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1
Schnitzer, Ralf. "Die Entwicklung der Violoncellpädagogik im frühen 20. Jahrhundert /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1995. http://catalogue.bnf.fr/ark:/12148/cb35763930n.
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Loesch, Heinz von. "Das Cellokonzert von Beethoven bis Ligeti : Ästhetische und Kompositionsgeschichtliche Wandlungen einer musikalischen Gattung /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1992. http://catalogue.bnf.fr/ark:/12148/cb355250027.
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Oloff, Sven. "Die Atmung und ihr Einfluss auf Bewegungsabläufe beim Violoncellospiel : eine Untersuchung zwischen Allgemeiner Pädagogik und Arbeitswissenschaft /." Frankfurt am Main ; Bern ; Paris : P. Land, 1991. http://catalogue.bnf.fr/ark:/12148/cb354708968.
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Roblin, Catherine Penesco Anne. "La littérature pour violoncelle seul au XXème siècle entre tradition et modernité /." [S. l.] : Université Louis Lumière - Lyon 2, 2000. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2000/roblin_c.
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Wegberg, Emil. "Sonate pour Violoncelle et Piano : musikanalys och interpretation av Debussys cellosonat." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2058.
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Claude Debussy Cellosonat
Dimitrij Shostakowitch Cellosonat op.40
Felix Mendelssohn-Barthodly Pianotrio nr.1 D-moll op.49
Medeverkande musiker:
Emil Wegberg, Cello
Katarina Abbas, Violin
Leo Gavel, Piano
Gerog Öquist, Piano
6
Roblin, Catherine. "La littérature pour violoncelle seul au XXème siècle : entre tradition et modernité." Lyon 2, 2000. http://theses.univ-lyon2.fr/documents/lyon2/2000/roblin_c.
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Ce travail cherche à montrer, d'une part, quel a été l'impact de la "redécouverte" des "Six suites pour violoncelle seul" de Bach au début du XXème siècle sur l'essor de la composition d'oeuvres destinées à ce medium, et d'autre part, en quoi celui-ci a pu correspondre à certaines aspirations propres aux créateurs de notre temps et se faire le reflet des différents courants et tendances esthétiques de ce siècle. La référence à l'oeuvre de Bach s'exprime très clairement à travers le "corpus" considérable de Suites (environ 180) mais transparaît aussi implicitement dans le souci d'inscrire ce type de composition dans un genre issu d'une longue tradition tel que la Sonate (plus de 280). Les techniques d'écriture employées par Bach pour donner une dimension polyphonique à cet instrument ont aussi inspiré les compositeurs de notre siècle, qui ont su par ailleurs leur donner de nouveaux prolongements (polyphonie de timbres, polyphonie gestuelle, utilisation de dispositifs électro-acoustiques). Et, même si le violoncelle est encore bien souvent traité comme un instrument lyrique, conformément à la tradition des siècles passés, il offre, par l'élargissement de ses modes de jeu, une très riche palette de timbres qui répond tout à fait aux exigences des compositeurs du XXème siècle et donne à ce medium instrumental un intérêt renouvelé. Les violoncellistes ont eux-même largement contribué au développement de ce répertoire, stimulant les compositeurs par leur personnalité, leur maîtrise instrumentale, voir même par la mise au point de nouvelles techniques, destinées en particulier à élargir les possibilités de jeu polyphonique sur l'instrument solo (jeu avec deux archets simultanés ou archet courbe).
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Toulouse, Catherine. "Apprentissage instrumental et formation musicale en France : l'exemple du violoncelle en 1990." Paris 4, 1991. http://www.theses.fr/1991PA040101.
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Des expériences pédagogiques de professeur de violoncelle dans des écoles de musique françaises, le recensement des méthodes de violoncelle existantes, l'analyse sociologique de la demande et la description des structures conçues pour y répondre, conduisent à dénoncer un dysfonctionnement des écoles de musique, tout au long des premières années d'apprentissage instrumental, la multiplication des disciplines cloisonnées menant souvent à l'incohérence. Ce travail, bénéficiant de l'apport des recherches en psychopédagogie de la musique, propose donc, après le stade primordial de l'éveil, une pédagogie musicale assurée par un maitre unique à travers son instrument - ici le violoncelle- avant d'enrichir dans un troisième temps, la formation musicale par des disciplines complémentaires et spécialiséesCello teaching experience in French music schools, the inventory of existing cello tutors, the sociological analysis of the needs, and the description of the structures designed to fulfill them, lead one to notice the malfunction of the music schools, right through the first years of instrumental apprenticeship: the multiplication of compartmentalized disciplines often leads to incoherence. This work, benefiting from research in the psycho-pedagogy of music thus purposes, after the initial stage of musical awakening, a teaching method provided by a single teacher, through his or her instrument - in this case, the cello - before enriching the musical education with specialized and complimentary disciplines
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Dimoff, Trevor Anthony. "The third impossible thing before breakfast, an octet for saxophone and string quartets." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0013/MQ34935.pdf.
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Tesch, Catherine Kay Schulze. "Anton Reicha's "Quintetto pour clarinette en si, deux violons, viola et violoncelle": An analytical study." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187178.
