Download Annotated Bibliography of Etudes, 1780-1860

Learning Viola Technique Through Original Etudes
ASTA National Conference
Detroit, Michigan
March 8, 2007
Presented by Steven Kruse
West Virginia University
Annotated Bibliography of Etude and Method Books (1780-1860)
Compilations and Collections
Drüner, Ulrich, editor. Méthodes & Traités 16, Collection dirigée par Jean Saint-Arroman, Série II, France 18001860: Alto. Three Volumes. Paris: Fuzeau editions, 2003.
This work contains reprints of methods and treatises related to the viola published in France between
1800-1860, including works and writings by Adhémar, Alday, Baudiot, Berlioz, Bruni, Castil-Blaze,
Choron, Garaudé, Gebauer, Kastner, Martinn, Panseron, Reicha, Roger, and Vimeux.
Drüner, Ulrich, editor. The Study of the Viola. Three Volumes. Kassel: Bärenreiter, 1982.
This work is a compilation of etudes originally written for the viola between 1799 and 1915,
organized progressively based on technical challenges. Volume 1 contains studies at the
intermediate level, similar to the technical demands of the violin etudes of Mazas. Volume 2 is
comparable in technical level to the violin etudes of Kreutzer. He compares the etudes in the
collection to specific etudes from Kreutzer. Volume 3 consists of thirty concert etudes on an
advanced level. Composers represented include Blumenthal, Cartier, Casimir-Ney, Cavallini,
Cupis, Giorgetti, Göring, Hermann, Hofmann, Kupfer, Lestan, Meyer, Ritter, Rolla, Schloming,
Schneider, Sitt, Steiner, Vieuxtemps, and Weinreich.
Kruse, Steven Lewis. The Viola School of Technique: Etudes and Methods Written Between 1780 and
1860. D.A. Dissertation. Muncie, Indiana: Ball State University, 1985.
The work contains a review of the history and development of literature and technique for the
viola, an analysis of the violin and viola etudes and methods of the period, and an appendix
consisting of sixty pages of representative viola studies, arranged progressively. Composers
represented in the appendix include Blumenthal, Campagnoli, Casimir-Ney, Cupis, Garaudé,
Giorgetti, Hoffmeister, Kayser, Martinn, Praeger, and Rolla.
Lainé, Frédéric, editor. L’École de L’Alto: Études originales et progressives pour alto en 6 volumes.
Paris: Gérard Billaudot, 1992 (Vol. 1, 2), 1994 (Vol. 3), 1995 (Vol. 4), 1998 (Vol. 5), 1999 (Vol. 6).
This work is a collection of original etudes from the nineteenth century, arranged progressively in
six volumes. Volume 1 remains in first position. Volume 2 covers first through third positions.
Volume 3 goes through fifth position. Volume 4 extends through seventh position. The last two
volumes encompass the entire range of the fingerboard, requiring progressively more difficult
technical demands. Composers represented include Alday, Bruni, Campagnoli, Cartier, Cavallini,
Firket, Garbe, Giorgetti, Hoffmann, Lutgen, Martinn, Marque, Roger, Rolla, and Sitt.
Method Books and Tutors
These works contain written explanations of the viola, the clef, basic technique, and musical terminology, often with
diagrams of the fingerboard and fingering charts. Many of the etudes are written in duet form, for violin and viola,
two violas, or viola and basso continuo.
Alday, François, Père. Grande Méthode Pour l’Alto Cotenant : La connaissance et l’Etendue de l’Instrument,
Vingt-cinq Exercices, Dix leçons Elémentaires avec Accompt. trios Duos pour Alto et Violon et trios
Fantaisies ou Rondeaux. Paris: Lyon, Arnaud, n.d.
This work has been reprinted in Méthodes & Traités 16, Volume I, edited by Ulrich Drüner.
Alday (1761-1835) was a violinist, organist, and teacher who worked in Paris during the first part
of the nineteenth century. The Grand Méthode Pour l’Alto, published around 1827, is one of his
most well-known works. The Méthode consists of a brief discussion of playing the viola and
reading the clef, thirteen short lessons, and twenty-five etudes, two with sets of variations. The
etudes remain mostly in first and third position, with a few passages ascending to fifth position.
Basic legato and staccato bowing techniques, as well as string crossings, are covered. There is
extensive use of double stops. The technical level is more difficult than the Kayser violin etudes,
but not as difficult as the Mazas etudes for violin. They are comparable in level to the Bruni viola
studies.
