JAVS Summer 2021

chord notes as possible, but revoiced some chords between the two violas. For instance, in the opening of the Praeludium (ex. 1), I eliminated one note in order to fit three strings without disturbing the powerful parallel thirds. I also worked to avoid doubling notes as much as possible. In ex. 2, most of the original notes are present, but with voicing that simply makes more sense for the modern viola. Articulations and bowings help to create the emotional mood of each piece. In making my articulation decisions, I was guided by John Butt’s observations: Articulation might be influenced by the Affekt: strong passions such as Joy and Anger would not be especially slurred, but sorrowful and gentle words require a milder, slurred style. . . . Sharper articulation, for certain figures, was recommended Articulations and Bowings

Technical Alterations

Although the modern viola and the viola d’amore are two very different instruments, the range of Partia VII requires very few alterations when transcribed for the modern viola. I explored the possibility of incorporating some type of scordatura for the two violists to preserve its altered tonal color, but I ultimately kept the violas at standard tuning, as any scordatura would increase its technical difficulty and could narrow the work’s accessibility to the general community of violists. Scordatura is often intended to have the opposite technical effect, but any tonal color change that occurred would not be powerful enough to warrant the increase in difficulty and accessibility. Some chord alterations are necessary in adapting this piece, since Biber wrote it for two instruments that had sixteen more strings than the eight total strings of two modern violas. I aimed to keep as many of the original

Example 1. Biber, Harmonia Artificiosa-Ariosa Partia VII, Praeludium, mm. 1–2. On the left, the 1956 edition edited by Paul Nettl and Friedrich Reidinger. On the right: ChelseaWimmer’s arrangement (2018). All examples are displayed at concert pitch, rather than scordatura fingering.

Example 2. Biber, Harmonia Artificiosa-Ariosa Partia VII, Praeludium, mm. 57–61. Upper system: Nettl and Reidinger edition; Lower system: Wimmer edition.

Journal of the American Viola Society / Vol. 37, 2021 Online Issue

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