Fantasiestucke : op. 73 ; Stucke im Volkston : op. 102 / Robert Schumann -- Sonata, op. 40 / Dmitri Shostakovich. / text

Cello concerto in D major, op. 101. Allegro moderato / Joseph Haydn ; cadenza by Nora Karakousoglou -- Sonata for piano and cello in B-flat major, op. 45 / Felix Mendelssohn -- Diptychom : for solo cello / Georgios Kassoglou -- From Carnival of the animals. The swan ; Allegro appassionato : op. 43 / Camille Saint-Saens -- Sicilienne / Maria-Theresia von Paradis -- Sicilienne, op. 78 / Gabriel Faure -- Mazurka, op. 11, no. 3 ; Gnomentanz : op. 50, no. 2 ; Tarantella, op. 33 / David Popper. / text

Suite italienne / Igor Stravinsky -- Capriccio per Siegfried Palm / Krzysztof Penderecki -- From Jewish life / Ernest Bloch -- Sonata, op. 6 / Samuel Barber. / text

In the western classical tradition, the violoncello has developed a reputation for its soulful, vocal qualities. Because of this distinction, many composers have written elegiac works for the cello. This document comprises studies of three twentieth-century British elegies for cello and piano, each explored against a backdrop of poetic, societal and musical influences. The results reveal several common tropes of mourning, both musical and extra-musical, which can be applied to further studies of musical works.

abstract: The commissioning and recording of music from living composers is a very important tradition in the art of music. The ability to work with living composers gives the performer insight into the music that is far beyond reading the notes on the page. For my research paper, I commissioned two new works for the cello by the composers Joseph Hallman and Christian Asplund, in an effort to continue adding great pieces to the cello repertoire. This paper documents my experiences in finding and working with selected composers. It includes detailed descriptions of the pieces with practice and performance suggestions as well as recordings of the pieces. Commissioning new works often creates many first-hand artistic decisions for the performer as well as many new technical difficulties on the instrument. The two pieces commissioned offer insight into two different instrumentations: the sonata for cello and piano, and a solo cello suite. In this paper I describe various important aspects of these compositions and point out ways to make informed artistic decisions when approaching form, harmony, motive, and extended techniques on the cello. Providing this information on commissioning and collaborating with living composers will help continue this tradition into the future for classical music. / Dissertation/Thesis / Asplund, C. Solo Suite for Cello. Movement I. "Alap" / Asplund, C. Solo Suite for Cello. Movement II. "Tableau" / Asplund, C. Solo Suite for Cello. Movement III. "Crossing" / Asplund, C. Solo Suite for Cello. Movement IV. "Horizon" / Asplund, C. Solo Suite for Cello. Movement V. "Interlude" / Asplund, C. Solo Suite for Cello. Movement VI. "Chaconne" / Hallman, J. Sonata for Cello and Piano. Movement I. / Hallman, J. Sonata for Cello and Piano. Movement II. / Hallman, J. Sonata for Cello and Piano. Movement III. / Doctoral Dissertation Music 2014

abstract: The introduction of a new instrumental piece—specifically Taiwanese—into the cello repertoire is as exciting as it is important. Currently, the majority of works for cello and piano include predominantly Western compositions that is repeatedly taught and performed. Reflections, by Taiwanese composer Ming-Hsiu Yen (Ms. Yen) is a response to this saturation. It is a piece that is both demanding for the performers and entertaining for the audience. Brilliantly written by a composer who has intimate familiarity with both the cello and piano, it is highly suitable for scholarly study and performance. This document details ensemble issues, interpretative suggestions for both cellist and pianist, and general concepts about the music. The composer further adds to these concepts and suggestions. Reflections is a programmatic work comprised of four movements, each with a descriptive title: “Gear,” “Tears of the Angel,” “Spintop,” and “Transformation.” Because the composer’s intentions were driven by pictorial ideas and not by a formal harmonic structure, this paper concentrates on ensemble issues and interpretation less than harmonic analysis. Secondly, the project includes the premiere recording of Reflections, as performer by Yu-Ting Tseng, cellist, and Dr. Jeremy Peterman, pianist. This audio documentation provides other cellists and pianists the opportunity of hearing the piece as originally conceived by the composer, as an aid to their own future preparation of this work. This recording, combined with the interpretative analysis, will assist in bringing Reflections into the cello repertoire and public eye. / Dissertation/Thesis / Reflections Recording Movement I Gear / Reflections Recording Movement II Tears of the Angel / Reflections Recording Movement III Spintop / Reflections Recording Movement IV Transformation / Doctoral Dissertation Music 2016

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