Emilio Mateu's Pedagogical Contributions to ViolaStudy: Iniciacion a la Viola [Introduction to the Viola]

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Authors Trinidad, April Tiffany

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EMILIO MATEU'S PEDAGOGICAL CONTRIBUTIONS TO VIOLA STUDY:rNrcrAcroN A L.4 VIOLA [INTRODUCTTON TO THE VIOLA]

By

APRIL TIFFANY TRINIDAD

A Thesis Submitted to The Honors Colleee

In Partial Fulfillment of the Bachelors desreeWith Honors in

Music

THE I.INIVERSITY OF ARIZONA

May 2010

Approved by:

Janet Sturman, Ph.D.Professor, School of Music

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Name: Trinidad, April Tiffany

Degree title: BAHonors area: MusicDate thesis submitted to Honors College: May 5, 2010

Title of Honors thesis:

EMILIO MATEU'S PEDAGOGICAL CONTRIBUTIONS TO VIOLA STUDY:INICIACION A LA VIOLA [INTRODUCTION TO THE VIOLA]

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ABSTRACT. This thesis examines the music and instructional method of the distinguished Spanish violist and pedagogue Emilio Mateu. Particular attention is given to his book La Viola: Iniciacón a la Música. The author identifies the learning goals for each piece by comparing criteria to that outlined by Dr. Donald Hamann, a well-known American string pedagogue. The author concludes that these imaginative pieces and non-standard method should become a part of American string pedagogy.

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TABLE OF CONTENTS ABSTRACT…………………………………………………………………………... 2

I. INTRODUCTION……………………………………………………………………. 4

II. EMILIO MATEU: A BRIEF BIOGRAPHY…………………………………………. 6

III. A REVIEW OF LA VIOLA: INICIACIÓN A LA MÚSICA………………………... 10

IV. PROFESSOR HAMANN’S SKILL LEVELS FOR BEGINNING VIOLISTS…….. 13

V. ANALYSIS OF PIECES IN MATEU’S LA VIOLA: INICIACIÓN A LA MÚSICA…. 16

VI. ADDITIONAL MATERIALS BY EMILIO MATEU……………………………….. 23

VII. CONCLUSIONS………………………………………………………....................... 27

VIII. APPENDIX A: MATEU’S PUBLICATIONS FOR VIOLA………………………… 30

IX. APPENDIX B: ANALYSES OF LA VIOLA; INICIACIÓN A LA MÚSICA: PIEZAS

ELEMENTALES PARA DOS, TRES Y CUATRO VIOLAS CON PIANO, VOL. II……

32

X. GLOSSARY………………………………………………………………………….. 42

XI. BIBLIOGRAPHY…………………………………………………………………......

.

44

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I. INTRODUCTION.

As an important viola pedagogue, Emilio Mateu (b. 1940) has worked his entire life

towards improving the place of the viola, especially in Spain. He has written numerous original

works with Spanish flavor for the viola that American students and teachers should consider

using and learning. He has also transcribed music from other instruments for the viola, further

expanding the viola repertory. His beginning method book entitled La Viola: Iniciación a la

Música1

This thesis examines Mateu’s methods for viola, focusing specifically on Iniciación a la

Música. This method of ensemble teaching is a helpful and significant supplement to the solo

repertoire that beginning violists learn in the United States. Before discovering the work of this

famous Spanish violist, I thought that the viola repertoire and methods were stagnant. Mateu’s

work convinced me otherwise; his method books are aimed to inspire the young student and

foster enthusiasm for making music. His enthusiasm for the viola and its future is inspiring and

merits consideration by American viola players and pedagogues. The value of these books is

three-fold; they offer harmonically interesting tunes, challenging technical skills, and high

quality aesthetics in the print design of each book. Mateu, an experienced teacher by the time of

publication, extends the teaching of music across genres of music and art while also including

songs of Spanish origin. He created a number of original works for viola and also by transcribed

and revised Spanish music written for other instruments. Several of the songs in his book

Iniciación are from different regions of Spain.

, contains two volumes of duets, trios, and quartets for violas with piano

accompaniment.

1 Mateu Emilio, Iniciación a la Música, 2 vols., Piezas elementales para dos, tres y cuatro violas con piano (Madrid: Real Musical; 1992).

5

In this study, I will look closely at the compositions (scores) that comprise of Emilio

Mateu’s work. I will focus mainly on his introduction to music for the viola, and then I will

analyze his original and transcribed etude books for the viola. I analyzed 10 pieces from

Iniciación, matching each against a table containing specific technical categories. The categories

were based upon learning criteria defined by American pedagogue and Professor Dr. Donald

Hamann, in his book Teaching Strategies for Strings: Building a Successful String and Orchestra

Program2

It is my aim that this thesis introduces the reader to the work of Emilio Mateu and

confirms the technical and musical value of his method books. In addition to Mateu’s method

books, his solo and chamber compositions for viola deserve to be incorporated into American

standard viola repertoire. I believe that wider acceptance of Mateu’s methods and compositions

for violists will enrich the viola world with cultural diversity and innovation.

. For this thesis I will discuss one piece from the beginning, the middle, and the end of

Iniciación. The rest of my analyses can be found in Appendix B. Discursive analysis of all 15

pieces for this thesis is beyond the scope of this study. However, comparing the 15 different

tables of these pieces, allows me to determine and explain the technical and musical progress that

Mateu expects of beginning viola students over the course of his Iniciación.

2 Hamann, Donald L., and Robert Gillespie, Strategies for teaching strings: building a successful string and orchestra program. (New York: Oxford University Press), 23-24.

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II. EMILIO MATEU: A BRIEF BIOGRAPHY.

Emilio Mateu3 was born into a musical family in Valencia, Spain in 1940. He earned a

degree in viola as well as violin at the Conservatorio de Valencia under the direction of Abel

Mus4

Emilio Mateu founded the Orquesta Sinfónica de RTVE [Symphonic Orchestra of Radio

Television Española] in 1965, and performed there for 20 years, returning after that as a guest

artist. He made his solo debut performing the J. C. Bach Concerto at the Teatro Real of Madrid

under the direction of Eliahu Inbal

, a respected Spanish violinist. His other teachers included M. Rostal, B. Giuranna, A.

León Ara and A. Arias in Salzburg, Siena, Granada and Madrid. He began his professional

career at the young age of 16 as a professor and soloist in Alcoy (Valencia). He appeared as a

soloist with the Gran Teatro del Liceo in Barcelona in 1959. Between the years 1962-1964 he

played viola in the Cairo Symphony Orchestra and the Cairo Quartet.

5

3 Emilio Mateu. “Emilio Mateu,” http://emiliomateu.com/biografia-emiliomateu.pdf. All biographical information was taken from this source unless otherwise noted.

(the chief conductor of the Czech Philharmonic for the

2009/2010 season). He premiered the Walton Concerto for Viola and Orchestra for the first time

in Madrid in 1965. He also performed the first recital of viola and piano held at the Teatro Real

de Madrid [The Royal Theater of Madrid] with pianist Luciano González Sarmiento.

Mateu has performed under the batons of I. Markevich, S. Celividache, L. Mazel, Odón

Alonso, Enrique García Asensio, Antonio Ros Marbá, playing with the most respected orchestras

of Spain in the most important halls of the United States, Mexico, and Europe. As a chamber

musician, Mateu collaborated with many of Spain’s most beloved pianists and pedagogues such

as Luciano González Sarmiento (b. 1937), Miguel Zanetti (1935-2008) and Menchu Mendizábal,

and he toured with the Cuarteto Español. That ensemble won the Silver Medal in the Premio

4 Opus Musica: Revista de música clásica, “Abel Mus, una vida dedicada a la violin,” http://www.opusmusica.com/024/mus.html. 5 Karsten Witt Musik Management, “Eliahu Inbal” http://www.karstenwitt.com/en/artist/eliahu_inbal/biography/.

7

Villa-Lobos, Brazil’s prize competition for string quartets named after the nation’s most famous

composer. This ensemble performed in Ton Hall in Zurich and Wigmor Hall in London. Mateu

performed for the Cuarteto de Claudio Prieto and on the Stradivarius viola of the Royal Palace of

Madrid with a different string quartet, the Cuarteto Cassadó.

