movement in the viola part, as shown in Example 7.36: b. The
rhythm of the final five notes of the part correspond to the retrograde of set AB7 ,
{0,1,3,4,5}. Overlapped with this union, the pitches &-E-E-C correspond

rhythmically to the retrograde of pc-set A B i, {0,2,4,5}.
305
Just as the pc-sets become convoluted and intermeshed, so do the rhythmic
sets, creating more complex and frequently symmetrical rhythmic conglomerates, as

shown in Example 7.37: a, taken from the opening measures of Idea: I in the violin.
A similar extended symmetrical conglomerate is found in Transformation: I. mm. 9-
14 of the viola (see Example 7.37: b).
Example 7.37: a and b.-Rhythmic set construction of symmetrical rhythmic

conglomerates. Idea: I. mm. 1-2, violin (Example 7.37: a) and Transformation: I.
mm. 9-14, viola (Example 7.37: b).
a
bWb — «:
>
> •4
1
^
3
1 tf- ^ ^
0 1
0 ..........2 ._3
SI--- !_______________ J.
0 4 5
U I U i. J
0 1 5
b9rr- ‘f ¥ WL
0 1 5 0 4 5
in
0 1 3 0 1 3 10 4 51
0 2 3 0 2 3 £>. 1 2 4 5
Q ) ..3 4 .5
0 12 4 5
Apart from the direct use of root-motives a and b and the unions derived from
these sets, as detailed above, Gaburo also uses variations of the root-motives to
create several independent and distinct motives. 165 Some of these motives (as shown
in Figure 7.10: b) are reiterated throughout the work, while others are restricted to a
165 Perhaps the motivic variations are intended to be the equivalent of pc-set
permutations. Wliile an unordered pc-set such as {2,4,1} is considered to be the
equivalent of pc-set {1,2,4} in its normal best order, what would perhaps appear to
be equivalent rhythmic set “permutations,” {2,4,1} and {1,2,4}, are, in fact, not
equivalent and can not be reduced to a “normal best order.”
306
Figure 7.10: a.-Motive C. Either a compilation of root-motives a and b or a super

motive.
b a-retrograde a b-retrograde
Q_L 0 2 3 Q__L 0_________ 4___5
i
c: 4
° rr r
1 : 0 : 1:2 4 (+)
Figure 7.10: b.-Additional motives found throughout Ideas and Transformations

derived from root-motives a and b or super-motive C.
a"/b" d 1:1 e 0:1
f 2:1
(s.p)
h4:3
particular movement One of the most pervasive and plastic of these derived
motives, shown in Figure 7.10: a as motive C, comprises the initial phrase of the
violin part in Idea: III. Motive C may be formed from a compilation of several
shorter motives, or could possibly serve as a super-motive from which the shorter
motives have been extracted. Likewise, motive C could be derived from the root-
motives in two manners. The first method of derivation stems from the retrograde of
rhythmic set a, divided at its mid-point This produces two dual rhythmic
relationships, the ratios 1:0 and 1 : 1, which correspond to two rhythmic fragments,
shown as motives d and e in Figure 7.10: b. Additional motives can be derived by
adding the second ratio (or motive) to the first, creating the ratio 2 : 1, which
307
corresponds to motive f in Figure 7.10: b. The second ratio can again be added to
the new ratio to form the ratio 3:2 (motive g), and again to form ratio 4:3 (motive h}.
Compiling these motivic ratios could produce the super-ratio 4:3:2:1:0:1:2:3:4, a
close approximation of the rhythmic ratio of motive C.

A second possible method of derivation of motive C involves placing
rhythmic set b and the retrograde of rhythmic set a at either extreme of a twelve beat
complex, and this directly followed by a retrograde of the same twelve beat complex.
This structure is shown in Figure 7.10: a. Beginning with the second quarter-note of
the complex and tying together the quarter-note values between the attack points, as
determined by rhythmic sets a and b, yields an approximation of the rhythm of
motive C. Only the substitution of a rest on the twelfth beat and an additional tie are
needed to match exactly. Motive C, while prominent in Idea: III and

Transformation: I. 166 is also used, though with more subtlety, in Idea: I and
Transformation: II. 167

Two additional generated motives which consistently appear throughout
Ideas and Transformations, shown in Figure 7.10: b as motives i and j do not appear
to be derivatives of motive C. Both, however, could be derived from varying
additions of rhythmic set a and its split dual ratios.
Intersection of Pitch Content Symmetries with Motivic/Rhvthmic Symmetries
With the properties of both pitch and rhythm derived from the same numeric
sets, {0,1,3 > and {0,1,5}, and each property similarly interwoven throughout Ideas
166 The varied central portion of Motive C in Transition: I. which contains

eighth notes instead of quarter notes, suggests, in the second half of this motive, an
additional relationship to set {0,1,5}, here in eighth-notes.
167 Motive C is can be found in mm. 17-18 of Idea: I and mm. 8-12 and 61-3
of Transformation: II.
308
and Transformations, it may seem logical for Gaburo to have both parameters
consistently and symmetrically coincide, perhaps employing a single pc-set with a

single rhythmic set, placing pc-set unions together with similar rhythmic set unions,
or even using pitch symmetries in conjunction with the rhythmic and motivic
palindromes. Examples of the first case can be found sporadically, almost as if they
were chance occurrences, 168 and the other two possible relationships are not
consistently exploited. Instead, well defined symmetrical coincidence of pitch and
rhythmic is only detected in aggregates at the local level (usually involving segments
smaller than a single phrase), and these structures almost exclusively at the outset of
the first movement Many of the pitch and rhythmic symmetries which do occur are
detailed below.
Three examples of rhythmic and pitch symmetry are found between the
second and fourth measures of Idea: I. The first instance (see Example 7.38)
encompasses three and one-half beats-all but the first eighth note of measure two in
the viola part. The first two notes, G and A?, plus the fifth note, B \ create set B I 1 1 ,
while notes three and four, and I>, plus the final note, F, create set BI9 .
Example 7.38.-Rhythmic and pitch symmetry in Idea: I. m. 2, viola.
168 Occurrences of a single pc-set coinciding with a single rhythmic root-

motive can be found sporadically throughout the work, including examples such as
Idea: I. mm. 5-6, rhythmic set {0,1,3} with pc-set {0,1,5}; Idea: I. m. 8 , rhythmic set
{0,1,5} with pc-set CO.1.33: Transformation: I. mm. 27-8, rhythmic set {0,1,3} with
pc-set {0,1,3}; and Transformation: III, mm. 15-6, rhythmic set {0,1,5} with pc-set
{0,1,5}.
309
Coinciding with the two permutations of pc-set B is the rhythmic superset
{0,1,3,5,6}, composed of rhythmic set a and its retrograde.

The next example of symmetry occurs in the violin, mm. 2-3, shown in
Example 7.39. The two ponticello tremolos surround two separated, accented
eighths. The first three pitches form set ARI3 , C-D-EJ\ and pitches two, three and
four form set AS5 , D-E?-F- As an aggregate, this forms the ordered set {3,5,6,8},
pc-set A2. Both “missing” pitch classes, {4,7} (in this case C# and E) are found in
measures three and four as the highest and lowest pitches of the phrase in the viola
part The rhythm of this section is composed of equally spaced realizations of
rhythmic set a and its retrograde.
Example 7.39.-Rhythmic and pitch symmetry in Idea: I. mm. 2-3, violin.
One of the clearest examples of coinciding rhythmic and pitch symmetry
directly follows in mm. 3-4 (see Example 7.40). It is notable that the first two
symmetries in this section of Idea: I involved the instruments separately, while the
third symmetry involves both instruments. In this third symmetry, retrograde-

inversions of both pitch content and rhythm are seen. In mm. 3-4, two permutations
of set A are present in a horizontal analysis while two permutations of set B are
found in a vertical examination. The three pitches of the violin form trichord AS 5
while the viola’s three pitches form ARI 1.169 At the same time, the first two pitches
169 The symmetries of pitch and rhythm overlap with the conclusion of the
first phrase and beginning of the second (die phrase structure is indicated by the
composer with commas). This is a common practice in Ideas and Transformations,
perhaps in an attempt to keep the brief gestures and brief three-pitch sets from
R eproduced with perm ission of the copyright owner. Further reproduction prohibited without perm ission
310
Example 7.40.-Rhythmic and pitch symmetry in Idea: I. mm. 3-4.
of the violin plus the first note of the viola form BRIi and the last two pitches of the
viola plus the final pitch in the violin form BR8 - The union of these four sets creates
superset {0 ,2 ,3 ,4 ,5 ,7 } (in normal best order), again symmetrical. 170 The rhythm of
the violin part consists of two eighth notes of distinct pitch followed by a tremolo of
four sixteenths. The viola part, which begins with a tremolo of six or seven
sixteenths171 then has two eighths of distinct pitch, is clearly a retrograde of the
violin. A rhythmic inversion is also detectable: the slurred eighth notes of the viola
could nest within the violin’s accented eighths that are separated by two eighth-rests,
and in the same manner the four repeated sixteenths of the violin could be played
within bounds of the viola’s tremolo. Toward the end of Idea: I in the large
structural palindrome the corresponding passage does not retain the same pitch
content
breaking the music into too many small sections.

