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Electronic Theses, Treatises and Dissertations The Graduate School

2015 Focusing on the Present: Incorporating Contemporary American Solo Works in the Undergraduate Curriculum Alexandra Matloff

Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY

COLLEGE OF

FOCUSING ON THE PRESENT: INCORPORATING CONTEMPORARY AMERICAN

SOLO WORKS IN THE UNDERGRADUATE VIOLIN CURRICULUM

By

ALEXANDRA MATLOFF

A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music

Degree Awarded: Spring Semester, 2015

Alexandra Matloff defended this treatise on April 3, 2015. The members of the supervisory committee were:

Corinne Stillwell Professor Directing Treatise

Evan A. Jones University Representative

Alexander Jiménez Committee Member

Benjamin Sung Committee Member

The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements.

ii

To my parents, for not only believing in me and encouraging me to pursue my dreams, but for the many hours they spent teaching me how to write when I was a child.

iii ACKNOWLEDGMENTS

This treatise represents the end of an incredible experience I have had at Florida State

University, and I am grateful for the many faculty and colleagues that have made it so memorable. A tremendous thank you to my major professor, Corinne Stillwell, for all of her relentless guidance and support throughout my five years at FSU. The many violin lessons and advice are truly unforgettable. A huge thank you to my committee members: to Dr. Alex

Jiménez, not only for the absolutely memorable experiences in the University

Orchestra, but for agreeing to be on my committees for both my Masters and Doctoral degrees; to Dr. Evan Jones, for always enlightening me with his wisdom and advice and for answering all of my questions not only related to my treatise and lecture recital but regarding music theory as well; and to Dr. Ben Sung, for being such an inspiration in contemporary music performance and for agreeing to serve on my committee.

Thank you to the staff at the Warren D. Allen Music Library for not only allowing me to make the library my second home in addition to the practice room, but for all of their help, kindness, and generosity. Additionally, I cannot express enough gratitude to my family and friends. Thank you to my mother and father for believing in me every step of the way and for always being there for me, despite the geographical distance. I am also grateful for my brothers who always encourage me to be better and keep me laughing. Thank you to my grandma, who has always been behind me since the first time I picked up the violin. A sincere thank you to the wonderful friends I have made during my time at FSU, especially those who sat in the library working on their treatises while I did mine.

Finally, thank you to the included in this treatise who not only inspired me to write this document but who greeted my emails with friendliness, promptness, and

iv encouragement. Thank you also to the many violin professors throughout the country who completed my initial survey.

v TABLE OF CONTENTS

List of Musical Examples ...... viii Abstract ...... ix

INTRODUCTION ...... 1

1. AN ENRICHED CURRICULUM PLAN ...... 6

2. LEAVING THE NEST: PIECES THAT EXPLORE UNUSUAL AND RHYTHMS ...... 9

Morton Feldman: For (1981) ...... 9 Samuel Adler: Meadowmountetudes: Four Studies of 20th-Century Techniques (1988) ...... 12 Elliott Carter: Mnemosyné (2011) ...... 15 Bruce Adolphe: The Bitter, Sour, Salt Suite: Music and Poems about Food (1995) ...... 19 John Harbison: Four Songs of Solitude (1985) ...... 22 Summary ...... 25

3. FOR THE COURAGEOUS SOUL: EXTENDED TECHNIQUES ...... 27

Keeril Makan: mu (2007) ...... 27 Lera Auerbach: Lonely Suite (Ballet for a Lonely Violinist) (2002) ...... 30 Kenji Bunch: Until Next Time (2010) ...... 34 Tina Davidson: Blue Curve of the Earth (2011) ...... 38 Anne LeBaron: four (2009) ...... 41 Summary ...... 45

4. LETTING LOOSE: FEELING THE GROOVE OF THE AMERICAN VERNACULAR AND OTHER STYLES ...... 46

Michael Daugherty: Viva (2012) ...... 46 Mark O’Connor: “Caprice No.1” from Six Caprices for Solo Violin (1986-1994) ...... 49 David Zimmerli: (2006) ...... 53 : The Stream Flows (1990) ...... 56 : STOMP (2010) ...... 58 Summary ...... 62

5. DON’T STOP THE MUSIC: , POSTMINIMALISM, AND ELECTRONICS ...... 63

Philip Glass: “Knee Play 2” from (1976) ...... 63

vi John Luther Adams: Three High Places (2007) ...... 66 Annie Gosfield: Lost Signals and Drifting Satellites (2003) ...... 68 : With a blue dress on (2010) ...... 71 Cornelius Dufallo: Violin Loop I (2010) ...... 73 Summary ...... 76

6. CONCLUDING REMARKS: CONTEMPORARY MUSIC OUTSIDE OF THE APPLIED LESSON SETTING ...... 77

Collaboration Opportunities ...... 77 Performance Opportunities ...... 79 Commissioning Opportunities ...... 80 Conclusion ...... 82

APPENDICES ...... 84

A. ADDITIONAL SELECTED REPERTOIRE ...... 84 B. COPYRIGHT PERMISSION LETTERS ...... 88 C. IRB APPROVAL MATERIALS ...... 94

References ...... 97

Biographical Sketch ...... 108

vii LIST OF MUSICAL EXAMPLES

1 , For Aaron Copland, mm. 7-12 ...... 11

2 Bruce Adolphe, The Bitter, Sour, Salt Suite, “Chili Pepper,” m. 3 ...... 21

3 Tina Davidson, Blue Curve of the Earth, mm. 16-19 ...... 40

4 Tina Davidson, Blue Curve of the Earth, mm. 34-36 ...... 41

5 Anne LeBaron, four, m. 30 ...... 43

6 Anne LeBaron, four, m. 31 ...... 44

7 Michael Daugherty, Viva, mm. 1-2 ...... 48

8 Michael Daugherty, Viva, m. 4 ...... 49

9 Annie Gosfield, Lost Signals and Drifting Satellites, mm. 1-8 ...... 70

10 Annie Gosfield, Lost Signals and Drifting Satellites, mm. 98-100 ...... 70

viii ABSTRACT

This treatise presents a four-year curriculum plan for incorporating new music in the undergraduate degree. The aim is to address the apparent deficit of modern solo violin repertoire in the applied lesson setting at the undergraduate level and the lack of interest and/or time spent in performing this music. Focusing specifically on solo violin repertoire written since 1975 by

American composers, this treatise takes a pedagogical approach in examining several pieces and their associated techniques that should be studied throughout the four years. Upon graduating, students will not only be able to handle new music, but will also develop a greater appreciation for the music of this era. Students will also become more familiar with the new music culture that has developed in the through the examination of works by American composers. In addition, this treatise discusses opportunities for involvement in new music outside of the applied lesson setting.

ix INTRODUCTION

Whether scrutinizing the contrapuntal writing in ’s Sonatas and

Partitas for Solo Violin or learning the lyrical in Tchaikovsky’s Violin in D

Major, the Western music canon includes an extensive amount of repertoire for the violin. Yet, composers continue to write music, presenting even more repertoire for today’s violinist. Many of these pieces are difficult, including new technical and musical challenges that range from the use of extended techniques to . As music evolves, however, violinists typically have not, focusing most of their attention on the standard repertoire. With so much change that continues to take place in music composition, it is essential that violinists adequately prepare for the new directions music is taking. By devising a plan for incorporating American repertoire written after

1975 into the undergraduate curriculum, violinists will not only learn the tools necessary to handle the music of the twentieth and twenty-first centuries but will also develop a greater appreciation for the music of this era.

Although violinists traditionally look to for the source of their music, the United

States has slowly became the hub for many exciting forms of contemporary music (also referred to as “new music” or “modern music”), especially since the later part of the twentieth century.

Up until the 1950s and 1960s, contemporary music around the world was predominately characterized by , neo-classicism, nationalism, and the avant-garde.1 These different styles impacted audience attendance to different degrees, usually leaving only a small elite who

1 Elliott Schwartz and Daniel Godfrey, Music Since 1945: Issues, Materials, and Literature (New York: Schirmer Books, 1993), 263.

1 could find an appreciation for such demanding music.2 In the later part of the century, however, compositional trends began to take another turn, especially in the United States.3

The 1970s witnessed a very exciting time for American composition, leading to a myriad of styles and techniques. One prominent figure was (1912-1992). Identified as “the leading composer and philosopher of the postwar avant-garde,” Cage initiated a compositional transformation with indeterminacy and chance music.4 Cage, however, was not the only one causing waves in the United States. Composers in the 1970s were beginning to write tonal music once again, as could be heard in the works of (b. 1937),

John Harbison (b. 1938), and (b. 1939).5 Using techniques such as quotation, collage, and the incorporation of popular and music, composers were finding ways to abandon atonality and attract a larger audience base.6 For others, “it [was] no longer important that musical material be new or original, only that it be used creatively and effectively.”7 Warren Benson (b. 1924), John Corigliano (b. 1938), and (b.

1925), among others, aimed to combine various styles of music.8 George Crumb (b. 1929) found ways to create a sense of immobility in his harmonies.9 Furthermore, composers Morton

Feldman (1926-1987) and (b. 1932) inspired a more quiet and introverted type of music.10

Music continued to evolve in the 1980s as composers took an increased interest in writing . Electronics had been incorporated in music composition as early as the

2 Ibid. 3 Richard Taruskin, Music in the Late Twentieth Century (New York: Oxford University Press, 2010), 18-19. 4 Donald Jay Grout, J. Peter Burkholder, and Claude V. Palisca, A History of Western Music, 7th ed. (New York: W.W. Norton, 2006), 932. 5 Schwartz and Godfrey, Music Since 1945: Issues, Materials, and Literature, 264. 6 Ibid., 264-65. 7 Ibid., 267. 8 Ibid., 272-74. 9 Ibid., 275. 10 Ibid., 278.

2 1940s.11 However, the invention of personal computers in the early part of the decade not only changed the way music was being written and produced, but also took electronic music composition to a new level.12 The invention of the “ Digital Interface”

(MIDI) simplified the use of electronics, allowing different devices to become compatible with one another.13 MIDI led to additional musical developments, including the invention of the sampler and sequencer, which in turn allowed for sound altering techniques such as looping, elongation, and transposition, among others.14

Furthermore, minimalism became very popular in the 1980s and 1990s.15 Minimalism consisted of “repetition and gradual change” and took on many different forms, including that of silence, drones, and repetition, to name a few.16 Some of the leading figures of this style included composers (b. 1937), (b. 1936), and (b. 1935).17 In addition to their minimalist styles, they too found ways to incorporate technology into their music, whether through amplification or the use of electronic instruments.18 This musical style later led to the creation of postminimalism, a type of music that not only placed a greater emphasis on “a strong pulse, constant repetition, and very gradual changes” but also incorporated other genres of music, including rock and fiddle music.19 Major composers of postminimalism include John

11 Grout, Burkholder, and Palisca, 925. 12 Taruskin, Music in the Late Twentieth Century, 495. 13 Ibid., 501. 14 Ibid., 502. 15 Keith Potter, “Minimalism,” in Grove Music Online (Oxford University Press, 2007-2015), accessed February 7, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/40603. 16 Schwartz and Godfrey, Music Since 1945: Issues, Materials, and Literature, 316-19. 17 Ibid., 320. 18 Joseph Henry Auner, Music in the Twentieth and Twenty-First Centuries (New York: W.W. Norton & Company, 2013), 291. 19 Ibid., 293.

3 Adams (b. 1947), Michael Gordon (b. 1956), (b. 1957), Julia Wolfe (b. 1958), and

Evan Ziporyn (b. 1959).20

In addition to exploring new writing styles, composers were also producing many original works that pushed music to extremes. Such repertoire included ’s

(1918-2005) 50 Caprice Variations (1970), based on Niccoló Paganini’s Caprice No. 24. John

Cage’s Freeman Etudes (1977-80, 1989-90) presented thirty-two pieces of chance music for solo violin that were of immense difficulty.21 Philip Glass’s minimalist Einstein on the Beach

(1976) included a solo violin interlude called “Knee Play 2” which was extracted from the opera in order to be performed as a solo violin piece.

The increase in compositional output coincided with a rise in the number of performers who specialized in the performance of contemporary music. (b. 1943), the violinist and conductor for which the Freeman Etudes were composed, was one such major figure in contemporary music performances.22 Irvine Arditti (b. 1953) and the were equally sought out for performances of new works. Some of today’s most recognized contemporary music performers include violinists Jennifer Koh, Curtis Macomber, Michelle

Makarski, and the Kronos Quartet, among several others.

These are only some of the many paths music has taken at the end of the twentieth century and into the beginning of the twenty-first century. With so many different trends, it is essential that violinists have the tools as well as an appreciation for the constantly evolving contemporary music scene in the United States. In an effort to explore the music of this era, expand what is being taught in the undergraduate curriculum, and further contribute to updating

20 Ibid., 293-95. 21 James Pritchett, “The Completion of John Cage’s Freeman Etudes,” Perspectives of New Music 32, no. 2 (Summer 1994): 264-65. 22 James Pritchett, et al. “Cage, John.” Grove Music Online. Oxford Music Online. Oxford University Press, accessed February 10, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2223954.

4 the violin repertoire, this treatise will examine several solo violin pieces that will give violinists the tools to navigate and execute contemporary music as well as encourage a richer understanding of their uniqueness and originality.

5 CHAPTER 1

AN ENRICHED CURRICULUM PLAN

Whether examining a four-year coursework plan at a college or scrutinizing the possibility of mastering an organized list of information in a class syllabus, the music programs at higher education institutions are comprised of a variety of curricula that have remained practically unchanged for years due to their excellence in preparing students to become successful professionals. Even in violin pedagogy, graded repertoire lists have been created to help indicate when pieces should be taught throughout the course of violin development.

Although pedagogical tools such as the syllabi of the American String Teachers Association and the Royal Conservatory of Music provide an immensely helpful guideline for the progression of techniques and repertoire, one thing that is missing is a thorough examination of accessible solo violin music written after 1975. With so much that has already happened compositionally and the changes music continues to undergo, it is important that violinists have adequate exposure and familiarity with the music of the present, building upon the standard repertoire tools already being studied. This chapter will present a curriculum plan that can serve as an addendum to violinists’ current standard repertoire.

Over a span of four years, it is indeed possible to incorporate contemporary music into the undergraduate curriculum. Yet, when looking at books such as The

Contemporary Violin: Extended Performance Techniques by Patricia and Allen Strange or The

Techniques of Violin Playing by Irvine Arditti, Robert H.P. Platz, and Richard Toop, it can be difficult to decide where to begin in teaching someone the fundamentals of contemporary music.

With such a wide range of new compositional devices and technical demands, finding a way to cover a fraction of the challenges contemporary music presents may be daunting. This document

6 will therefore organize solo violin repertoire into four distinct categories. If students can learn a variety of representative works, they will not only become familiar with different types and forms of contemporary music but will also be prepared to handle the technical challenges as well.

The four categories that the pieces will be divided into are: (1) unusual tonalities and rhythms; (2) extended techniques; (3) pieces that incorporate the American vernacular and other styles; and (4) minimalism, postminimalism, and electronics. Some of these works may incorporate several aspects representative of these groupings; however, the repertoire has been organized to best highlight the specific issues representative of each category.

The pieces selected for this treatise had to meet several criteria. First, the piece had to have been written for solo violin. Although contemporary music presents itself in many genres, ensemble works present additional obstacles that can be addressed once a basic foundation for performing contemporary music has been established. The second criterion for selection was that the work must have been composed after 1975 in order that violinists can be exposed to the contemporary writing of the present generation. In further acquainting violinists with the music of the present as well as the compositional talent in the United States, the composers of the selected works must currently reside in the United States. Finally, it is important to note that the duration of the pieces was also taken into consideration under the assumption that shorter pieces will allow for more repertoire, both standard and contemporary, to be learned throughout the four-year curriculum plan.

To accommodate the broad ability levels of violin playing at colleges, universities, and conservatories, this treatise presents a variety of pieces representative of different technical levels. The compositions included in each chapter are therefore organized from least to most

7 challenging. In the category listed at the beginning of each entry titled “General Level,” one or two pieces have been selected from the western music canon in order to relate each contemporary music composition to the “general level” of a piece from the standard repertoire.

The technique and musicality learned in ’s No. 1 in G Minor serves as the starting point for the level of difficulty of the contemporary solo violin works chosen for this treatise. In some instances, the contemporary pieces may help prepare students for particular technical issues presented in the standard repertoire.

Filtering, evaluating, learning, and teaching accessible contemporary music is a challenging process, especially with so much music that is already in existence. In finding a way to incorporate some, if not many, of these selected pieces into the undergraduate curriculum, violinists and pedagogues at higher education institutions will find that it is possible to connect with the composers and writing styles of the present. Through the enrichment of the standard curriculum plan, violinists will not only learn the tools necessary to handle the music of the twentieth and twenty-first centuries but will also develop a greater appreciation for the music of this era.

8 CHAPTER 2

LEAVING THE NEST: PIECES THAT EXPLORE UNUSUAL TONALITIES AND RHYTHMS

For some, the thought of playing contemporary music can be very intimidating due to the extremity of the techniques and overall atypical difficulties presented in the music. Trying to grasp what is going on harmonically can present a challenge as well. In order to find a starting point for conquering such hesitations and qualms, this chapter will present several pieces that represent standard writing practices heard in music of the western canon while simultaneously addressing some of the exciting complexities of contemporary music, especially in regards to atonality and rhythm.

Morton Feldman: For Aaron Copland (1981)

Duration: 3 to 6 minutes

Publisher: Universal Edition

Recommended Recording: Feldman, Morton. Morton Feldman: Complete Violin/ and

Piano Works. Christina Fong, violin. OgreOgress productions 10-83168-LJ23, 2003. CD.

General Level: Max Bruch’s Violin Concerto No. 1 in G Minor, Op. 26

A composer that “no musician or scholar interested in music of the twentieth century can afford to overlook,” the esteemed New York experimentalist Morton Feldman (1926-1987) was a unique character in the music world.23 Although Feldman chose not to pursue a formal degree in music, he proved himself immensely successful as a composer. In addition to learning to play

23 Thomas DeLio, The Music of Morton Feldman (New York: Excelsior Music Publishing Company (Zinn Communications, Inc.), 1996), xiv.

