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The Cadenza in Cello Concertos: History, Analysis, and Principles of Improvisation Boyan Bonev

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The Cadenza in Cello Concertos: History, Analysis, and Principles of Improvisation Boyan Bonev Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 The Cadenza in Cello Concertos: History, Analysis, and Principles of Improvisation Boyan Bonev Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE CADENZA IN CELLO CONCERTOS – HISTORY, ANALYSIS, AND PRINCIPLES OF IMPROVISATION By BOYAN BONEV A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester 2009 The members of the Committee approve the Treatise of Boyan Bonev defended on May 7, 2009. __________________________________ Gregory Sauer Professor Directing Treatise ___________________________________ Jane Piper Clendinning Outside Committee Member __________________________________ Eliot Chapo Committee Member The Graduate School has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to thank my major professor Gregory Sauer, and my committee members Jane Piper Clendinning and Eliot Chapo, for their help and support. iii TABLE OF CONTENTS List of Figures………………………………………………………………………………... v Abstract………………………………………………………………………………………. vi INTRODUCTION…………………………………………………………………………... 1 I. HISTORY OF CADENZAS IN CELLO CONCERTOS ………………………………..... 4 II. ANALYSIS OF AD LIBITUM CADENZAS …………………………………………….. 15 Biographical Sketch of the Authors of the Cadenzas……………………………….... 18 Analyses of Cadenzas for the Concerto for Cello and Orchestra in C Major by Joseph Haydn……………………………………………………………………….... 19 Analyses of Cadenzas for the Concerto for Cello and Orchestra in D Major by Joseph Haydn……………………………………………………………………….... 22 III. PRINCIPLES OF IMPROVISATION…..……………………………………………….. 30 CONCLUSION……………. ………………………………………………………………... 40 APPENDICES………………………………………………………………………………... 41 1. CADENZAS FOR THE CONCERTO FOR CELLO AND ORCHESTRA IN C MAJOR BY JOSEPH HAYDN …………………………………………………………………………… 41 2. CADENZAS FOR THE CONCERTO FOR CELLO AND ORCHESTRA IN D MAJOR BY JOSEPH HAYDN, MOVEMENT I………………………………………………………….. 43 3. CADENZAS FOR THE CONCERTO FOR CELLO AND ORCHESTRA IN D MAJOR BY JOSEPH HAYDN, MOVEMENTS II AND III……………………………………………… 55 4. COPYRIGHT PERMISSION LETTERS…………………………………………………. 60 BIBLIOGRAPHY …………………………………………………………………………… 65 BIOGRAPHICAL SKETCH ………………………………………………………………… 67 iv LIST OF FIGURES Figure 1a: Pyotr Ilych Tchaikovsky, Rococo Variations for Cello and Orchestra, Op.33, cadenza……………………………………………………………………………….. 5 Figure 1b: Russian folk song “Dark Eyes”…………………………………………………… 6 Figure 2: Arthur Honegger, Concerto for Cello and Orchestra, cadenza by Maurice Maréchal………………………………………………………………... 9 Figure 3: György Ligeti, Concerto for Cello and Orchestra, Cadenza………………………. 12 Figure 4: Joseph Haydn, Concerto for Cello and Orchestra, Movement III, lead-in by Enrico Mainardi………………………………………………………………………………………. 31 Figure 5: Joseph Haydn, Concerto for Cello and Orchestra in C Major, movement I, first theme, mm. 22-26……………………………………………………………………………………. 34 Figure 6: Joseph Haydn, Concerto for Cello and Orchestra in C Major, movement I, second theme, mm. 36-39……………………………………………………………………………. 34 Figure 7: Joseph Haydn, Concerto for Cello and Orchestra in C Major, movement I, closing theme, mm. 42-45.………………………………………………………………... ……….... 34 Figure 8a: Joseph Haydn, Concerto for Cello and Orchestra in C Major, movement I, virtuoso passage in development section, mm. 67-73…………………………………………………. 35 Figure 8b: Joseph Haydn, Concerto for Cello and Orchestra in C Major, movement I, virtuoso passage in recapitulation, mm. 107-113……………………………………………………… 35 Figure 9: Boyan Bonev, cadenza to the first movement of Joseph Haydn’s Concerto for Cello and Orchestra in C Major…………………………………………………………………….. 36 Figure 10: Joseph Haydn, Concerto for Cello and Orchestra in C Major, movement II, theme I, mm. 16-24……………………………………………………………………………………. 38 Figure 11: Joseph Haydn, Concerto for Cello and Orchestra in C Major, movement II, theme II, mm. 35-41…………………………………………………………………………………..... 38 Figure 12: Boyan Bonev, cadenza to the second movement of Joseph Haydn’s Concerto for Cello and Orchestra in C Major…………………………………………………………........ 