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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 Item Type text; Dissertation-Reproduction (electronic) Authors Swanson, Christina Marie Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 06:00:58 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 All rights reserved. UMI UMI Microform 3107045 Copyright 2004 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 THE UNIVERSITY OF ARIZONA ® GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by Christina Marie Swanson entitled 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 and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts Date / / Date S/03 Date Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: 4 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.

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