the transcription as a supplement to nineteenth …
TRANSCRIPT
THE TRANSCRIPTION AS A SUPPLEMENT TO NINETEENTH
CENTURY FLUTE REPERTOIRE
ANDRA ANNE COOK BOHNET, B.M. , M.M.
A DISSERTATION
IN
FINE ARTS
Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for
the Degree of
DOCTOR OF PHILOSOPHY
Approved
December, 1985
ACKNOWLEDGMENTS
I am deeply indebted to Dr. Michael C. Stoune
for his direction of this dissertation and to
Dr. Richard A. McGowan for his helpful criticism.
I would also like to thank the other members of
my committee, Mr. James C. Sudduth, Dr. George W.
Sorensen, and Dr. Marvin L. Moon, for their support
11
CONTENTS
ACKNOWLEDGMENTS ii
ABSTRACT iv
LIST OF TABLES vi
LIST OF ILLUSTRATIONS vii
I. THE FLUTE IN THE NINETEENTH CENTURY 1
II. A SURVEY OF NINETEENTH CENTURY FLUTE REPERTOIRE 11
III. THE ISSUE OF TRANSCRIPTION 23
IV. THE SELECTION OF PIECES FOR TRANSCRIPTION 31
V. TRANSCRIPTIONS PREPARED FOR THIS STUDY ^9
BIBLIOGRAPHY 85
APPENDICES 8?
A. MENDELSSOHN: SONATA IN F MINOR, OP. k 8? TRANSCRIPTION FOR FLUTE AND PIANO
B. DVORAK: SONATINA IN G MAJOR. OP. 100 110 TRANSCRIPTION FOR FLUTE AND PIANO
C. DIETRICH, SCHUMANN, AND BRAHMS: F.A.E. SONATA 137 TRANSCRIPTION FOR FLUTE AND PIANO
• • •
111
ABSTRACT
During the nineteenth century the flute evolved,
primarily through the work of Theobald Boehm, from a
relatively primitive form to one of great sophistication
based on acoustical principles. Its popularity during
this period created a huge demand for flute music, most
of which was supplied by prominent flutists or second-rate
composers. This large body of music contains little of
musical substance and is written in the extremely virtuosic
style which was the norm for flute playing of the time.
This demand for virtuosic music probably caused the
great composers of the nineteenth century to ignore the
flute in their solo and chamber music, to the disappoint
ment of present day flutists. Transcriptions for flute
of works for other instruments by these composers can
help to fill the void in the repertoire created by the
lack of quality flute music from the Romantic era. These
transcriptions can be beneficial to both the performer
in search of quality repertoire and to the teacher looking
for material to utilize in the study of the nineteenth
century musical idiom.
In selecting works for flute transcription in con
junction with this study, the following limitations were
imposed: no work was to be transposed from its original
iv
key, and all works considered must be scored for a solo
instrument and piano. Their suitability for transcription
was also determined by other musical considerations:
range, tessitura and register, phrase structure, the
adaptability of any idiomatic instrumental techniques,
and compatibility of the piano part with the flute.
The results of the study are two-fold. First, a
list of works from the nineteenth century which are deemed
suitable for further investigation as flute transcriptions
was compiled. Second, three flute transcriptions were
made of works from this list, along with a discussion of
the specific problems involved in the transcription process.
Those works transcribed are Felix Mendelssohn's Sonata in
f minor for Violin and Piano, Op. 4, Antonin Dvorak's
Sonatina in G ma.jor for Violin and Piano, Op. 100, and the
F.A.E. Sonata for Violin and Piano written jointly by
Albert Dietrich, Robert Schumann, and Johannes Brahms.
V
LIST OF TABLES
1. Flute Repertoire by the Great Composers of the 21 Nineteenth Century
2. Transcriptions Currently Accepted in the Standard 29 Flute Repertoire
3. Works by Prominent Nineteenth Century Composers ^6 Suitable for Flute Transcription
VI
LIST OF ILLUSTRATIONS
Figure
1. Ranges of the Flute, Violin, Clarinet, and Cello 3^
Musical Examples
1. Mendelssohn Violin Sonata, first movement, 1-9
2. Mendelssohn Violin Sonata, first movement, 1-^9
3. Mendelssohn Violin Sonata, first movement, 212-12^
4. Mendelssohn Violin Sonata, second movement, 129-131
5. Mendelssohn Violin Sonata, third movement, 52-53
6. Mendelssohn Violin Sonata, third movement, 151-153
7. Dvorak Sonatina, first movement, 72-76
8. Dvorak Sonatina, first movement, 171-17^
9. Dvorak Sonatina, second movement, 29-32
10. Dvorak Sonatina, second movement, 80-83
11. Dvorak Sonatina, third movement, 14-8-55
12. Dvorak Sonatina, third movement, 17-32
13. Dvorak Sonatina, fourth movement, I3O-I36
1^. Dvorak Sonatina, fourth movement, I66-I67
15. Dvorak Sonatina, fourth movement, 267-272
16. Dvorak Sonatina, fourth movement, 335-3^1
17. Dvorak Sonatina, fourth movement, 362-end
18. F.A.E. Sonata, first movement, 113-116
51
52
53
55
56
57
60
61
62
63
6k
65
67
67
68
69
70
73
Vll
19. F.A.E. Sonata, first movement, 129-137 7^
20. F.A.E. Sonata, third movement, 1-11 77
21. F.A.E. Sonata, third movement, 238-end 78
22. F.A.E. Sonata, fourth movement, 1-2 79
23. F.A.E. Sonata, fourth movement, 7-^9, violin 80
2^. F.A.E. Sonata, fourth movement, 1 6-end 82
Vlll
CHAPTER I
THE FLUTE IN THE NINETEENTH CENTURY
The Evolution of the Flute
The nineteenth century was one of great transition
for the flute. This period saw the evolution of the
instrument from a rather rudimental form to one of great
technical and scientific sophistication.
The Early Nineteenth Century
The actual instruments in use in the earliest part
of the nineteenth century were far from standardized.
On the one hand, the one-keyed flute of the Baroque period
was still quite popular. This instrument consisted of a
wooden tube with a conical bore, stopped at the large end.
It contained a round or oval shaped embouchure hole near
the stopper and six finger holes, which were spaced at the
appropriate intervals to produce a natural scale of D
major. Chromatic notes were produced by the use of cross-
fingering, except for the D-sharp, which was attained by
the use of the only key on the instrument. In contrast,
the most complex instruments of the time had as many as
seventeen keys. The practical norm, however, consisted
of the eight-keyed flute.
Like the one-keyed flute, the eight-keyed instrument
had a conical bore with the large end at the embouchure,
was usually made of wood, and had a natural scale of D
major. The other keys were added to facilitate the playing
of chromatic notes, which had previously been produced by
the use of cross-fingerings. In addition to the standard
key for D-sharp, the eight-keyed flute had keys to produce
C-natural, B-flat, and G-sharp, plus two for F-natural, one
for either hand. The remaining two keys extended the low
range of the flute by adding a C-sharp and C-natural.
Although intended as an improvement on the one-keyed
flute, the eight-keyed flute had many of its inherent
problems. The wooden tube was subject to cracking and
warping, which would distort the shape of the bore and
disturb the key mechanism. The keys themselves were often
mechanically unreliable and leaky. The fingering system
was extremely awkward in any key which was too far removed
from the natural scale of D major. Since the finger holes
had to be accessible to the reach of the human hand, they
could not be placed in their acoustically correct positions.
This caused faulty intonation in the basic scale, as well
as in any cross-fingerings used. The tone quality of the
instrument was beautiful but delicate, very suitable for
solo or chamber music, but easily overpowered in the
setting of a symphony orchestra.
Flute players and instrument makers in the early
nineteenth century were constantly trying to find ways to
solve these problems. Experiments were made with glass
flutes in order to eliminate the problems associated with
the cracking and warping of wood, but this created manufac
turing and cost problems, along with the risk of accidental
breakage. In attempts to solve awkward fingering problems,
additional or duplicate keys were often added, solving the
original problem but often creating others. Many modifica
tions of keywork were made in an effort to increase relia
bility. Placement and size of the finger holes were altered
in order to improve intonation and tone quality, along with
changes in the shape and size of the embouchure hole. The
net result of all of these experiments was a marginally
better flute, but one still fraught with problems.
It became apparent that, for any substantial improve
ment of the flute to occur, it would have to undergo
extensive redesigning. The place in musical history of
Theobald Boehm, a virtuoso flutist and a goldsmith, was
secured when he undertook this task, building the flute
from scientific principles and finding the practical means
with which to make them work. Boehm*s many years of dedica
tion produced the instrument which is used almost univer
sally, with only minor modifications, at the present time.
The Work of Theobald Boehm
Although it is not within the scope of this paper to
4
mention all of the contributions of Theobald Boehm to flute
construction, his basic innovations must be described since
they play such a major role in the evolution of the flute
during the nineteenth century.
Boehm changed the shape of the flute tube from the
conical bore which tapered toward the end, to a cylindrical
bore with the head joint narrowing slightly in a so-called
parabolic curve. This shape increased the volume of air
present in the flute tube, resulting in a larger and
fuller tone.
After much experimentation, Boehm reasoned that a
larger embouchure hole would allow more air through this
larger flute tube, assisting in the production of a larger
tone. The shape of the embouchure hole was also changed
from a round or oval opening to one more rectangular, but
with rounded corners. This rectangular shape resulted in
a wide and flat wall under the edge of the embouchure hole
opposite the lips, allowing a wider airstream to enter the
flute.
In applying scientific principles to the flute, Boehm
found that the finger or tone holes must be large, at least
More detailed information concerning Boehm's work can be found in his treatise: Theobald Boehm, The Flute and Flute Playing in Acoustical, Technical, and Artistic Aspects, trans. Dayton C. Miller (New York: Dover Pub-lications, 1964).
5
three-fourths of the size of the bore, and placed in their
acoustically correct positions to ensure pure tones and
good intonation. Thus, one note was necessary for each
note of the chromatic scale. In order to implement this
idea, Boehm devised an open-key system to cover the tone
holes, since they were too large and they were too many to
be covered by the fingers alone. The keys were also mechan
ically organized so that the fourteen tone holes necessary
for the correct implementation of the acoustically correct
chromatic scale could be controlled by only nine fingers,
the tenth, the right thumb, being used to support the instru
ment. The Boehm flute was able to play in all keys with
relative ease, and more importantly, with good intonation.
During his experiments, Boehm worked with metal flute
tubes because of their invulnerability to cracking and
warping. He concluded that the expenditure of energy
necessary to play the instrument was less in the case of
these lightweight metal tubes, in fact directly proportional
to the mass of the material used to make the instrument.
Thus, a lightweight tube would be easier to blow than a
heavy one, and a thin silver tube would be more responsive
than a wooden one. Boehm used silver for the culmination
of his efforts, the 18^7 flute, but he also continued to
make wooden instruments in his system because it was very
difficult for players used to the heaviness of wood to
control the lighter silver instruments.
Reactions to Boehm's Work
The introduction of the Boehm flute met with reactions
ranging from great enthusiasm to outright horror. Players
recognized the great improvements in intonation and quantity
of sound, but many, especially older players who had spent
a lifetime learning to master the difficulties involved in
playing the eight-keyed flute, were unwilling to undertake
the task of learning a new fingering system. Many older
players abandoned the instrument altogether to be replaced
by younger players who had learned on the Boehm flute.
