The appropriate register of the instrument. The tuning of different instruments was the same (c-g-d’-a’), but the size of the body and other differences defined 2 I §2)Īlthough violas were already established as one of the principal members of the violin family in the 16 th century, one cannot talk about a viola of those times without mentioning its size and register. Some call it the Hand Bass-Viol, which is, however somewhat larger than the Bassoon Fiddle.” (Leopold Mozart: A Treatise on the Fundamental Principles of Violin Playing Ch. It takes the place of alto as well as tenor, and if necessary the bass to an upper part, for which otherwise a Sixth kind would be needed namely, the Bassoon Fiddle, which differs slightly in size and stringing from the Viola.
“A fifth sort is the Alto Fiddle (called by the Italians ‘Viola du Braccio’, or ‘Viola’), commonly known as the Bratsche (from Braccio, arm). Information on the origin of the work and its source, as well as other details concerning the editorial principles are furnished in the Editorial Notes in the score (BA 5878).”
Editorial additions are indicated in this part as follows: Slurs by broken lines dynamic signs, trills and fermatas by smaller print. In the present arrangement for viola and piano, the viola part remains unchanged and is thus identical with the version in the score. The editorial note refers to the orchestral score by Bärenreiter (BA 5878): “This publication is based on Wolfgang Hirschmann’s Urtext edition of the Telemann Viola Concerto, TWV 51: G 9 (BA 5878). Normally a harpsichord is used for the continuo part alongside a bass stringed instrument. The edition notes the orchestration of the original piece, which is a four-part string orchestra (Violin I, II, Viola, Basso continuo). I had access only to the following edition:īärenreiter Urtext (BA 5878a): TELEMANN, Georg Philipp (2002) Concerto in G major for Viola, Strings and Basso continuo TWV 51: G 9 (Piano Reduction) Edited and preface by HIRSCHMANN, Wolfgang (London : Bärenreiter) 1 There is no information on the first performance. Riley (1980) states that the concerto was first published in 1731, also mentioning in a foot note that it was then out of print for more than two centuries. Stylistic evidence supports the assumption that even if the work does not belong to the earliest stratum of his concerto output, as represented by the compositions of his Eisenach period (1708-12), it probably originated during his years in Frankfurt (1712-21), perhaps more precisely between 17.” (2002). The New Groves Dictionary of Music dates its origin between the years 17, as does Wolfgang Hirschmann: “Owing to the date of the source, we can state with certainty that Telemann wrote this concerto before 1728. Telemann’s viola concerto in G major is possibly the earliest (surviving) concerto for solo viola. Historical Background and Details of First Performance
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