9 the , Feldman studied composition with (1885-1961) and Stefan

Wolpe (1902-1972).24 Throughout his life, his colleagues played a large part in his compositional career. His friendship with John Cage (1912-1992) in the 1950s led to the creation of The New

York School of composition.25 In addition, his relationship with abstract expressionist painters inspired his craft.26 At the State University of New York at Buffalo, he served as the Edgard

Varèse Professor of Music from 1973 until his death in 1987.27

Feldman, along with John Cage, Christian Wolff (b. 1934), and (1926-

2002), founded the American experimentalist style.28 Although this consisted of many different types of writing, it was predominantly characterized by its “opposition to the values and aesthetics of the modernist avant-garde.”29 Feldman, who was an outgoing individual, wrote music that was quite different from his personality.30 His compositional style is recognized as

“inward and withdrawn, seldom raising his musical voice above a whisper.”31 Feldman’s music is also characterized by its slow tempo and minimal, repetitive quality. In addition to his fame as an American experimental composer, he is also recognized for the graphic notation of his scores.32

24 Catherine Hirata, “Morton Feldman (1926-1987),” in Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook, ed. Larry Sitsky. (Westport, CT: Greenwood Press, 2002), 131. 25 Steven Johnson, ed., The New York Schools of Music and : John Cage, Morton Feldman, Edgard Varèse, , Jasper Johns, Robert Rauschenberg (New York: Routledge, 2002), 159. 26 Hirata, “Morton Feldman (1926-1987),” 131. 27 Ibid. 28 , : Cage and Beyond, 2nd ed. (Cambridge: Cambridge University Press, 1999), 50. 29 Cecilia Sun, “Experimental music,” in Grove Music Online (Oxford University Press, 2007-2015), accessed February 11, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2224296. 30 Alex Ross, The Rest Is Noise: Listening to the Twentieth Century (New York: Farrar, Straus and Giroux, 2007), 527. 31 Ibid. 32 DeLio, The Music of Morton Feldman, xiii.

10 Written in celebration of Aaron Copland’s eightieth birthday, For Aaron Copland (1981) is an excellent introduction to the music of Morton Feldman.33 Through a simplistic approach, the composer creates a meditative piece that is quite accessible for any level of player while simultaneously presenting both unfamiliar and recognizable techniques. The most defining aspect of this piece is the expansiveness of the melodic gestures. With a metronome marking of quarter note equals 56, each measure includes either one or two notes, written as half notes, dotted quarter notes, or quarter notes. These note values are differentiated through the variation of time signatures, which change almost every measure; the presence of rests; and the inclusion of quarter-note triplet figures.

Example 1: Morton Feldman, For Aaron Copland, mm. 7-12

Morton Feldman “For Aaron Copland|für Violine” © Copyright 2004 by Universal Edition () Ltd., London/UE 21287

Additionally, each note does not always begin on the downbeat. Despite all of the variations in rhythm, the performer must accurately convey the correct number of beats throughout the piece in order that the music maintains the rhythmic current Feldman has established. In regards to the language, Feldman does not employ any accidentals and frequently writes , giving the piece a hollow sound. The composer also asks that the

33 Brian O’Doherty and Francesco Pellizzi, Vertical Thoughts: Morton Feldman and the Visual Arts (Ireland: Irish Museum of , 2011), 10.

11 violinist play the piece muted and at mezzo piano, the only dynamic marking notated in the entire piece.

For Aaron Copland requires much patience on behalf of the performer in order to help the listener enter a similar mindset. The performer must also figure out what to do musically with the very fragmented musical line.34 From the standpoint of improving standard , this piece draws attention to bow control, string crossings, harmonics, and sound quality.

Because of the quiet atmosphere that For Aaron Copland creates, it is vital that the violinist be aware of the color and the different strings produce. The sparse texture requires particular attention to intonation. The violinist will also need to determine the type or absence of vibrato.

Samuel Adler: Meadowmountetudes: Four Studies of 20th-Century Techniques (1988)

Duration: 8 minutes

Irregular Meters (1:26) A Waltz in Fast Shifting Tonalities (1:43) Large Skips and Harmonics (3:42) A Fast and Furious “Not Too Tonal” Perpetual Motion (1:55)

Publisher: Theodore Presser Company

Recommended Recordings: Adler, Samuel. Samuel Adler: Works for and Other

Small Ensembles. William Steck, violin. Navona Records NV5885, 2012. CD.

General Level: Max Bruch’s Violin Concerto No. 1 in G Minor, Op. 26

American composer and conductor Samuel Adler (b. 1928) represents one of the leading figures of the twentieth century. Originally from Germany, Adler received excellent musical

34 “Morton Feldman (1926-87) - For Aaron Copland,” Vimeo video, 4:55, June 14, 2014, http://vimeo.com/98233957.

12 training throughout his life, having been raised in a musical household.35 Upon attending Boston

University to earn his Bachelor of Music, he studied with Hugo Norden. While pursuing his

Master of Arts at , Adler studied with (1895-1963), Walter

Piston (1894-1976), Randall Thompson (1899-1984), and Irving Fine (1914-1962). He later studied with Aaron Copland (1900-1990) while a student at the Tanglewood Music Center.36 He also pursued studies in , learning from (1874-1951).37

In addition to his extensive compositional output and noteworthy work ethic, Adler has held a myriad of positions.38 As a composer, Adler has served on the faculty of North Texas

State University, the , and currently The .39 As a conductor, he has worked with various throughout the United States and the world, one of his most notable positions having been conductor of the Seventh Army Symphony

Orchestra which he founded while serving in the Army.40

In addition to composing music, Adler has also written several textbooks including Sight

Singing (1979, 1997) — an ear-training book that takes a contemporary approach in that it does not include key signatures but rather accidentals within the excerpts; The Study of Orchestration

(1982, 1989, 2001); and Choral Conducting (1971, 1985).41

With an extensive educational background, Adler’s music is a kaleidoscope of different musical styles. Although some of the defining aspects of his music include “great rhythmic vitality, with a predilection for asymmetrical rhythms and meters, and a keen sensitivity to

35 Marie Rolf. “Adler, Samuel.” Grove Music Online. Oxford Music Online. Oxford University Press, accessed February 19, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/00206. 36 Howard Pollack, Harvard Composers: and His Students, from Elliott Carter to Frederic Rzewski (Metuchen, N.J.: Scarecrow Press, 1992), 277. 37 Samuel Adler, “Biography,” accessed February 19, 2015, http://www.samuelhadler.com/#!biography/c4nz. 38 Pollack, 273. 39 Rolf, “Adler, Samuel,” in Grove Music Online. 40 Adler, “Biography.” 41 Ibid.

13 ,” some of his music is colored by serialism while other works are pan-diatonic in harmony.42 His music sometimes includes characteristics of chance music as well as improvisation.43

Written in 1988, Meadowmountetudes: Four Studies of 20th-Century Techniques was

inspired by Adler’s brief time at the summer music program, the Meadowmount School of

Music. While there, he had several opportunities to talk with the students. After a discussion

about the evolving composer-performer relationship, one of the students asked Adler to

compose a piece that could be performed the next day. In doing so, Adler wrote the first of what

would become the Meadowmountetudes, dedicating the work to the requesting violinist, Anna

Malkin. The composer wrote the next etude shortly after when Anna’s sister, Bracha Malkin,

demanded that Adler compose a piece for her as well. Dedicating the second piece to Bracha,

Adler decided to compose two more pieces to complete the work. The third piece was dedicated

to his colleague and former Eastman School of Music violin professor Catherine Tait. The last

one was for Charles Treger, violinist and at that time, director of the Meadowmount School of

Music.44

Meadowmountetudes is an excellent tool for addressing atonality in the context of familiar classical elements. Although there are several dissertations and treatises that identify

Meadowmountetudes as an etude book, this piece could also be used in performance. In the first movement, “Irregular Meters,” Adler has composed melodies made up of atonal double stops, consisting of such intervals as the minor second, tritone, augmented fifth, and major seventh, among others. In doing so, there is no key signature but instead a plethora of accidentals. In order

42 Rolf, “Adler, Samuel,” in Grove Music Online. 43 Ibid. 44 Samuel Adler, Samuel Adler: Works for String Quartet and Other Small Ensembles, William Steck, violin, Navona Records NV 5885, 2012, Liner notes by Samuel Adler.

14 to create irregular meters throughout the piece, Adler does not include a time signature but rather establishes the meter by varying the number of beats in each measure. From a technical standpoint, this piece presents an opportunity to practice off-the-string playing in a fast tempo. It is also helpful for practicing intonation and improving one’s aural skills.

The second movement, “A Waltz in Fast Shifting Tonalities,” incorporates more chromatic inflections, especially from note to note, in the context of the familiar waltz. The third movement “Large Skips and Harmonics,” presents more of a challenge for the violinist, addressing not only octave displacement of atonal harmonies but also harmonics. This piece includes sudden dynamic changes, ranging from a triple piano to a triple forte. The violinist also has the opportunity to practice glissandi. In the final movement, “A Fast and Furious ‘Not Too

Tonal’ Perpetual Motion,” the violinist must once again practice chromatic alterations in the context of a fast tempo. Some of the finger patterns require fast shifting and/or extensions. This piece is also an excellent ear training exercise.

Additional Solo Violin Repertoire by Samuel Adler: Canto III (1976); In Memory of Milton

(2011)

Elliott Carter: Mnemosyné (2011)

Duration: 2 minutes

Publisher: Boosey & Hawkes

Recommended Recording: Carter, Elliott. Elliott Carter: 103rd Birthday Concert, New York

City. Rolfe Schulte, violin. NMC Recordings D193, 2013. CD.

General Level: ’s Violin Concerto in E Minor, Op. 64, II. Andante

15 A study of contemporary music would not be complete without an examination of Elliott

Carter (1908-2012). One of the most recognized names in contemporary music, this New York composer made a lasting impact on the twentieth and twenty-first centuries through his distinctive use of rhythm and harmony. Although he developed an interest in contemporary music very early on in life, the only musical studies he pursued as an adolescent were piano lessons.45 Later inspired by his friendship with (1874-1954) and the music of such modernist composers as (1897-1965) and (1901-1953),

Carter decided to pursue composition.46 Carter studied with such composers as Walter Piston

(1894-1976) and (1874-1934) while pursuing a Master of Arts at Harvard

University.47 His studies further took him to the Ecole Normale de Musique de where he studied with .48 Three years later, Carter moved back to the United States where he experienced phenomenal compositional success, receiving numerous awards for his music including two Pulitzer Prizes.49 Additionally, he has held teaching positions at The Juilliard

School, , and the Massachusetts Institute of Technology, among others. He “is internationally recognized as one of America’s leading voices of the tradition.”50

Throughout the hundreds of pieces that Carter composed during his lifetime, both his large- and small-scale works depict an evolution of compositional style. Carter’s early works exhibited the neoclassical style. However, “[b]y teaching himself and resisting the role of being someone else’s disciple and heir, he fashioned the means to lend his music a distinctive

45 and Mark D. Porcaro, “Carter, Elliott.” in Grove Music Online, (Oxford University Press, 2007- 2015), accessed December 19, 2014, http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2257467. 46 Ibid. 47 Ibid. 48 Ibid. 49“Elliott Carter,” Boosey & Hawkes, accessed December 19, 2014, https://boosey.com/pages/cr/composer/composer_main.asp?composerid=2790&ttype=BIOGRAPHY&ttitle=Biogra phy. 50Ibid.

16 character.”51 Guided by American ultramodernism and the European avant-garde, Carter’s compositional style transformed. Over the years, his music exhibited new extremes, as could be heard in the “contrapuntal partitioning of harmonic intervals, the use of recurring all-interval chords which unite the opposed harmonies, and systematic contrasts of tempo framed by large- scale polyrhythmic designs.”52

Mnemosyné (2011) was written and performed for the celebration of Elliott Carter’s 103rd birthday. Although the work is dedicated to his wife Helen, the piece was written for German violinist Rolf Schulte, who performed it in New York on December 8, 2011 at Carter’s birthday concert.53 As was noted with many of his other unaccompanied pieces, “[e]ach work is a story with various characters interacting, influencing, arguing” and demonstrates his later compositional style.54

Mnemosyné is a lyrical and unhurried piece that presents technical and musical challenges both new and familiar. However, this piece also serves as a window into Elliott

Carter’s style as many of these techniques are frequently found in his other works. In regards to contemporary music elements, Mnemosyné addresses complexities in rhythm and .

Written in 2/2 meter, the composer has indicated a tempo marking of Teneramente (“tenderly”) with a metronome marking of a half note equaling 48. Although at first glance the majority of the rhythm appears straightforward, Carter includes a few tasks that make this piece slightly less comfortable. One element, although only occurring twice, is the use of irrational rhythm. This “is a rhythm change within a tempo.”55 In the first instance of this, Carter uses the ratio 9:8 to

51 Leon Botstein, “Elliott Carter: An Appreciation,” The Musical Quarterly 91, no. 3–4 (Sep. 2008): 153. 52 Schiff and Porcaro, “Carter, Elliott,” in Grove Music Online. 53 Elliott Carter, Mneymosyné for Solo Violin (New York: Hendon Music, Inc., 2011), composer’s note. 54 Schiff and Porcaro, “Carter, Elliott,” in Grove Music Online. 55 Irvine Arditti, Robert H. P. Platz, and Richard Toop, The Techniques of Violin Playing = Die Spieltechnik der Violine (Kassel: Bärenreiter, 2013), 82.

17 indicate that one eighth note followed by seven sixteenth notes need to fit in the context of one beat, which is equivalent to eight sixteenth notes. In the second instance, nine sixteenth notes need to fit in the context of one beat, which is again equivalent to eight sixteenth notes. In order to perform these accurately, the notes will have to be played in a shorter amount of time, resulting in a slightly faster tempo for each particular figure.56

Additionally, the presence of rests and lack of an to fill in the silences throughout the piece require the violinist to be secure on where to place each beat. In regards to tonality, Carter uses accidentals in place of a key signature, minimizing the sense of being in one particular key. The occurrence of large leaps in the melodic line furthermore presents opportunities for improving accurate shifting as well as ear training. On a separate note,

Mnemosyné requires an understanding of harmonics. It is the responsibility of the violinist to determine how to sound the actual note printed in the score.

In addressing typical issues found in the standard repertoire, this piece presents an excellent opportunity to improve the legato as well as vibrato. Through the incorporation of small crescendos and decrescendos, sudden dynamic changes, and tenuto markings, the violinist can practice varying the weight, speed, and contact point of the bow. The piece also presents an opportunity to introduce . (This bow stroke, however, is not a predominating aspect of the piece.) Overall, the violinist will have the opportunity to practice playing expressively.

Additional Solo Violin Repertoire by Elliott Carter: 4 Lauds (1984-2000)

56 Ibid.

18 Bruce Adolphe: The Bitter, Sour, Salt Suite: Music and Poems about Food (1995)

Duration: Approximately 20-25 minutes. According to the composer, “[t]ime varies as the 8 movements may be performed separately.”57

Chili Pepper (3:00) Chocolate Cake (2:00) Mixed Nuts (3:00) Meringue (3:00) Butter (2:00) Tomatoes (3:00) Beef Stew (3:00) Champagne (3:00)

Publisher: Keiser Classical58

Recording: No commercial recording available

General Level: Antonin Dvorák’s Violin Concerto in A Minor, Op. 53

Perhaps most recognized for his Piano Puzzlers on American Public Media’s

Performance Today, composer Bruce Adolphe (b. 1955) leads a very successful and multifaceted career. A native of New York and the son of two folk dancers, Adolphe began his musical training playing the piano. However, he was not satisfied learning one instrument, exploring a plethora of others that ranged from the to the viola. At the age of ten, Adolphe began composing music; and at sixteen, he enrolled in the composition program at The Juilliard School where he studied with (1916-2011) and Vincent Perischetti (1915-1987).59

Some of the most respected artists in the world perform Adolphe’s music, including

Itzhak Perlman, Joshua Bell, Yo-Yo Ma, and the Orpheus Chamber Orchestra, among a

57 Bruce Adolphe, “Concert Music,” accessed January 11, 2015, http://bruceadolphe.com/works/concert-music/. 58 NB: One does not need permission to perform this piece in an educational setting; however, outside performances may need permission from BMI. 59 Tom Moore, “Bruce Adolphe: An Interview,” Opera Today, accessed January 11, 2015, http://www.operatoday.com/content/2010/09/bruce_adolphe_a.php.

19 multitude of others on major CD labels, including Telarc, Delos, , and New World.60 He is currently Composer-in-Residence at the University of Southern California’s The Brain and

Creativity Institute. Adolphe is also the Resident Lecturer and Director of Family Concerts for the Society of Lincoln Center and the Creative Director of The Learning

Maestros in New York.61 In the past, he has served on the faculties at The Juilliard School, New

York University, and Yale University.62 He is the author of several books, including The Mind’s

Ear: Exercises for Improving the Musical Imagination and What to Listen for in the World.63 A creative composer, Adolphe’s “style is characterized by harmonies built on extended tonal chords which relate in non-key-centered progressions.”64 In addition, he frequently incorporates elements of jazz.65

The Bitter, Sour, Salt Suite: Music and Poems about Food (1995) was written for and dedicated to violinist Itzhak Perlman. The piece was inspired by several conversations the two men had while sharing meals together.66 In a collection of eight pieces, Adolphe depicts a variety of foods and beverage, including “Chili Pepper,” “Chocolate Cake,” “Mixed Nuts,” “Meringue,”

“Butter,” “Tomatoes,” “Beef Stew,” and “Champagne.” The violinist has the option of programming all, some, or just one of the movements in a concert setting. There is no particular order in which the pieces need to be performed.67

In addition to the music, each piece is accompanied by a poem written by Louise Gikow.

Gikow and Adolphe have collaborated on several occasions, producing works for children that

60 Bruce Adolphe, “About: Bruce Adolphe Composer,” accessed January 11, 2015, http://bruceadolphe.com/about/. 61 Ibid. 62 Ibid. 63 James P. Cassaro, “Adolphe, Bruce,” in Grove Music Online (Oxford University Press, 2007-2015), accessed January 11, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/42674. 64 Ibid. 65 Ibid. 66 Bruce Adolphe, The Bitter, Sour, Salt Suite: Music and Poems about Food for Solo Violin (Maryland Heights, MO: Keiser Classical (BMI), 1995), 4. 67 Ibid., 5.

20 are musically and verbally descriptive through the inclusion of stories and poetry to accompany the music. Before performing each piece, it is necessary that the violinist deliver the poetry to the audience, as they assist in the depiction of the food and drink the pieces are about.68

Whether one likes contemporary music or not, The Bitter, Sour, Salt Suite is sure to instill a sense of delight as well as hunger in both students and teachers. In addition to humor, this piece serves as an excellent tool for giving students a “taste” of contemporary music through less common tonalities and rhythms, as well as a hint of extended techniques. Through several successions of eighth notes, sixteenth notes, and/or thirty-second notes, Bruce Adolphe keeps the violinist busy not only with the number of notes presented in each piece but the existence of accidentals throughout. Without a key signature, the accidentals make the music appear overwhelming. Yet, many of the passages are made up of measures that are repeated several times, giving the violinist the opportunity to examine new and standard finger patterns as well as work for consistent intonation. For instance, the first four notes of measure 3 in “Chili Pepper” present an unconventional finger pattern followed by a pattern that is identical to the first four notes of a minor scale.

