Exploring the Expressive World of Early 20th-Century Cello Music

Abstract

This performance based thesis consisting of three separate recitals explored the rich and diverse world of early 20th-century music for cello, or arranged for cello, through the analysis of three doctoral recitals, each featuring a selection of works from this period. The recitals, performed also in collaboration with pianists Narae Joo and Natalie Sherer, provided a comprehensive overview of the stylistic and technical developments in cello music during this transformative era. The first recital featured Béla Bartók’s Romanian Folk Dances, showcasing the composer’s fascination with folk music and his contribution to the genre. Bartók’s exploration of authentic folk tunes from Transylvania resulted in a collection of six captivating dance movements. These pieces reflect his collaboration with Zoltán Kodály and his dedication to preserving folk traditions of the region. The recital also included Anton Webern’s Drei Kleine Stücke, op. 11, exemplifying the composer’s meticulous approach to atonal composition. With just three small movements and concise structures, Webern’s work demonstrates the intricate balance between expression and economy of means. Claude Debussy’s Sonata for Cello and Piano showcased the composer’s late-Romantic style and innovative use of extended cello techniques. This piece captures the essence of Debussy’s last creative period, marked by his exploration of new harmonic and timbral possibilities. In the second recital, presented through online means, I introduced an unconventional approach to chamber music. I arranged and performed pieces originally written for other instruments, adapting them for an ensemble of twelve cellists. Inspired by the renowned 12 Cellists of the Berlin Philharmonic, my project explored the transformative power of arrangements and the versatility of the cello. The diverse repertoire ranges from Astor Piazzolla’s Suite del Ángel (1965), which fuses tradition tango elements with modern influences, to Igor Stravinsky’s Apollon musagète, a neoclassical masterpiece that pays homage to Greek mythology. Wilhelm Kaiser-Lindemann’s Variações brasileiras introduces bossa nova rhythms to the cello ensemble, highlighting the fusion of classical and popular music. Additionally, Glenn Miller’s Moonlight Serenade, Richard Strauss’s Morgen, and Vincent Youmans’ Tea for Two provide a blend of genres, showcasing the flexibility and adaptability of the cello ensemble. The third recital delved into Russian inspired cello repertoire, featuring works that demanded technical prowess and interpretive skills. Leoš Janáçek’s Pohádka transported the listener into a fairy-tale world inspired by Russian literature, as the cello and piano engage in fragmented yet evocative dialogues. Paul Hindemith’s 3 Pieces for Cello and Piano, op. 8 presented a diverse set of compositions, from the whimsical Capriccio to the introspective Phantasiestück and the rhythmically playful Scherzo. Sergei Prokofiev’s Sonata for Cello and Piano in C Major, op. 119 served as the culmination of the recital, reflection the composer’s resilience in the face of political challenges. The sonata combines elements of Russian folk traditions with Prokofiev’s signature lyricism, creating a powerful and emotionally charged work. Through these three recitals, this performance thesis explored the evolution of cello music through the 20th century, highlighting composers’ innovative approaches to form, rhythm, harmony, and expression. The adaption of repertoire for a cello ensemble, presented an example of how creative approaches to making music continue in the present day, through modern means. These recitals offered a journey through the expressive world of cello music, demonstrating the enduring relevance and beauty of these compositions in the contemporary musical landscape.