Maestro Mateu continues to introduce Spanish audiences to new and standard literature

for the viola though concerts and performance. His contemporaries revere him as a specialist in

Spanish music and he premiered and recorded works and concerts of composers such as A.

Oliver (a collaborator of Iniciación), A Arteaga, J. Cercós, G. Brncik, J. Cervelló, J. Guinjoan,

Conrado del Campo, A. Torrandell, R. Gerhard, J. Milanés, T. Marco, and L. De Pablo. Many of

these composers dedicated their works to him.

As a professor of viola at the Real Conservatorio Superior de Música [Royal

Conservatory in Madrid] since 1989, he created a new teaching method for viola, analyzed in

greater detail later in this thesis. His viola method book La Viola6, published by Real Musical,

earned national awards from Spain’s Ministry of Education and Science. The book Iniciación a

la Música comes in two volumes. The first volume7 contains 25 duets for viola and piano

accompaniment. The second volume8

6 Emilio Mateu, La viola : iniciación (Villaviciosa de Odón (Madrid): Real Musical, 1999).

contains 15 pieces composed for two, three, or four violas

and piano accompaniment. Additionally, Mateu’s book of etudes and arpeggios is used as a

standard technical book. In Spain, students of eight years of age begin music studies at

conservatories. Conservatories have different levels, with superior being the equivalent to

7 Emilio Mateu and Angel Oliver. La viola: iniciación a la música : piezas elementales para dos violas y piano. (Madrid: Real Musical, 1990). 8 Emilio Mateu, ,Manuel Alcorlo and Ángel Oliver, La viola : iniciación a la Música : piezas elementales para dos... violas: v. II. (Madrid: Real Musical, 1992)..

8

college conservatories in the United States. Conservatories commonly use Mateu’s books for

entrance exams and school textbooks alongside other internationally accepted methods9

A resourceful pedagogue, Mateu created an opportunity for his students to learn and

perform new repertoire together as violists. He created the viola ensemble Grupo de Violas

Tomás Lestán. Tomás Lestán

.

10 (1827-1908) was a prominent Spanish composer and violist.

The group premieres works by J. L. Turína, G. Brancik, F. Fleta, and V. Ruiz. They also

perform pieces written specifically for the group. Many of Mateu’s students11

Emilio Mateu dedicates himself to the development of viola music in Spain by giving

masterclasses at schools such as Cervera, Marbella, Denia, Universidad de Granada, Universidad

de Alcalá de Henares, Cuenca, Jamilena, Sevilla etc. His students have become important

soloists, orchestral musicians, and conservatory professors. Currently, he rehearses the viola

section of the Orquesta Internacional de Juventudes Musicales [International Orchestra of Young

Musicians] under the baton of A. Ros Marbá in Cervera, Catalonia.

Emilio Mateu is an important musician and teacher, but little is written about him in

English. His works for viola could be added to the repertoire in the United States. His teaching

method is also distinct from other teaching methods. The first book, Iniciación a la Viola, is

very basic (but clever) and it is comparable to other beginning viola books. Therefore, it does

not need to be analyzed as deeply as the second book, which does differ considerably from other

who participated

in this ensemble have become professional musicians, and they mention this group in their

biographies.

9 Adolfo Hontañón and Iganacio González (viola teachers, Conservatorio de música Adolfo Salazar and Conservatorio de música Joaquín Turina; personal communication with the author, June 2009). 10 Laura Klugherz, A bibligraphical guide to Spanish music for the violin and viola, 1900-1997 (Westport, Conn: Greenwood Press, 1998). 11 La crónica de Guadalajara. “Mañana, segundo “concierto de primavera” en el salón de actos del Conservatorio.” http://www.lacronica.net/articulo.asp?idarticulo=16795 (accessed May 1, 2010).

9

beginning viola methods, particularly in skills demanded of the student and in the musical

content. In Iniciación a la Viola, many pictures illustrate the correct way to hold the viola and

the bow12

12 Mateu Emilio, La viola : iniciación (Villaviciosa de Odón (Madrid): Real Musical, 1999), 10. [

. Other method books may not include illustrations, and they may depend on the

private teacher to show this to the beginning student. However, it is useful for students to have

these illustrations as examples when they are at home without a teacher. Mateu also introduces

the five finger patterns in Iniciación and writes out the patterns on each string on the staff. He

then gives blank staves for the student to fill in the rest of the finger pattern on the different

strings. Iniciación a la Viola, Vol. II, demands more of beginning students musically than string

teachers in the United States. As opposed Iniciación, I decided to focus on vol. II of Iniciación a

la Música because of its award-winning teaching method and its short but compelling ensemble

pieces.

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III. A REVIEW OF LA VIOLA: INICIACIÓN A LA MÚSICA.

As the title suggests, this book serves as an introduction to music for beginning violists.

Previously stated, Spain’s Ministry Education and Science granted this book the national award

consecutively from 1980 to 1990, with the exception of the year 1983. In the prologue, Carmelo

Bernaola (1929-2002), a much respected 20th century composer from the Basque country of

Spain, wrote that Mateu’s Iniciación a la Música provides “a service to Spanish music, by

[promoting] the learning of string instruments, in this case the viola, which our country so

needed.”13

Mateu did not create La Viola: Iniciación a la Música by himself. He collaborated with

the Spanish composer Angel Oliver (1937-2005), and Spanish artist Manuel Alcorlo (b. 1935).

Oliver wrote the compositions found in the book and Mateu worked with him to integrate his

own teaching methods within the little pieces. Alcorlo illustrated the book with graceful,

charming drawings that are offered to inspire the learning student

The book contains 15 pieces for two, three, and four violas with piano

accompaniment.

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The purpose of this book is to complement La Viola, Iniciación. This book introduces

the viola and the basic techniques needed to play, but it does not introduce the student to music.

Emilio Mateu introduces the parts of the viola and the bow. He includes many illustrations and

exercises of how to hold the viola and the bow correctly. There are no songs in La viola,

Iniciación; Mateu only focuses on building the foundation of technique for the beginning violist.

He introduces the concept of bow distribution, gives exercises for lifting the bow, and

emphasizes the need for the player to watch his or herself in the mirror while practicing. Half of

.

13 Prologue translated by author. 14 Emilio, Mateu and Angel Oliver. La viola: iniciación a la música : piezas elementales para dos violas y piano. (Madrid: Real Musical,1990), prologue.

11

the exercises in the book are to be bowed on open strings; the other half introduces the five

finger patterns.

The second book of Iniciación includes ensemble works. These pieces embody the

learning criteria of Professor Mateu and provide opportunities to build techniques including: left

hand finger patterns, bow strokes, and movements of the right arm. The pieces can be played

with or without piano and also in groups. Each song calls for at least two violas. Playing in an

ensemble, even just as a duo, helps the musician improve listening skills that would otherwise

not be exercised in solo repertoire.

I analyzed each of the pieces by using a table of 13 categories inspired by the criteria

defined by Donald Hamann, a respected American string pedagogue. The categories were: key,

time signature, tempo marking, total number of measures, musical character, rhythm, bowing,

intonation, dynamics, shifting, right hand, left hand, and ensemble. This procedure allowed me

to compare the demands of each piece in the volume in a systematic fashion and to compare

them to the demands required in teaching literature for American students. The tables appear in

Appendix B. The skills mentioned in the tables are developed through the course of Mateu’s

book. From an American perspective, some of the skills are too advanced for a beginning

musician to master. For example, Professor Hamann suggests introducing the more advanced

finger patterns to intermediate level students15

15 Donald L., Hamann and Robert Gillespie, Strategies for teaching strings: building a successful string and orchestra program. (New York: Oxford University Press), 75.

, while Emilio Mateu introduces all five finger

patterns in Vol. II of his “introduction to music” book, written for beginning violists. However, I

would like to note that Hamann’s book, Teaching Strategies for Strings: Building a Successful

String and Orchestra Program was written for string classes that are expected to meet only once

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or twice a week. Mateu’s book appears to be designed for private lessons, where a student may

be able to progress and improve at a faster rate. The skill levels from Hamann’s book are

outlined below.

