This essay examines the three main large-scale chamber music works for strings and piano written by the Mexican composer Manuel M. Ponce: the Romantic Trio for violin, cello and piano (1912), the Sonata for violoncello and piano (1922), and the Sonata Breve for violin and piano (1930). The purpose of the study is to aid chamber music performers in the understanding, preparation and execution of these works. Written contextually for performing musicians, the format for the study of the individual works includes sections on historical background and commentary on analysis and performance considerations. In addition, each work exemplifies a different musical stage in Ponce's compositional development. The author traces the composer's compositional and stylistic evolution throughout the study of these works. The essay also includes a comprehensive biography of Ponce and a general overview of the composer's chamber music works.

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Hearing Vvices is a four-movement instrumental work for clarinet, violin, cello and piano. The title is a reference to both the formal structure and surface features of the music. Structurally, the piece resembles a rhetorical struggle between two distinct musical personalities: the serious and the light. In each movement and across movements, this juxtaposition is evident through sudden changes in tempo, mood, and musical character. In terms of surface features, the trajectory of the piece is best described as the eventual emergence of melody from a dense web of counterpoint and rhythm where, over the course of the movements, small melodic fragments are presented and quickly swallowed up by the surrounding texture. This changes in the final movement, where three of the four instruments join in a soaring melody over a troubled accompaniment, thus illustrating the apotheosis of the preceding musical struggle. / text

J. S. Bach se ses suites vir onbegeleide tjello word as sentrale werke in die tjelloliteratuur, en spesifiek wat die genre vir onbegeleide tjellomusiek betref, as die norm beskou. Uitgaande van bostaande beskouing vorm die bestudering van die suites dus die basis van hierdie studie. Die werke van Bach staan in die middelpunt van ’n lang ontwikkelingsgeskiedenis van onbegeleide strykersmusiek wat vanaf die 16de tot die 20ste eeu strek. ’n Algemene historiese oorsig van hierdie ontwikkeling word in Hoofstuk 2 weergegee. Die eienskappe van Bach se melodiese styl, en veral die kontraselemente, vorm die uitgangspunt van die analitiese studie van die ses suites in Hoofstuk 3. Op grond van hierdie eienskappe kan latente meerstemmigheid deurgaans in die onbegeleide suites van Bach aangetoon word. Waar Bach se suites die kernpunt van die ontwikkeling van onbegeleide strykersmusiek daarstel, vorm die werke van 20ste eeuse komponiste soos Reger, Bloch en Britten die kulminasiepunt van die hele proses. Hoewel hulle werke en die van Bach tot verskillende stylperiodes behoort, blyk dit egter duidelik uit ’n studie daarvan in Hoofstuk 4 dat daar in die skepping van hierdie werke uitgegaan is van die voorbeeld en basis wat in Bach se suites daargestel is. Die feit dat die werke tot verskillende stylperiodes behoort, bring ook mee dat daar grondliggende verskille, byvoorbeeld wat tonaliteit en vorm betref, tussen die werke van Bach aan die een kant en die werke van Reger, Bloch en Britten aan die ander kant bestaan. n Gemeenskaplike faktor tussen die werke wat in hierdie studie ondersoek is, is dat hulle almal, nieteenstaande grondliggende stylverskille, vir die tjello, wat n melodie–instrument is, geskryf is. Om in die onbegeleide werke beide die horisontale sowel as die vertikale dimensies in die musiek te kan realiseer, moes sekere tegnieke in die melodiese skryfwyse, soos byvoorbeeld meervlakkige beweging in die melodiese lyn deur onder andere pedaalpunte, kontrastering van motiewe en sekwensiële beweging aangewend word. Ooreenstemmende kenmerke in die musiek van die vier komponiste kan dikwels aangetoon word. Afgesien van die ooreenkomste is daar egter ook verskille as gevolg van die onderskeid tussen die individuele sowel as tydstyle wat as grondslag en uitgangspunt van die werke van die verskillende komponiste dien. Selfs in die werke van Reger, Bloch en Britten is daar n ontwikkeling van byvoorbeeld latente meerstemmigheid volgens die voorbeeld van Bach na n meer volwaardige meerstemmigheid soos dit veral in die werke van Britten neerslag vind. / Thesis (D.Mus)--North-West University, Potchefstroom Campus, 2012.