170 This superset can be formed in two ways, through the union of two non
intersecting permutations of either set A or set B:
ARIo{0,2,3> U AS 4 {4 ,5 ,7 } = {0,2,3,4,5,7}
BRIo{0,4,5} U BS2 {2 ,3 ,7 > = {0,2,3,4,5,7}.
171 The notation is somewhat vague. Does the final “tie” marking in the viola
tremolo create an eighth note around the bar line? Or, is it simply a link as the
previous tie in the gesture seems to indicate? Differing interpretations could produce
three logical results: seven sixteenths, five sixteenths plus an eighth, or three
sixteenths plus two eighths.
311
Two additional examples of pitch symmetry are found in Idea: I. The first
(Example 7.41) is in mm. 6 -8 in the double-stops of the viola part Both layers lead
to the single-stopped D in measure eight The upper voice, B -A » -B ,- A - D ( A B S 5 ) , is
comprised of two overlapping sets, A I2 and BSo* Simultaneously, the lower voice,
F #-F -E > -G -D ( A B R 7 ). consists of the overlapping sets A I 9 and B S 5 . The final
Example 7.41.-Layered pitch symmetry in Idea: 1. mm. 6 -8 , viola.
ABS5
hmH 5 M Mi
0-
1*-*!
— — r 7
1r
1 KKj. n r>-
ABR7
example in Idea: I is found between mm. 10-11 (Example 7.42). The lower pitch of
the double-stop in the violin. A, is shared between two permutations of pc-set B,
{0,1,5}, which include both two-pitch groups surrounding the double-stop: C#-D-A
and A-E-G#. The upper note in the violin, together with the accented eighth-notes
below in the viola, also form two permutations of pc-set B , F#-Bt>-B and B>-F#-F-
Example 7.42.-Pitch symmetry in Idea: I, mm. 6 -8 .
312
natural. Furthermore, the surrounding pitches of the viola are linked vertically
through numerous pc-set relationships to the pitches of the violin. The rhythmic
structures of each of these final two examples are symmetrically spaced around the
pitch structures.
It should be remembered, however, that the norm for Ideas and
Transformadons is for rhythmic sets and pc-sets to progress differently. Rhythmic

sets only appear horizontally, while pc-sets appear both horizontally and vertically-
frequently with one pitch in one part and the remaining pitches, either double-
stopped or played at separately by the other instrument Idea: III exemplifies the
typical relationship between rhythmic and pc-sets. Rhythmically, motive C is used
in a single part, together with arched appearances of motives f and i in the other part.
Pitch class sets, however, are divided between the parts, and, though no double-
stopping occurs, have vertical as well as horizontal relationships.
Further comparison of Gaburo’s use of rhythmic and pitch sets reveals a

number of similarities and differences worthy of mention. Pitch-ciass-sets appear in
combinations and their unions produce the pitch content which remains consistent,
though ever-changing, through the entirety Ideas and Transformations. In kind,
rhythmic sets are combined to create the motivic mosaic articulated throughout the
complete work, and these motives and motivic complexes are probably more
distinctly heard structures than are the pc-sets and unions. On the level of the
phrase, both pitch and rhythm occasionally coincide in symmetrical structures,
predominantly at the outset of the work. However, the infrequence of coincidental
pc-sets and rhythmic sets, except in Idea: I. hint at an ordering of these dually
symmetrical relationships which corresponds to the progressive diluting of the
single-movement palindromic structures over the course of the work. Yet it is the
differing manner of treatment of pitch and rhythm which, perhaps, gives the work its
313
imaginative character. Both pc-sets {0,1,3} and {0,1,5} are equally visible and
intertwined: in contrast, rhythmic set {0,1,3} is prominent while rhythmic set {0,1,5}
is disguised and less frequently used. Intersection of pitch and rhythmic symmetry
remains localized and only spans individual motivic conglomerates. Rhythmic sets
are frequently combined to form palindromes as long as a phrase, section or entire
movement, but pc-sets only form symmetries of shorter lengths: instead of arches,
the often permuted pc-sets form chains, linearly linking together motives, phrases or
sections.
314
Analysis of Duetto, for Violin and Viola (1986)
by Goffredo Petrassi
Composed in 1986, Duetto is a late work of Goffredo Petrassi and is
dedicated to Adriana Panni. The score, published by Edizioni Musicali,172 is twelve

pages in length.173 The part writing is equally distributed between both instruments
and the work is a duo in the true sense of the word: violin and viola, while often
treated as solo instruments, must function as one since the score demands
impeccable ensemble skills of the players. Though the overall texture appears to
differ from the better known works of the composer, the harmonic style shows a
rhapsodic mixture of serial and tonal techniques typical of Petrassi’s mature
172 Goffredo Petrassi, Duetto (Rome: Edizioni Musicali RCA S.p.A., 1986).
173 It should be noted that the printed score is rather curious in form and
several errors in rhythm and note alignment can be found. Wide-lined and somewhat
square in appearance, the score could have been made easier to read with careful
editing. However, the numerous errors, both in content and form, are distracting.
The meter changes, with the denominator marked as a quarter-note (rather than as
the numeral 4) and placed within the staff, appear as extra notes in the viola part.
The errors in content which I have noted are as follows: m. 21 viola, a dot is left off
of the eighth note; m. 27 viola, E-flat should be a quarter note triplet instead of a half
note triplet; m. 33 violin, the last pitch should be a sixteenth note; m. 34 violin, the
quarter and eighth notes should probably be triplets since the sextuplets line up with
the second beat of the viola; m. 68 violin, eighth instead of sixteenth rest in violin;
m. 78 violin, first four notes should possibly be dotted eighths (or marked 4:3); page
ten (in the cadenza), the third line is of vague interpretation without rests or ties; m.
90 viola, tremolo on last beat should be dotted eighth-notes; m. 94 violin, should
probably have a triplet marking on the second group (beat two) of triplet-sixteenths
and beat three (consisting of the subsequent two beamings) should be beamed
together as a sextuplet, sub-beamed into two groups of three. Another possibility is
that the final note of this measure should be a quarter-note. In addition, ratios above
or below several beamings would be useful (for instance in mm. 3 6,37,44 and 57)
and numerous errors in note alignment should be corrected to make the score more
easily and logically read.
315
compositions. Following a brief overview of Duetto is an examination of thematic
materials, a detailed description of the work and a harmonic analysis.

Structurally, Duetto is somewhat indistinct, but its form most closely
resembles that of a theme and variations or rhapsody. In m. 6, the work’s only true
thematic group enters (shown in Example 7.45), a sharp contrast to an already
established mood-setting backdrop of sixteenth-note triplets. Following the initial
statement of the theme are two variations of the thematic group, the first played by
the viola and beginning in m. 19, the second, by the violin, beginning in m. 31. A
development, or third variation, is found between mm. 45-81. Here, motivic
elements of the thematic group and its triplet accompaniment are juxtaposed one to
the other in a constantly interchanging dialogue between the instruments. Following
the development is an extensive free cadenza which precedes a final brief appearance
of the theme and its accompaniment before the work’s conclusion.
Thematic analysis
The majority of the writing is based on the materials and textures of the first
eighteen measures. This includes a seven measure introduction and the initial
statement of the theme. An investigation of their general properties (apart from a
harmonic analysis, which follows this section) is necessary before examining the
entire work.
The musical materials of Duetto, its basic motivic and textural elements,
divide into two categories: theme and accompaniment Each of these materials can
in turn be further classified. The accompaniment figure, which is heard at the outset
of the work, continues, nearly unabated, until the thirty-fifth measure. It consists of
either scalar sixteenth-note triplets or figures that interrupt the steady flow of
sixteenths, such as trills, rests, and quintuplet or sextuplet arpeggios (see Examples
316
Example 7.43.—Accompaniment, mm. 1-2, viola.
Example 7.44.-Accompaniment “interruptions,” mm. 22-23, violin.
7.43 and 7.44). The only thematic group of the work is first stated in mm. 7-17 by
the violin (see Example 7.45). This group can be divided into two sections or
phrases, a motivically referential theme, mm. 7-12, and a chordal response, mm. 12-
17.174 Throughout the variations, the theme appears in either instrument but not in
both simultaneously, while the chordal response occasionally appears in both parts at
the same time. The principal referential motivic characteristics of the theme are a
sustained pitch (labeled a in Example 7.45), an arpeggiated legato melody of
rhythmically consistent note values (labeled b) and a concluding dotted rhythm
before a sustained, accented pitch (labeled c). Also referential in the theme are
quartai and quintal arpeggiations, usually seen as leaps of the seventh and ninth. The
chordal response is less motivically distinctive and consists of a series of chords in
similar, but not necessarily even rhythm. Harmonically distinctive to the these
chords are sliding half-step chromatics (see later in the harmonic analysis).
Merely labeling the musical materials of Duetto “theme” and
“accompaniment” does not adequately describe of the role each plays. In several
174 Hereafter, material similar to mm. 7-12 is referred to as the “theme.”

