Adding to the viola repertoire by arranging: A study on methods of arranging music for viola from clarinet, with an original arrangement of the Saint-Saens Clarinet Sonata in E-flat, Op. 167
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Authors Swanson, Christina Marie
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Link to Item http://hdl.handle.net/10150/280389 Adding to the Viola Repertoire by Arranging:
A Study on Methods of Arranging Music for Viola from Clarinet, with an
Original Arrangement of the Saint-Saens Clarinet Sonata in E-flat, Op. 167
by
Christina Marie Swanson
Copyright © Christina Marie Swanson 2003
A Document Submitted to the Faculty of the
SCHOOL OF MUSIC AND DANCE
In Partial Fulfillment of the Requirements For the Degree of
DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC
In the Graduate College
THE UNIVERSITY OF ARIZONA
2003 UMI Number: 3107045
Copyright 2003 by Swanson, Christina Marie
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of Arranging Music for Viola from Clarinet, with an Original
Arrangement of the Saint-Saens Clarinet Sonata in E-flat,
Op. 167 and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts
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TABLE OF CONTENTS
LIST OF FIGURES 5
ABSTRACT 6
I. Arrangements in general A. Justification for the tradition or practice of arranging 7 B. Description and explanation of general methods of arranging 9
11. Arrangements for viola from clarinet A. Explanation: why I chose clarinet 10 B. Discussion of research; listing of works studied that were arranged for viola from clarinet, or written for clarinet or viola 12 C. Analysis of arrangements studied; differences between clarinet and viola parts 14 1. Note changes 16 a. Octave transposition 16 b. Note addition (including double stops and grace notes) 20 c. Note omission 24 d. Other note changes 26 2. Phrasing/articulation changes 31 3. Instructions specific to viola technique 34 D. Conclusions as to a common method, or rules of successful arranging for viola from clarinet 37
III. Original arrangement of the Saint-Saens Clarinet Sonata in E-flat, Op. 167 A. Listing and justification of all differences between original composition (clarinet part) and my arrangement (viola part) 39 1. Movement I: Allegretto 40 2. Movement II; Allegro animato 42 3. Movement III: Lento 44 4. Movement IV: Molto allegro __ 44 B. The actual printed arrangement (clarinet and viola parts compared) 48 C. The actual printed arrangement (viola part, with editorial markings)_74
REFERENCES 88 5
LIST OF FIGURES
Fig. 1, Chart summarizing changes made in each arrangement studied 15 Fig. 2, Brahms Sonata Op. 120/1, 4th mvt, viola, mm. 5-9 18 Fig. 3a, Brahms Sonata Op. 120/2, 3rd mvt, clarinet, mm. i36-139 18 Fig. 3b, Brahms Sonata Op. 120/2, 3rd mvt, viola, mm. 136-139 18 Fig. 4a, Mozart/Vieland Clarinet Concerto, 1st mvt, clarinet, mm. 141-143_ __19 Fig. 4b, Mozart/Vieland Clarinet Concerto, 1st mvt, viola, mm. 141-143 19 Fig. 5a, Karg-Elert Sonata Op. 139b, 1st mvt, clarinet, mm. 29-31 20 Fig. 5b, Karg-Elert Sonata Op. 139b, 1st mvt, viola, mm. 29-31 20 Fig. 6a, Brahms Sonata Op. 120/2, 2nd mvt, clarinet, mm. 126-135 _21 Fig. 6b, Brahms Sonata Op. 120/2, 2nd mvt, viola, mm. 126-135 21 Fig. 7, Vanhal Sonata, 1st mvt, viola, mm. 138-140 21 Fig. 8a, Karg-Elert Sonata Op. 139b, 1st mvt, clarinet, mm. 170-171 22 Fig. 8b, Karg-Elert Sonata Op. 139b, 1st mvt, viola, mm. 170-171 22 Fig. 9, Brahms Sonata Op. 120/1,1st mvt, viola, mm. 79-80 22 Fig. 10a, Brahms Sonata Op. 120/1,1st mvt, clarinet, mm. 200-202 2.3 Fig. 10b, Brahms Sonata Op. 120/1, 1st mvt, viola, mm. 200-202_ 23 Fig. 11, Brahms Sonata Op. 120/2, 2nd mvt, viola, mm. 117-121 23 Fig. 12, Stevens Suite, 1st mvt, m. 130 24 Fig. 13a, Brahms Sonata Op. 120/2,1st mvt, clarinet, mm. 152-154 25 Fig. 13b, Brahms Sonata Op. 120/2, 1st mvt, viola, mm. 152-154_ 25 Fig. 14a, Brahms Sonata Op. 120/1,1st mvt, clarinet, mm. 138-142 26 Fig. 14b, Brahms Sonata Op. 120/1, 1st mvt, viola, mm. 138-142_ 26 Fig. 15a, Mozart Concerto in A, 1st mvt, clarinet, nam. 69-71 27 Fig. 15b, Mozart/anon. Concerto in A, 1st mvt, viola, mm. 69-71 27 Fig. 16a, Mozart Concerto in A, 1st mvt, clarinet, mm. 111-112 28 Fig. 16b, Mozart/anon. Concerto in A, 1st mvt, viola, mm. 111-112 28 Fig. 17, Karg-Elert Sonata Op. 139b, 1st mvt, m. 83 29 Fig. 18a, Karg-Elert Sonata Op. 139b, 1st mvt, clarinet, mm. 163-164 29 Fig. 18b, Karg-Elert Sonata Op. 139b, 1st mvt, viola, mm. 163-164 29 Fig. 19a, Karg-Elert Sonata Op. 139b, 2nd mvt, clarinet, mm. 61-62 30 Fig. 19b, Karg-Elert Sonata Op. 139b, 2nd mvt, viola, mm. 61-62_ 30 Fig. 20a, Reger Sonata Op. 107,1st mvt, clarinet, mm. 13-14 31 Fig. 20b, Reger Sonata Op. 107,1st mvt, viola, nun. 13-14_ 32 Fig. 21a, Karg-Elert Sonata Op. 139b, 1st mvt, clarinet, m. 90 32 Fig. 21b, Karg-Elert Sonata Op. 139b, 1st mvt, viola, m. 90 32 Fig. 22a, Schumann Fantasy Pieces, 3rd mvt, clarinet, mm. 35-38 33 Fig. 22b, Schumann Fantasy Pieces, 3rd mvt, viola, mm. 35-38 33 Fig. 23a, Karg-Elert Sonata Op. 139b, 1st mvt, clarinet, mm. 87-88 34 Fig. 23b, Karg-Elert Sonata Op. 139b, 1st mvt, viola, mm. 87-88 34 6
ABSTRACT
The purpose of this document is to present research on methods of
arranging music for viola and piano (or viola and orchestra) from music originally written for clarinet and piano (or clarinet and orchestra). Subjects
of research include arrangements made by the composer as well as those
made by other arrangers. Principal works studied include the Brahms
Clarinet Sonatas Op. 120, Nos. 1 and 2, and the Mozart Clarinet Concerto in A.
Examples are also included from other relevant works fitting the criteria.
Following the analysis on arranging techniques, I have used knowledge
gained from my research to prepare an arrangement for viola of the Saint-
Saens Clarinet Sonata in E-flat, Op. 167. Saint-Saens, who wrote no solo
music for the viola, wrote many pieces for both the violin and the cello, some
of which are standard in the solo repertoire for these instruments. Since
there is a dearth of viola music by romantic composers,- a Saint-Saens
arrangement will help fill a gap in the solo repertoire for the viola. This
sonata has qualities that make it an ideal candidate for a successful
arrangement for viola. Following this project, I will attempt to publish the
arrangement, so that it may be available to violists around the country. 7
I. Arrangements in general
A. Justification for the tradition or practice of arranging
When one mentions the term "arrangement" or "transcription" with regard to a piece of music, there are varied responses. Some performing musicians embrace the idea, while others are horrified by it. As a violist, I believe that this practice of 'borrowing' music from other instruments is not only acceptable, but also vital, especially when the repertoire for the instrument (viola, in this case) is limited. Indeed, almost every violist studies the transcriptions of the Bach Suites, originally for cello, and/or the
Sonatas and Partitas, originally for violin. For most of its history, the viola was not considered a solo instrument, and for this reason, its original repertoire has limitations. Many composers who wrote solo works for other instruments neglected to write any solo works for the viola. As a result, if violists would like to play solo works by certain composers or from a certain musical period, they must play arrangements of works written originally for other instruments. In an address to the 1978 Viola Congress, eminent violist and arranger, Watson Forbes, suggested that many recent advancements have been made in the sound production and quality of the viola which make it more viable as a solo instrument, and that composers who did not write any solo music for the viola might have changed their minds had they heard the 8 sound of the modern viola.^ He contends "it is up to viola players to extend the repertory by making arrangements. Not all of us have the gift for original composition, but many of us can, through arrangements, show composers what the viola can do."^ I agree wholeheartedly. It is this statement that embodies the purpose of this document.
