The cello concertos of Leopold Hofmann occupied an important position in Vienna between the 1760s-1780s. The total output of seven cello concertos that could be identified of his works were written for the Viennese public concerts. The audience often enjoyed listening to highly virtuosic and the newest works in the public concerts at the time. The purpose of the study will be the cello concertos of Leopold Hofmann and its relations to the Viennese public concerts. This research focuses on the detailed examination of the traits of the seven cello concertos. The thesis consists of three chapters, including the introduction and conclusion. The chapter one discusses Leopold Hofmann¡¦s life, his works and his style of composition. He was a popular composer during his time and his fame was known both in Vienna and other big cities. Chapter two focuses on the background of the Vienna in the second half of the eighteenth century, the emergence of the public concerts and the development of the cello concertos during the middle and late eighteenth century. Because of the development of the public concerts in Vienna during the second half of the eighteenth century, there were many opportunities for these concertos to be performed. Chapter three concentrates on the contents of Hofmann¡¦s cello concertos. His concertos show the mature concerto form of the Pre-classic period.

After 1885, Richard Strauss began to create program music due to Alexander Ritter¡¦s suggestion. Among these works, the most important were the 7 tone poems. Tone poem ¡mDon Quixote¡n was composted according to the play created by the Spanish writer Cervantes. Richard Strauss not only expressed the story by leading motive and tone painting, but also satirized the society. Furthermore, he unleashed his angry by the meaning of the story. My essay is divided into two major parts. The first is the biography of Richard Strauss as well as the characteristic of this tone poem. The second is the analysis of variation structure, motive development, tone painting skill, orchestration timbre and harmony disposition. I still discuss the rhythm, skill and terminology in advanced.

Sonata for violin and cello / Maurice Ravel -- Piano trio in C major, op.87 / Johannes Brahms. / text

Musik für Violine, Cello und Klavier

This thesis is three compositions.

Thesis(M.S.)--Auburn University, 2006. / Abstract. Includes bibliographic references (p.69-73).

abstract: The music of Johann Sebastian Bach has long been used for keyboard percussion pedagogy and performance. The cello suites (BWV 1007-1012), in particular, are popular choices for marimbists. As with many transcriptions for marimba, performers are challenged to transfer Bach's musical genius onto an instrument whose timbre, range, mode of execution and acoustic properties are distinctly different from the original. To date, there is no concise and relevant edition of the suites for study and performance at the marimba. The edition contained herein solves most, if not all, of the problems normally confronted by marimbists. In addition to synthesizing the most salient information from early manuscript sources and modern performances, this edition corrects the harmonic and voiceleading problems that are caused by the polyphonic limitations of the cello. This edition also eliminates performance notations found in most cello editions which are of little use to a marimbist. / Dissertation/Thesis / D.M.A. Music 2010

abstract: This project covers the transcription of Three Suites for Cello, opp. 72, 80, and 87, by Benjamin Britten, for guitar. These suites were chosen because of the influence of Bach, which is seen in the texture of the pieces, and because they can be played on guitar with very few changes. Music for unaccompanied cello has a history of being transcribed for guitar, including the Bach cello suites, and is a means for guitarists to expand the repertoire. In addition to documenting the changes made in adapting these pieces for guitar, a brief biographical sketch of the composer and descriptions of each movement are included. Also explained are articulation symbols and terminologies that are uncommon in music written for the guitar, and suggestions on how to perform the multitude of ornaments Britten has written in the score. / Dissertation/Thesis / D.M.A. Music 2012

Studien utforskar hur jag tolkar Prelude i d-moll ur Johan Sebastian Bachs andra svit för solocello. Syftet är att undersöka hur instuderingsprocessen sker, från okänd not till fri tolkning med avseende på att instrumentet ska ”sjunga”. Forskningsfrågorna berör en fungerande inlärningsmetod, hur jag påverkas av min lärares tolkning samt i vilken grad en publik upplever mitt sjungande instrument. Med hjälp av bland annat en barockcello, loggboksskrivande och videoinspelning under processen har jag, utifrån ett hermeneutiskt perspektiv, tolkat stycket på mitt sätt. Resultatet belyser hur jag gått tillväga för att studera in stycket, med hjälp av bland annat a-vistaläsning. Det berör också hur mottaglig jag är till att påverkas av min lärares tolkning av stycket, vilket inte visade sig vara i samma utsträckning som jag till en början trott. I resultatet beskrivs också hur min tolkningsprocess har gått tillväga och vilka mönster i musiken som uppenbarade sig med tiden. I resultatets senare del görs en sammanställning av enkätsvaren som bland annat visar på att jag och min cello, enligt publiken, frambringar en sjungande ton. Slutligen diskuteras resultatet i förhållande till tidigare litteratur och forskning inom det aktuella området. / The study explores how I interpret Prelude in D minor from Johan Sebastian Bach’s second suite for solo cello. The purpose is to examine how the rehearsal process is done, from the unknown note to free interpretation with respect to the instrument to “sing”. Research questions concern a workable method of learning, how I influenced by my teacher’s musical interpretation, and the degree to which an audience experiencing my singing instrument. With the help of including a baroque cello, logbook writing and recording during the process, I have, from a hermeneutic perspective, interpreted the paragraph in my direction. The result highlights how I proceeded to study the piece, with the help of sight-reading. It also affects how susceptible I am to be influenced by my teacher’s interpretation of the piece, which has not proved to be as much as I initially thought. The result also describes how my interpretation process has processed and the patterns in the music that appeared over time. In the later part of the result is a compilation of responses that shows that my cello and I, according to the audience, brings a singing tone. Finally, the results are discussed in relation to previous literature and research in the field.

I detta arbete undersöktes hur den musikaliska formen i Sjostakovitjs första cellokonsert relaterar till formaspekter hos hans övriga solokonserter, detta mot bakgrund av traditionella historiska formprinciper som till exempel ritornell-, rondo- och sonatform. Med utgångspunkt endast i notmaterialet gjordes formanalyser av samtliga konserter, varefter dessa jämfördes och likheter och skillnader mellan den första cellokonserten å ena sidan, och övriga konserter å andra sidan, sammanställdes. På så sätt definierades i detalj verkets formmässiga ”profil”, och då detta gjordes i kontexten av mycket närbesläktad musik (i samma genre av samma kompositör), uppnåddes en nyanserad förståelse för cellokonsertens uppbyggnad och dess unika karaktärsdrag. Detta kan till åhöraren ge en konkret angreppspunkt för att ta till sig verket, till interpreten en överblick och kanske ett kreativt uppslag, och till kompositören en lärorik inblick i sin 1900-talskollegas ”modus operandi”. / <p>Examenskonsertens program:</p><p>G. Frescobaldi/G. Cassadó - Toccata</p><p>F. Chopin - Nocturne i Eb Op. 9 No. 2</p><p>G. Fauré - Papillon</p><p>W. Peterson-Berger - "Till Rosorna" (ur Frösöblomster)</p><p>C. Davidoff - Am Springbrunnen</p><p>D. Sjostakovitj - Konsert nr. 1 för violoncell Op. 107</p><p></p><p>Medverkande:</p><p>Samuel Lazar Eriksson - Violoncell</p><p>Georg Öquist - Piano</p>