Example 2: Bruce Adolphe, The Bitter, Sour, Salt Suite, “Chili Pepper,” m. 3

Used by permission of Keiser Classical

68 Ibid., 1.

21 Although the rhythm in this work is predominately straightforward, there are moments of syncopation that give the music an element of jazz, as can be heard in “Meringue.” Furthermore,

Adolphe changes meter frequently, as in “Mixed Nuts” and “Beef Stew.” In regards to extended techniques, Adolphe includes glissandi (“Chocolate Cake”) as well as vibrato glissandi

(“Butter”). This piece occasionally presents double stops (“Chocolate Cake,” “Beef Stew”) and sometimes ends with a harmonic (“Tomatoes,” “Beef Stew”). The last movement, “Champagne,” includes a sound effect in which the violinist must play a loud at the beginning and end of the piece to represent removing the cork from a champagne bottle.69 Finally, the theatrical element of delivering poems to the audience before performing each piece may present a challenge for some. Overall, this work is an excellent example of text .

John Harbison: Four Songs of Solitude (1985)

Duration: 15 minutes

I. (3:28) II. (2:50) III. (4:20) IV. (4:24)

Publisher: Associated Music Publishers, Inc.

Recommended Recording: Curtis Macomber, violin. Curtis Macomber: Songs of Solitude. New

World Records NWCR706, 2007. CD.

General Level: Max Bruch’s , Op. 46

A native of Orange, New Jersey, John Harbison (b. 1938) has made a name for himself not only as a composer of instrumental works but also of vocal works. The son of a pianist and a professor of history, Harbison began his musical studies at a very early age. He studied the

69 Ibid., 30.

22 piano, violin, and later, composition. In addition to classical music, Harbison also enjoyed jazz and was the leader of a in high school.70 The composer received a Bachelor of Arts from Harvard University and a Master of Fine Arts from . Some of his major professors include Earl Kim (1920-1998), Walter Piston (1894-1976), and

(1896-1985).71

Harbison has won numerous awards, including the Pulitzer Prize in 1987 for his work

The Flight Into Egypt (1986). Additionally, he has won the Heinze Award and a MacArthur

Fellowship. Harbison is also active as a teacher and mentor. He is currently on the faculty at the

Massachusetts Institute of Technology (since 1969). Harbison has held many residencies, including positions with the Philharmonic and the Pittsburgh Symphony orchestras.72 He has also mentored students at The Festival of Contemporary Music at

Tanglewood Music Center.73

As a composer of orchestra, chamber ensemble, solo, wind ensemble, chorus, opera, , and works, Harbison’s style can be described as “eclectic.”74 Although several of his early compositions exemplify elements of serialism, Harbison’s style has evolved over time.75 Today, he is recognized as a later generation New Romantic, along with such composers as Christopher Rouse (b. 1949) and Ellen Taaffe Zwilich (b. 1939).76 As a composer of a substantial number of vocal works (including opera), much of Harbison’s music is lyrical

70 Mike Seabrook, “John Harbison and His Music,” Tempo New Series, no. 197 (Jul. 1996): 7. 71 David St George, “Harbison, John,” in Grove Music Online (Oxford University Press, 2007-2015), accessed December 31, 2014, http://www.oxfordmusiconline.com/subscriber/article/grove/music/47252. 72 Ibid. 73 Seabrook, “John Harbison and His Music,” 8. 74 St George, “Harbison, John,” in Grove Music Online. 75 Ibid. 76 Richard Crawford, America's Musical Life: A History (New York: W.W. Norton & Company, 2001), 827.

23 and atmospheric in style.77 Additionally, he has been applauded for his idiomatic string writing.78

Harbison’s inspirations include Bach, Stravinsky, and jazz.79

Written in 1985, Four Songs of Solitude was a gift for violinist Rose Mary Harbison, his wife.80 That same year, she premiered the work at Harvard University.81 Rose Mary is clearly

Harbison’s muse, as this work is one of many that have been composed for her.82 The compositional style of this piece, as well as many of his other works for violin, was influenced by her playing.83 According to Sarah Schreffler, this work “is an introspective set of pieces for solo violin that features thoughtful, often gentle, writing.”84

One of the more challenging works included in this chapter, Four Songs of Solitude explores atypical rhythms and tonalities while maintaining the fluent writing of a standard violin composition. Because the piece becomes progressively more difficult with each movement, the first two movements would be most appropriate for an undergraduate violinist.

Four Songs of Solitude presents an opportunity to make music sound improvisatory. For example, the first song — which is written in 3/4 time and is rather slow (quarter note equals 66)

— is embellished through the use of grace notes, offset slur markings, and variations in the grouping of sixteenth notes (including triplets, quintuplets, and sextuplets). The improvisatory character is enriched further through unexpected dynamic changes, including the frequent presence of crescendos and decrescendos. (On a separate note, the last movement includes irrational rhythms as was seen in Elliott Carter’s Mnemosyné.)

77 Brian Morton and Pamela Collins, ed., Contemporary Composers (: St. James Press, 1992), 368-69. 78 Ibid., 369. 79 St George, “Harbison, John,” in Grove Music Online. 80 John Harbison, Four Songs of Solitude: for Solo Violin (New York: Associated Music Publishers, Inc. (BMI), 1985), program note. 81 Ibid. 82 Sarah Schreffler, “A Performer's Guide to John Harbison's “Four Songs of Solitude” (DMA research paper, State University, 2012), 6. 83 Ibid., 6. 84 Ibid., 8.

24 In examining the tonality of Four Songs of Solitude, this piece incorporates a number of chromatic inflections. For instance, in the second song, Harbison alternates between the keys of

C and C-sharp through the use of accidentals, further distinguishing between the lyrical and agitated characters Harbison establishes in this movement.85 In addition, the composer does not shy away from writing perfect intervals, which can be heard not only in the melodic line but also in the double and triple stops.

Another hurdle this piece presents is selecting fingerings for the non-idiomatic passages.

The composer has purposely not included fingerings in the score in order that the violinist can be independent and innovative in the practice room.86 From a technical standpoint, the first movement addresses issues of shifting and bow changes. The second movement requires spiccato for the sixteenth-note passages.

Additional Solo Violin Repertoire by John Harbison: For Violin Alone (2014), Painting the

Floors Blue (2015)

Summary

As can be noted in the works by Feldman, Adler, Carter, Adolphe, and Harbison, contemporary music presents a different harmonic and rhythmic language that many classically trained violinists might not find familiar. Whether choosing to give a student a technical challenge or encouraging him or her to explore contemporary music, the pieces in this chapter present an introduction to the tonalities and rhythm found in new music. Additionally, these composers are some of the most important musicians in history. With the knowledge of such harmonic and rhythmic language as well as a familiarity with some of the major composers of

85 Ibid., 25. 86 Ibid., 53.

25 the twentieth and twenty-first centuries, students will find that despite the unexpectedness of the music, contemporary solo violin repertoire can be very interesting and exciting to play.

26 CHAPTER 3

FOR THE COURAGEOUS SOUL: EXTENDED TECHNIQUES

Upon learning and performing a piece from the last chapter, the undergraduate violinist should feel more prepared to handle the striking elements presented in the works in this chapter.

Chapter Three introduces violinists to some of the most defining components of contemporary music: extended techniques. Through the incorporation of atypical right- and left-hand techniques, the solo violin repertoire presented in this chapter takes violin playing to a different dimension, giving performers the opportunity to explore other means of producing unique and sound effects on their instruments. Through the examination of various extended techniques, this chapter will not only give students new and useful tools for playing contemporary music but also show them that playing new music can be an enjoyable challenge.

Keeril Makan: mu (2007)

Duration: 3 minutes

Publisher: Lambhat Press (ASCAP)

Recommended Recording: Makan, Keeril. Afterglow. Erik Carlson, violin. Mode 257, 2013.

CD.

General Level: ’s Légende, Op. 17; Max Bruch’s Violin Concerto No. 1 in

G Minor, Op. 26

American composer Keeril Makan (b. 1972) presents a compositional flair that has a unique quality. The son of a Russian Jew and a South African Indian, he studied violin during his

27 childhood in New Jersey.87 He attended the Interlochen Center for the Arts for high school and during that time began to take an interest in composition.88 Makan continued his composition studies at Oberlin College where he earned a Bachelor of Music while subsequently earning a

Bachelor of Arts in religion.89 His composition teachers at Oberlin include Richard Hoffmann (b.

1925) and Randy Coleman (b. 1937).90 He went on to earn a Master of Arts and a Doctor of

Philosophy in composition from the University of California-Berkeley.91 It was here that he studied with Jorge Liderman (1957-2008).92 Makan has won numerous awards, including a

Guggenheim Fellowship and a Fulbright Award.93 Additionally, he has received commissions from such notable artists as the All-Stars, Alarm Will Sound, and .

The International Contemporary Ensemble and Kronos Quartet are a few of several ensembles that have recorded his works.94 Makan currently serves as Associate Professor of Music at the

Massachusetts Institute of Technology in Cambridge, Massachusetts.95

Although Makan pursued compositional studies as early as high school, the relaxed instruction he received from the beginning forced the composer to embark on his own distinct path.96 Folk music from the 1920s and 1930s, for instance, has played a predominant role in

Makan’s style.97 Gerard Grisey (1946-1998), Gyorgy Ligeti (1823-2006), and Salvatore

87 Keeril Makan, “Bio,” accessed December 22, 2014, http://keerilmakan.com/#/bio. 88 David Weininger, “Keeril Makan's 'Return' to Premiere Wednesday,” , October 19, 2012, accessed December 22, 2014, http://www.bostonglobe.com/arts/music/2012/10/19/pacifica-string-quartet-perform- keeril-makan-new-return/LuPTnB4Sk1elaKHUqPs8gL/story.html. 89 Makan, “Bio.” 90 Heidi Waleson, “Making It New,” Oberlin Conservatory Magazine 2009-2010 issue, accessed December 22, 2014, http://www.oberlin.edu/con/connews/2009-10/making.htm. 91 Makan, “Bio.” 92 Matt Mendez, “Keeril Makan: Afterglow on Mode,” I CARE IF YOU LISTEN, November 8, 2013, accessed December 22, 2014, http://www.icareifyoulisten.com/2013/11/keeril-makan-afterglow-on-mode/. 93 Makan, “Bio.” 94 Ibid. 95 Ibid. 96 Weininger, “Keeril Makan's 'Return' to Premiere Wednesday.” 97 Ibid.

28 Sciarrino (b. 1947) have also influenced his writing style.98 According to one source, “[t]hough a few disparate influences can be picked out—Steve Reich-style minimalism, or the sonic experimentation of the European avant-garde—they fit into no convenient category.”99 However, the multitude of interests is due to the fact that “the goal for Makan is to write music that is true to his experience, and open to change.”100

In 2007, Keeril Makan composed mu for the New York Miniaturist Ensemble. In writing for “a group that only plays music with 100 notes or fewer,” Makan was responsible for creating a work that was effective but brief.101 mu has several meanings, including: “neither yes nor no” in Zen Buddhism; the prefix for one millionth; a hypothetical continent on Earth; or in the Greek alphabet, the twelfth letter.102 According to one source, mu, along with some of his other solo pieces, “focus[es] on bringing the attention to the materiality, temporality, and physicality of instruments…” and “…being in the world through sound.”103 Masumi Per Rostad, violist of the

Pacifica Quartet, asked Makan to arrange mu for solo viola, which was completed two years later.104

Although this piece is quite simple and concise, Makan’s mu introduces some of the most fundamental extended techniques for violin. In regards to the right hand, the violinist will learn to play tratto and col legno battuto. The left hand will perform harmonics and left-hand pizzicato. In addition, the composer provides specific instructions for repeats, timbres, and bow

98 Peter Dizikes, “Knowing the Score,” MIT News, November 29, 2012, accessed December 22, 2014, http://newsoffice.mit.edu/2012/faculty-profile-makan-music-1129. 99 Weininger, “Keeril Makan's 'Return' to Premiere Wednesday.” 100 Ted Gordon, “Composer Spotlight: Keeril Makan,” PSNY, April 4, 2013, accessed December 22, 2014, https://www.eamdc.com/psny/blog/composer-spotlight-keeril-makan/. 101 David Bruce, “New York Miniaturist Interview 565,” Composition: Today, May 30, 2006, accessed December 1, 2014, http://www.compositiontoday.com/interviews/nyme.asp. 102 Keeril Makan, accessed December 22, 2014, http://keerilmakan.com/wordpress/wp- content/uploads/2011/10/Makan_MuProgramNote.pdf. 103 Gordon, “Composer Spotlight: Keeril Makan.” 104 Keeril Makan, “Music: Mu,” accessed December 22, 2014, http://keerilmakan.com/#/music/mu.

29 placement and pressure. The most prominent of the extended techniques in this piece, however, is the use of a prepared violin. In mu, Makan requires two paperclips to be attached to the strings in the space between the bridge and the to create a unique timbre from the instrument. Before beginning to play, one paperclip must be placed about half of an inch away from the bridge around the A and E strings and the other should be fastened about half an inch away from the fingerboard around the G and D strings. With the addition of these attachments in combination with the extended right- and left-hand techniques, the violinist is able to create a rather surreal sound from the instrument.

In order to have a deeper understanding of the lineage of this solo violin piece, an explanation of John Cage and the is crucial. John Cage is one of the most prominent American composers in contemporary music. In addition to the invention of , Cage was also responsible for the creation of the prepared piano. By inserting objects such as bolts and screws between piano strings, Cage found ways to alter the timbre of certain pitches on the instrument.105 Likewise, Makan has transferred this concept through the application of paperclips to the strings on a violin.

Composed in 4/4 time, the composer changes the metronome markings three different times throughout the piece (quarter note equals 63, 60, and 56). mu is very straightforward rhythmically, including, at the most difficult level, triplets and quintuplets. There is no key signature, and the work only consists of open strings and natural harmonics.

Lera Auerbach: Lonely Suite (Ballet for a Lonely Violinist), Op. 70 (2002)

Duration: 9 minutes

105 James Pritchett, et al. “Cage, John,” in Grove Music Online (Oxford University Press, 2007-2015), accessed December 26, 2014, http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2223954.

30 Dancing with Oneself (2:17) Boredom (1:22) No Escape (1:28) Imaginary Dialogue (3:17) Worrisome Thought (1:14) Question (1:09)

Publisher: Sikorski Musikverlage

Recommended Recording: Shostakovich, Dmitry, and Lera Auerbach. Ballet for a Lonely

Violinist: Music for Violin and Piano. Vadim Gluzman, violin. BIS BIS-CD-1592, 2006. CD.

General Level: Felix Mendelssohn’s Violin Concerto in E Minor, Op. 64

A native of Russia, Lera Auerbach (b. 1973) has established a reputation not only as a composer in the United States, but also as a pianist, poet, and visual artist.106 As the daughter of a mother who taught college-level piano and a father who was an engineering professor as well as a poet, Auerbach was introduced to music and writing at a very early age.107 She wrote her first opera at the age of twelve.108 At the age of seventeen, upon performing as a pianist in the United

States as part of a cultural exchange program through her school, she made the decision to stay in the U.S.109 She studied piano and composition at The Juilliard School where she earned both her

Bachelor of Music and Master of Music. She also briefly studied at Germany’s Hanover

University of Music, Drama, and Media, where she pursued post-graduate work in piano.110

Auerbach was a composition student of Milton Babbitt (1916-2011) and (b.

106 Lera Auerbach, “Profile,” accessed January 6, 2015, http://www.leraauerbach.com/profile. 107 Stewart Oksenhorn, “Russian-born Pianist Lera Auerbach Returns to Aspen,” The Aspen Times, July 12, 2012, accessed January 6, 2015, http://www.aspentimes.com/article/20120713/AE/120719950. 108 “The Bernard Osher Foundation Virtuosi Series,” San Francisco Performances, accessed January 6, 2015, http://sfperformances.org/performances/1415/AuerbachHopeRoman.html. 109 Oksenhorn, “Russian-born Pianist Lera Auerbach Returns to Aspen.” 110 Auerbach, “Profile.”

31 1954). As a pianist, she has worked with Joseph Kalichstein (b. 1946), Einar Steen-Nøkleberg (b.

1944), and Nina Svetlanova (b. 1932).111

Auerbach has written a number of works in varying genres including solo, chamber, orchestra, opera, choral, and ballet that have been performed by some of the world’s most recognized artists.112 Germany’s Staatskapelle Dresden, Switzerland’s Verbier Festvial, and the

United States’s Marlboro Festival are only some of the many orchestras and music festivals for which Auerbach has been in residence as a composer.113 Auerbach’s compositional style combines both the standard and the obscure. According to one source, “it is no contradiction to use classical tonality and classical formal language in order to find new paths” for Auerbach.114

Some associate her style with the language of Shostakovich.115

Lonely Suite is dedicated to violinist Vadim Gluzman.116 Although it was completed in

2002, Gluzman did not premiere the work until 2004 in San Francisco, California.117 Comprised of six movements, Auerbach has written a rather dark and eerie piece that tends to avoid elements of virtuosity.118 The piece “does not flatter the violinist as a stage star but to some extent takes a look inside his workshop.”119

Although the extended techniques incorporated in this piece are not necessarily unusual, the degree to which Auerbach incorporates them significantly contributes to the character of the

111 “About the Composer: Lera Auerbach,” LA Phil, accessed March 4, 2015, http://www.laphil.com/philpedia/lera- auerbach. 112 Auerbach, “Profile.” 113 Ibid. 114 “Auerbach, Lera,” Sikorski Music Publishers, accessed January 6, 2015, http://www.sikorski.de/225/en/auerbach_lera.html. 115 Keller, James M. “LERA AUERBACH ‘Celloquy’ (Cedille).” McClatchy - Tribune Business News, May 17, 2013, accessed January 8, 2015, http://search.proquest.com/docview/1352750706?accountid=4840. 116 Lera Auerbach “Compositions Detail: Lonely Suite (Ballet for a Lonely Violinist) for Violin, Op. 70 [2002],” accessed January 8, 2015, http://www.leraauerbach.com/lonely-suite. 117 Ibid. 118 Shostakovich: /Auerbach: Ballet for a Lonely Violinist/September 11, Vadim Gluzuman, violin and Angela Yoffe, piano, Naxos BIS-CD-1592, 2006, CD, Liner notes by Horst A. Scholz, 6. 119 Ibid.

32 piece. In the first movement, “Dancing with Oneself,” Auerbach integrates several techniques, including pizzicato, poco glissandi, sul ponticello, and col legno. The slow tempo and simple make these extended techniques accessible to almost any violinist; yet, the resulting assortment of different timbres contributes to “an improvisatory frame of mind.”120 In the second movement, “Boredom,” Auerbach includes specific indications at the beginning, including “non vibrato, with dull sound,” and “sadly” in addition to a mezzo piano dynamic marking to create a forlorn character. Technically, the violinist must quickly alternate the execution of different techniques, including arco, left-hand pizzicato, harmonics, and double stops. Although these techniques are once again accessible, the timbre produced contributes to the somber quality of the piece. The pitches are very high at the end, extending as far as a D7.121

Despite the lack of extended techniques in the third movement, “No Escape” is captivating, presenting an excellent exercise in bow strokes, bow division, and left-hand articulation. Written in 3/2 meter, the movement begins with a series of sixteenth-note double stops which evolve into . These soon turn into thirty-second notes slurred into groups of four. Auerbach further varies her use of slurs and note groupings as she moves into 4/4 and

3/4 time signatures, even including a measure of 1/2 meter. The violinist also has the opportunity to work on playing only on the G string. In some regard, this movement is similar to the cadenza from the first movement of Felix Mendelssohn’s Violin Concerto in E Minor due to the incorporation of bariolage.