‘Thematic group” refers to the theme plus the chordal response.
317
Example 7.45.-Initial appearance of the thematic group, mm. 7-17, violin.

Theme
Sordino
Chordal response
5
£L
mp
sections, including the first seven measures of the piece, the accompaniment is the
only activity in the work and its own melodic characteristics and potential can not be
overlooked. The tonal center of the accompaniment is stronger than that of the
thematic group and its melodically interesting figures often overshadow the thematic
material. In contrast, the theme does not function as a clearly concrete, cohesive
idea. Its referential characteristics distinguish it, but do not give it dominance. The
vague tonality of the theme makes it frequently appear as if it were an obligato line
to the strongly tonal (whether major, minor or pentatonic) accompaniment. In
similar fashion, the chordal response seems to slide in and out of the stronger
tonality of the accompaniment. This is a reversal of the typical roles of melody and
accompaniment, where the tonality and/or potential tonality of the theme determine
the tonality of the accompaniment Also atypical, the melodic form and
characteristics do not match traditional forms that utilize accompaniment-determined
tonal centers, such as the chaconne.
318
At the same time, the accompaniment should not be classified as a melody-it
is merely a profusely elaborated, but non-motivically referential scale.175 The

thematic group does contain definite reference points, has a recurring linear order
and its variations are defined in space and number.

The general rhythmic distinction separating the thematic group from the
accompaniment is significant The triplet accompaniment figure is usually grouped

in a hierarchy of threes: triple meter, with each beat divided into triplets, and each
triplet divided into three (see Example 7.43). Occasionally this flow of triplets is
interrupted—most frequently by quintuplets, sextuplets, trills, ties or rests (as seen in

Example 7.44). Meanwhile, the thematic group is usually of duple and/or quintal
rhythms. At the first appearance of the theme, it is predominandy composed of
eighth notes, while the chordal response is of tied quintuplets. In the first variation
the theme appears in dotted-eighths (though it is still duple in nature) and the ensuing
chordal response is in quarter-note triplets. As the accompanying figure here is often
varied and interrupted, the theme and accompaniment are still at rhythmic variance.
In two subsequent variations, those beginning at mm. 3 1 and 91, the theme and
accompaniment do not occur simultaneously. Again their rhythms do not
correspond: in the first instance, mm. 32-33, the accompaniment predominantly

consists of sixteenth-note triplets while the theme is composed of eighth-notes in the
rhythmic ratio 8:6, and in the final variation, mm. 91-97, a consistent rhythmic
subdivision is absent
Following the initial statement of the thematic group in mm. 7-17, the piece
consists of variations of the thematic group and accompaniment figures. The music
is continuous, with transitions between the four (at least) variations. What serves as
a third variation is only a variation in the most abstract sense: in this analysis it is
175 The accompaniment does contain rhythmic reference, however.
319
referred to and discussed as a development However, the nature of the entire work
is continuously expansive and developmental, rather than repetitive, which makes
the label of “theme and variations” somewhat troublesome. The following
discussion should clarify and justify this classification, though other structural types
may fit the form of Duetto as well.

The two melodic variations which precede the developmental variation are
not traditional in the sense of repeating a distinctive “tune” or following an exact

series of melodic pitches. Instead, what links together the variations is a similarity of
rhythmic textures and melodic characteristics which may include any of the
following elements: an initial sustained pitch, a series of evenly spaced notes, a

subsequent dotted rhythm, intervallic relationships similar to those of the theme and
Example 7.46.-First thematic variation, mm. 19-28, viola.
Theme
flauu I _ ord.
Is .1z i-X
p m
T — 5“
mp mf mp
(C'l Chordal response
rPili Oe
f m f' mf
f
a chordal response. In the first thematic variation, presented by the viola in mm. 19-
28 (see Example 7.46), it is the rhythmic textures, though not the exact rhythms,
which are similar to the original thematic group. Also similar are the quartai and
quintal intervals between the even dotted-eighth-notes and the subsequent chromatic
320
double-stopped section. The accompaniment to this variation contains more
interruptions and rhythmic variances than during the theme’s first appearance.
The second variation, presented by the violin in mm. 31-34 (shown in
Example 7.47), is of greatly reduced length due to the near lack of sustained pitches
Example 7.47.-Second variation, mm. 31-34, violin.
T h em e------------------------------------------------- Chordal response
in both sections of the theme. Yet all the essential characteristics of the thematic
group are present. The brief transition which links together the first two variations
(mm. 28-31, see Example 7.48) is actually an extremely encapsulated presentation of
the thematic group, too fleeting to be labeled a true variation. Here, the first
thematic section is reduced and the chordal response is played by both instruments at
the octave. Each element of the theme is also consistent in the transition.
Example 7.48.-Transition between variations one and two, mm. 28-31.
Chordal response
Theme-------------------------------------------
5 —‘
321
What is designated in this analysis as a development, mm. 45-81, could be
considered an extended variation of fragmented thematic and accompaniment
figures. Contained within the development is a single complete variation of the
thematic group (as opposed to the several fragmented motives), found in mm. 68-73.
The development begins with a free quasi-improvisational setting of the opening
accompaniment figure which dominates through m. 50. Thereafter, the
Example 7.49.-Measures 57-58, violin.
rit. rit.
tempo
v
P eifC
mp mp 3
accompaniment figure ceases until the close of the development, m. 81. However,
the continuity of the accompaniment is implied by numerous references to it in the
form of sextuplet and septuplet arpeggios and tremolos, the same figures which were
originally used to interrupt the flow of triplets (see Example 7.49). Numerous
references to the thematic group are also found. The most predominant are reduced
(in breadth) references in the form of marcato eighth-notes in the rhythmic ratio 10:8
(this can be seen, for instance, in Example 7.55). Further reference to the thematic
motive is made in the form of tied notes and dotted rhythms. Less reference to the
chordal response is made, though the bantered C-I> and E>-D of mm. 74-79 is
possibly derived from the chordal chromatics (see Example 7.50).

The cadenza of Duetto is, in many ways, a very traditional exhibition of the
abilities of the soloists. Yet, the focus is on the ensemble skills of the performers.
The unmeasured cadenza stretches from the end of page nine through the second line
322
Example 7.50.-Measures 74-77.
.i . T- .
of page eleven and consists of five sections separated by fermatas. In three places
the instruments must combine as if they were one to produce single gestures. The
first of these combined gestures is seen in lines 1-2 of page ten (see Example 7.51),
where a series of pitches in tremolo and marked “tasto, volante” is divided,
alternating between the instruments. The dotted phrase-marking and the single beam
between the parts clearly indicate that this is to sound like a single line. A similar
Example 7.51.-Single gesture in both instruments. Page ten, lines 1-2.
tasto
7 *
^volatile
gesture is seen in the last line of page ten. Here a single-beamed “quasi rubato1'
arpeggio encompasses a range from the C-string of the viola through fifth position,
f ", on the E-string (presumably) of the violin (see Example 7.52). Located between
these similar gestures is a segment where the instruments play in unison (line three
of page ten-see Example 7.53). Here, two combined timbres are created. The first
323
Example 7.52.- Single gesture in both instruments. Page ten. line 4.
Example 7.53.-Combination of varying timbres within a single gesture. Page 10,

line three.
quasi adagio
mp >v
BSBL.
pp
is simply the combined timbres of violin and viola. In the second, the violin
performs in legato what the viola executes staccato and tremolo. Somewhat
ambiguous is the marking of ponticelio, which is either to be played by both
instruments or only the viola. The marking is placed between both staves, as are
other markings which must be executed by both players, but is located in closer
proximity to the viola part. The remainder of this section (line 4 of page nine, the
end of line two through the beginning of line three of page ten, and lines 1-2 of page
eleven) resembles in texture-though not harmony or timbre-the cadenza of an
operatic duet, possibly of Mozart: musical lines and figurations are exchanged
324
between the parts and virtuoso passages (at one place marked “con bravura”) are
executed together, but in a free tempo. A climax which includes the highest and
lowest notes of the piece is reached before a return to the measured material.
The final variation, mm. 90-99, shows the most equal presentation of the
thematic group and accompaniment figures. The theme begins in the violin, m. 90,
is continued by the viola through m. 94, and is followed by a chordal response in
both parts. This precedes an ascending arpeggio to the concluding C-natural octave
with both instruments in their highest range. The accompaniment is only heard
briefly, in mm. 90 and 94, first in the viola part, then in the violin.
Harmonic and Pitch Analysis
Petrassi’s Duetto functions on two harmonic levels, as both a tonal and a
serial composition. From a historical standpoint, the perceived division between
tonal and serial compositions is not necessarily based on the practice of composers:
most serial compositions contain a degree of reference to tonality, and likewise, tonal
compositions could be analyzed as being derivative of serialized set relationships.
Yet most compositions can, and tend to be, classified solely as of one or the other
category. The historical division, then, is frequently based on the perceived

intentions of the composer. Initially, the serialists—Schoenberg and Webern in
particular—developed and composed within the bounds of serialism as a reaction
against tonalism. Petrassi’s serialism, however, is an incorporation of serial set
techniques into his own freely tonal style. Petrassi’s variable (as opposed to strict)
set usage is somewhat comparable to the serialism of Berg, while his overall
compositional style is perhaps akin to that of Stravinsky, who also incorporates serial
techniques into his own tonal, though modem style.
325
Duetto is a work which stems from both styles of composition, as it contains
serial set procedures within the context of mixed tonalism and bitonalism: often the
work’s backdrop of folk-ish modalities, together with the juxtaposed, often triple and
quintal rhythms and harmonically clashing, more serially-based theme create a
Table 7.5.-Hexachord set in Duetto.
S (RI) *-R (I)