Bruni, Antonio Bartolomeo. Méthode Pour L’Alto-Viola Contenant les principes de cet instrument Suivis de
Vingt-cinq Études Dediée a Monsieur Fabignon. Paris: Janet et Cotelle, 1818.
Reprinted in Méthodes & Traités 16, Volume I, edited by Ulrich Drüner.
Selections from the 25 Études have been included in Lainé’s L’École de L’Alto (Volume 3).
This work is available in several modern editions. The 25 Études are also published separately.
Italian-born violinist Antonio Bruni (1757-1821) studied with Pugnani and spent most of his adult
career in Paris. The Méthode begins with a brief discussion of the alto clef and diatonic fingering
on the viola. The first thirteen lessons, very short in length, cover various finger patterns and
double stops on the viola, through third position. Fingerings are extensively marked. The main
section of the Méthode consists of twenty-five etudes, two with sets of variations. The etudes are
of varying length and cover most finger patterns and double stops within the first three positions.
Detaché and staccato bowings are interspersed, and there is extensive use of arpeggiated figures.
The studies are slightly less difficult than the Mazas etudes for violin.
Cavallini, Eugenio. Guida per lo studio elementare e progressive della Viola, I e II Parte. Milan: Ricordi, 1923.
Selections from Parts I and II have been included in Drüner’s The Study of the Viola (Volume 1 and 2).
Selections from Parts I and II have been included in Lainé’s L’École de L’Alto (Volumes 3-6).
Cavallini (1806-1881) was an Italian violinist, violist, and composer, and a student of Alessandro
Rolla. He was leader of the La Scala Orchestra (1834-1868) and professor of violin at the
conservatory (1844-1868). Guida was written in 1860 and published posthumously in 1897. The
first part begins with open strings and proceeds through all major and minor scales through fifth
position, with a variety of bowing combinations. This is followed by seventeen “easy exercises,” all
very short and in first position. The majority of the first part consists of twenty-nine studies, first
very short and simple, remaining in first and third position, and gradually, becoming longer, more
musically and technically complex, and extending through seventh position. The last etudes require
advanced technical facility. Part II consists of twenty-four studies in minor keys, and begins at the
technical level where Part I ended. Technical skills developed include sautillé, marcato, up-bow
staccato, arpeggios, double stops, chords, trills, string crossings within legato, and upper position
work on the “C” string. The work contains etudes also found in the 24 Exercices pour Alto seul.
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Complete Instructions for the Tenor: Containing such Rules and Examples as are necessary for Learners, with a
selection of favorite Song-tunes, Minuets, Marches, etc., Judiciously adapted for that Instrument by an
Eminent Master. London: Longman and Broderip, n.d.
The author of this work, published in London around 1790, is unknown. The opening section is
entitled “Principles of Music,” and consists of a brief discussion of basic notation, rhythm, dynamic
and phrase markings, and notes on the viola, including a diagram of the fingerboard. Included is a
brief discussion of rules for shifting including whole (third position) and half (second position)
shifts. This is followed by several short pieces, arranged for viola, taken from favorite song tunes,
marches, minuets, hornpipes, and other popular forms of the time. There is occasional use of third
position and no indication of slurs. The value of this tutor is mostly of historical significance.
Corrette, Michel. Méthodse Pour apprendre à jouër de la Contre-Basse à3, à 4, et à 5 cordes, de la Quinte ou Alto
et de la Viole d’Orphée Nouvel Instrument a justé sur l’ancienne Viole; utile au Concert pour
accompagner la Voix et pr. Jouër des Sonates, avec des leçons et des Sonatas pour ces trios Instrumens.
Geneva: Minkoff Reprints, 1977.
The works of Michel Corrette (1709-1795), French organist, teacher, and composer, span nearly
seventy-five years and are representative of the light musical style prevalent in France during the
eighteenth century. He wrote seventeen methods on performance practice. His method for the viola
is in one volume with methods for the double bass and the viola d’orpheé, originally published
around 1773. The method contains brief written instructions, short lessons demonstrating various
bowing styles, and two sonatas, one for two violas and one for viola and basso continuo. The music
is typical of the French style and is on an elementary technical level, with only an occasional passage
ascending to third position. The two sonatas are also published separately in a modern edition.
Cupis, François. Méthode d’Alto: Précédé D’un Abrégé des Principes de Musique De differents Airs Nouveaux
Don’t plusieurs avec Variations Et Terminée Par un Long Caprice ou Étude Propre à Perfēctioner
l’Eleve en peu de tēms. Paris: Decombe, n.d.