The words 'transcription' and 'arrangement' have many different meanings, depending on the source of the definition^. In this document I use the word 'transcription' to mean a literal translation from one instrument to another, without many changes other than those necessary for the musician to read the music (for example, a clarinet part in B-flat in treble clef transcribed to a viola part in C in alto clef). The word 'arrangement' refers to a translation in which changes may also have been made in other categories, including octave transposition, note changes, and articulation differences.
Therefore, a transcription is a type of arrangement (though an arrangement is not necessarily a literal transcription), and I use the term 'arrangement' to include cases of transcription.
^ Watson Forbes, "The Value of Transcriptions," Excerpt from a talk at Sixth International Viola Congress, June 1978, Strad 89 (April 1979), 1111. ^ Ibid, 1113. ^ For many varying definitions, see Millan Sachiania, "'Improving the Classics': Some Thoughts on the 'Ethics' and Aesthetics of musical Arrangement," Music Review 55 (Feb 1994), 58-75. 9
B. Description and explanation of general methods of arranging
When arranging a piece for different solo instruments, there are many considerations that affect the arrangement. These considerations include:
1) the inherent abilities of each instrument. Stringed instruments can play
more than one note at a time; woodwind and brass instruments generally cannot; 2) each instrument's range and varying tone colors within the range;
3) physical features and methods of sound production of each instrument
which affect articulation, e.g., the breath and tongue of the player of a wind
instrument versus the bow of a stringed instrument; 4) the ability to project
sound above an accompaniment; 5) each instrument's character. For
example, the Copland Clarinet Concerto is a wonderful piece and fits the
character of the clarinet, due to its jazzy style and various techniques that are
uniquely suitable for the clarinet. An arrangement of this piece for a stringed
instrument would be wholly inappropriate in my opinion; 6) technical issues
specific to each instrument, which may substantially affect an arrangement.
The clarinet is able to make large leaps in register, while a stringed
instrument would find these leaps extremely awkward; 7) the composer's
musical intentions and the style of the original piece. 10
II. Arrangements for viola from clarinet
A. Explanation: why I chose clarinet
I have chosen to study music arranged for the viola from the clarinet because of both instruments' similarities in range, and because many arrangements between these instruments already exist. The most important pieces written for both instruments are the two Sonatas, Op. 120, Nos. 1 and 2, by Johannes Brahms. I am fascinated by how well these sonatas fit each instrument, and by how masterfully Brahms arranged the viola part, changing it as necessary to fit the attractive qualities as well as the limitations of the instrument. In an article on these sonatas, Roy Bennett expresses some of the differences between instruments as follows:
While the viola and clarinet have similarities in qualities, they have attractive dissimilar characteristics as well: the sheer richness and strength of the clarinet tone versus the somber, veiled quality of the viola tone; the warmth of the lower strings of the viola versus the hollowness of the lower register of the clarinet; the vibrato of the viola versus the relatively straight tone of the clarinet. . .; the double- stopping possible on the viola . .
In his viola version of the Op. 120 sonatas, Brahms expertly molded the music to fit the unique characteristics of the viola, providing a model for future generations of arrangers.
^ Roy E. Bennett, "The Brahms Transcriptions of the Opus 120 Sonatas," American String Teacher 36, no. 1 (1986), 79. 11
Another musical composition that deserves mention here is the
Mozart Clarinet Concerto in A major, written in 1791, with an anonymous
viola arrangement originally published in 1802. According to editor
Christopher Hogwood, this version is "remarkable for its ingenuity and
technical expertise; it is idiomatic and grateful for the new instrument".^ The
changes made to the viola part are appropriate and fit Mozart's style. This
example also shows the liberties that may be taken in an arrangement
without harming the intentions of the original work.
These three works, as laudable examples, form the basis for researching
methods of arranging for viola from clarinet. Knowing that many additional
pieces will show different arrangers' techniques, I have endeavored to find as
many works as possible that have been arranged in this way. My research on
finding these works is discussed in the next section.
^ W. A. Mozart, Concerto in A major for Viola and Orchestra (1802) after the Clarinet Concerto K. 622, Piano Reduction, Ed. by Christopher Hogwood, (Kassel: Barenreiter, 1999), 3. 12
B. Discussion of research; listing of works studied that were arranged
for viola from clarinet, or written for clarinet or viola
I have limited my study on arranging to compositions originally
written for clarinet, including clarinet/piano and clarinet/orchestra, that
have also been arranged for the viola. These include arrangements made by
the composer as well as those made by other arrangers. No comprehensive
list of works that fit these criteria exists in one place. In order to find these
pieces, I followed a step-by-step process. First, I consulted several sources containing lists of viola literature, some of which identified the works that
were not originally for the viola. Particularly helpful was the Zeyringer
Literatur fiir Viola^, the definitive list of viola repertoire (though even this
source did not list all of the works that I eventually found). In consultation
with other viola repertoire books and a viola repertoire website, I created a list
of 57 works that had the potential to meet my criteria. Sometimes the sources
disagreed on whether a composition was written originally for clarinet or
originally for viola. Then, I consulted several books and a website on clarinet
repertoire. This process narrowed my list somewhat. I made a decision not to
include works that are in manuscript form only and have never been
^ Franz Zeyringer, Literature for Viola: Catalogue of Works for Viola Solo, Duos with Viola, Trios with Viola, Solo Viola with Accompaniment, Recorder with Viola, Voice with Viola, and Methods, Etudes and Exercises for Viola, (Hartberg; Schonwetter, 1985). 13
published. For some pieces, the original instrumentation was still
ambiguous, so I endeavored to find and look at the printed music for as many
works as possible on my list. A number of works were unavailable, but I was
able to find music for many of the pieces on the list. After examining these scores, I determined which works were written originally for viola, and
thereby were excluded from my study. Since I am doing a comparative study
of clarinet and viola versions of the same piece, I also excluded works for
which I did not find both the clarinet and viola parts. After this process of
elimination, the following twelve arrangements remain:
Brahms: Sonata, Op. 120, No. 1
Brahms: Sonata, Op. 120, No. 2
Karg-Elert: Sonata in B major. Op. 139b
Mozart: Concerto in A major, K. 622 (arr. Vieland)
Mozart: Concerto in A major, K. 622 (arr. anonymous)
Reger: Sonata in B-flat major. Op. 107
Schoeck: Andante
Schumann: Fantasy Pieces, Op. 73
Sowerby: Sonata
Stanford: Sonata, Op. 129
Stevens: Suite
Vanhal: Sonata in B-flat major (viola version in E-flat major) 14
C. Analysis of arrangements studied;
differences between clarinet and viola parts
After analyzing each of the eleven chosen pieces (twelve arrangements, with two versions of the Mozart concerto), I have categorized the changes made by the arrangers into the following groups:
1. Note changes
2. Phrasing/articulation changes
3. Instructions specific to viola technique
In figure 1 (next page), I have charted the above changes in each arrangement, and have also given my thoughts about the quality of each arrangement. I intend to address each of these categories in this section.
