Florida State University Libraries

2016 The Use of Traditional Folk Music in Andy Teirstein's Maramures Violin Concerto and Restless Nation String Quartet Mihai Razvan Berindean

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

COLLEGE OF MUSIC

THE USE OF TRADITIONAL FOLK MUSIC IN ANDY TEIRSTEIN’S

MARAMURES VIOLA CONCERTO AND RESTLESS NATION STRING QUARTET

By

MIHAI RAZVAN BERINDEAN

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

2016

Mihai Razvan Berindean defended this treatise on April 6, 2016. The members of the supervisory committee were:

Pamela L. Ryan Professor Directing Treatise

James R. Mathes University Representative

Benjamin Sung Committee Member

Gregory D. Sauer 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 ACKNOWLEDGMENTS

I would like to thank the following committee members for the help, support, and exemplary knowledge in completing my treatise: Dr. James Mathes, Prof. Greg Sauer, Dr.

Benjamin Sung, and mostly my teacher and mentor, Dr. Pamela Ryan for the love and support throughout my studies at Florida State University. Not only that I became a better musician, but with her guidance I became a better person.

I would also like to thank Dr. Andy Teirstein for composing these two works included in this treatise, for allowing me to study and perform Restless Nation string quartet and Maramures

viola concerto, and for all the tremendous support throughout the process.

I wouldn’t have been able to complete this treatise without the support from my family:

my parents Doina and Călin which although live in Romania, were able to keep close to my heart

and provide with incredible support. Many thanks to my brother Bogdan, his wife Bonnie, my

best friend Virgil Lupu, and my friends Allyson Royal and Meghan Carey for all their love and

encouragement.

Many thanks to the members of Eppes Quartet: Jia-Rong Gan, Sophia Han, and Meghan

Carey, and to the pianist Galen Dean Peiskee, Jr. for all their love and knowledge invested in

learning these new works with me. I cannot thank you enough for helping me bring this music to

life.

This treatise could not be completed without the tremendous help and support from Alice

Culin-Ellison and the amazing staff from FSU Music Library Laura Gayle Green and Sara

Nodine.

iii TABLE OF CONTENTS

List of Figures ...... vi Abstract ...... vii

1. INTRODUCTION ...... 8

1.1 Composer’s Biography ...... 8 1.2 Scope and Limitations of this Study ...... 9 1.3 Approach ...... 11

2. MARAMURES VIOLA CONCERTO ...... 13

2.1 Introduction ...... 13 2.1.1 Background of Romanian folk music ...... 13 2.2 Maramures Viola Concerto ...... 17 2.2.1 Background ...... 17 2.2.2 First movement ...... 19 2.2.3 Second movement ...... 20 2.2.4 Third movement ...... 22

3. RESTLESS NATION STRING QUARTET ...... 24

3.1 Introduction ...... 24 3.2 Introduction to Fiddle Music ...... 25 3.2.1 Background of fiddle music ...... 25 3.2.2 Bowing in fiddle music ...... 26 3.2.3 Tuning in fiddle music ...... 28 3.3 Movement I “My eyes were hungry… and I didn’t know it.” ...... 30 3.4 Movement II “Our teachers… Flora and Fauna” ...... 32 3.5 Movement III “Recess” ...... 34 3.6 Movement IV “The Door of No Return” ...... 35 3.7 Movement V “Stories of Rocks and Rivers” ...... 36 3.8 Movement VI “Finding Our Way Home” ...... 37

4. SUMMARY ...... 39

APPENDICES ...... 41

A. ANDY TEIRSTEIN’S LIST OF COMPOSITIONS ...... 41 B. PERMISSION LETTER FROM ANDY TEIRSTEIN ...... 45 C. PERMISSION LETTER FROM OLGA HIIVA ...... 46 D. MARAMURES VIOLA CONCERTO - LECTURE HANDOUTS ...... 47 E. RESTLESS NATION STRING QUARTET – LECTURE HANDOUTS ...... 53

References ...... 58

iv

Biographical Sketch ...... 60

v LIST OF FIGURES

1 Maramures first movement, score, mm. 1-5...... 19

2 ”By the Mara River, in Romania, summer of 1994. The composer (far left) learns a tune from fiddler Ghiță Pîrja, accompanied by a three-stringed guitar. Seated are the Chief Engineer (left), and the Mayor (right). Photo by Olga Hiiva.” ...... 20

3 Maramures second movement, viola solo part, mm. 1-8 ...... 21

4 Maramures third movement, viola solo part, mm. 13-22 ...... 23

5 "Natural flat" tuning ...... 29

6 "A minor" tuning ...... 29

7 "Cross keys" tuning ...... 30

8 Restless Nation first movement, viola part, mm. 1-7 ...... 31

9 Restless Nation first movement, viola part, mm. 47-50 ...... 31

10 Restless Nation second movement, viola part, mm. 20-30 ...... 33

11 Restless Nation second movement, viola part, mm. 185-189 ...... 33

12 Restless Nation third movement, score, mm 8-10 ...... 34

13 Restless Nation third movement, score, mm. 29-31 ...... 35

14 Restless Nation fourth movement, score, mm. 1-3 ...... 36

15 Restless Nation fifth movement, first violin part, mm. 1-12 ...... 37

16 Restless Nation sixth movement, first violin part, mm. 1-5...... 38

vi ABSTRACT

Andy Teirstein (b. 1957 in New York, NY) is a composer, performer, and producer who is passionate about the characteristics of folk music found at the root of different cultures around the world. Intrigued by the compositional style and folk song collection of Béla Bartók, Teirstein followed the same formula used by Béla Bartók to achieve many successful compositions.

Teirstein traveled to Maramureş County in Romania and collected many traditional Eastern

European tunes. During a trip around the United States, Teirstein composed a string quartet on

American folk tunes. The use of these traditional folk tunes in these two compositions,

Maramures1 and Restless Nation, are analyzed in this treatise. Maramures, a concerto for viola and orchestra was written in 1997 (rev 2008), and the string quartet Restless Nation was composed in 2010. This treatise will present Teirstein’s approach to folk music from different parts of the world. It is important to study these pieces, bringing Teirstein’s music to wider audiences of performers and listeners, and keeping folk music alive and accessible to the world.

The methodology and procedures for interpreting Teirstein’s pieces include formal analysis of rhythmic, melodic, and modal features, an interview with the composer, as well as lecture and performances of the works, recordings of which are included.