0 2 4 7 9 11
So F G A C D E
Si F# G# A# c# D# F
S2 G A B D E F#
S3 G# A# C D# F G
S4 A B C# E F# G#
S5 A# C D F G A
S6 B C# D# F# G# A#
S7 C D E G A B
S8 C# D# F G# A# C
S9 D E F# A B C#
SlO D# F G A# C D
Si I E F# G# B C# D#
Debussy-like sound. The hexachordal set employed in Duetto, shown in the table
above, can be ordered as a major scale minus the fourth degree {0,2,4,7,9,11}.
though normal best order would be {0,2,4,5,7,9}, a major scale without the seventh.
Both orders lend themselves to tonality or modality. The table above shows the
former ordering of the set All labeled sets in this analysis refer to this ordering.
Each hexachord is combinatorial with the hexachord at an intervallic distance of a

tritone, SO with S6, S 1 with S7, etc. Original and retrograde-inversion produce the
same series, though in practice the series is not used in a typically serial manner
where all members appear once in the specified order within a particular
permutational appearance. Rather, the hexachord is treated in a tonal manner, as a
true set of pitches or a six-note scale from which the pitches of a segment of the
326
music are drawn, perhaps with one or more pitches used repeatedly and others
skipped altogether.
The first five measures of the work, consisting of running sixteenth-note
triplets in the viola, exhibit a strongly tonal employment of the set (see Example
7.43). Each member of the set SO is repeated numerous times before direct
“modulations” to sets S9 and S 11 in measure six. This triplet sixteenth figure is

repeated and varied throughout the first half of the work, mm. 1-50, appearing in
both parts, though rarely simultaneously, and alternating occasionally. Several sets
and tonal centers are visited, in no apparent organized progressions. As pervasive
and intrinsic to the work as this figure is, its function is not thematic. Rather, it
provides a stable texture, but an ever-changing harmonic backdrop against which the
thematic motives are displayed. The effect of this scalar, nearly functional use of the
“ambidextrously” tonal or serial set seems to immediately dispel the serial nature of
the work, instead creating a folk-like pentatonic or hexatonic modality which centers
on a tonality of F and modulates to E and B.

In contrast, the initial statement of the theme, first played by the violin in
mm. 7-12, is composed of set S6, the combinatorial hexachord to set SO. The
“modulations” to sets S9 and S 11 in the accompaniment figure lead directly to the
contrasting “key” of the theme. S6, the initial thematic set, is used in a manner more
typical of set composition (see Example 7.54). This usage shows the second
principle of harmonic construction found in Duetto. The wide intervallic leaps in
this section, quartal and quintal in nature, are not harmonically stable: only a few
pitches are repeated and the tonal center, possibly C#, is unclear.
The arpeggiated figures of the development, derivations of the thematic
motive, provide an encapsulated look at the dual harmonic nature of the work. An
examination of a single figure, mm. 60-61 of the viola plus the triple-stop of the
327
Example 7.54—Theme (excerpt), mm. 10-13, violin, composed of set S6,

{0,2,4,7,9,11}.
"■■
sempre
4 11 9 (4) 2 (4 9) 0
Example 7.55.-Development (excerpt), mm. 60-61.
SO
F Major
Dlm6
G pedal ------------------------------------------------
violin m. 61, will suffice (see Example 7.55). From the perspective of serial set
interaction, a combination of pc-sets SO and S 1 is seen. The blend of sets, arranged
chordally, is also tonally rich, sounding as an extended (added) D#-minor sixth chord
with F major over a G pedal (implied). Here, it is the rich patchwork blend of chords
and sets which creates the sonorous nature of the work.
A third harmonic principle of Duetto can be seen in the chordal response,
where a progression of double-stops is heard in the violin, mm. 12-17 (see Example
328
7.56). One determining factor in pitch selection appears to be that usually one pitch
of a given double-stop represents a half-step descent from a pitch in the preceding

chord, creating a disguised, often disjointed chromatic scale. The remaining pitches,
{F,A,C,G,D,Bb}, form set SO. The intervallic characteristics of the chordal theme
are primarily those of frequently used thematic set relationships, thirds and fourths.
In the second variation, played by the viola in mm. 25-27, the chordal response is
composed of two chromatic lines progressing in opposite directions (with occasional
octave crossings). The sliding chromatics provide a contrast to both the pc-set and
tonal construction of Duetto.
Example 7.56.-Chordal response, mm. 12-16, violin.

______________5
This unique harmonic language of Duetto serves as a tool of formal
unification in two ways. First, as detailed above, the dissimilar theme and
accompaniment share a common pitch-class set, even though in their initial
appearances no pitches are shared. Second, though dissimilar rhythms are usually
found between the instruments in a given section of music, in the instances where
rhythmic similarity is seen, pitches are usually of a similar, if not the same pc-set.
The latter property not only links similar rhythmic bases through common pitch
classes, but adds harmonic distinction to places of rhythmic variance.

In general, Petrassi’s pc-set usage is exclusive to each part during sections
where a clear division of textures is seen between instruments. This most often
329
coincides with a distinct division between thematic group material and
accompaniment figuration, such as is frequent in mm. 1-35. However, single pc-

sets, in which pitches are distributed between both parts, are found when the music is
more consistent between violin and viola. One section exemplifying the latter case is
in mm. 37-41, where four symmetrical permutations, SO, S8, S3 and SI 1, are present
in the combination of the two parts (see Example 7.57). Also in common between
Example 7.57. Symmetrical permutations, mm. 37-41.
un poco agitato
I »V.5f
at
so Sll
Example 7.58.-Common rhythm basis and pc-set shared between instruments, m.15.
mf
so.
330
violin and viola is the rhythm, which is predominantly quintal, with occasional
duples. This coincidence of pitch structure and rhythmic basis, in retrospect, points
to other dually shared pc-sets and rhythms. Examples of this can be seen in mm. 12,
14 and 15, where the pitch classes of the sustained notes in the violin belong to the
pc-sets of the quintuplet “interruptions” in the viola (see Example 7.58). In each of
these measures, though the violin sustains a pitch or double-stop throughout the
duration of the brief quintuplet of the viola, the sustained pitch is part of a larger
phrase of quintal rhythm. Other similar rhythmic bases and common pc-set
permutations can be found following the cadenza.

The link between pitch and rhythmic bases is similar to other dichotomies
seen within the individual scopes of rhythm and pitch. The simultaneous modal and
serial use of the chosen pitch-set reflects the same extremes seen in the work's
rhythmic structure: the organized hierarchy of triplet sixteenths in the
accompaniment figure is complemented by the often quintal, or at least non-triple,
rhythm of the thematic material. This employment of diverse elements does not
merely provide variety in this work, but also obfuscates the repetitive structure. The
theme and variations form itself, which often is allowed to remain a relatively static
device, is altered by Petrassi to the point where one may perceive unity without
repetition. In a genre with a quintessential, fundamental similarity, that of violin and
viola, it was perhaps an attempt to broaden the palette that originally led Petrassi to
employ such diverse musical elements.
331
Analysis of Ingolf Dahl’s
Little Canonic Suite, for Violin and Viola (1970)
Introduction
Composed shortly before Ingolf Dahl’s death in 1970, Little Canonic
Suite.176 for violin and viola, is one of the most accessible modem works for this
combination. Its name, in part, is derived because the underlying or primary form of
each movement in the suite is a canzicrans (crab) canon: in its conceived state, the
score is read by the violinist from one side of the page in treble clef, while the violist
reads the music from the other side of the page-upside down and backward-in alto
clef (see Example 7.59). Though Dahl’s sketches can be played from a single-
Example 7.59.-The opening and concluding measures from the first movement of
Little Harmonic Suite, mm. 1-4 and 24-27, as conceived in their original single-stave
form. Compare this with Example 7.61, below, which shows mm. 1-3 as they appear
in the published edition.
Measures 1-4
irirjir r
Measures 24-27
i #
j
176 Ingolf Dahl, Little Canonic Suite (1970). Kurt Stone, ed. (Hackensack,
NJ: Joseph Boonin, Inc., 1975).
332
staff system with the pages laid flat between the performers, the published
realization displays both parts in score (two-staff) form. This canzicrans

form is not unique-there are other pieces written in this manner for two players-
however, Dahl's work appears to be the only one for the combination of violin and
viola. Before the analysis of Little Canonic Suite, a short historical sketch of the
work’s origin is presented. As the primary form of the suite requires some
consideration of its own, an investigation of the unique properties of the violin-viola
canzicrans canon follows. This includes a discussion concerning Dahl's exploitation

and/or circumvention of these properties. Finally, the suite itself is examined.
The four movements of Suite are arranged slow-fast-slow-fast, and in
addition to their from their canzicrans forms, are imitatively canonic. Dahl, who
served on the composition faculty at the University of Southern California, dedicated

Suite to Paul and Kathie Polivnick, two of his students. The first movement,
originally titled Carmen canonicum for violin and viola, was completed in
November, 1969, in time for the Polivnik’s wedding the following January.
However, due to his ill health and busy schedule, Dahl did not complete the final
three movements of Suite until March, 1970, while on sabbatical near Frutigen,
Switzerland. Included with the completed score were solutions to the canons in the
form of a piano reduction.