For the purposes of this document, I must clarify the following protocols: All pitches named in the document are in concert pitch. The note
C that is an octave below middle C is called c, middle C is called cl, the first C above middle C is called c2, etc. A note between Cs will use the same protocol as the C immediately below it (e.g., the G below middle C is called g, the G above middle C is gl, etc.). Note changes may include one or more of the techniques listed here: a) octave transposition; b) note addition (including double stops and grace notes); c) note omission; d) other note changes. a. Octave transposition The ranges of the clarinet and the viola are similar, but with important differences. The lowest note on the viola is c, whereas the lowest note on the B-flat clarinet is d, and on the A clarinet, c#. In the upper range, the clarinet can play higher more easily than can the viola. In the upper register of the viola (higher than a2), the sound may become quite strained, since at this point on the fingerboard of the instrument the violist must contort his left arm, hand and fingers around the shoulder of the viola. This physical difficulty, along with the inherent lack of adequate acoustical support for these high notes on the viola, suggest that this high range should be avoided on the viola in general, and must be addressed when arranging a piece from the clarinet. Composers and arrangers have dealt with the problem of range in many ways; the most common solution is to transpose some of the higher passages in the clarinet part down an octave to be more easily played on the viola. 17 Of the twelve arrangements studied, only two (Schoeck and Sowerby) have not employed the technique of octave transposition to solve problems of range on the viola. While this is not so much of a problem in the short Schoeck piece, the Sowerby Sonata uses high notes that most violists are not accustomed to seeing or playing. Two additional arrangements (Stanford and Stevens) do use some octave transposition, but sometimes still test the viola's upper range, with frequent forays up to c3, d3, and occasionally e3. Brahms' Sonatas, Op. 120, were written first for clarinet and piano, and subsequently arranged by Brahms for viola and piano as well. Parts for both solo instruments were included when the sonatas were first published (by N. Simrock, Berlin) in 1895.'' When Brahms wrote his viola part from the clarinet part, he took advantage of the lower notes of the viola by writing the notes an octave, or sometimes two octaves, down from what he had written for the clarinet. A prominent example of this practice is in the opening of the fourth movement of Op. 120/1 (figure 2), an octave below the clarinet part. H.-C. Miiller, preface to Sonate fiir Klarinette (oder Bratsche) und Klavier f- Moll Op. 120 No. 1, by Johannes Brahms, 2nd ed, ed. by H.-C. Miiller, J. Michaels, and E. Seiler, Wiener Urtext Edition, (Vienna: Universal, 1973), iii. 18 m i o / TJ Figure 2. Brahms Sonata Op. 120/1, 4th movement, viola, mm. 5-9. This octave transposition allows the viola to take advantage of the open C string. Another passage taking advantage of the strength of the viola's C string is in the last movement of Op. 120/2. Many of the notes in the clarinet part (figure 3a) are quite high. To make the viola part (figure 3b) more Bb clar. Figure 3a. Brahms Sonata Op. 120/2, 3rd movement, clarinet, mm. 136-139. !SZ / Figure 3b. Brahms Sonata Op. 120/2, 3rd movement, viola, mm. 136-139. playable, Brahms transposes the first eight notes of the excerpt down one octave, the next four notes down two octaves (allowing use of the C string), the next four notes merely one octave down, and the last note at pitch. This use of octave transposition creates a nice line exploiting the range of the viola. In Joseph Vieland's arrangement of the Mozart Clarinet Concerto in A major, octave transpositions are made only in sections where the clarinet part reaches b2 or above. When this happens in the middle of a phrase (figures 4a, 4b), the line becomes broken with the octave leaps (m. 142). However, if one r •rfP l" ' 0 — jjff jin —r — "ft y-' Figure 4a. Mozart/Vieland Clarinet Concerto, 1st movement, clarinet, mm. 141-143. Figure 4b. Mozart/Vieland Clarinet Concerto, 1st movement, viola, mm. 141-143. wishes to avoid the upper notes on the viola it is the only way to do so with octave transposition, since the lower range of viola dictates that it is impossible to transpose the entire passage down an octave. Other arrangers have employed other techniques to solve this problem of awkwardness, but Vieland has chosen to remain true to Mozart's notes. In his Sonata Op. 139b, Sigrid Karg-Elert has used octave transposition extensively to put much of the work in the strong lower to middle range of the viola. In a passage in the first movement (figures 5a, 5b), he has written 20 Figure 5a. Karg-Elert Sonata Op. 139b, 1st movement, clarinet, mm. 29-31. Figure 5b. Karg-Elert Sonata Op. 139b, 1st movement, viola, mm. 29-31. the third eighth-note figure down an octave for the viola, and then changes the next measure to avoid the huge leap in the clarinet part that would have been extremely awkward for the viola as written. In this measure, Karg-Elert changes octave transpositions twice, to arrive finally at c2 to match the clarinet part. b. Note addition (including double stops and grace notes) Another technique some arrangers have employed to change a clarinet part to fit the viola is note addition. Violists have the ability to play more than one note at a time, unlike clarinetists. A significant example of an arranger writing double stops for the viola where obviously none existed for the clarinet is in the Brahms Sonata, Op. 120/2, second movement (figures 6a 21 Figure 6a. Brahms Sonata Op. 120/2, 2nd movement, clarinet, mm. 126-135. Figure 6b. Brahms Sonata Op. 120/2, 2nd movement, viola, mm. 126-135. and 6b). In this passage, Brahms not only writes double (and triple) stops for the viola, but also continues the viola line for nearly three measures after the clarinet line has stopped, and he uses material in the piano line to fill out the viola notes. The viola version of the Vanhal Sonata uses double stops extensively throughout the piece. Most of them work very well on the viola, but arrangers must take great care to make sure that the double stops are playable. In one instance a double stop is written (figure 7) that is difficult (and in my Figure 7. Vanhal Sonata, 1st movement, viola, mm. 138-140. 22 opinion, ill-advised). While fifths are not easy to play in tune in any position, the final double stop in this passage is especially tricky due to the necessity to play it in a higher position where the strings are further apart. Double stops and triple stops are used frequently in the viola part of Karg-Elert's Sonata Op. 139b. In a passage in the first movement (figures 8a, A clar. Figure 8a. Karg-Elert Sonata Op. 139b, 1st movement, clarinet, mm. 170-171. Figure 8b. Karg-Elert Sonata Op. 139b, 1st movement, viola, mm. 170-171. 8b), he emphasizes the notes in forte by adding notes in the viola part. Grace notes may be used in the viola part to add harmonic interest, as in the following example from the Brahms Sonata Op. 120/1 (figure 9). These Figure 9. Brahms Sonata Op. 120/1, 1st movement, viola, mm. 79-80. three grace notes, not in the clarinet part, perform the same function as a quadruple stop, and add excitement to the top note. Brahms also uses grace notes later in this movement to smooth out a transition between notes written down an octave and those transcribed at pitch. In the viola example in figure 10b, the grace note completes the line of the previous two notes Figure 10a. Brahms Sonata Op. 120/1, 1st movement, clarinet, mm. 200-202. Figure 10b. Brahms Sonata Op. 120/1, 1st movement, viola, mm. 200-202. which are written in the lower octave, and then moves gracefully to the upper g2 and notes following that are written at pitch. A final example of note addition occurs in the second movement of the Brahms Sonata Op. 120/2. In the third and fourth measures of the viola excerpt (figure 11) are dotted half notes that serve as a transition between r. • IM- —& Figure 11. Brahms Sonata Op. 120/2, 2nd movement, viola, mm. 117-121. 