1 There are two spellings: one with a diacritical used by Romanians, and by the author of this treatise, and the second by Andy Teirstein who does not use the diacritical in the title of his viola concerto.

vii CHAPTER 1

INTRODUCTION

1.1 Composer’s Biography

Andy Teirstein (b. 1957 in New York, NY), composer, violist, and producer, received his

B.A. in music from Bennington College where he studied composition with Henry Brant. He was part of the first class to graduate from the Musical Theater program at New York University in

1984. While working on his Master of Fine Arts degree in New York, Andy Teirstein studied with significant musical figures such as Leonard Bernstein, Stephen Sondheim, and Arthur

Laurents, and in 2010 he received his Ph.D. from the Graduate Center of the City University of

New York.2 Teirstein gained comprehensive knowledge of different musical traditions, in some cases their instruments, by traveling the world and learning them directly from their points of origin. For example, he learned Irish fiddle in pubs in Ireland, studied with Hopi and Cheyenne

Native Americans while traveling the United States and Mexico (performing as a musical clown with a Mexican circus), and in Eastern Europe collected traditional folk music while traveling to

Romania, Bulgaria, and Northern Greece. Teirstein currently teaches Music Theory, Music of the

20th Century, and a Contemporary Performance Practice class at New York University’s Tisch

School of the Arts. Teirstein has received numerous awards, grants and honors, such as Meet the

Composer Choreographer/Composer Commissions, three NEA (National Endowment for the

Arts) Opera/Musical Theater Awards, many ASCAP (American Society of Composers, Authors,

2 “The world of Andy Teirstein: composer, performer, producer,” Andy Teirstein, accessed on September 8, 2015. http://www.andyteirstein.com.

8 and Publishers) awards, and two New York Foundation for the Arts Fellowships. The New York

Times and The Village Voice described his music as “magical,” “ingenious,” and “superbly crafted.” Moreover, Teirstein composed many scores for movies such as “Men” (BBC), and

“Margaret Sanger” (PBS), and was the composer for the documentary series “The West” (PBS).

Andy Teirstein is passionate about the characteristics of folk music found at the roots of different cultures around the world. Intrigued by the compositional style and folk song collection of Béla Bartók, Teirstein followed a similar approach to the one used by Béla Bartók to achieve many successful compositions. Teirstein traveled to Maramureş County in Romania, as well as other towns in Europe, and collected a substantial amount of traditional Eastern European tunes, which would become the basis of his viola concerto. During a trip around the United States,

Teirstein was inspired to compose a string quartet on American folk tunes. The use of these traditional folk tunes in these two compositions, Maramures and Restless Nation, are analyzed in this treatise. Maramures, a concerto for viola and orchestra was written in 1997 (rev 2008), and the string quartet Restless Nation was composed in 2010.3

1.2 Scope and Limitations of this Study

The present treatise will focus on the compositional portfolio of composer Andy

Teirstein, inspired by folk music from Romania, and fiddle music from the United States. The viola concerto presented in one of my lecture recitals was written using Romanian folk tunes from Maramureş County, Romania, a northern region in the country that neighbors Ukraine. The composition was performed in its entirety in April 4, 2016 (with piano accompaniment

3 “The world of Andy Teirstein: composer, performer, producer,” Andy Teirstein, accessed on September 8, 2015. http://www.andyteirstein.com.

9 performed by Galen Dean Peiskee, Jr.). As part of the second lecture recital, the Eppes String

Quartet, of which I am a member, performed Restless Nation on March 30, 2016. The string quartet was composed while the composer traveled the United States, and is inspired by fiddle music and the rich history of the culture he visited.4 The PowerPoint presentations used in the lecture recitals are attached in appendices C and E.

In order to have a clear understanding of what is referred to when talking about folk, or

folk music, a broader explanation is necessary. According to the New Grove Dictionary, the

concept of having folk music as a different kind of music is felt more strongly in Europe and

America than other parts of the world.5 The term folk describes the essence of a nation, and can

date back as far as medieval times, although there is no proof of an exact date.

Folk music is limited to the music that is aurally passed on, within communities, cultures,

or regions. As a result of the aural transmission of folk tunes, it is inevitable for the music to

change, as it develops into a new, slightly acculturated tune. Considered a rich oral tradition, folk

music is derived from rural areas but is understood by a large number of people. Also of note is

that folk music is characteristic to a nation, society, or ethnic group.6 Folk music usually spreads

a purpose or a message about cultural activities or festivities.7 Typically folk music does not

have a composer and “its composition has been fairly simple, with perhaps little complexity so

that it can be performed and shared communally.”8 As a consequence, the music is rather

4 “Restless Nation (Excerpts),” Hot Springs Music Festival, last modified May 29, 2012. Accessed September 8, 2015. http://hotmusic.org/1298/teirstein-restless-nation-excerpts/. 5 Klaus Wachsmann, “Folk music.” The New Grove: Dictionary of Music and Musicians, ed. Stanley Sadie (London: Macmillan, 1980), vi: 693. 6 Don Randel, The Harvard Concise Dictionary of Music and Musicians (Cambridge: Harvard University Press, 1999), 236. 7 Stephanie Ledgin, Discovering Folk Music (Santa Barbara: Praeger, 2010), 5. 8 Ronald Cohen, Folk Music: The Basics (New York: Routledge, 2006), 2.

10 simplistic. During the evolution of folk music, and with the help of more affordable printing,

many ethnomusicologists have collected songs and some composers have used them in their

works.

Another definition for folk music as presented in the Journal of the International Folk

Music Council, the term was explained as follows:

Folk music is the product of a musical tradition that has been evolved through the process of oral transmission. The factors that shape the tradition are: (i) continuity which links the present with the past; (ii) variation which springs from the creative impulse of the individual or the group; and (iii) selection by the community, which determines the form or forms in which the music survives. The term can be applied to music that has evolved from rudimentary beginnings in a community not influenced by popular and art music, and it can likewise be applied to music which has originated with an individual composer and has subsequently been absorbed into the unwritten living tradition of a community. The term does not cover composed popular music that has been taken over ready-made by a community and remains unchanged, for it is the re-fashioning and re-creation of the music by the community that gives it its folk character.9

1.3 Approach

An analysis of works composed by Andy Teirstein: Restless Nation for string quartet, and

Maramures concerto for viola and orchestra will be presented. Each movement will be

discussed, with focus on the use of American and Romanian folk tunes, their characteristic rhythms, intervals, motives, and modes, and forms.

Research used in this treatise will include background on the composer and recordings of the collected songs from the areas pertinent to the music presented. Also, an explanation about

9 Renato Almeida. “Resolutions: Definition of Folk Music,” Journal of the International Folk Music Council Vol. 7 (July 21st): 23.

11 the compositional process and techniques used will be included, and a comparison will be made with the compositional style of Béla Bartók and his techniques of collecting folk songs in the same region at the beginning of the 20th century.

