This chapter presents the methodological approach and description of most of the fieldwork carried out throughout this research. This study adopts an exploratory, descriptive, and applied research approach, as the objective is not only to contextualize and analyse Osterberger’s life and compositions but also to actively engage in their adaptation and performance.

To achieve this, the research followed a structured process: first, a literature review and a state-of-the-art analysis were conducted to establish a theoretical foundation. Subsequently, archival research was carried out in various libraries to locate and retrieve Osterberger’s scores. Once the compositions were obtained, a selection was made to determine which pieces would be arranged. The next phase involved arranging these compositions for different instruments, followed by the recording of selected arrangements to document and evaluate the interpretative outcomes – part of my PIA Project. Additionally, an analysis of folk elements and characteristic musical features – Chapter 3 – was conducted to better understand the stylistic components of Osterberger’s work. Finally, as a means of presenting his music through performance, a concert program was designed – Chapter 5 – integrating the arranged compositions into a structured recital format.

To access the existing copies of Eugenia Osterberger's scores, I relied on the catalog included in López-Suevos' book1. Among the locations listed, I personally visited three: the “Biblioteca Municipal de Estudos Locais da Coruña”, the “Arquivo da Deputación da Coruña (Fondo Berea)”, and the library of the “Real Conservatorio Superior de Música de Madrid”.

My first visit was to the “Biblioteca Municipal de Estudos Locais da Coruña” in January 2024, where I was able to consult 1ère Polonaise pour piano op.78 (edited copy) and Cántigas e Melodías Gallegas (unedited copy). No special permission was required to scan them, and the process was straightforward. However, I was surprised to find that the manuscript of the piano piece Scherzo, which was supposedly housed in this library, was missing, and no explanation could be given for its absence.

To obtain the scores stored in the “Fondo Berea” at the “Arquivo da Deputación da Coruña”, I had to fill out several documents and visit the archive twice. During my first visit, I was only allowed to consult the documents but not reproduce them. However, I was greatly surprised to discover not just the seven expected works by Eugenia, but seventeen, including three pieces for string ensemble (written for five or three voices) with their corresponding piano reductions — an unexpected finding. Immediately, I considered the possibility of arranging one of these pieces for wind quintet or reed trio. The remaining works were short and simple harpsichord/piano pieces (two or three pages long).

The scores I found that were not listed in López-Suevos’ catalog were as follows:

The reproduction of these documents was only possible after submitting a reproduction and publication request, which required approval from the Deputación da Coruña. This process took approximately one month. During my second visit in February 2024, after receiving email confirmation of the permission being granted, I was finally able to scan all the works found.

At the library of the Real Conservatorio Superior de Música de Madrid, which I visited in September 2024, I accessed Falas de Nai. After requesting the score, I had to wait one day for it to be retrieved from the archive. Additionally, this score was not cataloged under the name Osterberger but rather under her married surname, Saunier.

Finally, in October 2024, I obtained the last score, Ausencia, a manuscript acquired through online communication and email correspondence with the archive of the Real Academia Gallega. To reproduce the score, I had to submit a request form and pay a small fee.

The remaining scores listed in López-Suevos’ catalog were not accessible to me. This limitation was mainly because many of them—particularly those belonging to her French-period compositions—are housed at the “Bibliothèque Nationale de France” or other institutions that I could not visit in person. For instance, I was particularly interested in the piece ¡Adiós a Galicia! due to its strong connection to my homeland and its historical significance, as it was notably performed by Eugenia herself. However, the score is part of a private collection, which I was unable to access.

Some general observations about the scores found in the archives include the absence of publication years (or publishers) on many of them, the presence of handwritten manuscripts, and the consistent use of the authorial signature E. Saunier or Mme. Saunier—her married name—indicating that these copies date after 1879. In fact, none of the scores bear her first name, Eugenia, effectively concealing her gender.

Another detail that caught my attention was that, in the Fondo Berea, where the largest number of scores was found, the pieces were not organized chronologically but rather alphabetically by title. As a result, unless the date was explicitly noted on the score, it was impossible to determine the composition year of several newly discovered pieces.

An additional interesting fact is that, thanks to the works found that were not mentioned in López-Suevos’2 research, we now know that Eugenia lived at two different addresses in Nice. This information comes from the indication "Propriété de l’Auteur E. Saunier" found on her published scores, which list two different addresses:

• "Rue Cros de Capes, 6, Nice" (In Adiós Lolita mía and En Avant…la musique!..)

• "5, Rue Rossini, Nice" (In Au Fil De L’eau, Farfadets, Le Joueur de flûte and Menuet au Trianon).

