EVOLUTION OF RECITAL REPERTOIRE FOR VIOLA: VIOLA PIECES AND TRANSCRIPTIONS

Abstract

Title of dissertation: EVOLUTION OF RECITAL REPERTOIRE FORVIOLA: VIOLA PIECES AND TRANSCRIPTIONS

Jinsun Hong, Doctor of Musical Arts, Dissertation directed by: Professor David SalnessUniversity of Maryland School of Music

In this project, I explore how important aspects of the compositional process affect the actual playing and performance of a piece, in particular how transcriptions for the viola of works originally written for other instruments can be studied and interpreted most effectively. I also investigate how music written for the viola by composers who are distinguished violists themselves is more satisfying, convincing and technically suited to the instrument.My first recital consists of three transcriptions for the viola of compositions originally written for three different instruments: Sonata for Viola da Gamba in G major BWV 1027 (composed in the time period from 1720-1730 or in the 1740s) by Johann Sebastian Bach (1685 1750) and transcribed for the viola in 1987; Five Bagatelles for Clarinet and Piano (composed in the time period 1938-1945) by Gerald Finzi (1901-1956) and transcribed for the viola in 2000; and Sonata in A major for Violin and Piano (composed in 1886) by César Franck (1822 1890) and transcribed for the viola in 1958. I chose these transcriptions to highlight interesting similarities and differences between the viola and these three instruments. The second recital includes pieces that are significantly influenced by other instruments but still are intended to highlight the viola’s unique voice. Signs, Games and Messages (composed in the time period from 1980-1990) by György Kurtág (b. 1926) comprises several versions for different instrumentation all under the same title. This paper focuses on the comparison of the viola and the string trio versions which lends to a deeper understanding of this intriguing piece overall. Fire, from Harmony of Tensions (composed in 2020 by Robert Gibson (b. 1950) is a movement that was written for viola while other movements from the same piece were written for other instruments. All the movements are intended to interweave and influence one other. Adagio, originally written for violin in 1905, by Zoltán Kodály (1882 1897) and transcribed for the viola in 1910, and Trio in E flat Major op. 40, by Johannes Brahms (1833-1897) originally set for horn, violin and piano and transcribed for the viola in 1884 were both transcribed for the viola by the composer. The third recital presents viola pieces written by composers who themselves were all very fine performers on the instrument and advocated for the viola as a legitimate solo voice. Each of the composers was intimately familiar with the viola, and their compositions demonstrate a comprehensive understanding of the technical and artistic aspects of viola playing. I explore how this knowledge of the instrument translates into compositional style enhancing not only the performer’s experience but also the ultimate effectiveness of the performance overall. The recital consists of Three Sketches (composed in the time period from 1952-1954) by Lionel Tertis (1876-1975); Sonata Pastorale (composed in 1956) by Lillian Fuchs (1901-1995); Two Pieces for Viola and Piano (composed in 1905) by Frank Bridge (1879-1941): and Sonata for Viola and Piano (composed in 1919) by Rebecca Clarke (1886-1979).