24 phrases. In the clarinet part, these two measures are measures of rest, allowing the clarinetist to breathe in preparation for the next phrase. Since violists can breathe and play simultaneously, these measures of rest are unnecessary and may be filled with melodic or harmonic material as Brahms has done. c. Note omission In the Stevens Suite, the composer has omitted some notes from a measure that was apparently deemed too difficult for the viola while acceptable on the clarinet. Notice that in the following example (figure 12) clarinet viola Figure 12. Stevens Suite, 1st movement, m. 130. the clarinet has eight notes where in the same measure the viola has only six notes. This violist appreciates the change, but would prefer to see the passage written down an octave. This might eliminate the need to omit notes to make the measure more playable. In Op. 12012, Brahms has written a passage down an octave, which has produced a most undesired result, a missing note at the end of the phrase. The passage in the clarinet part ends on the note c-flatl (figure 13a), which. Bl> clar. p7 Figure 13a. Brahms Sonata Op. 120/2, 1st movement, clarinet, mm. 152-154. when written down an octave to the note c-flat, is a half step lower than the lowest note on the viola. Therefore the last note of the passage is completely left out in the viola (figure 13b), most unsatisfying to violists wishing to end the phrase. Some violists have actually tried to solve this problem ""iMr • m -^ •—0- * f W Figure 13b. Brahms Sonata Op. 120/2, 1st movement, viola, mm. 152-154. themselves, by tuning the C string down a half step to C-flat, but there is no place in the music which conveniently allows the time for retuning. Many violists allow the phrase to end by tapering dynamically, and the final C-flat is merely imagined. 26 d. Other note changes Of the twelve arrangements studied, tw^o (Mozart/anonymous and Karg-Elert) have extensive changes to notes beyond the techniques of octave transposition and note addition. Other arrangers, including Brahms, have changed notes to a lesser degree. One of these examples occurs in the recapitulation of the first movement of Brahms Op. 120/1. In the excerpt (figures 14a, 14b), notice that the end of the two triplet measures have Bb clar. 9 —r — •J A- 4H a' -m 3 3 Figure 14a. Brahms Sonata Op. 120/1, 1st movement, clarinet, mm. 138-142. m m i^—m Figure 14b. Brahms Sonata Op. 120/1, 1st movement, viola, mm. 138-142. different notes between the clarinet and viola parts. In each of these measures, an exact transcription would have required large awkward leaps on the viola. By simply using lower notes in the same arpeggios, Brahms has avoided this problem. The anonymous arranger of the viola version of the Mozart Clarinet Concerto has ingeniously crafted a version of the piece that avoids almost all problems of translation between the two instruments. This is accomplished, in part, by rewriting passages that fit the clarinet but are not violistic. Notes are changed liberally. In the following example (figures 15a, 15b), the arpeggio A clar. i Figure 15a. Mozart Concerto in A, 1st movement, clarinet, mm. 69-71. Figure 15b. Mozartlanon. Concerto in A, 1st movement, viola, mm. 69-71. in the clarinet part has been rewritten as a scale in the viola part. The scale begins on the same note and ends on the same note as in the clarinet part, but requires nearly twice as many notes. The arranger replaces the first clarinet half note with the rest of the scale in the viola part. In another example later in this movement, the arranger has rewritten a passage similarly, and has also used a quote from another Mozart piece to solve the range problem. In the viola part (figure 16b), the downward arpeggio has been extended a note from the clarinet part (figure 16a), and the second half of the measure has 28 A clan [ f Y I r f f J*" r Figure 16a. Mozart Concerto in A, 1st movement, clarinet, mm. 111-112. Figure 16b. Mozart/anon. Concerto in A, 1st movement, viola, mm. 111-112. been changed to a scale to avoid the higher notes written for the clarinet. In the second measure of the excerpt, the arranger of the viola part has used a quote from the viola variation of the last movement of Mozart's clarinet quintet to avoid the higher notes in the clarinet part. There are many more changes involving rewriting in this arrangement of the concerto, each different, and they are too numerous to be described here. I highly encourage every interested violist to obtain a copy of this piece to look at and play through. Any currently practicing or potential arrangers may learn much from this arrangement. In his Sonata Op. 139b, Sigrid Karg-Elert has rewritten much of his clarinet part to fit the technique of the viola. As in the Mozart concerto, there are too many examples to describe here, so I have chosen only a few instances. A measure in the first movement shows how drastically the composer has changed the clarinet part (figure 17). In this measure, trills are added. A clar. clarinet viola Figure 17. Karg-Elert Sonata Op. 139b, 1st movement, m. 83. triplets are used instead of eighth notes, and the articulation is changed. With this rewriting, the leaps in the clarinet part that would have been difficult on the viola are avoided. Another measure considerably rewritten is later in the movement. The viola part (figure 18b) starts in a lower octave — f ^r> f voil Figure 18a. Karg-Elert Sonata Op. 139b, 1st movement, clarinet, mm. 163-164. fintensiv Figure 18b. Karg-Elert Sonata Op. 139b, 1st movement, viola, mm. 163-164. and winds its way upward, avoiding the two octave leaps in the clarinet part (figure 18a). Yet another way to avoid the large leaps the clarinet can so easily 30 play is shown in an example in the second movement (figures 19a, 19b). I Aclar. Figure 19a. Karg-Elert Sonata Op. 139b, 2nd movement, clarinet, mm. 61-62. Figure 19b. Karg-Elert Sonata Op. 139b, 2nd movement, viola, mm. 61-62. believe this example is self explanatory, and as a violist, I thank the composer for making this particular change. 31 2. Phrasing/articulation changes The clarinet and the viola have vastly different ways to express phrasing and articulation. Where the clarinetist uses breath to make sound, the violist uses the bow. The average breath can last much longer than the average bow length. Therefore, long phrases in one breath that are written in clarinet parts cannot usually be played in one length of bow on the viola, and when a part is arranged for viola, the phrase length must necessarily be shortened. More properly, the phrase length itself is not shortened, but the long slurs that are written in the clarinet part translate in a viola part to long slurs in one length of bow. These long slurs must be broken up for the violist in order to be playable. Most of the arrangements studied use this technique of shortening slurs. In an excerpt from the first movement of the Reger Sonata in B-flat major. Op. 107, the clarinet has a phrase made up of two long slurs (figure 20a). At the printed dynamic, the viola cannot play the phrase in only two f agiiato Figure 20a. Reger Sonata Op. 107,1st movement, clarinet, mm. 13-14. lengths of bow, so the composer has shortened the slurs, giving the violist 32 three notes per bow (figure 20b). This suitable change allows the violist to J agitato Cnon^ Figure 20b. Reger Sonata Op. 107, 1st movement, viola, mm. 13-14. properly express the forte agitato indication that the composer has written. Articulation may also be expressed by indications on individual notes, e.g., dots, lines, accents, etc. In a measure in Karg-Elert's Sonata, he breaks up a long slur in the clarinet part by substantially changing the articulation in the viola part (figures 21a, 21b). Aclar. 