The terms "arrangement" and "transcription" have been the subject of debate among various authors, and there is no definitive standardization in their usage. In this research, one of these terms will be used to refer to the works of Osterberger that will be adapted for oboe and English horn.

In Pablo García Vallés' research3, an excellent synthesis of different definitions of these terms is provided:

The term "transcription" in music refers to the rewriting of a composition, usually for an instrument different from the original. However, its meaning varies depending on the source consulted, leading to confusion with the concept of "arrangement."

Some definitions, such as those from the Real Academia Española4 and the Dolmetsch Dictionary5, consider both terms equivalent when only the instrumental medium is changed, without any modifications by the arranger. Other sources, such as Alison Latham6 and the Grove Dictionary7,establish distinctions: a transcription maintains the original structure more faithfully, whereas an arrangement may include creative modifications.

Historically, the meanings of these terms have shifted. Critics such as Fuller-Maitland and Blom initially considered an arrangement to be more faithful than a transcription, while later authors, such as Leonard B. Meyer, reversed this perspective8.

Given this lack of consensus, García Vallés proposes that an arrangement is a rewriting of an existing musical work for a different medium (instruments or voices), often involving possible structural changes or additions. In contrast, a transcription is also a rewriting but aims to preserve the original details as much as possible. Additionally, he discusses the term "adaptation," which the Gran Enciclopedia de la Música9 defines as a pedagogical simplification of the work, while the Grove Dictionary considers it synonymous with "transcription" and "arrangement."

Following this review, the term "arrangement" will be used hereafter to refer to my adaptations of Osterberger's works, even though some of them could be classified as "transcriptions," as they do not incorporate creative modifications and merely rewrite the original material for a different instrument.

The process of arranging a piece involves many considerations such as instrumentation, voicing, texture, and structure to ensure a well-balanced and effective arrangement. Here I will mention some key aspects of arranging, particularly for wind instruments, while referencing established orchestration principles.

To summarize important points for arranging, I consulted several practical resources: Samuel Adler’s The Study of Orchestration10, a very complete guide that that covers key concepts in instrumentation and arranging, Frans Absil’s Arranging by Examples11, John Cacavas' Music Arranging and Orchestration12 (footnote), and online resources such as Arranging Techniques blog from Composing the Score13. These resources helped me to develop this list with four essential tips to look at when you are going to arrange a piece:

1. Instrumentation and Timbre

Each instrument has unique characteristics, including range, tone color, and technical capabilities, so while arranging it is crucial to assign musical lines to the instruments that can best convey these qualities, much like the original instrument. For example, instruments with similar characteristics, such as the English horn and the cello in terms of their range.

Adler states that the arranger or orchestrator "should be familiar with the technical and aural limitations of each register on all woodwind instruments."14. To ensure effective use of the instruments, I consulted Adler’s book, which includes a quick reference guide to the range of the most frequently used orchestra instruments15. This resource helped in making informed choices while arranging for the wind quintet.

2. Voicing and Texture

John Cacavas outlines four essential qualities for a satisfactory musical arrangement:

"-Providing contrast between high and low sounds.

-Avoiding heavily doubled parts and emphasizing solo sections.

-Ensuring sufficient transparency to allow musical lines to be clearly heard.

-Ensuring that all instruments do not play throughout."16

Furthermore, he states that “an effective arrangement should be free of all clutter and should be as beautifully crafted as any other work of art. Its outlines must be clear and prominent”17. Thoughtful voicing is essential for blending instruments smoothly. Arrangers typically favor stepwise motion in inner voices and contrary motion between the melody and the bass. Avoiding consecutive parallel fourths, fifths, and octaves is a common practice in tonal music to maintain harmonic clarity.

3. Adapting Pianistic Textures to an Ensemble

Piano compositions often include dense chordal textures and rapid figurations, which must be reimagined for an ensemble like a wind quintet. This can be achieved through:

-Redistributing arpeggiated figures across multiple instruments.

-Assigning harmonic support to the most suitable instruments.

-Ensuring clear articulation and phrasing adapted to wind players’ breathing needs.

Arranging for a wind quintet, in particular, requires an understanding of balance. Wind instruments have diverse timbres and projection levels, necessitating careful orchestration to prevent overpowering sections.

4. Structural and Expressive Considerations

Maintaining the essence of a piece while ensuring it fits the new instrumentation is a fundamental goal in arranging. This includes:

-Respecting the original form and phrasing.

-Making subtle modifications for instrumental suitability.

-Exploring dynamic and articulative possibilities unique to the new instrumentation.