12 CHAPTER 2

MARAMURES VIOLA CONCERTO

2.1 Introduction

After receiving an Artslink Fellowship grant from the Soros Foundation, in 1994 Andy

Teirstein traveled to Eastern Europe to collect folk tunes from local people in order to incorporate them in his compositions. The tunes that were incorporated in the viola concerto were inspired from the music heard in bars of Bucharest, and the tunes collected along Mara and

Tisa Rivers, in the county of Maramureş. Maramureş County is located in the northern part of

Romania, neighboring Ukraine. According to the last census, Maramureş has a population of

478,65910 and covers 2433.99 square miles.11 Influenced by Romanian folklore, Andy Teirstein recorded fiddle players and singers performing traditional music, and incorporated their folk

tunes with a similar compositional method to that of Béla Bartók, discussed on page 15.

2.1.1 Background of Romanian folk music

Although folk music is generally not written down, there is proof of early folk music in

Romania. The very first notations of Romanian folk music are in tablature, dating from around

the 17th century. This musical notation system uses letters, numbers or other signs instead of the

10 Consiliul Județean Maramureş. “Demografie.” http://www.cjmaramures.ro/coordonate- geografice. Accessed on April 13, 2016. 11 Consiliul Județean Maramureş. “Coordonate geografice.” http://www.cjmaramures.ro/demografie. Accessed on April 13, 2016.

13 common staff notation.12 These particular organ tablatures were written by the Franciscan monk

John Caioni (1627-1698).13 Ioan Căianu (as it is spelled in Romanian) was a Transylvanian organist, organ builder, teacher, philosopher, theologian, printer, painter, and compiler of music anthologies. He became the first Transylvanian musician to gain European musical recognition, and he composed Cantionale Catholicum, a collection of sacred songs that represented the bridge between Eastern and Western traditions. This collection included sacred and secular songs which were the first known arrangements of Hungarian and Romanian folk melodies.14 Although the first edition of these Caioni tablatures were published in the 17th century, Eftimie Murgu was the first to publish popular songs in the occidental notation system in 1830 in order to prove “that the

Romanians are the true descendants of Romans.”15 About four years later he published a more complete collection called Musique Orientale, 42 Chansons et Dances Moldaves, Valaques et

Turcs.16 In addition to these early collections, many other Romanians contributed to the collection of Romanian folk music. Anton Pann is credited with “contributions to folklore, which in addition to proverbs, tales, and other popular creations, include more than two hundred popular songs of rural and urban provenance, written in psalterian notation of the Eastern

Church.”17 Another important figure is Vasile Alecsandri, whose famous publications drew attention to the spiritual values, customs, tales, music and poetry of Romanian people.

12 Thurston Dart and John Morehen, “Tablature.” The New Grove Dictionary of Music and Musicians, Ed Stanley Sadie (London: Macmillan, 1980), xviii: 506. 13 Béla Bartók, Rumanian Folk Music, Vol. 5, Maramures County, ed. Benjamin Suchoff (The Hague, Netherlands: Martinus Nijhoff), vii. 14 Viorel Cosma, “Căianu, Ioan,” The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (London: Macmillan, 1980), iii: 606. 15 Béla Bartók, Rumanian Folk Music, Vol. 5, Maramures County, ed. Benjamin Suchoff (The Hague, Netherlands: Martinus Nijhoff), viii. 16 Ibid. 17 Ibid.

14 Alecsandri, talking about the “creator of folklore” states: “If longing moves him, if he is seized

with joy, if he marvels at some great deed, he (i.e., the creator of folklore) sings his pain and his

pleasure he sings his heroes and sings history, and thus his soul is an unquenched source of

poetry. There can be nothing more interesting then the study of this people’s character in the

contents of its songs, for they contain all the impulses of the heart and all the lights of its

genius.”18 After about 1850, interest in collecting folk music increased in Romania. Carol

Miculi, Johann Andreas Wachman, and Alexandru Berdescu wrote many arias compiled in a collection named “Rumanian national arias,” and D. Vulpian published about two thousand

tunes.19 Following the revolution in 1848, people like Gavril Musicescu and Iacob Mureşianu

did extensive research in Romanian folk music, and in 1908 Pompiliu Pȃrvulescu published

sixty-three dances transcribed from phonograph cylinders, in his collection entitled Din viața

poporului romȃn (From the life of the Romanian people).20

Many composers focused their inspiration on folk music; as mentioned by Béla Bartók,

these nationalist composers21 were “Franz Liszt (Hungarian Rhapsodies) and Chopin (Polonaises

and other works with Polish characteristics).”22 Other composers that incorporated folk tunes in

their music were Zoltán Kodály who wrote many transcriptions of folk music, Johannes Brahms

in his German folk songs, Maurice Ravel in Five Greek Folk Songs,23 and Ludwig van

Beethoven in his Pastoral Symphony (sixth symphony) where the main motive of the first

18 Béla Bartók, Rumanian Folk Music, Vol. 5, Maramures County, ed. Benjamin Suchoff (The Hague, Netherlands: Martinus Nijhoff), viii. 19 Ibid. 20 Ibid, viii-ix. 21 Nationalist composers include, but are not limited to composers inspired from folk music. 22 Béla Bartók, and Benjamin Suchoff. Béla Bartók Essays (New York: St. Martin’s Press, 1976), 340. 23 Ibid, 375.

15 movement is a Yugoslav dance melody.24 Béla Bartók was the most thorough and extensive in including these folk tunes in his musical language. In doing so, Béla Bartók achieved new methods of harmonization, which aided his desire to detach from Western influences.25 Bartók used Edison Phonograph cylinders to record folk songs from peasants on the spot, allowing him to play them back and then notate, analyze, and classify them.26

Moreover, Béla Bartók observed a very important aspect about folk or peasant music, noting that the music should be studied by traveling to the specific area and interacting with the people that perform it in order to get the exact character, instead of “studying it as it is stored up in museums.”27 Béla Bartók also mentions the three fundamental ways that a folk tune can be converted into modern music: 1) “take over a peasant melody unchanged or slightly varied, write an accompaniment to it and possibly some opening and concluding phrases;”28 within this

compositional technique, the composer might use that theme as “the precious stone” that is

decorated with “introductory and concluding phrases” that are of secondary importance, or “the

melody only serves as a ‘motto’ while that which is built around it is of real importance;”29 2)

“the composer does not make use of real peasant melody but invents his own imitation of such

melodies;”30 3) “neither peasant melodies nor imitations of peasant melodies can be found in his

music, but it is pervaded by the atmosphere of peasant music.” Béla Bartók explains that in this

24 Béla Bartók, and Benjamin Suchoff. Béla Bartók Essays (New York: St. Martin’s Press, 1976), 340. 25 Elliot Antokoletz, Béla Bartók, A Guide to Research, (New York: Garland Publishing, 1988), xx. 26 Ibid. 27 Béla Bartók, and Benjamin Suchoff. Béla Bartók Essays (New York: St. Martin’s Press, 1976), 340. 28 Ibid, 341. 29 Ibid, 341-342. 30 Ibid, 343.