J. S. Bach se ses suites vir onbegeleide tjello word as sentrale werke in die tjelloliteratuur, en spesifiek wat die genre vir onbegeleide tjellomusiek betref, as die norm beskou. Uitgaande van bostaande beskouing vorm die bestudering van die suites dus die basis van hierdie studie. Die werke van Bach staan in die middelpunt van ’n lang ontwikkelingsgeskiedenis van onbegeleide strykersmusiek wat vanaf die 16de tot die 20ste eeu strek. ’n Algemene historiese oorsig van hierdie ontwikkeling word in Hoofstuk 2 weergegee. Die eienskappe van Bach se melodiese styl, en veral die kontraselemente, vorm die uitgangspunt van die analitiese studie van die ses suites in Hoofstuk 3. Op grond van hierdie eienskappe kan latente meerstemmigheid deurgaans in die onbegeleide suites van Bach aangetoon word. Waar Bach se suites die kernpunt van die ontwikkeling van onbegeleide strykersmusiek daarstel, vorm die werke van 20ste eeuse komponiste soos Reger, Bloch en Britten die kulminasiepunt van die hele proses. Hoewel hulle werke en die van Bach tot verskillende stylperiodes behoort, blyk dit egter duidelik uit ’n studie daarvan in Hoofstuk 4 dat daar in die skepping van hierdie werke uitgegaan is van die voorbeeld en basis wat in Bach se suites daargestel is. Die feit dat die werke tot verskillende stylperiodes behoort, bring ook mee dat daar grondliggende verskille, byvoorbeeld wat tonaliteit en vorm betref, tussen die werke van Bach aan die een kant en die werke van Reger, Bloch en Britten aan die ander kant bestaan. n Gemeenskaplike faktor tussen die werke wat in hierdie studie ondersoek is, is dat hulle almal, nieteenstaande grondliggende stylverskille, vir die tjello, wat n melodie–instrument is, geskryf is. Om in die onbegeleide werke beide die horisontale sowel as die vertikale dimensies in die musiek te kan realiseer, moes sekere tegnieke in die melodiese skryfwyse, soos byvoorbeeld meervlakkige beweging in die melodiese lyn deur onder andere pedaalpunte, kontrastering van motiewe en sekwensiële beweging aangewend word. Ooreenstemmende kenmerke in die musiek van die vier komponiste kan dikwels aangetoon word. Afgesien van die ooreenkomste is daar egter ook verskille as gevolg van die onderskeid tussen die individuele sowel as tydstyle wat as grondslag en uitgangspunt van die werke van die verskillende komponiste dien. Selfs in die werke van Reger, Bloch en Britten is daar n ontwikkeling van byvoorbeeld latente meerstemmigheid volgens die voorbeeld van Bach na n meer volwaardige meerstemmigheid soos dit veral in die werke van Britten neerslag vind. / Thesis (D.Mus)--North-West University, Potchefstroom Campus, 2012.