Many instrument makers and players in England, impressed
with the effect .of Boehm's scientific applications to the
instrument, tried to design instruments using his acoustical
ideas but preserving the old system of fingering from the
eight-keyed flute. The result of these attempts was a rash
of patents for new and improved flutes that only served to 2
muddy the commercial waters and to confuse the players.
In Germany, the Boehm flute met with the most resist
ance. Players were impressed with the improvements in
intonation, but felt that Boehm had destroyed the character
of the flute with the change in bore shape from conical to
cylindrical. Many attempts were made to manufacture a
2 Nancy Toff, The Development of the Modern Flute
(New York: Taplinger Publishing Co., 1979), p. 122.
7
so-called reform flute, which kept the conical bore of the
eight-keyed flute, but utilized a more complex key system
in order to improve intonation.- ^
The Boehm flute was adopted most readily in- France,
where it became the official instrument of the Paris
Conservatory. The high quality of Fjrench flute playing
by the late nineteenth century, and its subsequent spread
throughout Europe and the United States, ensured the
eventual adoption of the Boehm flute as the standard
instrument used throughout the Western world.
The Utilization of the Flute in the Nineteenth Century
The flute had been a popular instrument during the
seventeenth and eighteenth centuries, and this popularity
continued through the first half of the nineteenth century.
The dawn of the nineteenth century saw the flute firmly
entrenched as a member of the symphony orchestra, as the
instrument of a number of popular virtuoso soloists, and
as the avocation of a number of amateur players.
The use of the flute in the orchestra during the
nineteenth century reflected many of the improvements
in instrumental design. The symphonies of Haydn usually
^Toff, pp. 82-83.
Soff, p. 125.
8
confined the flute to a range of f_ "to fl-- In the first
decades of the nineteenth century the range of orchestral
flute parts expanded in both directions. For example,
Beethoven's Leonora Overture No. 3 calls for ad in an 3
exposed passage and his Eighth Symphony calls for a b-flat^.
These notes represented the limits for an eight-keyed
flute. In the latter half of the century, composers
began to exploit the greater range possible on the Boehm
flute. Tchaikovsky wrote a b for the second flute in
his Sixth Symphony, and Richard Strauss included the pitches k k . 7
c-sharp and d_ in several of his tone poems.'
As the instrument improved the demands of the orches
tral composers increased in other ways as well. By the
latter portion of the nineteenth century most orchestral
players played Boehm flutes and more passages of a soloistic
nature were written for the flute. The composers also
demanded an increased level of technical fluency throughout
the range and in all keys. Outside of the orchestra, many nineteenth century
^The following pitch designations will be used throughout this paper: Great C=C, Small C=£, Middle C-c^, and additional octaves notated as c£, a3, etc.
Phillip Bate, The Flute; A Study of its History, Development, and Construction, rev, ed. (New York: Norton, 1979), pp. 179-180.
" Toff, p. 78.
flutists made a comfortable living as soloists. These
virtuosi toured continental Europe and England with con
siderable success and enjoyed a status comparable to their
string and keyboard colleagues. The most popular of these
artists included Antoine Berbiguer, Theobald Boehm, Giulio
Briccialdi, Jules Demeresseman, Johannes Donjon, Franz and
Karl Doppler, Louis Drouet, Charles Nicholson, Wilhelm
Popp, and Jean Louis Tulou, many of whom played on an o
eight-keyed flute or other pre-Boehm instrument. The
introduction of the Boehm flute caused a decline in many
solo careers because the players were unwilling to change
to a new fingering system and were soon outmatched by
those younger players who had learned on the Boehm flute.
The relative ease of learning the fundamentals of
flute playing, combined with a comparatively low cost
for an instrument, made the flute very popular among
amateur music makers in the first half of the nineteenth
century. Many specialized journals containing flute music
and related material were published for this amateur
clientele along with a large body of music, both newly
composed and transcribed. These pieces, along with
o More detailed information concerning the careers of
many of these soloists can be found in the following: Richard S. Rockstro, A Treatise on the Construction, the History, and the Practice of the Flute. 2nd ed. rev. 1928; rpt. (London: Musica Rara, I967).
10
instructional tutors, provided for every level of a
flutist's abilities as well as all types of musical taste.
The high price of Boehm flutes, along with the con
fusion generated by the large number of rival systems,
discouraged many amateurs from taking up the instrument
in the latter half of the nineteenth century. As a result,
the role of the flute as a drawing room instrument was
greatly reduced and the popularity of the flute declined
until well into the twentieth century.^
^Toff, p. 77»
CHAPTER II
A SURVEY OF NINETEENTH CENTURY FLUTE REPERTOIRE
The history and development of the flute throughout
the nineteenth century had a great effect on the composi
tion of music for the instrument. In the early part of
the century, the popularity of the virtuoso soloists
resulted in many pieces, mostly by prominent flutists or
second-rate composers, designed to show off their technique
and mastery of the eight-keyed flute. These virtuosic
pieces demanded every possible skill at the disposal of
the flutist: incredibly rapid finger technique, multiple
tonguing, ornamentation, flexibility of the lips, breath
control, and melodic interpretation. The large number of
amateur flutists also stimulated the composition of numerous
instructional pieces of various difficulties, salon pieces,
and transcriptions of popular songs and operatic arias.
Entire operas were even arranged for one or more flutes,
making this very popular music more available to the
general public.
The introduction of the Boehm flute by the middle of
the nineteenth century served to further the tradition of
virtuosic flute playing. Many flutist-composers, including
Boehm himself, wrote pieces to exploit the capabilities of
the new instrument. These pieces were composed in such a
11
12
manner as to be virtually impossible to play on the eight-
keyed flute. They often included notes which were out of
the range of the eight-keyed flute but quite possible on
the Boehm flute. In addition, they were often written in
keys which would have contained extremely awkward fingering
patterns on the old system flute, but which were quite
practical on the new instrument.
This state of affairs continued until the last decades
of the nineteenth century when Paul Taffanel, founder of
the Societe des Instruments a Vent in 1879» professor
of flute at the Paris Conservatory from 1893 to 1908, and
leader of the new movement of French flute playing, revived
such works as Bach's flute sonatas and Mozart's flute con-
certi as alternatives to the second-rate flute music of his
own century. The expertise of Taffanel and his students
inspired some of the leading French composers of the time
to write for the flute. Many of these works were commis
sioned for the annual flute competition at the Paris
Conservatory, for which a new piece was required each year.
Although this competition occurred throughout most of the
nineteenth century, the quality of these pieces improved
markedly under the influence of Taffanel.
• Toff, p. 125.
13
Common Genres of Nineteenth Century Flute Repertoire
The greatest number of the solo flute compositions of
the nineteenth century can be included in one of the
following catagories: air and variations, fantasias, and
small character or salon pieces.
The air and variations was probably the most prevalent
form of solo flute music during this period. Its predict
able nature required little compositional skill; thus, many
of these pieces were written by professional flutists as
showpieces for their own talents. The air is usually a
well-known opera aria, popular song, folk tune, or other
melody with a nationalistic character. Less often, an
especially ambitious composer might compose his own air.
The variations are usually of the melodic type, each one
featuring a specific aspect of flute technique such as
chromatic scales, arpeggios, ornaments, octave slurs, or
multiple tonguing. The accompaniment is usually simple
and often identical for the air and the subsequent varia
tions. A large piece in this genre will occasionally have
an introduction, usually of rhapsodic nature, which may or
may not be thematically related to the air. An especially
virtuosic finale, essentially a long coda, might also be
included.
One of the typical pieces of this type which is
frequently performed today is. Paul Genin's Carnival of
14
Venice, which contains a florid introduction and several
variations. These variations each dwell on a specific
aspect of flute technique. The accompaniment is very
simple and identical for many of the variations. A more
interesting piece from this genre is Franz Schubert's
Introduction and Variations, D. 802, on the song "Trockne
Blumen" from Die Schone Mullerin. The air itself is of
greater interest, being one of Schubert's own songs. The
fireworks of the variations occur in the piano part as well
as in the flute part, making this piece a tour de force for
both performers. The variations also contain variety in
both meter and tempo. Unfortunately, most of the pieces in
this genre are more of the quality of Genin's work than
that of Schubert's.
The lack of musical interest and utter predictability
of many of these pieces is well brought out by the following
quotation from Musical Opinion in I89O:
Air first, then common chord variation (staccato), "runs" variation, slow movement with a turn between every two notes, and pump handle shakes that wring tears of agony from the flute; then the enormously difficult finale, in which you are up in the air on one note, then drop with a bang, which nearly breaks you, onto low C natural, only to bounce up again, hold on to a note, shake it (wring its neck, in fact), scatter it in all directions and come sailing down triumphantly on a chromatic (legato)
H. Macaulay Fitzgibbon, The Story of the Flute. 2nd ed. rev. (New York: Charles Scribner's Sons, 1928), p. 110.
15
with a perfect whirlpool of foaming notes, only to be bumped and pushed about until you are exhausted.
The fantasia or fantasy was second in popularity only
to the air and variations during this time. These pieces
are not as stereotypical as the air and variations, but
common traits can be found. As the name implies, the
fantasia is free in form, rhapsodic and virtuosic by
nature. A typical fantasia contains several sections of
various tonalities and tempi, often linked by cadenzas or
similar material. A common thematic idea may help to
unify the sections, but often they are musically unrelated.
Many fantasias have a unifying trait in that the themes
have a certain national flavor such as Spanish or Italian.
An example of this genre which is frequently performed
today is the Hungarian Pastorale Fantasie by Franz Doppler.
The themes are all Hungarian in character which gives the
piece an overall feeling of unity. There are several
distinct sections in various tonalities and tempi. The
many cadenzas and other improvisatory effects give the
work the aspect of great virtuosity.
A subset of this genre is the operatic fantasy, where
several well-known themes from an opera are used in the
various sections of the fantasy. Some operatic fantasies
also have a section which consists of an air and variations,
merging the two forms into a virtuosic extravaganza.
A typical example of the operatic fantasy is the
16
Carmen Fantasie (I9OO) by Francois Borne (18^0-1920). This
work contains a number of the prominent themes from the
opera which are treated in a virtuosic manner. One section
of the work even consists of the famous "Habanera" followed
by two variations.
The character pieces in the nineteenth century flute
repertoire are similar in nature to those for piano,
usually expressing a single mood or programmatic idea
described by the title. They tend to be rather short,
often in ternary form. These pieces, too, are infused by
the virtuosity so desired by the nineteenth century flutist.
They often exhibit such titles as "The Murmuring Brook"
or "The Wind in the Trees" whose programmatic images
provide for an extensive technical display by the flutist.
The accompaniment is usually simple, serving merely as a
harmonic foundation for the soloist.
An example of a character piece is a small work Pan:
Pastorale for Flute by Johannes Donjon. The entire piece
is less than two minutes long, is in ternary form, and
evokes the pastoral mood of shepherd pipes. A piece of a
more virtuosic nature would be Vogelsang (Song of the Bird)
by Wilhelm Popp. As the title suggests, this piece tries
to emulate bird sounds by the use of trills, rapid repeated
notes, and quasi-melodic motives suggestive of the calls
of the cuckoo and the nightingale. The accompaniments of
both pieces are quite simple, providing the harmonic
17
foundations for the solo parts.
Representative Composers
The composers of this repertoire can be divided into
two groups. The first group consists of the virtuoso
flutists themselves, who wrote myriads of pieces for their
own use and for that of their students. The second group
contains mostly second-rate composers who labored to
provide material for this large group of consumers and to
fill their pockets with the resulting profits.