The final Caprice has been edited and included in Drüner’s The Study of the Viola (Volume 3).
.
François Cupis (1732-1809) was born into one of the leading musical families of Paris. He played
cello in the Concert Spiritual, and composed several works, as well as a Méthode, for cello. The
Méthode d’Alto was probably composed between 1788 and 1799. It begins with a discussion of note
reading, rhythm, musical terminology, and key signatures. It then continues with a discussion
related specifically to the viola: holding the instrument and bow, scales in broken thirds, and the
three basic positions (first, second, and third position). This is followed by fourteen short pieces for
two violas, mostly in first position, with an occasional passage in third position. The technical
demands in these pieces are on an elementary level. The closing Long Caprice ou Étude is a fourpage sonata movement, for viola and basso continuo. It exhibits all the technical demands found in a
classical concerto and is on a similar technical level to the Hoffmeister Studies.
Garaudé, Alexis. Methode d’Alto-Viola: Coutenant Un abrégé des Principes de Musique adaptés à cet
Instrument, tout les Gammes, des Exercices, et 25 Leçons dans les ton majeurs et minuers, à la 1e,
2e, et 3e Positions à l’usage des Lycées et Collèges Royaux. Paris: L’Auteur, 1819.
This work has been reprinted in Méthodes & Traités 16, Volume III, edited by Ulrich Drüner.
Garaudé (1770-1852) was one of the leading French composers and pedagogues of vocal music
during the first half of the nineteenth century. He taught voice at the Paris Conservatoire from 1816
to 1841. The Méthode d’Alto-Viola begins with an abridged discussion of the “Principles of Music”
and the notes on the viola. This is followed by twenty-five short lessons for two violas, covering all
the keys and chromatic fingering within first position. The last two lessons cover second and third
position, respectively. Bowings cover basic detaché, staccato, and legato strokes. The lessons are
on an elementary technical level.
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Gebauer, Michel Joseph. Méthode d’Alto: Contenant les Principes de Musique Avec les Gammes
accompagnées dans tous les Tons Suivies de petites pièces en Duo tirées de plus Célèbres Auteurs
tels que Hayn, Mozart, Boccherini & c. Composée et Dédieé A Monsieur C. Biancour Amateur.
Paris: Lemoine et Cie., n.d., Paris: Sieber, 1820.
This work has been reprinted in Méthodes & Traités 16, Volume III, edited by Ulrich Drüner.
Gebauer (1763-1812) was a violinist, violist, oboist, bandmaster, and composer. He was a member
of the wind group of the Swiss Guard and a violist in the royal chapel, both at Versailles. His band
compositions have been recognized as models for their genre. He also composed twelve duos for
violin and viola. The first edition of the Méthode d’Alto was probably published around 1800, with
later editions to follow. It begins with the “Principles of Music,” consisting of twenty articles
describing, notation, rhythm, expression signs, trills, and notes on the viola. This is followed by
short scales in broken thirds, fourths, fifths, sixths, and sevenths, as well as chromatic scales. There
is a brief discussion of positions, through sixth position. The main portion of the method is devoted
to scales and short duos for two violas in all major and minor keys. The top part consists of a scale
in whole notes, encompassing a range of two or three octaves. The bottom part is an elaboration
within the harmonic structure, employing a particular bowing or rhythmic idea. Each scale is
followed by a short piece in the same key, by a celebrated composer of the time. The pieces employ
simple legato and detaché bowing, remaining within the first three positions.
Giorgetti, Ferdinando. Metodo per esercitarsi a ben suonare l’alto Viola, Op. 34. Milan: Ricordi, 1923.
Selections from the Six Characteristic Studies have been included in Lainé’s L’École de L’Alto
(Volumes 5 and 6).
Italian-born violinist and composer Ferdinando Giorgetti (1796-1867) traveled extensively
through Spain and France. He is said to have modeled his playing after Rode. He wrote an
extensive amount of chamber music and taught violin and viola at the Istituto Musicale in
Florence. The Metodo was composed around 1840. The first part contains a brief discussion of
the viola and scales through fifth position. The scales are all written as duets for two violas. The
second part, also written in two parts but for viola and cello, contains exercises in double stops and
six “Characteristic Studies.” The studies all have titles and focus on specific techniques, including
sautillé, spiccato, ornamentation, double stops, string crossings, shifting, and arpeggiated figures.