In the fourth movement, “Imaginary Dialogue,” Auerbach returns to using extended techniques to convey the overall mood of the piece. The lyrical and introverted movement presents the opportunity to work on flautando. Although flautando is a familiar technique, the

120 Ibid. 121 Scientific Pitch Notation

33 degree to which Auerbach uses it in this movement makes it unusual. Therefore, in looking at

“Imaginary Dialogue” as an exercise in playing sul tasto, the violinist can experiment with degrees of softness, requiring sensitive bow control in finding where on the fingerboard he or she can produce the softest sound. The task of sound production becomes more difficult with the addition of the mute and the necessity to maintain the quiet sound throughout the entire movement. This movement also consists of harmonics, including double-stop harmonics as well as a rolled including a harmonic and actual pitch.

In the fifth movement, “Worrisome Thought,” the composer turns the violin into a percussion instrument, providing a stark contrast from the previous movement.122 Marked

Moderato, she writes, “knocking with the stick of the bow on the , while covering the strings with the left hand to avoid reverberance.”123 Through the alternation of meter changes

(4/4, 5/4, and occasionally 6/4), the music also goes back and forth between the repetitive knocking pattern and a rhythmic motive on the pitch F5 on the G string, consisting of two eighth notes followed by a quarter note. The work concludes with “Question,” the sixth and final movement. It is very short, and is comprised of a three-note figure. There is no time signature and no key signature in this movement. The only marking at the beginning is ad lib. The work concludes with an F7, sustained with a fermata and marked with the dynamic marking ppp.

Additional Solo Violin Repertoire by Lera Auerbach: T’filah (Prayer) (1996); Par.ti.ta

(2007), Speak, Memory (2010)

Kenji Bunch: Until Next Time (2010)

Duration: 5.5 minutes

122 Ibid. 123 Lera Auerbach, Lonely Suite für Violine Solo, Op. 70 (Hamburg: Sikorski Musikverlage, 2002), 8.

34 Publisher: Kenji Bunch Music Publishing

Recommended Recording: Dufallo, Cornelius, violin. Journaling. Innova Recordings #831,

2012. CD.

General Level: J.S. Bach’s Ciaconna from Partita No. 2 in D Minor; ’s Devil’s

Trill Sonata

Recognized as both a composer and a violist, Kenji Bunch (b. 1973) has made a significant contribution to the new music world with his innovative style. A native of Portland,

Oregon, Bunch’s musical training began with the piano at the age of five and later the violin. At the age of thirteen, he decided he wanted to play the viola instead.124 His success on the viola earned his acceptance into The Juilliard School where he began to take an interest in composition.125 He later graduated with both his Bachelor of Music and Master of Music in composition and viola. He studied composition with Robert Beaser (b. 1954) and viola with

Toby Appel (b. 1952).126

Bunch has made a successful career for himself through performances, residencies, and radio broadcasts.127 What makes his compositional style distinctive, however, is his ability to combine his versatile interests. 128 For example, his passion for alternative music styles can be heard in compositions which incorporate elements of the American vernacular.129 According to

Suzanne Sigmund in the title of her article, Bunch is “[t]he artist who knows how to bring

124 Suzanne Sigmund, “Kenji Bunch: The Artist Who Knows How to Bring Classical Music into the 21st Century,” Asian Pages 9, no. 20 (June 1999), http://search.proquest.com/docview/195794038?accountid=4840. 125 Ibid. 126 Kenji Bunch, “About,” accessed January 5, 2015, http://www.kenjibunch.com/about.php. 127 Ibid. 128 Ibid. 129 Ibid.

35 classical music into the 21st century.”130 Additionally, he is “…known for mixing the classical music disciplines of past masters such as and Johann Sebastian Bach with a thoroughly modern and most delightfully quirky 20th century perspective.”131 As a performer himself, he often premieres his own pieces.132

Until Next Time (2010) is a calm, atmospheric piece that presents a handful of techniques that one might find in , including the incorporation of double-, triple- and quadruple-stops as well as double-stop trills. In addition, Bunch requires a substantial amount of bariolage. The piece was written for his close friend and collaborator Cornelius Dufallo. Bunch and Dufallo worked together in the Flux Quartet and Ne(x)tworks. Dufallo has recorded Until

Next Time on his album Journaling (2012).133

Until Next Time addresses two significant extended techniques: improvisation and scordatora. In a section marked “Cadenza,” the violinist is given the opportunity to invent his or her own music. Although improvisation is more commonly associated with jazz, it has found a place in contemporary music. Much of what John Cage produced through indeterminate music might be considered related to improvisation.134 Although Bunch provides some restrictions for the cadenza through a list of instructions, the performer has the opportunity to be creative and explore his or her compositional abilities. The necessity to improvise a cadenza in this piece is also helpful in better understanding the improvisational feel of Bach or the cadenzas found in many violin concerti.

130 Sigmund, “Kenji Bunch: The Artist Who Knows how to Bring Classical Music into the 21st Century.” 131 Ibid. 132 Ibid. 133 Cornelius Dufallo, “22/07: Composer Interview #16: Kenji Bunch,” Urban Modes: Music and Life in New York, accessed January 6, 2015, http://blog.corneliusdufallo.com/index.php?itemid=214. 134 Benjamin Piekut, “Indeterminacy, , and the Mixed Avant-Garde: Experimental Music in London, 1965–1975,” Journal of the American Musicological Society 67, no. 3 (Fall 2014): 772.

36 The second technique, , requires the violinist to retune one’s instrument.

Beginning with the lowest string, the G string will be tuned down to F-sharp, the D string will be moved down to B, the A string will move down to F-sharp, and the E string will be tuned down to B. This will result in the tuning F-sharp – B – F-sharp – B. Despite the retuning, however, the violinist should read the score as if no alterations have taken place, putting the fingers where

Bunch has instructed.135

The title of the work Until Next Time is open to the imagination. One possible understanding of the title is that of “the implied hopefulness of the phrase Until Next Time, in spite of the bittersweet suggestion of a farewell.”136 It can also be construed as “a metaphor for the short lifespan of a live performance, and how each piece of music only comes to life briefly in that moment, laying dormant until the next one.”137 In addition, “the title is an oblique pun, from one member of Ne(x)tworks to another.”138 The various interpretations are influenced by

Bunch’s compositional choices, such as his decision to write the piece “in the character of an old

Scottish aire for solo fiddle” or to make “the opening section of the work quite free and open to interpretation.”139

Overall, Until Next Time is a lyrical and unhurried piece. It can easily be divided into five short sections that have an arch form (ABCBA). In addition, this piece alternates between 4/4 and 6/8 time signatures. Although there is no key signature, Bunch uses accidentals instead, usually adding F# and C# (and occasionally G#). The composer has indicated very specific dynamics, especially through the use of crescendos and decrescendos.

135 Kenji Bunch, e-mail correspondence to author, February 13, 2015. 136 Dufallo, “22/07: Composer Interview #16: Kenji Bunch.” 137 Ibid. 138 Ibid. 139 Ibid.

37 Additional Solo Violin Repertoire by Kenji Bunch: Aria (1996); Sarabande (2006); Next

Train (2011)

Tina Davidson: Blue Curve of the Earth (2011)

Duration: 5 minutes

Publisher: Beyond the Blue Horizon Music

Recommended Recording: Hahn, Hilary, violin and Cory Smythe, piano. In 27 Pieces: the

Hilary Hahn Encores. Deutsche Grammophon B0019103-02, 2013. CD.140

General Level: ’s Violin Concerto, Op. 14, III. Presto in moto perpetuo

Although perhaps not as well known as some of the others, American composer Tina

Davidson (b. 1952) has made a successful career for herself as a composer. Originally from

Stockholm, Sweden, Davidson has spent most of her life in the United States, growing up in

Oneonta, New York and Pittsburgh, Pennsylvania.141 As a student at Bennington College in

Vermont, she pursued composition and piano, studying with Henry Brant (1913-2008), Louis

Calabro (1926-1991), Lionel Nowak (1911-1995), and Vivian Fine (1913-2000).142 Throughout her life, she has received numerous awards for her works, including a Pew Fellowship; residencies with the Fleisher Art Memorial, among others; and commissions from the National

Symphony Orchestra, Cassatt Quartet, Kronos Quartet, and the Mendelssohn String Quartet, to name a few.143 Additionally, she plays an active role in community outreach, having initiated programs such as Young Composers in Philadelphia, a “program to teach inner city children how

140 There is no commercial recording of the solo violin version of this piece. 141 Tina Davidson, “Biography: Tina Davidson,” accessed December 22, 2014, http://www.tinadavidson.com/biography.php. 142 Ibid. 143 Ibid.

38 to write music through instrument building, improvisation, and graphic notation.”144 She has additionally “created community partner programs for homeless women, and with students at a local elementary school.”145

Davidson has written works for a variety of different ensembles, ranging from opera and orchestral works to solo pieces and children’s music. Inspired by such composers as Henry

Cowell (1897-1965) and (1876-1971), Davidson’s music is characterized by the use of rhythmic elements to propel the music.146 Additionally, she writes rather straightforward harmonies.147 Overall, her music can be recognized for its orderliness while still maintaining beauty and flow.148 She is described by Fanfare Magazine as “the very model of a postminimalist composer.”149

As can be noted above, Tina Davidson never falls short of receiving requests for compositions; however, it was the commission from violinist that initiated the composition Blue Curve of the Earth (2011). Davidson composed this piece while serving as an artist-in-residence at the Ucross Foundation in Wyoming. As noted in her Program Notes, she was inspired by the many shades of blue that make up Wyoming’s November landscape.150 At

Hahn’s request, Davidson wrote this work first for solo violin and then for violin and piano.151

According to the composer, “Hilary had asked me to think about writing both because she would like to do contemporary encores after orchestra concerts.”152 The violin and piano version can be

144 Ibid. 145 Ibid. 146 Sam Di Bonaventura, “Davidson, Tina,” in Grove Music Online (Oxford University Press, 2007-2015), accessed December 22, 2014, http://www.oxfordmusiconline.com/subscriber/article/grove/music/42669. 147 Ibid. 148 Ibid. 149 Davidson, “Biography: Tina Davidson.” 150 Tina Davidson, Blue Curve of the Earth (Marietta, PA: Beyond the Blue Horizon Music, 2010), program notes. 151 Tina Davidson, e-mail correspondence to author, February 12, 2015. 152 Ibid.

39 heard on Hahn’s album In 27 Pieces: The Hilary Hahn Encores.153 A commercial recording of the solo violin version does not exist.

Blue Curve of the Earth is a hauntingly beautiful piece that, in addition to its hypnotic melodic lines and meter changes, presents several extended techniques that contribute to the overall texture and ambiance of the piece. For the right hand, the violinist will become familiar with col legno battuto (sometimes marked “cl” in the score), , and right-hand pizzicato.

The following techniques will be performed by the left hand: finger slaps (sometimes marked

“fs” in the score), harmonics, left-hand pizzicato, and glissandi. The score is very detailed with instructions, including adjectives such as “warm & throaty” as well as the request for non vibrato on the last note of the piece.

Sometimes, the extended techniques become more complicated due to the fast alternation that must occur between two or more techniques. In measure 18, for example, the violinist must bring out two different voices, as can be noted by the stem direction of the notes. The stems that are pointing down must be played using right-hand pizzicato. The stems pointing up are to be played with what the composer has marked as “finger slap/semi-left-hand-pizzicato lifts.”154

Example 3: Tina Davidson, Blue Curve of the Earth, mm. 16-19

In another instance, the violinist must alternate among col legno, left-hand pizzicato, and finger slaps (mm. 34-39), further instigating a coordination challenge.

153 Tina Davidson, Blue Curve of the Earth (Marietta, PA: Beyond the Blue Horizon Music, 2010), program notes. 154 Ibid., 1.

40

Example 4: Tina Davidson, Blue Curve of the Earth, mm. 34-36

This piece also presents an opportunity to practice left-hand articulation (due to the extensive amount of sixteenth notes) and string crossings. Unconventional double stops and large stretches, including the interval of a tenth, may present difficulties for some undergraduate violinists.155 Similar to many of the other works in this treatise, the piece does not stay in one key.

Anne LeBaron: four (2009)

Duration: 8 minutes

Publisher: Golden Croak Music

Recommended Recording: No commercial recording available

General Level: Pyotr Tchaikovsky’s Violin Concerto in , Op. 35

Perhaps most recognized for her innovations in extended harp techniques, Anne LeBaron

(b. 1953) is a composer and harpist from Baton Rouge, . She earned a Bachelor of Arts,

Master of Arts, and Doctor of Musical Arts at the , the State University of

New York at Stony Brook, and , respectively.156 Her composition teachers

155 Tina Davidson, Blue Curve of the Earth (Marietta, PA: Beyond the Blue Horizon Music, 2010), 3-4. 156 Anne LeBaron, accessed February 19, 2015, http://annelebaron.com/cv.pdf.

41 include Frederic Goossen (1927-2011), Daria Semegen (b. 1946), Bülent Arel (1919-1990), Jack

Beeson (1921-2010), (b. 1934), and Chou Wen-chung (b. 1923).157 She also studied with György Ligeti and (1931-2008) in Germany as a recipient of a

Fulbright Scholarship.158 In addition to composing and performing, she serves on faculty at the

California Institute of the Arts.159

Similar to many composers, Anne LeBaron’s style has evolved over the years. Originally beginning with the composition of atonal works, her music has grown to include elements of electronics and microtones. Additionally, LeBaron incorporates more accessible styles of music in her works.160 The “overall aesthetic is steeped in the sound world of the European/American avant-garde of the mid-twentieth century.”161

The Montecito Festival commissioned Anne LeBaron to write the solo violin piece four

(2009). Although dedicated to violinist Ivry Gitlis, Ken Aiso gave the world premiere of this piece in Santa Barbara, California in the summer of 2009. LeBaron describes the piece as, “an excavation, decaying treasure, crumbling textures, beauty of ruins.”162

Although Anne LeBaron’s four is one of the most challenging works presented in this treatise, the piece presents a plethora of extended techniques that if learned, will give the violinist a solid preparation for handling an extensive amount of contemporary music, especially with the occasional presence of irregular rhythms and microtones. Even if lines from the piece could be examined in the applied lesson setting, the violinist would understand the intensity with which composers choose to use extended techniques.

157 J. Michele Edwards, “LeBaron, Anne,” in Grove Music Online (Oxford University Press, 2007-2015), accessed February 19, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/42672. 158 Anne LeBaron, “Bio,” accessed February 19, 2015, http://annelebaron.com/bio.html. 159 Ibid. 160 Edwards, “LeBaron, Anne,” in Grove Music Online. 161 Anne LeBaron, Anne LeBaron: Pope Joan, Transfiguration, Mark Menzies and Rand Steiger, conductors, New World Records 80663, 2007, CD, Liner notes by Judy Lochhead, 1. 162 Anne LeBaron, four: violin solo (Cardiff, CA: Golden Croak Music, 2009), program note.

42 From the very beginning, LeBaron presents several instructions over a short amount of time. The first technique the violinist must address is left-hand pizzicato. However, the bow must continue to play arco simultaneously, making the choice of fingering crucial in order for the pizzicati to sound. In addition to performing double stops, putting on a mute, and playing the occasional harmonic, the violinist is soon asked to perform ricochet over the course of an eighth note, followed by a short . The next instruction LeBaron provides is vibrato glissandi, a technique in which the violinist must vibrate while moving the finger up the fingerboard. Shortly after, the performer is asked to play sul ponticello, followed by a request to dampen the vibrations after a snap pizzicato a few measures later.

LeBaron’s list of extended techniques only continues to increase. In one particular passage (m. 30), LeBaron presents a series of instructions for the performance of a G-sharp. As illustrated below, the violinist begins using the whole bow to first produce a sforzando followed by a pianissimo that crescendos over the duration of five seconds. The violinist will begin with no vibrato and progress to molto vibrato. In correlation with this, the G-sharp will begin sul ponticello and progress to ordinario and then sul tasto back to sul ponticello. Additionally, the note stems are written in a way to indicate an acceleration in the rhythm.

Example 5: Anne LeBaron, four, m. 30

43 In measure 31, LeBaron moves on to a different procedure in which the violinist plays the

G-sharp with tremolo that begins quickly and is reduced to a slower speed. The violinist must trill at the same time while moving the pitch slightly from a G-sharp to an A-sharp, down to an

A-natural, and then to an A-flat. Over the course of seven seconds, the violinist will decrease the sound from fortissimo to piano.

Example 6: Anne LeBaron, four, m. 31

LeBaron continues to present a myriad of extended techniques. In asking the violinist to trill and pluck a note underneath a fermata, the violinist should produce the trill by hitting the finger pads with force on the fingerboard.163 This process is later followed by a glissando to and from E-flat and E-natural before reaching an E-natural trill. To further add to the bells and whistles routine, the composer asks that the violinist exhale audibly while simultaneously playing, followed by the instruction to “[bow] side of bridge while damping strings.”164 Upon presenting and expanding upon additional extended techniques, the piece draws to a close. Even the ending, however, is infused with specific instructions. In the last measure, the composer asks that the violinist remove the mute to perform col legno tratto and normale sul ponticello while playing harmonics and microtone harmonics. The piece finally ends al niente.

163 Ibid., 3. 164 Ibid., 4.

44 Summary

Whether examining a select number of extended techniques or the combination of several that occur over a short period of time, the pieces by Makan, Auerbach, Bunch, Davidson, and

LeBaron present an excellent introduction to understanding the many possible ways of producing unique sounds and effects on the violin. By learning and performing such pieces, violinists will find that contemporary solo violin repertoire can present many new opportunities for challenge and growth.

45 CHAPTER 4

LETTING LOOSE: FEELING THE GROOVE OF THE AMERICAN VERNACULAR AND OTHER STYLES

If the student or pedagogue is still having difficulty taking an interest in contemporary music, the works in this chapter might be key in drawing them in. Some of the most accessible contemporary compositions are those pieces that incorporate popular genres of music. Whether through the inclusion of jazz, pop, bluegrass, or even ; students, teachers, and audience members may find that what they originally were intimidated by is indeed engaging. In today’s culture, it is also important to have an appreciation and understanding for different musical genres. This can also be achieved by studying contemporary music that integrates popular music.

Through the incorporation of the American vernacular as well as the music of other cultures, contemporary music finds a way to not only become accessible for the performer but also very enjoyable for the listener.

Michael Daugherty: Viva (2012)

Duration: 3 minutes

Publisher: Michael Daugherty

Recording: “Michael Daugherty: VIVA for Solo Violin.” YouTube video. 2:32. August 29,

2014. https://www.youtube.com/watch?v=r2wrv7HMtWQ.

