Re-Examining Viola Transcriptions Through Informed Historical Performance

Abstract

In this performance dissertation, I re-examined transcriptions of standard viola literature which were originally written for other instruments, such as the clarinet, voice, string trio, arpeggione, violin, cello and viola da gamba, and performed these works from extant modern editions in three recitals. The composers wrote idiomatically for the original instruments, but many details do not transfer well from the originals to the viola transcriptions. In exploring the unique qualities of these various instruments, as well as in studying the original editions and historical performances practices from the time of the selected repertoire, a new approach to interpretation emerges, one that can richly augment a violist’s interpretation of these pieces.

The first recital features the Brahms Clarinet Sonatas and Rachmaninoff’s Vocalise, works that require the breath and vocal elements. In the second recital, works from the eighteenth century were performed, including Beethoven’s Notturno, Schubert’s Arpeggione Sonata and the Franck Sonata. The final recital included only works of Bach. New transcriptions of these works done by the author, which incorporate ideas discussed in this dissertation, will be published separately in the near future.

The recitals were performed on May 7, 2017, December 11, 2017, and April 26, 2018 in Smith Hall and Gildenhorn Recital Hall at the University of Maryland School of Music. Dr. Hui-Chuan Chen and Josiah Stocker assisted me on piano and harpsichord respectively. The recitals were recorded on CDs, which can be found in the Digital Repository at the University of Maryland (DRUM).