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Sonata No. 2 in G Minor for Viola and Piano

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Sonata No. 2 in G Minor for Viola and Piano The American Viola Society Sonata No. 2 for viola and piano Fidelis Zitterbart Jr. (1845-1915) AVS Publications 041 Preface Born into a musical family in Pittsburgh, Pennsylvania, in 1845, Fidelis Zitterbart Jr. trained there as a violinist before heading to Dresden at age sixteen for further studies.1 Upon his return to the United States, he performed as a violinist and violist with organizations in New York; he is listed as a member of the viola section during the 1869–70 season of the New York Philharmonic as well as violist during the second season of the Onslow Quintette Club.2 Zitterbart returned to Pittsburgh in 1873 to teach at the American Conservatory of Music, and he remained there as an active part of Pittsburgh’s musical life until his death in 1915. In addition to his work as a performer and teacher, Zitterbart was a prolific composer. He left nearly fifteen hundred compositions, the manuscripts of which now reside in the Special Collections Department, Hillman Library, University of Pittsburgh. The collection contains a remarkable number of compositions for viola: nearly fifty works for viola and piano as well as small-ensemble pieces that include the viola. Among these are thirteen sonatas for viola and piano, the first dating from 1875—the earliest known American viola sonata—which is dedicated to George Matzka, the former principal violist of the New York Philharmonic. The Sonata No. 2 in G Minor, dated August 31, 1897, is the second of Zitterbart’s four-movement viola sonatas (an earlier two-movement sonata dated May 24, 1886, is also labeled as No. 2 on the manuscript, though this work is not included in Zitterbart’s numbering system for his other viola sonatas). Zitterbart’s viola sonatas tend to be grand in scope, perhaps best exemplified by the present work. The first and fourth movements are each in sonata form with repeated expositions, the lyrical second movement is evocative of American parlour music, and the third movement is a brisk scherzo. The viola carries the bulk of the thematic material throughout the sonata with technically demanding writing that displays great bravura, going as high as g’’’ at the end—very high for any nineteenth-century viola repertoire. The sonata is dedicated to Zitterbart’s son-in-law, the violinist Carl J. Braun Jr. A Note on the Sources This edition is based on the manuscript piano score and the manuscript viola part housed in the Fidelis Zitterbart Collection, Special Collections Department, Hillman Library, University of Pittsburgh. Both sources are heavily marked, containing extensive dynamic and phrasing markings, articulations, bowings, and fingerings. There are numerous discrepancies between the two sources, and both have multiple alterations, including portions that have been erased, overwritten, or pasted over. This edition represents the editor’s best attempt to reconcile these discrepancies; all editorial changes have been made without comment. The editor is grateful to Jeanann Croft Haas and the staff at the Hillman Library’s Special Collections Department for their assistance in preparing this edition. David M. Bynog, editor May 2015 Notes 1. For additional information on Zitterbart, see Robert F. Schmalz, “The Zitterbart Collection—A Legacy Unevaluated,” College Music Symposium 19, no. 2 (Fall 1979): 77–88. 2. “Miscellaneous Concerts,” Aldine 6, no. 4 (April 1873): 87. Sonata No. 2 in G Minor VIOLA To Carl J. Braun Jr. Fidelis Zitterbart Jr. Edited by David M. 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