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Conclusion Khachaturian’s Concerto for Violin and Orchestra can be equally impressive and exciting when performed on the flute. Jean Pierre Rampal’s flute edition of the concerto is true to the original composition while at the same time utilizing the strengths of the flute to allow for an effective transcription. The concerto is remarkable on either instrument, the violin or the flute. Flutists must make every effort to learn how the piece would be performed on the violin in order to stay true to the composer’s idea, but ultimately, the flute performance is bound to be very different. But different means no better or worse. 31 Flutists can benefit by transcribing violin pieces and making them their own because doing this expands their repertoire and challenges their technique. 32 When Aram Khachaturian composed this work he had no idea that it would become a standard in the repertoire of classical flute. 31 David Shostac, Interview by the author, 13 April, 2012, Los Angeles, California. 32 Rena Urso Trapani, Interview by the author, 11 April, 2012, California. 24
Bibliography Ehrenburg, R.S.I., Khachaturian, A, Pomerantsev, V. “Three Soviet Artists on the Present Needs of Soviet Art.” Soviet Studies, Vol. 5, No. 4 (1954) http://www.jstor.org.libproxy.csun.edu/stable/pdfplus/148672.pdf?acceptTC=true (accessed Oct. 12, 2011) Fairly, Lee. “Music Reviews.” Music Library Association, Volume 6, No. 1 (1948) http://www.jstor.org/stable/891521 (accessed Oct. 10, 2011). Fravola-Walker, Marina. “National in Form, Socialist in Content: Musical Nation- Building in the Soviet Republics.” Journal of the American Musicological Society, Vol. 51, No. 2 (1998) http://www.jstor.org.libproxy.csun.edu/stable/pdfplus/831980.pdf?acceptTC=true (accessed Feb. 20, 2012). Howard-Jones, Evlyn. “Arrangements and Transcriptions.” Music & Letters, Vol. 16, No. 4 (Oct., 1935) http://www.jstor.org.libproxy.csun.edu/stable/pdfplus/728727.pdf?acceptTC=true (accessed Feb. 20, 2012). Jung, Jae Won (Noella). “Jascha Heifetz, David Oistrakh, Joseph Szigeti: Their Contributions to the Violin Repertoire of the Twentieth Century.” PhD dissertation, The Florida State University, 2007. Khachaturian, Aram. Concerto for Flute and Piano. Edited by Jean Pierre Rampal. New York: International Music Company (1969). Khachaturian, Aram. Concerto for Violin and Piano. Edited by David Oistrakh. New York: International Music Company [n.d.]. Matthew-Walker, Robert. “Aram Khachaturian: A Centenary Tribute to an Armenian Master.” Musical Opinion (2003). http://search.proquest.com.libproxy.csun.edu/docview/1121069/fulltextPDF?source=feds rch&accountid=7285 (accessed Oct. 12, 2011). Sarkisyan, Svetlana. “Khachaturian, Aram (Il’ich).” Oxford Music Online (2002). http://www.oxfordmusiconline.com.libproxy.csun.edu/subscriber/article/grove/music/14 956?q=khachaturian&article_section=all&source=omo_gmo&pos=1&_start=1 (accessed Oct. 12, 2011). Slonimsky, Nicolas. “Soviet Music and Musicians.” Slavonic and East European Review. American Series, Vol. 3, No. 4 (1944) http://www.jstor.org.libproxy.csun.edu/stable/pdfplus/3020186.pdf (accessed Feb. 8, 2012). 25
Page 1 and 2: CALIFORNIA STATE UNIVERSITY, NORTHR
Page 3 and 4: Table of Contents Signature Page ii
Page 5 and 6: ABSTRACT A PERFORMANCE ANALYSIS OF
Page 7 and 8: Introduction to the Concerto for Vi
Page 9 and 10: The Life of Aram Khachaturian Aram
Page 11 and 12: The Music of Khachaturian Khachatur
Page 13 and 14: The Violin Concerto Transcribed for
Page 15 and 16: EXAMPLE 1 movement 3, mm. 782-786 V
Page 17 and 18: three, which lands up an octave abo
Page 19 and 20: This idea of leaving out notes to b
Page 21 and 22: Timbre The violin and the flute are
Page 23 and 24: Double Stops Double stops are argua
Page 25 and 26: in his arrangement of the concerto.
Page 27 and 28: In these situations, the flute play
Page 29: Violinists have the advantage of be
Page 33 and 34: APPENDIX 27
Page 35: Program Sonata in B minor George Fr

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