General Level: Samuel Barber’s Violin Concerto, Op. 14, I. Allegro

Born in Cedar Rapids, , composer Michael Daugherty (b. 1954) was raised in a household filled with popular music, as his father was a drummer and his mother a tap dancer

46 and amateur musical theater singer. From the beginning of his musical career, Daugherty was always pursuing his interest in the American vernacular, whether transcribing a pop tune or playing jazz piano. However, he became equally well trained in the styles of classical music composition, receiving his Bachelor of Music from the University of North Texas, his Master of

Music from the Manhattan School of Music, and his Doctor of Musical Arts from Yale

University. Over time, Daugherty found ways to integrate his passion for both classical and popular styles of music with the encouragement of such composers as (1918-

1990) and György Ligeti (1923-2006). He is currently Professor of Composition at the

University of Michigan School of Music, Theatre & Dance.165

Daugherty’s ability to combine both standard compositional practices with jazz and popular music styles makes his music aurally accessible; however, his use of popular American icons is what makes his works unique.166 Daugherty’s compositions draw motivation from well- known places, people, and defining elements of American culture, as can usually be identified in the titles of his pieces.167 In doing so, he is able to reach his audiences by “play[ing] with

‘public’ vs. ‘private’ emotion, ‘external’ vs. ‘internal’ feeling, [and] ‘fake’ vs. ‘authentic’ representation.”168 Such figures include Jacqueline Kennedy Onassis for his opera

(1997) and for his (1988-1993).169

Viva (2012), captures the American spirit in that it was inspired by Ann Margaret in the film Viva Las Vegas, as is referenced in the title of the piece.170 Produced in 1964, the film, which takes place in Las Vegas, Nevada, tells the story of a racecar driver, played by Elvis

165 Michael Daugherty, “Composer Biography,” accessed February 20, 2015, http://www.michaeldaugherty.net/index.cfm?pagename=bio. 166 Ibid. 167 Ibid. 168 Ann McCutchan, The Muse That Sings: Composers Speak About the Creative Process (New York: Oxford University Press, 1999), 176. 169 Ibid. 170 Michael Daugherty, e-mail correspondence to author, January 29, 2014.

47 Presley, who, despite his broken-down race car and recent debt, spends his time trying to win over the affections of a hotel swimming-pool instructor, played by Ann Margaret. With much singing and dancing from both Presley and Margaret, the film is an up-beat and energetic romantic comedy.171 Daugherty conveys the overall energy of the movie and actress throughout his piece, not only through standard classical elements such as changing meter and idiomatic violin writing, but also through popular music and jazz styles.172 This work is a transcription of his work for chamber winds titled Lost Vegas. According to the composer, “I thought that the first movement of Lost Vegas, “Viva,” would work well as an inspiration to write a work for violin using the themes from that movement.”173

Through the use of , Daugherty incorporates elements of jazz. Polytonality can be defined as the result of a chord combined with an unrelated bass note or the integration of two or more triads or seventh chords with unrelated tonics.174 When the piece opens, the pitch center is clearly D. However, “the chords are not always in the key of D,” as can be noted by the presence of the E-flat in the third beat of the first measure or the B in the second beat of measure two.”175

Example 7: Michael Daugherty, Viva, mm. 1-2

171 Angela Petteys, “Viva Las Vegas (1964) Movie Review,” Classic Movie Blog, September 12, 2012, accessed January 10, 2014, http://www.moviefanfare.com/guest-review-viva-las-vegas/. 172 Spencer A. Jepson, “An Examination and Interpretive Guide to Michael Daugherty's ‘Niagara Falls’.” (Masters project report, California State University, 2009), 2-3. 173 Michael Daugherty, e-mail correspondence to author, February 19, 2015. 174 Richard Sussman and Michael Abene, Jazz Composition and Arranging in the Digital Age (New York: Oxford University Press, 2012) 348. 175 Michael Daugherty, e-mail correspondence to author, March 12, 2014.

48 Additionally, Viva is built on a variety of different riffs. Found in both jazz and popular music, these are repeated phrases that help to create forward momentum in the music.176 For instance, Daugherty repeats one particular rhythm four times before bringing it back again later.

However, some of these riffs are more prevalent than others, as can be noted by the coy rhythm in measure 4 below. These types of riffs are called “hooks.”177 Such syncopated rhythms, used in the midst of meter changes and a spritely tempo, give the piece its groove. Additionally,

Daugherty emulates the sounds of an through glissandi, harmonics, and sporadic notes in the higher register of the instrument.178

Example 8: Michael Daugherty, Viva, m. 4

Mark O’Connor: “Caprice No. 1” from Six Caprices for Solo Violin (1986-1994)

Duration: 20 minutes

Caprice No. 1 (3:24) Caprice No. 2 (3:01) Caprice No. 3 (4:34) Caprice No. 4 (2:29) Caprice No. 5 (2:40) Caprice No. 6 (2:52)

Publisher: Mark O’Connor

176 Larry Starr, et al. American Popular Music: From Minstrelsy to MP3 (New York: Oxford University Press, 2010), 3. 177 Ibid. 178 Andy Bennett, Barry Shank, and Jason Toynbee, The Popular Music Studies Reader (London: Routledge, 2006), 19.

49 Recommended Recording: O’Connor, Mark, violin. Midnight on the Water. Sony Classical SK

62862, 1998. CD.

General Level: Antonin Dvorak’s Violin Concerto in A Minor, Op. 53, I. Allegro ma non troppo

Seattle native Mark O’Connor (b. 1961) is unique for his success not only as a composer but also as a fiddle player. O’Connor’s musical career began with learning how to play the guitar and fiddle. A pupil of the famous Texas fiddler Benny Thomasson (1909-1984), O’Connor was very successful at a young age, winning every fiddle competition he entered. In addition to learning Texas contest style fiddling, O’Connor also performed jazz while touring with French jazz violinist Stephane Grappelli (1908-1997).179 He also played the mandolin.180 Upon moving to Nashville, he became one of the most sought-out studio musicians, recording for over 450 releases. However, he later ended his studio career in order to focus on his own performing and composing.181

O’Connor’s music clearly shows his background as a fiddle player and country musician; however, it is through his use of classical music forms that he combines the two genres, as can be noted in works such as his Americana Symphony “Variations on Appalachia Waltz” (2006) and

The Improvised Violin Concerto (2011).182 Another means in which this crossover is evident is through The O’Connor Method: An American School of String Playing, a series of books that teaches students how to play stringed instruments. The idea is similar to that of the Suzuki

179 “O'Connor, Mark,” in Encyclopedia of Popular Music, 4th ed. (Oxford University Press 2007-2015), accessed March 1, 2014, http://www.oxfordmusiconline.com/subscriber/article/epm/20613. 180 Amanda Smith Roberts, “Mark O'Connor's Caprices for Unaccompanied Violin: Their Inspiration, American Roots, and Techniques Presented” (DMA diss., The University of Alabama, 2012), 2. 181 John Henken, “Fiddler Mark O’Connor has Roamed Far From his Country Roots,” Mark O’Connor General Press Articles, December 26, 2007, accessed March 1, 2014. http://markoconnor.com/index.php?page=press&category=02--Mark_O-squo- Connor_General_Press_Articles&display=1580. 182 Roberts, “Mark O'Connor's Caprices for Unaccompanied Violin: Their Inspiration, American Roots, and Techniques Presented,” 3.

50 method, however, rather than beginning students with pieces such as “Twinkle, Twinkle Little

Star,” O’Connor uses tunes such as “Boil Them Cabbage Down” and other American folk, jazz, and popular tunes.183

Mark O’Connor’s Six Caprices for Solo Violin is an example of the fusion of both fiddle and classical styles of music composition. Written between 1986 and 1994, the six pieces take the meaning of a caprice to a new level.184 Using Pietro Locatelli (1695-1764) and Niccoló

Paganini (1782-1840) as his guides, O’Connor set out to create a group of pieces that not only incorporate the American vernacular style but also demand crossover techniques from the classically trained violinist.185

O’Connor’s “Caprice No. 1 in A Major” incorporates the American elements stylistic of the hoedown. A hoedown can be defined as “a lively, rollicking dance,” in 2/4 meter.186 Through the use of open strings, fiddle bowing patterns, and repetition, O’Connor has written a glorified fiddle tune, organized in a loose sonata form.187 Although a classically trained violinist is usually capable of playing in any major or minor key, fiddle players typically opt to play tunes in the keys of G, D, and A due to their ability to use open strings. Since the “Caprice” is in A Major, the piece freely incorporates the use of open strings from the very beginning, giving the work an authentic sound. Additionally, the use of the open strings allows the violinist to easily play chords with the left hand.188

183 Randy Lewis, “Mark O’Connnor, Genre Fiddler,” Los Angeles Times, March 15, 2009, accessed March 10, 2014, http://articles.latimes.com/2009/mar/15/entertainment/ca-oconnor15/2. 184 Roberts, “Mark O'Connor's Caprices for Unaccompanied Violin: Their Inspiration, American Roots, and Techniques Presented,” 4. 185 Ibid., 5. 186 “Definitions of Fiddle Styles and Tunes,” accessed March 10, 2014, http://www.biteyourownelbow.com/fidstyle.htm. 187 Roberts, “Mark O'Connor's Caprices for Unaccompanied Violin: Their Inspiration, American Roots, and Techniques Presented,” 9. 188 David Reiner, Mel Bay’s Deluxe Anthology of Fiddle Styles (Pacific, MO: Mel Bay Publications, 1979), 44.

51 The use of slurred and separate notes is another characteristic trait of the hoedown style.

In fiddle music, separate sixteenth-note passages will usually not be played with only separate bow strokes. However, where a fiddle player chooses to separate and slur the notes largely impacts how a piece will sound. For example, one separate note followed by five slurred notes, followed by two separate notes, causes the notes not placed on the strong beats to become accented, producing syncopation.189 One separate note followed by three slurred notes creates a particular bowing pattern that puts stress on the stronger beats, creating a rhythm characteristic of a hoedown.190

These particular bowing styles require the violinist to not only play in the middle to upper half of the bow but to also have flexibility in the right-hand fingers in order to produce the necessary accents. To add variation to the hypnotic dance that is created with the repetition of this “breakdown” rhythm, O’Connor interrupts the slurs and separate notes with fast passages of staccato notes involving either chromaticism or string crossings involving all four strings. Such a technique may more closely be associated with that of a Paganini caprice as opposed to a fiddle tune. Additionally, O’Connor presents an opportunity for more lyrical fiddle playing in a section marked “Freely.” Although he writes out the exact notes as well as where the violinist must expressively slide into pitches, the slow style in contrast to the fast sections make it sound as if the violinist is improvising.

Additional Solo Violin Repertoire by Mark O’Connor: Midnight On The Water: Five Short

Pieces for Unaccompanied Violin (1975-1995) in addition to several short pieces and fiddle tunes for solo violin

189 Andrew A. Carlson, A Guide to American Fiddling (Pacific, MO: Mel Bay Publications, 2001), 23-24. 190 Ibid, 21-22.

52 Patrick Zimmerli: The Light Guitar (2006)

Duration: 15 minutes

Doloroso (5:48) Dreamily (4:23) Fast (4:43)

Publisher: Patrick Zimmerli

Recommended Recording: Puts, Kevin, et al. River of Light: American Short Works for Violin and Piano. Tim Fain, violin. Naxos 8.559662, 2011. CD.

General Level: ’s Violin Concerto in A Minor, Op. 82

Recognized as both a jazz saxophonist and classical composer, Patrick Zimmerli’s works are characterized by their fusion of these two genres. Zimmerli (b. 1968) completed his Bachelor of Arts, Master of Philosophy, and Doctor of Musical Arts at Columbia University.191 His major composition professors include George Edwards (1943-2011), Joel Feigin (b. 1951), Fred

Lerdahl (b. 1943), and David Rawoski (b. 1958). As a saxophonist, Zimmerli studied with Jerry

Bergonzi (b. 1947), Allen Blustine, and Joe Lovano (b. 1952).192 Currently living in New York and Paris, Zimmerli has written works for several different mediums including chamber, orchestra, and , which have been premiered at many notable establishments including the

Guggenheim Museum, National Public Radio, and the Summergarden series at the Museum of

Modern Art (MoMA), among others.193 He is also the recipient of many awards, including the

191 Philip Pelusi, “Biography: Patrick Zimmerli, Composer & Saxophonist,” Arium, accessed March 6, 2015, http://www.ariumcafe.com/bio_patrick_zimmerli.htm. 192 Patrick Zimmerli, “Résumé,” accessed March 1, 2015, http://patrickzimmerli.com/site/resume/. 193 Patrick Zimmerli, “About Patrick Zimmerli,” accessed March 1, 2015, http://patrickzimmerli.com/site/short-bio/.

53 Composers’ Competition of the BMI/ Institute and the Colorado Music

Festival’s CLICK People’s Orchestral Commission (2011).194

In regards to his compositional style, Zimmerli’s mixture of jazz and classical styles can be seen as early as his student days playing with a jazz quartet.195 From a “progressive blend of rhythmic intricacy with a strong melodic sense” to “simplify[ing] his harmonic and rhythmic vocabulary…using traditional classical structures,” Zimmerli’s approach to writing has evolved over the years.196 Most recently, Zimmerli has started to incorporate music of other genres, as can be noted in the piece The Light Guitar for solo violin.197 According to Zimmerli, “My writing blends the formal complexity and contrapuntal sensibility of classical music, the harmony and rhythms of jazz, and the emotional directness and vitality of pop, generating a sound at once familiar and new.”198

The Light Guitar (2006) is a solo violin piece whose Spanish flare presents a compelling work for both performer and audiences. The title of the work was inspired by the song In Old

Madrid as cited in the context of the book , by James Joyce. In Ulysses, this ballad “is a symbol of Molly Bloom’s reminiscence about a vacation she and her husband Leopold had taken together to Gibraltar as a young couple.”199 The piece was written to convey this same “light, tuneful effect” of the song.200 The Light Guitar is dedicated to violinist Timothy Fain.201

Made up of three movements, Zimmerli has composed a work that allows the violinist to take on the role of a guitarist as is exemplified through such elements as syncopation, accents,

194 Ibid. 195 Patrick Zimmerli, “Full Bio,” accessed March 1, 2015, http://patrickzimmerli.com/site/full-bio/. 196 Ibid. 197 Ibid. 198 “Patrick Zimmerli,” , accessed March 1, 2015, http://composersforum.org/members/directory/patrick-zimmerli. 199 Patrick Zimmerli, The Light Guitar (New York: Patrick Zimmerli, 2006), notes. 200 Ibid. 201 Ibid., 1.

54 and strumming. In the first movement, “Doloroso,” Zimmerli sets a somber mood with a relaxed tempo and rather languid melody. Throughout the movement, Zimmerli plays with the placement of accents, articulation and double stops as the music becomes more grieving in quality.202 The repetitious nature of the movement is reminiscent of a folk song, and the opportunity to strum four-note chords allows the violinist to literally become a “light guitar.”

The second movement, “Dreamily Flowing,” is another slow movement; however, the lyrical lines intermixed with bariolage and tremolo gives the music an improvisatory character.

Rhythmically, this movement frequently alternates among meters, beginning in 3/2 meter, moving to 4/4 meter, 2/2 meter, and 5/4 meter. Indications such as morendo, poco a poco accelerando, poco rallentando, animato, a piacere, and molto meno mosso add an element of ebb and flow throughout, further contributing to the rather free character. Indications for sul ponticello and flautando add variety to the tranquil music.

It is finally in the third movement, however, that Zimmerli gives the violinist the opportunity to experience the energy and groove characteristic of Spanish guitar playing. Marked

“Fast, Swing Feel,” Zimmerli challenges the violinist with bowing articulations that must be handled at a very fast speed. Beginning with eighth notes in cut time, the bowing pattern is not consistent or standard, testing the violinist’s coordination. The placement of accents further contributes to the element of groove. This material is juxtaposed with a new section marked by a meter change of 4/4+3/4 and the use of a folk-like melody paired with an A drone. Although the music is overall quite repetitive, Zimmerli has created a work that, through elements of Spanish guitar music, allows an audience to enjoy contemporary music.

202 Ibid.

55 Bright Sheng: The Stream Flows (1990)

Duration: 10 minutes

Quarter note = 54 (5:12)

Quarter note = 104 – 108 (4:39)

Publisher: G. Schirmer, Inc.

Recommended Recording: Sheng, Bright. Bright Sheng: H’un (Lacerations) and Other Works.

Lucia Lin, violin. New World Records 80407, 1991. CD.

General Level: ’s Violin Concerto in D Minor, Op. 47

Composer, conductor, and pianist Bright Sheng (b. 1955) has made a remarkable contribution to contemporary music with his prolific output of chamber, orchestral, stage, and vocal works.203 Originally from Shanghai, China, Sheng’s musical career began with the piano at the age of four. As a result of the Cultural Revolution, he relocated to the Qing Hai province for seven years where he played piano and percussion.204 While there, he took an interest in the folk music of the region, a style of music that would later find ways of being heard in his own works.205 Sheng completed his formal compositional studies at the Shanghai Conservatory of

Music. He later attended Queens College, City University of New York as well as Columbia

University.206 His major professors included Leonard Bernstein, Mario Davidovsky, George

Perle (1915-2009), Cho Wen-chung, and Hugo Weisgall (1912-1997).207

Sheng has received numerous awards and recognition throughout his career, including the

MacArthur Foundation Fellowship, the American Award in Music from the American Academy

203 Bright Sheng, “Biography,” accessed March 2, 2015, http://brightsheng.com/bio.html. 204 Ibid. 205 McCutchan, The Muse that Sings, 206. 206 Ibid., 203. 207 Ibid., 203.

56 of Arts and Letters, and an ASCAP Achievement Award, among others.208 His works have been commissioned and premiered by some of classical music’s most well-known performers and conductors, including the Emerson Quartet, Kurt Masur, and David Zinman, to name a few. He is currently the Leonard Bernstein Distinguished Professor of Music at the University of

Michigan where he teaches composition.209 Additionally, Sheng has served as Composer-in-

Residence for the Ballet, the Lyric Opera of Chicago, and the Seattle Symphony

Orchestra.210 Bright Sheng’s music is strongly characterized by his Chinese heritage. His music is also distinguished by “its lyrical and limpid melodies, a Shostakovich sense of breath in music phrases, a Bartokian sense of rhythmic propulsion, and dramatic and theatrical gestures.”211

Despite the technical and musical challenges this piece presents, The Stream Flows

(1990) is a unique work that incorporates the sounds of Sheng’s native tongue. The piece was commissioned by the Foundation for Chinese Performing Arts and premiered by violinist Nai-

Yuan Hu. Sheng dedicated the piece to Hugo Weisgall, his teacher.212

From the very beginning, the music presents the sounds of a famous southern Chinese folk tune as is represented in the slow lyrical lines.213 This is not the first time, however, that

Sheng has used this tune in his compositions.214 Technically, the music explores the higher extremes of the fingerboard as well as double stops and harmonics. Despite such hurdles, the violinist must strive to sound like a “female folk singer.”215

208 Bright Sheng, “Biography,” accessed March 2, 2015, http://brightsheng.com/bio.html. 209 Ibid. 210 Ibid. 211 Ibid. 212 Bright Sheng, The Stream Flows: for Solo Violin (New York: G. Schirmer, 1999), program note. 213 Ibid. 214 Ibid. 215 Ibid.