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IV. PROFESSOR HAMANN’S SKILL LEVELS FOR BEGINNING VIOLISTS.

Based on the table in Hamann’s book, viola students are required to play the C, G, and D

scales for a level I skill level. Rhythm and bowing techniques required for level I are: détaché

(legato), two-note slur and tie, bow lifts (‘), right-hand pizzicato, and rhythms using quarter

notes, half notes, dotted half notes, whole notes, and eighth notes, and also corresponding rests.

Level II skills require the viola student to play a G, D, and C scale, and the student must

learn about the 3rd finger pattern. The student should also be able to play octave harmonics on

each string by now. Rhythm and bowing techniques required for level II are: staccato, three- and

four-note slurs, left-hand pizzicato (+), hooked bow, rhythms using dotted eighth notes, eighth

notes, sixteenth note groupings, and corresponding rests. The student should also be able to play

double stops on open strings.

Level III skills require the violist to play at least 2 two-octave scales, 4th and 5th finger

patterns, and play one one-octave minor scale. Rhythm and bowing techniques required for level

III are: detached slurs, spiccato, accent/martelé, triplet groupings and corresponding rests.

Hamann identifies performing in 6/8 meter and playing associated rhythms as level III skills.

The introduction of finger patterns is different between Mateu and Hamann. In Mateu’s

book, the fourth finger pattern has half steps between the nut of the fingerboard- finger 1 and

fingers 3-4. The fifth finger pattern has one half step between the fingerboard and finger 1. In

Hamann’s book, the fourth finger pattern has one half step between the fingerboard and finger 1

(Mateu’s fifth finger pattern). Hamann’s fourth finger pattern (half steps between the

fingerboard and finger 1 and fingers 3-4) is Mateu’s fifth finger pattern. The introduction of

finger patterns is also different between these two pedagogues. Hamann and Mateu differ in the

order of introduction of each finger pattern. This is illustrated in the following table:

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Finger Pattern Mateu Hamann

1 0 1 23 4 0 1 23 4

2 0 12 3 4 0 12 3 4

3 0 1 2 34 0 1 2 34

4 01 2 34 01 2 3 4

5 01 2 3 4 01 2 34

Sources: Data from Hamann 2004; Mateu 1992.

The half steps are represented when the numbers sit next to each other. The number “0”

stands for the fingerboard. The number “1” stands for the first finger, the number “2” stands for

the second finger, and so on.

Hamann includes in level IV the skills requiring the violist to play one-octave chromatic

scale, at least 1 three-octave major scale, and 3 two-octave major scales, as well as playing in

third and fifth position. In his book, rhythm and bowing techniques required for level IV are:

rapid string crossings with separate bows, tremolos, trills, double stops, and spiccato at the

middle of the bow16

16Definitions for musical terms can be found in the Glossary.

.

Level V requires the violist to play three two-octave minor scales, 3 three-octave major

scales, and second and fourth position. Rhythm and bowing techniques that are required for this

level are: rapid string crossings with slurs, sul tasto, ponticello, triple stops (chords), and other

bowings.

Playing at a level VI requires the violist to play all major and minor scales up to 4 sharps

and 4 flats, and proficiency in seventh position and higher. Rhythm and bowing techniques

15

required for this level are: sautillé, ricochet, and appropriate bowing styles for different musical

periods.

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V. ANALYSIS OF PIECES IN MATEU’S LA VIOLA: INICIACIÓN A LA MÚSICA.

The first piece, titled Concierto is a three movement concerto for three violas with piano.

Already, Mateu already expects the beginning violist to think like a professional musician.

Mateu creates a mini orchestra here where Viola II and Viola III play together to introduce the

solista (Viola I). Viola I barely plays in this movement, only in two measure interjections of

very simple quarter notes and half notes. As the first movement to the first book of the

“introduction to music,” Mateu does not shy away from incorporating level II and level III skills,

such as rhythm and bowing, in the first piece. He uses an eighth note and two sixteenth note

groupings that Hamann would not suggest introducing to the students until they have mastered

other level I skills. The violists also learn to play hooked bowings, which is considered a level II

skill. Viola III plays a G# in the 2nd ending of the first movement. This lowered first finger

concept is not introduced to students until they reach level III. Students also learn musical

language from the beginning of this book because there are already dynamic markings such as

mezzo forte, forte, sforzandos and crescendos. Other skills that Mateu incorporates into this first

movement of the concerto are accents and string crossings.

Curiously, Mateu barely writes in any fingerings throughout the whole book, allowing the

students (or teachers) to choose the fingering according to their skill level. However, he clearly

indicates the open A string with an “o” written over the pitch A4 (A above middle C), six

measures after the first ending in Viola II, in Concierto. He introduces the treble clef to the

beginning violist, which I believe is beneficial in the long run so that playing in treble clef feels

more natural in the future.

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The first movement of Concierto contains first and second endings. Instead of an 8-

measure song, Mateu and Oliver have constructed a piece that also teaches form to beginning

students.

The concept of playing within an ensemble is what I believe to be one of the most useful

parts of this book. The solista does not come in until measure four; so, the violist must count

carefully during rests to be able to come in on time. There are some measures where the violas

have similar rhythmic parts, and they must listen to each other to be able to match their bow

strokes.

A curious detail about this movement is that the solista part does not have any sharps or

flats printed in the key signature. However, the piano and other two violas have two sharps in

the key signature, indicating D major. The solista does not have any F# or C# to play in the first

movement, which is why I think that no key signature is needed. However, it is peculiar that all

three instrumental parts do not have the same key signature like they would in a conventional

score. Perhaps Mateu is trying to prepare young players for some of the practices of modern

composers. Bartok, for instance, made a habit of only including the accidentals that a player

would need. On the other hand, this eliminates the need to know key signatures, so a student may

have more freedom in reading articulations and dynamics, and may then make the piece more

musical.

The second movement of this piece observes the conventions of concerto/ sonata form in

that it is predictably in a contrasting, slower tempo; it is marked andante. This time the solista

has the top line and the remaining two violas play the same bottom line. The main skill in this

movement focuses on slurs. There are two-, three-, four-, and five-note slurs. As a result, this

piece particularly develops the skill of bow distribution. It is also difficult in the left hand

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alternating between B natural and B flat. Most beginning violists would still only be getting

acquainted with the first finger position that was introduced (0 1 23 4).

The third movement of Concierto has three distinct viola lines again. The solista does

not come in again until measure 5 on the “and” of the second beat. It is unusual that in the three

movements of this concerto, the solista has the least number of notes, the most rests, and the

least interesting part. Rhythm is very challenging in this movement with sixteenth note patterns

as well as thirty-second note patterns. There is even a harmonic on the A string. Other new

skills in this movement are: pizzicato, ponticello, glissando, trill, and double stops. Within just

three movements, the beginning violists have learned at least up to level V according to

Professor Hamann’s book.

The eighth piece introduces students to Spanish folk songs. It is called Canción

Zamorana, which translates to “Song of Zamora.” Zamora is a province in Spain, and is also the

name of its capital. By now, the student has played through half of the pieces of the book. The

key of G minor calls for what Mateu labels la quinta formación [fifth finger pattern]. On the

page opposite of the Canción Zamorana, Manuel Alcorlo illustrated the fifth finger pattern in a

wispy drawing of the left hand formed around the fingerboard of the viola. On the bottom right

hand side, there are four measures. Each note in the measure represents a note that would be

played in G minor on the viola. Mateu uses a karat, an upside-down V, to indicate the location

of half steps to the student. In this case, all of the half steps are between “0-1,” or the open string

and first finger. The use of finger patterns is a way to help students simplify hard passages in the

left hand. Instead of thinking of each individual note, students can memorize the position of

their fingers and the location of half steps. The tempo of the Canción Zamorana is larghetto,

and it is specifically labeled as 63 beats per minute to the dotted quarter note. Oliver uses a

19

musical term such as rústico [rustic] at the beginning of this 38 measure piece. The use of

Spanish musical terms is part of Mateu’s way of incorporating Spanish heritage. The meter of

the piece is 6/8, a skill that Professer Hamann considers to be a level 3 skill. However, many

Spanish songs are in 6/8, and it may be more innate to Spanish students to play in this meter than

American students. The rhythm of this piece is fairly simple compared to its earlier pieces—

even the first movement. Although this piece is simple to read, with many open D’s and A’s,

Canción Zamorana may be used to teach shifting to third position.

