Violin Virtuosity and the Art of Transcription
This paper investigates Romantic virtuosity and transcription from a specifically violinistic perspective, focusing on the virtuosic violin transcriptions of the Russian-Jewish violinist and composer Joseph Achron (1886-1943). Unlike piano transcriptions, violin transcriptions are generally scored as duos for soloist and accompanist, magnifying a host of unique compositional and analytical issues. Furthermore, the violin's narrower range and polyphonic abilities, as compared to the piano, both limit and expand its potential for virtuosity, fidelity, and originality. Conversely, the violin's rich timbral palette multiplies its potential for transcribing “effects” and “colors.”
Achron's works are “virtuosic transcriptions,” as distinct from “transcriptions” – their virtuosity is just as important (if not more so) as their relation to the source. Like Liszt, Achron broke from the tradition of cleanly dividing melody from accompaniment, instead approaching his transcriptions of works by Liszt, Brahms, Grieg, Paganini, Schumann, Mendelssohn, and others as: (1) kaleidoscopic visions of the sources' many components, (2) creative explorations of the sources' undeveloped possibilities, and (3) channels for virtuosic expression. I explore all this in two ways. First, I examine Achron's performance-oriented patterns of invention for intensifying the violin part: free two-part counterpoint, parallel intervals, octave transpositions, transferal of the melody to the piano so the violin can show off freely, assignment of a thick accompaniment pattern to the violin, and more. These rely on a specifically violinistic virtuosity, while revealing the influence of duo instrumentation on virtuosic expression. Second, I examine Achron's work-oriented patterns of invention, through which he developed his sources' “hidden” compositional possibilities: thematic layering, canonic imitation, and tonal ambiguity, among others. These, too, engage with duo instrumentation. Finally, while focusing mostly on violin-piano transcriptions, I also discuss Achron's transcription of Liszt's Gnomenreigen for violin alone, which, by eliminating duo instrumentation, adds a new dimension to the discussion of virtuosic violin transcription.
This paper investigates Romantic virtuosity and transcription from a specifically violinistic perspective, focusing on the virtuosic violin transcriptions of the Russian-Jewish violinist and composer Joseph Achron (1886-1943). Unlike piano transcriptions, violin transcriptions are generally scored as duos for soloist and accompanist, magnifying a host of unique compositional and analytical issues. Furthermore, the violin's narrower range and polyphonic abilities, as compared to the piano, both limit and expand its potential for virtuosity, fidelity, and originality. Conversely, the violin's rich timbral palette multiplies its potential for transcribing “effects” and “colors.”
Achron's works are “virtuosic transcriptions,” as distinct from “transcriptions” – their virtuosity is just as important (if not more so) as their relation to the source. Like Liszt, Achron broke from the tradition of cleanly dividing melody from accompaniment, instead approaching his transcriptions of works by Liszt, Brahms, Grieg, Paganini, Schumann, Mendelssohn, and others as: (1) kaleidoscopic visions of the sources' many components, (2) creative explorations of the sources' undeveloped possibilities, and (3) channels for virtuosic expression. I explore all this in two ways. First, I examine Achron's performance-oriented patterns of invention for intensifying the violin part: free two-part counterpoint, parallel intervals, octave transpositions, transferal of the melody to the piano so the violin can show off freely, assignment of a thick accompaniment pattern to the violin, and more. These rely on a specifically violinistic virtuosity, while revealing the influence of duo instrumentation on virtuosic expression. Second, I examine Achron's work-oriented patterns of invention, through which he developed his sources' “hidden” compositional possibilities: thematic layering, canonic imitation, and tonal ambiguity, among others. These, too, engage with duo instrumentation. Finally, while focusing mostly on violin-piano transcriptions, I also discuss Achron's transcription of Liszt's Gnomenreigen for violin alone, which, by eliminating duo instrumentation, adds a new dimension to the discussion of virtuosic violin transcription.