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

dc.contributor.advisorKutz, Ericen_US
dc.contributor.authorBorowsky, Frances Graceen_US
dc.date.accessioned2020-02-01T06:41:35Z
dc.date.available2020-02-01T06:41:35Z
dc.date.issued2019en_US
dc.identifierhttps://doi.org/10.13016/ilrw-6lt4
dc.identifier.urihttp://hdl.handle.net/1903/25456
dc.description.abstractThis 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.en_US
dc.language.isoenen_US
dc.rightsNOTICE: 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.
dc.titleWhen the Cello Speaks Alone: Cello Cadenzas in Chamber Music Duosen_US
dc.typeDissertationen_US
dc.contributor.publisherDigital Repository at the University of Marylanden_US
dc.contributor.publisherUniversity of Maryland (College Park, Md.)en_US
dc.contributor.departmentMusicen_US
dc.subject.pqcontrolledMusicen_US
dc.subject.pquncontrolledCadenzasen_US
dc.subject.pquncontrolledCelloen_US
dc.subject.pquncontrolledChamber Musicen_US
dc.subject.pquncontrolledDuoen_US
dc.subject.pquncontrolledPianoen_US
dc.subject.pquncontrolledViolinen_US


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