Doctor of Musical Arts Recitals

Abstract

These three dissertation recitals were programmed and performed in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Music: Performance). The repertoire on these three recitals were chosen for specific reasons. The entirety of the first recital contains repertoire not originally written for the cello. The Romanze by Bruch and the sonata by Clarke were written for the viola, and Romeo and Juliet for multiple instrumentations such as orchestra and piano. The goal of this recital was to explore repertoire that is rarely, if ever, played on the cello, bringing it to new audiences. To do this, I either found transcriptions of the pieces or transcribed the pieces myself (as was the case with the Prokofiev) and presented these pieces on the cello. The second recital is far more utilitarian in programming. Each of these three pieces fulfill a different role within a recital, from starting a program to ending the first or second half of a program. The Kodaly is a piece that can function in either half of a recital, depending on what else is being performed. In the case of the second recital, it served as the opening piece. The Martinu can function as either a closing piece to the first or second half of a recital, as it is a virtuosic show piece of only eight minutes or so. The Mendelssohn sonata is a substantial work and can function as an ending to the first of second half of a program, depending on what else is being performed. The third recital showcases the music of Schubert, with performances of his Quartettsatz, and the first twelve songs in the Wintereisse song cycle. The Brahms is a sizable piece and was programmed in contrast to the Schubert compositions utilizing all of the personnel in the first half of the concert.