British composer Peter Racine Fricker (1920-1990) is known among violists for his masterly Concerto for Viola and Orchestra, Op. 18, dedicated to and premiered by the famous Scottish violist William Primrose. He wrote two other works that feature the viola: Three Movements for Viola Solo, Op. 25, and Fantasy for Viola and Piano, Op. 44. Fricker was a well-respected and prolific composer, one of the foremost young composers to emerge in England after World War II. After his move to the United States in 1964, the prominence he had established in his homeland virtually disappeared, and he never became a household name in America. Despite this, it is my contention that his music deserves study and a place in our repertoire. The above-mentioned Concerto has remained available in print since its initial publication. Fantasy for Viola and Piano was published in 2014 by the American Viola Society. This essay gives an introduction to these two works which are currently in circulation. The Concerto is considered from the standpoint of viola technique and pedagogy, while the Fantasy is briefly analyzed in terms of Fricker’s stated compositional ideals. The culmination of this work is a performance edition of the Three Movements, to be published later this year by the American Viola Society.

abstract: This research paper provides a revised version of viola alta compositions by Hermann Ritter. These original compositions, written for viola alta, were published between 1878 and 1900. Without further reprint, these works are largely unknown by this generation of violists. Yet, these works are precious examples of viola alta repertoire from the late nineteenth century. The viola alta was designed by Hermann Ritter with an instrumental length between 17 and 19 inches. Another version of this instrument was constructed with five strings, adding a high E-string. Higher pitches could then be played with relative ease in lower positions. Compositions for the viola alta often feature brilliant passages in the treble register and rarely showcase the sonority of the lower strings. Many of Ritter’s scores for the instrument are notated in the alto clef and contain numerous ledger lines. Due to the difficulty of reading the music and handling such a large instrument, the viola alta had a relatively short existence and its repertoire was soon forgotten. Hermann Ritter actively promoted the viola alta during the late nineteenth century. His compositions featured the range of the instrument and captured the emotion and character of the late Romantic era. Ritter contributed a wealth of repertoire for the viola alta to increase its significance and importance. For today’s violist, it represents a body of work from the nineteenth century, and adds to the repertoire many wonderful, short, character pieces. This document consists of a brief discussion of Hermann Ritter’s career and his contributions to the viola alta. Six of Ritter’s viola alta works are presented in order of difficulty with bowings and fingerings, along with a performer’s analysis and performance instructions. To aid ensemble issues, the revised version includes simplified piano parts. It is the author’s hope that this volume increases repertoire options for violists and becomes a valuable pedagogical resource. / Dissertation/Thesis / Doctoral Dissertation Music 2018