abstract: Throughout centuries of great classical music, many clarinet compositions have been adapted from a wealth of literature for string instruments and instruments of similar ranges. Viola, violin, and cello literature can often be adapted into challenging literature for the clarinet. While the works of English composer and violist, Rebecca Clarke (1886-1979), have gained popularity in the early 2000s, many of her compositions have yet to be discovered by musicians performing on wind instruments of similar ranges. While legendary western composers such as Mozart, Weber, and Brahms, will continue to be enduring icons in classic clarinet literature, performers and educators alike should always consider the integration of transcribed works for the expansion and diversity of the repertoire. Although a sizeable amount of literature for clarinet is contained in orchestral and chamber works of the late-Romantic era, the availability of solo clarinet literature in this style is lacking. The purpose of the project is the addition of Rebecca Clarke’s 1919 Viola Sonata for B-flat soprano clarinet and piano to the solo clarinet repertoire. The transcription preserves the integrity of the original music while exploring the virtuosic nature of the clarinet and its interaction with the piano. Comments on the historical background of Clarke’s Viola Sonata and the transcription procedures are provided as well. / Dissertation/Thesis / Doctoral Dissertation Music 2019

In this thesis I’m writing about Dmitri Shostakovich’s only Viola Sonata. I’ve read about Shostakovich life and analysed the sonata. Shostakovich’s Sonata is one of the first pieces from the composer that I have listened to and gotten familiar with. It’s one of the most played viola sonatas and a one of a kind in Russian modern music. The purpose is to dig deep into the music and to understand it. Questions like “why am I playing this like this?” or “how should I do this?” regarding the interpretation of the music is the core of this study. The research is also trying to be of help to get an image of viola music overall and what is the place of Shostakovich’s Viola Sonata in this world. How the piece was reacting to the world around it and how it was affected by the history of viola music and what is its position in the future.

This thesis serves to provide insight into the interpretation and performance of Rebecca Clarke’s Sonata for Viola and Piano (1919). To provide context to the analysis and interpretation, the life and work of Rebecca Clarke (1886-1979) is described. The viola sonata is analysed in terms of harmony, colours and technical elements for the purpose of aiding the interpretation and performance. The sonata is also cross referenced with other works by the same composer, to further pinpoint the stylistic elements and their importance for the result. From the analysis it is concluded that the common elements in Clarke’s music and in the sonata in particular, include modality, harmonic ambiguity, polytonality and a range of instrumental techniques. The meticulous notation and the overall instrumental ergonomics of the piece shows both that Clarke had a clear vision for her music, and that she knew the nature of both the viola and the piano well. In conclusion, I argue that in order to present a captivating performance of the piece, great care must be taken to the distinction and sensitivity of these elements in particular. / <p>R. Clarke: Viola Sonata</p><p>I. Impetuoso</p><p>II. Vivace</p><p>III. Adagio</p><p>S. Prokofiev: Romeo and Juliet, arr. V. Borisovsky</p><p>I. Introduction</p><p>III. Juliet as a Young Girl</p><p>IV. Dance of the Knights</p><p></p><p>Isela Halonen, Viola</p><p>Anna Christensson, Piano</p>