In cases where arrangements involve similar instruments, such as transcribing a string quartet for a wind quintet, fewer creative liberties may be required to preserve the original intent of the composer. However, subtle alterations may still be necessary to optimize the arrangement for the wind instruments.

Of the pieces presented here, only the first four — Adiós Lolita Mía, Mélodie Espagnole, Neve, and Au fil de l’eau —have been performed and recorded. The remaining pieces are scheduled to be recorded in March or April 2025.

Clicking on the title of each piece will redirect to the appendices section of this work, where both the arrangement and the original score can be consulted.

I. Adiós Lolita Mia

• Original for: strings (2111) (1st violin, 2nd violin, viola, cello and bass). Piano reduction available.
• Arranged for: wind quintet (flute, oboe, clarinet, french horn and bassoon)

II. Mélodie Espagnole (Sentimentale)

• Original for: cello and piano
• Arranged for: English horn and piano

III. Neve

• Original for: voice and piano
• Arranged for: oboe and piano

IV. Au fil de l'eau

• Original for: piano
• Arranged for: oboe and bassoon

V. En avant...la musique!..

• Original for: strings (1011) (1st violins, cello and bass)
• Arranged for: reed trio (oboe, clarinet and bassoon)

VI. Viens

• Original for: strings / string trio (1011) (1st violin, cello and bass)
• Arranged for: reed trio (oboe, clarinet and bassoon)

Below, I present a table to help easily locate the corresponding arrangements based on instrumentation:

I would like to note that the pieces Ausencia, Cantigas y Melodías Gallegas, and Falas de Nai have not been transcribed or arranged. However, they could be performed directly from the original score, especially in the case of Falas de Nai, as its notation is clear and well-preserved. This task could be considered for future work. For these pieces, in preparation for an oboe performance, I have considered making minor adjustments in future arranged versions, such as raising the vocal melody by an octave to make it stand out more when played on the oboe or English horn. Before finalizing a clean arrangement, I could experiment with these modifications in a live session with a pianist.

Arranging Eugenia Osterberguers’ pieces was an exciting and challenging experience, especially since it was my first experience creating arrangements.

Selection of the pieces

The first step in this process was selecting the pieces I wanted to arrange. This decision was based on several factors. Firstly, I aimed to test arrangements of different types of compositions by Eugenia Osterberger, including solo piano pieces, pieces for piano and voice, piano and cello, and string quintet/ensemble. By doing so, I could assess whether other compositions originally written for similar formations would also be adaptable.

Another important factor in my selection process was the historical connection between the oboe and the human voice. In many J.S. Bach cantatas and arias, the oboe often introduces the main theme of the solo voice. Given this relationship, I thought it would be compelling to arrange the vocal lines in Eugenia Osterberger’s compositions for voice and piano so they could be performed on the oboe. Additionally, I considered other similar instrumental connections—such as the successful adaptation of cello works for the English horn due to their comparable range and expressive qualities. This led me to arrange Mélopée espagnole sentimentale from cello to English horn.

When arranging, I prioritized maintaining the integrity of the original compositions, adapting them for instrument groups closely resembling the original setting. I also ensured that the arrangements were practical for ensembles I could easily perform with, such as my quintet, friends, and pianists, rather than choosing settings that would be more complex to assemble (e.g., adapting ensemble pieces for oboe and strings). My familiarity with wind quintet and reed trio instruments (flute, oboe, clarinet, horn, bassoon) greatly facilitated this process, as I have frequently played in these ensembles and sought valuable feedback from my colleagues.

Concerning the pieces for harpsichord, their two contrapuntal melodic lines and imitative motifs in both voices made them ideal for adaptation for two instruments—in this case, oboe (right-hand part) and bassoon (left-hand part). Since these pieces do not have a dense harmonic texture, I believe their essential character will remain intact in this arrangement.

Software used

I decided to use Musescore 4, a free and intuitive notation software. While it may not offer as many advanced engraving options as Finale or Sibelius, it was an excellent choice for my first experience in arranging. To navigate the software, I consulted the Musescore website for instructions, sought advice from friends, and watched video tutorials on specific topics, such as inserting ornaments and grace notes. Additionally, my friend Belén Carril, a bassoonist who frequently arranges and composes, provided valuable guidance and answered my questions throughout the process.