39 v ABSTRACT This treatise explores the topic of cadenzas in concertos for cello and orchestra with four goals in mind. First, it provides an historical background of the development of the cadenza in cello concertos from the eighteenth century to the twentieth century. Next, it discusses the different functions and locations of the cadenzas in works of the nineteenth and twentieth centuries in order to establish where an improvised cadenza is appropriate, and where the cadenza provided by the composer should be performed. The third element is a survey and analysis of the compositional procedures in existing cadenzas for the cello concertos by Joseph Haydn in terms of style, form, and relationship to the musical material of the movement of the concerto. Finally, the treatise includes guidelines for creating cadenzas. The treatise is organized in three chapters. Chapter one, “History of Cadenzas in Cello Concertos,” presents an historic overview of the cadenzas in cello concertos. It includes a discussion of the evolution of the cadenza from a simple improvisatory penultimate section of a movement (Concerto for Cello and Orchestra Nos. 1 and 2 by Joseph Haydn) to a separate movement in a concerto (Concerto for Cello and Orchestra Op. 107 by Dmitri Shostakovich). In this chapter I discuss also the places cadenzas can appear – the beginning, middle or end of fast or slow movements – and the different stylistic characteristics associated with them. Chapter two, “Analysis of Ad libitum Cadenzas,” includes an analysis of harmonic progressions, use of thematic and non-thematic musical materials, the length of the cadenza, keys alluded to, structure, form, style, and interpretation of selected cadenzas for the cello concertos by Joseph Haydn. The chapter also includes a discussion and comparison instructions for improvising cadenza from selected eighteenth-century treatises. In chapter three, “Principles of Improvisation,” I discuss the principles of improvising cadenzas for cello concertos. I examine the choices of thematic materials from the movement and the possibilities for improvisation. Those principles however are not limited to classical concertos. They can be applied to the improvisation of any ad libitum cadenza. vi INTRODUCTION This treatise explores the topic of cadenzas in concertos for cello and orchestra with four goals in mind. First, it provides an historical background of the development of the cadenza in cello concertos from the eighteenth century to the twentieth century. Next, it discusses the different functions and locations of the cadenzas in works of the nineteenth and twentieth centuries, in order to establish where an improvised cadenza is appropriate, and where the cadenza provided by the composer should be performed. The third element is a survey and analysis of the compositional procedures of existing cadenzas for the cello concertos by Joseph Haydn in terms of style, form, and relationship to the musical material of the movement of the concerto. Finally, the treatise includes guidelines for creating cadenzas. The introduction provides an outline of the treatise’s chapter organization and survey of literature. The treatise is organized in three chapters. Chapter one, “History of Cadenzas in Cello Concertos,” presents an historic overview of the cadenzas in cello concertos. It includes a discussion of the evolution of the cadenza from a simple improvisatory penultimate section of a movement (Concerto for Cello and Orchestra Nos. 1 and 2 by Joseph Haydn) to a separate movement in a concerto (Concerto for Cello and Orchestra Op. 107 by Dmitri Shostakovich). In this chapter I discuss also the places cadenzas can appear – the beginning, middle or end of fast or slow movements – and the different stylistic characteristics associated with them. Chapter two, “Analysis of Ad libitum Cadenzas,” includes an analysis of harmonic progressions, the use of thematic and non-thematic musical materials, and other aspects such as the length of the cadenza, keys alluded to, structure, form, style, and interpretation of selected cadenzas for the cello concertos by Joseph Haydn. The chapter also includes a discussion and comparison instructions for improvising cadenzas from selected eighteenth-century treatises. In chapter three, “Principles of Improvisation,” I discuss the principles of improvising cadenzas for cello concertos. I examine the choices of thematic materials from the movement and the possibilities for improvisation. Many performers, pedagogues, composers, critics, historians, and theorists throughout the centuries wrote about the cadenza. Some of them developed rules and principles of improvisation, while others observed and described the practice of writing cadenzas of their 1 time. Writings about cadenzas can be found in Jean-Jacques Rousseau’s Dictionnaire de Musique (1768), Pietro Aaron’s Thoscanello de la Musica (1523), Giovanni Bassano’s Ricercate Passaggi et Cadentie per Potersi Essercitar nel Diminuir (1585), Michael Pretorius’ Syntagma Musicum (1618), An Essay by Girolamo Frescobaldi (1615), Giuseppe Tartini’s Traité des agréments (1771), Pier Francesco Tosi’s Opinioni de’ Cantori Antichi e Moderni (1723), Johann Joachim Quantz’ Versuch einer Anweisung die Flöte traversiere zu spielen (1752),
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