57 The second movement is much faster than the first, representative of a “fast country dance” written in a lively triple meter.216 In conveying a more rustic, folk-like quality, Sheng writes short melodic ideas, most of which are based on a three-note motive that is prevalent throughout the movement. Through techniques such as right- and left-hand pizzicato (sometimes in conjunction with using the bow), double stops, repetitive sixteenth-note passages, and lyrical eighth-note passages played poco sul ponticello, the composer creates an exciting movement.

Sheng’s particular use of repetitive rhythmic patterns and pentatonic scales further contribute to the Chinese sound.

John Corigliano: STOMP (2010) Duration: 6 minutes

Publisher: G. Schirmer

Recommended Recording: “Nigel Armstrong - STOMP.” YouTube video, 5:32. July 4, 2011. https://www.youtube.com/watch?v=A33_p0FNv1w.

General Level: Antonin Dvorak’s Violin Concerto in A Minor, Op. 53; ’s

Violin Concerto in D Major, Op. 77

Award-winning composer John Corigliano (b. 1938) has made a tremendous mark in the classical music world with his wide-ranging style and varied compositional output. A native of

New York, Corigliano was born into a musical family. His father, John Corigliano, served as concertmaster of the from 1943-1966.217 His mother played the

216 Ibid. 217 Michael Fleming, “Corigliano, John,” In Grove Music Online, Oxford University Press, 2007-2015, Accessed February 20, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2092412.

58 piano.218 Although his parents did not encourage him to pursue music professionally, Corigliano taught himself.219 He later pursed a Bachelor of Arts from Columbia University and graduate studies at the Manhattan School of Music under the guidance of (1990-1996) and

Vittorio Giannini (1903-1966), respectively.220 A post-modernist composer, Corigliano is recognized not only for his classical compositions but also for his film scores. The music he wrote for the film Altered States (1980) was nominated for an Academy Award.221 In 1999, his music for The Red Violin (1998) won the Academy Award for best score.222 His instrumental and vocal repertoire have been equally successful, receiving numerous awards including the prestigious University of Louisville Grawemeyer Award, a Grammy Award for his Symphony

No. 1 (1988), and a 2001 Pulitzer Prize in Music for his Symphony No. 2 (2000).223 He is on the faculty at The Juilliard School and Lehman College, City University of New York.224

Corigliano’s style is accessible yet varied. Inspired by the works of such American composers as Aaron Copland and Leonard Bernstein, Corigliano’s music can be described as

“Americana” in style. 225 However, in his effort to focus on a work’s essence, whether it be for a particular person or event, each piece that Corigliano writes is unique.226

STOMP (2011) displays Corigliano’s versatility in his compositional writing, as can be noted by the incorporation of the bluegrass style. Written for the 2011 International Tchaikovsky

218 John Corigliano, “Biography,” accessed February 20, 2014, http://www.johncorigliano.com/index.php?p=item5&q=10. 219 Douglas A. Lee, Masterworks of 20th-Century Music: The Modern Repertory of the Symphony Orchestra (New York: Routledge, 2002), 130. 220 Allan E. Dittmer, Paul J. Weber, W. Eugene March, and Paul R. Brink, The Power of Ideas: The University of Louisville Grawemeyer Awards in Music, Education, Religion, and World Order (Ashland, KY: Jesse Stuart Foundation, 2000), 99. 221 John Warthen Struble, The History of American Classical Music: MacDowell Through Minimalism (New York: Facts On File, 1995), 310. 222 Corigliano, “Biography.” 223 Ibid. 224 Ibid. 225 McCutchan, The Muse that Sings, 34. 226 Lee, Masterworks of 20th-Century Music, 129.

59 Competition, Corigliano wanted to compose something that would test different elements of the violinists’ playing that the standard repertoire performed in the competition had not.227 By incorporating the American vernacular, Corigliano intended for this piece to “test a performer’s imagination, intelligence and musicality.”228

Through rhythm and technique, Corigliano has very heavily drawn from the bluegrass tradition. Sometimes referred to as the “jazz of ,” bluegrass is a style of music characterized by forlorn, high-pitched male singing that is complemented by the sounds of a five-string banjo, fiddle, mandolin, guitar, Dobro, and bass.229 This genre of music was founded in the 1940s by mandolin player Bill Monroe and the Blue Grass Boys. Such music consisted of tunes that were usually in a fast duple meter that not only included singing, but opportunities for the musicians to demonstrate virtuosity on their instruments.230 One notable musician in the group was banjo player Earl Scruggs who invented the “Scruggs style.” This technique, in which the banjo player plucks a series of eighth notes in 4/4 time with the thumb, index, and middle fingers, “group[s] the notes into threes or, in some versions of the style, into two groups of three and one of two,” which is the rhythm heard from the very opening of STOMP.231

In a bluegrass band, if the fiddle player is not soloing, they are accompanying the singers or other instrumentalists with a technique known as chopping. Originally developed on the mandolin by Bill Monroe in order to “add a sharp, percussive accent to the music” on the offbeats, the fiddle player replicates this sound by hitting the strings with the hair of the bow in

227 John Corigliano, accessed February 2, 2014, http://www.johncorigliano.com/index.php?p=item1. 228 Ibid. 229 Neil V. Rosenberg, Bluegrass: A History (Urbana: University of Illinois Press, 1985), 3. 230 Ibid., 7. 231 Robert Cantwell, Bluegrass Breakdown: The Making of the Old Southern Sound (Urbana: University of Illinois Press, 1984), 101.

60 order to create this particular effect.232 Corigliano additionally incorporates this technique in his piece.

STOMP also requires the violinist to perform scordatura and stomping. Before the piece begins, the violinist must retune the open G string of the violin down to an E and the open E string down to an E-flat. Although we refer to this classical technique as scordatura, it is more commonly referred to as “cross tuning” or “keying” among fiddlers.233 In changing the pitches of the strings in fiddle music, double stops become more accessible and allow for such intervals as double as well as more opportunities for the use of drones. The change in the strings’ pitches creates an overall different sound quality.234 In stressing the importance of ear training in fiddle music, Corigliano tests the violinist’s aural abilities by writing the desired pitches as opposed to the ones that need to be fingered in the score.

One of the most enjoyable things about playing bluegrass music is having a rhythmic accompaniment, and Corigliano does not leave the violinist hanging. Through the use of stomping and tapping the foot, the violinist becomes a one-man band. In STOMP, Corigliano has specifically written where the foot must be “stomped” and where the foot must be “tapped” throughout the piece. Although various types of music involve foot movement, it might be possible that the use of the feet may be traced back to the “Appalachian clog dance.”235

Additional Solo Violin Repertoire by John Corigliano: The Red Violin Caprices (1999)

232 “Chop Chords,” MandoLessons, accessed March 1, 2014, http://www.mandolessons.com. 233 John Corigliano, STOMP (New York: G. Schirmer, Inc., 2010), program note. 234 Marion Thede, The Fiddle Book: The Comprehensive Book on American Folk Music, Fiddling, and Fiddle Styles Including More Than 150 Traditional Fiddle Tunes Compiled from Country Fiddlers (New York: Oak Publications, 1967), 19-20. 235 Colin Quigley, Music from the Heart: Compositions of a Folk Fiddler (Athens, GA: University of Georgia Press, 1995), 231.

61 Summary

Although the works of Daugherty, O’Connor, Zimmerli, Sheng, and Corigliano exhibit contemporary music qualities in regards to harmony, rhythm, and extended techniques, the incorporation of popular and familiar musical styles help students find a way to connect with an era of music that might seem impossible to understand. These works are only a handful of many in which composers have found ways to integrate different genres of music. Furthermore, violinists looking for additional material in non-classical styles can find a range of genres in

Jeremy Cohen’s Stylistic Etudes for Solo Violin (2010). Through the incorporation of the

American vernacular and other styles, contemporary music is not only more accessible but also enjoyable.

62 CHAPTER 5

DON’T STOP THE MUSIC: MINIMALISM, POSTMINIMALISM, AND ELECTRONICS

The final unit of contemporary solo violin music to be incorporated in the undergraduate curriculum includes an examination of music that exhibits qualities of minimalism, postminimalism, and electronics. Some of the works involve interaction with other musical lines with the addition of technology. Through elements such as repetition and harmonic stasis, the pieces in this chapter will introduce students to another direction that contemporary music is taking.

Philip Glass: “Knee Play 2” from Einstein on the Beach (1976)

Duration: 5-7 minutes

Publisher: Chester Music

Recommended Recording: Puts, Kevin, et al. River of Light: American Short Works for Violin and Piano. Tim Fain, violin and Pei Yao Wang, piano. Naxos 8.559662, 2011. CD.

General Level: Niccoló Paganini’s Caprice No. 5; Christian Sinding’s Suite for Violin and

Orchestra in A Minor, I. Presto

Philip Glass (b. 1937) is one of the key founders of the minimalist style. A native of

Baltimore, Maryland, Glass’s composing career began at the age of twelve. Before starting to compose, he learned to play the violin and the .236 Glass earned his Bachelor of Arts in liberal arts from the University of Chicago at the young age of 19 and later pursued studies at

236 Edward Strickland, “Glass, Philip,” In Grove Music Online, Oxford University Press, 2007-2015, accessed January 10, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/11262.

63 The Juilliard School, earning both a Diploma and a Master of Arts in composition. In addition to studies with Marcus Rasking, William Bergsma (1921-1994), and Vincent Perischetti (1915-

1987), Glass studied with (1892-1974) at the Aspen Music Festival and Nadia

Boulanger (1887-1979) in Paris as a Fulbright Scholar.237 Glass also stepped outside of the classical realm, having worked with Ravi Shankar (1920-2012) and Allah Rakha (1919-2000), two non-Western musical inspirations.238

Philip Glass is a monumental figure in the study of contemporary classical music who leads both a prolific and versatile career. In addition to writing standard classical works such as concerti, , and , Glass has also written film soundtracks, including the music for (1982) and The Hours (2002).239 Glass has amassed “a wide, multi- generational audience in the opera house, the concert hall, the dance world, in film and in popular music – simultaneously.”240 He is also the founder of the amplified woodwind and keyboard group, the .241

As a minimalist, Glass’s musical style is repetitive; yet, the nature of his works is in no way monotonous. Glass’s compositional style may best be described as “immers[ing] a listener in a sort of sonic weather of twists, turns, surrounds, [and] develops.”242 The cyclic character of his music is very easy to recognize.

“Knee Play 2” comes from Glass’s famous opera, Einstein on the Beach (1976).243 The opera is “a poetic look at Albert Einstein: scientist, humanist, amateur musician—whose theories

237 Ibid. 238 Richard Kostelanetz, ed and introduction, Writings on Glass: Essays, Interviews, Criticism (New York: Schirmer Books: 1997), 6. 239 Philip Glass, “Philip Glass Biography,” accessed January 10, 2015, http://www.philipglass.com/bio.php. 240 Ibid. 241 Ibid. 242 Ibid. 243 Kostelanetz, 6.

64 led to the splitting of the atom.”244 Consisting of a prologue, four acts, and five interludes called

“Knee Plays,” the opera is four and a half hours long.245 In the performance, “Knee Play 2” precedes Act Two and is performed as a violin solo. While the violinist is playing on stage, two actresses speak two different texts concurrently and very quickly, creating a hypnotic effect.246 In addition, the violinist must adorn him or herself in costume to look like the late Albert

Einstein.247 “Knee Play 2,” however, can also be performed in the concert hall as a solo violin piece.

“Knee Play 2” requires stamina, focus, and strong left-hand articulation due to the repetitious nature of the piece. However, despite the perpetual quality of the music, there are several details the violinist must take into consideration when learning the piece. For instance, the violinist must observe the eighth-note groupings to determine which particular beats are emphasized since Glass does not provide an actual time signature. The score indicates how many times certain measures or lines need to be repeated as well. Although the notes are quite accessible, there are subtle changes in the patterns that occur in almost every measure, requiring the violinist to pay attention to detail, intonation, and clarity. Students should practice blocking the finger patterns in order to minimize excess movement in the left hand. A harmonic analysis would also benefit the student’s understanding of the piece. Musically, the absence of dynamics is characteristic of the minimalist style. Through the driving, repetitive nature of eighth-note patterns, the piece should have a mesmerizing effect on the listener.

Additional Solo Violin Repertoire by Philip Glass: Strung Out (1969, pre-1975)

244 Ibid. 245 Milos Raickovich, “’Einstein on the Beach’ by Philip Glass: A Musical Analysis” (PhD diss., City University of New York, 1994), 17. 246 Ibid., 26. 247 Ibid., 17.

65 John Luther Adams: Three High Places (2007)

Duration: 10 minutes

Above Sunset Pass (3:30) The Wind at Maclaren Summit (2:45) Looking Toward Hope (3:45)

Publisher: Taiga Press

Recommended Recording: Dufallo, Cornelius, violin. Journaling. Innova Recordings #831,

2012. CD.

General Level: Camille Saint-Saëns’s Violin Concerto No. 3 in B Minor, Op. 61

Not to be mistaken with minimalist composer , John Luther Adams (b. 1953) is a remarkably successful postminimalist whose music is characterized by its depiction of nature.248 A native of Meridian, Mississippi, Adams grew up playing the and piano. He additionally took an interest in non-classical music genres, including playing the drums, songwriting, and the music of .249 He earned a Bachelor of Fine Arts in composition from the California Institute of the Arts in 1973. It was here where he studied with

(1916-2004) and (1934-2006).250 A winner of numerous awards, including a 2014

Pulitzer Prize as well as a 2015 Grammy Award, Adams is additionally noted for his residency in

Alaska. Upon moving there in 1978 after campaigning for environmental rights a few years earlier, Adams not only composed works that were representative of his new surroundings, but he also performed as a percussionist.251 As a teacher, John Luther Adams has held professorships

248 John Luther Adams, “John Luther Adams: Bio,” accessed February 5, 2015, http://www.johnlutheradams.com/biography/index.html. 249 Sabine Feisst, “Adams, John Luther,” in Grove Music Online (Oxford University Press 2007-2015), accessed February 18, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2247990. 250 Ibid. 251 Ibid.

66 at Harvard University and Oberlin Conservatory, among others.252 His compositions can be heard on New World, Cantaloupe, Mode, Cold Blue, and New Albion recording labels.253 In regards to his style, Adams’s passion for music and the environment are combined in his music, representing a “sonic geography.”254

In 2007, International Contemporary Ensemble violinist Erik Carlson premiered Three

High Places (2007) in New York. The piece was written for Adams’s friend Gordon Wright

(1937-2004) who was also an Alaskan composer.255 According to Adams, “[t]hese miniatures are musical sketches of three moments and places in our friendship.”256

In addition to introducing students to postminimalism and its intentional absence of harmonic direction, Three High Places is an excellent piece for teaching students about natural harmonics. From the very beginning of the first movement, “Above Sunset Pass,” Adams sets a pure, meditative tone. With a tempo marking of “Serene,” he asks that the violinist be muted and piano from the start. This movement only involves open strings and natural harmonics. The harmonics are not necessarily intuitive and may require attention since they are notated very high above the staff. In the second movement, his music once again exhibits the same timeless quality as the first. Through the use of sixteenth notes and various note groupings, Adams creates a sound that clearly emulates its title, “The Wind at Maclaren Summit.” This movement also presents technical issues of bariolage, due to the “cross-string throughout, beginning on [a] designated string”; sudden gradual dynamic changes through the use of hairpins; and most importantly, the fast change from sul tasto to sul ponticello in making crescendos to fortissimo

252 Ibid. 253 John Luther Adams, “John Luther Adams: Bio,” accessed February 5, 2015, http://www.johnlutheradams.com/biography/index.html. 254 Ibid. 255 “Home,” Gordon B. Wright, accessed February 5, 2015, http://www.gordonbwright.com. 256 John Luther Adams, Three High Places (for solo violin) (Fairbanks, AK: Taiga Press, 2007), program notes.

67 and diminuendos to pianissimo.257 The third movement, “Looking Toward Hope,” is similar to the first movement, once again involving open strings and natural harmonics.

Annie Gosfield: Lost Signals and Drifting Satellites (2003)

Duration: 8 minutes

Publisher: Annie Gosfield

Recommended Recording: Gosfield, Annie. Annie Gosfield: Lost Signals and Drifting

Satellites. George Kentros, violin. Tzadik 8007, 2004. CD.

General Level: Camille Saint-Saëns’s Violin Concerto No. 3 in B Minor, Op. 61

Annie Gosfield (b. 1960) takes music composition to a different dimension through the frequent incorporation of electronics in her works. Originally from Philadelphia, Gosfield currently lives in New York City, where she composes, improvises, and plays keyboard.258 Born into a musical family, Gosfield was introduced to music very early on as the youngest of four children.259 Her musical world, however, always included a large palette of styles.260 She took jazz piano lessons with Bernard Peiffer (1922-1976) while in her teen years.261 Even after pursuing composition in college, she found herself performing in Los Angeles’s punk clubs.262

Such influences have helped shape Gosfield’s musical style. The music she writes, “often explores the inherent beauty of non-musical sounds, and is inspired by diverse sources such as

257 Ibid., 4. 258 Annie Gosfield, Annie Gosfield: Flying Sparks and Heavy Machinery, Flux String Quartet, et al, Tzadik 7069, 2001, CD, Liner notes by Annie Gosfield. 259 Lloyd Peterson, Music and the Creative Spirit: Innovators in Jazz, Improvisation, and the Avant Garde (Studies in Jazz) (Lanham, MD: Scarecrow Press, 2006), 109. 260 Ibid. 261 http://www.newmusicbox.org/articles/How-did-your-education-shape-your-attitudes-about-music-Annie- Gosfield-Composer/ 262 Peterson, 109.

68 machines, destroyed , warped 78 records, and detuned radios.”263 Gosfield’s compositions are recognized for their integration of music with noise.264 Her music can be identified as postminimalist.265 In addition to composing and performing, Gosfield has published several articles. She has held professorships in composition at the California Institute of the Arts, Mills

College, and Princeton University.266

Lost Signals and Drifting Satellites (2003) for violin and electronics was “inspired by the image of a listener lost in a night sky littered with satellite noise” and the takeoff of the first satellite, Sputnik.267 Written in consultation with Stockholm violinist George Kentros, Gosfield wrote a solo violin work that complements the sounds of radio transmissions, satellites, and shortwaves through the use of traditional writing, extended techniques, and an accompanying recording.268

Although Lost Signals and Drifting Satellites requires only one performer, there are two parts involved: a violin and a recording (also referred to as a backing track). With two different parts, one important element that this piece addresses is learning to read from a score. Through the inclusion of another staff marked with cues, sound descriptions, and time indications as can be seen below, Gosfield clearly indicates what the violinist should listen for in order to correspond with the recorded electronics.