16 last method of incorporating the influence of folk music, the composer has “absorbed the idiom of peasant music which has become his musical mother tongue.”31

Following the methods as explained by Béla Bartók, Teirstein composed this viola

concerto using the three ways one could incorporate folk influences in a composition.

2.2 Maramures Viola Concerto

2.2.1 Background

Maramures Viola Concerto was composed in 1997 and revised in 2008. This viola concerto was part of Teirstein’s dissertation requirements for the Doctor of Philosophy degree he was awarded by the University of New York in 2010. “The concerto was written in memory of violist Jacob Glick, and commissioned by the Sage City Symphony in Bennington, Vermont.”32

The only recording available of this concerto performed in its entirety was recorded with the

Kiev Philharmonic Orchestra conducted by Robert Winstin, with violist Danielle Farina as the featured soloist. This recording was included on the Naxos disc Open Crossings, which was released in 2009, along with other compositions of Andy Teirstein.33

In a tradition established by Béla Bartók, Teirstein traveled to Eastern Europe on a grant from Soros Foundation, and collected folk music. Before composing The Miraculous Mandarin,

Bartók collected songs along the Tisa River in Maramureş County, while traveling from village

31 Béla Bartók, and Benjamin Suchoff. Béla Bartók Essays (New York: St. Martin’s Press, 1976), 343-344. 32 Andy Teirstein. "Theater without Words: Music for Movement Theater by Bartók and Milhaud. Maramures, for Solo Viola and Orchestra." Order No. 3402676, City University of New York, 2010. http://search.proquest.com/docview/305190279?accountid=4840. Composer’s Note. 33 Ibid.

17 to village and recording peasants performing Romanian folk tunes. Andy Teirstein replicated not

only this method of incorporating folk songs into the compositions, but also collected songs in

the same area as Bartók did. Moreover, Teirstein followed Béla Bartók’s three ways of

incorporating folk tunes in his compositions as described above. Having collected fourteen hours

of fiddle tunes and songs from Romania, Bulgaria, and Northern Greece, Teirstein was able to successfully use this compositional technique.34 A few names of the fiddle players recorded by

Teirstein while in Romania are: Ghiță Pîrja, Valeriu Pipaș from Sighetu Marmației, and Vassily

Kovic, “a Romani fiddler who also plays Transylvanian style and Jewish wedding music.”35 The

composer mentions in the CD liner of the recording featuring violist Danielle Farina:

“We came upon a little hill alongside the Mara River. A few men and women reclined on blankets in the sun, eating roasted potatoes and goat, while a teenage girl and boy made music, serenading the town’s mayor and chief engineer. When they learned why I was there, they told me I would have to drink before I could have their tunes, and then we would trade fiddle music, tune for tune. This is where I found some of the themes for the viola concerto, in the bottle of homemade tzuica from the grinning engineer, in the gentle assurances from the pot-bellied mayor that my wife’s pregnant belly would yield a son, and in the mingled sounds of the rushing river and the singing fiddle. When, late in the night, the conversation turned to quiet things, someone said they have no anti-semitism in Romania. Why? “Because we have here only the good Jews. The bad ones are elsewhere.” One day I sought out Gypsy fiddler Vassily Kovic, who told me he used to play in the Jewish wedding bands before they were taken away. There is something reminiscent of those old songs in the Lento movement. The concerto is dedicated to my daughter Zoya, who was born shortly after our return to New York.”36

34 Teirstein, Andy. "Theater without Words: Music for Movement Theater by Bartók and Milhaud. Maramures, for Solo Viola and Orchestra." Order No. 3402676, City University of New York, 2010. http://search.proquest.com/docview/305190279?accountid=4840. Composer’s note. 35 Andy Teirstein, e-mail message to author, March 25, 2016. 36 Teirstein, Andy. Open Crossings. Naxos CD 8.559617. 2009. Liner notes.

18 2.2.2 First movement

The first movement of the viola concerto was performed by itself in 1997 in Prague,

Czech Republic, by violist Karen Dreyfus and the Prague Radio Symphony Orchestra. The recording of this movement was released by MMC record label, titled Orchestral Miniatures,

Volume 4.37 This movement is the shortest of all, and was inspired by the tune “Maramureș plai cu flori,” and also the style Andy Teirstein heard in the bars of Bucharest, as played by a hammered dulcimer and fiddle.38 The tempo indication for the 31-bar introduction where the strings imitate the dulcimer style is marked Allegro, with the metronome marking of 112 (Figure

1). The next section at m. 31, marked Piu mosso, includes many metric changes and metric modulations, and in m. 61 a melodic theme with folk embellishments is introduced in D Major.

Figure 1. Maramures first movement, score, mm. 1-5.

37 Andy Teirstein, e-mail message to author, April 13, 2016. 38 Teirstein, Andy. "Theater without Words: Music for Movement Theater by Bartók and Milhaud. Maramures, for Solo Viola and Orchestra." Order No. 3402676, City University of New York, 2010. http://search.proquest.com/docview/305190279?accountid=4840.

19 2.2.3 Second movement

Figure 2. ”By the Mara River, in Romania, summer of 1994. The composer (far left) learns a tune from fiddler Ghiță Pîrja, accompanied by a three-stringed guitar. Seated are the Chief Engineer (left), and the Mayor (right). Photo by Olga Hiiva.”

The slow movement of this concerto introduces a lyrical and touching melody, which was learned by the composer during his trip in Maramureş County, from fiddler Ghiță Pîrja (Figure

2). This melody is called “Săraca inima mea” (My poor heart), and as the composer was told by

the Romanian fiddler, this melody “will make any Transylvanian homesick.”39 This emotional

eight-bar melody is presented at the beginning of the movement and it is indicated by the

composer to be played “proudly” in a Lento tempo, metronome marking of 90 (Figure 3). As

39 Teirstein, Andy. "Theater without Words: Music for Movement Theater by Bartók and Milhaud. Maramures, for Solo Viola and Orchestra." Order No. 3402676, City University of New York, 2010. http://search.proquest.com/docview/305190279?accountid=4840.

20 mentioned by the composer, this movement contains some elements that are “reminiscent” of the old songs of the Jewish wedding music he heard from Vassily Kovic.40 During the presentation of the theme in G minor in the solo viola, the only other instrument accompanying is the bassoon, which plays an ascending stepwise countermelody, adding to the heartfelt character of the melody.

Figure 3. Maramures second movement, viola solo part, mm. 1-8.

