Undergraduate Research Journal


This paper analyzes how a transcription of Les Folies d’Espagne, a 17th century viola da gamba work by French Baroque composer Marin Marais, was constructed for the euphonium, a brass instrument which emerged a century-and-a-half later. Philippe Fritsch, the arranger of the 2002 euphonium transcription, made several notable departures from Marais’s source material—the most obvious being the omission of twenty of the original thirty-two variations. Fritsch’s arrangement is considered through the lenses of Marais’s compositional purposes and context, the removal of the euphonium from the antiquated viola da gamba, and the pedagogical significance Marais’s work would have for euphonium players today.

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