Cuarteto litúrgico “Eucarístico” : para 2 violines, viola y violoncello [música]

Partitura incorporada como material complementario de la revista.

TRADITION AND INNOVATION: ANALYSIS AND PERFORMANCE OF SELECTED COMPOSITIONS FOR VIOLONCELLO BY HEITOR VILLA-LOBOS

Brazilian composer Heitor Villa-Lobos (1887-1959) began his musical career as a cellist. When he was only twelve years old, it became imperativeupon the sudden and untimely death of his fatherthat the young Villa-Lobos earn money as a cellist to provide financial support for his mother and sisters. Villa-Lobos's intimate relationship with the cello eventually inspired him to compose great music for this instrument. This dissertation explores both the diversity of compositional technique and the evolution of style found in the music for cello written by Villa-Lobos. The project consists of two recorded recital performances and a written document exploring and analyzing those pieces. In the study of the music of Villa-Lobos, it is of great interest to consider the music's traditional European elements in combination (or even juxtaposition) with its imaginative and sometimes wildly innovative Brazilian character. His early works were greatly influenced by European Romantic composers such as Robert Schumann, Frédéric Chopin, and the virtuoso cellist/composer David Popper (whom Villa-Lobos idolized). Later, Villa-Lobos flourished in a newfound compositional independence and moved away from Euro-romanticism and toward the folk music of his Brazilian homeland. It is intriguing to experience this transition through an exploration of his cello compositions. The works examined and performed in this dissertation project are chosen from among the extensive number of Villa-Lobos's cello compositions and are his most important works for cello with piano, cello with another instrument, and cello with orchestra. The chosen works demonstrate the evolving range and combination of characteristic elements found in Villa-Lobos's compositional repertoire.

GABRIEL URBAIN FAURÉ, THE UNSUNG MODERNIST: A PERFORMANCE SURVEY OF SELECTED LATE WORKS WRITTEN AFTER 1892 FOR PIANO SOLO, AND PIANO IN COLLABORATION WITH VIOLIN, VIOLONCELLO, AND VOICE

Gabriel Urbain Fauré lived during one of the most exciting times in music history. Spanning a life of 79 years (1845-1924), he lived through the height of Romanticism and the experimental avant-garde techniques of the early 20th century. In Fauré's music, one can find traces of Chopin, Liszt, Mendelssohn, Debussy and Poulenc. One can even argue that Fauré presages Skryabin and Shostakovich. The late works of Gabriel Fauré, chiefly those composed after 1892, testify to the argument that Fauré holds an important position in the shift from tonal to atonal composition and should be counted among such transitional composers as Gustav Mahler, Claude Debussy, Erik Satie, Richard Strauss, and Ferruccio Busoni. Fauré's unique way of fashioning harmonic impetus of almost purely linear means, resulting in a synthesis of harmonic and melodic devices, led me to craft the term mélodoharmonique. This term refers to a contrapuntally motivated technique of composition, particularly in a secondary layer of musical texture, in which a component of harmonic progression (i.e. arpeggiation, broken chord, etc.) is fused with linear motivic or thematic development. This dissertation seeks to bring to public attention through exploration in lecture and recital format, certain works of Gabriel Fauré, written after 1892. The repertoire will be selected from works for solo piano and piano in collaboration with violin, violoncello, and voice, which support the notion of Fauré as a modernist deserving larger recognition for his influence in the transition to atonal music. The recital repertoire includes the following--Song Cycles: La bonne chanson, opus 61; La chanson d'Ève, opus 95; Le jardin clos, opus 106; Mirages, opus 113; L'horizon chimérique, opus 118; Piano Works: Prelude in G minor opus 103, No. 3; Prelude in E minor opus 103, No. 9; Eleventh Nocturne, opus 104, No.1; Thirteenth Nocturne, opus 119; Chamber Works: Second Violin Sonata, opus 108; First Violoncello Sonata, opus 109; Second Violoncello Sonata, opus 117.

Ms. Ff. Mus. 1010 - Am 1. nach Trinit. : es wird ein unbarmhertzig Gericht über den ergehen pp. ; C. A. T. B. , 2 violini, 2 oboe se piace, 1 viola, violoncello et organo

von Telemann

Ms. Ff. Mus. 1238 - Dominica VI. post Trinit. : Liebet eure Feinde; segnet die euch fluchen ; a canto, alto, tenore, basso con i ripieni, 2 violini, 2 hautbois, viola, violoncello,violono, bassono ed organo

di Telemann

Ms. Ff. Mus. 1246 - Am Neu-Jahrs-Tag : Lobet den Herrn p ; C. A. T. B., 2 violini, viola, 2 oboe, 3 clarini, tympano, violoncello, organo

del S. Telemann

Ms. Ff. Mus. 1453 - Dominica II post Trinitatis : Weil ich denn ruffe, und ihr weigert euch p ; a canto, alto, tenore, basso con i ripieni, 2 violini, 2 hautbois, 1 viola, violoncello, violono, bassono ed organo

di Georgio Philippo Telemann

Ms. Ff. Mus. 1043 - Dom. Trinit. : Gelobet sey Gott und der Vater pp ; C. A. T. B., violino primo, violino secondo, oboe primo et secondo, viola, violoncello, e organo

del Sige. Telemann

Ms. Ff. Mus. 937 - Dominica XIII. post Trinitatis : Du solt lieben Gott deinen Herrn ; a canto, alto, tenore, basso, 2 violini, viola, 2 hautbois, violoncello, violono, bassono ed organo

di Telemann

Ms. Ff. Mus. 1540 - Am 3. post Epiphan. : Wohl dem, des Hülffe der Gott Jacob ist ; C. A. T. B., 2 Violini, 2 Oboe, 1 Viola, Violoncello et Organo

von Telemann

Ms. Ff. Mus. 1503 - Am 2ten Christ=Feyertage : Wie theuer ist deine Güte, Gott, daß pp. ; C. A. T. B., 2 Clarinetti, 2 Flauti traversi, 2 Hautbois se piace, 2 Violini, 1 Viola, Violoncello et Organo

von Telemann

Ms. Ff. Mus. 1339 - Am 2. Advent : Seyd wacker allezeit, und bethet, daß ihr p. ; C. A. T. B., 2 oboe, 2 violini, 1 viola, violoncello et organo

von Teleman[n]. [Textverf.: Gottfried Simonis]

Ms. Ff. Mus. 1119 - Am XI post Trinit. : Herr! sey mir gnädig, denn mir ist angst pp. ; C. A. T. B., 2 violini, 2 oboe se piace, 1 viola, violoncello et organo

von Telemann. [Textdichter: Gottfried Simonis]

Ms. Ff. Mus. 1144 - Dominica XII. post Trinitatis : Ich bin der Herr dein Artzt ; a canto, alto, tenore, basso, 2 hautbois, 2 violini, viola, violoncello, violono, bassono ed organo

di Telemann. [Textdichter: Gottfried Simonis]