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Anton Reicha (1770-1836) was well-respected during his lifetime as an illustrious teacher, and author of four successful textbooks on composition. His chamber works, particularly the twenty-four wind quintets brought him a measure of success as a composer. This study focuses on one of Reicha's lesser known chamber works, the Quintet in B-flat Major for Clarinet and String Quartet, op. 89. Part I of the study consists of biographical information, influences of performers, technical advances and performance practice, as related to Reicha's compositional technique for clarinet. The Quintet was written early in the 19th century as the clarinet was experiencing rapid technological advances. The six-key clarinet used by Jean Xavier Lefevre at the Paris Conservatory, and the thirteen-key clarinet designed by Ivan Muller are discussed with a comparative fingering chart included. Part II of the study contains an analysis of each of the four movements of the Quintet with regard to melody, harmony and form. A chart is provided for each movement in order to summarize the aspects of the analysis. A chart of Reicha's explanation of sonata form, La grande coupe binaire, is translated and discussed. Reicha's theories concerning composition are also included as they are found reflected in the work.
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Yapp, Francis Anthony. "Les Prétentions du Violoncelle: The Cello as a Solo Instrument in France in the pre-Duport Era (1700-1760)." Thesis, University of Canterbury. School of Music, 2012. http://hdl.handle.net/10092/7464.
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When Hubert Le Blanc published his Défence de la basse de viole in 1741, the cello had already established itself as a solo instrument in Parisian musical life. Several cellists, both French and foreign, had performed to acclaim at the Concert Spirituel, and the instrument had a rapidly expanding repertoire of published solo sonatas by French composers. Among the most significant of the early French cellist-composers were Jean Barrière (1707-47), François Martin (c. 1727-c. 1757), Jean-Baptiste Masse (c. 1700-1757), and Martin Berteau (1708/9-1771). Their cello sonatas are innovative, experimental, often highly virtuosic, and, in spite of unashamedly Italianate traits, tinged with a uniquely French hue.
Yet notwithstanding its repertoire and the skill of its performers,
this generation of French cellist-composers has remained undervalued
and underexplored. To a large extent, this neglect has arisen because a
succeeding generation of French cellists of the late eighteenth century - the Duport brothers, Jean-Pierre (1741-1818) and Jean-Louis (1749-1819), the Janson brothers, Jean-Baptiste-Aimé (1742-1823) and Louis-Auguste-Joseph (1749-1815), and Jean-Baptiste Bréval (1753-1823) - are widely acknowledged as the creators of the modern school of cello playing.
This dissertation focuses exclusively on the early French cello school.
It seeks to examine the rise of the solo cello in France within its socio-
cultural and historical context; to provide biographies of those com-
prising the early French cello school; to explore the repertoire with
particular emphasis on the growth of technique and idiom, detailing
features that may be described as uniquely French, and to assert the
importance of and gain recognition for this school, not as a forerunner
of the so-called Duport school but as an entity in itself.
11
Kim, Jungsun. "Voice and genre in Beethoven's Deux grandes sonates pour le clavecin ou piano-forte avec un violoncelle obligé, op. 5." connect to online resource, 2004. http://www.unt.edu/theses/open/20041/kim%5Fjungsun/index.htm.
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Kim, Jungsun. "Voice and Genre in Beethoven's Deux Grandes Sonates pour le Clavecin ou Piano-Forte avec un Violoncelle obligé, Op. 5." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4504/.
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This paper examines the generic aspect of Beethoven's Opus 5 Cello Sonatas (1796) from structuralist and post-structuralist perspectives, and explores the works from these viewpoints in order to gain insights into how the sonatas function as autonomous musical texts rather than historiographic documents of Beethoven's biography or transitional contributions in the development of the genre of the solo sonata as it was later cultivated. The insights offered by these perspectives argue for a reconsideration of the conventional notions of "work" and "text," which underscore the doctrine of work-immanence. This perspective also offers insights that have proven elusive when the works are considered primarily in the context of the historical-biographical construct of Beethoven's three style-periods. By applying the aesthetic practice of expressive doubling prevalent at the turn of the nineteenth century to Beethoven's Opus 5 Sonatas, a deeper understanding of the constellation of the duo sonatas in accompanied keyboard literature will be attained. Also, by illuminating the relational nature of meaning realized within a textual framework, this study attempts to enlarge the restricted scope of interpretation conventionally imposed on the Opus 5 sonatas.
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Silva, Teresa Cristina Rodrigues. "Ao gosto de "IL foribondo" : um estudo das seis Sonates Pour le Violoncelle et Basse Continue de Francesco Geminiani segundo seus tratados e transcrições." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284667.