It is unfortunate that no composers of the talents
of Liszt or Paganini existed among the flutists. The
compositions of the flutist-composers are for the most
part musically undistinguished. Although lacking in qual
ity, there is no lack in the quantity of pieces produced
by these virtuosi. In addition to the solo literature,
they also wrote volumes of duets, trios, etudes, and
instructional tutors. A list of the flutist-composers
reads like a "Who's Who" of nineteenth century flutists.
The best-known and most prolific of them include the
following: Henri Altes (1826-1895), Joachim Andersen
(18^7-1909), Antoine Berbiguer (1782-1838), Wilhelm Blodek
(183^-1874), Theobald Boehm (179^-1881), Giulio Briccialdi
(1818-1881), Jules Demeresseman (1833-1866), Johannes
Donjon (1839-c. 1912), Franz Doppler (1821-1883), Anton
Furstenau (1792-1852), Ernesto Kohler (18^9-1907), Wilhelm
18
Popp (I828-I903), Adolf Terschak (I832-I9OI), and Jean
Louis Tulou (I786-I865).
The non-flutists who wrote flute music during the
nineteenth century most frequently included the instrument
in chamber music settings. One notable exception was
Daniel Friederich Kuhlau (1786-1832), who wrote for the
instrument in a soloistic manner and is often referred to
as the "Beethoven of the flute." He was of German birth
and spent most of his life in Denmark working as a con
ductor and pianist. While writing flute music primarily
to supplement his income, Kuhlau was very skilled in
writing for the instrument, and his prolific output of
solos, duets, trios, and quartets holds a very special
place in the repertory.
Other non-flutists who included the flute in their
compositional output are Muzio Clementi (1752-1832), Jan
Dussek (I76O-I8I2), Johann Nepomuk Hummel (1778-1837),
Conradin Kreutzer (1780-18^9), Ignaz Moscheles (179^-1870),
Anton Reicha (I77O-I836), Karl Reinecke (182^-1910), and
Louis Spohr (1784-1859). The works by these composers tend
to be less virtuosic in nature and more in keeping with the
chamber music idiom of the period. With the exception of
the pieces by Reinecke, the solo works of these composers
are little-known and seldom performed today.
In this survey of the composers of the nineteenth
19
century flute repertory, a glaring omission demands inves
tigation: what did the great composers of the Romantic
era contribute to the repertoire of the flute? It has
already been mentioned that the flute was a vital member
of the orchestra during this time, and that the composers
of orchestral works used the instrument frequently in a
soloistic manner. Unfortunately, their interest in the
flute stopped there.
The solo and chamber works for the flute by the great
composers of the nineteenth century are few indeed, and of
those existing works, most are comparatively minor in
stature. Table 1 illustrates the scarcity of these pieces.
One cannot help but wonder why the great composers
of the nineteenth century ignored the flute, even though
it was one of the most popular instruments of the time.
The composers might have been discouraged by the performer's
enthusiasm for merely virtuosic pieces, and thus were not
inclined to waste their creative efforts on the flute,
when such pieces were cranked out by the hundreds by the
12 flutists themselves or by other second-rate composers.
The wooden eight-keyed flute was not fit to fulfill
the demands of the nineteenth century composers. Its
uncertain intonation and small sound made it musically
^^Toff, pp. 78-79.
20
Table 1
Composer
Beethoven
Flute Repertoire by the Great Composers of the Nineteenth Century
Works
Allegro and Minuet in G major for two flutes, WoO 26 (1792)
Trio in G major for flute, bassoon, and piano. WoO 37 (1786)
Serenade in D major for flute, violin, and viola. Op. 25 (1801)
Six National Airs with Variations for flute and piano. Op. 105 (1818)
Ten National Airs with Variations for flute and piano. Op. 107 (1818)
Berlioz
Schubert
Weber
Introduction and Variations for flute and piano (on "Trockne Blumen" from Di¥~ Schone Mullerin), D. 802 (1824)
Romanza Siciliana in g minor for flute and orchestra. Op. 47 (1805)
Trio for flute, cello, and piano. Op. 258 (THI91
Schumann
Mendelssohn
Chopin Variations in e minor for flute and piano (on "Non piu mesta" from Rossini's La Cenerentola), (1824)
Brahms
Dvorak
Elgar
Liszt
Smetana
Tchaikovsky
21
Table 1: continued
Composer
Saint-Saens
Works
Tarentelle in a minor for flute and orchestra. Op. 6 (1857)
Romance in Db major for flute and orchestra. Op. 37 (1871)
Caprice sur des airs Danois et Russes for piano, flute, oboe, and clarinet. Op. 79 (1887)
Odalette in D major for flute and orchestra. Op. 162 (1920)
Faure Morceau de lecture for flute and piano (I898) Fantasie for flute and piano. Op. 79 (I898)
22
inferior to the violin and newly perfected piano which were
much more capable of the intensity and expression required
by the Romantic aesthetic. With the introduction of the
Boehm flute by mid-century, and the subsequent myriads of
rival systems, the confusion in the flute world at this
time was enough to discourage any serious composition for
13 the instrument. - This situation remained until the end
of the century, when Taffanel's high musical standards
inspired some of his French compatriots to write for the
flute.
^^Toff, p. 45.
CHAPTER III
THE ISSUE OF TRANSCRIPTION
It is unfortunate that the flutists of today are unable
to perform and study the music of the great composers of
the nineteenth century in other than an orchestral setting.
The music of the Romantic period continues to enjoy a most
hallowed place in today's concert halls. The majority of
the traditional symphonic and operatic repertoire was
composed in the nineteenth century, as well as a large
quantity of the most frequently performed chamber music
and solo piano literature'. The nineteenth century musical
style is an indispensable part of our musical heritage.
Quality transcriptions of solo works for other instruments
by the great composers of the nineteenth century can help
to fill this void in the flute repertoire, enriching the
musical experience for both student and professional
flutists.
The following quotation from the introduction of
James Pellerite's Handbook of Literature for the Flute
outlines his reasons for the inclusion of transcriptions
in his catalog.
In the past, several prominent composers have overlooked the flute as a solo instrument for one reason or another — Brahms, Chopin, and Mendelssohn, for example. This has created a void that could now be filled by some transcrip-
23
24
tions or arrangements. A total musical experience is vital to every flutist... An enormous variety of musical styles becomes available to us through works such as these. Various compositions could serve a particular purpose in the educational process and should be considered acceptable in the course of study. I have always respected the purist, who, of course, will not concur with the use of this kind of repertoire.1^
Pellerite stresses the desirability of the study of a
variety of musical styles by the flute student. In
particular, the study of the nineteenth century idiom,
with its enduring popularity, should be a high priority.
Stylistic Considerations
The musical style of the nineteenth century is worthy
of study for several reasons. The major-minor system of
harmony reached its culmination during this period, being
pushed to its limits by the end of the century. Also, the
nineteenth century composers excelled in the use of harmonic
and melodic tension in order to build the intensity of a
piece toward a tremendous climax. Music of the time was
characterized by long and beautiful melodic lines, requiring
the performer to be adept at the shaping and execution of
phrases. Opportunities for expression and nuance are
virtually unlimited, giving the performer more freedom than
14 - James Pellerite, A Handbook of Literature for the
Flute, 3rd ed. (Bloomington: Zalo, 1978), p. vi.
25
in any modern musical style except for the aleatoric music
of the twentieth century.
The virtuosic flute literature written during the
nineteenth century does not, for the most part, carry
these traits to their fullest fruition. The harmonic
language is usually mundane, and the emphasis on technical
display does not allow for the building of tension and
long melodic lines. Similarly, the lack of musical sub
stance inhibits the performer in his quest for expression
and interpretation. Since nineteenth century music forms
such a large part of the orchestral repertoire, students
should be familiar with the style of the period. The
study of solo literature by the great orchestral composers
can help to prepare students for a rewarding orchestral
experience.
Expansion of the Repertoire
At the present time, the flute has surpassed its
popularity of the early nineteenth century. There are
many prominent soloists with successful careers, hundreds
of flutists holding orchestral and teaching positions,
and thousands of amateur players. With a limited reper
toire available from the nineteenth century, those pieces
of merit are performed all too frequently, and pieces
of little substance are performed for variety when many
of them would be better left alone to remain in obscurity.
26
Transcriptions of works by the great composers of the
nineteenth century can expand this area of the repertoire
by providing more quality literature as an alternative
to the mediocre fare which was described in the previous
chapter. In recommending the use of transcriptions for
the purpose of expanding the repertoire, the author is
not suggesting wanton larceny of every great piece by
every great composer. Rather, a little judicious borrowing
by sensitive editors who are knowledgeable of the capabil
ities of the modern flute and scholarly in their approach
would serve as a solution to this problem which plagues
students, teachers, and performers alike.
Historical Precedents for Transcription
The transcription or arrangement has been an element
of the musical scene throughout all periods of music
history. Since the advent of music printing, publishers
have published music in different formats to increase the
market for their products. In the sixteenth century, vocal
music was often represented as being equally suitable for
instruments or for a combination of both voices and instru
ments. During the Baroque period, pieces such as trio or
solo sonatas were often written for any interchangeable
treble instruments such as the violin, the flute, the
recorder, or the oboe. The continue parts of these pieces
27
could also be played on any number of bass and keyboard
instruments. As late as the nineteenth century many
composers often indicated that their works were capable
of being performed by more than one instrumental combination.
For examble, Schumann's Phantasiestiicke, Op. 73 for clarinet
and piano also carries the composer's sanction for perfor
mance on the violin or cello.
The transcription has figured prominently in providing
literature for many other performance media. In the nine
teenth century many orchestral works were arranged for the
piano. The recipient of the orchestral transcription in
the twentieth century is the concert band. Conversely,
keyboard pieces have frequently been expanded for the
orchestra, by the composers themselves as in Brahms's
Variations on a Theme by Haydn or Dvorak's Slavonic Dances,
or by others, as in Ravel's orchestration of Mussorgsky's
Pictures at an Exhibition or Leopold Stokowski's orchestral
arrangements of Bach's organ music.
Many examples exist of composers transcribing their
own works from one instrumental medium to another. Speaking
only of pieces in the flute repertoire several instances
come to mind. Mozart's Concerto, K. 3l4 for flute is his
own transcription of the Oboe Concerto, K. 271, transposed
up a tone and containing some modifications of the passage
work. Prokofiev's Sonata in D major. Op. 94, originally
written for flute and piano, was later transcribed by the
28
composer for the violin, with only minor changes in the
solo part. Similarly, Aaron Copland's Duo for Flute and
Piano was also later transcribed by the composer for the
violin.
Performers have provided much additional literature
for their instruments through the use of transcription.
A prolific nineteenth century arranger was Franz Liszt,
who transcribed many of Wagner's music dramas, Beethoven's
symphonies, Bach's organ works, and other famous orchestral
works of his day for the piano.
The advent of the copyright laws in the twentieth
century has greatly affected this type of activity.
Permission must be obtained from the composer to arrange
any work under copyright. Furthermore, the development
of the recording industry, radio, and television has
enabled music to be heard by virtually anyone in its
original form, reducing the market for such transcriptions
as those of Liszt for the piano.
Despite these difficulties, several transcriptions
by twentieth century flutists have added significantly to
the repertoire. With the permission of the composer,
Jean-Pierre Rampal successfully transcribed Aram
Khachaturian's Violin Concerto for the flute, making minor
changes to the solo line and providing a new cadenza, but
otherwise keeping the original intact. More substantial
changes were made to Joaquin Rodrigo's Fantasia para un
29
Gentilhombre, originally for guitar and orchestra, by
flutist James Galway, who transcribed it for the flute
with the composer's permission. A listing of the other
transcriptions which are currently accepted in the flute
repertoire can be seen in Table 2.
