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University of Cincinnati UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ The History of Viola Transcriptions and A Comprehensive Analysis of the Transcription for Viola and Piano of Beethoven’s Violin Sonata Op. 30, No. 1 A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Division of Performance Studies of the College-Conservatory of Music 2005 by Hsiaopei Lee B.M., National Taiwan Normal University, 1996 M.A., Columbia University, 1999 Committee Chair: Catharine Lee Carroll, DMA ABSTRACT The purpose of this thesis is to discuss the transcription of Beethoven’s Violin Sonata Op. 30, No. 1 in A major into a work for viola and piano. This transcription will add greatly to the lacking solo viola literature by transitional composers of Classical to Romantic period, increase the viola repertoire for performers, and give viola instructors more choices to help their students learn the style of early nineteenth-century music. Furthermore, the performance of this transcription will enhance violists’ understanding of one of the most important composers in music history. The crux of this thesis contains a history of viola transcriptions, the relevance of transcription, the difficulties encountered when transcribing a work for viola using specific examples both from my own transcription and other arrangements, and a discussion of the methodology behind these kinds of transcriptions with particular emphasis on my own transcription of Beethoven’s Violin Sonata Op. 30, No. 1 in A Major. This thesis includes a complete transcription of Beethoven’s Violin Sonata Op. 30, No. 1, with separate viola and piano parts. In addition, this work serves as a valuable document for the transcription of viola literature, a practical guide for choosing and arranging music, and an educational as well as artistic contribution to the viola literature. ii iii ACKNOWLEDGMENTS I wish to express my sincere gratitude to my committee chair and also viola professor, Dr. Catharine Lee Carroll, for her inspiration for this thesis as well as countless advice on performing music, scholarly studies and life experience. I would like to thank another viola professor Masao Kawasaki for his valuable suggestion when arranging the transcription, and his tireless efforts to foster intellectual curiosity through his teaching. Without their support and guidance, I would not be the musician I am. Thank you to my committee members, Dr. Michael D. Fiday and Dr. Piotr J. Milewski. Many thanks for your interest in my work and advice. Dr. Fiday’s careful reading has made this thesis more complete and reader-friendly. Dr. Milewski’s special sharing of his opinions about Beethoven’s violin sonatas was helpful for this work. Special thanks to Mom and Dad for their constant support and understanding of my musical career pursuit. Thank you for always believing in me and my abilities, and your patience while I fulfill my dreams iv CONTENTS LIST OF MUSICAL EXAMPLES ………………………………………………….. 4 CHAPTER 1. INTRODUCTION ……………………………………………………………… 7 2. RECENT VIOLA TRANSCRIPTIONS ……………………………………….. 10 3. LITERATURE TRANSCRIBED BY THE COMPOSER ……………………… 15 Johannes Sebastian Bach …………………………………………………… 15 Ludwig van Beethoven …………………………………………………….. 16 Johannes Brahms …………………………………………………………… 17 Franz Schubert ……………………………………………………………… 19 Max Reger ………………………………………………………………….. 20 4. LITERATURE TRANSCRIBED BY OTHER COMPOSERS …………………. 22 Franz Liszt ………………………………………………………………….. 22 Henri Vieuxtemps …………………………………………………………… 23 Zoltan Kodaly ……………………………………………………………….. 24 Hans Sitt ……………………………………………………………………... 24 Benjamin Britten ……………………………………………………………. 25 Lillian Fuchs ………………………………………………………………… 26 5. LITERATURE TRANSCRIBED BY VIOLISTS ………………………………... 28 1 Lionel Tertis …………………………………………………………………. 28 Paul Hindemith ………………………………………………………………. 31 William Primrose …………………………………………………………….. 31 Paul Doktor ………………………………………………………………….. 37 Milton Katims ……………………………………………………………….. 39 Vadim Borissovsky …………………………………………………………. 41 Watson Forbes ……………………………………………………………….. 42 Alan H. Arnold ………………………………………………………………. 44 Others ………………………………………………………………………… 45 6. THE PLACEMENT OF TRANSCRIPTIONS IN THE VIOLA LITERATURE ………………………………………………… 47 7. CHALLENGES WHEN TRANSCRIBING WORKS FOR THE VIOLA ……… 55 8. METHODOLOGY ……………………………………………………………….. 63 An Overview of Beethoven Violin Sonata Op. 30, No. 1 …………………… 63 Preparation …………………………………………………………………… 65 Transcribing Steps …………………………………………………………… 66 First Movement ……………………………………………………………… 74 Second Movement …………………………………………………………… 80 Third Movement ……………………………………………………………… 82 2 9. CONCLUSION ……………………………………………………………………. 