All six studies require an advanced level of technical facility. The final section consists of a work
for viola and piano entitled, “Grand Solo for the Viola in the form of a dramatic Scene.” The
piece requires a variety of technical demands and is designed to apply techniques developed in the
two previous sections.
Kayser, Heinrich Ernst. Nouvelle Méthode d’Alto (Neue Schule für Bratsche), Op. 54. Hamburg: Aug. Cranz, n.d.
This work is held in the collection of the University of North Carolina at Chapel Hill Library.
Kayser (1815-1888) is most well known for his Elementary and Progressive Studies for the violin.
The sixty exercises in the Nouvelle Méthode d’Alto are technically easier, shorter in length, and
not as complete musically as the violin etudes. The first forty-six exercises are all in first position,
emphasizing basic detaché, staccato, and legato bowing techniques, as well as repetition of basic
left-hand finger patterns. Exercises 47-49 introduce the second position and exercises 51-56 deal
with third position and shifting between first and third position. Fourth and fifth position and
shifting between the first five positions are introduced in the last four exercises. The Nouvelle
Méthode d’Alto begins with “Remarques Générales,” a discussion of rhythm and notation. This
work was published around 1873 in Leipzig. The opus places its publication after the three
volumes of violin etudes.
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Martinn, Jacques (Jacob Joses Balthazar). Méthode d’Alto. Nouvelle Edition edited by Théophile Laforge. Paris:
Editions Constallat, Editions Billaudot, n.d.
Selections from the lessons have been included in Lainé’s L’École de L’Alto (Volume 2).
This edition was edited and fingered by Théophile Laforge, professor of viola at the Paris
Conservatoire, and published around 1900. The Méthode is in four parts: four written articles
entitled, “Principes,” discussing the playing and position of the viola; twelve short lessons in duet
form for two violas, extending to third position and dealing with basic bowing techniques; three
sonatas for two violas, longer in length and more musically and technically challenging, but not
exceeding third position; and twenty-four etudes. The etudes are composed by Cavallini and
credited to him on the title page of the Edition published by Constallat. Some of these etudes also
appear in Cavallini’s Guida per lo studio elementare e progressive della Viola. For a description of
these etudes, see the listing under Cavallini.
Martinn, Jacques (Jacob Joses Balthazar). Nouvelle Méthode d’Alto Contenant des Gammes et Exercices dans tous
les Tons, Douze Leçons en Duos et trios Sonates Faciles, Dédiée à Monsieur Ernest Purat. Paris: Joly, n.d.
This work has been reprinted in Méthodes & Traités 16, Volume II, edited by Ulrich Drüner.
Selections from the lessons have been included in Lainé’s L’École de L’Alto (Volumes 1 and 2).
Martinn, Jacques (Jacob Joses Balthazar). Nouvelle Méthode d’Alto Pour apprendre sans Maître Renfermant les
Principes de Musique, Le Tableau des Notes, et des Positions sur le Manche, de Leçons Méthodiques, des
Exercices, des Airs nouveaux, et des Duos très faciles. Paris: Joly, nouvelle édition, 1841.
This work has been reprinted in Méthodes & Traités 16, Volume II, edited by Ulrich Drüner.
Flemish-born violinist and composer Jacques (Jacob Joses Balthazar) Martinn (1775-1836) was
the son of a bandmaster. He moved to Paris around 1793 and played in several vaudeville and
opera orchestras. He was violin professor at the Lycée de Charlemagne and wrote methods for
both violin and viola. The two methods are in a similar format, with written explanations, short
scale exercises, and lessons for solo viola and two violas. The lessons develop basic bow strokes
and left-hand technique and require very little use of third position. They are comparable in level
to the Wohlfahrt Studies for violin.
Roger, Alexis. Méthode d’Alto contenant des Gammes et des Exercices aux différentes positions, 25 Leçons en duos
et trios Thèmes variés, Op. 50. Paris: Colombier: 1842.
This work has been reprinted in Méthodes & Traités 16, Volume III, edited by Ulrich Drüner.
Winner of the Prix de Rome (1842), organist and composer Alexis Roger (1814-1846) died from a
disease at a young age and is almost completely forgotten today. The Méthode d’Alto begins with
general remarks regarding viola playing; short scales and intervallic exercises; twelve “Exercices
Méthodiques” for two violas, all in first position, with basic detaché and slurred bowings; twentyfive lessons for two violas in first position, utilizing major and minor keys through four sharps and
flats; exercises introducing second through fifth position and the treble clef; and a set of theme and
variations for two violas utilizing skills introduced in the previous sections. The last piece is the
most musically and technically challenging piece in the Méthode, representing a level similar to
that of the Mazas violin etudes.