Little Canonic Suite is one of Dahl’s last compositions: the composer died in
August, 1970, only five months after completing Suite. The overall form of each
movement of the suite is a canzicrans canon and the two voices, violin and viola, are
free retrograde-inversions of each other. Though this structure is not necessarily
found in any of Dahl's previous compositions, the suite does exemplify many
distinct compositional traits of Dahl. The score is frugal and compact, the
polyphony is clear and the music expressive. Indeed, Halsey Stevens describes
333
Dahl’s Music as: “open and economical” and “never poured.. . .into textbook
molds.” 177 In an analysis of Dahl’s Music for Brass Instruments (1944). Michael
Tunnell states: “Dahl generally wrote in an advanced polyphonic style utilizing free
dissonant counterpoint.”178 An example of Dahl’s economical and polyphonic

writing, A Christmas Canon for Five Voices (1949), is reproduced on p. 106 of
James Nelson Berdahl’s dissertation Ingolf Dahl: His Life and Works. Here, in two
systems, two staves each, is written a five voice canon, including text.179
While the canzicrans canon form may appear to yield a rigid structure in the
retrograde-inversion, the method of construction employed in Little Harmonic Suite
is not as inflexible as one might think. It is significant that Dahl freely uses
accidentals and that those “altered” pitches do not necessarily carry the same
accidental in the retrograde.180 In fact, as the retrograde-inversion does not normally

produce a strict inversion of every interval (the half-steps frequently are in the
“wrong” places), it could have been the choice of Dahl, through the free use of
accidentals, to create a strict retrograde-inversion with respect to intervals, as well as
for rhythm and staff placement of pitches. By choosing the option of allowing
intervallic discrepancy between the original and retrograde-inversion, Dahl is able to
have more control over the harmonic outcome of each movement.181 An example of
177 Halsey Stevens, “In Memoriam: Ingolf Dahl (1912-1970).” Perspectives

of New Music Vol. 9, no. 1 (1970) 147.
178 Michael H Tunnell, “An Essay on Selected Trumpet Excerpts from Brass
Quintets by Ingolf Dahl, Gunther Schuller, Alvin Etler, and Jan Bach.” International
Trumpet Guild Journal Vol. 8, no. 3 (February, 1984) 17.
179 James Nelson Berdahl. Ingolf Dahl: His Life and Works. 102, Ph.D. diss..
The University of Miami, 1975, p. 106.
180 Occasionally, natural pitches carry accidentals in the retrograde-inversion.
181 This alteration of the retrograde-inversion, presumably for the same

purpose, is also seen in Ideas and Transformations, no. 1, by Kenneth Gaburo.
334
Example 7.60: a and b.-First movement, mm. 9-10 and 18-19. Example 7.60: b is
the retrograde inversion of Example 7.60: a. Note the intervallic differences between
the two examples.
a 9
lE f p dolce
a tempo
PP
a tempo
PP
this can be seen in the first movement, mm. 10 and 18 (see Example 7.60). The
triadic relationship of B (in the viola) and D# (violin) is the primary harmonic focus
of m. 10. At the corresponding location in retrograde-inversion, m. 18. the
relationship of the minor second, A#-B, is the focus. Dahl has heightened the
dissonance by using A# instead of A-natural in the viola. Also in m. 18, the C and
C# of the violin are not emphasized and remain less prominent than the Bs. This
heightened dissonance is appropriate before the return of the movement's main
thematic material.
Another property of the violin-viola canzicrans canon is the relationships of
pitches to their corresponding realizations in the retrograde-inversion. Two
possibilities exist: either a note first realized by the violin is later performed (usually
335
Table 7.6.-Corresponding pitch realizations between violin and viola in Little

Canonic Suite.
Violin Ditches Viola Ditches
A (or A* or A#) corresponds to D (or Db or D#)
B (or Bb or B#) corresponds to C (or O or Ct)
C (or O or C#) corresponds to B (or Bb or B#)
D (or Dp or D#) corresponds to A (or Ab or A#)
E (or Eb or E#) corresponds to G (or Gb or G#)
F (or Fb or F#) corresponds to F (or Fb or F#)
G (or Gb or G#) corresponds to E (or Eb or E#)
as a different pitch) by the viola, or a note first played by the violist is later read by
the violinist Table 7.6 shows (for both cases) how these corresponding pitches
relate. Since accidentals are used freely, “black key” pitches do not alter the possible
corresponding pitches in the retrograde inversion.182 F (or F> or F#) is the median, or
shared pitch between the violin and viola, and pitches whose letter names are
alphabetically equidistant from F (for example: A, a third above F, and D, a third

below F) are paired as corresponding pitches between the instruments. Because F
serves as the median pitch, Dahl is able to harmonically unify the work by choosing
chords or harmonies whose pitches are equally spaced around F. In Example 7.61,
mm. 1-3 of the first movement is shown. This same material is again played in the
retrograde-inversion at the conclusion of the first movement, mm. 25-27. Since the
chords which have been marked with an “x” in the example are mirrored in each clef
(around F), the resulting pitch content is not altered by the inversion, thus producing
182 For instance, a pitch B-natural in one part would correspond to C, C#, or
C-flat in the other part. Likewise, the pitch B-flat would also correspond to pitches
C, C-flat or C#.
336
Example 7.61.—Little Canonic Suite, mm. 1-3. Each x denotes a mirrored chord.
Allegro Energico
f►
►
- ”-*-
- $ J P I }-=5=Fh
— *
—
i r t r H -J- t
r r i T if! t 4 Ml
!
•> / i
H«1i~i—
,— >
E_.. II ,jf£=-- r J «
1
► ' 1 r t if r
/X j XX XXX
a simple retrograde of the passage.183 Dahl's use of corresponding pitch
relationships is also evident in mm. 9-10 and 17-18 (see Example 7.60). With the
careful placement of free accidentals, the eighth-note motive of the violin in mm. 17-
18 becomes a near repetition of the eighth-note motive of the viola part of mm. 9-10,
though the two passages are retrograde-inversions.
A similar property of the violin-viola canzicrans canon form is that the upper
three open strings of one instrument are retrograde-inversions of the upper three
open strings of the other instrument. Dahl exploits this timbral relationship at least
once in the suite. In mm. 23-24 of the second movement, the violin part is not only
the retrograde-inversion of the viola part in mm. 13-14, but the violin line can be
readily heard as an imitation, in diminution, of the viola part (see Example 7.62).
This relationship is enhanced by the timbral similarity of the open strings. Dahl’s
intentions of this are clearly indicated in each part (this can also be found in the
original single-stave manuscript). In movement four, mm. 70-76, Dahl indicates that
strings III and IV of the viola, G and C, are to be used, intending the lower note of
,83 The exception is the two single notes, each present in both the first and
last measures.
337
Example 7.62,-Comparison of measures 13-14 with 23-24 in Little Canonic Suite,

movement two.
marcato
Measures 13-14. Measures 23-24.
the double-stopped accompaniment figure to be played on the open G-string. In this
instance, it may be surmised, though it is not directly indicated in the published

score, that during the retrograde-inversion, mm. 24-29, an open string should be used
in the violin part.
The greatest restriction placed on a composition of violin-viola canzicrans
canon form is the pitch range of the composition, from c (open-C on the viola) to b"
(on the violin). This range could be slightly extended with the use of double sharps
to reach (in effect) c#'" on the E-string, or greatly extended by the use of scordatura
(retuning the C-string lower on the viola and writing the part at the sounding pitch),
but Dahl does not exploit either possibility. The narrow range Dahl has chosen helps
to create an equality of parts, as each instrument is restricted to notes playable in first
position.
Apart from the primary violin-viola canzicrans form of each movement,
secondary canonic imitations are found within each movement. In the first
movement, following a chordal introduction, the main thematic material is presented.
This theme, which begins on the last beat of m. 4 in the viola, is imitated three times
338
(though not in strict canon) before the first cadence, m. 9. From the standpoint of
rhythm, the main theme consists of two longer pitches followed by three shorter
notes. If repeated without interruption, as seen in the viola part between mm. 3-9,
the theme becomes a (free) rhythmic palindrome: when played by the violin in mm.
19-25, this same material functions both as a thematic imitation (recapitulation) and
a retrograde-inversion.184 The central section of the first movement contrasts the
outer sections. The spaciousness of the opening theme is replaced with an uneasy,
scurrying melody, which disguises the geographic center, or “turn-around” point of
the movement, where the retrograde-inversion begins. Similar obscurement of the
central pitches is seen in all four movements. In addition, the geographic center of
every movement falls between two notes and never on a single pitch. Of the four
movements, the first contains the most textural variation, including two contrasting
themes in ternary form with an introduction and conclusion.