89 SELECTED BIBLIOGRAPHY ………………………………………………………… 91 BEETHOVEN VIOLA SONATA OP. 30, NO. 1 Viola Part Score 3 MUSICAL EXAMPLES Example Page 1. J. S. Bach, Cello Suite No. 4, Prelude, mm. 5 ………………………… 34 2. Antonio Vivaldi, Cello Sonata No. 1, IV. Allegro, mm. 34–42 (viola version) …………………………………………… 35 3. Bach, Cello Suite No. 5, Allegro, mm. 94–105 ………………………….. 36 4. Niccolò Paganini, Caprice No. 3, mm. 1–8 ……………………………… 57 5. César Franck, Violin Sonata, III. Recitativo-Fantasia, mm. 32–36 (violin part only) ………………………………………….. 68 6. Franck, Violin Sonata, III. Recitativo-Fantasia, mm. 32–36 (viola part / Schmidt) ……………………………………… 68 7. Franck, Violin Sonata, III. Recitativo-Fantasia, mm. 32–36 (viola part / Vieland) ……………………………………… 69 8. Franck, Violin Sonata, III. Recitativo-Fantasia, mm. 32–36 (viola part / Schwartz) …………………………………….. 70 9. Franck, Violin Sonata, III. Recitativo-Fantasia, mm. 32–36 (viola part / Carroll) ……………………………………….. 70 10. Johannes Brahms, Sonatensatz, mm. 254–259 (violin part only) ……….. 72 11. Brahms, Sonatensatz, mm. 254–259 (viola part only) …………………… 72 12. Ludwig van Beethoven, Violin Sonata Op. 30, No. 1, I, Allegro, mm. 10–19 (violin part only) …………………………………………………. 75 13. Beethoven, Violin Sonata, I. Allegro, mm. 10–19 (viola part only) ……... 75 4 14. Beethoven, Violin Sonata, I. Allegro, mm. 38–64 (violin part only) …….. 76 15. Beethoven, Violin Sonata, I. Allegro, mm. 38–64 (viola part only) …….. 77 16. Beethoven, Violin Sonata, I. Allegro, mm. 101–116 (violin part only) ….. 78 17. Beethoven, Violin Sonata, I. Allegro, mm. 101–116 (viola part only) …… 78 18. Beethoven, Violin Sonata, I. Allegro, mm. 121–133 (violin part only) ….. 79 19. Beethoven, Violin Sonata, I. Allegro, mm. 121–133 (viola part only) …… 79 20. Beethoven, Violin Sonata, I. Allegro, mm. 144–152 (violin part only) ….. 79 21. Beethoven, Violin Sonata, I. Allegro, mm. 144–152 (viola part only) …… 79 22. Beethoven, Violin Sonata, II. Adagio, molto espressivo, mm. 1–8 (violin part only) ………………………………………………. 81 23. Beethoven, Violin Sonata, II. Adagio, molto espressivo, mm. 1–8 (viola part only) ……………………………………………….. 81 24. Beethoven, Violin Sonata, II. Adagio, molto espressivo, mm. 44–47 (violin part only) ……………………………………………. 81 25. Beethoven, Violin Sonata, II. Adagio, molto espressivo, mm. 44–47 (viola part only) …………………………………………….. 81 26. Beethoven, Violin Sonata, III. Var. I, mm. 33–52 (violin part only) …….. 83 27. Beethoven, Violin Sonata, III. Var. I, mm. 33–52 (viola part only) ……… 83 28. Beethoven, Violin Sonata, III. Var. IV, mm. 90–108 (violin part only) ….. 85 29. Beethoven, Violin Sonata, III. Var. IV, mm. 90–108 (viola part only) …… 85 30. Beethoven, Violin Sonata, III. Var. V, mm. 109–119 (violin part only) ….. 86 5 31. Beethoven, Violin Sonata, III. Var. V, mm. 109–119 (viola part only) ….. 86 32. Beethoven, Violin Sonata, III. Var. V, mm. 143–163 (violin part only) …. 87 33. Beethoven, Violin Sonata, III. Var. V, mm. 143–163 (viola part only) ….. 87 6 CHAPTER 1 INTRODUCTION Although viola literature developed concurrently with that of the violin since the seventeenth century, it never attained the status of works for its smaller sibling. The viola had been ignored for almost two hundred years by most composers, and many audiences were not exposed to it because of this lack of stage time. This problem can be attributed to many factors, such as its lack of repertoire, its neglect by composers, and its “unpleasant” sound, among others. Fortunately, at the close of the eighteenth century, composers discovered its charming voice and gave this instrument a new position of respect in both ensembles and solo compositions. The viola was erroneously considered to be a minor solo instrument by many people for several centuries. As Berlioz noted, “of all the instruments in the orchestra it is the viola whose excellent qualities have been unappreciated for the longest time.”1 There were very few melodies written for this instrument in eighteenth century ensemble music. This inequitable treatment arose out of composers’ misunderstanding of the instrument, the infrequent writing in four voices (usually in five parts at the time), and the presence of amateurs or weak violinists in the viola section.2 However, with the improvement of its 1 Hector Berlioz, Treatise on Instrumentation, trans. Theodore Front, enlarged and rev. Richard Strauss (New York: E. F. Kalmus, 1948), 60. 2 Ibid. 7 construction, its rediscovery
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