Transcribing works of other instruments for violin(for teaching purposes)
Lately i had a conversation with a friend. During our meeting he mentioned that his violin teacher who is also a composer; uses piano etudes such as Czerny 599 and Clementi and transcribe them for Violin and piano for playing them with his students. We had opposite opinions about this. He also mentioned that his theacher composes new etudes for his students. I looked at some of theme and i didn't see something new.some etudes pattern were very similar to those from wohlfahrt op. 45-74 or Hans Sitt. Nothing special that you look at and say that they're composed for a specific need of a student. We got into this debate that he told me if it wasn't necessary to compose new teaching materials so at some point in Violin teaching history pedagogues and players such as kreutzer or gavinies or Rode should've stopped composing new etudes. I just wanted to know and hear different ideas about this issues :
1)do you find it useful to transcribe Piano studies such as Czerny 599 and Clementi to be played on violin?
Would they have any special value for a violin student to spend time on them?
2)are these types of work comparable to something like C sharp minor nocturne of Chopin; transcribed for violin? (regarding musical or pedagogical values)
3)is it necessary to compose or transcribe new etudes and studies? If yes; then why? What can't we get from the sequence that after many years had become a standard foundation in too many teaching resources and societies?
4)do you compose a new etude in order to eliminate a weakness in your students playing or you choose the best suitable study from the standard books like kayser; mazas-etc.
5)is it reasonable to transcribe studies of other instruments for teaching purposes?
I would consider adapting a specific musical composition as an etude for a student whom I thought had potential but needed motivation at that stage. But not likely for an advanced student who should not need that kind of motivation.
People compose new technical studies all the time, because they can end up with material that is more effective for them to teach.
I had a student who was going no where. No interest at all in the violin.
Heifetz and Kreisler did transcriptions so I guess it must not be more than a venial offense at most.
For your interest: Fiocco Allegro originally was a harpsichord piece.
There was a time that Milstein learned Chopin on the violin because that is all that was available.
A couple of etudes are mandatory for RCM examinations, but when they're played, the emphasis becomes on their musical elements (assuming technical matters as a prerequisite), so in effect they're no different from repertoire. The same applies for concert etudes of course. I recall practising Hanon at home at one time on piano and a visitor remarked that she found it beautiful. Although I replied "it's just an exercise" at the time, I'll use that to support the point that anything less than that most dull exercise can be taken as a musical composition, and that many etudes were in fact mini compositions more than technical exercises although they would of course incorporate some of the latter.
I use, or make, transcriptions to provide elementary and intermediate students with attractive, stimulating music. Folksongs, then dance movements transcribed from keyboard works suit the early stages.
I have transcribed ancient lute and recorder pieces that sound wonderful on the violin or viola. In general, pieces originally written for instruments that can sustain notes are good candidates.
The piano piece arrangements I use or make are for violin & piano, not solo violin!
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