Sonata, op.120, no.2 in E flat major / Johannes Brahms -- Sonata, op.25, no.1 / Paul Hindemith -- Sonata, op.147 / Dmitri Shostakovitch / text

Sonata for viola da gamba in G major, BWV 1027 / J. S. Bach -- Concerto for viola and orchestra / W. T. Walton -- Sonata for viola in F minor, op.120, no.1 / J. Brahms / text

Sonata for viola da gamba in G major / J. S. Bach -- Lachrymae: Reflections on a song of Dowland, for viola and string orchestra, op.48a / Benjamin Britten -- Sonata for viola and piano no.1 in F minor / Johannes Brahms / text

<p>Bilaga: 1 DVD</p>

<p>Bilaga: 1 CD</p>

Thesis (M.A.)--University of California, San Diego, 2009. / Title from first page of PDF file (viewed July 7, 2009). Available via ProQuest Digital Dissertations. Includes disc containing sound files of the recital, PDF text of thesis, and PDF file with recital program.

The origin of the viola, like the violin, is still a puzzle to our musical historians and archaeologists. True, they realize that the first real viola and violin made its appearance on the musical horizon about the middle of the 16th century in Italy. And they know also that they did not spring into existence - to use a familiar phrase, like rabbits out of a magician’s hat. Their gradual development from inferior forms of bow instruments is proved beyond doubt, and has been traced, more or less clearly, for centuries back, with the help of such instruments of monuments, bas reliefs, wood carvings, miniatures, etc., and occasional allusions to them in contemporary literature.

Material relating to the viola, its history, technique, use as a solo and orchestral instrument, and its use in chamber music, is practically non-existent. For this reason, this document is being written in an attempt first, to collect and discuss, for the benefit of the author as well as for any who might have some interest in the viola, facts which might eliminate some of the common misunderstandings about the instrument, and second, to show, through examination of viola music, the use to which the viola has been put in solo, orchestral, and chamber music from the Baroque period to the present.

Concerto for viola and orchestra / Bela Bartok -- Trio / Ludwig van Beethoven -- Two songs / Johannes Brahms -- Passacaglia / Johann Halvorsen. / text

Thesis (Ph. D.--Music)--University of California, San Diego, 1998. / Vita. Includes a "critical review" of approx. 200 scores of violin and viola duos, with bibliographical information. Includes analyses of the following works: Divertimento op. 37 no. 2 by Ernst Toch; Three madrigals by Bohuslav Martinu; Variations op. 57 by Wallingford Riegger; Ideas and transformations no. 1 by Kenneth Gaburo; Duetto (1986) by Goffredo Petrassi; Little canonic suite (1970) by Ingolf Dahl; and Duo concertante by Paul Chihara. Includes bibliographical references (leaves 360-370). Discography: leaves 181-212.