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THE TRANSCRIPTIONS AND EDITIONS OF LUIGI SILVA AND THEIR INFLUENCE ON CELLO PEDAGOGY AND PERFORMANCE WITH THREE RECITALS OF SELECTED WORKS BY BACH, BEETHOVEN, BARBER, BRIDGE, HAYDN AND OTHERS Phillip T. Young III, B.Mus., M.Mus. APPROVED: .ajP ofesso Minor rof ssor Commit ee member Committee Member Dean of the College of MuT Dean of the Robert B. Toulouse School of Graduate Studies e6d THE TRANSCRIPTIONS AND EDITIONS OF LUIGI SILVA AND THEIR INFLUENCE ON CELLO PEDAGOGY AND PERFORMANCE WITH THREE RECITALS OF SELECTED WORKS BY BACH, BEETHOVEN, BARBER, BRIDGE, HAYDN AND OTHERS DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Phillip T. Young III, B.Mus., M.Mus. Denton, Texas August, 1996 Young, Phillip T. III, The Transcriptions and Editions of Luigi Silva and Their Influence on Cello Performance and Pedagoy, with Three Recitals of Selected Works by Bach, Beethoven, Barber, Britten, Haydn and Others. Doctor of Musical Arts (Performance), August, 1996, 60 pp., 4 tables, 6 musical examples, 71 references, 26 titles. Virtually disregarded in contemporary discussions of cello performance and pedagogy is the name of Luigi Silva (1903-1961.) Though he did not achieve fame as a performer to the same degree as his peers Leonard Rose (1918 - 1984), Emmanuel Feuermann (1902 - 1942) or Gregor Piatigorsky (1903 - 1976), Silva had an internationally-acclaimed performing career. Owing to his formidable technique on the instrument, he was known as the "Paganini of the cello." Through Silva's unparalleled ability to analyze technical problems in his students' playing and assist his students excel as performers and teachers, moreover, his students have populated faculties of most of the major American post-secondary schools of music and many of the principal chairs in important symphony orchestras. Of even longer-lasting significance is his enormous contribution to the literature for cello of over 100 transcriptions and scholarly editions of standard cello repertoire. By combining his own incredible artistry on the instrument and his extraordinary enthusiasm for teaching with his transcriptions of such works as the 24 Paganini Caprices, Silva helped raise the standard of cello technique to an unprecedented level and has impacted in one way or another every cellist in the twentieth century. This dissertation document describes the influences Silva's transcriptions and editions have had on cello playing and teaching in the 20th- century. Tape recordings of all performances submitted as dissertation requirements are on deposit at the University of North Texas Library. iii ACKNOWLEDGEMENTS Many people have given very generously of their time in assisting in my research for this dissertation. I must first thank two of my greatest mentors, Carter Enyeart, Professor of Cello at the University of North Texas and Dr. Robert Hladky, Professor Emeritus of Cello at the University of Oregon, for their tireless enthusiasm, advice and support; I also wish to acknowledge the support and encouragement of Dr. Michael Collins, Professor of Musicology and Mr. Jeffrey Bradetich, Professor of Double Bass at the University of North Texas. Janis Pardue, Special Collections Librarian at the Walter Clinton Jackson Library at the University of North Carolina at Greensboro which houses the Luigi Silva Collection, has been of immeasurable assistance in providing me with photocopies of Silva manuscripts, out-of-print publications, etc., and Elizabeth Anderson, Professor of Cello at the University of North Carolina at Greensboro was so kind to provide a compact disc of her performances of some of Luigi Silva's transcriptions. I wish also to thank the students of Luigi Silva who took time away from their busy teaching and performing schedules to provide me with insights into Silva's career: Timothy Eddy, Margery Enix, Cassell Grubb, Avram Lavin, James Robert Hladky, Martha McCrory, Nino Rosso and Charles Wendt. Finally, I wish to thank my wife Laura for her endless love and support in all my endeavors. iv PREFACE "Silva Library Catalog" is the abbreviated title for the catalog of the Luigi Silva Collection at the University of North Carolina at Greensboro's Walter Clinton Jackson Library, whose full bibliographic information appears on page three of the dissertation body of text. V TABLE OF CONTENTS Page RECITAL PROGRAMS........................................ viii LIST OF TABLES.......................................... xii LIST OF MUSICAL EXAMPLES ............................... xiii Chapter 1. INTRODUCTION.....................................1 Biography of Luigi Silva Silva as Cello Teacher Silva as Scholar 2. SILVA'S PEDAGOGICAL TRANSCRIPTIONS AND EDITIONS ..................................... 