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O objetivo deste trabalho é apresentar hipóteses de destacados violoncelistas e professores de violoncelo sobre o processo de aprendizagem e o ensino da técnica e da interpretação do instrumento, com a finalidade de proporcionar importantes reflexões sobre o assunto, meios de pesquisa no instrumento, alem de ser uma iniciativa de pesquisa sobre e para o meio violoncelístico brasileiro. Fundamentalmente, este trabalho consiste na apreciação da literatura especifica sobre o instrumento, produzida, na maioria das vezes, por mestres consagrados. Isso foi complementado por entrevistas e por idéias transmitidas oralmente, por meio de aulas de violoncelo (talvez o mais importante por meio de transmissão de conhecimentos musicais), alem da experiência pessoal desta autora, em sua pratica docente. Resultou desta pesquisa uma grande quantidade de dados, divergentes e convergentes, sobre os inúmeros aspectos do estudo do violoncelo, tais como: maneiras de se pensar o estudo, relaxamento, postura, respiração, escolas de técnica de arco, vibrato, mão esquerda, construção a interpretação, assim como problemas referentes ao ensino e ao estudo do violoncelo no Brasil, bem como idéias para possíveis soluções. / The goal of this to present ideas and hypothesis of remarkable cellists and professors of the cello about the learning process and the teaching of technique and interpretation of the instrument, with the objective of generating important reflections about these issues, ways of researching on the instrument, as well as being a first step towards research about and for Brazilian cellists. The ideas presented have been reached by bibliographical research, interviews, transmitted orally through cello lessons (perhaps the most important way of transmitting musical know ledge), and also obtained by the personal experience of this author over her teaching practice. A great amount of data has resulted from this research, including convergent and divergent ideas dealing with the innumerable aspects of the process of cello study, such as: ways of developing cello study, relaxation with the instrument, posture, breathing, schools of bow technique, vibrato, the left hand, construction of interpretation, problems encountered by those teaching and learning cello in Brazil, as well as ideas for possible solutions to those problems.

This paper aims to draw attention to the oft neglected cello compositions of Ernst von Dohnányi. A prolific performer, composer, and pedagogue, Dohnányi has fallen into obscurity amongst the general population since his passing in 1960. Among the works discussed in this document are two unpublished sonatas from Dohnányi’s childhood, his Cello Sonata in B-flat, op.8 and his Konzertstück for Cello and Orchestra op.12. Each piece is given a historic background placing it among events of the composer’s life that led to its genesis and premier. This is followed by a formal and harmonic analysis and concludes with special considerations for the cellist in performing or teaching each work. Also included are complete editions of two previously unpublished works: Sonata for Cello and Piano in G-major composed in 1888 and a Grand Sonata for Cello and Piano in C-major composed in 1889. The manuscripts for both works are contained within the British Library’s Dohnányi Collections, from which I have compiled and edited the following performance editions. It is my hope that these two sonatas will enter the repertoire of student cellists supplementing the relatively small catalogue of music for the intermediate cellist.

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.

abstract: The process of learning orchestra reductions on the piano is rather different from learning a piece originally written for the piano. Even though Dvořák’s Concerto for Cello and Orchestra in b minor is among the most performed works for cello and orchestra, and has been transcribed carefully by both the composer and other editors, the existing piano reductions are not always representative of many important aspects of the original orchestral score. Some reductions have large portions with unplayable or uncomfortable passages for pianists, or imprecise notations compared to the original orchestration, such as inaccurate indications for dynamics, rhythms, and notes. In rehearsal and performance, the pianist is challenged to adapt and transform one of the existing reductions into a playable and productive piano reduction, one which creates Dvořák’s full orchestral sonorities while retaining clarity of voicing. The resulting sound can be infinite in variety, as individual decisions and reductions may differ greatly. This paper will explore the following: how to reduce this orchestral score and solve the technical problem involved in orchestral writing for piano while effectively producing the sound of the orchestra in the piano reduction. There will be a literature review on important published reductions and a brief history of the work and composer. While it is not possible to discuss in detail each passage that has been revised or altered, this paper will focus on and analyze representative and substantial passages, including the perspective of two different reductions: Bärenreiter (2011) and Bärenreiter Praha (2004). It will provide a detailed demonstration of each example and will make suggestions for changes which will concentrate on capturing the essence of the orchestral score at the piano. Chapter one introduces and presents current editions. Chapters two, three and four will discuss each movement of the concerto with detailed explanations about changes in certain passages and sections. The appendix will feature a new revised reduction of Dvořák’s Cello concerto in B minor. / Dissertation/Thesis / Doctoral Dissertation Music 2020