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Woldemar, Michel. Méthode d’Alto: Contenant les Positions doigtées et les coups d’Archet anciens et nouveaux,
terminée par des Variations d’Alto et de Violon. Paris: Sieber, n.d.
Michel Woldemar (1750-1816) was a violinist, violist, composer, and author of methods for
violin, viola and clarinet. He studied violin with the Italian virtuoso Antonio Lolli, and was the
leading exponent of his style of playing in Paris. Paris suffered from a scarcity of good violists
during the last decades of the eighteenth century. In an attempt to alleviate this problem,
Woldemar invented the “violin-alto,” a five-string violin with an added “C” string. The sound of
the lower string was so weak that the instrument never became popular. His Méthode d’Alto was
published sometime between 1785 and 1795. The twelve-page work begins with short exercises
in diatonic and chromatic scales, through ninth position, exercises in broken thirds, sixths, and
octaves, a table of harmonics, with exercises, exercises in arpeggiated figures, and exercises in
various bowings, including up-bow staccato. This is followed by a “Polacca” with nine variations
for viola and violin, utilizing techniques previously introduced. The Méthode ends with a page of
written explanation, entitled “Principes de Musiques.” The Méthode seems to be designed for
someone already familiar with string playing, perhaps a violinist, as the exercises are too short and
not progressive enough for a true beginner
Etudes and Caprices
Blumenthal, Joseph von. Grand Caprice pour Alto, Oeuvre 79. Vienna: Pietro Mecetti, n.d.
The Grand Caprice has been edited and included in Drüner’s The Study of the Viola (Volume 3).
This work is held in the collection of the Music Division, Lincoln Center, New York Public Library.
Belgian-born violist Joseph von Blumenthal (1782-1850) received his musical training in Prague
and spent most of his professional career in Vienna. He composed mostly for the violin, but also
wrote a number of duos and trios which include a part for the viola. The Grand Caprice is his
only known solo work for viola, and was published around 1836. The work is designed for both
concert use and technical development. In the key of F major, bowings are thoroughly marked
and fingerings are indicated for chromatic passages and those in the upper positions. Structurally,
the piece consists of a rhapsodic introduction followed by a theme and four variations, ending with
a coda. Technical skills emphasized include rapid scale and arpeggio passages and passages in
double stops. The range extends through fifth position. The work requires an advanced technical
level to be performed successfully.
Campagnoli, Bartolomeo. 41 Caprices pour l’Alto Viola, Oeuvre 22. Leipzig: Breitkopf and Hartel, n.d.
This work is available in several modern editions, including versions edited by Lifschey and
Primrose.
Selections from the Caprices have been included in Lainé’s L’École de L’Alto (Volume 4 and 5).
Italian violinist Campagnoli (1751-1827) was trained in the Tartini school of violin playing under
the tutorship of Paolo Guastarobba and Pietro Nardini. He had a successful career as a violinist in
Italy before moving to Dresden in 1780 to assume the directorship of the chapel of the Duke of
Courland. He served as concertmaster and conductor of the Gewandhaus Orchestra in Leipzig
from 1797-1818. He composed pedagogical works for both violin and viola. The 41 Caprices
were first published in Leipzig around 1805. They remain a basic staple of a violist’s training.
Similar in level to the Kreutzer and Fiorello etudes for violin, they provide a thorough and
progressive training in bowing technique and left-hand positions. The 41 Caprices are both
technically and musically challenging.
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Casimer-Ney, L. Twenty-four Preludes in All Keys for Viola (24 Préludes Pour L’Alto Viola Dans les 24 tons de la
gamme), Op. 22. Edited by Quinto Maganini. New York: 1961.
Selections from the 24 Preludes have been included in Drüner’s The Study of the Viola (Volume 3).
A recent compact disc recording of the 24 Preludes, performed by violist Eric Shumsky, has been
released under the Vestige Classics Label, 1999.
This work is available in the above modern edition. The first edition of the Preludes was
published between 1849 and 1853. Casimer-Ney is the nom-de-plume for Louis-Casimer
Escoffier (1801-1877), a well-known Parisian violist of his time who performed regularly in many
of the finest quartets. The Preludes cover the entire range of the fingerboard, with extensive use
of arpeggiated figures, harmonics (natural and artificial), and double stops, including tenths.