16 The Kreutzer-Silva ztudes The Guerrini-Silva Caprices The Piatti Caprices The Servais Caprices The Popper High School of Cello Playing The Fuchs-Silva Caprices 3. SILVA'S TRANSCRIPTIONS OF VIOLIN CONCERT REPERTOIRE ...................... 27 The Paganini-Silva Caprices The Paganini-Silva Moses Variations The Bonelli-Silva arrangements The Bartok-Silva Roumanian Folk Dances The Vitali-Silva Ciaccona Dukas-Silva's Alla gitana 4. SILVA'S TRANSCRIPTIONS OF REPERTOIRE FOR OTHER INSTRUMENTS AND VOICES ................ 37 Silva's transcriptions of keyboard music Silva's transcriptions of music for voice Silva's transcriptions of miscellaneous music Transcriptions of music by the Gabrielis Explanations for Silva's choice of repertoire vi 5. CONCLUSION ...................................... 44 Silva's contributions to cello playing Silva's philosophy of teaching APPENDIX A.............................................. 48 APPENDIX B. ............................................. 51 APPENDIX C. ............................................. 54 APPENDIX D. ............................................. 56 BIBLIOGRAPHY............................................ 58 vii University of North Texas ,00% *6 ff m m u/ se present A Graduate Recital PHILLIP TAYLOR YOUNG III, cello accompanied by Daniel McGee, piano Monday, October 31, 1994 5:00 pm Concert Hall Sonata for Violoncello and Piano in D Major, Opus 102, No. 2 ..... ........ ...... van Beethoven .Ludwig Allegro con brio Adagio con molto sentimento d'affetto Allegro fugato Variations on a Rococo Theme, Opus 33..... I. Tchaikovsky .'Peter - pause - Sonata. ...for 0.0. .0. Cello .Frank Bridgeand Piano .a... ... Allegro ben moderato Adagio ma non troppo; Allegro moderato Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts viii University of North Texas 4, _JI presents A Graduate Recital PHILLIP T. YOUNG, 'cello accompanied by Greg Ritchey, piano Monday, June 12, 1995 5:00 pm Recital Hall Divertimento in D Major ........ ... Joseph Haydn . Adagio trans. Gregor Piatigorsky Menuet Allegro di molto Suite in Eb Majorfor Solo 'Cello, BWV 1010 S. Bach .J. Prelude Allemande Courante Sarabande Bourrie I and II Gigue - pause - Sonatafor 'Cello and Piano,. .Opus...0. .0. 6 . Samuel........ Barber . Allegro ma non troppo Adagio - Presto di nuovo -Adagio Allegro appassionato Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts ix University of North Texas u Al presents A Graduate Recital PHILLIP T. YOUNG III, cello assisted by Madeline Adkins, violin * Greg Ritchey, piano Michael Schneider, piano Monday, April 15, 1996 6:30 pm Recital Hall Sonata in F Major, Opus 5, No. I ................. Ludwig van Beethoven Adagio sostenuto - Allegro Rondo: Allegro vivace - pause - Trio for Piano, Violin and Cello in D Minor, Opus 49 ....... Felix Mendelssohn Molto allegro ed agitato Andante con moto tranquillo Scherzo: Leggiero e vivace Finale:Allegro assai appassionato Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts x University of North Texas IV And r I fA L'7 r V21ihii V VWM L/ V I- AP' 7 ILw -1c JF w f u Al presents A Graduate Lecture Recital PHILLIP TAYLOR YOUNG III, cello accompanied by S. Wayne Foster, piano Monday, July 1, 1996 6:30 pm Recital Hall "THE TRANSCRIPTIONS AND EDITIONS OF LUIGI SILVA AND THEIR INFLUENCE ON CELLO PEDAGOGY AND PERFORMANCE" Ciaccona in G Minor ......... .......... ...... attrib. Tomaso Vitali (1663-1745) trans. Luigi Silva Twenty-four Capricesfor Violoncello Solo Niccol6 Paganini ... CapriceXIV (1782-1840) Caprice XX trans. Luigi Silva Andante per Violoncello e Pianoforte .... Sebastian Bach .Johann (dalle variazioni a Goldberg) (1685-1750) trans. Lbigi Silva Intermezzo, Opus 116, No. 6......... Johannes Brahms ... (1833-1897) trans. Luigi Silva Variazioni di Bravura (su di una corda sola) ....... Niccolb Paganini su temi del "Mose" di G. Rossini (1782-1840) trans. Luigi Silva Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts xi LIST OF TABLES Page Table 1. A representative list of Silva's pupils...... 12 Table 2. Kreutzer-Silva Etudes, their keys and areas of function............................. 19 Table 3. Paganini-Silva Caprices, their keys and areas of function............................. 28 Table 4. Composers represented in Ettore Bonelli's Classico del violino and which works were transcribed by Luigi Silva.................... 32 xii LIST OF MUSICAL EXAMPLES Page Figure 1. Kreutzer-Silva Etude No. 1, mm. 1-3 ............ 18 Figure 2. Piatti Caprice No. 1, mm. 1-3 .................. 22 Figure 3. Piatti Caprice No. 1, mm. 5-8 .................