The second movement is the only movement of the suite in which there is a
deviation from the established primary form. Though the movement is still a violin-
viola canzicrans canon, the tempo of the viola part is augmented by a ratio of 2:1.
The intent of the original score is to have the violinist play at a tempo of 126 to the
half-note, while the violist reads (still upside down and backward) at a tempo of 63
to the half note. The published realization, altered so that the parts can easily be read
together as a score, reduces the note value in the violin part by half, i.e. changing
quarter notes to eighths. The augmented canzicrans creates the only imbalance
(strictly in terms of the number of notes played) between the instruments during the
184 It is also interesting to note that the repeated rhythmic theme interferes
with an expected coda. In a canzicrans canon, an introduction, as found in
movement I, measures 1-3, implies a coda. Yet, the final chords of the first
movement are heard as an extension of the theme, rather than as an added entity
(coda).
339
suite. The additional material played by the violin is thematically derived and
counterpoint to the viola line.
The second movement also is the most motivically constructed movement of
the suite. Apart from the canzicrans canon, the imitation between parts is primarily
motivic, rather than thematic, only hinting at melodic imitation. Most of the material
in the second movement is derived from a single motive, which, for the violin,
consists of three eighth notes plus a single eighth separated by a rest (shown in
Example 7.63). This primary motive is often lengthened (by the addition of eighth-
notes), reduced or presented in retrograde form. Though present in the realization of
the viola part, the primary motive is not as easily heard. This is partly due to the
Example 7.63.-Beginning of movement two, Little Canonic Suite. The brackets

illustrate the primary rhythmic motive used in the movement.
Presto r~ — “
^ pizz. sempre,e sempre leggiero
\>9
a I'*--!— K'b* r - . lir.r «<
■
t —t 1 - 7 - " v
T * r p - 7W
1 pizz•sempre, e sempre secco
f-
4?)i -------9------- —*------m-----
— w— -------r ~ * N
/
reduced tempo of the viola part (in the original conception of the work): the viola
part sounds more accompanimental and less thematic or motivic than that of the
violin. This temporal duality gives the movement a “jazzy” feeling, with the viola
acting as a “walking bass” and the violin dancing and offbeat.
With the consistency of the primary and intra-movement canonic structures
employed by Dahl in Little Canonic Suite, the apparent through-composed section of
340
the second movement is troublesome. Ostensibly, and audibly, it is the only one of
four movements that is not ternary. However, an overlapped variant of ternary is
detectable. At the movement’s beginning, the viola performs the concluding

material of the violin part in half-speed retrograde-inversion. These two parts (the
entire viola part plus the latter half of the violin part) form the similar “outer
sections,” while the additional, thematically derived material that is performed by the
violin at the beginning of the movement, forms the “central,” yet overlapped section
of the ternary form.

The third movement is the most traditionally imitatively canonic movement
of the four. It is again in ternary form, similar to the first movement, the first and
third sections similar in content. The melodic opening phrase of the first section is
initiated by the violin and contains several wide leaps of the seventh, octave and
ninth. The viola first imitates the phrase at the octave, then continues in a free
inversion. The second phrase begins in the viola, m. 3, and is imitated in inversion
by the violin. The third and fourth phrases of the violin part, mm. 5-9, are inversions
of the first and second phrases. Though the viola begins an inversion of the third
phrase in m. 6. this is discontinued by the seventh measure. Instead, the viola’s line
becomes a scalar counterpoint to the violin.

In contrast to the first section, the central portion of the third movement
generally moves by step, with few melodic leaps. In this section, planed chords and
matching rhythms create the effect of a single instrument-one of the few non-
polyphonic settings in the suite. Proportionally distributed around the geographic
center of the movement, an A-major scale (transitioning to E-major) is heard
ascending through both parts (see Example 7.64). Beginning in m. 14 in the upper
voice of the viola, the scale changes parts three times en route to its conclusion in the
lower voice of the violin, m. 18.
341
Example 7.64.-Movement three, mm. 14-18. The bracket illustrates the boundaries
of the embedded A-major scale. The vertical dashed line denotes the mid-point of
the movement.
The final section of movement three returns to the character of the first
section. In that first section, as with most imitative canons, the phrase beginnings
adhere to a more exacting imitation than do the phrase endings. In the final section
of the movement, since the phrases are the retrograde-inversion of the musical
material from the first section, the imitation is not immediately apparent to the ear
and only becomes noticeable as the phrases end.
Movement four brings a light-hearted conclusion to the Litde Canonic Suite
and is similar in spirit to a Classical Rondo. Again ternary in form, this movement
most resembles the second movement in both texture and motivic content. The three
motives, shown in Example 7.65, below, are repeated in varying orders and
juxtapositions to form a rhythmically active and vital texture somewhat similar to
Kenneth Gaburo’s Ideas and Transformations, no. 1. Though the movement is again
internally imitative (in addition to the overall canzicrans form) obvious

accompaniment parts can be found. Examples of this include mm. 3-6 of the viola
(see Example 7.65) and 23-28 of the violin (see Example 7.66). Sections such as
these give the writing a light, whimsical nature. This is also the only movement
342
Example 7.65.-Beginning of movement four. Little Canonic Suite. Brackets

illustrate the three primary motives.
Allegro grazioso
Example 7.66.-Accompaniment figure in movement four, violin.
-------- , - i ! : _■=
-HE
■ * — - 9 — +-
J : V
23
ffX m . j jlrT^=
= --—
*-------- fr *' “» — -f
■ ■■ (*
-L--- | -------------
r dolce espr.
containing actual meter changes, though implied metric changes occur in all the
movements. These also adhere to the canzicrans canon form.
Throughout Little Canonic Suite, with the possible exception of the second
movement, the two parts remain equals in technical and musical prominence.
Though the equivalent status of the violin and viola is mostly due to the canzicrans
form of each movement, it is also evident on the level of the phrase. Most phrases
contain equally-weighted, interactive parts and true polyphonic writing. As a
wedding gift, Little Canonic Suite seems to be a highly appropriate tribute to Dahl’s
343
own esteem of marriage: it was only a few months after its composition that Dahl's
beloved wife Etta died, the date of which Dahl referred to as “that terrible Sunday of
leave taking.. .” 185 As a work of music, Little Canonic Suite is a challenging,
interactive and conversational work requiring skilled execution and superior
musicianship.
185 Ingolf Dahl, letter to “Dear Friends,” June 28, 1970; quoted in Berdahl.
Ingolf Dahl, p. 102.
344
Analysis of Duo Concertante. for Violin and Viola,

by Paul Chihara
Written in 1986 by Paul Chihara, Duo Concertante. for violin and viola, is
dedicated to Milton Thomas and Yukiko Kamei.186 It is a three movement work,

cyclic in nature and written to be played without breaks between movements. A
demanding work for both instruments, Duo is structurally akin to a fantasia, with
lyric melodies, rapid sections of figuration and, on its surface, a vague or disguised
form. Duo is constructed around two opposite textures: first and predominant is the
work’s lyric nature; second, are the figurative and developmental settings.
Typically, these two textures divide the work into sections, with little or no transition
between. The atmosphere of the work hinges on their interrelationship. Also
inherent is a seeming conflict between Classical and Romantic forms and

instrumental function. This analysis of Duo Concertante focuses on three topics:
formal structure, thematic presentation and development, and the role of the violin
and viola.
Formal Structure and its
Relationship to Thematic Presentation and Development
The form of Duo Concertante. while original in many respects, follows a
typical fast-slow-fast ordering of movements. The musical weight lies in the outer
movements. Though only the introduction to the work is marked “con fantasia,” the
entire work is, in essence, an extended fantasia. The first and third movements, in
addition to their arch forms, are structured Classically. The first movement is a
modified sonata form, while the third is a rondo. Though the third movement begins
in the spirit of a perpetual motion or rondo, it returns to the fantasia mood of the first
186 Paul Chihara. Duo Concertante (New York: Henmar Press, Inc., 1989).
345
movement The brief arch form second movement essentially functions as a
transition between the outer movements.

