Texte remanié de: Tesis--Barcelona, 1999. / Bibliogr. p. 509-523.

Thesis (M.M.)--University of Rochester, 1942. / Typewritten. Boccherini, L. Sonata in E♭ for violoncello and pianoforte, edited by Robert House: last 15 pages. Bibliography: l. [83-84]. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/2112

Master of Music / Department of Music / David A. Littrell / This document contains an overview of the music performed in my graduate cello recital. Included is biographical information about the composers, historical background, theoretical analysis, stylistic and technical considerations. The recital was given at 5:45 p.m., April 28, 2008, in All Faiths Chapel, Kansas State University with pianist William Wingfield. Program: Sonata in F Major for Piano and Violoncello, Op. 5, No. 1, by Ludwig van Beethoven, Concerto in B-flat Major for Cello and Piano, by Luigi Boccherini, ed. by Friedrich Grützmacher, and Suite No. 3 for Unaccompanied Cello in C major by Johann Sebastian Bach. Also included is an in-depth look at the Suite for Unaccompanied Cello in C-sharp Minor, which was performed by David Littrell at a recital given at 5:45 p.m., May 6, 2008 in All Faiths Chapel, Kansas State University. This recital featured works by Michael V. Inman. Program: Short Pieces for Trumpet, Bass and Percussion, Elegie for Anyone, Matrix I, and Suite for Unaccompanied Cello in C-sharp Minor.

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The Cello Concerto in B-flat major, G.482, by Italian composer Luigi Boccherini (1743-1805), is the composer's most beloved work for the instrument, as well as one of the most performed pieces in the Classical concerto repertoire. Historically, cellists performing this work have used an edition prepared by German cellist Friedrich Grützmacher (1832-1903). However, an 'original' version that was discovered in 1949 is significantly different from that of Grützmacher. A comparison of both editions has revealed that Grützmacher in fact made considerable modifications to Boccherini's 'original.' Along with the issue of having two editions, cellists that have played the 'original' edition have noted that there are certain practical and interpretative matters that are not favorable to the cellist, particularly in terms of the way the music is notated and how it lacks many details. This dissertation provides clarity to these issues by undertaking a comprehensive analysis of both editions in order to make cellists become aware of the differences between both editions by comparing musical elements from a performance practice viewpoint. In addition, I discuss relevant issues that are present in the 'original' version, ultimately providing an alternative performance edition to this score that is based on historically informed performance (HIP) practices. Finally, I hope to draw attention on how a performance edition like this can be useful as a rare critical source to one of the major works from the eighteenth-century cello repertoire.

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