A way to warm up before actually playing any repertoire is to practice open strings. One

draws the bow as straight as possible in a down bow and up bow on all four strings. The student

counts 4 beats, 8 beats, 12 beats, and 16 beats. However, young students may become bored

practicing straight open strings with a metronome. Oliver and Mateu did not put any fingerings

in this canción, so the D’s and A’s could be played as open strings, or through the use of fourth

finger in first position or second finger in third position.

The use of open strings may sound elementary, but students can develop their tone

quality by practicing open strings and listening carefully, being attentive to their sound. Playing

the notes as open strings also allows students to focus on the movement happening in their right

hand while the left hand is totally relaxed. In addition to the previous statement, playing open

strings in this song allows students to practice them in a musical context. Canción Zamorana

can be taught at several levels.

The other bow stroke demonstrated in this piece is détaché. The piece is written so that

students alternate back and forth between slurring notes and playing detached. The slurs in this

piece are helpful for students because they must cross strings, a significant technique to have at

their disposal. Learning how to play smooth string crossings is also easier when the left hand is

20

more or less inactive. From a pedagogical point of view, this is a great piece to teach to students

because they can play it with open strings, and then after they develop good tone quality, they

can come back to this piece and learn to play it using third position. The dynamics range from

piano to quasi forte, so the students have another exercise for their bow arm to develop

musicality.

The concept of ensemble in this piece is incredible. Within 38 measures, the students

have the opportunity to learn so much about playing together. The

One of the last pieces in the book is called Mayo de Esplegares. This title translates to

“May in Esplegares,” which is a municipality in the province of Guadalajara, an autonomous

community of Castilla-La Mancha in Spain. It is in the key of Eb Major and in 3/4 time. Within

only twenty measures, each measure is filled with musical obstacles. The Viola I begins on a

sixteenth note upbeat at the end of the fourth measure. This means that the violist must be

subdividing continuously until the entrance and even more in the continuing measures. The

bowing is tricky because the bow changes on the “and” of the beat instead of the downbeat. If

the slurred bows are taken out, the rhythm seems as challenging as the beginning pieces with 1

eighth-note and 2 sixteenth note groupings as well as dotted eighth-note and sixteenth note

two measure piano

introduction allows the duo to learn how to count and how to come in on time. Instead of

composing a straight 6/8 bar, the piano plays a fermata in the second measure, which forces

Viola II to follow the cue of the pianist. In measure three, Viola I comes in on beat 4, which is

also a challenge for Viola I because she/he has to count and be cued in by Viola II. The violists

cadence on chords and must listen to each other in order to end the phrase together. The piano

interlude gives the students time to regroup in case the parts did not line up before. The music

ends on beat four of last measure; so all three people must cut off together.

21

groupings. The natural instinct would be to change the bow on each downbeat of the measure,

but the music calls for bow changes on the upbeat. Changing bows on the upbeat would feel

unnatural, and it would be a challenge for the beginning violist.

By the time a student reaches this piece in the book, he or she is playing at a higher level

than that required for basic music. There are also ties of sixteenth notes with eighth notes, and

dotted eighth note and sixteenth rest groupings. These rhythmic figurations demand constant

focus and subdivision from young violists. What makes the piece even more challenging is the

Viola II part. The Viola II also comes in on the “and of 1,” in the fifth measure. The Viola II

must also subdivide to fit the quarter notes and eighth notes with the rhythm of the Viola I. Both

violas alternate back and forth between pizzicato and arco. Alternating between pizzicato and

arco is a skill because the violist must be able to set the bow quickly and quietly and also hold

the bow while playing pizzicatos. The four measure diminuendo at the end of the piece teaches

the violists how to gradually pace their dynamics. The rhythm in this piece can appear to be

difficult because the bow changes on upbeats. However, young students who are good at

imitating will be able to play the piece easily once learned because the rhythm is very repetitive.

When the piece is mastered the two violists should be able to play and sightread new pieces with

ease.

The last piece that I will analyze is called Canción Conquense [song from Cuenca, a city

in the autonomous community of Castilla-La Mancha in central Spain]. This piece is also very

rhythmically difficult because of the constant change of meter between 3/4, 2/4, 6/8, and 5/8.

Although the eighth-note is kept constant, meter changes can confuse beginning musicians to

want to slow down or speed up, or even to miscount. Although the piece cadences in C minor,

none of the three instrumentalists have a C minor key signature in the score. The tempo is very

22

brisk at 192 beats per minute, so the students must know their parts very well. In a faster tempo,

tone quality and sound can be lost, so this piece would be good for learning how to keep the bow

at the “contact point” even at a fast, uncomfortable tempo. Shifting is involved in the piece for

the Viola II. The Viola II would also stay in third position for at least four measures. These

four measures are difficult because they contain accidentals, string crossings, and slurs. The

measures in 5/8 require the students to think in terms of 1-2, 1-2-3 in order to keep the Spanish

flavor of the piece. This piece incorporates el cuarto formación [fourth finger pattern: 01 2 34

There are a total of 15 pieces in this “introduction to music.” Each piece has its own

challenges based on individual playing and also ensemble. Some other skills that are addressed

in these pieces, but not in the three analyses are: grace notes, fingered harmonics, harmonics, and

hemiola (the feel of 3 against 2). These little pieces are very flavorful in harmony and rhythm.

Some, such as Canción Zamorana, Canción Conquense, and El Fraile Motilón [The Poor Friar]

are even regional songs from Spain. Students learn more than musical technique with this

method; they also learn repertory grounded in local expression. The music in this book is

delightful to the ears, and the selections evoke enthusiasm and inquiry from the music student.

Surely that was the goal of Mateu when he wrote this book.

].

This finger pattern is similar to the third finger pattern in the way that the fingers are positioned,

but the fourth finger pattern is basically shifted down a half step.

23

VI. ADDITIONAL MATERIALS BY EMILIO MATEU.

Emilio Mateu earned a degree in violin as well as viola. Being able to truly perform on a

high level on both instruments is an incredible feat. To someone who doesn’t play one of these

instruments, the violin and viola may seem like the same instrument with the same shape and

same size. The differences between these instruments appear to be slight, but they are quite

obvious to the instrumentalist. Each instrument demands different techniques that are so subtle it

is even more difficult to switch from one instrument to another.

Mateu’s fluency in both instruments has helped violists because he transcribed a violin

method written by Delphin Alard (1815-1888) for the viola called Delphin Alard para viola:

Selección del célebre Método para violín, transcrita y revisada por Emilio Mateu. Given that

Mateu has also been an advocate for Spanish music, it is interesting to note that Alard was a

French violinist and composer who studied under the great Spanish violinist, Pablo Sarasate

(1884-1908). The first volume of Delphin Alard para viola is a book that he transcribed and

revised from violin. Mateu experimented with selections from Alard’s “complete and

progressive method” with some of his students, and the results were very positive. The books

may sound incomplete since they are only selections of Alard’s method, but Mateu states that he

left out etudes that were already apart of standard viola methods. He divided the method into

three books, grado elemental, grado medio, and grado superior.

The first volume introduces basic viola technique. The first etude is about bow

distribution. The violist is required to play a half note and then slur two quarter notes for each

measure until the end. This helps the student become comfortable with using the entire bow;

usually, students are more comfortable with using only a portion of the bow. The book continues

to teach détaché bow stroke, slurs over string crossings, trills, and syncopation. After finishing

24

the dry etudes, there are additional tuneful melodies and a song by Handel included in the first

volume of this transcription.