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Orientador: Edmundo Pacheco HoraTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta tese foi elaborada com o objetivo de proporcionar subsídios aos violoncelistas para a interpretação das seis Sonates Pour le Violoncelle et Basse Continue Op. V (1746), de Francesco Geminiani (1687-1762), no que concerne especificamente ao seu estilo. Para alcançar este objetivo, foram utilizados do mesmo autor A Treatise of the Good Taste in the Art of Musick (Londres, 1749), The Art of Playing on the Violin (Londres, 1751), assim como transcrições da obra para o violino e para o cravo. Estes proporcionaram a base para discussões de caráter prático referentes à ornamentação e à condução do arco. As Sonatas Op. V se destacam dentro do repertório italiano do século XVIII para o violoncelo, por sua densidade musical e sua notação minuciosa. Assim, a investigação dos artifícios composicionais empregados por Geminiani, a contextualização histórica e biográfica da obra, somadas aos preceitos contidos nos tratados do autor, foram determinantes para a compreensão de seu gosto - termo empregado na época estreitamente associado ao estilo, conhecimento e julgamento. O exame dos recursos composicionais empregados por Geminiani no Op. V revelam uma reunião de gostos distintos - estilo patético, francês, italiano - harmonizados na forma híbrida constituída pela Sonata da Chiesa e Sonata da Camara. Estão representados também formas e estruturas composicionais como: música de dança, forma de concerto, contraponto e homofonia. Concomitantemente, observamos a adaptabilidade do compositor que, considerado um "embaixador" da escola italiana nos países onde viveu - Inglaterra, França, e Irlanda - não se ateve somente a ela. No século XVIII, o pioneirismo e a produção musical italiana do repertório e da execução dos instrumentos da família do violino foram reverenciados e adotados como modelo para os outros países. Entretanto, Geminiani caminha em uma direção independente da maioria dos seus contemporâneos, adotando em suas composições caracteres musicais de outros países, sem abandonar por completo as convicções da escola italiana no que tange à execução e ao ensino de seu instrumento. A conclusão é de que as Sonatas Op. V expõem inúmeros recursos idiomáticos do instrumento e apresentam sua adaptabilidade aos gostos vigentes na época. No entanto, a sua interpretação deve ser fundamentada na escola italiana de execução, a qual é defendida por Geminiani com inabalável convicção. Palavras-chave: Geminiani, Sonatas para violoncelo, Gosto, Interpretação, Crítica
Abstract: This thesis was written with the objective of providing information to cellists regarding the interpretation of the Six Sonates Pour le Violoncelle et Basse Continue Op. V (London, 1746) by Francesco Geminiani (1687-1762), specifically concerning its style. In achieving this objective, the following texts were used: A Treatise of Good Taste in the Art of Musick (London, 1749), The Art of Playing on the Violin (London, 1751), by the same author, as well as transcriptions of the work for violin and for harpsichord. These treatises provided the basis for discussions regarding performance practice and technical issues like: ornamentation and management of the bow. The Sonatas Op. 5 distinguishes themselves within the Italian cello repertory of the 18th century due to their musical density and meticulous notation. Thus, the investigation of the compositional artifices employed by Geminiani, the historical and biographical context of his work in addition to the rules elaborated in the author's treatises, were determinative in the understanding of his taste - a term used in the era strictly associated with style, knowledge and judgment. The examination of the compositional resources used by Geminiani in the Op. 5 reveals a union of distinctive styles: the "pathetic", French and Italian styles, united in a hybrid form constituting the Sonata da chiesa and Sonata da camara. Forms and genres such as polyphony, homophony, dance and concerto forms are represented in the Op. 5 Sonatas as well. At the same time we observe the adaptability of the composer, who, considered an "ambassador" of the Italian school in the countries in which he lived, namely England, France and Ireland, did not completely keep himself adhered only to it. In the 18th century, the Italian musical production and its pioneering role in the development of the repertory and performance of the instruments of the violin family was reverentiated and adopted as the model for the other European countries. However, Geminiani went in another direction, independent of the majority of his contemporaries, adopting in his compositions the musical characteristics of other countries, without completely abandoning the convictions of the Italian school in reference to the performance and pedagogy of his instrument. One must conclude that the Op. 5 Sonatas exposes innumerable idiomatic resources of the instrument and demonstrates its adaptability to the prevailing tastes of that era. However, its interpretation must be based on the Italian school of execution which is defended by Geminiani with the unshakable conviction. Key words: Geminiani, Violoncello Sonatas, Taste, Performance, Critics
Doutorado
Doutor em Música
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Nunes, Jorge Armando 1953. "Concerto em Lá Maior para violoncelo : uma visão crítica da recriação da obra de Dvorak por Günther Raphael." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285213.
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Orientador: Emerson Luiz de BiaggiTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Em 1865, quando estava com 24 anos de idade, Dvorák escreveu um Concerto para Violoncelo com acompanhamento de piano que, apesar de ter recebido duas versões orquestrais posteriores à sua morte, permanece até hoje em situação de obscuridade. Escrito em uma época na qual o compositor dava seus passos iniciais na trilha que o conduziria à notoriedade internacional, se mantém até hoje à sombra do Concerto op. 104 em si menor, considerada pelos violoncelistas como a obra magna do gênero, dentro de um restrito repertório solístico existente para este instrumento. Este trabalho, através de múltiplas abordagens enfocando aspectos editoriais, históricos, analíticos e interpretativos, tem o objetivo de trazer ao conhecimento dos intérpretes e do público uma obra que, na versão de Günther Raphael, recebeu a formatação necessária para que passasse a apresentar uma organização formal digna do período de maturidade deste compositor
Abstract: In 1865, when was 24 years old, Dvorák composed a Cello Concerto with piano accompaniment that, in spite of two orchestral versions after the composer¿s death, still remains in a situation of obscurity. Written at a time wherein the composer was taking their first steps in the trail that would lead him to international notoriety, until today remains in the shadow of the Concerto in B minor, op.104, considered by the cellists such as the magnum opus of the genre for this instrument. This work, through multiples approaches focusing editorials, historical, analytical and interpretative aspects, has the purpose of bring to the attention of the interpreters and public a work that, in Raphael¿s version, received the necessary formatting to presents a formal organization worthy of the maturity period of the composer
Doutorado
Praticas Interpretativas
Doutor em Música
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Almeida, Saulo Moura de. "Violoncello recital." FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/1048.