1^ '» Id Figure 21a. Karg-Elert Sonata Op. 139b, 1st movement, clarinet, m. 90. f — schatf gestoSen ~ Figure 21b. Karg-Elert Sonata Op. 139b, 1st movement, viola, m. 90. 33 It is possible for an arranger to change the phrasing in an arrangement enough that it obscures the composer's intention with regards to phrasing and articulation. One example occurs in the third piece of Schumann's Fantasy Pieces (figures 22a, 22b). In this passage, the clarinet part clearly has clar •f Figure 22a. Schumann Fantasy Pieces, 3rd movement, clarinet, mm. 35-38. 0- M • • •— m • -F-itr 1 — - — J Figure 22b. Schumann Fantasy Pieces, 3rd movement, viola, mm. 35-38. dotted notes on the fourth beats of measures 36 and 37, as well as a slur on the first three notes in measure 37. The viola part has no dots, though it does preserve the accents original to the clarinet part. I believe it is important to stay as true to the composer's intentions as possible, as may have been done if the arranger in this case had preserved the original phrasing and articulation. 3. Instructions specific to viola technique Most of the arrangements studied include suggestions for the violist that are not in the clarinet part. These suggestions may include: bow markings (including up bow, down bow, ponticello, sul tasto, tremolo), fingering suggestions (including finger numbers, string indications, harmonics), pizzicato, glissando, and use of the mute. Notable exceptions are the Brahms Sonatas and the Mozart/anon. Concerto, neither of which have bowing or fingering suggestions. The viola part of the Karg-Elert Sonata uses many viola techniques, including all those listed above with the exception of fingering suggestions A prominent example is in the first movement (figures 23a, 23b). In these A clar. Pmcht fen Figure 23a. Karg-Elert Sonata Op. 139b, 1st movement, clarinet, mm. 87-88. arco J Figure 23b. Karg-Elert Sonata Op. 139b, 1st movement, viola, mm. 87-88. measures, the composer solves the problem of the leap in register in the 35 clarinet part by rewriting the viola part. In the process, he writes pizzicato and later writes double notes instead of the long slur. The arranger of the viola version of the Vanhal Sonata has added many bowing and fingering suggestions in the form of up bow and down bow markings and finger numbers. The arranger of the Stanford Sonata, Op. 129, also has these suggestions, with the addition of string indications and Roman numerals indicating positions of the left hand. It would be difficult to follow all the markings in either of these viola parts without playing the pieces exactly as the arrangers intended. This has its merits and its drawbacks. On one hand, a less experienced violist may appreciate all the editorial suggestions, and the arranger's intentions are clear. On the other hand, each violist has a different technique, to a greater or lesser degree, because every person is built differently and may have diverse abilities on the viola. For example, a player may have longer or shorter fourth finger on the left hand, or preference for certain positions on the neck of the instrument or parts of the bow. Violas themselves also vary, and may have limitations or techniques that work better, worse, or not at all. I prefer parts to have fewer bowing and fingering suggestions, so that when I decide how I would like to play a piece, I don't have to mark out indications printed in the part that are not put in by the composer. However, for the purposes of my own arrangement in the next section, I have chosen to mark bowings and fingerings as needed for clarity of my intentions. Violists playing this arrangement may use the markings, or not use them, as they wish. 37 D. Conclusions as to a common method, or rules of successful arranging for viola from clarinet After comparing the clarinet and viola versions of the arrangements studied, I have come to several conclusions: 1. Because of the higher range of the clarinet, it may be necessary, and preferable, to take the clarinet part down an octave. This will also take advantage of the strong lower register of the viola. 2. Compensation must be made for clarinet techniques that are not possible or preferable on the viola. These problematic techniques include large leaps in register, which may be solved by octave transposition or by rewriting, and long phrases, which may be solved by shortening slurs. 3. Care should be taken to remain true to the composer's intentions. When changes are made, thought should be given to the style of the piece, and the final product should be appropriate, as the composer himself might have arranged the piece. On the other hand, the composer did not originally write the chosen piece for the clarinet, so some liberties may be taken to make the arrangement suitable for the viola. 4. If the arranger is not a violist, it is important to get feedback on the arrangement from a violist. A couple of the arrangements studied have impossible double stops written, passages that are far too high in range to played successfully on the viola, or ill-advised editing. 39 III. Original arrangement of the Saint-Saens Clarinet Sonata in E-flat, Op. 167 A. Listing and justification of all differences between original composition (clarinet part) and my arrangement (viola part) I would like to add to the viola repertoire by arrangement, using what I have learned from my research. Saint-Saens, who wrote no solo music for the viola, wrote many pieces for both the violin and the cello, some of which are standard in the solo repertoire for these instruments. Since there is a dearth of viola music by romantic composers, a Saint-Saens arrangement will help fill a gap in the solo repertoire for the viola; therefore I have arranged the Saint-Saens Clarinet Sonata for viola. I believe that this sonata has qualities that make it an ideal candidate for a successful arrangement for viola. Following this project, I will attempt to publish my arrangement, so that it may be available to violists around the world. In order to begin the task of arranging the Saint-Saens Sonata, I first created a strict transcription for viola of the piece at pitch, with all original phrasing and other markings intact. Then I attempted to play the transcription on the viola. There were many places that were out of range or awkward due to leaps in register. Some notes were changed, including many octave transpositions. Long slurs in the clarinet part needed to be shortened. After making changes that rendered the viola part playable, I met with a 40 pianist to play through the entire sonata, ensuring that all changes I made worked with the accompaniment. A few additional changes were made after this meeting. The final product works well, fitting the range of the viola nicely, and is fun and rewarding to play. All of the time I spent on this project was absolutely worthwhile and I would like to continue arranging works for viola. I encourage others to do the same. Following is a list of all changes I made to the clarinet part of the sonata to make it suitable for viola. Please refer to the next section (B. The actual printed arrangement: clarinet and viola parts compared) to compare the original clarinet part and the new viola part. For the final version of the viola part, including my editorial markings such as bowings and fingerings, please see the last section (C. The actual printed arrangement: viola part, with editorial markings). Movement I: Allegretto As it is in the clarinet part, the opening melody works very well on the viola, and with very few changes it sounds as if it might have been written for viola. The rest of the movement is also quite violistic. m. 5: slur shortened m. 10: slur shortened m. 14: slur shortened 41 m. 15: slurred differently, to facilitate the