The second volume introduces higher level technique on the viola. The first etude is

about dotted rhythm, an obstacle that is difficult for many beginning students. When not

subdivided correctly, the dotted rhythm may sound like a triplet figure. The next etude features

ornaments. The skill of ornamenting is very difficult; many students give ornaments just as

much emphasis as the “real” note. The book goes into chromaticism, elementary shifting

positions, martelé bow stroke (a small “attack” at the beginning of each note made by the right

hand), as well as the sautillé bow stroke (a fast, naturally bouncing stroke played in the middle of

the bow). This etude book would be ideal for middle school and high school students in the

United States.

The third volume of etudes focuses on advanced techniques such as: ricochet (where the

bow is dropped on the string and rebounds on the string in the same bow direction), arpeggios,

double stops, left hand tremolos, harmonics, and additional advanced techniques.

Mateu wrote his own etude book for intermediate level students entitled 15 Estudios

Caprichosos de mediana dificultad. He states in the prologue that his main influence was

beloved Spanish composer D. Jesús de Monasterio (1836-1903) and his Estudios Artistios para

Violín. Mateu wrote two viola lines for each etude, and he suggests that one records the bottom

line and plays it while practicing the top line. He wrote these etudes with the intention of

composing etudes with melodic lines and music that the student would find pleasant. A theme

that I find consistently in Mateu’s musical intention is that he wants the student to be inspired

and to find music enjoyable.

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Mateu has also written several original works for viola. His transcriptions have beautiful,

spirited covers that create a combination of music and art. His choices for transcription for viola

from other instruments are very interesting. The Tríptico Renacentista Español [Spanish

Renaissance Triptych] is based off of three of guitar’s most beloved composers: Luys de Narváez

(1500-1530?), Diego Ortiz (1510-1570?), and Alonso Mudarra (1510-1580). He has also

transcribed Manuel de Falla’s Siete Canciones Populares Españolas [7 Popular Spanish Songs]

which was originally written for piano. These transcriptions allow the viola to play songs that

would not otherwise be learned or performed.

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VII. CONCLUSIONS .

Emilio Mateu’s books have been distributed throughout Europe since their publication in

1980. The books can be ordered online from Spain, Denmark, and Belgium. I ordered my books

from Spain. If more teachers outside of Europe began to use Mateu’s method, demand for his

books would increase in the U.S., and it would be easier to purchase these books from United

States distibutors. At the very least, Mateu’s works should be catalogued in the the Primrose

International Viola Archive17 (PIVA), located at Brigham Young University. It is a library

dedicated to viola literature, built around the collection of the late William Primrose, a legendary

violist who died in 1982. Professor Franz Zeyringer of Pöllau compiled the list of viola works in

1985. Dr. David Dalton, a student of the legendary violist William Primrose, does not claim that

the archive contains all published literature for the viola. Currently, the PIVA does not have any

documentation of Mateu’s works. The music that Mateu wrote and transcribed for viola should

be added into this famed international viola library. Primrose wrote his own method books, Art

and Practice of Scale Playing (Mills, 1954), Technique Is Memory (Oxford University Press,

1960), Violin and Viola (with Yehudi Menuhin and Denis Stevens; Schirmer, 1976), and Playing

the Viola (Oxford University Press, 1988)18. Technique is Memory focuses intensely on finger

patterns where the student color codes the semi-tones, half-steps, and whole steps.19

17 The Primrose International Viola Archive at Brigham Young University, “Literatur für Viola” Brigham Young University, http://music.lib.byu.edu/PIVA/.

Primrose

arranged Bartok’s 44 violin duets for viola duet, so he and Mateu may have shared some

philosophies regarding the value of ensemble playing and the value of regionally grounded

contemporary composition. It is a coincidence that the virtuoso from Scotland and the virtuoso

18 The Primrose International Viola Archive at Brigham Young University, “William Primrose’s Life and Career” Brigham Young University http://music.lib.byu.edu/piva/WPbio.html. 19Stevens, Denis, and William Primrose. "Mr Primrose's Method," The Musical Times. 102 (1961): 160.

27

from Spain share similar pedagogical philosophies and supplemented viola repertoire with their

own transcriptions. For further research, it would be interesting to find out if Mateu and

Primrose crossed paths during their careers.

Additionally, Emilio Mateu’s more advanced music should be learned and performed in

solo recitals. His piece for viola and narrator, Tríptico poético para recitador y viola, would be a

fine piece for a recital with its smooth text (to be spoken in Spanish, English or French) and

advanced viola techniques and effects. For example, the violist mainly plays harmonics as the

melody for the first movement.20 Mateu also distinguishes two different types of pizzicatos,

ordinary and ponticello (plucked as close to the bridge as possible for a lighter sound). The score

comes with a CD that gives the musician an idea of how it should sound. The works that he

transcribed are also very important for viola literature. Kim Kashkashian, professor at the New

England Conservatory in Boston, Massachusetts, recorded a CD titled: Asturiana: Songs From

Spain And Argentina21 that contains songs written by Manuel de Falla. The production of a CD

(by ECM22

A traditional method in the United States is to teach beginning musicians through the

Suzuki method. This method is very useful, and it contains 6 volumes for the viola. These books

focus mainly on building solo repertoire skills, with occasional scale exercises dispersed

throughout. American teachers may grow weary of hearing the same pieces over and over.

, a European label) and two American musicians of Spain’s most respected composers

illustrates the growing interest in Spanish music. Although Kashkashian may have used her own

transcriptions for this recording, Mateu’s transcriptions of Manuel de Falla make the music

readily available for other musicians.

20 Another string method that incorporates early introduction of advanced techniques is the Bornoff method. See Hamann, Strategies for teaching string, 214. 21 Kashkashian, Kim, Robert Levin, Manuel de Falla, Enrique Granados, Carlos Guastavino, Alberto Ginastera, Xavier Montsalvatge, et al. Asturiana, ECM Records. 22 ECM. http://www.ecmrecords.com/Startseite/startseite.php.

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Emilio Mateu’s method is aimed for beginning violists. His etudes are aimed for intermediate

violists. The Delphin Alard etudes progress in three levels. Violists would not be able get a

complete viola education from using only Mateu’s method. However, that is also the case with

other methods. Viola teachers do not use only one method when teaching their students. Some

teachers who are not Suzuki certified still teach out of the Suzuki books. Therefore, it should be

encouraged for a student to learn out of both or multiple methods.

Viola congresses are held regionally, nationally, and internationally. A viola congress is

where professional and amateur violists and viola enthusiasts meet to celebrate the viola through

lectures, concerts, and masterclasses. I first stumbled upon the topic of Spanish viola music

when I attended my first viola congress in Tempe, Arizona at Arizona State University. The

lecture given by violist Luis Magín of Spain sparked interest for further investigation of 18th

century viola music23

In summary, Emilio Mateu has contributed greatly to the viola world through performing,

teaching, and composing. His gifted pedagogy skills led to the creation of a new viola method

that does not follow the traditional steps to teaching viola in the United States. His viola

transcriptions (and collaborations with respected Spanish pianists and composers) grant violists

more opportunities to learn, master, and appreciate music written for different instruments.

Successfully playing the transcriptions also proves the versatility of the viola, an instrument that

has been so long accepted as the “rhythm section” instrument or the “third violin.”

. Emilio Mateu’s method and music should be a lecture topic at the next

viola congress.

Emilio Mateu has built a strong foundation for future musicians to appreciate and

promote the viola, but his contribution to the viola world goes mainly unnoticed outside of

23 Luis Magín, “Spanish Viola Music” (paper presented at the 38th International Viola Congress, Tempe, Arizona, United States, June 5, 2008).

29

Spain. Emilio Mateu championed the viola in Spain, and his enthusiasm for the viola should be

carried overseas to the United States.

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VIII. APPENDIX A.

