<p>Dokumentation:</p><p>partitur, Pietari Kaasinen - Memory Fragments, 2021</p><p>film (video &amp; musik), Memory Fragments, 2021; musiker, cello: Pietari Kaasinen; video: Tatu Heinämäki</p><p></p><p></p>

This analysis examines Jonathan Harvey’s seminal electroacoustic work, Advaya, for cello, electronic keyboard, and electronics. The paper is divided into three sections: a survey of Harvey’s writing for cello; a harmonic analysis; and a performance-based analysis. In the first section, I discuss his unique style of cello writing and certain techniques he uses to expand the available palate of colors that can be obtained from the instrument. For the second section I examine the various ways in which Harvey builds musical constructs based on the spectrum of the cello’s A string (220 Hz), and the overarching harmonic structures of the work. In the final section, I discuss issues that arise from the point of view of a musician preparing the piece for performance along with a pedagogical discussion of the extended techniques used, accompanied by companion videos. This paper is intended for cellists, musicians, and non-musicians alike as a springboard for further investigation into the incredible and underrated music of Jonathan Harvey.

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This paper aims to assist cellists taking orchestral auditions by providing a detailed analysis of how to approach orchestral excerpts that, while standard, are not as commonly encountered in audition settings. The excerpts are Beethoven: Symphony No. 9 (II. Molto vivace and IV. Presto); Brahms: Variations on a Theme by Haydn (Variation V. Vivace); Mahler: Symphony No. 2 (I. Allegro maestoso); Shostakovich: Symphony No. 5 (I. Moderato–Allegro non troppo); and lastly Bartók: Concerto for Orchestra (V. Finale). Each excerpt is organized into individual chapters containing comments and suggestions on basic technical and musical performance challenges. I provide detailed and structured advice for practicing the above excerpts, offer advice on musical refinement, and address alternative musical interpretations based on recordings sampled. This provides a framework for the practice of aspiring orchestral cellists. Forming good practice habits and developing a personalized practice routine when facing new excerpts (or other music) is crucial to orchestral audition preparation, and my goal is to provide cellists with the tools necessary to do this. / Music Performance

Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques.

Penderecki made a tremendous variety of contributions to the cello repertoire. His profound respect for tradition and for his past is deeply appreciated by both performers and audiences. In each individual composition, he explored the cello’s sonorous possibilities and created a new technical and musical palette for the instrument. He worked with legendary, world-renowned cellists who not only gave the premieres of his works but also established deep friendships with him. The Divertimento/Suite for Cello Solo (1994-2013), a compilation of miniature movements, each with its sophisticated structure, demonstrates Penderecki’s three compositional style periods. Baroque and Romantic elements in each movement are achieved within their style characteristics. Penderecki’s Divertimento/Suite for Violoncello Solo is composed of eight contrasting movements that were written during a nineteen-year period. The work is characterized by a Neo-Romantic aesthetic and utilizes the cello’s dark lyrical tones with a variety of timbre and tonal contrasts. The purpose of the present study is to create a practical performance guide to this important musical work with a detailed stylistic, textural, and motivic analysis of all eight movements. Although there are many published documents and analyses of Penderecki’s orchestral, choral, chamber and other solo pieces, the Divertimento/Suite for Cello Solo has yet to be thoroughly researched and discussed in the extant cello literature. It is the lack of research concerning this work that prompts this important study. This analysis will serve to outline the unifying compositional procedures of the work and explain the special instrumental techniques employed. With its illustrations of the motivic, harmonic and the textural relationships of each movement, this study serves as a twentieth-century performance guide for the cello world.

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The purpose of this essay is to examine Leon Kirchner’s "For Cello Solo" for the preparation of a performance. The score, manuscripts, and recordings were analyzed to better inform the author’s interpretation of the work. Backgrounds for both the piece and the composer are included to illuminate the origins of the work. Additional information was accumulated through interviews with Carter Brey and Maria Kitsopoulos, performers of the work who collaborated with the composer. This essay aims to aid a performer’s preparation and interpretation of the composition by describing the piece’s historical and biographical context, analyzing its compositional design, and addressing specific sound and musicality issues related to the work.

Självstudien har som syfte att skapa en fördjupad förståelse av vad det innebär att öva etyder. Utgångspunkten är tre etyder för cello som övas vid tio tillfällen var. Dessa övningstillfällen har dokumenterats med videoobservation och loggboksskrivande som metoder. Studien har ett fenomenologiskt perspektiv som utgångspunkt och i arbetet belyses även relevant litteratur och forskning inom området övning. Resultatet av studien beskrivs i olika teman utifrån de mönster som synliggjorts i loggbok och videoupptagningar. Temana handlar om delar och helhet som en strategi, generella och etydspecifika övningsstrategier, övning och spel, upplevelser av övningspassen samt reflektioner och lärdomar. Dessa visar att övning av etyder påverkas av val av övningsstrategier, relationen mellan del och helhet samt balansgång mellan övning och spel. Den sammantagna upplevelsen av övandet av etyder i relation till ovannämnda faktorer utgör en grund för egna reflektioner och idéer om fortsatta forskningsområden. / The self-study has the purpose of creating a deeper understanding of what it means to practice etudes. The base materials of the study are three etudes for the cello that have been practiced on ten occasions each. The practice occasions has been documented through the method of video observation and the writing of logbook.The study occurs through a phenomenological perspective and uses relevant literature on the topic of practice. The results are depicted as themes deriving from the patterns that have been made visible through video observation and writing of logbook. The themes deal with parts and the whole as a strategy, general and etude specific practicing strategies, practicing and playing, experiences of practicing sessions, and reflections as well as lessons learned. These themes show that practicing of etudes is affected by choices of strategy, the correlation between the whole and the part and the weight put into either playing or practicing. The combined experience of practicing etudes in relation to the factors mentioned above form a foundation for self-made reflections and ideas for future research.

From Introduction: In the middle of the eighteenth century, when Haydn began composing his first string quartets, violin writing was highly advanced and the violin an established solo instrument, its supremacy already firmly endorsed by the Italian Violin Schools of the seventeenth and early eighteenth centuries. The pace of development of the cello, however, was not comparable to that of the violin, despite the fact that the first cello known to us was made in 1572.