octave transposition mm. 15 - 19: transposed down an octave, to avoid high notes and to take advantage of the lower range of the viola m. 21: slur shortened mm. 25 - 28: notes changed on the fourth beats of mm. 25 - 27 to avoid leaps in register; eighth rests taken out in mm. 26 - 28; slurs changed to two bows per measure mm. 31-37: slurs shortened mm. 33 - 38: transposed down an octave to avoid high notes; some note changes in m. 33 m. 42: slur shortened mm. 45 - 49: slurs shortened mm. 48 - 50: transposed down an octave to avoid high notes mm. 51 - 52: notes changed on the fourth beats to avoid leaps in register (as in mm. 25 - 27); slurs changed to two bows per measure m. 58: slur shortened m. 63: slur shortened m. 67: slur shortened mm. 68 - 72: transposed down an octave, to avoid high notes and to take advantage of the lower range of the viola; to match mm. 15 - 19 m. 74: slur shortened 42 mm. 76 - 77: octave transpositions: m. 76 transposed down and m. 77 transposed up, to use the viola's C string tone color in pianissimo and to avoid the leap between mm. 77 and 78 m. 79: slur shortened mm. 82 - 83; m. 82 transposed down an octave, slur shortened, last note of m. 82 changed to facilitate the return to the pitch and octave of the clarinet part Movement II: Allegro animato This movement has inherent difficulties for the viola, with arpeggios reaching high into the clarinet range. The leap of a 12th, easy on clarinet, is prominently featured and had to be changed. mm. 2-3: slur shortened m. 5: top of arpeggio is high for the viola; rhythm kept the same, but last five notes are changed to a diatonic scale instead of an arpeggio; (comparable passages changed the same way throughout the movement) m. 7: changed end of arpeggio to a scale m. 11: slur shortened mm. 14-16: slur shortened mm. 18-20: slur shortened m. 21: changed end of arpeggio to a scale m. 23: changed end of arpeggio to a scale 43 mm. 24-32: slurs shortened and changed mm. 32-34: changed leap of a 12th to a double stop; rhythm changed slightly to emphasize the double stop; (comparable passages changed the same way throughout the movement) mm. 37-39: changed leap of a 12th to a double stop mm. 40-44: slur shortened mm. 46-48: slur shortened mm. 48-50: changed leap of a 12th to a double stop mm. 52-54: changed leap of a 12th to a double stop mm. 54-64: transposed down an octave; uses the open C string in m. 62 mm. 56-60: slur shortened mm. 62-64: slur shortened mm. 68-69: slur shortened m. 71: changed end of arpeggio to a scale m. 73: changed end of arpeggio to a scale m. 77: slur shortened mm. 80-82: slur shortened mm. 84-86: slur shortened m. 87: changed end of arpeggio to a scale m. 89: changed end of arpeggio to a scale mm. 90-94: slurs shortened mm. 97-98: slur lengthened to include downbeat of m. 98 44 mm. 102-103: changed leap of a 12th to double stops mm. 103-106: slur shortened mm. 107-108: downbeat added to m. 107; changed end of arpeggio to a scale; added pizzicato indication to fit the character of the end of the movement Movement III: Lento The third movement clarinet part consists of a 24-measure passage played forte, in the lowest range of the instrument. In the second half of the movement, the passage is repeated two octaves higher, in pianissimo. When transcribed to viola, the high passage is a little higher than I would normally like to play, but in the slow Lento tempo it works. The upper range of the viola is beautiful and shimmering in this passage, especially with the addition of the mute. mm. 6-7: slurs added mm. 20-21: slurs added mm. 22-23: slurs changed mm. 34-57: added con sordino indication to fit the character of this part of the movement mm. 38-39: slurs added m. 47: slur added mm. 50-53: slurs shortened Movement IV: Molto allegro This virtuosic movement has many scales and arpeggios and uses the entire range of the clarinet. Some passages had to be transposed down an octave for viola, and other creative changes were made. I rewrote several passages to better fit the range and technique of the viola. mm. 4-25: slurs shortened mm. 11-12: transposed down an octave by the third note in m. 11; second note in the measure changed to help in the transition down the octave m. 13: transposed down an octave; last four notes changed to prepare for the next measure m. 14: completely rewritten as arpeggios; articulation changed m. 16: completely rewritten as arpeggios; articulation changed m. 17: transposed down an octave m. 18: completely rewritten as arpeggios; articulation changed m. 19: first two notes changed to get back to pitch by the third note in the measure mm. 26-27: slurs added m. 35: slur shortened mm. 37-44: slurs shortened mm. 38-39: large leap in too short a time for the viola; changed 2nd beat in m. 38 to a quarter rest instead of a triplet; rewrote chromatic scale as arpeggios with changed articulation 46 mm. 42-43: large leap in too short a time for the viola; changed 2nd beat in m. 42 to a quarter rest instead of a triplet; rewrote chromatic scale as arpeggios with changed articulation mm. 45-46: m. 45 and the first note of m. 46 transposed down an octave; avoids a large leap to a high note mm. 47-59: transposed down an octave mm. 48-52: slurs shortened m. 50: eighth note at the beginning of the measure changed to a quarter note m. 52: eighth note at the beginning of the measure changed to a quarter note mm. 52-55: slurs added mm. 57-59: slurs added mm. 61-63: slurs added mm. 64-71: slurs shortened mm. 76-88: slurs shortened mm. 82-83: rewrote chromatic scale as arpeggios with changed articulation; changed triplet rhythm to sixteenth notes for variety mm. 86-87: rewrote chromatic scale as arpeggios with changed articulation; changed triplet rhythm to sixteenth notes for variety m. 90: transposed down an octave mm. 92-104: transposed down an octave mm. 96-99: slur shortened mm. 103-105: slurs shortened mm. 106-108: transposed down an octave mm. 109-126: slurs shortened mm. 118-124; transposed down an octave; some notes were too low in the clarinet part to put down an octave, so some notes and rhythms were changed; rests between phrases taken out; back at pitch by the last beat of m. 124 m. 141: slur shortened m. 146: slur shortened m. 150: slur shortened m. 151: slurred differently, to facilitate the octave transposition mm. 151 - 155: transposed down an octave, to avoid high notes and to take advantage of the lower range of the viola m. 157: slur shortened 48 B. The actual printed arrangement (clarinet and viola parts compared) 49 Clarinet Sonata: I Saint-Saens (viola part arr. Swanson) Allegretto Viola ^ r p If f ^ r P Allegretto P Clarinet in B» ^ ^ 1 I il 7 J ^ilJ- J. ? 7 J J- ? r4=f p via. '^i>, f fr > pEfr|f fr Fr ft fiP irfTrf^ Bk CI. r h'' ' [if pr PI' ^'Oul/rTl t r via. - _4——3— I*""—f % 7_1 /--Jif r-1 ~i. ^ ^ J ^ cresc. 7 k F^= j i E j p- Bi.Cl. (eh " .*•—^ 7 f + -J-=— $> 4-J—M J— ' I* S' 1 M r via. W)f ^ i> r1 rL— ill if ') rT\pr A • '> *pr (• ftp 10 mf 81. CI. iv Mr 5= ^ M 0 ft" i^r r if J——, r-' ^> [^rrr n —^ 50 via. dim. 14 B1.C1. rrJif f- ffi dim. / ' ] ^ M ^ \ • \ \ via. II =#t=M=^=#=rf M ~~—frT—ft BkCl. '"fMJ H ^UJ\~0^ $ L—, -4. P 20 Via. r' i pir pr pr pr Fir t i dim. 20 Bl. Cl. > ij t tJ. ) 7 dim. 25 via. frrJTJyr rirTrr Jl^rrrr fiV^r^r P 25 BkCl. ni[JJ]jj/'i7mjj|jji'r.rrJljj^ Via. p'lf—i_..j f i" 1 1 1 1 J *! OT ' 1 1 •f—rttrI 1 T *r r T 4=LfcL^>^ 28 ^ :p; f ^ r Bl. Cl. 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V r»flO- if I pr Pir r' i mf dim. Bl. CI. " to i pr Pir r i pr nr r ^ OT/ dim. iiii)|Kr f" r r 1 Via. i-' " ' r m r r . n.:^ - 5 n ! frffi ±±^ r C-QLI P 67 -# 1 Bl. CI. ^ —J rf'n T" rrcf if f . .'ff I'ff ' f r—d— ^ • 54 via. iPik r—5—— -r—, r * L' > ^ ^ m Hi 1 , / r pr p^ j^i ^ ' r [I 70 BkCl. 73 •y ^ •/ via. r" ' Fir pr pr ^ 73 BtCl. ^ J i^l J iJ jJ Jj J^IJ ^ & 76 via. ^'•'u jj jij jij j'lr pr pr pr g 76 Bl. CI. I- J JlJ JlJ j ju jj ju j'r' LLr^^ PP 79 Via. Si » J- J- 79 sempre pp B1.C1. J h sempre pp 82 ^ Fp= J p n— via. 1H > f, , I*—ft" v-i - 5p ^^*. r—F—^ < • 1 d 1 \ Bl-Cl. 55 Clarinet Sonata: II Saint-Saens (viola part arr. Swanson) Allegro animato r 2 f Viola ir w=^1 1' rIII.. ^fr J * • • 4^ I'' 1?