MATEU’S PUBLICATIONS FOR VIOLA

It is beyond the scope of study to list the entire list of publications by Emilio Mateu. It would be interesting to continue research and to find more works written and published by Emilio Mateu. Many of the works listed can be purchased online at these sites:

http://www.partituras.com http://www.fandangomusicshop.net http://www.trito.es www.manueldefallaediciones.es www.carisch.com http://www.asesores-musicales.com

ORIGINAL WORKS

1. Tríptico poético para recitador y viola; music written by E. Mateu, text by E. Mateu Tricás, and J.L. Fuentes Labrador; published by Editorial Alpuerto, S. A., 2001 2. 15 Estudios Caprichosos para Viola; music written by E. Mateu; published by Real Musical, 1996 3. La viola, escalas y arpegios; music written by E. Mateu; published by Real Musical, 1988 4. Serenata para Tres Niños para tres violas y triangulo; music written by E. Mateu 5. Ariel, espíritu del aire para Viola y Violoncello; music written by E. Mateu 6. Le ricochet para Viola; music written by E. Mateu 7. Fantasía Poética para Violin y Viola; music written by E. Mateu; narration optional with poems by J. L. Labrador 8. Hemiola para Violin y Viola; music written by E. Mateu 9. Bolero sobre Bolero para Viola; music written by E. Mateu 10. Albaes para viola; music written by E. Mateu

ALL WORKS WITH VIOLA

1. Madrigal para Viola y Piano; music written by E. Halffter, transcribed by E. Mateu; published by Real Musical, 1997 2. Canciones versión para Viola y Piano; music written by Manuel de Falla; transcribed by E. Mateu and Miguel Zanetti; published by Manuel de Falla Ediciones, 2008 3. Tres Obras para Viola y Piano; music written by Manuel de Falla; transcribed by E. Mateu from the original cello part; published by Manuel de Falla Ediciones, 1994 4. Siete canciones populares españolas para Viola y Piano; music written by Manuel de Falla; arranged by E. Mateu and Miguel Zanetti; published by Real Musical, 1993 5. Sonatina Op. 36 No. 1, No. 2 para dúos de cuerda [for string duos]; music written by M. Clementi; arranged by E. Mateu; published by Real Musical

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6. 15 Estudios Caprichosos para Viola; music written by E. Mateu; published by Real Musical 1996. 7. Delpin Alard para viola (Vol. I, II, III); music by Delphin Alard (1815-1888); selected, arranged, and transcribed by E. Mateu, published by Real Musical, 1994 8. La viola, escalas y arpegios; music written by E. Mateu, published by Real Musical, 1988 9. La viola, Iniciación a la Música (Vol. I, II) Prologue by Carmela Baernaola; music written by Angel Oliver and E. Mateu; illustrated by Manuel Alcorlo; published by Real Musical, 1990 & 1992 10. Serenata para Tres Niños para tres violas y triangulo; music written by E. Mateu, published by Emilio Mateu 11. Ariel, espíritu del aire para Viola y Violoncello; music written by E. Mateu, published by Emilio Mateu 12. Tríptico Renacentista Español para Viola; music written by Luys de Narváez, Diego Ortiz, and Alonso Mudarra; version for viola written by E. Mateu; published by Real Musical, 2002 13. Le ricochet para Viola; music written by E. Mateu, published by Antena 3 Editorial, S.A.U. 14. Fantasía Poética para Violin y Viola; music written by E. Mateu; narration optional with poems by J. L. Labrador; published by Emilio Mateu 15. Hemiola para Violin y Viola; music written by E. Mateu, published by Emilio Mateu 16. Bolero sobre Bolero para Viola; music written by E. Mateu, published by Emilio Mateu 17. Sonata para Viola y Piano music written by Tomás Lestán; revised and prologue written by E. Mateu; published by Real Musical 2003 18. 20 Estudios Artísticos para Viola; music written by Jesús de Monasterio; transcribed, revised and prologue written by E. Mateu; published by Real Musical 19. Albaes para viola; music written by E. Mateu; published by Emilio Mateu

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IX. APPENDIX B Piece by piece analysis of the music included in La Viola; Iniciación a la Música: Piezas elementales para dos, tres y cuatro violas con piano, Vol. II [The Viola; Introduction to Musica: Elementary pieces for 2, 3, and 4 violas with piano] General Information: 1. Concierto (Movement 1 of 3) for 3 violas and piano Title translation Concerto Key D major Time Signature 2/4 Tempo Allegro Total Measures 56 measures Musical Char. N/A Technique to be learned:

Rhythm Half-note, Quarter-note, 8th-note, 16th note, Dotted eighth-note tied to 16th note, Dotted quarter-note tied to eighth note

Bowing Hooked bowing Intonation G# on G string Dynamics Mezzo forte to Forte, Crescendo Shifting Third position in Viola II (optional)

Right Hand

• Accents • String crossings • Difficult to sustain bow at slow tempo • Sforzando

Left Hand

• Viola also reads in Treble Clef • Grace notes • Fourth finger

Ensemble

• Violas must count during rests • Violas must match bow stroke • Viola I comes in after 4 measures; must count in order to

come in correctly

Musicality

• 1st and 2nd endings • Cedendo, Spanish term for diminuendo

Comments: This movement begins both Violas I and II in the key (signature) of C major and Viola III and the piano in D major.

33

General Information: 1. Concierto (Movement 2 of 3) for 3 violas and piano Title translation Concerto Key D major Time Signature 3/4 Tempo Andante Cantabile Total Measures 16 measures Musical Char. Dolce Technique to be learned:

Rhythm Dotted quarter note; eighth rest; dotted half note; 16th-note triplets versus eighth notes.

Bowing Five-note slurs; four-note slurs; three-note slurs; two-note slurs; dotted-quarter note to eighth-note slurs

Intonation Modulates to D minor; Viola II and Viola III end on A# Dynamics Piano to forte; crescendo and decrescendo, diminuendo Shifting Third position in Viola II

Right Hand

• Dolce character will need to be played with a very sustained, fluid bow (string and bow are always intersecting at contact point)

• String crossings • Difficult to sustain bow at slow tempo

Left Hand • Alternation between Bb and B natural

Ensemble • Violas must count during rests • Violas must match bow stroke

Musicality • Attacca subito

General Information: 1. Concierto (Movement 3 of 3) for 3 violas and piano Title translation Concerto

Key Viola I – no key signature; Viola II and Viola III – D major; Piano – D major

Time Signature 4/4 Tempo Allegro moderato Total Measures 59 measures Musical Char. None stated Technique to be learned: Rhythm Sixteenth note groupings; 32nd notes Bowing 3 note slurs, 5 note slurs, Intonation Accidentals Dynamics Pianissimo to forte Shifting 3rd position

Right Hand

• Pizzicato • Ponticello (Pont.) • 16th note slurs

34

• Hooked bowings • Sforzando • Accents

Left Hand

• Reading in Treble clef in Viola II and III • Glissando • Trill • Harmonics • Double stop in Viola III

Ensemble • Ritardando led by Viola I Musicality • Rhythmic counterpoint

Learning styles vs. teaching methods Comments: Form is interesting to teach a young student. The first movement is approximately 60 measures long, and the harmony is complex for a beginning student. For example, in measure 52, Violas II and III play an Eb, which makes a diminished seventh chord with the piano. Introducing students to playing this harmony is a demanding skill; it demands more from them than American pedagogy [skill check]. Movement III combines many skill levels categorized by the American pedagogue, Don Hamann.

General Information: 2. Canción, 2 violas & piano Title translation Song Key G major Time Signature Cut time Tempo Moderato, Half note= 48 beats per minute Total Measures 16 measures Musical Char. None stated Technique to be learned: Rhythm Whole note, Dotted-half note, Half note, Quarter note Bowing 2-note slurs, 4-note slurs, detaché stroke, slurred detache stroke Intonation F natural Dynamics Piano to Mezzopiano Shifting None

Right Hand

• Smooth, fluid, sustained bow • Smooth string crossings over slur • Holding bow for 4 counts

Left Hand • Room for vibrato • 4th finger

Ensemble • Viola I begins mm. 13 on beat 2; must listen to piano and

Viola II for entrance

35

Musicality • Breath mark in measure 8 Comments: This song has easy rhythm. The skill to be learned is in the right hand with the string crossings during a slur. Also, there is a lot of time during each measure for expressivity in the left hand.