The first movement is a modified sonata or arch form. Figure 7.11, below,
shows the sectional divisions and associated themes within this structure. A short
introduction marked Andante precedes the exposition and sets the general tone of the
work (see Example 7.67). It is significant that here the viola accompanies the
Figure 7.11.-Formal Structure of Duo Concertante. first movement.
Sonata Form: Intro. Exposition

1st group 2nd group
Tempos: And. Tempo I, Allegro Tempo II, Meno
Sectional meas. #: 1 7 51
Thematic Material: a b b’ a’ b’ a1 c c' a'
Meas. # Theme: 7 13 20 29 35 45 51 63 71
Sonata Form: Development Recapitulation

I II III second, first
Tempos: Tempo I Tempo II
Sectional meas. #: 73 117
Thematic Material: a/c c face. fig.J c a b
Meas. # Theme: 73 89 105 117 127 142
violin’s lyric melody. This characteristic is seen in the majority of settings in Duo.
In the first thematic group two principal themes are used. The first theme, mm. 7-11,
is played in octaves by the two instruments, making a broad, accelerating sweep

from the upper to the lower registers. An examination of this theme, labeled “a” in
Figure 7.11 and shown in Example 7.68, reveals three elements that are revisited
throughout the entire work. These characteristics include: an initial interval of the
minor sixth, the parallel presentation by violin and viola and the gradual descent in
register over the duration of the theme. The interval of the minor sixth plays a
pivotal role in Duo. Several phrases are played in parallel sixths, reappearances of
melody are often a minor sixth lower or higher, and motives frequently outline the
346
Andante con fantasia
A arco i Iff.
90-— -
i. ±-
pizz.
Allegro
rallentando . . r:
pocoa ccel.. . .
irco
3 ' 3_ rallentando . . rr
poco accel. . . .
Allegro ma non troppo, Tempo I.
interval of the minor sixth. Parallel motion between the two parts is often employed
in Duo. Not only are parallel minor sixths prominent, but brief passages in parallel
thirds (for instance, between mm. 95-10 in the first movement), octaves (m. 55 of the
347
third movement) and seconds (mm. 84-85 of the first movement) can be found as
well. This harmonic device often associated with theme “a” is also common in
developmental passages. The descent of the theme from upper to lower registers
foreshadows at least two elements. Both the first and third movements conclude
with a descent in register. Also, the three subsequent main themes, labeled in figures
7.11 and 7.12, are introduced in order of registral descent (“b” and “c” are initially
seen in movement one and “d” appears in movement three).
The second theme of the first group initially appears in the high register of
the violin, m. 13 (see Example 7.69). The theme, marked espressivo. soars in the
same register until it makes a sudden descent in m. 16. The viola accompanies with
rolled eighth-note arpeggios across all four strings. The theme is then restated a
minor sixth lower by the viola (see Example 7.70). The violin’s accompaniment also
consists of eighth-notes, but is a narrowly registered, twisting scalar figure. Though
the second theme closely follows the first (only six measures separate the initial
presentations of each), they remain distinct in function and appearance.

In m. 29 is a culminating restatement of theme “a,” led to by a four-measure
ascent. Both the theme and its precursor are in parallel minor sixths, the latter a
348
JZrrrr- - irn 1
mp
--------- £*— F Y £ = -I r w t?
i
jg !
continuation of the violin’s accompaniment figure. In m. 35. theme “b” is also
restated, set in similar fashion to its original presentation (see Example 7.71). The
melody, which begins in contrary motion to its appearance in m. 13, can either be
seen as a variation or a continuation of the earlier appearance. In m. 45, the first five
pitches of theme “a” appear in augmentation (whole-note values) for both violin and
viola in a syncopated imitation at the minor third (see Example 7.72).
The second thematic group consists of one theme, labeled “c” in Figure 7.11
and shown in Example 7.73. The melody, marked cantabile and initiated by the
violin, sounds slightly reminiscent of themes of Mahler. The motion of the phrase is
349
p-
' 'P
'almo pp
poco rit. ..
i l
pp
poco rit. . .
Meno Mosso, Tempo II

caruabile
350
on the first and fourth beats of the measures, leaving the central beats sustained. The
viola’s accompaniment, a rolled triplet figure, begins on the lower two strings and
gradually ascends in pitch and intensity throughout the phrase. The cantabile
melody makes a second appearance in m. 63, presenting an arch of register and

rhythmic activity. Its accompaniment in the viola is similar but less predictable. The
opening material, “a,” makes a shortened appearance as a two-measure transition
into the development, marked Tempo I, beginning in m. 73.
The central section of the movement is a technically challenging
development in which the melody and several of the characteristics of theme “a,”
along with theme “c,” are incorporated. Though marked Tempo Primo. there is a
strong contrast in texture between the development and the first thematic group, the
original Tempo I. Also surprising is that theme “c” of Tempo II remains more
recognizable in its original than does theme “a.” There are three sections in the
development, each with a different, primarily figurative, setting. The first section
presents a rhythmic diminution of theme “c” to eighth-quarter-eighth. Retained is
the motion of its extremes. The general intervallic ascending-descending shape of
theme “c” is also present, though frequently the second interval is a minor-sixth,
recalling theme “a.” An example of this integration of thematic material is seen in
Example 7.74,-Movement one, mm. 84-85.
rf-HH1/—1__ rt*\
-
> J2*- -- (.^ ^ i
------r
0 ■
r I ^ | J^
j—" p=#r=fiK-
'■a-A 4 j—*— ■1
*- —
Ir
351
m. 84 (see Example 7.74), where both violin and viola play the reduced rhythm of
“c” in parallel sixths (major and minor) within their own parts, while a ninth
separates the instruments. In the second section of the development, beginning in m.
89, a repetitive setting is presented. Here, the meter is reduced from a quarter-note
beat to a 3/16 duration. The primary figure of 3/16s-perhaps derived from an
inversion and further reduction of theme “c”-is reiterated numerous times (see
Example 7.75). Both instruments continue this figure through m. 104, sometimes in
contrary motion and at varying intervallic distances from each other, with only one
brief interruption. Section three of the development, beginning in m. 106, is a
sixteenth note variation of the accompaniment to theme “a,” now played chordally
352
by both instruments in alternation (see Example 7.76). The final few measures recall
the material in section one of the development The final arpeggiated figure before
the recapitulation is a reduction to sixteenths of theme “a” (see Example 7.77).
The recapitulation presents the thematic groups in reverse order, thus

completing a thematic arch which encompasses movement one. An arch can also be
“V-j* * wV0-
i^ a s r t r f r F i ' * UJ ' :_r |
Jf 35
f
k
IFr--------.TOJ 1 rr r ,pfe0—' —k
5? 4pr*
Example 7.78.-Movement One, mm. 127-134.
Calmo
A
rJ>f r■ tT p - = | f
5-----------
T7 —
2 ' '
te —
r > - -i - >---------- —
U&tJ
tp '’J
Pr Y—
P
= (= = F
/J : j J :
mp ^ z= = -
tp T i' u
I S :* f J
- s , . " 11 " i iA
------- — ////>,-—'
353
seen in the movement’s polarized textures: the exposition and recapitulation are
predominantly lyrical, while the development is fast-paced and figurative. First in
the recapitulation, which begins in m. 117, is a shortened version of “c.” As with the
initial appearance of this theme, eighth-note triplets accompany in the viola. In m.

127, marked Calmo. the instruments play a stretto variation of theme “a” (see
Example 7.78). This section corresponds to mm. 45-50 (see Example 7.72), which
precedes the initial appearance of theme “c.” The slow syncopation in mm. 127-30
makes a rhythmic accelerando until m. 134, then subsides. Measure 142 marks the
final appearance of theme “b,” which is gradually slowed as the movement
concludes, ending pianissimo in m. 155.
Movement two primarily functions as a transition between movements one
and three, borrowing one motive from each movement. At the beginning of the
Molto moderato
Sul Tasto______________ o
----- ---“ TT"-------------- 1 > ■ ;» .
- J U *— l r > -
-----------------------J — -----------
__
-T S fr - - * - j
Sul Tasto
(N
A 'J A ■-> --------- — > « r "

i
--------*------------- - —
b*
PP< >
movement is a figure consisting of two grace-notes followed by a quarter note (see
Example 7.79). This is eventually heard as the initial motive of the third
movement’s only original theme, labeled “d” in Figure 7.12. The grace note figure
is reiterated several times in the beginning and final portions of movement two. One
354
— ±
— 3—'
>~y eT ip
u= —
i 1 •=*
jô : = -^-\
[4 * ^ ....‘'P pp |
Sul Tasto ^ j
n> ::^
additional motive, a reduced variation of theme “c” from the previous movement is
heard in the central portion of movement two (see Example 7.80).
Movement three contrasts two predominant textural ideas. These divide the
movement in to six sections. Sections one, three and five, all marked allegro, present
figuration in fast tempi. Sections two, four and six contrast each preceding section
with a return to the slower ‘espressivo’ themes from movement one. Figure 7.12,
below, shows thematic details within the overall form of movement three:
ABABAB.
Figure 7 .12.-Formal structure of Duo Concertante. third movement.