Table 2
Transcriptions Currently Accepted in the Standard Flute Repertoire
Composer
Chopin
Chopin
Franck
Title and Original Instrument(s) Transcriber
Nocturne, Op. 9, No. 2 (piano solo)
Nocturne, Op. 15, No. 2 (piano sol o? Sonata in A major (violin and piano)
Khachaturian Concerto in d minor
Pierne
(violin and orchestra)
Rodrigo
Schubert
Schumann
Vivaldi
Sonata, Op. 36 (violin and piano)
Fantasia para un Gentilhombre (guitar and orchestra)
"Arpeggione" Sonata, D. 821 (arpeggione and piano)
Three Romances, Op. 9 (oboe and piano)
P. Taffanel
P. Taffanel
J.P. Rampal and others
J.P. Rampal
J.P. Rampal
J. Galway
J. Galway
J.P. Rampal
"Four Seasons" Concerti, Op. 8 J. Galway
30
Ethical Considerations
Unfortunately, in the case of the nineteenth century
composers, we cannot ask them for permission to transcribe
their works for the flute. These pieces are in the public
domain and are therefore accessible to all would-be tran
scribers with good or dishonorable intentions. The activity
of transcription, a widespread musical phenomenon through
out history, has been increasingly under attack from
musical purists since about 1950. The scholarly pursuits
of historical authenticity and accuracy in performance have
put the transcription in a somewhat disreputable position.
Perhaps those musicians favored by a large corpus of quality
repertoire cannot understand the frustration,of those^dis
ciplines where quality repertoire is at a premium. The
purpose of the author is not to attempt to satisfy all of
the criticisms of the musical validity of the transcription,
but to propose a solution to a specific problem regarding
the flute repertory. Past performance history has shown
that transcriptions which work well from an aesthetic and
musical standpoint will find their way into the repertoire,
and that those which do not will forever reside in oblivion.
- Malcolm Boyd, "Arrangement," The New Grove Dictionary of Music and Musicians (London: MacMillan, I98O), I, 63I.
CHAPTER IV
THE SELECTION OF PIECES FOR TRANSCRIPTION
Having determined that the transcription can play a
significant role in filling the void in the nineteenth
century flute repertoire, it is time to define the process
of selection of pieces to be transcribed. Careful consider
ation of many aesthetic and musical factors must be taken
in order to decide whether or not a transcription will be
possible, and if possible, whether it would be successful.
The Scope of this Investigation
Since the nineteenth century flute repertoire is
lacking in works by the great composers of the Romantic
era, their works for other instruments will be the ones that
are screened for consideration "in this study. The composers
whose works will be examined include those who are acknow
ledged to have been in the mainstream of musical development
in the nineteenth century, and those whose works form a
significant portion of the music heard in today's concert
halls.
To limit the scope of this investigation, only works
scored for a solo instrument and piano will be considered,
for the author believes that the immediate need for solo
works will best be served by transcriptions for flute and
31
32
piano. This instrumental combination is more easily
assembled than a larger group, and is more accessible
to teachers and performers with limited resources. This
arbitrary limitation should not be taken to infer that
successful flute transcriptions could not be made from
vocal works or works for a larger instrumental ensemble.
In the process of selecting works of this type for
transcription, it is believed inadvisable to transpose
them from their original keys. While transposition could
be somewhat advantageous in adapting a work for the flute,
any advantages gained would be outweighed by the disadvan
tage to the pianist of possibly having to learn the same
piece in two different keys. This view does not imply
that the piano parts to these pieces may not be altered
in any way, but transposition of any work from its original
key will not be considered for this study.
A brief examination of the repertoire for a solo
instrument and piano from the nineteenth century shows
that the largest quantity of this music is written for
the violin. Other favored instruments include the cello
and clarinet. The large body of violin music is especially
appealing to the transcriber of flute music since the two
instruments are very similar in many aspects, including
range and technical facility.
33
Musical Considerations
Before any piece can be transcribed, several musical
aspects should be examined to determine its suitability
for the new medium. These aspects include range, tessitura
and register, phrase structure, adaptability of the
idiomatic instrumental techniques, and the compatibility
of the piano part with the new instrument.
Range
When considering a transcription from one instrument
to another, it is important to be aware of their ranges.
The flute has a range of over three octaves. The lowest
note the flute can produce is c_, although many flutes
today have an extension which will permit them to play b,
one half step lower. The highest range of the flute
4 1
can extend to g_, three and one half octaves above c ,
but the notes above c_ become increasingly more difficult
to finger and produce, so that flute music is rarely 4 written above d .
Figure 1 illustrates the comparitive ranges of the
flute, violin, clarinet, and cello, since these instruments
Most professional flutists in the United States play on flutes that have a B-foot (extension). Among students the B-foot is less common, but increasingly popular among high school and college students.
34
are the recipients of most of the literature to be
considered for transcription.
8 8
k k £L
w ^
Flute Violin Bb Clarinet Cello
Figure 1: Ranges of the Flute, Violin, Clarinet, and Cello
The open notes indicate the full possible ranges, while
the filled notes suggest practical limits. The written
notes of the Bb clarinet sound a whole step lower.
It is obvious from the illustration that the range of
the violin compares the most favorably with that of the
flute. The upper limits are identical, while the violin
range extends a few notes lower. A comparison of the flute
and the clarinet ranges shows more discrepancy, especially
in the lower limits. The concert pitch equivalent of the
lowest note of the clarinet is nearly one octave below
that of the flute, while the upper limit of the flute
range is approximately a fifth higher. Clearly, many
35
range adjustments would have to be made to transcribe
clarinet music for the flute. The range of the cello is
virtually an exact duplicate of that of the flute, merely
transposed two octaves lower. This observation raises
interesting possibilities; entire cello pieces could be
transposed up two octaves and be entirely playable on
the flute. However, the change of a solo part from bass
to treble could wreak havoc with its compatibility with
the piano part, so any work of this type should be approached
with extreme caution.
During the process of transcription for the flute,
notes out of range must be brought within its compass.
The easiest way of dealing with this problem is to transpose
those notes out of range by an octave until they fall within
the limits of the flute. In order to preserve phrase
integrity, it is generally advisable to transpose the
entire phrase containing these notes. Surrounding phrases
might also have to be transposed to prevent constant
changes of octaves which would cause the musical result
to be rather disjunct.
Tessitura and Register
Another factor which should be considered in the
selection process is whether or not the tessitura of the
piece in question is suitable for a flute transcription.
Each register of each instrument has its own unique
36
qualities, and sometimes the same music played on different
instruments can take on an entirely different character.
The flute range encompasses three distinct registers.
The lowest of these, from c^ to _c_, is the softest and
least penetrating. It is easily covered by the piano in
forte passages. The middle register, from c_ to c^, is
stronger and easier to project than the low register. The
most brilliant and penetrating register of the flute is
the highest, from c^ to the top of the range. As a result
of these tendencies, the sound of the flute tends to
increase in volume as the pitch rises. A good player
can counteract this tendency to a certain extent, but it
is very difficult to play extremely loudly in the low
register and extremely quietly in the upper register.
In comparison, the low register of the violin is
full and rich in quality. As the pitch of the violin gets
higher, the tone becomes increasingly more brilliant and
17 intense, but less full. ' Thus the violinist can play
very loudly in the lowest register and very softly in the
highest. This trait should be noted when transcribing
violin music for the flute. Any low register passages
for the violin, even if they fall within the range of
17 ^Kent W. Kennan, The Technique of Orchestration,
2nd ed. (Englewood Cliffs: Prentice-Hall, Inc., 1970), p. 7.
37
the flute, might have to be transposed up an octave if the
accompaniment is full and the dynamic level is forte.
Also, high, quiet passages for the violin will be very
difficult to execute on the flute. Too much writing in
either extreme register might render a violin piece
impractical for flute transcription.
The clarinet, like the flute, has three distinct
registers. Its lowest register, from to d_, is dark
in color and strong. The middle register, from e-flat
to b-flat , tends to be rather dull in quality and weak.
The notes in the highest register, from bi_ to the top of
the range are clear and bright, and become increasingly
more piercing above c^. The clarinet has a tremendous
dynamic range, able to play extremely softly in all
registers, and able to play very loudly in all registers
except the middle.
In comparing register quality, the major differences
between the flute and clarinet occur in the low and middle
registers. The low register of the clarinet can be played
with much more authority than that of the flute, while the
middle register of the flute is stronger than that of the
clarinet. Almost any musical passage which features the
low register of the clarinet would have to be transposed
^^Kennan, pp. 85-86.
38
an octave higher in order to be playable on the flute.
The resulting transposition would fall primarily in the
low register of the flute, its weakest. This situation
could create balance problems with the piano, as well as
possibly changing the musical character of a piece. Thus,
any transcription of clarinet music for the flute must be
carefully investigated for its feasibility because of
this discrepancy.
The lowest register of the cello, encompassing the
C and G strings, is rich and full-bodied. The middle
register, characterized by the D string, is brighter and
very warm in quality. The highest register, played on
the A string, is vibrant and singing, and becomes increas
ingly more intense as one ascends. ^
When considering the transcription of cello music for
the flute, the following factors should be noted. If the
entire cello part is transposed two octaves higher it will
fall within the range of the flute. The rich lower register
will then be played by the weakest register of the flute,
and the poignant upper register of the cello will be played
by the brilliant and penetrating upper register of the
flute. As was mentioned previously, this two octave trans
position might result in considerable incompatibility
%ennan, pp. 24-25
39
of the solo and piano parts.
As a general rule, those pieces which exploit the
particular characters of the extreme registers of one
instrument will probably not be suitable for transcription
to another. Those works which stay within a kind of
middle ground can probably be transcribed more success
fully, because fewer problems with dynamic levels and
register qualities will result.
Phrase Structure
Since the flute is a wind instrument, care must be
taken in composition or transcription to allow the
flutist ample opportunity to breathe during the course of
a piece. Actually, the flute takes more air to play than
the other woodwind instruments, a consideration that is
of the utmost importance in writing for the flute. Well
written flute music will take this factor into account,
but the transcription of music from other instrumental
repertoires can cause problems in this regard.
Most of these problems will occur with music for
stringed instruments. A bowed string can produce contin
uous sound for a great length of time, where the flute
sound must be broken periodically, if only for a moment,
to accommodate the breathing of the player. Thus,
extremely long phrases easily played on a stringed instru
ment must be divided into smaller parts in order to be
40
played on the flute. In many cases this can be done
quite successfully, and with great musicality, if the
flutist is sensitive to the structure and the nuances of
the piece.
Obviously, the easiest place in a musical line for
a flutist to breathe is during a rest. Additional places
in which a breath may be taken without too much disturbance
include the following: after a cadence, after a long note,
after a tie, after the first note of a measure, between
repetitions of a sequence, and between the notes of a
large interval. Since most melodic structures contain one
or more of these elements, appropriate breathing places
can usually be found.
Breathing problems are most likely to be encountered
in a long series of rapid notes. If a flutist has to play
a passage of rapid notes of equal value which is too long
to be played in one breath, he has one of two options.
First, he can catch small breaths between the notes. These
small catch breaths can be musically successful if the
rhythm of the passage can be slightly distorted in order
to accommodate them. If this is not the case the second
option should be used; the player can leave out a note or
two in order to catch a breath and keep the integrity of
the rhythm of the passage.