The “Săraca inima mea” melody is next presented in m. 10 in A minor, with the accompaniment of the strings which alternate from pizzicato to arco. In m. 27, new material is introduced, a funeral march-like melody which is performed by the solo viola. At m. 97, the main theme is presented again with the countermelody, but the roles are switched and the horn plays the theme and the viola has the stepwise ascending countermelody. This restatement of the main theme transitions into a piu mosso section where the viola plays triplet eighth notes with double-stops on each beat. The shape of the main theme is hidden in this passage where the top

40 Teirstein, Andy. Open Crossings. Naxos CD 8.559617. 2009. Liner notes.

21 part of the double-stops outlines the melodic line of the theme, while the bottom double-stop

notes are acting as a drone. In the closing of this movement, the viola solo states the theme one

more time in the key of G minor, followed by the flute playing the theme while the solo viola

holds the open G string as a drone.

2.2.4 Third movement

The last movement of the concerto is influenced by tunes collected from a village on the

Mara River in Maramureş County performed by Ghiță Pîrja, a teenage fiddler.41 The fastest

movement, marked Presto, is written in 3/2 meter at 116 to the half note, and it includes many

meter changes and the use of embellishments that are characteristic to folk music (Figure 4).

Written in D minor, this movement is upbeat and very energetic. For example, the viola solo part

in m. 16 has mordents marked in order to give the music an even more exciting feel. Besides the

solo viola, the trumpet is the second most important instrument in this movement and it receives

many solo passages including the theme.

Performing this movement, the viola player needs to follow very closely the indications

provided by the composer regarding slurs and embellishments. In order to achieve the intended

character, the bow should not leave the string, but should be played on the string.

The third movement features the violist towards the end of the composition in a 77

measure long cadenza where the soloist is given the opportunity to add his creative interpretation

to these folk influenced tunes after presenting one more time the theme from the first movement.

41 Teirstein, Andy. "Theater without Words: Music for Movement Theater by Bartók and Milhaud. Maramures, for Solo Viola and Orchestra." Order No. 3402676, City University of New York, 2010. http://search.proquest.com/docview/305190279?accountid=4840.

22

Figure 4. Maramures third movement, viola solo part, mm. 13-22.

23 CHAPTER 3

RESTLESS NATION STRING QUARTET

3.1 Introduction

Restless Nation is a six-movement string quartet composed by Andy Teirstein that is added to his selection of music influenced by folk music of the American culture.

It was commissioned by the Cassatt Quartet and was premiered on February 25, 2010, at

Symphony Space in New York City by the same quartet. At that time, the members of the quartet were Muneko Otani and Jennifer Leshnower on violins, Sarah Adams on viola, and Nicole

Johnson on cello. In writing this quartet, the composer was inspired by a home-schooling expedition that took place in 2007, while on sabbatical leave from New York University.

Growing up playing the fiddle, Teirstein had the opportunity to learn many fiddle tunes at different festivals around the United States. Also, in his teenage years, he had the opportunity to learn banjo, guitar, spoons, harmonica, and mandolin.42 This string quartet draws on one French

Canadian tune called The Hangman’s Reel found in the last movement. Throughout the string quartet Teirstein draws on his fiddle music background and performing experience by using one of the methods mentioned by Béla Bartók. Teristein created new tunes, using the language of fiddle music as his mother-tongue.43 Restless Nation string quartet was dedicated to Andy

Teirstein’s daughter Zoya who was 13, and to his son Max who was 8. Andy Teirstein

“purchased a pop-up camper on ebay, and travelled across the country on a home-schooling

42 Andy Teirstein, e-mail message to author, April 11, 2016. 43 Ibid.

24 expedition”44 with his wife, daughter, and son, observing the “geological history, biosphere and natural resources of each area they visited.”45 As mentioned by the composer, this string quartet

is “a musical evocation of the children’s perspective” of the home-schooling expedition.46

Moreover, the composer states: “I really composed this piece by considering the homeschool

expedition I took my kids on, and the putting away and generating different energies that I felt

would cover the same emotional landscape as the memories.”47

3.2 Introduction to Fiddle Music

3.2.1 Background of fiddle music

Gaining popularity in Europe after the 1500’s, the medieval fiddle became more

prevalent with the troubadours and minstrels who “incorporated bowed instruments into their

entertainments and dances, and occasionally these instruments were used in liturgies and

dramas.”48 The term fiddle is used in this paper to describe the violin of American folk musicians and the working class, as opposed to the violin which was played in a European manner, which implied that the performer had formal training. The fiddle started gaining more popularity in the

United States as it became one of the most prominent folk instruments around the mid-1950’s.49

There are many regional styles of fiddle playing in America such as Cajun, Western swing, Jazz,

44 Andy Teirstein, e-mail message to author, February 13, 2016. 45 Teirstein, Andy. "Theater without Words: Music for Movement Theater by Bartók and Milhaud. Maramures, for Solo Viola and Orchestra." Order No. 3402676, City University of New York, 2010. http://search.proquest.com/docview/305190279?accountid=4840. 46 Andy Teirstein, e-mail message to author, February 13, 2016. 47 Andy Teirstein, e-mail message to author, April 11, 2016. 48 Drew Beisswenger, North American Fiddle Music; A Research and Information Guide (New York: Routledge, 2011), xix. 49 Ibid.

25 Canadian, and Mexican although some of the more common are Contest, Hillbilly, Bluegrass, and Folk fiddling. In Contest fiddling, the music contains more melodic ornamentation, smooth bow changes and slower tempos. Fiddle contests were very common in the United States in the

1960s and 1970s, involving complex techniques and demanding a great deal of the performer.

This highly ornamented style of fiddling was brought to larger audiences starting in the 1970’s by fiddle player Mark O’Connor.50 Hillbilly fiddling is usually performed for dance, and is a combination of folk and popular music from the 1920s and 1930s in the United States. In contrast, Bluegrass fiddling is not used for dance, but it is derived from the Hillbilly style. In

Bluegrass fiddling the tempo is fast and commonly in 2/4 or 3/4 meters. Last but not least, Folk fiddling originates from England, Scotland, France and Ireland, where performers only used first position without dynamic contrasts and no vibrato. This style became popular in the United

States at the beginning of the 19th century.51

3.2.2 Bowing in fiddle music

Even for a trained musician, bowings of the fiddle style can be difficult at first. As the string quartet Restless Nation includes many passages of music that require this skill, additional preparation was needed in order to achieve the desired effect. In order to obtain the desired fiddle style, it is crucial to strictly follow the indications in the music provided by the composer about tempo, articulation, fingering, and slurring. Slurring or non-slurring particular passages results in

50 Drew Beisswenger, North American Fiddle Music; A Research and Information Guide (New York: Routledge, 2011), 93. 51 Sheronna Lynn McMahon, A Critical Analysis of Scholarship on the Transmission and Learning of American Fiddle Music: Implications of an Aural Tradition for Music Education Order No. 3581068, Boston University, 2014, 34-41.

