3 Characteristic Pieces, Op.12 (Hollander, Benoit)

Incipit
Movements/SectionsMov'ts/Sec's	3 pieces
First Publication	1895 – Mainz: Schott
Genre Categories	Character pieces; For 2 violins, viola; Scores featuring the violin; Scores featuring the viola; For 3 players; For 2 violins, cello; Scores featuring the cello

Sheet Music

Scores

1. Zingara
*#397256 - 1.67MB, 15 pp. - 0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 3259×⇩ - Schissel

PDF typeset by editor
Schissel (2015/10/21)

2. Rhapsodie
*#396931 - 0.95MB, 8 pp. - 0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 1743×⇩ - Schissel

PDF typeset by editor
Schissel (2015/10/17)

Editor	Eric Schissel
Publisher. Info.	Eric Schissel
Copyright	Creative Commons Attribution 4.0 [tag/del/mrg]
Misc. Notes	Typeset using Lilypond 2.18.2. From a copy of the parts provided (interloan) by Cornell University (which I would have scanned except my scanner isn't large enough- and I started typesetting before I thought of copying them to a smaller size.) Schott parts: Hofmeister's Monatsbericht (1895), p.398. Plate on parts used is 25845, consistent with 1895 date.
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Parts

Violin II
*#390830 - 35.94MB, 10 pp. - 0.0/10 2 4 6 8 10 (-) - !N/!N/!N - 322×⇩ - Schissel

PDF typeset by editor
Schissel (2015/8/25)

Editor	Eric Schissel
Publisher. Info.	Eric Schissel
Copyright	Creative Commons Attribution 4.0 [tag/del]
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General Information

Work Title	3 Characteristic Pieces
Alternative. Title	Trois Pièces caractéristiques pour deux violons et alto (viola) ou violoncelle
Composer	Hollander, Benoit
Opus/Catalogue NumberOp./Cat. No.	Op.12
I-Catalogue NumberI-Cat. No.	IBH 1
Movements/SectionsMov'ts/Sec's	3 pieces: Zingara (Molto Allegro. 357 bars, 3/8, C major) Rhapsodie (Lento - Poco più animato. 102 bars, 4/4, C minor) Scherzo (Molto vivace leggiero. 488? bars, 3/8, A minor)
First Publication.	1895 – Mainz: Schott
Dedication	No.1 dedicated to Sarasate, no other dedications on parts
Composer Time PeriodComp. Period	Early 20th century
Piece Style	Romantic
Instrumentation	2 violins, viola (or 2 violins, cello)

Navigation etc.

First violin part in e.g. the 2nd piece, Rhapsodie, seems (from the point of view of this non-violinist) reasonably virtuosic. Fortunately the most difficult-looking parts, e.g. the several bars of tuplet 16ths (and one bar ending with a 9:8 tuplet arpeggiated A major scale of 32nd notes) take place after Tempo Iº is regained. That said, the viola part in the rhapsody is, for the 1890s or so, extraordinary (and I did once practice viola, though I was never very good at it. Forsyth, based on his section on Viola in his book Orchestration (in the early 20th century, on the viola in an orchestral, not a chamber context it's true,) would have looked at Hollander's demands on the viola in the 2nd piece and wondered if he'd mistaken it for a 3rd violin with extended lower range...) - ES