Somewhat akin to the problem of breathing is that of
endurance. It is very taxing to play the flute, or any
41
wind instrument, for a long period of time without a rest,
for the facial muscles as well as the breathing mechanism
tend to fatigue. Therefore, it is important for any
flute transcription to include some rests in the solo
part if it is fairly lengthy. These rests, even if only
a measure of two in length, will enable the player to
remove the instrument from the lips, relax the embouchure,
and perhaps swallow or moisten the lips.
One must be careful then, in the examination of string
pieces for flute transcription, to see that they have an
appropriate phrase structure to accommodate breathing and
that they contain adequate rest for the player. Music that
does not meet these specifications will sound awkward and
unfinished even when performed by the best of players;
and it will be especially unrewarding in the hands of a
student.
Idiomatic Instrumental Techniques
While instruments distinguish themselves chiefly by
their unique tone colors, their construction also contrib
utes to certain idiomatic traits which can be exploited
in composition for them. Too many of these idiomatic
traits can render a piece unsuitable for transcription
to another instrument.
Other than the difference in sound generators, the
chief difference in the construction of the clarinet and
42
the flute is that the flute behaves as an open pipe while
the clarinet acts as a closed pipe. This causes the flute
to overblow at the octave, while the clarinet overblows
at the twelfth. Octave slurs are therefore quite charac
teristic of flute writing while rather awkward on the
clarinet. Similarly, slurs of a twelfth on the clarinet
are quite natural but more difficult to produce on the
flute.
The stringed instruments differ greatly from the
wind instruments in construction, and thus posess many
different idiomatic traits. Certain devices such as
pizzicato, bowed tremolo, and multiple stops are integral
parts of string technique. The adaptability of these
traits to the flute is thus a problem which must be faced
in transcribing for the flute.
The pizzicato has no equivalent in nineteenth century
flute technique. Although many twentieth century avant-
garde flute pieces use key clicks to obtain a somewhat
similar effect, this technique remains something of a
special effect. Thus it would be unsuitable as an alter
native to pizzicato in a nineteenth century piece because
the pizzicato was a very standard string technique of the
time. In transcribing pizzicato passages for the flute,
it would be more advisable to use staccato notes in a
melodic section, or if the pizzicato is accompanimental,
to omit the passage entirely from the flute part.
43
Stringed instruments are capable of producing either
measured or unmeasured bowed tremolos which can be used to
great dramatic effect. The measured tremolo can often be
duplicated by double tonguing on the flute if the principal
notes change fairly quickly. In a long, sustained measured
tremolo, double tonguing is an inadequate solution, because
it is difficult for the flutist to maintain the appropriate
level of intensity while playing many rapid repeated
notes. Some solutions to this problem would be to either
sustain the note in question or to trill it, choosing the
solution which best fits the particular context. The
unmeasured tremolo could be approximated by the flutter-
tongue, but its use as a special effect in twentieth
century music renders it unsuitable as a nineteenth century
technique. Again, probably the best solution to this
problem would be to either sustain the note in question
or to trill it.
Stringed instruments are capable of playing up to
four notes simultaneously, as chords or in a limited poly
phonic manner. The flute is basically a melodic instrument,
although twentieth century avant-garde flute music does
contain some multiple sonorities. These multiple sonorities
would be unsuitable as substitutes for string multiple
stops because, generally, their tone quality differs
greatly from that of the standard flute tone. Multiple
stops can be adapted for the flute in several ways. The
44
lower notes of a chord can be arpeggiated and written as
grace notes to the upper note of the chord. In many cases
the open chord structures of the multiple stops can be
revoiced into a closed position in order to make the grace
notes more characteristic of flute technique. String
passages which contain arpeggiated forms of multiple stops
in accompanimental or rhythmic figures can often be revoiced
as well. In some cases, all notes of a chord except the
most melodically important can be omitted altogether.
In the case of a quasi-contrapuntal section for a stringed
instrument, only one line may be played on the flute.
Depending on the circumstances, it may be possible to
add the other line or lines to the piano part.
Most other matters of string technique can be success
fully duplicated on the flute. Bowing indications such as
slurs, staccato, tenuto, and accents have equivalents in
flute technique. Any articulation changes that would need
to be made in transcribing for the flute would tend to be
minor in nature.
Compatibility of the Piano Part
Of those changes which might be made in the solo part
during the transcription process, the one that could most
directly affect the compatibility of the solo and piano
parts is octave transposition. As it was previously
stated, the process of transposing a cello piece up two
5
octaves so it could be played by the flute might result in
serious incompatibility. The change of a bass line to
treble could result in inverted counterpoint and chord
structures, possibly depriving a piece of its harmonic
foundation.
Changes of only one octave can have adverse results
as well. For example, if the right hand of the piano part
was doubling a violin part in the low register an octave
above, and the violin part were raised an octave to make
it playable on the flute, a unison doubling would occur
along with a more barren texture. In a case like this, it
might be advisable to transpose the right hand of the
piano part down an octave to where the violin was originally
in order to preserve the fullness of the original texture.
Generally, a problematical situation will occur if the solo
part is voiced in the middle of the texture. If the solo
part is on top of the texture already, raising it an
octave will usually not affect its compatibility with
the piano part.
Works to be Considered for Flute Transcription
Table 3 contains a list of works which are worthy
of investigation as possibilities for flute transcription.
These pieces were selected because they comply favorably
with the requirements and ideals stated in this chapter.
46
Many other works by these composers were examined by the
author, but were deemed unsuitable for further consider
ation as possible flute transcriptions because they did
not conform to the above criteria.
Table 3
Works by Prominent Nineteenth Century Composers Suitable for Flute Transcription
Composer
Beethoven
Berlioz
Schubert
Weber
Schumann
Work
Rondo in G major for violin and piano, WoO 41 (1794)
Cello Sonata in g minor. Op. 5, No. 2 (1796) Violin Sonata in D major. Op. 12, No. 1 (1798) Violin Sonata in A major. Op. 12, No. 2 (1798) Violin Sonata in a minor. Op. 23 (1800) Violin Sonata in G major. Op. 30, No. 3 (1802) Violin Sonata m G major. Op. 96 (1812)
Reverie at caprice for violin and piano. Op. 8 (1841)
Sonatina in D major for violin and piano, D. 384 (1816)
Sonatina in g minor for violin and piano, D. 408 (1816)
Rondo in b minor for violin and piano, D. 895 (1826) ,
Fantasia in C major for violin and piano, D. 934 (1827) ~
Six Sonatas Progressives for violin and piano, J. 99-104 (1810)
Phantasiestucke for clarinet and piano (violin or cello ad lib.). Op. 73 (1849)
Fiinf Stiicke im Volkston for cello and piano (violin ad lib.). Op. 102 (1849)
F.A.E. Sonata for violin and piano, second and fourth movements (1853)
Table 3: continued
^7
Composer
Mendelssohn
Chopin
Brahms
Dvorak
Elgar
Liszt
Smetana
Work
Violin Sonata in f minor. Op. 4 (1823) Violin Sonata in F major (1838) Lied ohne Worte in D major for cello and onne worxe m D manor
Tlano, Op. 109 (1845)
Introduction and Polonaise in C cello and piano, Op. 31
Cello Sonata, Op. T5 (1846)
umsu (1830)
or for
Violin Sonata No. 1 in G major. Op. 78 (1879) Violin Sonata No. 2 in A major. Op. 100 (1886) F.A.E. Sonata for violin and piano, third
movement (1853)
for violin and piano. Romance in f minor Op. 11 (1873)
Nocturne in B major Op. 40 (1875)
Mazurek for violin and piano. Op. 49 (I879)
for violin and piano
Op. 57 (1880) and piano.
for violin and piano.
Violin Sonata in F major, Romanticke kusy for violin
Op. 75 (1887) Sonatina in G major
Op. 100 (1893)
Romance for violin and piano. Op. 1 (1873) Une idylle, pastourelle, et virelai for
violin and piano. Op. 4 (1887) Mot d*amour, Bizarrerie for violin and piano.
Op. 13 (1889) Chanson de nuit. Chanson de matin for violin
and piano. Op. 15 (1897) La cappricieuse for violin and piano. Op. 17
(1^91) Violin Sonata in e minor. Op. 82 (I9I8)
Duo for violin and piano, S. 127 (1832) Zweite Elegie for violin and piano (cello
ad lib.), S. 131 (1877) Romance oublie6 for viola and piano (violin
or cello ad lib.), S. I32 (1880) La lugubre gondola for violin and piano
(cello ad lib.), S. 134 "^^ • and p: (1882)
Z domoviny for violin and plan0, um)— — T. 128 2
48
Table 3: continued
Composer Work
Tchaikovsky
Saint-Saens
Souvenir d'un lieu cher for violin and piano. Op. 42 (1878)
Berceuse in Bb major for violin and piano. Op. 38 (1871)
Violin Sonata No. 1 in d minor. Op. 75 (1885) Violin Sonata No. 2 in Eb major. Op. 102 (I896) Tryptique for violin and piano. Op. 136 (1912) Elegie for violin and piano. Op. l43 (1915) Elegie for violin and piano. Op. I60 (I921) Oboe Sonata, Op. 166 (1921)
Violin Sonata No. 1 in A major. Op. 13 (1876)^ Romance m Bb major for violin and piano.
Op. 28 (1883) Violin Sonata No. 2 in e minor. Op. 108 (I916)
R. Strauss Violin Sonata in Eb major. Op. 18 (I883)
Faure
Transcribed in conjunction with the following: Grant J. Cahoon, "A Flute Transcription: Franz Schubert's Fantasia in C Major for Violin and Piano, Op. 159»" thesis, Brigham Young University I98O.
2 Published during the course of this study as a
flute transcription.
- Published during the course of this study as a flute transcription.
CHAPTER V
TRANSCRIPTIONS PREPARED FOR THIS STUDY
Three works from the list in the previous chapter have
been transcribed for the flute in conjunction with this
study: Felix Mendelssohn's Sonata in f minor for violin
and piano. Op. 4, Antonin Dvorak's Sonatina in G major for
violin and piano. Op. 100, and the F.A.E. Sonata for violin
and piano, written jointly by Albert Dietrich, Robert
Schumann, and Johannes Brahms. These pieces were selected
for several reasons. First of all, they fit the criteria
for selection discussed in the last chapter. Secondly, they
are fairly substantial in length, suitable for presentation
in a serious recital situation. The pieces selected were
written over a period of seventy years: the Violin Sonata
of Mendelssohn was written in 1823, the F.A.E. Sonata dates
from 1853, and Dvorak's Sonatina was composed in 1893.
Finally, the works chosen appeal to the musical taste and
standards of the author.
Mendelssohn: Sonata in f minor. Op. 4
This sonata is a work of Mendelssohn's youth, composed
in 1823 when he was fourteen years of age. As a result,
the piece is rather simple in its structure and straight
forward in its musical approach. As a whole, it is not
virtuosic in nature, although it does contain short cadenzas
49
50
in both the solo and piano parts. This sonata is especially
noteworthy in that it contains very few idiomatic traits
for the violin, only one pizzicato chord and six multiple
stops. The piece contains ample rest in the solo part, and
the phrases are of a length easily playable on the flute.
As a result of these traits, this sonata needed few
alterations in order to be transcribed for the flute. By
far, the most common change that needed to be made was
raising the violin part an octave in places in order to
either render those notes below the range of the flute play
able, or to give the flute more dynamic potential. The
piano part was not changed at all as the octave transposi
tions did not cause any compatibility problems.