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Program:
Passacaglia for Violin and Cello ........... Johan Halvorsen (1864-1935)
Cello Concerto in E minor Op. 85 .............. Edward Elgar (1857-1934)
Sonata for Cello and Piano Op. 38 .......... Johannes Brahms (1833-1897)
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Rozé, Jocelyn. "L'influence des mouvements posturaux des violoncellistes sur leur expressivité musicale." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0416.
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Un aspect fascinant de l’expressivité musicale porte sur les relations entre le corps du musicien et les caractéristiques du signal acoustique produites par son instrument. De nombreuses études ont démontré cette connexion, en rapport avec le concept d’incarnation musicale, non seulement au niveau des gestes instrumentaux directement responsables de la production du son, mais aussi au travers de l’usage de mouvements ancillaires subtils et moins évidents. Notre recherche a pour objectif de mieux comprendre l’influence de ces ajustements posturaux sur l’interprétation musicale expressive dans le contexte des violoncellistes. A cette fin, nous avons mené une expérience soumettant plusieurs violoncellistes professionnels à divers types de contraintes posturales, et analysé l’influence de ces contraintes sur les caractéristiques rythmiques et timbrales du son par rapport à la situation de jeu naturelle. Les résultats des analyses ont révélé que les mouvements corporels des violoncellistes jouaient un rôle important pendant la performance. En fait, le tronc et particulièrement les mouvements de tête semblent garantir la cohérence métrique du geste d’archet de même qu’un phrasé musical expressif et des variations riches de timbre. Nous avons aussi exploré en détail les notes décharnées fréquemment produites en situation d’immobilisation physique par le buste et la tête, et effectué des corrélations entre ces dégradations du timbre et les caractéristiques de posture et de geste instrumental d’archet. Cette dernière analyse peut déboucher sur l’implémentation d’un nouvel outil pédagogique de correction de la qualité sonore pour les violoncellistes débutantsA particularly fascinating aspect of musical expressivity concerns the relationships between the musician’s body and acoustical signal features of the sounds produced by the instrument. Numerous studies have demonstrated this connection, referring to embodied musical cognition, not only through well-studied instrumental gestures directly responsible for the sound production, but also through the use of more indirect and ingrained ancillary movements. Our actual project aims to better understand the influence of these postural adjustments on the expressive musical interpretation for the cello instrument. To this aim, we conducted an experiment involving several professional cellists subjected to various kinds of postural constraints, and analysed the influence of these constraints on sound signal features by comparing constrained and natural playing situations. The results reveal that the cellists’ body movements play an important role during performance. In fact, the torso and especially the head movements appear to insure the metric coherence with the bowing gesture as well as an expressive musical phrasing and rich timbre variations. Finally, we explored more in depth the harsh notes frequently occurring in the most constrained condition, and drew correlations between this timbral degradation and bowing and postural features, with the aim of proposing new pedagogical tools for beginners
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Silva, Juliana Radke da. "Les délices de la solitude de Michel Corrette: o violoncelo e a música francesa do século XVIII." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/11795.
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A prática de interpretação histórica exige do intérprete muito mais do que
conhecimento técnico do instrumento. É preciso debruçar-se sobre o passado e
compreender ao máximo as peculiaridades de cada lugar e época. Este
trabalho pretende investigar aspetos sociais, musicais e técnicos
contemporâneos à criação das Sonatas Les Délices de la Solitude de Michel
Corrette, que forneçam ao intérprete as ferramentas necessárias para a
construção de uma interpretação fundamentada em dados históricos concretos,
complementada pelo gosto pessoal do executante; ### Abstract:
The practice of the historical interpretation requires from the interpret a
lot more then the mere knowledge skills. It is necessary to look into the past and
comprehend to its utmost the peculiarities of each place and time. This theses
intends to investigate social, musical and technical aspects that are
contemporary to the creation of the Sonatas Les Délices de la Solitude de
Michel Corrette, providing to the interpret the necessary tools to a good and
solid interpretation substantiated on concrete historical data, complemented by
personal taste of the performer.
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Close, Kathryn. "The history and development of violin and violoncello duets /." St. Lucia, Qld, 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17486.pdf.
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Lischka, Rainer. "Violoncelli im Quartett." Rainer Lischka, 2018. https://slub.qucosa.de/id/qucosa%3A23414.
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Lewis, Stephen Edward Lewis Stephen Edward Lewis Stephen Edward Lewis Stephen Edward. "Three pieces." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464858.
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Thesis (M.A.)--University of California, San Diego, 2009.The 1st work for violin, clarinet, violoncello; the 2nd for piano with chamber orchestra; the 3rd for 2 flutes (1 doubling on piccolo), 2 clarinets, 2 violoncellos. Title from first page of PDF file (viewed July 7, 2009). Available via ProQuest Digital Dissertations. Accompanying disc contains PDF file of thesis and recordings of performances.
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Lalonde, Alain Lalonde Alain Lalonde Alain Lalonde Alain Lalonde Alain Lalonde Alain. "L'événement musical dans l'espace." Montréal : Université de Montréal, 1995. http://wwwlib.umi.com/cr/umontreal/fullcit?pNQ26813.