—^ ?rr '^1 • || r '-IJ Allegro animato #- _ Clarinet in Bl Ul.1' J; ~i—— FfnH-H rf^ "9 . # 7 •4 via. 2 r f I r ^ 1- CI, \n' ;rr ——4— 'S' CJ-L V i=y via. c.rr fj'ivrrrfy If rTr?hi [111 10 Bl. 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CI. fifr i»fiiJ.JV [frVfriif IT 0^1^ Ujj mf 58 / > 62 t) 1 k 1. 4p=^ ' M ^ ^ f—^—J J9 / > ( ^ i-i' p rn ^ 1# -p— — H Bt CI. #Pf =## J L 1 1 -—3 J 67 / ii-JiU. r rfp4—s^— M=f• « Via, L_L._ , J . L_L f,— —:— nM^ 67 > • iiA —-— ^0i 1——T" i— Bl. CI. p_ J— ^ r LiiJ -U -# • 72 r Via E — r ^ fete l#f 72 9- r > i_ r^i;^,l^1i^.r7;lf rf^:i Bi CI. i[.i' - 1 ill Iff ^ ¥=H|Jj- i[ii _5: via. LS^ ''r a"''' 0^1 II-' a 77 rr BI.C1. ttgj p via. i Bl. CI. Y r f ^ * rf''r?i¥ YTrrir fil 59 85 • hi r via. I I r * J- ij-<" _1 85 BI. CI. f via. m mM j:jrrir"r 89 1/ . ;ttr f f BI. CI. m 94 via. p r"f rVIr"f fTr fr ft ritir r 94 at CI. r7riif[r7r!irrrrV i^frrrT / via. : ^ uirii'fi'gj P 3 3 98 Bl. CI. rxPfrifrrffTf cgi 3 3 P i 102 3 »« , '=f=N =H^ rn~=1 1 " Via. ^ l)"]} M '> I* I* r f — n—'— —^ \}t—- —LL , - t f J ^ 3 3 102 ^ » \- M f 'Trt*' m p BI. CI. —1—1—(-—*»j-<' ' M 3 J 60 106 P'^^' m 1 f- |;.k 1> i IP if > - II lb N=H—J—,— i \ —J 1 nt7 106 m Jf J' A > ^ f if •• II 1 m— J i ^ \ ''5 i ' ^ 1 PP ' 61 Clarinet Sonata: III Saint-Saens (viola part arr. Swanson) Lento Viola EiM^4L- f sempre Lento Clarinet in 0 f sempre via. •TT BKCi. f Via. t? 1 ik y ^ J J i j 1 , 5 ^ \}, Y w a^ ^^^a J *——J Bl. CI. ^-^4 J— —^i— 'ff '• j j ' J 'ij. ^ J J- ^ Via. 11.^ to.J i -« BI.CI. ^'l,^ ;'I I 4- J 'j J i J j 'j j j = IjTT • 62 via. g3^ BtCI. tnrwiTffw ~a cT via. t]* \fr 1^ m ~zr> t BV CI. •&' > > 25 con sord. , m _^2 via. r "cr^ r 1^ > pp sempre 25 s r r r ill Bl. 01, s i?p sempre > 36 Via. SESEE^ 36 BI.C1. ^ f f r r if r r if^ 40 via. Mr nr r I r r r r j sempre PP B1.CI. s^ r r i iif r r,r rif r ,if f f sempre pp 63 44 [O =1 via. ifJ f.—L_•, r Jr 1 r r^ 1 44 H= p r#=1 a « Bl-CI. ' 1 [|o r-¥— f—r ::i Via, y if r r 48 ^^ iip^^ r Bl. CI. '1" r^n f f 52 bp- Via. (i b' f f rif r jtp 52 * !?• Bl. CI. s r |f f f r iTtt r jpp 56 via. f f lir PPP segue 56 r\ Bl. CI. PPP segue 64 Clarinet Sonata: IV Saint-Saens (viola part arr. Swanson) Molto allegro Viola Molto allegro ^ Clarinet in BV P Via. H1.V1 _ [ f I* I ii j — 6 A ^— m ^ " • . 0 —1~ r r p m ^—J~H J ^" b,» r Bl. CI. 1 '1^ 1 ''fete m 0 f' " via. Bi.Cl. Via. 1,^ ffrrFrrfI^i - ifrjj-^pn! 5 BVCI. rfffrxcT tUlW 65 14 r f Tr via. - Pr^i— F=^ r f M m £LLJ LJ_i j 14 r |» r r'^r f B1.CI. m Via. Bl. CI. Via. BkCI. .c. 20 #-^N a-t-k—VT7-> X \,mF Via. ,r^ffH+ 1 1 ffl |F. > ;r rrrJ 5 20 Bl. CI. 'rrriK> r i f mf 3 23 via. J J 23 BI.C1. ^1 66 via. lift .J iS' ii ' rTrry f '.J ' m 26 fJil=f=wf Bl CI. 7^ [f, r»r it»r#=n J-dJ •• p / J J 30 via. i> r ^ 30 M A BV CI. t r r IT 35 ir* via. i r r 1''^ ^ t]« mf 35 'tr- ana Bk CI. if 39 ir Via. a & 39 ir Bk CI. ^ 0 via. H in ? BtCI. 67 45 via. IllPlk" ==] 1 -hH—^ —J / 3 ^ri' Bl CI, 1=^4 49 ^ 5 S via. 49 Bl. CI. vwv ~3 r 52 via. I ii^ m P.n* i^f~pn* w appassionato s/ 52 > 1. ^ a " Bt CI. /L IT 'S Ff= 1 1* r / ! J 1 •MM appassionato ^ via. ij>i,^^f r/V7 hVlr r hr^f rji,a s/ 57 r r^trl. BbCl. f f'ftn* nY fff r uf^pf f m s/ via. BkCI. rrif "r h-sr: 68 65 via. i J 3 3 3 J. L. 65 Bb CI. 68 K Via. 1> l> V 3 3 m 3 3 3 3 3 3 Bk CI. ^ ^11 JI TljJj I Ml 3 3 3 3 via. ¥& ir**r r r i^r ^ P i BkCl. fi^r iT^^r r r i¥ X r¥7¥^ p Pocojjten. a Tempo 76 tjp io " via. fete dim. Poco riten. a Tempo 19 ^ Bt CI. f 'r i r dim. N ^ ^-,IT ' w Via. PWrfiiFrrr Itf7- V^fL JJJJjjj mf -to Bt CI. 69 "tr 84 V rTrfejejjiJ\^ Via. 1^^ & 84 fe ilg tt^ Bl. CI. via. BppvraTr BtCl. Via. p subito BtCl. p subito 95 via. m i i / 95 Bl. CI. rrrrrriPrrrrrrf iffrrrrfM / 99 via. rfiirr rrTrirV: p cresc. dim. 99 BI.CI. ruf p irffi rrPfifTrff ¥ p cresc. dim. 70 via. Bl. CI. IS Via. dim. poco a poco Bl. CI. dim. poco a poco 0 »r ^ via. m X k — - - m—rn Bl. Ci. E^== -•-f- -J — m ^ -f-T" _1— Y-^— _ •H-4- —\- # *•# P 116 via. J I sempre Jp i^gg 115 Bl. CI. ,m IJ t 1 sempre p i^gg Via. BI.CI. 71 21 via. iF,i\rrYrr77,. 121 BI-CI. via. f i » / Bl. CI. P| 'fV fitftir—- ^1 1 ,)M" J ^J hJI j J444.w 1__ iJ''' 4^ 125 via. m EfffLfr-rrrxr^ 125 BI.CI. frrgjj f i?P 129 — Rit. lf7\ —i-" > via. 1^-A-Is-H 4 ^ ! J— 111 • dim. 129 x-s.--— '—-• Rit. PPP f—F— BI.CI. #1f^1 n J P fU :r~j 1 11 r "F J 1 •4 ^^— dim. Allegretto fc via. P 134 Allegretto BkCl. i ^ J h 72 138 fflf frf • via. m 138 Bl. CI. i i 1J jiip- J. i •> J P if p f in Via. iiii>i f f^r c^r ff P|P nTrf I 1 I 1 141 Bt Cl. Pf pr pr piOcX/r r 0' ^ f >• > -ff- r f > .pfri ^—r,— f^=ri via. - ^iVf J—2_ X- J 1 ^1 —L T-ff- cresc. mf 144 Bl Cl. "^j .. ^—a ^ _p 0' I 1 / / 148 Via. I if^f i ibI^ ^ 148 BkCl. i pTlir^r ^ pTpir"^ 151 Via. E I'I. (• [_£ r r [f r dim. 151 ,f^-• Bl. CI. 777 TTT W dim. 73 153 Via. 1#- ) m=5=#=i=n=S P=f= • > *4 ' BtCI. rrf—1 sr { ! i 4-^ a 156 calando via. r r' ^ ''f p ir p r p r p r p i°' 156 calando Bt CI. I 7 J /llJ JJ ''t 1- II i?p 74 C. The actual printed arrangement (viola part, with editorial markings) 75 Viola Sonata: I Saint-Saens arr. Swanson Allegretto n w- i If pif r or2^ Pii r M I p IB gf t pPffiP fr ffr pf giP pfTr^' M |»- 1 I^Ai » p ^ > B-p ff- f > .1] 1P5-J f 7 » ^ 1— J- J V J 3 1 f m. fr- — f M. > IIP 1A r )— if t r' ^i trr-i P^=h r— r ' pr h—r f 115 14 m & dim. 17 1^ I' iT pf p^ i 1=^ 20 4_ #• ui_, (• •• Jf J—2_ r-k f-n —{—2- 5—2_^—*n b4d —p' —^—i & dim. 76 28 ^ Eg EX?P 3 2 1 3 7^ 1 ^ * m [— n .-nL pd - p 1 k 1 J J- ^ J 5'' \> —r Jm. —fH ^ J ^ CU § [U=i / 1 —r—1 ^ « rtl ^ -t»p 4M l-^J^ p'J ki ^fr p sempre f ^ dim. espressivo restez 77 4 ^ 2 2^ m rTff I fWr rfrn^^ [ f Pp^ cresc. ^ f f a Tempo V 54 Poco rit. Ill i Ti 'T-f irnTf ,^r~^]if^r PP dim. restez >— i 1 2 t 57 r—1^ IHir'b' gf*'' IiPFffiFlrfPrfffg|pprf^^=^ i 71 Eg mfc mf dim. 65 1 1 [>1 ^ t ljf~7ir~f r"' r r' 72 I. J i ^r pir f t ^r pir pr pr pr pir —(fl r" rr*- -45 , —V —? ? t=fe± —t: -! J • PP 80 & fpTTfJ-jij I m semprejpp 78 Viola Sonata: II Saint-Saens arr. Swanson Allegro animato l{i>^trr^nr iJiTir dLiirrrfji p 0 j« - — ; i— Fff=h >— f0-=f=^ 1#— t' ^ 1 f— r..,» . i in''^ r r J < T • jl • less 4 I (• ^ • - p 1 =fcMbr ^ r tt=i f • #—1i r=r=1U4tJ 12 U? ^ 1 0 1 2 1^-- ^ •ir fltl**! P TrnJ frHiA k 16 ^''i>r -, fTTriiif'^ s= i 1 } L 20 ^ c. ^ 1 i 1 A J^l f-fj 1 J ^ '''SJ[ j ^ • lU , 1- J-^^44 legg- 24 4 IzX—l p ir p Ir ; 4 * \}t m 28 n ^ ^ r fVir f^rf / n 79 1 V 32 n 1^" —1, p 7^^—— - P 1 K l> 1=^ J^J I* • I* fT-LJ 9 I\}9 9- I* # ' cm iJ 1^ LLrr GLfi 3 3 ^ ^ 3 36 / ~i " » T-: j—J— ^->3 -2-J 1 ^l?<—SL_L_il ! ryTf^. ^77i 'n fMJ1 ^Jr ml 3 3 40 3 III JI^ -• ^ ^-ir/m * \—^ A • » *hi" » \ J—^:M= 0 T J J r * " r cresc. I 1 0 1 44 9 V n > J 2 u"* 2 0 2 V:— ^1 4i¥=i 1 '1\ a—r——' r p ' ^ n' L - H ' ,• -§J 1 f r r M 1 Lf' mf 48 / 1,- •—)'~~n U j'-t' rTrp^u- 2^-;^ 7^#-|—W 1_1_J 9 'bl—9--2-S h s— ^ LLTf Dlfi P 3 3 V 2 2 2^ u m m — f¥FWrnT*@i M 3 3 ^ 3 56 V/ 60 i n b i' f —p-^—i— ,• • • ^ - 5'^ 1> m r-UJ -fn-— • i# f 1*~ T JJ^ 1 m f 64 2 1 E £AJ lit) Lt>. ^ Jii ffffi P !» . 80 eS i 1 3 • "*1 1^ 0 1 2 i ^ i] #~1 F=st=^ rj 1. 1 m F M ^F~1 t r—r~i L4=Jti=J W=H 4^ P [p f~ 81 ,2^ 1 t "rT^rir > ff'rrifr'"r "Tlrfir —TC 85 to i^r f f^f 1 ! n m ii: 2 4 # 81 Viola Sonata: III Saint-Saens arr. Swanson Lento sui c n 2 f sempre i "0~ 2 2 J J 13 (SUl C) 16 4 1 2^1 3 2 82 33 I 1 I con sord. — sul A . n r r n 1 1 pp sempre 38 H,!, f i ) *2 ir i—7 r, r 42 f r , ir r f f>r firrf sempre pp 47 2 3 •.—^2 i- jezflaE V if r ^ 51 i--- 1 f f f if f r if r r f ir i]p pp 55 •CC ZSH ppp segue 83 Viola Sonata: IV Saint-Saens arr. Swanson Molto allegro 3 p m fttc k. 3 -I E fjn r;. r f nr r r rtr r./y r r " 18 I* r » i' 1> a [Tfffrfff^ 84 » ? lip , ^ J |F. > f 1 -4t)|k s . >—/ Ir r 1 !-^1 - ^ ^ fn 1—f mf cresc. i 3 " #=1 I i-h'' h, rfB*uJ—^ ''ffi^l j'-17? iPrTf.! 1151 jj* 1t|^- '.-^r J ClJ 3 3 3 / 27 }tM \) T» ^ 0- p 1 J i-^-— r-M iajj'J P r • » l„J > - IIP $ q* ?