Three character pieces for viola alta and piano: 1. Einsam; 2. Ein Tanz; and 3. Im Maien. They offer some technical and musical challenges to intermediate players of both parts.
Friedrich Beda, was a viola alta minor under Hermann Ritter and accompanied his students at the piano. In addition to some workmanlike transcriptions, he wrote for viola alta and piano this rather challenging Romanze. It is in ternary form, opening and closing with a singing Andante con moto with a more active, technically-involved middle section. It is not only enjoyable music, but also an example of Ritter's technical expectations of a viola alta student at Würzburg.
Another work by a Ritter student. Of this set of three pieces, a Lied ohne Worte, a Melodie, and a Polacca, the author of this site has only seen the Melodie, which lies entirely in the middle and upper ranges of the viola alta; it does not require the C string at all. It is a lovely, wistful movement that suits the character of the viola alta well.
Cherubini's Ave Maria was originally written for voice, english horn, and strings, but Hermann Ritter, presumably wishing to perform it with his wife, the singer Justine Ritter-Häcker, transcribed it for voice, viola alta, and piano or organ, dedicating it to her. A challengs for the viola alta player is to create a clear tonal distinction between the parts originally written for strings and the true obbligato parts. A very beautiful work, rewarding for singer and viola alta player (and possibly less so for the pianist).
Theophil Forchhammer, of whose works few have survived, is mostly remembered as a composer for the organ, but he wrote more than one work for the viola alta. ThisStändchen is written for either violin or viola alta; for the violin, the key is B major, and for viola alta, D major. It is dedicated to Hermann Ritter and his friend and frequent recital partner, the violinist Eduard Herrmann. Like much of Forchhammer's music, it has a devotional character.
A fine, lyrical work for viola alta and piano or orchestra by a composer often hailed as Wagner's successor, and a close friend of Hermann Ritter. It displays the full range of the instrument to excellent advantage, clearly stemming from long association with it and its inventor. (Its notation is hard not to see as a lighthearted jab at Hermann Ritter, whose publications avoided the treble clef wherever possible: it is entirely in the treble clef, except for one passage that descends too low — which is in the bass clef.)
Dedicated "A Paul-Louis NEUBERTH, pour sa 'Viola-Alta'", it is in four movements: Très modéré, Intermède: "Schumann", Très lent, and Assez animé.
A critic for the Musical Courier wrote of it in performance by Neuberth, "After a sonata by Pierre Kunc, one of these neutral chamber music works that seem just to grow, being spawned, as it were, out of the seed-germs of a century of European chamber music works, I fled." The author of this site agrees in sentiment, but notes that by leaving, the reviewer missed the excellent York Bowen viola sonata with the composer on piano.
One of the earliest works — possibly the earliest — written for Hermann Ritter and his viola alta. After hearing Ritter and being very pleased with the viola alta, Liszt was sent by a publisher a copy of one of his minor early works, a piano piece based on an even earlier song, hoping to publish it. Instead, Liszt used fragments of both works with a new prelude and coda to create a dreamy patchwork, seemingly of half-forgotten themes. He titled it Romance Oubliée, and dedicated it to Ritter. It has entered and retained a place in the broader viola repertoire.
The composer says this about Old Souls, written for viola alta and piano:
When writing Old Souls, I thought deeply about the people keeping classic forms of art alive today. I adore old films, old cars, old music, old houses, etc. While I am only 27, I feel a deep connection to the traditions of the past — they speak to me, they make sense to me. In the same way, those who also feel this kinship to the past are like kindred spirits. I feel an immediate bond and sense of understanding, likely because they too are old souls.
This work was commissioned by Jason Fruit.
A fine work in three movements, written for Hermann Ritter shortly after he began teaching at the Königliche Musikschule in Würzburg. The first movement has a bounding, impetuous first theme contrasted with dreamy, singing material; the second is a simply songful slow movement; the finale is a rondo contrasting its main material, built from a boisterous explosion of chords in both instruments, with moodier sustained themes.
A somber, moody work of great beauty in which the viola alta and cello are contrasted as a unit with the piano. It is in three sections, Vergänglichkeit (Transience), Ergebung (Resignation), and Hoffnung (Hope). Dedicated to Paul-Louis Neuberth, the French champion of the viola alta.
In three movements for viola alta and orchestrs, in C major. Also variously titled as Concert, Phantasie, or Konzertstück. Frequently included in Ritter's performances, especially the slow movement, which features viola alta and harp. Longer than its material justifies, it was recently recorded by Daniel Orson in a truncated version of his own.
For viola alta and orchestrs, in D major. Less often performed by Ritter and others than the first Concert-Phantasie, this work seems to have been a favorite of his student Michael Balling.
This work, in G major, was written for the five-string viola alta and piano, and relies on its abilities. It barely uses the C string at all.
A set of twenty-four works, mostly arrangements, for viola alta and piano. It contains:
It also includes an annex of several trios for violin, viola alta, and piano, some allowing alternate instrumentation.
In three movements, each representing a different Italian city: Barcarole (Venezia), Elegie (Roma), and Tarantella (Napoli). For viola alta and piano, it was orchestrated by Ritter and his students.
In two sections, an Elegie followed by an Introduction and Mazurka.
For viola alta and piano in two sections, a Gavotte and a Pastorale and Menuett. Not to be confused with the Pastorale and Gavotte, Op. 32 #1, which was sometimes also called "Rokoko".
For viola alta and piano. Crafted to maximize the effect of the five-string viola alta, it serves little other musical purpose.
For viola alta (or violin or cello) and piano. An attractive study in singing melody by a good friend of Hermann Ritter who knew the viola alta well.
