By: David L.

The publication of Xue Ding’s new critical edition of Carl Stamitz’s Viola Concerto in D Major reflects both a personal artistic journey and a contribution to the field of viola performance practice. This comprehensive edition, available through JW Pepper, traces its origins to a pivotal moment in Ding’s musical development and reflects several years of research into 18th-century performance traditions.

The Spark of Inspiration

Ding’s path to creating this edition began during her studies with violist Thomas Riebl at the University Mozarteum’s summer academy in Salzburg. When she asked which cadenza to perform for Stamitz’s concerto, Riebl suggested that she create her own. While this suggestion was initially daunting, it became the seed for what would evolve into a major scholarly and artistic project.

At the time, Ding felt uncertain about how to approach cadenza composition. It wasn’t until years later, while searching for a topic for her DMA lecture recital at Stony Brook University, that the project took shape. Under the guidance of her academic advisor Erika Honisch, Ding recognized this as a meaningful opportunity to combine her performance skills with historical research, ultimately leading to the creation of this edition.

A Research-Driven Approach

Since cadenzas were traditionally improvised by performers—and since Stamitz himself likely improvised his own cadenzas and embellishments—no written cadenzas by Stamitz survive today. This historical reality led Ding to explore contemporary treatises and to study Mozart’s works, whose compositional style shares certain similarities with Stamitz’s approach.

Drawing from Quantz’s Versuch einer flöten zu spielen (1752) and Türk’s Klavierschule (1789), Ding’s editorial process reflects a deep engagement with Classical-era articulation, ornamentation, and phrasing. Her comparative study of Stamitz’s and Mozart’s stylistic parallels informed her interpretive choices, especially in crafting cadenzas that aim to honor period conventions while also allowing room for expressive individuality.

Ding’s examination of Mozart’s piano cadenzas proved to be particularly insightful due to the well-documented historical connection between these composers. As scholars have suggested, Mozart was influenced by Johann Stamitz—Carl Stamitz’s father and leader of the Mannheim School—during his visit to Mannheim. The young composer’s exposure to the orchestra’s techniques left notable marks on his compositional development.

After carefully studying these sources, Ding composed her own cadenzas for both the first and second movements of the concerto.

Ornamentation in the Second Movement

The slow movement presented unique challenges. While modern violists often perform the lyrical lines straightforwardly, Ding’s research suggested that Stamitz’s era likely expected embellishment.

“Leopold Mozart’s violin method showed me how ornaments should ‘grow’ from the melody,” she notes. She also examined Philipp Karl Hoffmann’s edition of Mozart’s piano concertos, which included embellishments in the slow movements. Her approach prioritized elegance and restraint, ensuring that ornaments enhanced, rather than obscured, the melodic line.

Completing the Circle

The third movement’s fermatas became an unexpected focal point. Studying Stamitz’s basset horn concerto revealed his preference for progressively longer lead-ins.

“This wasn’t arbitrary—it created dramatic momentum,” Ding notes. Her edition includes multiple options, allowing performers to select the approach that suits their interpretive preferences.

Empowering the Next Generation of Violists

Ding hopes that performers will not only play her written embellishments but also use them as a source of inspiration to create their own cadenzas. Her edition encourages musicians to engage creatively with the Classical style, turning historical research into a foundation for personal expression.

The impact of the project continues to expand. During a recent lesson, a student preparing the piece for his NYSSMA audition asked Ding: “Which cadenza should I play?” She responded with a knowing smile: “Let me show you how to create your own.”

Now Available from JW Pepper

Published by JW Pepper, this edition is available here: Stamitz Viola Concerto