• 115kfx, 38 J V s. ' , s \/9 ^' ^ 5 3 n ^ 3 3 3 " L V o - ^rh— 1^-4—'—^Qrfrrif L- -''rr^JT jjj J M • * ^ 5 3 46 i^rhr^ J -±. ^ Yf b-aJ -^' 3 3 3 3 / 3 3 50 ^ 1 2 ' n J V "p y *' L 1 i'w= ' 1 LLT'ii^irUiK ZZ^^, > ¥ :>^ , T v_ m ^— •f • (i 0 "T—T— itj1 ^ T r ff 7 -45 H k -2-J / 85 9 'Tr iir h- s/ 3 3 3 3 3 3 ff 3 J ^ n V 67 I - 3 I* -4J^- y 1 f f iiPirrr t i , J"' —J ^'§1' L- j5 1 1 1 ^^rTrfrr^-"-==-==3 J 3 i i 5 ' J J n ™ —r~ I* J J —T3^ =## - ^ r T r—^ p * J *— ' ~ f— ifrTf 1 1. p Poco riten. a Tempo V (k.^ h crejc. JE? subilo 86 1^ fL .,^,—4^—^^ #— « 1 #-t- 0 1#-1 IIKI'^ 1 n NH n 98 m 9—0. m i 2 p cresc. f dim. 102 ^ a liPih f^l1 1 M1 r ^^1 I'llr r f r i r r1—^ 1 ^—I'TTTT'Jf • 1 s ff ir 105 Prrrrrrr^^^ V 2. 109 , a 2-^ ini.^ - m fm m P dim. poco a poco 115 ^ fe rr * -4-3- Lr"'^ > semprep iggg 119 , -r- iiKi'^ r r f ifi|jj^j JJ 4=; m 123 T^r fiiFh m 1 r f fe 87 V 3^ ti o m125 VP 130 F- 3 Rit. /Ov 1 3___ 1 3 ft # 1 - f=f¥\ r' 1 - ^ |[ J «» -ff dim. ppp 4 Allegretto V n 136 pif r ^ n2^ p i 140 m fr, fEfrif fr Fr f^iP frTrr r p i n I' 0- 3, ^ m • -f^rVi »-= ^—«r- p—-?- f > ^l\ if ) f—ff- J—i- J- ft /- k X- —Ll^ t=M ' pi «/ 148 '. >. a i pr pif r i dim. 152 A • . 9^ Lu I' ' 'jj[^ I' pr J' p ^ 156 1^ pir pr pr pr^ 111- I calando PP 88 REFERENCES Books/Articles: Abraham, Gerald, H. C. Robbins Landon, and Donald Mitchell. The Mozart Companion. New York; Norton, 1969. First published in 1956. Altmann, Wilhelm. Kammermusik-Katalog: ein Verzeichnis von seit 1841 erchienenen Kammermusikwerken. 6th ed. Hofheim am Taunus, Germany: Friedrich Hofmeister Verlag, 1945. First published in 1910. Baron, John H. Chamber Music: A Research and Information Guide. New- York: Garland, 1987. Bennett, Roy E. "The Brahms Transcriptions of the Opus 120 Sonatas." American String Teacher 36, no. 1 (1986): 76-79. Berger, Melvin. Guide to Sonatas: Music for One or Two Instruments. New York: Anchor Books, 1991. Bridges, Robert S. "Play It! The Tchaikovsky 'Theme and Variations' for Viola and Piano." Strings 12, no. 63 (1997): 32-36. Clarinet Composition Database http://www.woodwind.org/Databases/Composers Clarinet webpage http://music-arrangers.com/instruments/musicalinstruments.html Drinker, Henry S., Jr. The Chamber Music of Johannes Brahms. Philadelphia: Elkan-Vogel, 1932. Eagon, Angelo. Catalog of Published Concert Music by American Composers. 2nd ed. Metuchen, NJ: Scarecrow Press, 1969. Supplement, 1971. Einstein, Alfred. Mozart, His Character, His Work. Translated by A. Mendel and N. Broder. New York: Oxford University Press, 1945. Parish, Margaret K. String Music in Print. 2nd ed. New York: Bowker, 1973. . String Music in Print. Supplement. Philadelphia: Musicdata, Inc., 1984. 89 REFERENCES - Continued Forbes, Watson. "The Value of Transcriptions." Excerpt from a talk at Sixth International Viola Congress, June 1978. Strad 89 (April 1979): 1111,1113, 1115. Hinson, Maurice. The Piano in Chamber Ensemble: An Annotated Guide. Bloomington: Indiana University Press, 1978. Jappe, Michael and Dorothea. Viola Bibliographie. Winterthur, Switzerland: Amadeus, 1999. Keller, Hans. "Arrangement for or against?" Musical Times 110 (1969): 22-25. Mason, Daniel Gregory. The Chamber Music of Brahms. New York: Macmillan 1933. Miller, David. "The Viola from Monteverdi to Mozart: A Discussion of the Instrument and Performance Techniques." Strings 6, no. 4 (1992): 22-25. Newhill, John P. "The Mozart Clarinet Quartets: Arrangements for Clarinet, Violin, Viola and Cello of Works Written by Mozart for Other Combinations." The Clarinet 17, no. 1 (1989): 26-28. Opperman, Kalmen. Repertory of the Clarinet. New York: Ricordi, 1960. Primrose International Viola Archive website http://viola.byu.edu Sachiania, Millan. "'Improving the Classics': Some Thoughts on the 'Ethics' and Aesthetics of musical Arrangement." Music Review 55 (Feb 1994): 58- 75. Watson, J. A. "Mozart and the Viola." Music and Letters 22 (1941): 41-53. Webster, Michael. "Transcriptions for clarinet and piano from original music for piano, four hands by Mozart, Beethoven, Schubert, Mendelssohn and Schumann." DMA diss., Eastman School of Music, 1975. Wilkins, Wayne. The Index of Clarinet Music. Magnolia, Arkansas: Music Register, 1975. 90 REFERENCES - Continued Wilkins, Wayne. The Index of Viola Music. Magnolia, Arkansas: Music Register, 1976. Williams, Michael D. Music for Viola. Detroit: Information Coordinators, Inc., 1979. Zeyringer, Franz. Literature for Viola: Catalogue of Works for Viola Solo, Duos with Viola, Trios with Viola, Solo Viola with Accompaniment, Recorder with Viola, Voice with Viola, and Methods, Etudes and Exercises for Viola. Hartberg: Schonwetter, 1985. Music: Brahms, Johannes. Sonate fiir Klarinette (oder Bratsche) und Klavier f-Moll Op. 120 No. 1. 2nd ed. Ed. by H.-C. Miiller, J. Michaels, and E. Seiler. Wiener Urtext Edition. Vienna: Universal, 1973. . Sonate fiir Klarinette (oder Bratsche) und Klavier f-Moll Op. 120 No. 2. 2nd ed. Ed. by H.-C. Miiller, J. Michaels, and E. Seiler. Wiener Urtext Edition. Vienna: Universal, 1973. . Sonaten fiir Klavier und Klarinette oder Viola, Opus 120. Ed. by Monica Steegmann. Munich: G. Henle, 1974. Karg-Elert, Sigfrid. Zweite Sonate H dur fiir Clarinette in A oder Viola (Bratsche) und Klavier, Op. 139b. Edition for viola and piano. Revised edition. Frankfurt am Main: Wilhelm Zimmermarm, 1965. Mozart, W. A. Clarinet Concerto in A major, K. 622. Viola part transcribed by Joseph Vieland. New York; International Music Company, 1973. . Concerto in A major for Clarinet and Orchestra KV 622. Urtext of the New Mozart Edition. Kassel, Basel, London, New York: Barenreiter, 1987. . Concerto in A major for Viola and Orchestra (1802) after the Clarinet Concerto K. 622 . Piano Reduction. Ed. by Christopher Hogwood. Kassel: Barenreiter, 1999. 91 REFERENCES - Continued Reger, Max. Sonate B-dur fiir Klarinette (Bratsche oder Violine) und Klavier, Opus 107. Berlin: Bote & Bock, 1937. Saint-Saens, Camille. Concerto No. 1 for Violoncello and Piano. Ed. by Joseph Malkin. New York: Carl Fischer, 1917. . Concerto No. 3 in B minor, Op. 61, for Violin and Piano. New York: International Music Company, 1960. . Deuxieme Concerto pour Violon, Op. 58. Paris: Durand, 1957. . Deuxieme Concerto pour Violoncelle et Orchestre, Op. 119. Paris: Durand, 1903. . Deuxieme Sonate pour Violoncelle et Piano, Op. 123. Paris, Durand, 1905. . Deuxieme Trio pour Piano, Violon et Violoncelle, Op. 92. Paris, Durand, 1892. . Konzertstiick in A Major for Violin and Piano, Op. 20. Boca Raton: Masters Music, no date. . Morceau de Concert for Violin and Piano. Boca Raton: Masters Music, no date. . Premiere Sonate pour Piano et Violon, Op. 75. Paris, Durand, 1911. . Sonate Opus 167 pour Clarinette et Piano. Paris: Editions Durand, 1921. Schoeck, Othmar. Andante fiir Clarinette oder Viola und Klavier. Viola part ed. by Gerhard Wieser. Zurich: Hug & Co., 1972. Schumann, Robert. Fantasy Pieces Opus 73 bis for Viola and Piano. Transcr. and ed. by Leonard Davis. New York: International Music Company, 1991. 92 REFERENCES - Continued Schumann, Robert. "Fantasy-Pieces for Clarinet and Piano, Op. 73." In Masterworks for Clarinet and Piano by Weber, Schumann, Mendelssohn, and Brahms. Ed. by Eric Simon. New York: G.Schirmer, 1951. Sowerby, Leo. Sonata for Clarinet or Viola and Piano. Rochester, N.Y.: The Leo Sowerby Foundation, 1996. . Sonata for Clarinet (or Viola) and Piano. New York: G. Schirmer, 1944. Stanford, Charles V. Sonata for Clarinet (or Viola) and Piano, Op. 129. Viola part arranged by H. Waldo Warner. Boca Raton: Masters Music, no date. Stevens, Halsey. Suite for Clarinet (or Viola) and Piano. New York: C. F. Peters, 1959. Vanhal, Johann Baptist. Sonate Es-dur filr Viola und Klavier. Munich; Verlag Walter Wollenweber, 1971. Wanhal, Johann. Sonata for Clarinet (Violin, Flute, or Oboe) and Piano. Ed. by Burnet Tuthill. Preface by Josef Marx. 5th printing. New York: McCinnis & Marx, 1948.