This thesis offers a brief overview of the life and the work of Felix Mendelssohn Bartholdy. It was no coincidence that Robert Schumann called him the Mozart of the 19th century: Being a prodigy from a very early age, he composed with such an unbelievable lightness. Many of his compositions have become an essential part of the world of music nowadays. Equally, his pieces for the cello and the piano, which are dealt with in the second part of the thesis, have their remarkable qualities and they are worth playing.

My diploma thesis is called Main repertoire for the trio clarinet, cello and piano. The work is devided to three chapters. The first one is called History and present of the trio clarinet, cello and piano. In this chapter are three independent subchapters. The first is about historical development of these instruments. In the seconde is written something about repertoire options for this group and the third one is about tree well-known groups. The seconde chapter is about the main tema and there is written about the most played and well-known compositions for this ensemble. There is usually written something short about life of the composer and then formal analysis of every piece. The main compositions are written in this order: Archduke of Austria and The Trio for clarinet, cello and piano, Johannes Brahms and The trio a minor op. 114, Max Bruch and Eight pieces op. 83, Vincent d´Indy and The trio B flat major op. 29, Anton Eberl and Grand trio op. 36, Michail Ivanovič Glinka and The trio Pathétique, Emil Hartmann and Serenada op. 24, Adalbert Gyrowetz and The Trio op. 38, Robert Kahn and Serenada op. 73 a Alexandr Zemlinsky and The trio d minor op. 3. The last chapter is only about The trio B flat major of Ludwig van Beethoven. In three short subchapters is written something about his life, formal analysis and creation of the composition and analysis of interpretation of two records.

Orientador: Emerson Luiz de Biaggi / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-13T23:06:52Z (GMT). No. of bitstreams: 1 Presgrave_FabioSoren_D.pdf: 5223568 bytes, checksum: 5a010cfbb3491bc89109b7d40c80aeb4 (MD5) Previous issue date: 2009 / Resumo: Este trabalho teve por finalidade o estudo de peças recentes, escritas para violoncelo, por compositores brasileiros que utilizam técnicas expandidas, a fim de proporcionar um detalhamento dessas técnicas para facilitar o contato dos violoncelistas e compositores com a escrita contemporânea para violoncelo. Para isso foram analisados os motivos que afastam o violoncelista da performance dessas peças, com a apresentação de sugestões de exercícios para facilitar a execução dos diferentes aspectos da música nova. Como resultado, foram obtidos exercícios que pretendem preencher a lacuna que há no material de estudo de técnicas expandidas, novas composições para violoncelo - compiladas no apêndice - e entrevistas com renomados violoncelistas, intérpretes de música contemporânea. Palavras-chave: violoncelo; música nova; interpretação; técnicas expandidas / Abstract: The goal of this work was the study of new pieces for violoncello written by Brazilian Composers that use expanded techniques, in order to detail these techniques to facilitate the work of cellists and composers. This research analised the reasons that drive performers away from these pieces, and isolated different aspects of Contemporary Music performance with study suggestions. The results of this work were exercises that start to fill the absence of study material for extended techniques, new compositions - compiled in the appendix - and interviews with leading performers in the contemporary music field. Key Words: violoncello; contemporary music; interpretation; extended techniques / Doutorado / Musica / Doutor em Música

Composer William Bolcom (1938-) has shown a remarkable capacity for incorporating disparate materials and combining them to create original compositions, while often using traditional genres and forms. This style has earned Bolcom the reputation as a leading composer of American postmodernism. This study provides a brief sketch of Bolcom's development as a postmodern composer, his repertoire for violoncello and piano, and it examines his compositional style as applied in his Sonata for Violoncello and Piano (1989). In the Sonata Bolcom applies a wide variety of musical vocabulary from serious and popular traditions. He juxtaposes contrasting ideas to create and resolve rhythmic, melodic and harmonic tensions and amalgamates concepts of three centuries of music history into one new integral work. All these disparate elements with classical, romantic, impressionist, expressionist, modernist and popular connotations are molded together to form a serious piece of musi c with a sense of humor. The three contrasting movements of the Sonata share many common rhythmic, melodic and harmonic traits. The movements form a congruent work of Classical and Romantic spirit, often reminiscent of Brahms' music, despite the mixed use of traditional, popular, and modernist musical languages.

Research on the origins of the violoncello reveals considerable dispute concerning the existence and identity of its ancestor, the bass violin. This study focuses on the classification of the sixteenth- and early seventeenth-century bass violin by means of the following criteria: construction, early history and development, role due the social status of builders and players, use within the violin band, performing positions, and defining terminology. Accounts of inventories, organological treatises, music theoretical writings, lists of households and royal courts, descriptions of feasts, reports of choreographies and iconographical examples confirm the bass violin's presence in the late sixteenth century and beyond. Three of the earliest unchanged extant organological examples embody, complement and corroborate the bass violin's identification, and conclude the essay.

