Skip to content
University of Maryland LibrariesDigital Repository at the University of Maryland
    • Login
    View Item 
    •   DRUM
    • Theses and Dissertations from UMD
    • UMD Theses and Dissertations
    • View Item
    •   DRUM
    • Theses and Dissertations from UMD
    • UMD Theses and Dissertations
    • View Item
    JavaScript is disabled for your browser. Some features of this site may not work without it.

    When the Cello Speaks Alone: Cello Cadenzas in Chamber Music Duos

    Thumbnail
    View/Open
    Borowsky_umd_0117E_20455.pdf (1.789Mb)
    No. of downloads: 338

    Frances Borowsky DMA recital 1.zip (494.7Mb)
    No. of downloads: 0

    DMA Recital 2 WAV.zip (552.5Mb)
    No. of downloads: 0

    DMA Recital 3 Borowsky.zip (709.8Mb)
    No. of downloads: 0

    Date
    2019
    Author
    Borowsky, Frances Grace
    Advisor
    Kutz, Eric
    DRUM DOI
    https://doi.org/10.13016/ilrw-6lt4
    Metadata
    Show full item record
    Abstract
    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.
    URI
    http://hdl.handle.net/1903/25456
    Collections
    • Music Theses and Dissertations
    • UMD Theses and Dissertations
    Rights
    NOTICE: Recordings accompanying this record are available only to University of Maryland College Park faculty, staff, and students and cannot be reproduced, copied, distributed or performed publicly by any means without prior permission of the copyright holder.

    DRUM is brought to you by the University of Maryland Libraries
    University of Maryland, College Park, MD 20742-7011 (301)314-1328.
    Please send us your comments.
    Web Accessibility
     

     

    Browse

    All of DRUMCommunities & CollectionsBy Issue DateAuthorsTitlesSubjectsThis CollectionBy Issue DateAuthorsTitlesSubjects

    My Account

    LoginRegister
    Pages
    About DRUMAbout Download Statistics

    DRUM is brought to you by the University of Maryland Libraries
    University of Maryland, College Park, MD 20742-7011 (301)314-1328.
    Please send us your comments.
    Web Accessibility