263 Annie Gosfield, “Biography,” accessed January 10, 2015, http://www.anniegosfield.com/bio.html. 264 Ibid. 265 Margaret Martin, “Bang on a Can,” in Grove Music Online (Oxford University Press, 2007-2015), accessed January 10, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2227668. 266 Gosfield, “Biography.” 267 Annie Gosfield, “NOTES ON THE COMPOSITIONS: Lost Signals and Drifting Satellites,” accessed January 20, 2015, http://www.anniegosfield.com/notes.html#lost. 268 Ibid.

69

Example 9: Annie Gosfield, Lost Signals and Drifting Satellites, mm. 1-8

Additionally, this piece is an excellent tool in practicing playing with a recording as well as improving listening skills, especially since this is a required component of the performance.

In examining the violin part alone, the score presents a variety of extended techniques to imitate and expand upon the sounds used in the recording. Some of these are mild, including harmonic glissandi on one string. As the piece progresses, however, the extended techniques become more descriptive. For example, in the context of sustained whole notes, the violinist will widen the vibrato while simultaneously increasing the intensity of sul ponticello to imitate “a radio losing reception.269 Additionally, Gosfield requests variations with pressure in the right and left hands as can be noted in measure 98-100 below.270

Example 10: Annie Gosfield, Lost Signals and Drifting Satellites, mm. 98-100

269 Annie Gosfield, Lost Signals and Drifting Satellites (New York: Annie Gosfield, 2003), 3. 270 Ibid.

70 Additional Solo Violin Repertoire by Annie Gosfield: Long Waves and Random Pulses for violin and tape (recording) (2012); Long Waves and Random Pulses for solo violin (2012);

Invisible Flashes and Obscure Transmissions for violin and tape (recording) (2013)

Julia Wolfe: With a blue dress on (2010)

Duration: 10 minutes

Publisher: Red Poppy Music (ASCAP)

Recording: “Rumor 64 – Monica Germino.” YouTube video. 9:18. April 10, 2011. https://www.youtube.com/watch?v=4UpDvYur-54.

General Level: ’s Concerto No. 1 in D Major, Op. 19

Philadelphia native Julia Wolfe (b. 1958) is recognized for her success as a postminimalist composer. Her musical studies began at a young age when learning to play the piano and the flute. However, she was constantly surrounded by other styles of music, ranging from madrigals to .271 Wolfe earned her Bachelor of Arts from the University of

Michigan and her Master of Music from Yale University. Some of her teachers include Leslie

Bassett (b. 1923), (b. 1946), Jane Heirich, and George Wilson (b. 1927). Wolfe additionally worked with (b. 1939) while a Fulbright Scholar in Amsterdam.272

Wolfe is a founding member of the Bang on a Can Festival along with postminimalist composers Michael Gordon (b. 1956) and David Lang (b. 1957).273 Her music is constantly in demand, having had works performed at such prestigious venues as Carnegie Hall, Lincoln

271 David Krasnow, “Julia Wolfe,” BOMB — Artists in Conversation, Fall 2011, accessed March 2, 2015, http://bombmagazine.org/article/2439/julia-wolfe. 272 , “Wolfe, Julia,” In Grove Music Online, Oxford University Press, 2007-2015, accessed March 5, 2015, http://www.oxfordmusiconline.com/subscriber/article/grove/music/42659. 273 Ibid.

71 Center, and the Sydney Olympic Arts Festival, among others.274 She is currently on the faculty of

New York University’s Steinhardt Department of Music and Performing Arts Professions, a position she has held since 2009.275

In addition to its postminimalist qualities, Wolfe’s music displays strong elements of classical, folk, and .276 According to Kyle Gann, “Wolfe’s music is characterized by gradual processes that build through levels of accumulation rather than through linear change.”277

With a blue dress on (2010) for violin/voice solo plus 4 pre-recorded not only exemplifies elements of postminimalism and electronics but also incorporates the American vernacular as discussed in the previous chapter. Commissioned by Eduard van Beinum Stichting and written for violinist Monica Germino, Wolfe’s passion for American folk music culminates in this work. The piece was inspired by the tune “Pretty little girl with a blue dress on” and includes “fiddling licks, fragments of song, and bows deep into the string.”278 In addition, “the timing and tempos…play on this irregularity and fluctuation” of folk singing.279 This piece has also been arranged for five individual violinists.

With a blue dress on is unique in that it requires the use of two tools that are important for practicing purposes: recording and singing. Scored for five violins, the performer must pre- record violin parts two through five. These recordings will be played simultaneously during the live performance of the first violin part. Before recording, however, the violinist must perform

274 “Biography,” Red Poppy Music, accessed March 2, 2015. http://juliawolfemusic.com/about/bio. 275 Gann, “Wolfe, Julia.” 276 “Biography,” Red Poppy Music. 277 Gann, “Wolfe, Julia.” 278 Julia Wolfe, “With a Blue Dress on,” Red Poppy Music, accessed February 28, 2015, http://juliawolfemusic.com/music/with-blue-dress-on. 279 Ibid.

72 scordatura, retuning the G string up to an A. The violin as a result will sound the pitches (from bottom to top) A-D-A-E.

Additionally, the violinist is required to sing and hum throughout the piece. Sometimes

Wolfe requests that the singing happen simultaneously while playing, requiring the violinist to match the vocalized pitch with the pitch being produced from the violin. Despite the obstacles this piece presents, the American vernacular elements combined with the incorporation of electronics makes this piece a tour de force with its wild groove and spunk.

Cornelius Dufallo: Violin Loop I (2010)

Duration: 3.5 minutes

Publisher: CBD Music Publishing

Recommended Recording: Dufallo, Cornelius, violin. Journaling. Innova Recordings #831,

2012. CD.

General Level: Max Bruch’s Violin Concerto No. 1 in G Minor, Op. 26

Cornelius Dufallo (b. 1973) has made a mark in the New York contemporary music scene as both a violinist and a composer. The contemporary artist pursued his formal education at The

Juilliard School where he earned his Bachelor of Music, Master of Music, and Doctor of Musical

Arts, studying with Dorothy DeLay and Masao Kawaskai.280 With a passion for electronics,

Dufallo has embarked on several different music-making paths that have allowed him to combine violin playing with technology. As a chamber musician, he has been a member of

280 Cornelius Dufallo, “About,” Cornelius Dufallo, Violinist and Composer, accessed February 15, 2015, http://www.corneliusdufallo.com/about.php.

73 quartet (2005-2012), Ne(x)tworks (2003-2011), and FLUX Quartet (1996-2001).

Currently, he plays with VisionInto Art (VIA), a “interdisciplinary multimedia group.”281

Dufallo frequently works with and performs the repertoire of living composers, many of which can be heard on his recorded CD series Journaling. When he is not performing, he can be found teaching (having served on faculty at the State University of New York at Fredonia) or investing time in his organization CBD Music, Inc., a community establishment that, through the performance of contemporary music, introduces people to music.282

Dufallo’s compositional style incorporates the use of electronics with violin playing, including amplification.283 Additionally, he is an avid improviser and frequently performs on the .284 His music can be described as “a balance between structure and spontaneity, staying open to the possibility of unexpected musical connections that might arise throughout the course of his daily musical activities.”285

Despite the simplicity of the music, Violin Loop I (2010) requires the use of advanced technology. In the piece, Dufallo has written ten distinct sections that are very straightforward rhythmically and melodically. The violinist is required to perform col legno, pizzicato, quasi sul ponticello, and improvisation. Through the use of electronics, however, Dufallo layers each section through looping — a process in which a particular phrase, having been recorded by a computer, is repeated over and over again. After one musical idea has been recorded and repeated a few times, another line is recorded on top of the already chronicled melody. Each

281 Ibid. 282 Ibid. 283 Alexandra Gardner, “Cornelius Dufallo: Making It Personal,” NewMusicBox, May 23, 2012, accessed February 2, 2015. http://www.newmusicbox.org/articles/cornelius-dufallo-making-it-personal/. 284 Miriam Villchur Berg, “About the Artists: ETHEL.” Maverick Concerts: Music in the Woods, 2011, accessed February 2, 2015. http://www.maverickconcerts.org/ETHEL_2011.html. 285 Gardner, “Cornelius Dufallo: Making It Personal.”

74 section follows the same process until the entire piece has been recorded. As a result, the piece will sound as if nine additional violinists joined the violinist who began the piece.

The electronics and looping technique can be achieved through a computer program such as Ableton Live. In using this particular program, one will record his or her playing and loop the recorded tracks. In order to record the different music sections while performing the piece, a microphone is needed, as well as a foot pedal to start and stop the recording device. The foot pedal and microphone can be substituted with the advanced technology of a computer, although it might require extra assistance or a timer. Another possible way to perform this piece would be to pre-record each musical section as backing tracks on one’s computer to be set with a timer and played throughout the performance.286 An additional electronic technique that Dufallo incorporates is the use of an octave pedal, causing the violin’s pitch to sound an octave lower.

This effect is indicated in the score with a bass clef and can also be achieved through Ableton

Live.287

Violin Loop I is most appropriate for the technologically savvy musician because it requires a complex computer program and equipment. However, once the technology is mastered, the results are remarkable. With the knowledge of these electronic devices, the violinist will be capable of exploring the possibilities of creating his or her own violin loops.

Therefore, this piece also serves as a starting point for practicing improvisation. Another interesting pedagogical approach would be to assign this piece to ten violinists to play as part of a studio class performance.

286 Cornelius Dufallo, e-mail correspondence to author, September 24, 2014. 287 Ibid.

75 Summary

In addition to being some of the most recognized composers of this genre of music,

Glass, Adams, Gosfield, Wolfe, and Dufallo have written pieces that take violin music to a different dimension. Through the use of repetition, subtle harmonic changes, and electronics, the composers not only present a mental challenge for the performer but also a test of physical endurance. As was noted in the previous chapter, these pieces also present an accessible element for both performers and listeners alike.

76 CHAPTER 6

CONCLUDING REMARKS: CONTEMPORARY MUSIC OUTSIDE OF THE APPLIED LESSON SETTING

By enriching the undergraduate curriculum with American contemporary solo repertoire written after 1975, violinists will not only learn the tools necessary to perform the music of the twentieth and twenty-first centuries, but will also develop a greater appreciation for the music of this era. Upon acquiring the tools needed to approach the music of this generation, the violinist will find that additional opportunities may present themselves, whether in regards to additional performances or the creation of new works. The understanding of contemporary music can open many doors for performers outside of the applied lesson setting, as can be explored through collaboration, performance, and commissioning.

Collaboration Opportunities

Whether in the orchestral or chamber music setting, violinists are frequently required to work together with other musicians to create music. In being able to play new music, however, violinists will find additional opportunities for collaboration. Through collaborations with composers and with other musicians, violinists will begin to make new connections and develop different perspectives on making music.

The most essential collaboration in new music is the working relationship a performer establishes with a living composer. Although composers are enthusiastic to have their pieces performed, the level of interaction between the two parties can vary, especially depending on relative location, personality type, and preference for involvement. In some instances, composers may choose to let the performers interpret the music, allowing the work to evolve. Other

77 composers might feel the need to dictate what must happen to make their music sound exactly as they imagined it.288 Despite the variability in involvement, the performers are the means for communicating a composer’s work. Throughout the collaboration process, both sides should exhibit flexibility and honesty, helping to create a springboard for new ideas, new and improved works, and hopefully future performances of the composer’s music.

There are several different ways for violinists to engage in collaboration with composers.

One possibility is the opportunity to work with the student composers at one’s university or college. Whether seeking one particular composer friend or creating a collaboration program between the violin and composition departments, it is possible, even while still in school, to begin this type of collaboration. In asking the student composers to write solo violin pieces, violinists and composers can work together, creating new pieces that can later be performed.

Another collaboration possibility involves choosing to learn a new piece of music by a living composer. In doing so, the violinist could contact the composer to become more informed about the piece. It may even be possible to ask the composer to hear the violinist perform the selected composition, whether giving suggestions regarding the musician’s interpretation prior to a performance or attending the concert in person.

Working with other musicians for the performance of contemporary chamber music presents another opportunity for collaboration. In addition to addressing the techniques examined in this treatise, contemporary chamber music introduces rhythmic issues, especially in regards to ensemble. Such a collaboration process will most likely force the musicians to develop strong team building skills and become closer with one another in trying to achieve a challenging task over a typically short time frame. Furthermore, learning contemporary chamber music can

288 Sam Hayden and Luke Windsor, “Collaboration and the Composer: Case Studies from the End of the 20th Century,” Tempo 61, no. 240 (Apr. 2007): 33.

78 strengthen a group’s ability to perform traditional repertoire in that tonal harmonies and standard rhythms will become easier to hear and address because of their familiarity.

Performance Opportunities

Although violinists have a choice in what repertoire they perform, violinists will find that they have additional opportunities in choosing to perform modern music, especially when a composer is in need of a violinist to bring his or her work to life. Whether performing a popular contemporary music piece in an unusual venue or giving the first performance of a new piece of music, a performer will find that there are many different performance opportunities available when choosing to play contemporary music.

New music performances can take place in a variety of venues. In addition to the concert hall, performers might also find themselves presenting a piece in an art gallery or in a dance studio as a result of composers choosing to combine their work with other art forms.

Additionally, some composers may request that their pieces be performed under unique conditions, such as outside, in the dark, or even in costume.

One of the most exciting elements of performing contemporary music is giving a world premiere. In being able to give the first performance of a freshly composed piece of music, the violinist establishes the first musical interpretation of a work. For the premiere, the violinist

“should be thoroughly prepared and fit, well rehearsed without being ‘stale,’ and determined...to convince every listener that one’s reading of a work could not be bettered.”289 Additionally, if the piece is dedicated to the performer who premieres it, he or she might be given the honor of finding his or her name above the title of the work. The composer could even become inspired to

289 Ibid., 17.

79 write another piece for the same performer, seeking out further advice from the violinist and engaging in another collaboration process.

With the variety of performing opportunities that come with playing new music, violinists will acquire a different set of tools needed to perform this era of music. When performing, it is up to the violinist to ‘sell’ the piece, especially to an audience that might not be in favor of contemporary music. Whether through technical or musical prowess, the performer must convince the listeners that the composition is a critical asset to the repertoire. It is also the responsibility of the performer to provide the audience with information about the composer and the piece, whether through program notes or through communication from the stage. If the composer is able to attend the performance in person, the violinist must acknowledge the composer at the end of a piece, either motioning to the audience or asking him or her to come to the stage to receive the audience’s applause.290 Over time, some performers will realize how much they enjoy these types of performances. In such instances, violinists can choose to specialize in new music, thereby creating a reputation and building a career for themselves.

Overall, a composer is usually in need of musicians to perform his or her music. If one is able to fill this vacancy, one will find that he or she can obtain several additional performance opportunities.

Commissioning Opportunities

Although some may argue that there is already a plethora of music to choose from in the violin repertoire, it is possible for performers to instigate the production of more pieces through the process of commissioning. By deciding to ask and “pay a composer to write a particular composition for a specific purpose or event,” violinists can become responsible for the

290 Fromm, 53.

80 development of more repertoire for the instrument.291 There are many incentives behind asking for more music, whether a violinist likes a composer’s style or is in search of a new piece to perform.292 Despite the reasoning, commissioning a composer to write a piece is an exciting process that may open doors for additional collaboration and performance opportunities.

There are several factors that come into play when commissioning a piece of music. Such an activity will most likely require a fee, especially if the commission is for a well-established composer. The payment for a piece can be influenced by various factors, including “the length of the work, number of performers, the budget of the commissioning party, and the composer’s reputation.”293 Additionally, the cost of a new piece can range from a few hundred dollars to almost one hundred thousand dollars, if not more.294 Although paying for such a project might seem impossible, it is achievable through the help of grants and/or donors.295 Another way of paying for a commission is through a “consortium” in which several performers contribute to the sponsorship of a new piece.296

When a verbal or written agreement has been made between the commissioner and the composer, a contract will need to be drawn up between the two parties stating the fees and due dates for a piece of music. The performer may ask for certain privileges, including “request[ing] to give the premiere performance, mak[ing] the first recording, or even maintain[ing] exclusive performance rights for a given period.”297 Additionally, all programs, publications, and

291 Meet the Composer, Commissioning Music: A Basic Guide, Meet the Composer, Inc., 2009, accessed August 24, 2014, http://www.meetthecomposer.org/files/commissioning-music.pdf, 1. 292 David Cutler, The Savvy Musician: Building a Career, Earning a Living & Making a Difference (Pittsburgh, PA: Helius Press, 2010), 211. 293 Meet the Composer, Commissioning Music: A Basic Guide, 1. 294 Ibid., 4. 295 Cutler, 211-12. 296 Ibid., 212. 297 Ibid.

81 recordings will need to recognize the person responsible for paying for the creation of the work.298

Requesting a new piece of music is empowering, especially when the performer can tell the composer what they are looking for in a piece of music. For example, if a violinist enjoys playing on the G string, the composer can write for these preferences. If the composer knows the performer well, he or she can write to the violinist’s strengths, creating a work that will showcase the performer’s personality, strengths, and character very well. In the end, the performer will hopefully have a new piece of music that can be included in recitals, recordings, and as emphasized in this treatise, as a pedagogical tool. Additionally, the performer may request exclusive performance rights, allowing him or her to be the only performer for a piece of music.

Conclusion

Although violinists will always be able to perform the staples of the western music canon, having the ability to perform contemporary music will present a plethora of opportunities for musical growth. In giving violinists the opportunity to learn contemporary music over the course of four years at an undergraduate institution, pedagogues can provide students with the knowledge needed to embark upon an artistic path of discovery and appreciation for the music of the twentieth and twenty-first centuries. During their studies, violinists will find that being able to perform contemporary music is a very rewarding process that will allow them to explore new possibilities, especially through the act of collaborating with living composers and commissioning new works. With an understanding of music written after 1975 by American composers, students will gain the tools necessary for learning repertoire from the twentieth and twenty-first centuries, as well as develop a deeper appreciation for the music of this era. In

298 Ibid., 213.

82 understanding the current trends in music, violinists will not only be able to handle the changes music continues to undergo, but will also be prepared to explore the repertoire of the future.

83 APPENDIX A

ADDITIONAL SELECTED REPERTOIRE

Below is a list of additional contemporary solo violin works that would be appropriate for the advanced undergraduate or graduate-level violinist.