General Information: 3. Pequeño Coral, 3 violas and piano Title translation Little Chorale Key C Major Time Signature 6/4 Tempo Andante moderato, dotted half note= 42 beats per minute Total Measures 16 measures Musical Char. None stated Technique to be learned: Rhythm Duple meter; Dotted half notes, Half notes, Quarter notes Bowing Louré (détaché), Intonation Simple C Major; balancing chords between violas and piano Dynamics Piano to Mezzoforte, decrescendo, crescendo Shifting None

Right Hand

• New bow stroke (louré) • Bow distribution

Left Hand • Simple

Ensemble • Change bows at same time • Match bow strokes

Musicality • Rhythmic counterpoint • Balancing chords

General Information: 4. Canto de Navidad, 2 violas and piano Title translation Christmas Song Key F minor Time Signature 3/8 Tempo Andantino, dotted quarter note= 52 beats per minute Total Measures 35 measures, not including repeat Musical Char. None stated Technique to be learned: Rhythm Triple meter; dotted eighth to 16th grouping Bowing Slur 2 notes to bow, then quick up bow (trap for “crawling to tip”)

Intonation F minor is more difficult because it has 4 flats, also there are some accidentals

36

Comments: This piece can be very tricky for the beginning student. Music students in America are not required to play in F minor until they reach the VI skill level. The rhythmic ties force the student to subdivide.

General Information: 5. La primavera se aproxima for 2 violas and piano Title translation Spring is coming Key E major Time Signature 6/8 Tempo Modéré (Moderato) Total Measures 36 measures Musical Char. None stated Technique to be learned: Rhythm Duple Meter; Quarter note slur to 2 sixteenth notes Bowing • String crossing over slurs in detaché fashion Intonation E Major is difficult because it has four sharps. Dynamics pianissimo to mezzoforte; Shifting None

Right Hand

• Detaché stroke (quarter note slur to eighth note) • Starting phrase upbow and in correct area of bow

o Bow distribution

Left Hand

• E Major • Quarter-note/2 sixteenth notes grouping

Dynamics Mezzoforte, decrescendo, crescendo Shifting None

Right Hand

• Dotted rhythm may turn into a triplet if student does not subdivide

• In measure 15 and 16 there is a very 2 beat tie over the bar line; the student may lose his/her place if not subdividing.

Left Hand

• Learning to play in half position (finger pattern 5) • Low fourth finger (half step above third finger) is difficult to

tune and remember to play when student is very used to playing regular fourth finger a whole step above third finger.

• Fb is a difficult note to play also, because it is enharmonic with E, and can be confusing to read to beginning musicians.

Ensemble

• Piano has 4 bar introduction, then Viola I comes in on upbeat before measure 5

• Fermata; everyone must have eye contact to end together

Musicality • D.S. (Dal Segno) • 2 bar crescendos and decrescendos

37

Ensemble • Match bow stroke • Lift bows together

General Information: 6. Ronda Segoviana for 4 violas and piano Title translation Segovian Round Key C minor Time Signature 3/4 Tempo Quarter note=144 beats per minute Total Measures 36 measures Musical Char. None stated Technique to be learned:

Rhythm Duple Meter; Quarter note slur to 2 sixteenth notes; Hemiola (eighth notes versus triplet figure)

Bowing

• String crossing over slurs in staccato fashion • Legato slur to staccato hooked bow •

Intonation Dynamics mezzoforte Shifting None Right Hand • Double stop in Viola I

Left Hand • C minor • Read in Treble clef

Ensemble

• Hemiola figure is difficult for beginning musicians to play together. If they listen to each other (a good thing), then they may want to copy the rhythm that the other is playing

Comments: The first viola does not have a key signature. This has been common in a couple of other songs too, where the other instrumentalists have a key signature and one does not. The Viola I line is very chordal, and it fills in the harmony. The main voice in this round is Viola II. The part could be alternated between the four violists as the song repeats.

General Information: 7. Trío for 3 violas and piano Title translation Trio Key G Major Time Signature 3/4 Tempo Quasi Allegretto; quarter note=144 beats per minute Total Measures 18 measures Musical Char. Very transparent Technique to be learned:

Rhythm • Tempo is fast enough to think of the piece in 1 • Dotted quarter-notes, quarter-notes; eighth-notes

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Bowing

• Open strings for 5ths • Louré • Lift (comma)

Intonation Simple G major, no accidentals Dynamics Piano to mezzoforte Shifting Third position

Right Hand • Bow distribution will the the largest obstacle; up bow will

need to be faster, but not accented

Left Hand

• C minor • Read in Treble clef • If student decides not to use open strings, this is a very strong

exercise for the 4th finger

Ensemble

• Viola II and III have same rhythm; they will have to listen to each other to play together

• Viola II and III will have to tune against the open strings of Viola I

Musicality

• Contrast in dynamics occurs every 2 measures in the beginning and every 4 measures towards the end.

• There is a 1st and 2nd ending

General Information: 8. Canción Zamorana

Title translation Song of Zamora (Zamora is the capital of the province Zamora in Spain.)

Key G minor Time Signature 6/8 Tempo Larghetto (dotted quarter note = 63 beats per minute) Total Measures 38 measures Musical Char. Rustic Technique to be learned:

Rhythm Straight forward 8th notes, occasional 16th notes, rhythmic counterpoint

Bowing

Slurred string crossings vs. contrasting articulation of brush stroke, bow distribution, Slur notes improves technique of sustaining with bow

Intonation Open strings vs. third position Dynamics Piano to forte Shifting Not essential to playing this song Right Hand Keep contact point strong and steady

Left Hand

• Room for vibrato; • Mateu uses as a teaching technique “5a formación,” (finger

patterns) where all fingers are in whole steps in first position, a way of thinking of the geography of the fingerboard rather than the actual notes

Ensemble • 2 bar intro for piano allows duo to learn how to count, and

39

how to come in on time • instead of a straight 6/8 bar, there is a fermata, which forces

Viola II to cue in the pianist Cadences on chords also forces violists to listen to each other in order to end phrase together

• End on beat four of last measure means all 3 people have to cut off together fermata, forces Viola II to cue in the pianist

• Viola I comes in on beat 4, which is also a challenge for Viola I because she/he has to count and be cued in by Viola II

• Piano interlude also gives them time to regroup in case anything sounded off

Musicality

General Information: 9. Dance “El fraile motilón” Title translation The Poor Friar Key E Major Time Signature 2/4 Tempo Allegro Total Measures 41 measures Musical Char. None Technique to be learned: Rhythm Eighth notes; triplet eighth notes; dotted eighth and sixteenth figure Bowing Detaché slurs Intonation Open strings vs. third position Dynamics Piano to forte Shifting None Right Hand Keep contact point strong and steady

Left Hand

• Room for vibrato; • Mateu uses as a teaching technique “5a formación,” (finger

patterns) where all fingers are in whole steps in first position, a way of thinking of the geography of the fingerboard rather than the actual notes

Ensemble

• 2 bar intro for piano allows duo to learn how to count, and how to come in on time

• instead of a straight 6/8 bar, there is a fermata, which forces Viola II to cue in the pianist Cadences on chords also forces violists to listen to each other in order to end phrase together

• End on beat four of last measure means all 3 people have to cut off together fermata, forces Viola II to cue in the pianist

• Viola I comes in on beat 4, which is also a challenge for Viola I because she/he has to count and be cued in by Viola II

• Piano interlude also gives them time to regroup in case anything sounded off

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Musicality

General Information: 14. Canción Conquense Title translation Key C minor (not apparent in the key signature) Time Signature 3/4, 2/4, 6/8, 5/8 Tempo Presto (dotted eighth note = 192 beats per minute) Total Measures 41 measures Musical Char. Leggiero, Technique to be learned:

Rhythm

Meter changes constantly between 3/4, 2/4, 6/8, and 5/8. This is very difficult for the beginning student to keep the eighth note value the same for changing meters. The tempo is also very fast, which makes the piece even more difficult.

Bowing

Bowing is mostly straightforward eighth notes, with occasional two note slurs. Another skill that is learned is transitioning between pizzicato (while still holding the bow) and arco.

Intonation The key signature contains no sharps or flats, but there is a plethora of accidentals, hinting at the key of C minor.