26 changes of sound quality and character, which should be performed as indicated by the

composer.52

According to Gerard Béhague, there are three types of bowing that are important in fiddle music:

“1) the Plain, involving only the single melodic string in a variety of bowing patterns; 2) the Harmonic, having frequent or intermittent double-stopping intended to produce harmony at some or most points in the tune, often with the supporting note fingered and typically with shorter strokes; and 3) the Drone, using virtually constant double-stopping with the open strings tuned to the key and generally long bow strokes producing a bagpipe-like effect.”53

Another aspect of fiddle playing that is different from classical playing is that the bow never leaves the string, which would be the tendency for most classical players. Often fiddle playing may seem unclean as a result of playing in the string, but this connected sound allows the audience to experience the unique character of fiddle music.54 Moreover, the part of the bow that

is used most often in fiddle playing is the middle or upper half. The decision about where to

place the bow in order to perform a specific passage—either middle or upper half of the bow—is

dictated by the particular passage and the string crossings or fingerings used by the player.55

Usually fiddlers prefer using fingerings in the first position, using open strings instead of the fourth finger, which is rarely used.56

52 Marion Thede, The Fiddle Book (New York: Oak Publications, 1967), 14. 53 Gerard Béhague, Performance Practice: Ethnomusicological Perspectives (Westport: Greenwood Press, 1984), 175. 54 Ibid. 55 Ibid. 56 Ibid.

27 Similarly, a very common technique in fiddle music is playing a fast melody while

holding down one finger, or playing an open string adjacent to the string the melody is being played on. Particularly for this reason, many fiddlers have a bridge that is flattened in order to

facilitate playing on both strings at the same time.57 Drones in fiddle music are related to the

drone principle in American folk singing where the dulcimer or the guitar accompanies the voice

in ballads.58

3.2.3 Tuning in fiddle music

Special or scordatura tunings are common in fiddle playing. The three most common

tunings are “natural flat”, “A minor”, and “cross key” or “discord”.

The “natural flat” tuning (Figure 5)59 is the common tuning used nowadays where the

strings are tuned to E, A, D, and G (top to bottom).

For the “A minor” tuning (Figure 6)60 the bottom two strings are tuned up a whole step, changing the lowest string from G to A, and the D string to an E, resulting in tuning of E, A, E,

A (top to bottom). The “A minor” tuning helps the fiddle player to secure better intonation in the keys of A and E, especially when playing double-stops. Also, some double-stops are much more accessible in this tuning, compared to the “natural flat” tuning, where it would require the player to reach a higher position in order to obtain the same double-stops. Moreover, having the lower

57 Gerard Béhague, Performance Practice: Ethnomusicological Perspectives (Westport: Greenwood Press, 1984), 175. 58 Kip Lornell, Introducing American Folk Music: ethnic and grassroot traditions in the United States (Boston: McGraw-Hill, 2002), 44. 59 Marion Thede, The Fiddle Book (New York: Oak Publications, 1967), 17. 60 Ibid.

28 strings double the top strings makes it possible for the performer to have a more complex acoustic, with a special tonal color that is typical in scordatura tuning.61

Figure 5. "Natural flat" tuning.

Figure 6. "A minor" tuning.

61 Marion Thede, The Fiddle Book (New York: Oak Publications, 1967), 17.

29 The “cross key” or “discord” tunings (Figure 7)62 are the tunings that do not fall into

either of the tuning categories mentioned above. Each of these different tunings provides the

player with a wonderful palette of different colors, and also with different drone notes in the

bass.63

Figure 7. "Cross keys" tuning.

3.3 Movement I “My eyes were hungry… and I didn’t know it.”

This movement portrays the “first impression of the children leaving New York City, the

sense of an open road, and the highway leading the family into unknown adventures and

challenges.”64 This movement of the string quartet is written predominantly in 11/16 time

signature, and, as indicated in the score by the composer, should be “felt” as 4-plus-3-plus-4 with

the exception of a few measures. The composer makes it very clear to the performers how it should be “felt” by beaming the 16th notes properly (Figure 8).

62 Marion Thede, The Fiddle Book (New York: Oak Publications, 1967), 17. 63 Ibid. 64 Andy Teirstein, e-mail message to author, February 13, 2016.

30 Figure 8. Restless Nation first movement, viola part, mm. 1-7.

This energetic pattern is a common fiddle rhythm and indicates a folk influence.

Moreover, the time signature of 11/16 alternates for short periods of time with measures of 7/16,

3/4, and 12/16. The tempo indication is “restless, driven,” with a metronome marking of 200 per

eighth note. Furthermore, the composer uses pairs of instruments playing the same rhythm patterns together. These rhythm patterns are a strong indication of the influence of folk music,

along with the harmonic bowing pattern used throughout the movement (Figure 9).

Figure 9. Restless Nation first movement, viola part, mm. 47-50.

31 3.4 Movement II “Our teachers… Flora and Fauna”

As is implied by the title, the second movement is inspired by the flora and fauna of the

Smoky Mountains. “In the Smoky Mountains crickets and cicadas emerge from the ground every thirteen years to mate and die in one day. The movement begins with the voices of the insects, inviting the children into the animal night world. Deeper imaginings of the children are expressed in the middle 5/4 section of the movement.”65

The second movement starts in the same manner as the first movement, with a viola introduction over two bars. This movement is written in 12/8 meter, marked at a metronome marking of 132 per dotted quarter-note. The passages in sul ponticello that are combined with dissonant intervals imitate the sounds of crickets and cicadas as mentioned by the composer, which adds to the menacing character of the introduction. This compositional style can be related to Béla Bartók’s “The Night’s Music” where nocturnal sounds were depicted,66 similar to

Teirstein’s approach. Although the introduction of this movement starts in 12/8 meter, in m. 20

new material is presented in 5/8 where the “deeper imaginings of the children” are portrayed,67 with groupings of 3 plus 2 eighth-notes, a pattern followed all the way through the movement, until m. 200 when the material in the introduction is closing the movement.

Two of the more difficult passages for the performers are the 5/8 bars as presented first in

the viola part (Figure 10), where it is indicated that the eighth-notes should be played as 3 plus 2,

65 “Restless Nation (Excerpts),” Hot Springs Music Festival, last modified May 29, 2012. Accessed September 8, 2015. http://hotmusic.org/1298/teirstein-restless-nation-excerpts/. 66 Malcolm Gillies. "Bartók, Béla." Grove Music Online. Oxford Music Online. Oxford University Press, accessed April 13, 2016,http://www.oxfordmusiconline.com/subscriber/article/grove/music/40686pg5. 67 “Restless Nation (Excerpts),” Hot Springs Music Festival, last modified May 29, 2012. Accessed September 8, 2015. http://hotmusic.org/1298/teirstein-restless-nation-excerpts/.