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Thèse (D. Mus)--Université de Montréal, 1996.Ptie 1 : pour 28 interprètes en mouvement ; ptie 2 : pour 2 Ondes Martenot, 2 violons, alto, violoncelle, contrebasse, 2 trombones ; ptie 3 : pour 2 hautbois, 4 altos, 3 cors, 2 tubas, percussion électronique ; ptie 4 : pour 4 cors, 4 trompettes, 2 trombones, 2 tubas, percussion ; ptie 5 : pour orchestre avec interventions de sons humains sur bande magnétique. À la bibl. de musique, les cassettes sonores sont au COMPTOIR à la cote : CAS 00269 ptie 1-5 ; la vidéocassette est au fonds MEDIA à la cote : RVI4926. La vidéocassette comprend, avec EN TON N ER RE (S), trois autres œuvres qui constituent Musiques en espace sacré / par le collectif Espaces sonores illimités : La Quête, TABU (comme un territoire sacré) et Ex puls(i)on(s). "Thèse présentée à la Faculté des études supérieures en vue de l'obtention du grade de Docteur en musique (D. Mus.) option composition." Version électronique également disponible sur Internet.
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Wang, Huei-Ming. "Beethovens Violoncell- und Violinsonaten /." Kassel : G. Bosse, 1997. http://catalogue.bnf.fr/ark:/12148/cb36966628g.
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Sauda, Eric. "François Gervais musicien au Front de 1914 à 1919 : affirmation identitaire, sociale et artistique." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040025.
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François Gervais né à Blois en 1885, reçu bachelier en lettres et philosophie, commença très tôt des études musicales, obtenant, dès 1905, le second prix de violoncelle au Conservatoire de Paris. Entré en 1913 à l’orchestre des Concerts Lamoureux dirigé alors par Paul Paray, il était en tournée aux Pays bas quand il apprit la déclaration de la guerre. F. Gervais fut d’abord mobilisé au 313ème régiment d’infanterie, puis au 329ème jusqu’à la fin de la guerre. Malgré le fait qu’il soit parti au front sans instrument, il se distingue comme musicien jusqu’à la fin de l’année 1914. Mais au printemps de l’année 1915, F. Gervais qui souffre de l’absence de pratique instrumentale réclame auprès de ses supérieurs la permission de réaliser un violoncelle. L’instrument, fabriqué à partir des rares matériaux collectés, s’avère de qualité étonnante sur le plan acoustique. Néanmoins, il a été conçu pour obvier à toute avarie due à la vie de soldat, peu sédentaire et exposée aux intempéries. Pendant les périodes de repos à l’arrière, F. Gervais anime les troupes (concerts, revues et spectacles) et ne tarde pas à gagner l’estime de ses camarades et de ses supérieurs. Le plaisir de la pratique musicale quasi quotidienne retrouvé, F. Gervais, seul ou en formation avec d’autres camarades musiciens, jouera tout au long de la guerre, pour la détente des soldats entre deux montées en ligne. Démobilisé, il rentre au foyer avec ses souvenirs et son violoncelle. Survivant de cette guerre, il réintègre l’orchestre des Concerts Lamoureux dont il sera violoncelle solo en 1920. Il enseignera, par la suite comme professeur indépendant, (P. Tortelier sera son élève) et dans ses dernières années, il sera professeur au Conservatoire de Tours. Après sa mort en 1956, sa fille aînée Françoise Gervais conservera pieusement à son domicile, documents et violoncelle avant d’en faire don en 1999 à l’Historial de la Grande Guerre de Péronne (80)François Gervais was born in Blois in 1885. High school graduated in literature and philosophy he early started musical studies and obtained in 1905 the second prize of cello at the Conservatoire of Paris. In 1913 he joined the ochestra of the Concerts Lamoureux directed by Paul Paray. He was on tour in Netherlands when he heard the declaration of war. F. Gervais was first mobilized at the 313th infantry regiment then at the 329th till the end of the war. Above the fact that he went to the front without instrument, he’s distinguished as musician till the end of the year 1914. But in the spring of 1915, F. Gervais who’s suffering of the absence of music pratical, demand to his superiors the permission to build a cello. The instrument carried out with few collected material, reveals it’s surprising acoustic quality. Nevertheless, it’s been designed to obviate all damages caused by soldier’s living, quite sedentary and exposed to bad weather. During rest time behind the lines, F. Gervais entertains the troups (concerts, revues and shows) and rise in his friends and superiors’s estimation. The pleasure of pratical music regained nearly dayly, F. Gervais alone or in group with others musicians buddies, will play all during the war for the soldier’s relax between two moves to first line. Demobilized, he goes back home with his memories and his cello. Survivor of this war, he returns to the orchestra of Concerts Lamoureux and will become soloist cello in 1920. Later on, he will teach as independant professor (P. Tortelier will be his student) and in his last years, he will be professor at the conservatoire of Tours. After his death in 1956, his elder daughter Françoise Gervais will piousely keep at her domicile, the documents and the cello before to do a donation in 1999 to the french great war museum : l’Historial de la Grande Guerre de Péronne (80)
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Linhart, Melodie E. "Synaesthetics : for violoncello & octet /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11306.