Dynamics Pianissimo to forte Shifting Third position in Viola II

Right Hand

• Uneven rhythm (5/8) makes bowing asymmetrical to the measure

• Four bow techniques: accents, detache, slur, staccato • pizzicato

Left Hand

• Room for vibrato; • Mateu uses as a teaching technique “5 formación,” (finger

patterns) where all fingers are in whole steps in first position, a way of thinking of the geography of the fingerboard rather than the actual notes

• Trill in Viola II • Grace notes

Ensemble

• Piano begins four bars before Viola I comes in; Viola I must count diligently to come in on time

o Both violas must count while also changing meter within the first four bars

• Roles switch in mm. 8 when Viola II comes in on upbeat and Viola I comes in on downbeat of next measure

• Viola I begins on upbeat to 5th measure, Viola II begins on downbeat of next measure with pizzicato.

• Both violas must listen to each other to maintain a constant rhythm and similar sound.

Musicality • The rhythm definitely has a Spanish flavor to it with the

5/8 meter (3+2).

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• Balance between Viola I and Viola II is written clearly in each part with loud dynamics for the prominent voice and softer dynamics for the second voice.

Comments: Beginning Viola I with arco and Viola II with pizzicato creates a challenge of balance. The Viola II pizzicato needs to be loud enough to be heard over of the arco of the Viola I. To play pianissimo is a level III skill.

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X. Glossary24

Double stop Term used of stringed instruments to indicate stopping and playing on 2 strings simultaneously to produce a 2‐part effect. Also used, loosely, when one or both of the strings are ‘open’. Glissando With the voice, violin or trombone, a sliding from one pitch to another is more readily effected without distinguishing any of the intervening notes, a method of sliding which is often called portamento. Pizzicato A direction to pluck the string(s) of a (generally bowed) instrument with the fingers. It is normally abbreviated ‘pizz.’ Ponticello

In string playing, an instruction to bow close to (or even on) the bridge of the instrument. This encourages the higher harmonics, producing a thin, nasal, glassy sound.

Positions In the playing of stringed instruments, term used for specifying the moving of left hand up or down the finger‐board so that the fingers may produce different sets of notes, e.g. first position, ‘nearest the pegs’, 2nd etc. progressively further from pegs. Ricochet A type of bowing applied to instruments of the violin family. The upper half of the bow is ‘thrown’ on to the string from a distance, causing it to bounce several times, resulting in a series of rapid staccato notes. The effect is a staple of 19th-century virtuoso technique, and was used most notably by Paganini. Sautillé

24 Oxford Music Online. http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/ subscriber/.

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A short bowstroke played with the middle of the bow so that it bounces slightly. It is generated by a separate wrist movement for each note—unlike the jeté or ricochet strokes, in which the bow, once set in motion, bounces naturally. Spiccato A term used in the bowing of stringed instruments to mean sautillé. Before 1750 it was taken to mean simply staccato. Sul Tasto In string playing, an instruction to bow (or occasionally pluck) near or over the fingerboard. This reduces the higher harmonics, resulting in an ethereal tone. Tremolo

Shaking, trembling. In playing of stringed instruments, the rapid reiteration of a note or chord by back‐and‐forth strokes of the bow; also, on other instr. as well as str., the very rapid alternation between 2 notes. Note that tremolo is the rapid iteration or alternation of notes, whereas vibrato is fluctuation of pitch.

Trill A type of embellishment that consists in a more or less rapid alternation of the main note with the one a tone or semitone above it. Vibrato On string instruments vibrato is produced by moving the finger on the string backwards and forwards, aided by the wrist and sometimes by the forearm.

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XI. BIBLIOGRAPHY.

Alard, Delphin, and Emilio Mateu. 1994. Delphin Alard para viola; grado elemental. Madrid:

Real Musical. Alard, Delphin, and Emilio Mateu. 1994. Delphin Alard para viola; grado mediano. Madrid:

Real Musical. Alard, Delphin, and Emilio Mateu. 1994. Delphin Alard para viola; grado superior. Madrid:

Real Musical. ECM. http://www.ecmrecords.com/Startseite/startseite.php (accessed May 1, 2010). Emilio Mateu. “Emilio Mateu” http://www.emiliomateu.com (accessed April 30, 2010). Falla, Manuel de, Emilio Mateu, Miguel Zanetti, and Antonio Gallego. 1998. Siete canciones

populares espańolas. Madrid: Manuel de Falla Ediciones. Fundación de Juan March. “Biografía del Interprete: Emilio Mateu Nadal”

http://www.march.es/musica/contemporanea/archivo/fichainterprete.asp?id_participante=334 (accessed April 30, 2010).

Halffter, Ernesto, and Emilio Mateu. 1997. Madrigal para viola y piano. Madrid: Real Musical. Hamann, Donald L., and Robert Gillespie. 2004. Strategies for teaching strings: building a

successful string and orchestra program. New York: Oxford University Press. González, Ignacio and Adolfo Hontañón. 2009. Interview by April Trinidad. June 20. Madrid,

Spain. Karsten Witt Musik Management, “Eliahu Inbal”

http://www.karstenwitt.com/en/artist/eliahu_inbal/biography/ (accessed May 1, 2010). Kashkashian, Kim, Robert Levin, Manuel de Falla, Enrique Granados, Carlos Guastavino,

Alberto Ginastera, Xavier Montsalvatge, et al. 2007. Asturiana. München: ECM Records. Klugherz, Laura. 1998. A bibliographical guide to Spanish music for the violin and viola, 1900-

1997. Music reference collection, no. 70. Westport, Conn: Greenwood Press. Magín Luis, “Spanish Viola Music” (paper presented at the 38th International Viola Congress,

Tempe, Arizona, United States, June 5, 2008). Mateu, Emilio. 1996. 15 estudios caprichosos: de mediana dificultad = Intermediate level.

Madrid: Real musical.

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Mateu, Emilio. 1999. La viola : iniciación. Villaviciosa de Odón (Madrid): Real Musical. Mateu, Emilio. 2005. La viola : escalas y arpegios : con ejercicios preparatorios y

complementarios. Las Matas (Madrid): Real Musical. Mateu, Emilio, and Angel Oliver. 1990. La viola: iniciación a la música: piezas elementales

para dos violas y piano. Madrid: Real Musical. Mateu, Emilio, and Juan Luis Fuentes Labrador. 2000. Tríptico poético para recitador y viola.

Madrid: Editorial Alpuerto, S.A. Mateu, Emilio, Manuel Alcorlo, and Ángel Oliver. 1992. La viola : iniciación a la Música :

piezas elementales para dos, tres, y cuatro violas: v. II. Madrid: Real Musical.

Opus Musica: Revista de música clásica, “Abel Mus, una vida dedicada a la violin,” http://www.opusmusica.com/024/mus.html (accessed May 1 ,2010).

Oxford Music Online. http://www.oxfordmusiconline.com.ezproxy2.library.arizona.edu/ subscriber/ (accessed May 1, 2010).

The Primrose International Viola Archive at Brigham Young University, “Literatur für Viola” Brigham Young University, http://music.lib.byu.edu/PIVA/ (accessed May 1, 2010).

The Primrose International Viola Archive at Brigham Young University, “William Primrose’s Life and Career” Brigham Young University http://music.lib.byu.edu/piva/WPbio.html (accessed May 4, 2010).

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thesis first 2 pagesthesisIII. A Review of La Viola: Iniciación a la Música.IV. Professor Hamann’s Skill Levels for Beginning Violists.Sources: Data from Hamann 2004; Mateu 1992.V. Analysis of pieces in Mateu’s La Viola: Iniciación a la música.VI. Additional materials by Emilio Mateu.VII. Conclusions .Mateu’s Publications for ViolaXI. Bibliography.ECM. http://www.ecmrecords.com/Startseite/startseite.php (accessed May 1, 2010).Emilio Mateu. “Emilio Mateu” http://www.emiliomateu.com (accessed April 30, 2010).Halffter, Ernesto, and Emilio Mateu. 1997. Madrigal para viola y piano. Madrid: Real Musical.Mateu, Emilio. 1999. La viola : iniciación. Villaviciosa de Odón (Madrid): Real Musical.