The following section will highlight any interesting
problems encountered in transcribing this piece for the
flute. A complete listing of those changes made to the
piece can be found in Appendix A, along with the resulting
full score for flute and piano.
First Movement; Adagio-Allegro moderate
The first problem occurs in the opening cadenza,
measure one, because the b-flat is too low for the flute
(Example 1). Transposing measures 1-5 up an octave not
only brings this note into the flute range, but places the
entire phrase into a range more appropriate for a flute
cadenza. The indicated crescendo will occur naturally, and
51
.3 a solid sforzando is now possible on the g-flat^. It would
also be possible to play measures 6-9 an octave higher on
the flute in order to keep the integrity of the cadenza as
a whole, but the resulting d-flat is difficult to produce
on the flute, as well as rather piercing in tone quality.
Because the b-flat on the fourth beat of measure 5 is out
of the flute range, it needs to be raised an octave, along
with the tied note on the first beat of measure 6. The
rest of the phrase can be played as is.
a. violin
Adagio i-fc ^
ad ttdit. Jtaeit.
p lento
b. flute
nd mil. JUrH.
p lant«
Example 1: Mendelssohn Violin Sonata, first movement, 1-9
52
In measures 41-49 the violin part falls between the
hands of the piano part (Example 2). This is characteristic
of violin writing, but not so of flute writing, where the
flute is usually found at the top of the texture. In order
to allow the flute to be more easily heard, especially in
the forte section, this passage has been raised an octave.
a. violin
£
^m b. flute
Example 2: Mendelssohn Violin Sonata, first movement, 41-49
53
The turn in measure 213 requires the execution of a
b (Example 3). Since many flutes in use today have a
B-foot, this will not cause a problem for those players
who own such an instrument. Those players without a B-foot
can play measures 212 to the end an octave higher with no
?0^ undesirable results.
rit
Example 3 ' Mendelssohn Violin Sonata, first movement, 212-214
Second Movement: Poco adagio
Much of the second movement has been raised an octave
in the process of transcribing it for the flute. In all
cases this was done because of the incompatibility of the
low ranges of the violin and the flute. The octave trans
position has not only rendered the music playable on the
flute, but has put this movement into the flute's most lyri
cal and expressive register. In certain cases, for example
measures 58-65, the octave transposition has also enabled
20 The low b is also called for in measure 110 of the
second movement and in measure 180 of the third movement.
54
the flute to be heard more easily against a very heavy
piano part.
The last two measures of this movement contain the
first multiple stops encountered in this piece (Example 4).
Since both the £ and e-flat cannot be played at once, one
or the other must be chosen to be played on the flute. In
the last measure the £ must be played because it supplies
the third of the Ab major chord, the tonal center of the
movement. The e-flat can be omitted since it is not
necessary to insure the proper function of the chord. In
the previous measure, on beats two and three, either the
£ or the e-flat may be played since the arpeggio in the
right hand of the piano part supplies all of the necessary
pitches. The e-flat has been chosen for the flute part in
this measure, since some melodic interest will be gained
by the change from the e-flat to the c_ in the last measure-.
It should also be noted that this phrase has been transposed
up an octave to accommodate the b-flat and £ in measure 129-
Third Movement: Allegro agitato
Octave transposition has been used in several instances
in this movement for both range adjustment and to put the
flute into a more sparkling register. Virtually the
entire coda of the movement, from measure l8l to the end,
has been raised an octave to enable the flute to sing out
a. violin
dimin.
55
b. flute
Example 4: Mendelssohn Violin Sonata, second movement, 129-131
above a very active piano part. This transposition will
also add more brilliance to the accents.
This movement contains the only pizzicato writing in
the piece, the chord in measure 53 (Example 5). This
chord has been adapted for the flute by writing the lower
two notes as grace notes, raising the e-flat" an octave
so that the resulting arpeggio is in closed position.
An arpeggio in this position will respond more easily on
the flute than one in open position, especially in a fast
tempo.
56
a. violin b. flute
ptH.
^
I gjniijj'n'ii ^
? laPr^n* iT
fci 1 3 = ^
^^^^^m f •£±
7
Example 5: Mendelssohn Violin Sonata, third movement, 52-53
The only instance in this piece where actual pitches
have been changed occurs in measures 152 and 153 (Example 6)
The b-flat and a-flat are out of the range of the flute, but
putting them or the entire phrase up an octave would destroy
the contour of the section beginning in measure 114, which
has been steadily lowering in range and lessening in
intensity. Changing the last three notes of the violin
part to a b-flat"^, e_ , and f^, respectively, allows the
solo line to keep descending, and avoids any octave dis
placement. Furthermore, the resulting b-flat to e_
continues the pattern of fifths begun in the second half
of measure 151. These new notes do not change the harmony
in any way, except for deleting the third of the chord
from the first best of measure 152. This note is quickly
supplied in the arpeggio in the left hand of the piano
part, so in this rapid tempo, its momentary absence is
hardly noticed.
57
a. violin b. flute
)i fcjz! fefe
^
'^w > y J ^
w ^ ^ ^
|j m=^
s
) I i L' ' y wt -2=r
T^
'/^"l> ilrtJlTlJ
f ^ di^ffMlfJ
S T
9 > •> i 1
^
^
^
Example 6: Mendelssohn Violin Sonata, third movement, 151-153
Conclusion
Mendelssohn's Sonata in f minor. Op, 4, works very
well as a flute transcription. The youthful charm and
clarity of form of this work enable it to be musically
gratifying for both listener and performer. The relative
lack of technical difficulty renders this piece suitable
for study by the advanced high school student, as well as
by college students or professional performers. The sonata
can be studied and performed in its entirety, or the
second movement can be studied or performed alone. The
beautiful and lyrical melodies of the second movement
make it especially useful as a vehicle for teaching
phrasing and the use of tone color. This sonata, although
it is relatively ignored in the violin repertory, serves
as a useful addition to the flute repertoire.
58
Dvorak; Sonatina in G major. Op. 100
The sonatina is a mature work of Dvorak, written
for his children in 1893 during his tenure as the director
of the National Conservatory in New York. The American
flavor of the New World Symphony can be heard in the first
two movements of the piece, especially in the second, which
was also published separately under the title of "Indian
Canzonetta," albeit without the composer's permission.
The third and fourth movements favor Dvorak's national
heritage, containing Slavic themes and rhythms. This piece
is a standard in the violin repertoire, and its charm and
lyricism make it an appealing target for a flute tran
scription.
The transcription process for this piece was much
more involved than that of the Mendelssohn. As a whole,
this work required a similar amount of octave transposition,
but contained more multiple stops, tremolos, and idiomatic
string writing which needed to be adapted for the flute.
In several instances, the piano part has been changed to
either avoid unison doubling with the solo part, or to
include certain notes from multiple stops which cannot be
played on the flute, but which are harmonically important.
The following section will discuss the most interesting
problems encountered in transcribing this piece for the
flute. A complete list of the changes made, along with the
resulting full score for flute and piano, can be found
59
in Appendix B.
First Movement: Allegro risoluto
The first major change in the first movement is
necessitated by the double stops in the violin part in
measures 72-76 (Example 7). The repeated b-flat and d_
provide harmonic support for the melody in the left hand
of the piano part, but only the d^ can be played on the
flute. Beginning in measure 72 through the first beat of
measure 75, the b-flat can be put into the right hand of
the piano part, and then changed to the left hand on the
second eighth note of measure 75 for the rest of the bar.
The b-flat is already doubled on the first beat of measure
76 when the piano takes over both notes of this repeated
note figure while the violin rests. Although the color
change in the flute version is not as great as in the
original, the passage can still be effective with proper
balance between the flute and piano parts on the repeated
notes.
The first instance of octave transposition in this
movement occurs in measures 116-134, where the recapitu
lation of the movement begins. The dynamic level at the
beginning of the movement is mezzo-forte where it is forte
in measure ll6. Raising the solo part an octave at this
point not only makes this effect easier to produce, but
also offers a change of color from the exposition of the
60
piece. In addition, the a on the second beat of measure
130 is also brought into range.
a. violin
b. flute
Example 7: Dvorak Sonatina, first movement, 72-76
The other section of this movement which contains
octave transposition of the solo part occurs from measure
163-174. Although there are no range problems in this
passage, raising the flute part an octave provides more
intensity for the fortissimo dynamic level. This creates
a problem, however, from measure 17I-I74 by creating a
unison doubling with the right hand of the piano part
(Example 8). Dropping the right hand of the piano part
an octave will not only solve this problem but will also
preserve the fullness of the original texture
a. violin
61
^ •0"»' -^
ff ^ ^ ^ m
^
JS
=« Mfr '^ ^ s j ^
^ F
b. flute
Example 8: Dvorak Sonatina, first movement, 171-174
Second Movement: Larghetto
Measures 29-32 of this movement contain double stops
in the original violin part which serve as an accompaniment
to the thematic material in the right hand of the piano
part (Example 9). Both notes are doubled in the left hand
of the piano part so the harmonic importance of the double
stops is not critical, but they do add rhythmic interest
to this passage. In the transcription, the flute part
alternates the two pitches of the double stops while
preserving the rhythm of the original figure.
a. violin
62
b. flute
Example 9: Dvorak Sonatina, second movement, 29-32
Harmonic considerations are of prime importance when
transcribing the double stops in measures 80-83 for the
flute (Example 10). In measures 80 and 82 the lower note,
d can be safely deleted because it is merely doubling
the upper note an octave lower. In measures 81 and 83,
however, the e-flat . which is not present in the piano
part, is mandatory to the function of the German augmented
63
sixth chord. The e-flat" has been added to the tremolo in
the right hand of the piano part, preserving the harmonic
function of these measures. In addition, measures 82 and
83 have been transposed up an octave, the grace note being
added as a substitute for the lower note of the double stop
as well as to help facilitate a smooth connection for the
change of octave. This octave transposition is necessary
in order to preserve the contour of the following phrase
which ends on a £, out of the range of the flute.
a. violin
b. flute
Example 10: Dvorak Sonatina, second movement, 80-83
64
Third Movement: Scherzo
Although virtually all of the violin part of this
movement falls within the range of the flute, the entire
solo part has been transposed up an octave for the flute
transcription. The tone quality and responsiveness of the
upper two registers of the flute are much more suitable for
a scherzo than that of the lowest, which tends to be some
what sluggish in a rapid tempo. This octave transposition
has created problems in two places with the piano part, in
measures 9-l6 and 48-55, by creating unison doublings with
the right hand (Example 11). The original texture has been
restored by dropping the right hand of the piano part an
octave in these two passages.
a. violin
Tr \i'T~'nr^ 11 I I ill rsc. '"/ fi,,e.
-r cresc.
flute
Fine.
^m .-H '.r.
't I I
• & ^
^ ^
i m ^
u I
^
i Fine.