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Thesis (Ph. D.)--University of Washington, 2006.For solo violoncello and octet comprised of piccolo, English horn, clarinet in E♭, contrabassoon, horn in F, tuba, xylophone, and contrbass. Vita. Includes bibliographical references (p. 147).
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Fargas, Eduardo Xavier. "Violoncello school of Andre Navarra." Thesis, Cardiff University, 2008. http://orca.cf.ac.uk/55782/.
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This dissertation seeks to answer the question of whether there is a cello-playing school today which we can attribute to the French cellist Andre Navarra. To do this it documents the technical aspects of cello playing which Navarra taught his pupils, through field work, interviewing several of them as to the salient aspects of Navarra's instruction. As far as it has been possible, these topics have also been covered through video material of Navarra demonstrating a summarized version of his technical approach to the instrument, and analysis of video material of Navarra performing. To aid in ascertaining the degree to which the influence of Navarra's instrumental approach has spread, the manifestations of said influence in some of his student's publications have been examined. The situational and interpersonal characteristics of his pedagogy, especially in the context of his group teaching, were also considered. This examination determines that, to a great extent, those of Navarra's pupils who are themselves teachers try to reproduce the group setting, and subscribe to most of the precepts established by Navarra, especially in respect of bowing. Furthermore, Navarra's influence on the publications mentioned above is readily apparent. Portions of the dissertation examine physical principles which help explain the success of Navarra's bowing approach, and its parallels to similar ideas by the violinist Carl Flesch, to whom Navarra acknowledged indebtedness in this regard. The manifestations of Navarra's influence, together with the number of teachers, many now in the third student-teacher generation after Navarra, who are passing on this ideas, lead to the conclusion that the sphere of Influence of Navarra's pedagogy has been pervasive enough to refer to it as a 'school'.
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Vokáč, Ivan. "Ondřej Kukal - Tvorba pro violoncello." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-253843.
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Štěpánek, Matěj. "Arthur Honegger - Koncert pro violoncello." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-364691.
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Subject of this master thesis is the Concert for violoncello by Arthur Honegger. This thesis aims to explore the circumstances in which the concerto was written, examine its basic structure, highlight the fact that despite its undeniable qualities it is not appreciated adequately and contribute to spread the knowledge about this wonderful piece of music as well as about the composer himself. The thesis is divided into two main parts. First one deals with composer’s life, focusing on period starting with his childhood to the composition of cello concerto. Second part is discussing the concerto, its formal, rhythmical and thematic structure, jazz influences and unusual performance techniques, cadences and available recordings.
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Drude, Matthias. "Sonate für Violoncello und Klavier: (1999)." Matthias Drude, 2018. https://slub.qucosa.de/id/qucosa%3A17090.
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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.
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Szakál, Jan. "Antonín Dvořák:Koncert pro violoncello h-moll." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2008. http://www.nusl.cz/ntk/nusl-78168.
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This work is concipated for two parts. The first one introduce us with very beginning of Dvořák's career of compositioning, including A major Concerto and the compositions from a farewell tourne episode. Then the second one is refering about his the America, where He's wrote Cello Concerto b minor,op.104.
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Smith, Wayne C., and Wayne C. Smith. "The Violoncello Works of Michel Corrette." Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/626207.
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Presgrave, Fabio Soren. "Aspectos da musica brasileira atual : violoncelo." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284657.
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Orientador: Emerson Luiz de BiaggiTese (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
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Sills, David. "A commentary on teaching fundamental cello technique, referring to the methods of Mei-Lee Stocker and Feulliard's 'Methode du Jeune Violoncelliste' and 'Technique de Violoncello' Volumes 1-3 /." [St. Lucia, Qld.], 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18417.pdf.
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Craford, Mary Elizabeth. "Inventory of modern American cello-keyboard literature /." Access Digital Full Text version, 1994. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11847815.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1994.Includes tables. Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Lenore M. Pogonowski. Includes bibliographical references (leaves 89-104).
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Jones, Christopher Wendell. "Masks, chamber concerto for violoncello and ensemble." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ49705.pdf.
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Fakhouri, Fouad K. "Memento mori concert for violoncello and orchestra /." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2006. http://www.unt.edu/etd/all/Dec2006/Restricted/fakhouri_fouad_kifah/index.htm.
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Virglerová, Zuzana. "Mieczyslaw Weinberg a jeho tvorba pro violoncello." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-96690.
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My graduation thesis deals with the work of composer Mieczyslaw Weiberg and focuses particularly on his compositions for cello.In the first chapter I have given Weiberg´s biography so that we can imagine and understand the era and conditions in which the composer lived and composed. The second is about Weinber´s work. First I list the most important compositions of his entire work and then I introduce all the cello pieces. Dmitrij Shostakovuch had a very important influence on Weiberg´s artistic personality. Therefore one part of this chapter is dedicated to this artistic dialogue. Though Weiberg is still relatively unknown in the Czech republic, in other countries many new recordings of his music are being released. I mention here the latest ones as well as some texts about his life and work. It is prof. Josef Fejgelson who ispired my interest in Weiberg´s music. This cellist is a supporter and propagandist of his music and so I also want to introduco him shortly in chapter three of this thesis. Not to speak only theoretically about Weinberg´s music, in chapter four I am showing one of his cello compositions - 24 Preludes for cello solo, op. 100. I mention the circumstances of its origin and then I make an analysis of this piece. Finally I attach also some photos of Weinberg and his friends.