Section: I II III IV V VI
Form: A B A B A B
Tempos: Allegro molto Moderato Allegro vivace Moderato Allegro Moderato
Sectional m. #: 1 55 74 95 104 107
Thematic Mat.: (d) fig. d d' (fig) a b a (figuration) a ascent (a) b
M. HTheme: 14 17 32 35 55 62 70 74 95 104 107
355
Section I, mm. 1-54, begins in the style of a rondo. The first three measures
(plus the anacrusis in the final measure of movement two) introduce the faster tempo
and hint at the initial appearance of theme “d” in m. 17. The grace-note motive from
movement two is now presented as two sixteenth-notes and an eighth. However, the
movement shifts abruptly into repetitious sixteenth-note fragments (see Example
7.81). The instruments play contrasting four-note motives, similar in their setting to
Example 7.81.-Movement three, mm. 4-5.
the repeated figures of the second developmental section of movement one, mm. 89-
105. The solitary new theme presented in the third movement, the only thematic
material initiated by the viola during the entire work (labeled theme “d” in Figure
7.12) begins during the extended anacrusis to m. 17 (see Example 7.82). The theme
is light and springy, suggesting a dance, and is constructed from a single, often
varied, motive. This motive, foreshadowed in the second movement, consists of two
sixteenth-notes followed by two eighths, its final interval usually an ascending
octave or sixth. The violin accompanies with brief arpeggios and scalar figures in
constant spiccato sixteenth-notes. After m. 23, the theme undergoes brief
transformations during a transition to its presentation by the violin. At m. 32, the
instruments switch roles and the violin briefly re-establishes the original thematic
motive. By m. 36 the instruments have begun a long passage of arpeggiated
356

Spiccato
-
ftl=^4
±H iLc
.!« \
1 1
uK. w m 3B= *=4 jS
3^
357
figuration in sixteenth-notes (see Example 7.83). Though occasionally interrupted

with scalar passages, the arpeggios (usually rolled across three or four strings)
continue in both parts until a culminating scale in octaves is reached in m. 54.
In m. 55 (section II in Figure 7.12), the movement returns to the texture of
the exposition of movement one. Theme “a” is played in its original octave form,
both instruments now a minor sixth higher. The ‘espressivo’ second theme is
presented by the violin in m. 6, though without its previous accompaniment. Instead,
the viola presents a variation of “b” in counterpoint to the violin. This passage is
espressivo
£
i
espressivo
- e ---------
-*<9^ |i a -
e
Lfijd==#=■ f — i—
one of the few contrapuntal settings in the work (see Example 7.84). The final four
measures of this section, mm. 70-73, are a solo restatement of theme “a” in the
violin.
In mm. 74-94, the third section of movement three, a fragmented re-visitation
of previous figuration is presented. Included are short scalar and arpeggiated
358
passages, two sections with a 3/16 pulse reminiscent of passages in movement one,
and occasional hints of thematic motive “d.” A restatement of the opening theme is
presented in both parts in mm. 95-103 (section IV in Figure 7.12). The instruments
are in parallel minor sixths, though each adds short arpeggiated figures to the
melody.
The final return of the allegro material, heard in mm. 104-106 (section V in
Figure 7.12), is brief though definite in character. The instruments are an octave
apart and play the same ascending triple figuration from low to high registers.
Measures 107-118, loosely based on theme “a,” is a gradual descent back to the
lower registers after the rapid ascent in the Allegro. The piece ends, as does the first
movement, with a presentation of theme “b” by the violin together with its original
accompaniment of rolled eighth-note arpeggios in the viola. The final eight bars are
almost an exact repetition of the last eight measures of movement one.
Instrumental Interaction
The roles of the two instruments are clear from the beginning: the violin
primarily presents the melody while the viola plays moderately demanding
accompaniments. One prominent characteristic of Duo Concertante is the frequent
employment of the high register of the violin. Often, the melody remains in this
range for a considerable period of time, leaving most of the accompaniment to the
viola. When analyzed from a thematically-centered perspective, the consistent

placement of melodic material in the upper register o f the violin creates considerable
inequity in the parts. The only melody initiated by the viola is heard for but a few
measures in the third movement. In truth, however, the viola part is technically
demanding and extremely important, especially in the accompanying figures. While
the violin is busy sustaining espressivo notes in the upper register the viola is
359
frequently rolling non-idiomatic ever-changing arpeggios across all four strings,

giving body to the combination. Other accompaniment figures are no less difficult.
The two instruments also make simultaneous presentations of much of the material,
frequently in octaves. Careful tuning and coordination must be made between

players. Surprisingly, there is relatively little true counterpoint, imitation, or
alternation of motives.
Conclusion
Overall, Paul Chihara’s Duo Concertante comes across as a paradoxical
work. Duo is Classically structured, both in the general tempi of the movements, i.e.
fast-slow-fast as well as within the first (sonata form) and last (rondo form)
movements. Yet the arch form and cyclic structure of the entire work breaks the
Classical mold. The prevalent Romantic style and full sound, together with the more
Classical arrangement of melody and accompaniment serve to display each

instrument with distinction and character. This work is not typical for either the
composer, who is known for his more experimental works, or the genre, and should
be included among the better modem works for violin and viola.
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Schielderup-Ebbe, 1967.
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Roxanna Patterson, viola. Composer’s Recordings, Inc. CD 687. Liner notes
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370
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Martinu: Chamber Music. Eliot Chapo, violin and Barbara Hustis, viola. An
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notes by Rita H. Mead, c.1981.
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________ . Three Madrigals, in Virtuosic Duos for Violin and Viola. Charmain
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Kenneth Mirkin. viola. Orion Master Recordings, Inc. Opus 1, 149 CD.
[ 1990?) [no credit for jacket notes |
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Quartet. Nicholas Mann, violin and Katherine Murdock, viola. Laurel
Record LR-850CD. Liner notes by Lawrence Weschler and Charlotte Erwin,
1991.
Toch, Ernst. Divertimento op. 37, no. 2, in Virtuosic Duos for Violin and Viola.
Charmain Gadd, violin and Yizhak Schotten, viola. Crystal Records Stereo
S632. Jacket Notes by David Pennell, 1982.
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UNIVERSITY OF CALIFORNIA, SAN DIEGO

A Study of Twentieth-Century Violin and Viola Duos,

Including Critical Reviews and Analyses of Selected Works

A dissertation submitted in partial satisfaction of the

requirements for the degree Doctor of Philosophy in

Conrad David Bruderer

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UMI Microform 9839494

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University of California. San Diego

Signature P a g e ....................................................................................... iii

List of T a b le s ......................................................................................... vii

List of Examples..................................................................................... viii

Overview of Duo Repertoire............................................................ 9

IV. Critical Reviews of Twentieth Century Violin andViola D uos 42

V. Discography of Recorded Violin and Viola Duosof the

VI. List of Violin and Viola Duo Literature of the Twentieth

VII. Analyses of Selected W orks.................................................................. 235

Formal Analysis of Three Madrigals, for Violin and Viola,

Analysis of Wallingford Riegger’s Variations, for Violin

Analysis of Ingolf Dahl's Little Canonic Suite, for Violin

Works Consulted.................................................................................... 360

Analysis of Divertimento. Op. 37, No. 2, by Ernst Toch

Analysis of Wallingford Riegger’s Variations, for Violin and Viola , Op. 57

Figure 7.2.-ClassicaI phrase structure in the theme............................. 270

Harmonic and Rhythmic Sets and Symmetries as Structural Components in

Figure 7.6.-Attack points per measure. Transformation: II. mm.

Analysis of Duo Concertante. for Violin and Viola, by Paul Chihara

Figure 7.11. Formal Structure of Duo Concertante. first movement.. 345

Table 3.1.-Categorized Dates of Composition of Violin and Viola Duos

Discography of Recorded Violin and Viola Duos of the Twentieth Century

Table 5.1-Index to Composers.............................................................. 209

Table 6.1.-List of Violin and Viola Duo Literature of the Twentieth

Formal Analysis of Three Madrigals, for Violin and Viola, by Bohuslav

Table 7.1 .-Development of motive “b,” mvt. o n e ............................... 262

Harmonic and Rhythmic Sets and Symmetries as Structural Components in

Table 7.4.-Permutations of sets A and B .............................................. 291

Analysis of Duetto, for violin and viola (1986) by Goffredo Petrassi

Table 7.5.-Hexachord set....................................................................... 325

Table 7.6.-Corresponding pitch realizations between violin and viola 335

Analysis of Divertimento. Op. 37, No. 2 by Ernst Toch

Formal Analysis of Three Madrigals, for Violin and Viola, by Bohuslav

Analysis of Wallingford Riegger’s Variations, for Violin and Viola, Op. 57

Harmonic and Rhythmic Sets and Symmetries as Structural Components in

Example 7.26: a. b. and c.-Idea: I. mm. 1-4 ........................................ 293

Analysis of Duetto, for violin and viola (1986) by Goffredo Petrassi

Example 7.43.-Accompaniment, mm. 1-2, viola............................. 316

Example 7.59.-Measures 1-4 and 24-27 ................................................ 331

TEACHERS and MASTER CLASSES