^
^ y
Example 11: Dvorak Sonatina, third movement, kd-55
65
The accompanimental figure in measures 17-31 of the
violin part has also been altered in the transcription
process (Example 12). The widely spaced intervals are
easily produced on the violin by changing strings with the 1 1 p
bow, since the d_ and a^ are open strings and the f-sharp
is played on the E string. The execution of this type of
pattern in a rapid tempo is more awkward for the flutist
because the embouchure must be altered slightly for each
large interval. By revoicing this pattern so that it falls
almost entirely within the middle register of the flute
range, it can be played quite easily on the flute, and the
exuberant spirit of this movement is more easily maintained.
a. violin
b. flute
v^^ Example 12: Dvorak Sonatina, third movement, 17-32
66
Fourth Movement: Finale
The sonatina as a whole contains few extended rests
for the soloist. In fact, no rests occur at all in the
second and third movements. As a result, endurance prob
lems can occur for the flutist in performance. In antici
pation of this condition, two additional long rests have
been added to the solo part in the fourth movement, in
measures 13O-I36 and 317-325 (Example 13). In both cases
the original violin part contains an accompanimental
figure of syncopated repeated notes. The left hand of
the piano part in these instances also has an accompani
mental figure of eighth notes. The second and fourth
notes of each measure of this piano figure double exactly,
with one exception, the syncopated figure in the violin
part. In the flute transcription, the violin part has
been omitted entirely in these sections, resulting in
a color change, but in no loss of rhythmic or harmonic
integrity. In measure 133, the exception noted above,
the eighth note figure does not occur in the original
piano part, but has been added to the transcription in
order to continue this pattern throughout the passage.
The corresponding section in measures 319-325 does not
require this change as the eighth note pattern is present
throughout.
67
a. violin
b. flute
Example 13: Dvorak Sonatina, fourth movement, 130-136
Measures I66-I67 contain a tremolo in the violin part
(Example 14). In the flute transcription this has been
deleted. The resulting notes in the flute part are merely
sustained and have been tied together. The flute part in
the passage preceeding and including these measures has
also been raised an octave.
a. violin b. flute
Example l4: Dvorak Sonatina, fourth movement, I66-I67
68
In measures 267-272 octave transposition of the solo
part has resulted in a unison doubling with the right
hand of the piano part. As has been the case in previous
situations, the right hand of the piano part has been
dropped an octave in order to preserve the original
texture (Example 15).
a. violin
b.. flute
^•- A yi yi^ y» ^
-j''j-* L[.'h^ i h\ii j.ii~\, r^ir.i
Example 15: Dvorak Sonatina, fourth movement, 267-272
The descending line in the violin part in measures
335-341 ends on a g, out of the range of the flute.
Octave transposition of this entire phrase would not be
appropriate because the transposed passage would fall
mostly in the highest register of the flute range.
69
resulting in a tone quality too brilliant for this quiet
passage (Example 16). Thus, in the flute transcription
only the last four notes of the phrase have been raised
an octave, preserving the original contour of the phrase,
but bringing- the last note into the range of the flute.
a. violin
Tempo I.
b. flute
Tempo I.
Example l6: Dvorak Sonatina, fourth movement, 335-341
The final portion of the movement, measures 362-376,
contains continuous sixteenth notes in the violin part
(Example 17)- While these can be played by the flute, a
passage of this length offers the flutist no opportunity to
breathe, and the passage will lack somewhat in intensity as
a result. In order to facilitate the appropriate impact of
70
this section in the flute transcription, several changes
have been made to the original violin part. The repeated
sixteenth notes in measures 362-368 have been reduced to
their melodic basis of quarter and eighth notes. Measures
367 to the end have been raised an octave in order to take
advantage of the brilliant upper register of the flute.
The flute part does contain the original sixteenth notes in
measures 369-376 as this section is short enough for the
flutist to maintain maximum intensity. The multiple stops
in the last three measures have also been necessarily
altered in order to make them playable on the flute. The
results of these changes can also be seen in this example.
a. violin
fz fz r=
T ^ p . ^ F « i * . f - i i * j _ i i * > * " i ^ < _ ! ) * < _ r^
fiu mosso
b. flute
"7= Ji ^
fia mtto
Example 17 J Dvorak Sonatina, fourth movement, 362-end
71
Conclusion
Dvorak's Sonatina in G major. Op. 100, is extremely
successful as a flute transcription. Its indisputable
beauty and charm make the piece enjoyable for performers
and listeners alike. This piece is much more demanding,
from both a technical and endurance standpoint, than the
Mendelssohn Violin Sonata. The work would probably be
most appropriate for study and performance by somewhat
mature performers, either college students or professionals.
The third movement could, however, be performed alone
quite successfully by an accomplished high school student.
This piece is most deserving of a place among the standard
flute repertoire, not just as a representative of the
nineteenth century repertory, but as a fine composition
by a great composer.
F.A.E. Sonata
The F.A.E. Sonata is an interesting work from both
a historical and musical standpoint. It was composed as
a gift for the violinist Joseph Joachim at the suggestion
of Robert Schumann. The sonata was presented to Joachim
at a concert on October 27, 1853. The first movement was
written by Albert Dietrich, a pupil of Schumann's, the
second and fourth movements were written by Schumann
himself, and the third movement was written by Johannes
Brahms. The letters in the title, F.A.E., were taken
72
from Joachim's motto "Frei Aber Einsam" (free, yet lonely)
and were to designate the pitches used for the thematic
material of the work. The motive appears in all movements
except for the third, where for some unknown reason,
Brahms declined to employ it.
This piece was chosen for flute transcription for
several reasons. First, it offers the opportunity to
deal with the music of three different composers. Secondly,
the work is very amenable to transcription for the flute.
Finally, the circumstances of its composition give it
a unique place in musical history.
The following section will highlight the most
interesting problems encountered in transcribing the
F.A.E. Sonata for the flute. A complete list of those
editorial changes made can be found in Appendix C, along
with the full score for flute and piano.
First Movement: Allegro (Dietrich)
This movement as a whole required relatively few
alterations in the process of transcription for the flute.
Some octave transposition was necessary in order to bring
certain passages into the range of the flute or to provide
more projection for the solo part. Several articulations
have been changed. In most cases this was not because
they were unsuitable to the flute itself, but because
the movement was inconsistent in its articulation of
73
similar passages. Those changes made are minor, but
provide for a more cohesive performance.
Idiomatic passages for the violin in measures 113-116
necessitated alterations to adapt them for the flute
(Example 18). It is rather awkward for the flutist to
execute the articulation required in measure 113, beats
three and four, so the sixteenth note doubling has been
left out in the flute version and the eight note triplets
are performed straight. The repeated f-sharps in measures
114-116 are uncharacteristic of flute writing and would not
be very effective in performance. A trill on the upper
note of the double stop has been substituted for this
figure. It will provide the necessary intensity of sound
in a manner which is more characteristic of flute technique.
a. violin
b. flute
Example 18: F.A.E. Sonata, first movement, 113-116
74
The octave b's in the violin part in measures 130-137
require alteration in transcription for the flute (Example
19). Since the previous phrase ends on b_, this note is
sustained in measures I3O-I33. The diminuendo to the
subsequent pianissimo in measures 133-134 makes it desir
able to drop the flute an octave to b_ in measure 134.
This change of octave also gives the flutist a necessary
opportunity to breathe.
a. violin
M dim.
^ ^
s i f ^ as ^ ^ ^SE
• »"4 jrp » 1 1 ]
*> • #
dim. ^m # # # T^ # •#
i CE
j j j j ^ J f l I ! I I - » •
^ ^ ^ 3^ TT # * *
SSVT9S8,
Example 19: F.A.E. Sonata, first movement, 129-137
b. flute
75
W
i 'J'J'i ' i ' i"i' i 'J'4 i .li i • -
^ ^
'i'i 'Ji|J4}|i J i m i <i*m.
." iJ IJ iJ IJ I . B JJjJjJjpiiJl ^ ^ ^ ^
:3=;=3
? 9 ? # T^pTpp
Example 19: continued
Second Movement: Intermezzo (Schumann)
Only one change was made to the second movement
in transcribing it for the flute. Measures 31-43 have
been transposed up an octave. This change puts all notes
into the range of the flute and also intensifies the
crescendi in measures 34 and 40. The resulting color
change of this octave transposition also adds greatly to
the effectiveness of this movement in performance.
76
Third Movement: Allegro (Brahms)
The opening of this movement, measures 1-11, is too
low for the flute, so it has been raised an octave by
necessity (Example 20). In addition, the forte dynamic
level and the overall character of the piece require very
crisp articulation in the first two measures. This is not
easily done on the flute on g_, so these two measures
have been raised an additional octave to insure clarity
of articulation and rhythm. All similar passages through
out the movement have been treated in the same manner,
with the exception of measures l40-l43. In these measures,
the return of the opening section, the dynamic level is
piano, thus enabling the flutist to effectively play g_
in this passage.
Many other instances of octave transposition occur in
this movement. The heavy piano part and character of the
themes in measures 32-52 and I66-I87 render them much
more effective if played in the upper register of the
flute. The same is true of the coda of the piece, from
measure 238 to the end (Example 21). In addition, the
multiple stops in measures 238, 256, 257, and 258 have
been revoiced and arpeggiated as grace notes leading to
the upper note of the chord. This has not been done in
measure 254 because the resulting grace notes would inter
fere with the conclusion of the trill in the previous
measure.
77
b. flute
Allefro
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Example 20: F.A.E. Sonata, third movement, 1-11
78
a. violin
b. flute
Example 21: F.A.E. Sonata, third movement, 238-end
79
Fourth Movement: Finale (Schumann)
This movement, by far, demanded the most changes of
any in this study when transcribing it for the flute. It
was necessary to raise much of the violin part an octave in
order to enable the flute to cut through a rather thick
piano part. The movement also contains several multiple
stops which had to be adapted in various ways. In partic
ular, the solo part of the coda of the movement had to be
entirely reworked so it could be played on the flute.
The following example shows how many of the multiple
stops have been treated in the flute transcription (Example
22). The chords have been revoiced from open to closed
position and written as grace notes to the highest pitch.
This type of musical material occurs in measures 2, 6, 8,
57, 58, 82, 86, 88, 137, and 138.
a. violin
Markiertes, ziemlich lebhaftes Tempo
i ^ ^ ^ i5i ^J\
f
b . f l u t e
Markiertes, ziemlich lebhaftes Tempo
Example 22: F.A.E. Sonata, fourth movement, 1-2
80
The pizzicato chords in measures k7'k'9 and 127-129
have been deleted entirely from the flute transcription
(Example 23). Attempts at treating them in a manner
similar to the previous example or in playing only the
upper note of the chord proved to be unsuccessful. The
resulting three measures of rest for the flute in both
cases are welcome indeed to the performer who plays
virtually non-stop during the rest of the movement.
pus.
Example 23: F.A.E. Sonata, fourth movement, 47-49, violin
Measures 143 to the end of the movement form a
virtuosic coda for the soloist, the only section of this
type in the entire sonata. This section was undoubtedly
written as a tribute to Joachim's virtuosity on the violin,
and it needed extensive revision to be performed success
fully on the flute. There are several distinct problems
in adapting this section for the flutist. First of all,
many of the scale and arpeggio figures include notes below
the range of the flute. Also, in many instances, there is
81
no opportunity for the flutist to breathe. Lastly, in
some instances too many notes are present in too short
of a time to be practical for accurate execution on the
flute. Rather than describing each change in detail,
both parts, the original violin version along with the
revised flute part, can be seen in the following example
(Example 24). An attempt has been made to preserve as
much of the character of the original violin part as
possible while keeping the resulting flute part within
the bounds of feasibility for performance.
Conclusion
Of the three pieces transcribed for this study, the
F.A.E. Sonata is the least successful when performed in
its entirety. The first movement is quite lengthy and
rather out of proportion to the rest of the work. The last
movement is somewhat unimaginative compositionally, and, in
the author's opinion, would not be any more enhanced in
performance in its original form than in the flute version.
The two middle movements, however, are well written and can
be performed quite successfully as a pair or separately.
The second movement can be easily played as a short solo
by the high school student. The third movement is more
technically challenging, but is very suitable for the
college student. Both movements, as well, can be enjoyed
by the professional performer as representative works in
N N - ^
32
a. violin
F.A.E. Sonata, fourth movement, l46-end
83
b.' flute
Example 24: continued
84
the styles of their respective composers and are deserving
of a place in the nineteenth century flute repertoire.