32 having to accent each group. It is indicated that the passage should be performed with a specified fingering provided by the composer, which results in a difficult bow arm technique.

Figure 10. Restless Nation second movement, viola part, mm. 20-30.

Another difficult passage is found in the viola part at m. 185 (Figure 11) where the 5/8 bar is comprised of six sixteenth-notes and two eighth-notes. Especially because of the fast tempo and the slurring of sixteenth notes in groups of three, this passage requires practice under tempo so that the three sixteenth-notes do not sound like triplets. This passage is also found in all parts at different times.

Figure 11. Restless Nation second movement, viola part, mm. 185-189.

33 3.5 Movement III “Recess”

Vaudeville is the most important and descriptive information given by the composer in

this movement. This term, defined by the New Grove Dictionary as “a song of satirical or epigrammatic character common in the 17th and 18th centuries,” is the indication given by the composer after a three-bar introduction. The term Vaudeville was also used in the 19th and 20th centuries as “a name for theatrical entertainments similar to modern musical comedy or music- hall variety shows.”68

The third movement is written in 4/4 and is indicated “A Little Rushed” with a tempo indication of quarter note equals 110. This movement is very playful and satirical, portraying a

Vaudeville spirit, with its many crescendos to forte preceded by subito pianos (Figure 12). This is followed by a dance-like character provided by the cello and viola playing on-beats and off- beats respectively.

Figure 12. Musical example: Restless Nation third movement, score, mm. 8-10.

68 Clifford Barnes, “Vaudeville,” The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (London: Macmillan, 1980), xix: 564-567.

34 In m. 30 the metric change to 12/16 brings back the feel of the fiddle music, along with the adjacent string double-stops in the second violin, but only for two bars, after which the meter changes back to 4/4. “The rambunctious pizzicato reflects moments of release for the children: sliding down sand dunes, dunking in hot springs, and getting crazy around the cook fire.”69 The movement ends in an energetic and humorous way with a pizzicato eighth-note throughout the entire ensemble.

Figure 13. Restless Nation third movement, score, mm.29-31.

3.6 Movement IV “The Door of No Return”

The fourth movement relates to the side trip the family took to Africa to visit an old

friend of the composer, who is a master of the West African Kora, a harp-like instrument.70 The

sound of this instrument is imitated at the beginning of this movement with broken chords,

always completed by two instruments: one playing the first note, and the other instrument

playing the other two notes of the chord (Figure 14). Moreover, the title of this movement refers

to “the many families that were forced to leave their homes in West Africa to become slaves in

69 Andy Teirstein, e-mail message to author, February 13, 2016. 70 Ibid.

35 another country.”71 It is notated as Andante, with the quarter note at 116 beats per minute. It

includes many meter changes, alternating between 12/8, 7/8, 5/8, 2/4, 3/4, 10/8, and ending in

5/4. The feel at the beginning develops into a more exciting ending because of the poco accelerando marked at m. 44, which continues all the way to the end of the movement.

Figure 14. Musical example: Restless Nation fourth movement, score, mm. 1-3.

3.7 Movement V “Stories of Rocks and Rivers”

The fifth movement is the slowest of the set and it is indicated to be performed as a hymn. As described by the composer, this is “a hymn to geology, as we came to see it in the canyons of America’s magnificent Southwest and the rivers of Appalachia.”72 The movement starts with a cadenza-like passage in the solo first violin (Figure 15), presenting a folk-like

melody, with specific fiddle appoggiaturas that are performed as pickups to the following note,

along with many drones on A. The main theme is passed around the group, allowing each

71 Andy Teirstein, e-mail message to author, February 13, 2016. 72 Ibid.

36 member of the group to perform this lyrical theme. As indicated by the composer at m. 21, the

tempo gets faster, but keeps the same character throughout.

Figure 15. Restless Nation fifth movement, first violin part, mm. 1-12.

3.8 Movement VI “Finding Our Way Home”

The final movement begins with a short solo from the first violin, in an upbeat tempo marked “Vivace-Rambunctious” (Figure 16). This boisterous movement includes a French

Canadian fiddle tune called The Hangman’s Reel73 (also presented in Figure 7, measures 1-2) and it has a very important characteristic: only the first violin is written in scordatura, tuning down only the top string of the violin from E to C#, resulting in a tuning of C#, A, D, G. This particular alternative tuning is a technique used by Arkansas fiddle players74 in order to acquire a

special sound, and to also facilitate the use of C# as a drone, as indicated by the composer in the

music. Moreover, another folk music element used in this movement is the use of drones

73 Andy Teirstein, e-mail message to author, February 13, 2016. 74 Ibid.

37 throughout. This technique along with the shifting meters is used in order to achieve the fiddle character.

Figure 16. Restless Nation sixth movement, first violin part, mm. 1-5.

38 CHAPTER 4

SUMMARY

As a passionate musician interested in the different cultures of the world, Andy Teirstein managed to portray and transform the sights and sounds of different cultures in his music.

Maramures Viola Concerto and Restless Nation String Quartet are two of the most successful compositions in which Teirstein uses folk music aspects and tunes. Although he is an American citizen, Teirstein traveled to different parts of the world and was thirsty to absorb as much culture and knowledge about the new cultures, in order to keep the tradition alive. Following

Béla Bartók’s three ways of using folk tunes in order to incorporate them in new compositions,

Teirstein composed the two works discussed in this treatise. Not only did Teirstein follow

Bartók’s ways of including folk tunes in his music, but in order to have a more complete knowledge about the folk music of Romania and the United States, he traveled to these countries collecting songs. The rich aspects of folk music from Maramureș County, and the United States, came to life in the compositions by Andy Teirstein.

Maramures viola concerto quickly gained my interest from the first time I listened to the

recording featuring Danielle Farina. The use of the Romanian folk tunes from the same area that

I grew up in, the attentive approach to the orchestration of this concerto, and the effective pairing

of instruments, makes this concerto a very successful one by bringing the pure folk music to life in a very authentic way. Performing this composition always takes me back to the memories of beautiful sights of Maramureș County and my childhood. Considering that this performance was one of the few times I had the opportunity to perform traditional folk tunes, I noticed how easy it was for me to pick up the style and the character of the music.

39 Looking more into Andy Teirstein’s compositions, I was intrigued by Restless Nation

string quartet. Since moving to the United States, I became more interested in learning about the

musical heritage and the cultural traditions of my new home. Having little familiarity with fiddle

music in the past, learning this string quartet was a great and beneficial experience, adding a

great amount of knowledge about different styles of music to my skill set.