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Mašlaň, Petr. "Johann Sebastian Bach. Kantáty s obligátním violoncellem." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177718.
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This thesis is engaged in cantatas of Johann Sebastian Bach, in which composer calls for violoncello piccolo. It is divided into four chapters. The first chapter deals with the issue of instrument, the following chapter is dedicated to the historical kontext of cantatas and their instrumentation in connection with violoncello piccolo. The third chapter is a musical analysis of individual arias in nine subsections. The fourth chapter deals with the question, on which instrument can be now these solos. The thesis contains actual score examples and the footnotes.
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Petrásek, Daniel. "70 let violoncella na AMU v Praze." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-364690.
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This thesis deals with violoncello field of study since the establishment of the Academy to these days. The text is arranged into three chapters. The first part describes history and particular teachers and their students. The second chapter includes complete list of diploma theses written by students of violoncello department. The Third chapters includes the list of teachers and students in academic year 2016/2017.
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Kimmel, Tyler T. "Hermes, a Concerto for Violoncello and Orchestra." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1542.
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This thesis consists of a large composition for violoncello and orchestra, together with an analytical paper in which I discuss my compositional techniques and some of their historical antecedents. The composition draws on the genres of imaginary musical theater, the symphonic poem, and the concerto. It was also inspired by the story of Hermes, the messenger god from Greek mythology. While the myth partially informs the compositional structure, the work is ultimately meant to showcase the versatility of the cello, the coloristic range of the orchestra (in some cases emulating the orchestral styles of previous composers), the balance of cello and orchestra together, and the eclectic invocation of many compositional techniques separately and simultaneously. These techniques encompass set theory (the use of unordered pitch collections), polytonality, and serialism. It is composed in a post-romantic style.
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Drude, Matthias. "wELten ERleBEn für Flöte, Violoncello und Klavier (2009)." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-ds-1237405411915-37535.
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In dem Titel "wELten ERleBEn" stecken - bei Berücksichtigung der Großbuchstaben - die Wörter ERBE und ELBE. Ein Beitrag zum Welterbetag 2009, in dem die Schönheit der Landschaft sowie ihre Bedrohungen (Hochwasserkatasgtrophe 2002, Bau der Waldschlösschenbrücke) zum Klingen gebracht wird, ohne den Hörer auf eine einseitige Deutung festzulegen. Uraufführung: 6. Juni 2009 in Dresden
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Janssen, Tido. "William Bolcom's Sonata for violoncello and piano (1989)." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/janssen%5Ftido/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2003.Accompanied by 4 recitals, recorded Jan. 26, 1998, June 21, 1999, Apr. 15, 2002, and Apr. 23, 2003. Includes bibliographical references (p. 46-49).
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Žvak, Kamil. "Zoltán Kodály - Sonáta pro violoncello sólo op. 8." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78752.
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This thesis on Kodály´s Sonata for violoncello solo is divided into two main parts. First one tells the story of Kodály´s life and describes his works and successes both in composition and musicology § education. It contains a full list of Kodály´s compositions for cello.Second part contains formal analysis of this Kodály´s interesting opus for solo instrument. It also includes a chapter on specific problems appearing during the study of this difficult work ( scordatura, the use of rubato).
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Jamník, Tomáš. "Problematika kritického vydání skladeb pro violoncello Bohuslava Martinů." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2009. http://www.nusl.cz/ntk/nusl-79074.
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In my diploma thesis I focus on three works by Bohuslav Martinů : Sonata No.3 for cello and piano, Duo No. 1 for violin and cello and Sonata da Camera for cello and small orchestra. On basis of comparing printed materials with manuscripts ( or other sources) I try public my personal solution in problematic places.
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Marešová, Michaela. "Stěžejní repertoár pro trio klarinet, violoncello a klavír." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177932.
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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.
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Aguirre-Araya, Evelyn Nora. "Becerra a Yamazaki: dvě chilské skladby pro violoncello." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-364692.
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Two perspectives that resemble the Chilean musical identity; one through the “Partita No.2” written for violoncello solo by the Chilean composer Gustavo Becerra-Schmidt, and the other, through a newly written piece for violoncello and piano titled “A Musical Trip around Chile” written by the Japanese musician Chiaki Yamazaki.
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Ko, Ching-Tzy. "Dynamic markings in Bach cello suites /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/11427.
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Drude, Matthias. "sostenuto e energico für Violine, Violoncello und Klavier (2008)." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-ds-1236598242035-27942.
