FROM VIOLIN TO CELLO: CÉSAR FRANCK’S SONATA AND ITS TRANSCRIPTIONS

Abstract

Background and Objectives: César Franck’s Sonata in A Major, originally composed for violin and piano, was transcribed for cello by Jules Delsart, and this transcription has been the basis for most subsequent cello editions. However, various editors have made distinct interpretative choices that affect the work’s technical demands and expressive qualities. This study explores Delsart’s transcription in comparison with four modern cello editions: those by Leonard Rose (IMC), Peter Jost (Henle), Douglas Woodfull-Harris (Bärenreiter), and Yuki Hasegawa (Édition les bons concerts). The primary objective is to examine how editorial choices—particularly with respect to register, dynamic treatment, articulation, and pitch alterations—diverge from Delsart’s transcription and how these changes impact the piece’s expressive character. By examining these variants, this study also explores how these editorial decisions manifest in the performances of six renowned cellists.

Methods: The study compares the original violin version of the Sonata to Delsart’s cello transcription and four modern editions. The analysis focuses on register changes, dynamic modifications, articulation variations, and pitch alterations. These modern editions represent a range of interpretive approaches—from those closely following Delsart’s original to those integrating more contemporary performance practices. To investigate how these editorial choices manifest in performance, six prominent recordings of the Sonata by renowned cellists are examined: János Starker, Jacqueline du Pré, Mischa Maisky, Steven Isserlis, Yo-Yo Ma, and Gautier Capuçon.

Results: The comparison reveals important distinctions between Delsart’s transcription and the modern editions, especially regarding register choices. Leonard Rose’s edition raises the cello’s register in certain passages to enhance brilliance and projection. In contrast, Peter Jost adheres more closely to Delsart’s register, preserving the work’s original character. Douglas Woodfull-Harris introduces slight modifications to the cello’s part, reflecting a sensitivity to historical performance practices, while Yuki Hasegawa reimagines the piano accompaniment to achieve better balance with the cello, addressing modern acoustic needs. Among the recordings studied, Jacqueline du Pré’s interpretation remains closest to Delsart’s choices, emphasizing the richness and depth of the cello’s lower register. Steven Isserlis adjusts the register to reflect Franck’s original violin part, incorporating early performance traditions into his interpretation. Yo-Yo Ma and Gautier Capuçon both raise the register in various sections to ensure clarity and projection, adapting their performances to the modern concert hall environment. Mischa Maisky explores the full range of the cello, bringing a sense of intensity and clarity by blending both low and high-register passages. Finally, János Starker strikes a balance, using a selective approach to register choices that enhance the richness of the work while maintaining tonal balance.

Conclusions: This study highlights how register choices in César Franck’s Sonata in A Major, in Delsart’s transcription for cello and piano, profoundly shape the emotional and stylistic character of a performance. The decision to remain faithful to Delsart’s transcription, with its emphasis on the cello’s natural depth, or to explore higher registers for a more lyrical, brilliant sound, offers performers a wide range of expressive possibilities. These choices are not simply technical but reflect each performer’s unique artistic vision, balancing tone color, projection, comfort, and expressive intent. A recent recording by Adam Satinsky and the author reflects these nuanced decisions, demonstrating how engagement with register can heighten a performance’s communicative power. Through these interpretations, Franck’s Sonata continues to invite personal expression, fostering ongoing exploration of its emotional and musical potential.