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    Pastoralism in British Cello Music: Solo and Chamber Works from the 1940s to the Present Day
    (2022) Colle, Syneva; Kutz, Eric; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    This performance dissertation explores solo cello repertoire with connections to the English pastoral style. Although pastoralism peaked in popularity between the two world wars, its essential features have been newly embraced by several twenty-first century British composers. Each work discussed here displays some or all of the following pastoral traits: references to the folk music traditions of the British Isles, musical depictions of nature, melodic or harmonic modalism, non-functional (“coloristic”) chordal writing, expressions of nostalgia, and references to historical British music. The performance programs are comprised of works for unaccompanied cello, works for cello and piano, a cello duo, and a cello concerto with string orchestra accompaniment.
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    When the Cello Speaks Alone: Cello Cadenzas in Chamber Music Duos
    (2019) Borowsky, Frances Grace; Kutz, Eric; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)
    This dissertation explores chamber duo works in which the cello has one or more significant solo passages. Works studied are sonatas for cello and piano by Luigi Boccherini (1771), Anton Rubinstein (1855), Edvard Grieg (1883), Alexander Tcherepnin (1924), and Marcus Paus (2009); show pieces by David Popper (Hungarian Rhapsody, 1894), Sulkhan Tsintsadze (Five Pieces on Folk Themes for Cello and Piano, 1950), Joachim Stutschewsky (Three Hebrew Melodies, 1934), and Buxton Orr (A Carmen Fantasy, 1985); and two duos with violin by Zoltán Kodály (1914) and Bohuslav Martinů (1927). Short biographical notes are provided on each composer and cadenzas are analyzed for their role and placement in each respective composition. Works have been organized according to the following categories: improvised cadenzas, cadenzas that prolong harmonic tension, virtuosic cadenzas based on folk and ethnic traditions, cadenzas providing an introduction or transition, and reflective cadenzas. In the conclusions, it is noted that post-Classical era composers place the cadenzas in a variety of locations, including at the opening of the work, before the recapitulation, and between themes of the recapitulation. Some composers use the cello alone for transitions or to introduce material at the beginning of the piece or movement. Few of the cadenzas include previously stated themes, and most cadenzas discussed in this paper wholly abandon the traditional function of delay. In all of these, the inclusion of a cello cadenza augments the emotional and textural dimension and variety.
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    Selected Clarinet, Cello and Piano Trios: Unknown or Forgotten
    (2004-05-03) Crossen-Richardson, Phyllis Jane; Wakefield, John; Music
    The clarinet, violoncello, and piano trio is an important and viable chamber music genre. While many people are familiar with the Ludwig van Beethoven and Johannes Brahms clarinet trios, few know many others. Through my research I found more than 125 trios for this combination. From the 74 scores previewed, I selected nine trios from the last two centuries as the focus of this project, "Selected Clarinet Trios: Unknown or Forgotten." From the Classical period I selected Archduke Rudolph's Trio and Anton Eberl's Grand Trio, Op. 36. These trios are good examples of Classical performance style written by composers who were important historic figures and wrote several compositions for the clarinet. They highlight both the lyrical and virtuosic aspects of the clarinet while providing alternatives to the period's better-known clarinet trios. From the Romantic period I featured Louise Farrenc's Trio, Op. 44 and Carl Frühling's Trio in A moll, Op. 40. Farrenc's clarinet trio has stylistic elements from both the Classical and Romantic periods as well as German and French influences. In contrast Frühling's Trio in A moll is a late Romantic work, which showcases the best qualities of Romantic-style clarinet. Five trios are from the 20th century. Robert Muczynski's Fantasy Trio, Op. 26 has distinctive motifs, transparent textures and lively asymmetric rhythms using the clarinet's large range and variety of musical sounds to enhance the combination of American music with "Bartokian" rhythms. Like a film score, Nino Rota's Trio (1973) features the lush harmonies and instrumental blends of the instruments depicting different characters and moods. Henryk Górecki's Recitativa i Ariosa "Lerchenmusik," Op. 53 highlights the unique sound qualities, alone and in concert, through his organic Polish-folk inspired minimalist style. Stephen Dankner's Trio (1991) takes the clarinet trios from Brahms to the neo-Romantic present providing beautiful lyrical passages for the clarinet while incorporating the influences and essence of American jazz. Daniel Lochrie's Phantasms (1994, rev. 2002) features a variety of rhythmic and lyrical passages combined with the tasteful use of contemporary clarinet techniques within a traditional framework.