Wladimir Vogel's (1896-1984) interest in twelve-tone composition began to develop in 1936 after hearing a series of lectures by Willi Reich, a music critic and supporter of the new music of the Second Viennese School. The transition for Vogel from a large-scale orchestral “classical” style, influenced by his study with Ferruccio Busoni in Berlin in the early 1920s, to a new technique involving dodecaphony is apparent in his instrumental writing, the third and fourth movements of the Konzert für Violine und Orchester (1937), as well as in his vocal writing, the Madrigaux for mixed a cappella choir (1938/39). Vogel's twelve-tone works exhibit tertian structures which are particularly emphasized by triads located as consecutive pitches within the rows. Emphasis on tertian structures are not limited to small-scale segmentation of the rows but can also be seen in the structural and tonal organization of complete movements and works. A primary example is the Konzert für Violoncello und Orchester (Cello Concerto) (1955) in which, on a smaller scale, the presentation of the row emphasizes both diminished and minor triads, and at the macro level, the structural triadic relationships unify passages within individual movements as well as the concerto as a whole. Since the work is composed using the twelve-tone method, consideration is given to the structure of the serial components. In addition, the concerto is analyzed in terms of its cognitive features-those elements that are demonstrably related to traditional practice- such as tertian melodic/harmonic outlines reinforced by rhythmic features that are common to eighteenth- and nineteenth-century practice. The compositional features evident from the serial structure of the work are addressed in conjunction with references to traditional practice made evident through the serial technique. The findings in the analysis of the Cello Concerto support the argument that the inclusion of consonant sonorities and tertian structures in Vogel's works results in a certain degree of tonal coherence while the large-scale compositional framework is dodecaphonic.

Snow Spell is an interactive composition for erhu, flute, cello, piano, and Max/MSP interactive computer music system. This one-movement piece, Snow Spell, is intended to depict the beauty of a snow scene by presenting four different impressions of snow envisioned by the composer through music. The definition, history, and significance of interactive music are explored. Various modes of interactivity to control signal processing modules, and technical considerations for signal routing and level control in the interactive computer music system are also explored. Chinese music elements in Snow Spell including pentatonic scales, glissandi, and quotations from the Chinese folk tune River of Sorrow are investigated.

Present Absence is a work that integrates electronic processing and live performance. It is approximately 20 minutes long and is divided into three movements. The movements are distinct from each other, but are related through various elements. Incorporating electronic processing and live performance can be cumbersome. The primary objective of this piece is to use electronic processing in a manner that liberates the performers from any restrictions imposed by the use of electronic processing. The electronic processing in the work is accomplished through the program MAX/Msp, a real-time digital signal processing environment. The patch that was created for this piece is called MOO-V. This paper discusses the both the technical details in the construction of this patch, and the aesthetic it serves.

Polystylism in Alfred Schnittke's music has been considered by scholars as a central aspect of his music. Although there are many published analyses of his choral music, symphonies, concerti and violin sonatas, there is no known published research for Schnittke's first cello sonata. Alfred Schnittke grew up in a culturally diverse environment influenced by many different composers and compositional styles under the restrictions of a communist Russian government. These aspects influenced the development of Schnittke's polystylism, characteristically represented by his Cello Sonata (1978). The detailed musical analysis of this sonata in this study serves the purpose to reveal Schnittke's polystylistic tendencies and his use of cyclic elements. These polystylistic elements in the sonata illustrate how Schnittke de-familiarizes listeners from rules commonly accepted as unavoidable and re-familiarizes listeners with the expressive qualities of tonal, twelve-tone and atonal music. Although Schnittke introduces polystylistic materials in de-familiarized contexts in this sonata, this study finds that Schnittke particularly re-familiarizes the audience's musical and stylistic perception through the reappearance of sections, textures and motifs. Abrupt polystylistic conflicts contrast with the repetition of previous materials, thereby forming a combination of traditional styles with features of discontinuity in 20th century music.

Zwischen 1990 und 2002 komponierte Matthias Drude mehrere einsätzige Sonaten von etwa 6 – 15 Minuten Dauer, u. a. Sonate für Gitarre solo (1990), Sonate für Tuba und Orgel (1997), Sonate für Tuba und Klavier (1998), 3. Klaviersonate (2002). Wie die genannten Werke geht auch die Sonate für Violoncello und Klavier (1999) von einer freien Sonatensatzform und dem Prinzip der entwickelnden Variation aus. In der Konzentration der Formanlage und ausdrucksmäßigen Vielfalt erinnert sie ein wenig an die ebenfalls einsätzigen späten Klaviersonaten Alexander Skrjabins, von denen sie sich durch eine herbere Klanglichkeit und ruppigere Rhythmik unterscheidet. Wichtiger als Fragen der Form oder der Konstruktion erscheinen weite Räume menschlicher Emotionen, die das Werk durchmisst; sie sind aber nicht begrifflich – im Sinne eines Programms – fassbar. Das Werk entstand auf Anregung von Sabine und Matthias Bräutigam. Es wurde in Dresden (Unterkirche der Frauenkirche) und in Kromeriz (Tschechien) aufgeführt und ist auch auf einer „Sonaten-CD“ des Komponisten erschienen. www.drude.info.