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 PDF Download
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Author: Hsiaopei Lee Publisher: ISBN: Category : Languages : en Pages : 99
Book Description
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.
Author: Hsiaopei Lee Publisher: ISBN: Category : Languages : en Pages : 99
Book Description
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.
Author: Rachel White Galvin Publisher: ISBN: 9781303731136 Category : Languages : en Pages : 216
Book Description
Since the viola attained soloist status in the early to mid 20th Century, violists have been faced with the never-ending task of matching the performance standards of their more agile violin brethren. Much of the violinist's technical facility comes from their study of pre-twentieth century musical offerings; yet, the development of the viola student is handicapped by the lack of original viola repertoire from that time. More repertoire of this ilk needs to be made available as transcriptions to violists. Moreover, violists should be the ones creating these transcriptions because they know best the intricacies of the instrument. This may seem a daunting task since not all violists are experienced in composing or transcribing. Further, no standard transcribing process exists in print. The aim of this document is to purpose a set of general guidelines for transcribing music from the violin to the viola, while isolating the various problems that can occur during that process. The Two Sonatas for Violin and Piano, as well as the Three Solo Sonatas for Violin of German composer, August Halm (1869-1929), will serve as the case study from which to build this method. While Halm is admittedly a Modern era composer, his compositional style leans more heavily on Bach, Beethoven, and Bruckner than his contemporaries. A secondary aim of this document is to inform the reader of Halm's pedagogical and theoretical opinions, and to demonstrate how they remain relevant for today's performers and students.
Author: Publisher: ISBN: Category : Languages : en Pages : 57
Book Description
The modern violist has a great selection of recently-composed repertoire to choose from when selecting works for a concert. The challenge arises when we want showpieces from the late Romantic and early 20th Century to display the vast range of the instrument. What we are missing in viola literature are transcriptions of works by Eugène Ysaÿe. I will conduct research on original and transcribed solo viola literature for the concert stage that has greatly influenced the repertoire of the violist. This includes solo works such as the Six Suites for Violoncello Solo and the Six Sonatas and Partitas for Violin Solo by J.S. Bach, as well as the 24 Caprices for Violin by Paganini. These three works have been successfully transcribed for the viola and are regularly used for programming on recitals and concerts. I will then discuss the thought process and approach used in transcribing a work from the cello to the viola. This information will be applied directly to the process I will take in transcribing the Sonata for Violoncello Solo Op. 28 for viola. This will conclude with a complete transcription of Ysaÿe's Sonata for Violoncello Solo Op. 28 for the viola.
Author: David Dalton Publisher: OUP Oxford ISBN: 0191039217 Category : Music Languages : en Pages : 259
Book Description
`In all areas of human endeavour, time and again an individual appears who, due to a multitude of personal attributes, elevates his or her field to a hitherto unknown height. Such an individual was William Primrose. His name and the viola are synonymous.' Janos Starker This unique book is the result of a series of conversations with Primrose in the last years before his death in 1982. David Dalton describes how he came to the great artist armed with every question he could think of pertaining to performing on and teaching the viola. The lively dialogue contains a wealth of illuminating advice for the student on the technicalities of playing the viola. It is, however, far more than a technical guide. The two violists discuss the unique position of their instrument - `an instrument without tradition' is Primrose's bald description. They cover the topic of repertoire with fascinating insights into the performance of the great concertos by Bartók and Walton, with which Primrose was so closely associated. Still more invaluable advice emerges from the discussion of Primrose's own experience, on the art of performance, on demeanour on stage, on competitions, on recordings, and on preparing for a career. The book is a tribute to one of the greatest artists of this century.
Author: Hsiaopei Lee
Author: Hsiaopei Lee
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Author: Richard A. Kramer
Author: Richard A. Kramer
Author: Rachel White Galvin
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Author: David Dalton
Author: Richard Kramer
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Author: Maja Cerar