Advanced bowing techniques include slurred staccato, spiccato, and sautillé. The Preludes are on
a similar technical level as the Paganini Caprices for Violin.
Cavallini, Eugenio. 24 Exercices pour Alto seul. Published as the third section of J. Martinn, Méthode d’Alto.
Nouvelle Edition edited by Théophile Laforge. Paris: Editions Constallat, Editions Billaudot, n.d.
Selections have been included in Drüner’s The Study of the Viola (Volume 2 and 3).
Selections have been included in Lainé’s L’École de L’Alto (Volumes 2-5, attributed to Martinn).
These studies were first published in Milan in 1860. Some of these studies are also found in the
composer’s Guida per lo studio elementare e progressive della Viola, published posthumously.
The first studies are rather short and elementary, requiring only modest use of third position. They
progress rather quickly, covering a wide variety of on- and off-the-string bowings, as well as
difficulties caused by string crossings. The studies provide extensive practice in the first five
positions, with several passages remaining in fifth position for extended periods. The fifth
position, however, is rarely exceeded. The studies also provide extensive practice in half position.
Studies utilizing trills and double stops are also included. The last four studies, longer works
designed as concert pieces, are on a similar technical level as the violin etudes of Rode.
Hoffmeister, Franz Anton. Études pour Alto Viola. Two Volumes. Leipzig: C. F. Peters, Bureau de
Musique, n.d.
The 12 Studies are available in a modern edition, edited by Hermann and published by
International Music Company, New York City.
In addition to being a prolific composer, Hoffmeister (1754-1812) was one of the leading music
publishers of his day. His Viola Concerto in D Major remains a staple of the repertoire. The
twelve etudes are designed as musical compositions. Several of the etudes are in sonata form,
while others are minuets and sets of variations. Hoffmeister incorporates technical skills that can
be found in the standard classical concerto. There are passages involving double stops, arpeggios,
bariolage, and scales in detaché and slurred bowings. Fifth position appears frequently, but is
rarely exceeded. Maurice Riley, in his History of the Viola, Volume 1, page 183 (Ann Arbor,
Michigan: Braun-Brumfield, 1980) compares the technical level of the Hoffmeister etudes to that
of the easier caprices for violin by Rode.
Praeger, Heinrich Aloys. 18 Easy Exercises for the Tenor. London: R. Cocks and Co., n.d.
Praeger, Heinrich Aloys. 12 Easy Preludes in twelve different keys, for the Use of those who wish to play
with feeling and expression, for the Tenor. London: R. Cocks and Co., n.d.
These two works are held in the collection of the Music Division, Lincoln Center, New York
Public Library.
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Heinrich Aloys Praeger (1783-1854), a virtuoso on both the violin and guitar, was born in
Amsterdam and worked for most of his life in Germany. He composed several works for guitar,
violin, and piano, an instruction book for piano, etudes and caprices for violin, and a variety of
string chamber music. The 18 Easy Exercises for the Tenor was published around 1810. These
exercises are short works, remaining in first position, covering basic staccato and legato bow
strokes and left-hand finger patterns. The 12 Easy Preludes extend to third position, are a bit
longer, with more emphasis on musical style. There is a greater use of double stops and chords.
Rolla, Alessandro. Esercizio ed Arpeggio per Viola, Opera Postuma. Milan: G. Ricordi
Rolla, Alessandro. Frammenti d’Opera di Studio per la Viola, Opera Postuma. Milan: Gio. Canti e C., n.d.
Rolla, Alessandro. Tre Pezzi per viola sola, Opera Postuma, Edited by Luigi Alberto Bianchi. Milan: Edizioni Suvini
Zerboni, 1974.
Tre Pezzi contains the Ezercizio e Arpeggio and the first and second exercise from the Frammenti
d’Opera di Studio per la Viola.
The Frammenti d’Opera di Studio per la Viola is included in Drüner’s The Study of the Viola
(Volume 3).
The Frammenti d’Opera di Studio per la Viola is included in Lainé’s L’École de L’Alto (Volumes 5).
Rolla (1757-1841) was one of the leading Italian violinists and violists of his day. He was first
violinist and director of the orchestra at La Scala in Milan (1803-1833) and professor of violin and
viola at the new Milan Conservatory (1808-1835). He was the teacher of Cavallini, and, possibly for
a brief period, Paganini. He composed at least fifteen concertos for viola. The above studies include
extensive scale and arpeggio passages through fifth position, frequent passages in double stops, upbow staccato, and string crossings. They require an advanced technical level to be performed
successfully.
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