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Ten Etudes for Solo Cello by Sofia Gubaidulina

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Ten Etudes for Solo Cello by Sofia Gubaidulina City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 Ten Etudes for Solo Cello by Sofia Gubaidulina Julia A. Biber The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1485 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] TEN ETUDES FOR SOLO CELLO BY SOFIA GUBAIDULINA by JULIA BIBER A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2016 i ©2016 Julia Biber All rights reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music to satisfy the dissertation requirement for the degree of Doctor of Musical Arts ________________ ___________________________ Date Philip Ewell Chair of the Examining Committee ________________ ___________________________ Date Norman Carey Executive Officer Philip Ewell, advisor ___________________________ Joseph Straus, first reader ___________________________ Marcy Rosen ____________________________ Suzanne Farrin _____________________________ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract TEN ETUDES FOR SOLO CELLO BY SOFIA GUBAIDULINA by Julia Biber Advisor: Philip Ewell Sofia Gubaidulina is regarded as one of the most original and highly respected voices in contemporary music today. Her use of the Fibonacci and its related series to structure her compositions has become a defining feature of her music and, therefore, most analysis has focused on pieces that incorporate this method, which she calls “rhythm of form.” Consequently, works written prior to her adoption of this method have garnered much less analytical attention. However, in her earlier works––from the late 1960s through the early 80s––Gubaidulina not only explores new sounds and colors, but also found creative ways to structure these pieces. This dissertation will focus on the Ten Etudes for Solo Cello (1974), a seriously neglected piece in the solo cello repertoire. (The published name remains Ten Preludes at the suggestion of the cellist, Vladimir Tonhka.) Each etude explores multiple or single elements of cello technique (such as legato, staccato, ricochet or sul ponticello). I will discuss the various ways Gubaidulina explores and juxtaposes these elements to create structure and continuity in the work. I use a variety of analytical approaches in my analysis and include a number of musical and technical suggestions for the performer. I also include a discussion of the composer’s early life and education and a chapter on the development of her compositional style. iv ACKNOWLEDGEMENTS Firstly, I would like to thank my advisor, Prof. Philip Ewell for his guidance, support, patience and meticulous editorial eye throughout the process of writing this dissertation. I would also like to thank Professor Joseph N. Straus for his knowledgeable insight, suggestions and encouragement regarding musical analysis and structure for the project. My sincerest thanks goes to Professor Marcy Rosen for the many invaluable things she has taught me about cello playing and musical interpretation in our lessons and conversations over the years. I would also like to thank Dr. Suzanne Farrin for her thoughtful editorial recommendations and for being a wonderful chair to work for in the Hunter College music department. I am extremely grateful to Sofia Gubaidulina for taking the time to meet with me in Chicago and answer many of my questions about her music and her life. A special thanks extends to Claire Chase for putting me in touch with Dr. Laurel Fay, who set up this meeting and graciously translated for the interview. Further thanks goes to Donna Doyle for her invaluable guidance and support along the path to this degree, and the Sibelius and Finale whizzes Simon Prosser and Megan Lavengood for their help with musical examples. I am deeply grateful to my incredible editor, Dr. Jennifer Griffith for her insight, thoughtful feedback and editorial mastery. I would like to thank my parents, Dr. Sharlene Hesse-Biber and Dr. Michael Biber, and my sister Dr. Sarah Biber for their encouragement and patience throughout the writing process. I am deeply grateful to my dear friends Maiya Papach, Stacy Roupas, Holly Sheppard, Natalia Zukerman and Gigi Nicolas for their unwavering support, v understanding and love. This thanks extends to the doggies Max and Zoli, who love me almost as much as they love their tennis ball. Thanks to Gorilla Coffee in Park Slope, Brooklyn for providing an ideal, caffeinated work environment staffed by the best baristas around. I dedicate this dissertation to my grandmother, Helene Stockert, a guiding force in my life and whom I dearly miss. vi TABLE OF CONTENTS Abstract ........................................................................................................................................ iv Acknowledgements ..........................................................................................................................v List of Figures, & Examples ........................................................................................................ viii Preface ..............................................................................................................................................x Introduction ......................................................................................................................................1 Chapter 1: Compositional Style .....................................................................................................11 Chapter 2: Introduction to the Etudes ............................................................................................26 Chapter 3: Etudes 1–5: Analysis and Performance Suggestions ...................................................34 Chapter 4: Etudes 6–10: Analysis and Performance Suggestions .................................................71 Conclusion ...................................................................................................................................100 Bibliography ................................................................................................................................104 vii LIST OF EXAMPLES & FIGURES Table 1.1: Musical Elements Associated with Each Instrument (from Restagno, 209) ................15 Table 1.2: Kholopova, characteristics ............................................................................................16 Example 3.1: M1 motive, Etude 1, mm.1–4 ..................................................................................35 Example 3.2: Chromatic Ascent, Etude 1, mm. 1–12 ....................................................................35 Example 3.3: Three Versions of C3 Cycle, Etude 1 ......................................................................36 Example 3.4: Initial Statement and Continuation of C3(1), Etude 1, mm. 10–16 .........................36 Example 3.5: Compound Cycle of M1, Etude 1 ............................................................................37 Example 3.6: Chromatic ascent, Etude 1, mm. 21–36 ...................................................................38 Example 3.7: Overlapping instances of M1, Etude 1, mm. 36–44 ................................................39 Example 3.8: Chromatic to cyclical C3(1) and C3(2), Etude 1, mm. 36–45 .................................40 Example 3.9: Intervallic symmetry between phrases, Etude 2 ......................................................45 Example 3.10: Instances of (0347), Etude 2, mm. 16–20 ..............................................................46 Example 3.11: Instances of infiltration between legato and staccato, Etude 2 ..............................47 Example 3.12: Compound cycle highlighting resonance, Etude 2, mm. 36–46 ............................48 Example 3.13: Descent and compression in Section B, Etude 2, mm. 47–58 ...............................50 Example 3.14: Changes of legato characteristics, Etude 2, mm. 52–58 ........................................51 Example 3.15: Shorter distance in staccato passages, Etude 2, mm. 59–66 ..................................52 Table 3.1: Parameter Complex, Etude 2 ........................................................................................54 Example 3.16: Etude 3 ...................................................................................................................59 Example 3.17: Variety of ricochet bow strokes, Etude 4 ..............................................................60 viii Example 3.18: Expansion of intervals, Etude 4, mm. 25–35 .........................................................63 Example 3.19: Statements of the motive, Etude 5 .........................................................................65 Table 3.2: C3 interval chart, Etude 5 .............................................................................................66 Example 3.20: Descending chromatic line, Etude 5 ......................................................................66 Example 3.21: Interval expansion of the initial gesture, Etude 5 ..................................................67 Example 3.22: Inverted melodic lines, Etude 5 .............................................................................68
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