Challenges faced

During the arrangement process, I encountered several challenges. One recurring issue involved accidental notes: once a natural, sharp, or flat was written in the score, it often applied to the entire measure in the piano part or solo part, leading to ambiguities in octave shifts or missing indications. In such cases, I clarified the notation to ensure readability and harmonic-coherence. Additionally, I had to modify some dynamics, registers, articulations, and chord distributions when they were unsuitable for wind quintet instruments. The process required multiple revisions and constant corrections to reach a satisfactory final version, although there is always room for further improvement. This approach was applied only to the arrangement of Adiós Lolita Mía, as it is the only piece that has been recorded and played in a rehearsal. In this regard, I followed the advice of Raaf Hekkema, who reviewed the first four arrangements I created and recorded. He suggested that certain ambiguous elements should be left open to interpretation and that some decisions should be made by the performer.

An example of a necessary modification arose in Mélopée espagnole sentimentale, where I had to determine the correct harmonies in certain measures. The manuscript contained unclear accidentals, leading to harmonies that sounded incorrect or possibly uncorrected errors. To resolve this, I worked with a pianist to test different harmonic possibilities and ultimately selected the version that appears in the arrangement.

Although working with Musescore was quite simple and intuitive, it took me some time to get used to the software, learn the keyboard shortcuts, and figure out how to correctly input all the musical indications. I particularly struggled with certain aspects, such as adding grace notes and ornamental figures, to name a specific example.

Specific arranging decisions

In my arrangement of Adiós, Lolita mía, I chose to add a repetition at the beginning, of the 4 first bars. According to García-Vallés, arrangement techniques often include adding virtuosic passages and altering the form of a piece, such as repeating a section that was not originally repeated18. This concept was applied to Adiós, Lolita Mía to extend the begining atmosphere and build anticipation before introducing the first melody of the piece.

In the piece Viens, the original double bass part was relatively sparse. Therefore, I adapted the cello part for bassoon and clarinet while distributing the melody between oboe and clarinet. The flute’s défect was assigned to the clarinet, giving it a leading role in the second section. Similarly, the bassoon and oboe retained their respective défect parts. The piano score was consulted to fill in harmonic gaps, reinforcing accompaniment sections in the clarinet and oboe or enhancing the harmonic function of the bassoon.

Arrangements for oboe and bassoon

For the arrangements of harpsichord miniatures, which I decided to do for oboe and bassoon, I made several specific choices:

• While some passages for oboe and bassoon seemed very high-pitched, I decided not to lower their register to preserve the brilliance expected in these harpsichord pieces.
• Key and octave changes were primarily applied to the bassoon part. Many pieces were originally written in treble clef, which is inconvenient for bassoon reading. High-register passages were transposed into tenor clef for better readability.
• In several passages, double or triple notes were omitted, with careful selection of which notes to retain. Typically, I prioritized the bass notes for bassoon and the fifth for oboe or doubled the fundamental pitch. In cadences, reinforcing the texture was the norm, but in some cases, it required experimentation to find the best solution. Voice exchanges were sometimes effective as well.
• In Farfadetes, Petits Papillons Blancs, and Dance Jaquelinete, the main modifications were bassoon register adjustments and clef changes. Additionally, some 8va up indications in the oboe part were omitted since the instrument does not reach those registers.
• In Mussettes, the required changes were minimal, so they were annotated directly in the original score rather than transcribed anew. A PDF with these modifications is included in the annexes.

General considerations for wind scores

For the three arrangements En Avant la Musique, Adiós, Lolita mía, and Viens, I followed a structured approach. I first transcribed the string parts to the most similar instruments in the wind ensemble. For instance, in En Avant la Musique, the violin part was transcribed for oboe, viola for clarinet, and cello and double bass, for bassoon. From there, I distributed melodies and harmonies while ensuring that the relationship between melody, accompaniment, and high-low voices was preserved. In Adios Lolita Mía the flute, clarinet, and oboe, having similar registers, allowed for interchangeable melodies. Therefore, as an arranger, I had to make subjective decisions regarding which instrument would play each part. For example, in En Avant la Musique, during the final section where the melody modulates to D major, resembling a coda, the clarinet takes the leading role instead of the oboe.

Indications for future improvement of the arrangements

To further refine my arrangements in the future, I plan to consult musicians experienced in arranging, as well as conduct trial runs during rehearsals with the musicians who will be performing them alongside me. For the first four arrangements I created, I sought guidance from Raaf Hekkema, saxophonist from Calefax Reed Quintet and professor at KC, as well as from my friend Belén Carril. Their insights helped me improve the scores and make more informed decisions for future arrangements. Ideally, this same process should also be applied to the most recent arrangements that were completed.

To sum up, this entire process of arranging and adapting Eugenia Osterberger’s compositions has not only provided me with invaluable experience but has also deepened my connection with her music. The opportunity to listen to and especially perform these arrangements after all the effort involved has made the journey even more rewarding.