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Matthias Drude: Werkeinführung in sostenuto e energico (2008) für Klaviertrio Eine Mendelssohn-Rezeption von Rang ist mir innerhalb der zeitgenössischen Musik nicht bekannt. Und doch scheint Felix Mendelssohn Bartholdy für den Stand heutigen Komponierens geradezu eine Schlüsselfigur zu sein. Er war wohl der erste bedeutende Musiker, der sich – zeitgleich zur sich neu formierenden Geschichtswissenschaft – nicht nur als Interpret (Wiederentdeckung der Mathäuspassion von J. S. Bach 1829) sondern auch als Komponist mit historischer Musik, verstanden als Musik, die mehr als eine Generation zurückliegt, beschäftigt hat. Das Nebeneinander von barocker Choral-, Oratorien- und Fugentradition, klassizistischen Tendenzen, Biedermeier und Romantik, durch das Mendelssohn Bartholdy z. B. in der 5. Sinfonie d-Moll op. 107 („Reformationssymphonie“) geradezu als Vorreiter eines stilistischen Pluralismus erscheint, gelingt ihm zwar nicht immer bruchlos, macht aber zugleich einen Teil der Faszination aus, die von seinem Werk bis heute ausgeht. Diese Dinge gingen mir durch den Kopf, als mir die Aufgabenstellung bekannt wurde, ein Werk zum Mendelssohn-Jubiläum für Klaviertrio zu schreiben. Es lag für mich nahe, die beiden Klaviertrios von Felix Mendelssohn Bartholdy (d-Moll op. 49 und c-Moll op. 66) eingehend zu studieren. Ich blieb dann beim 1. Satz des späteren Werkes hängen, dessen motivisch-thematische Substanz mir ergiebig und attraktiv genug zu sein schien als Grundlage für die Komposition eines einsätzigen, recht konzentrierten Werkes in Sonatensatzform. Sogar dessen tonale Großdisposition (Exposition: c-Moll/Es-Dur, Reprise: c-Moll/C-Dur, Coda wieder in c-Moll) orientiert sich am op. 66 wie auch an der klassischen Tradition. Der Werktitel sostenuto e energico verrät zugleich Distanz zur Mendelssohn-Vorlage: Manche pianistisch virtuosen Stellen (16tel-Ketten) scheinen mir weniger von Leidenschaft als von einer geschäftigen Betriebsamkeit und Routine geprägt zu sein. Deshalb habe ich dem Allegro energico e con fuoco (so die Mendelsohnsche Satzbezeichnung) ein (gleichwohl spannungsgeladenes) sostenuto ausgehaltener Töne gegenüber gestellt. Einzelne Passagen des c-Moll-Trios (1. Satz) werden wörtlich zitiert. Unter den Zitaten am deutlichsten wahrnehmbar ist sicher die längste originale Mendelssohn-Passage, seine Takte 1-8, die gleich zweimal – in Exposition und Reprise - erklingen. Andere Zitate (etwa aus der zweiten Themengruppe) sind nur zwei Takte lang. Gut möglich, dass solch eine kurze originale Mendelssohn-Passage, die in der Partitur als solche kenntlich gemacht ist, gar nicht beim Hören registriert wird oder dass umgekehrt jemand ein Zitat zu vernehmen meint, welches gar keines ist. Unterstützt von der Strenge der Sonatensatzform habe ich versucht, die Zitate nicht als Fremdkörper von der sonstigen Tonsprache abzuheben, sondern sie zusammen mit „Stilzitaten“ historischer Musik (später Beethoven, Brahms, Mahler, Tendenzen der Musik des 20. Jahrhunderts) so weit wie nur möglich in meine persönliche Stilistik zu integrieren. Ob sich eine solche Konzeption als tragfähig erweisen würde, war für mich zu Beginn der Arbeit an der Komposition eine Frage mit offenem Ausgang, über die aber kein ästhetisches Konzept sondern nur die konkrete Werkgestalt entscheiden kann. (Matthias Drude, Dresden, 16.09.2008). - Werkdauer: ca. 7 Minuten. - Beendet am 16. September 2008. - "sostenuto e energico" wird am 12.09.09 in Leipzig uraufgeführt.
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Venturini, Adriana. "The Dresden School of Violoncello in the Nineteenth Century." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3642.
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Until the nineteenth century, the violoncello was considered a background accompaniment instrument. By 1900 however, over eighty method books had been published for cello, and Richard Wagner and Richard Strauss were composing orchestral cello parts equal in difficulty to those of the violin, traditionally the only virtuosic string part. The emancipation from the ties of bass ostinato for the cello began with Bernhard Romberg in Dresden. The group of cellists, who came to be known as the Dresden School, included Kummer, Lee, Goltermann, Cossmann, Popper, Grutzmacher, Davidov, and other cellists that were students and colleagues of this group. The Dresden School of cellists attempted not only to bring the instrument into prominence, but to revolutionize the technique of the instrument completely. The cello pedagogues of the Dresden School achieved this by publishing their methods and advancements in technique in cello etude and method books. This efficient process of dissemination allowed for the members of the school to improve on each other's work over time. By the second half of the nineteenth century, the cello pedagogy of the Dresden School was established through the etudes published by the cellist-composers of the Dresden School, and these etudes are still considered some of the most advanced studies for cello, and are the foundation of modern cello pedagogy. At the turn of the twentieth century the Dresden School was the leading cello school in the world, and no longer tied only to the city of Dresden, but spread throughout Europe and beyond. In the publishing of their etudes, the Dresden cellists not only passed down their information to their students, but also to future generations of cellists. Descendants of the Dresden School cellists are now performing in almost every nation and teaching the ideas born in nineteenth century Germany.M.A.
Department of Music
Arts and Humanities
Music MA
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Gallin, Stanislav. "Ludwig van Beethoven - Pět sonát pro klavír a violoncello." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2009. http://www.nusl.cz/ntk/nusl-79093.
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Richardson, Alan. "Master's thesis recital (violoncello)." 2010. http://hdl.handle.net/2152/11581.
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