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Three Transcriptions for Viola and Piano

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Three Transcriptions for Viola and Piano Three Transcriptions for Viola and Piano Clara Mathilde Faisst (1872-1948) Adagio Consolante Clara Faisst was born in Karlsruhe in 1872. Her formal education took place in Karlsruhe and Berlin, where her composi- tion teachers included Max Bruch (1838-1920) and Woldemar Bargiel (1828-1897; step-brother of Clara Schumann). She studied piano with Ernst Rudorff (1840-1916; pupil of Clara Schumann). She earned a living in Karlsruhe by teaching, performing, and composing. Her circle of friends included some of the greatest musicians of that era, particularly Albert Schweitzer (1875-1965) with whom she corresponded. Adagio Consolante, opus 7 #1, originally for cello and piano, was published by Simrock in 1902. The composition is ro- mantic, and in spite of the time of publication, is not “salon-style.” The work has a finely crafted melodic line and her use of chromaticism is sophisticated. Numerous slur discrepancies are found when comparing the piano score and the separate cello part. Preference has been given to the markings in the separate cello part because they provide much more logical bow- ings. Performers can compare the markings in the viola transcription to the cello line in the score to see where these discrep- ancies occur. Other discrepancies that demand more detailed resolutions follow. All down-bow and up-bow markings and fingerings are editorial. ps = piano score cp = separate cello part. Measure Problem Solution 8 half note in cp, whole note in ps half note for bowing-ease 13 p in cp, not ps include 21 rit. in ps, not cp include 23 p in ps, not cp include 24 rit. not in cp, in ps; fermata (beat 4) include rit., omit fermata in cp, not in ps 25 p in ps, not cp include 28 hairpin in ps, not cp include 31 con anima in cp, not ps include 32 decresc. in ps, not cp include 34 pp in ps, not cp include 42 pn, whole note is B-flat, opposed change whole note to B-natural to B-natural eighths in pn, and B- natural in cello 45-46 decresc. in ps, cresc. in cp decresc. to match piano part in m. 46 only 47 espr. in cp, not ps include 48 cresc., beats 1-2 in cp; include all three markings decresc. beat 2 in ps; cresc., beats 3-4 in ps 52 tie from beat 2-3 in ps do not include to correlate with m. 14 58 accent in ps include 59 cresc. in cp; decresc. in ps decresc. to correlate with m. 21 59 rit. in ps include 67 fp and dolce in cp include 73 p on beat 1 in cp omit: doesn’t correlate with piano part Mon Schjelderup (1870-1934) Tungsind (Tristesse) Mon [Maria Gustava] Schjelderup was born in Norway in 1870. Among her composition teachers were Agathe Backer Grøndahl and Jules Massenet. She was a pianist as well, but appears to have retired from both composing and performing when she was in her mid-thirties, perhaps from ill health. She died in Oslo in 1934. Mon Schjelderup composed over fifty works, including songs, chamber music, solo piano pieces, and orchestral compositions. Many of her works are housed in the National Library of Norway. Tungsind (Tristesse), opus 18, for cello and piano was published around 1900 (judging from known dates of nearby works). It is dedicated to Peter Lindeman (information about him was not available). The piano score is the source for this viola transcription because the separate cello part was not found; thus, a comparison of the two (as per the other works in this edition) was not possible. Schjelderup provided one down-bow marking (measure 40); all others are editorial. Tungsind (“sadness”) is a somber romantic-style work. Luise Le Beau (1850-1927) “Romanze” from Vier Stücke Luise Adolpha Le Beau was born in in Germany in 1850. She grew up in Karlsruhe. She composed her first piece at the age of 8. She studied composition as well as voice and piano in Karlsruhe. At the end of her teenage years she toured as a concert pianist in Germany. At the age of 23 she traveled to Baden-Baden to study with Clara Schumann. Shortly thereaf- ter, she moved to Munich to study with Josef Rheinberger, where she remained for 11 years. The post-Munich years of Le Beau’s career were difficult. She moved frequently, trying to find a situation where she could work in relative peace. She was denied academic positions as well as publishing opportunities because of her gender. She gradually withdrew from society, insulating herself from what she viewed as blatant prejudice against a female composer. She retired to Baden-Baden, where she died in 1927. During her last years she was the music librarian to the Grand Duchess Louise, and now the town library is named after Luise Le Beau. All her surviving music – over 60 compositions – as well as other documents about her life are in this library. Further information may be found in Le Beau’s autobiography Lebenserinnerungen einer Komponistin. Baden- Baden: Emil Sommermayer, 1910. Her autobiography contains a complete list of her compositions. An excellent chapter about Le Beau, written by Judith Olson, is found in Women Making Music. Jane Bowers and Judith Tick, ed. Illinois: Uni- versity of Illinois Press, 1986. Vier Stücke for cello and piano, opus 24, were composed in 1881 for Hugo Becker, the cellist of the Jean Becker Family Quartet. “Romanze” is the first of the four pieces. A few very minor discrepancies are found when comparing the piano score with the separate cello part. The separate cello part did include up-bow and down-bow markings, but they are not indicated in the piano score. In this edition the viola part has Le Beau’s bowings plus bracketed editorial bowings. Dr. Susan Pickett Catharine Chism Professor of Music Whitman College Walla Walla, WA.
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