Allen Anderson (b. 1951) Casting Ecstatic (1994)

Milton Babitt (1916-2011) Melismata (1982)

Claude Baker (b. 1948) Elegy for Solo Violin (1979)

Larry Bell (b. 1952) In Memory of Roger Sessions (1987)

Ofer Ben-Amots (b. 1955) A Letter to Avigdor (1990, 1999)

Lauren Bernofsky (b. 1967) Song of the Phoenix (1992)

Marshall Bialosky (b. 1924) Sonata for Violin Solo (1975)

Allan Blank (1925-2013) Toccatina & Mixtures (1980)

Howard Boatwright (1918-1999) Twelve Pieces for Solo Violin (1977)

William Bolcom (b. 1938) Suite for Solo Violin (1977)

Martin Boykan (b. 1931) Sonata (1998)

John Cage (1912-1992) Freeman Etudes, Books One and Two (1977-1980)

84 Freeman Etudes, Books Three and Four (1977-80; 1989-1990) Cheap Imitation (1969) Chorals (1978) One6 (1990)

Tyler Capp (b. 1983) Stranger Variations (2008)

Eleanor Cory (b. 1943) Ehre (1988)

Donald Crockett (b. 1951) Mickey Finn (1996)

Mohammed Fairouz (b. 1985) Native Informant - Sonata for Solo Violin (2011)

Stephen Fisher (b. 1940) Elegy for September 2, 1975 (1975)

George Flynn (b. 1937) Fantasy Études (1981)

David Froom (b. 1951) Sonata for Solo Violin (2003)

Steven R. Gerber (b. 1948) Three Songs Without Words (1987)

Malcolm Goldstein (b. 1936) Sounding the Fragility of Line (1998)299 Configurations in Darkness (1995)

Mark Grey (b. 1967) San Andreas Suite (2004)

Stephen Hartke (b. 1952) Caoine (1980)

Michael Hersch (b. 1971) 14 Pieces (2007) Five Fragments (2004)

Gabriel Kahane (b. 1981) Étude: Cobalt Cure (2010)

299 Graphic notation score

85 (b. 1960) A Dance of Life (2010) Aria-Lament (1992)

Leon Kirchner (1919-2009) For Solo Violin (1986)

David Lang (b. 1957) mystery sonatas (2014)

Otto Luening (1900-1996) Fantasia and Dance (1984)

David Mahler (b. 1944) Maxfield’s Reel for Unaccompanied Violin (1983)

Joseph Maneri (1927-2009) Violin Piece (for Gunther Schuller) (1982)

Missy Mazzoli (b. 1980) Dissolve, O My Heart (2010)

John McDonald (ca. 1959) Sonata for Solo Violin, Op. 219 (1994) Line After Keats, Op. 336 (2000)

Nico Muhly (b. 1981) Honest Music (for violin and pre-recorded CD) (2002)

Daniel Nelson (b. 1965) Man and Woman on the Beach (2010)

Coleridge-Taylor Perkinson (1932-2004) Louisiana Blues Strut (A Cakewalk) (2001)

Joseph Pereira (b. 1972) Partita for Solo Violin (2010)

Kevin Puts (b. 1972) Arches (2000)

Shulamit Ran (b. 1949) Inscriptions (1991)

Michael Rose (b. 1959) Air (2009)

86 Palimpsest (2006) Three Short Obsessions (2004)

Joshua Rosenblum (b. 1963) Marilyn’s Solo (2000)

Mischa Salkind-Pearl (b. 1984) Where I’m Likely to Find It (2010-2012)

Esa Pekka Salonen (b. 1958) Lachen Verlernt (Laughing Unlearnt) (2002)

Ralph Shapey (1921-2002) Four Études (1980)

Christopher Theofanidis (b. 1967) Flow, My Tears (1997)

Augusta Read Thomas (b. 1964) Dream Catcher (2008) Caprice (2005) Rush (2004) Pulsar (2003) Incantation (1995)

Joan Tower (b. 1938) Platinum Spirals (1976) String Force (2010)

Paul W. Whear (b. 1925) Sonata for Solo Violin (1993)

Randall Woolf (b. 1959) No Axe to Grind (2006)

Charles Wuorinen (b. 1938) Violin Variations (1972)

John Zorn (b. 1953) Goetia (2002)

87 APPENDIX B

COPYRIGHT PERMISSION LETTERS

88

89

90

91 March 9, 2015

Keiser Classical 10750 Indian Head Ind. Blvd. St. Louis, MO 63162

Dear Keiser Classical,

I am completing a doctoral treatise at Florida State University entitled “Focusing on the Present: Incorporating Contemporary Violin Music in the Undergraduate Violin Curriculum.” I would like your permission to reprint in my treatise excerpts from the following:

Bruce Adolphe: The Bitter, Sour, Salt Suite (1995)

The requested permission extends to any future revisions and editions of my treatise, including non-exclusive world rights in all languages, and to the prospective publication of my dissertation by UMI Company. These rights will in no way restrict republication of the material in any other form by you or by others authorized by you. Your signing of this letter will also confirm that you own [or your company owns] the copyright to the above-described material.

If these meet with your approval, please sign this letter where indicated below and return it to me in the enclosed return envelope. Thank you very much.

Sincerely,

Alexandra Matloff

PERMISSION GRANTED FOR THE USE REQUESTED ABOVE:

Keiser Classical

By: ______

Title: ______

Date: ______

92

93 APPENDIX C

IRB APPROVAL MATERIALS

Office of the Vice President for Research Human Subjects Committee Tallahassee, Florida 32306-2742 (850) 644-8673 · FAX (850) 644-4392

APPROVAL MEMORANDUM

Date: 08/08/2014

To: Alexandra Matloff

Address: 215 W. College Ave, #607 Tallahassee, FL 32301

Dept.: MUSIC SCHOOL

From: Thomas L. Jacobson, Chair

Re: Use of Human Subjects in Research Focusing on the Present: Incorporating Contemporary Solo Violin Music in the Undergraduate Violin Curriculum

The application that you submitted to this office in regard to the use of human subjects in the proposal referenced above have been reviewed by the Secretary, the Chair, and two members of the Human Subjects Committee. Your project is determined to be Expedited per 45 CFR § 46.110(7) and has been approved by an expedited review process.

The Human Subjects Committee has not evaluated your proposal for scientific merit, except to weigh the risk to the human participants and the aspects of the proposal related to potential risk and benefit. This approval does not replace any departmental or other approvals, which may be required.

If you submitted a proposed consent form with your application, the approved stamped consent form is attached to this approval notice. Only the stamped version of the consent form may be used in recruiting research subjects.

If the project has not been completed by 08/07/2015 you must request a renewal of approval for continuation of the project. As a courtesy, a renewal notice will be sent to you prior to your expiration date; however, it is your responsibility as the Principal Investigator to timely request renewal of your approval from the Committee.

You are advised that any change in protocol for this project must be reviewed and approved by the Committee prior to implementation of the proposed change in the protocol. A protocol change/amendment form is required to be submitted for approval by the Committee. In addition, federal regulations require that the Principal Investigator promptly report, in writing any unanticipated problems or adverse events involving risks to research subjects or others.

By copy of this memorandum, the chairman of your department and/or your major professor is reminded that he/she is responsible for being informed concerning research projects involving human subjects in the department, and should review protocols as often as needed to insure that the project is being conducted in compliance with our institution and with DHHS regulations.

This institution has an Assurance on file with the Office for Human Research Protection. The Assurance Number is IRB00000446.

Cc: Corinne Bowman , Advisor HSC No. 2014.13005

94 Research Study Consent Form

Thank you for taking the time to complete this survey. By participating in the survey, your answers will further benefit the discovery and understanding of solo violin repertoire written after 1975. This survey will be available until October 15, 2014.

This survey should take no longer than 10 minutes to complete. Participation is voluntary and there is no penalty for nonparticipation. Your answers will remain anonymous.

Sincerely,

Alexandra Matloff, researcher [email protected] 602-882-2133

Corinne Stillwell, major professor [email protected] 850-644-1862

Human Subjects Office 2010 Levy Avenue Suite 276-C Tallahassee, FL 32306-2742 850-644-7900

By clicking yes, I give my voluntary consent to participate in this study.

Yes No

95 Dear Sir or Madam,

How are you? My name is Alexandra Matloff, and I am currently pursuing a Doctor of Music degree in violin performance at Florida State University. I am writing because I wanted to know if you could please participate in the survey I am conducting as part of my treatise. The focus of this treatise is on contemporary solo violin repertoire written after 1975 that can be taught to undergraduate violin students. In discovering which contemporary solo violin pieces are incorporated in the applied violin lesson setting at colleges and universities, a comprehensive repertoire list will be assembled. The survey link is attached to this email and should take no longer than ten minutes to complete. All responses will remain anonymous.

Thank you very much for your time and help. I look forward to hearing from you soon.

Many thanks again, Alexandra Matloff

96 REFERENCES

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Bennett, Andy, Barry Shank, and Jason Toynbee. The Popular Music Studies Reader. London: Routledge, 2006.

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Crawford, Richard. America's Musical Life: A History. New York: W.W. Norton & Company, 2001.

Cutler, David. The Savvy Musician: Building a Career, Earning a Living & Making a Difference. Pittsburgh, PA: Helius Press, 2010.

DeLio, Thomas. The Music of Morton Feldman. New York: Excelsior Music Publishing Company (Zinn Communications, Inc.), 1996.

Dittmer, Allan E., Paul J. Weber, W. Eugene March, and Paul R. Brink. The Power of Ideas: The University of Louisville Grawemeyer Awards in Music, Education, Religion, and World Order. Ashland, KY: Jesse Stuart Foundation, 2000.

Grout, Donald Jay, J. Peter Burkholder, and Claude V. Palisca. A History of Western Music. 7th ed. New York: W.W. Norton, 2006.

Helm, Everett. Composer, Performer, Public: A Study in Communication. Florence: L.S. Olschki, 1970.

Hirata, Catherine. “Morton Feldman (1926-1987).” In Music of the Twentieth-Century Avant- Garde: A Biocritical Sourcebook, edited by Larry Sitsky, 131-37. Westport, CT: Greenwood Press, 2002.

97 Hitchcock, H. Wiley. Music in the United States: A Historical Introduction. Englewood Cliffs, N.J.: Prentice-Hall, 1988.

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Quigley, Colin. Music from the Heart: Compositions of a Folk Fiddler. Athens, GA: University of Georgia Press, 1995.

Reiner, David. Mel Bay’s Deluxe Anthology of Fiddle Styles. Pacific, MO: Mel Bay Publications, 1979.

Rosenberg, Neil V. Bluegrass: A History. Urbana: University of Illinois Press, 1985.

98 Ross, Alex. The Rest Is Noise: Listening to the Twentieth Century. New York: Farrar, Straus and Giroux, 2007.

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Starr, Larry, et al. American Popular Music: From Minstrelsy to MP3. New York: Oxford University Press, 2010.

Strange, Patricia, and Allen Strange. The Contemporary Violin: Extended Performance Techniques. Berkeley: University of California Press, 2001.

Struble, John Warthen. The History of American Classical Music: MacDowell Through Minimalism. New York: Facts On File, 1995.

Sussman, Richard and Michael Abene. Jazz Composition and Arranging in the Digital Age. New York: Oxford University Press, 2012.

Taruskin, Richard. Music in the Late Twentieth Century. New York: Oxford University Press, 2010.

Thede, Marion. The Fiddle Book: The Comprehensive Book on American Folk Music, Fiddling, and Fiddle Styles Including More Than 150 Traditional Fiddle Tunes Compiled from Country Fiddlers. New York: Oak Publications, 1967.

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“About the Composer: Lera Auerbach.” LA Phil. Accessed March 4, 2015. http://www.laphil.com/philpedia/lera-auerbach.

Adams, John Luther. “John Luther Adams: Bio.” Accessed February 5, 2015. http://www.johnlutheradams.com/biography/index.html.

Adler, Samuel. “Biography.” Accessed February 19, 2015. http://www.samuelhadler.com/#!biography/c4nz.

Adler, Samuel. “Works: Chamber Music.” Accessed February 19, 2015. http://www.samuelhadler.com/#!chamber-music/cldli.

Adolphe, Bruce. “About: Bruce Adolphe Composer.” Accessed January 11, 2015. http://bruceadolphe.com/about/.

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102 Makan, Keeril. “Music: Mu.” Accessed December 22, 2014. http://keerilmakan.com/#/music/mu.

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ARTICLES AND DISSERTATIONS

Botstein, Leon. “Elliott Carter: An Appreciation.” The Musical Quarterly 91, no. 3–4 (Sep. 2008): 151–57.

Duke, Jerry. “Clog Dance of the Appalachian Mountain Region of the United States of America.” PhD thesis, Texas Woman's University, 1982.

Foss, Lukas. “The Changing Composer-Performer Relationship: A Monologue and a Dialogue.” Perspectives of New Music 1, no. 2 (Spring 1963): 45-53.

Fromm, Paul. “The British Contemporary Music Network: An American View.” Tempo no. 120 (Mar. 1977): 53-54.

Hayden, Sam and Luke Windsor. “Collaboration and the Composer: Case Studies from the End of the 20th Century.” Tempo 61, no. 240 (Apr. 2007): 28-39.

Hooper, Michael. “The Start of Performance, Or, Does Collaboration Matter?” Tempo 66, no. 261 (July 2012): 26-36.

Jepson, Spencer A. “An Examination and Interpretive Guide to Michael Daugherty's ‘Niagara Falls’.” Masters project report, California State University, 2009.

Piekut, Benjamin. “Indeterminacy, Free Improvisation, and the Mixed Avant-Garde: Experimental Music in London, 1965–1975.” Journal of the American Musicological Society 67, no. 3 (Fall 2014): 769-824.

Pritchett, James. “The Completion of John Cage’s Freeman Etudes.” Perspectives of New Music 32, no. 2 (Summer 1994): 264-270.

Raickovich, Milos. “’Einstein on the Beach’ by Philip Glass: A Musical Analysis.” PhD diss., City University of New York, 1994.

Roberts, Amanda Smith. “Mark O'Connor's Caprices for Unaccompanied Violin: Their Inspiration, American Roots, and Techniques Presented.” DMA diss., The University of Alabama, 2012.

Rutland, Harold. “Composers and Performers.” The Musical Times 101, no. 1403 (Jan. 1960): 16-18.

105 Schreffler, Sarah. “A Performer's Guide to John Harbison's ‘Four Songs of Solitude’.” DMA research paper, Arizona State University, 2012.

Seabrook, Mike. “John Harbison and His Music.” Tempo New Series, no. 197 (Jul. 1996): 7-11.

SCORES AND RECORDINGS

Adams, John Luther. Three High Places (for solo violin). Fairbanks, AK: Taiga Press, 2007.

Adler, Samuel. Meadowmountetudes: Four Studies of 20th-Century Techniques for Solo Violin. Bryn Mawr, PA: Theodore Presser Company, 1988.

Adler, Samuel. Samuel Adler: Works for String Quartet and Other Small Ensembles. William Steck, violin. Navona Records NV 5885, 2012. CD. Liner notes by Samuel Adler.

Adolphe, Bruce. The Bitter, Sour, Salt Suite: Music and Poems about Food for Solo Violin. Maryland Heights, MO: Keiser Classical (BMI), 1995.

Auerbach, Lera. Lonely Suite für Violine Solo, Op. 70. Hamburg: Sikorski Musikverlage, 2002.

Bunch, Kenji. Until Next Time for Solo Violin. Kenji Bunch Music Publishing (ASCAP), 2010.

Carter, Elliott. Mneymosyné for Solo Violin. New York: Hendon Music, Inc., 2011.

Corigliano, John. STOMP. New York: G. Schirmer, Inc., 2010.

Daugherty, Michael. Viva for Violin. Michael Daugherty Music, 2012.

Davidson, Tina. Blue Curve of the Earth. Marietta, PA: Beyond the Blue Horizon Music, 2010.

Dufallo, Cornelius. Violin Loop I. CBD Music Publishing, 2010.

Feldman, Morton. For Aaron Copland for Violin Solo. London: Universal Edition, 1981.

Glass, Philip. Knee Play 2 from ‘Einstein on the Beach’ for Violin and Organ. London: Chester Music, 1976/2005.

Gosfield, Annie. Annie Gosfield: Flying Sparks and Heavy Machinery. Flux String Quartet, et al. Tzadik 7069, 2001. CD. Liner notes by Annie Gosfiled.

Gosfield, Annie. Lost Signals and Drifting Satellites. New York: Annie Gosfield, 2003.

Harbison, John. Four Songs of Solitude. New York: Associated Music Publishers, Inc., 1998.

LeBaron, Anne. Anne LeBaron: Pope Joan, Transfiguration. Mark Menzies and Rand Steiger, conductors. New World Records 80663, 2007. CD. Liner notes by Judy Lochhead.

106 LeBaron, Anne. four: violin solo. Cardiff, CA: Golden Croak Music, 2009.

Makan, Keeril. mu for violin or viola. Lambhat Press (ASCAP): 2007.

“Morton Feldman (1926-87) - For Aaron Copland.” Vimeo video. 4:55. June 14, 2014. http://vimeo.com/98233957.

O’Connor, Mark. Caprices No. 1-6 for Unaccompanied Violin. Bonsall, CA: Mark O’Connor Musik International, 1999.

Sheng, Bright. The Stream Flows: for Solo Violin. New York: G. Schirmer, 1999.

Shostakovich: Violin Sonata/Auerbach: Ballet for a Lonely Violinist/September 11. Vadim Gluzuman, violin and Angela Yoffe, piano. Naxos BIS-CD-1592, 2006. CD. Liner notes by Horst A. Scholz.

Wolfe, Julia. With a blue dress on. Brooklyn, NY: Red Poppy Music, 2010.

Zimmerli, Patrick. The Light Guitar. New York: Patrick Zimmerli, 2006.

107 BIOGRAPHICAL SKETCH

A native of Arizona, Alexandra Matloff is recognized as a versatile orchestral musician, chamber musician, and soloist. Alexandra is Artistic Director and Concertmaster of the community-outreach orchestra Music Rebuilds, and performs regularly with the Mobile (AL) and Tallahassee (FL) symphony orchestras. A registered Suzuki teacher, she has been a Graduate

Assistant to Corinne Stillwell at Florida State University for five years and is currently a violin coach for the Tallahassee Youth Orchestras. She served as Concertmaster of the University

Symphony Orchestra for the 2014 Naxos release of Dohnányi’s Symphony No. 2 and Two Songs,

Op. 22. Alexandra was also a member of the Eppes String Quartet, the graduate string-quartet-in- residence at Florida State.

With a passion for new music, Alexandra frequently performs contemporary works and has collaborated with members of the Bang on a Can All-Stars, the JACK Quartet, the American

Modern Ensemble, and the International Contemporary Ensemble. She is also the founder of a collaboration project between the Eppes Quartet and the Society of Composers at Florida State, in which selected composers are commissioned to write pieces for the ensemble to perform.

Alexandra completed a Bachelor of Music in violin performance at Vanderbilt

University’s , where she graduated magna cum laude. She received a

Master of Music from Florida State University, where she is currently finishing her Doctor of

Music. Alexandra has performed with the Aspen Music Festival, the Orford Festival in Canada,

Bowdoin International Music Festival, Brevard Music Center, and the New Music on the Point

Festival in Vermont.

108