BIBLIOGRAPHY
Baines, Anthony. Woodwind Instruments and their History. New York: W.W. Norton & Co., 1962.
Bate, Phillip. The Flute: A Study of its History, Development, and Construction. Rev. ed. New York: W.W. Norton & Co., 1979.
Boehm, Theobald. The Flute and Flute Playing in Acoustical, Technical, and Artistic Aspects. Trans. Dayton C. Miller. New York: Dover Publications, 1964.
Boyd, Malcolm. "Arrangement." The New Grove Dictionary of Music and Musicians. London: MacMillan, I98O.
Brown, Howard Mayer. "Flute." The New Grove Dictionary of Music and Musicians. London: MacMillan, I98O.
Cahoon, Grant J. "A Flute Transcription: Franz Schubert's Fantasia in C Major for Violin and Piano, Op. 159." Thesis. Brigham Young University I98O.
Carse, Ad^m. The History of Orchestration. New York: E.P. Dutton & Co., 1925.
DeLorenzo, Leonard. My Complete Story of the Flute. New York: Citadel Press Inc., 1951.
Fitzgibbon, H. Macaulay. The Story of the Flute. 2nd ed. rev. New York: Charles Scribner's Sons, I928.
Kennan, Kent W. The Technique of Orchestration. 2nd ed. Englewood Cliffs, N.J.: Prentice Hall, Inc., 1970.
National Flute Association. Music Library Catalog. 3rd ed. Ed. Ronald L. Wain. NFA, 1985-
Pellerite, James. A Handbook of Literature for the Flute. 3rd ed. Bloomington, In.: Zalo Publications, 1978.
Pierreuse, Bernard. Flute Literature. Paris: Editions Musicales Transatlantiques, I982.
Rockstro, Richard S. A Treatise on the Construction, the History, and the Practice of the Flute. 2nd ed. rev. 1928; rpt. London: Musica Rara, I967.
85
86
Toff, Nancy. The Development of the Modern Flute. New York: Taplinger Publishing Co., 1979.
Vester, Franz. Flute Repertoire Catalogue: 10,000 Titles. London: Musica Rara, I967.
APPENDIX A
MENDELSSOHN: SONATA IN F MINOR. OP. 4
TRANSCRIPTION FOR FLUTE AND PIANO
87
88
List of Alterations 21
Measure(s)
1-6
25-26
41-49
94-97
98-102
113-118
123-136
146-147
First Movement
Comments
solo part, octave higher
solo part, octave higher
solo part, octave higher 2
solo part, octave higher except for b-flat
in measure 96
solo part, octave higher
solo part, octave higher
solo part, octave higher solo part, d2, b-flat, and £, octave higher
Measure(s)
20-26
58-65
72-87
92-108
115-end
Second Movement
Comments
solo part, octave higher
solo part, octave higher
solo part, octave higher
solo part, octave higher
solo part, octave higher
21 The following edition was used as a basis for the
transcription: Felix Mendelssohn, Sonata in f minor for Violin and Piano, Op. 4, ed. Friederich Hermann (Frankfort C.F. Peters, n.d.).
89
Measure(s)
121
130
131
Second Movement: continued
Comments
solo part, articulation changed
solo part, articulation changed, lower note deleted from the double stops
solo part, upper note deleted from the double stop
Third Movement
Measure(s)
29-31
37-43
49-50
53
57-58
61-63
67-76
84-122
152-153
166-171
173-175
182-194
200-215
214-215
Comments
solo part.
solo part.
solo part.
solo part, written as
solo part.
solo part.
solo part.
solo part.
solo part, changed to
solo part.
solo part.
solo part.
solo part.
solo part, stops
octave higher
octave higher
articulation changed
pizzicato chord revoiced and grace notes to upper note
articulation changed
octave higher
octave higher
octave higher
g-'- changed to b-flat" , b-flat eT, a, changed to Xi
octave higher
octave higher
octave higher
octave higher
lower note deleted from double
90
SONATE
Felix Mendelssohn Bartholdy (1809-1847) op. 4
Flute
Piano
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202
208
214
APPENDIX B
DVORAK: SONATINA IN G MAJOR, OP. 100
TRANSCRIPTION FOR FLUTE AND PIANO
110
22 111 List of Alterations
First Movement
Measure(s) Comments
3 solo part, articulation changed
11 solo part, articulation changed
14 solo part, articulation changed
26 solo part, articulation changed
30 solo part, articulation changed
42 solo part, articulation changed
55 solo part, articulation changed
70 solo part, articulation changed
72-76 solo part, lower note of double stops deleted
72-74 piano part, repeated b-flat added to right hand
75 piano part, repeated b-flat added to left
hand
86 solo part, articulation changed
97 solo part, articulation changed
II6-I34 solo part, octave higher
118 solo part, articulation changed
126 solo part, articulation changed
132-I34 solo part, articulation changed
22, The following edition was used as a basis for the transcription: Antonin Dvorak, Sonatina in G major for Violin and Piano, Op. 100 (Londonl Simrock, 189^).
112
Measure(s)
141
143
145
157
159
161
163-174
166
167-168
171-174
183-187
First Movement: continued
Comments
solo part, articulation changed
solo part, articulation changed
solo part, articulation changed
solo part, articulation changed
solo part, articulation changed
solo part, articulation changed
solo part, octave higher
solo part, lower note of double stop deleted
solo part, lower notes of double stops deleted
piano part, right hand octave lower
solo part, octave higher
Second Movement
Measure(s) Comments
2
4
6
9
10
12
29-32
solo part, articulation changed
solo part, articulation changed
solo part, articulation changed
solo part, articulation changed
solo part, articulation changed
solo part, articulation changed
solo part, articulation changed
solo part, double stops changed to alternation of pitches in same rhythmic pattern
37 solo part, articulation changed
113
Measure(s)
38
56-58
72-75
80
81
81
82-87
82
83
85
Second Movement: continued
Comments
solo part, articulation changed
solo part, lower notes of double stops deleted, articulation changed
solo part, articulation changed
solo part, lower note of double stop deleted
solo part, lower note of double stop deleted
piano part, e-flat added to tremolo in right hand
solo part, octave higher
solo part, lower note of double stop written as grace note
piano part, e-flat added to tremolo in right hand
solo part, articulation changed
Measure(s)
1-16
9-16
17-31
32-55
48-55
56-63
64-85
Third Movement
Comments
solo part, octave higher
piano part, right hand octave lower
solo part, eighth note figures revoiced with most notes an octave higher
solo part, octave higher
piano part, right hand octave lower
solo part, octave higher
solo part, octave higher
114
Fourth Movement
Measure(s) Comments
21 solo part, articulation changed
29 solo part, articulation changed
84-103 solo part, octave higher
89 solo part, lower note of double stop deleted
I3O-I36 solo part, deleted
133 piano part, eighth note figure continued
as in previous measures
I58-I97 solo part, octave higher
I66-I67 solo part, tremolo deleted, notes sustained
and tied
247 solo part, articulation changed
250 solo part, articulation changed
267-292 solo part, octave higher
267-273 piano part, right hand octave lower
279 solo part, lower note of double stop deleted
319-325 solo part, deleted
338-341 solo part, octave higher
362-368 solo part, repeated sixteenth notes reduced
to principal note values
367-end solo part, octave higher
377 solo part, lower notes of triple stop deleted
378 solo part, lower notes of triple stop revoiced and written as grace notes
379 solo part, lower note of double stop deleted
115
SONATINA. I.
Allegro riaolDta Antoa Dvorak, Op. 100.
Flute
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APPENDIX C
DIETRICH, SCHUMANN, AND BRAHMS: F.A.E. SONATA
TRANSCRIPTION FOR FLUTE AND PIANO
137
138 2^ List of Alterations -
First Movement
Measure(s) Comments
10 solo part, articulation changed
19-26 solo part, octave, higher
59-60 solo part, articulation changed
67-72 solo part, octave higher
87-90 solo part, octave higher
105 solo part, articulation changed
113 solo part, repeated sixteenth notes reduced to primary note values
114-117 solo part, repeated eighth note triplets changed to sustained trill, lower notes of double stops deleted
I3O-I33 solo part, lower notes of double stops deleted
I34-I37 solo part, upper notes of double stops deleted
139 solo part, articulation changed
15O-I5I solo part, articulation changed
I54-I55 solo part, articulation changed
176-I85 solo part, octave higher
190 solo part, articulation changed
192 solo part, articulation changed
23 The following edition was used as a basis for the
transcription: Dietrich, Schumann, and Brahms, F.A.E. Sonata for Violin and Piano (New York: Heinrichshofen, 1935).
139
Measure(s)
204-211
206-207
224
238-261
240-241
244-245
275-279
299
First Movement: continued
Comments
solo part, octave higher
solo part, articulation changed
solo part, articulation changed
solo part, octave higher
solo part, articulation changed
solo part, articulation changed
solo part, octave higher
solo part, articulation changed
Measure(s)
31-43
Second Movement
Comments
solo part, octave higher
Third Movement
Measure(s) Comments
1-2
3-11
8
30
32-52
78-84
81
140-150
147
solo part, two octaves higher
solo part, octave higher
solo part, lower notes of double stops deleted
solo part, two octaves higher
solo part, octave higher
solo part, octave higher
solo part, lower notes of double stops deleted
solo part, octave higher
solo part, lower notes of double stops deleted
140
Measure(s)
166-187
213-219
216
238-end
238
25^-255
256-259
Third Movement: continued
Comments
solo part, octave higher
solo part, octave higher
solo part, lower notes of double stops deleted
solo part, octave higher
solo part, lower notes of chord revoiced and written as grace notes
solo part, lower notes of chord deleted
solo part, lower notes of chords revoiced and written as grace notes
Measure(s)
1-24
1
2
6
8
34-37
44-46
44
47-49
56-78
57
Fourth Movement
Comments
solo part, octave higher
solo part, articulation changed
solo part, lower notes of chords revoiced and written as grace notes
solo part, lower notes of chords revoiced and written as grace notes
solo part, lower notes of chords revoiced and written as grace notes
solo part, octave higher
solo part, octave higher
solo part, articulation changed
solo part, pizzicato chords deleted
solo part, octave higher
solo part, repeated thirty-second notes reduced to sixteenth notes
I4l
Fourth Movement: continued
Measure(s) Comments
57-58 solo part, lower notes of chords revoiced and written as grace notes
75 solo part, repeated thirty-second notes reduced
to sixteenth notes
75-76 solo part, lower notes of chords deleted
79-81 solo part, lower notes of chords deleted
81-104 solo part, octave higher
81 solo part, articulation changed
82 solo part, lower notes of chords revoiced and written as grace notes
86 solo part, lower notes of chords revoiced and written as grace notes
88 solo part, lower notes of chords revoiced and written as grace notes
112-117 solo part, octave higher
121 solo part, articulation changed
124-126 solo part, octave higher
127-129 solo part, pizzicato chords deleted
I37-I38 solo part, octave higher
137 solo part, repeated thirty-second notes reduced to sixteenth notes, lower notes of chord on third beat deleted, lower notes of chord on beat four revoiced and written as grace notes
138 solo part, lower notes of chords revoiced and
written as grace notes
145 solo part, beats three and four octave higher
l46-end solo part, substantially rewritten, see Chapter V, Example 24
F. A. E.
142
Albert Dietrich AllSfTO
Flute
Piano
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