Both of these 21st century compositions could be approached by a wide range of

musicians, from advanced undergraduate students to professional players. This repertoire can be

extremely beneficial to students for the broad styles incorporated within the compositions: from

dissonant double-stops, flamboyant fast passages on the string, and passages that portray different aspects of nature, to lyrical and profound passages of music.

40 APPENDIX A

ANDY TEIRSTEIN’S LIST OF COMPOSITIONS75

2015: Secrets of the North (music for string quartet, nyckelharpa and narrator)

The Vagabonds (chamber music for strings, winds, brass, marimba and cimbalom,

with mixed chorus and actors, and full-screen projections)

2014: Finding our Way Home

The Trestle at Pope Lick Creek

Rhinoceros

Wharf Music

2013: Letter from Woody (orchestral symphony with folk musician and dancer)

Snow Falling on Water

A Blessing on the Moon (opera. Act III)

2012: A Blessing on the Moon (opera. Acts I and II)

Aesop’s Fables

Restless Nation

2011: The Beast

2010: Restless Nation

Julius Caesar

2009: Shapes in Brass

Buffalo Hair

75 Andy Teirstein, e-mail message to author, February 25, 2016; “The world of Andy Teirstein: composer, performer, producer,” Andy Teirstein, accessed on September 8, 2015. http://www.andyteirstein.com.

41 Three Movements for String Quartet and Folk Musician

Kopanitza

The Rain

2008: Moby Dick-Rehearsed

Cottonwood (music for film)

2007: The Shooting of Dan McGrew (melodrama for piano, chamber ensemble, and narrator)

Turn Me Loose (piano trio: violin, cello, piano)

2006: Throw People (incidental music for soprano saxophone, marimba, mandolin, harmonicas, and bowed psaltry [sic.])

2005: Beyond the Mirror (theatrical score)

Kopanitza (duo for violin and viola)

Invention for Six Instruments (violin, cello, flute, oboe, mandolin, guitar)

The Welcome Table (music for film)

Beyond the Mirror (theater work)

Soon of a Mornin’ (theater work)

2004: Accustomed to Travelling

Pinochio

Traces of Brush

Men in Suits

Who Will Roll Away the Stone?

2003: Harold and the Purple Crayon

2002: Uneasy Dances

42 The Alamo Piece (theater work)

Pericles

The Snow Queen

2001: The Mind’s Journey (music for film)

A Little Tour of Manhattan (music for film)

Welcome to Willieworld (music for film)

2000: Hallelujah: In Praise of Ordinary People

Landscape Changing (orchestral music)

Cinderella

1998: Par Terre [sic.]

Beauty and the Beast

1997: Men (music for film)

Margaret Sanger (music for film)

Maramures (orchestral music)

1996: Rhapsody for Boy, Soprano, and Strings

Masters of Space (music for film)

The West (music for film)

The Wild (theater work)

1995: Deadly Sins

Floating Rhoda and the Glue Man (theater work)

Winter Man (theater work)

1994: Thorn Web for Irene (music for film)

1992: Coyote Road (theater work)

43 1989: The System Works (music for film)

1985: Dinosaur (music for film)

1984: Papushko (musical)

1979: Scarecrow (orchestral music)

Recordings

2001: Welcome to Willieworld, Animal Stone Productions

2000: Winter Man, Animal Stone Productions

1999: Maramures, on MMC Orchestral Miniatures, Vol. IV. Released January

1996: Rhapsody for Boy Soprano and Strings

The Beast

1993: Mannahatta [sic.], Animal Stone Production

44 APPENDIX B

PERMISSION LETTER FROM ANDY TEIRSTEIN

45 APPENDIX C

PERMISSION LETTER FROM OLGA HIIVA

46 APPENDIX D

MARAMURES VIOLA CONCERTO - LECTURE HANDOUTS

47 48 49 50

51

52 APPENDIX E

RESTLESS NATION STRING QUARTET – LECTURE HANDOUTS

53

54

55

56

57 REFERENCES

Almeida, Renato. Resolutions: Definition of Folk Music, Journal of the International Folk Music Council, Vol. 7 (July 21st): 23. Accessed October 5, 2015. http://www.jstor.org/stable/834530.

Antokoletz, Elliott. The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth- Century Music. Berkeley: University of California Press, 1984.

Barnes, Clifford. “Vaudeville.” The New Grove: Dictionary of Music and Musicians. Edited by Stanley Sadie. London: Macmillan, 1980. xix: 564-567.

Bartók, Béla. Béla Bartók Essays. Edited by Benjamin Suchoff. New York: St. Martin’s Press, 1976.

Bartók, Béla. Rumanian Folk Music. Vol. 5, Maramureș County. Edited by Benjamin Suchoff. Hague, Netherlands: Martinus Nijhoff, 1978.

Cohen, Ronald. Folk Music: The Basics. New York: Routledge, 2006.

Consiliul Județean Maramureş. “Coordonate geografice.” http://www.cjmaramures.ro/demografie. Accessed on April 13, 2016.

Consiliul Județean Maramureş. “Demografie.” http://www.cjmaramures.ro/coordonate- geografice. Accessed on April 13, 2016.

Cosma, Viorel. “Căianu, Ioan.” The New Grove: Dictionary of Music and Musicians. Edited by Stanley Sadie. London: Macmillan, 1980. iii: 606.

Gerard Béhague, Performance Practice: Ethnomusicological Perspectives. Westport, Conn: Greenwood Press, 1984.

Gillies, Malcolm. "Bartók, Béla." Grove Music Online. Oxford Music Online. Oxford University Press, accessed April 13, 2016,http://www.oxfordmusiconline.com/subscriber/article/grove/music/40686pg5.

Dart, Thurston and Morehen, John. “Tablature”. The New Grove: Dictionary of Music and Musicians. Edited by Stanley Sadie. London: Macmillan, 1980. xviii: 506. Drew Beisswenger, North American Fiddle Music; A Research and Information Guide. New York: Routledge, 2011.

Ledgin Stephanie. Discovering Folk Music. Santa Barbara: Praeger, 2010.

Lornell, Kip. Introducing American Folk Music: Ethnic and Grassroot Traditions in the United States. Boston: McGraw-Hill, 2002.

58

McMahon, Sheronna Lynn. A Critical Analysis of Scholarship on the Transmission and Learning of American Fiddle Music: Implications of an Aural Tradition for Music Education. Order No. 3581068, Boston University, 2014. http://search.proquest.com/docview.1545957839?accountid=4840.

Randel, Don. The Harvard Concise Dictionary of Music and Musicians. Cambridge: Belknap, 1999.

Teirstein, Andy. Teirstein “Restless Nation (Excerpts)”, Hot Springs Music Festival, last modified May 29, 2012. Accessed September 8, 2015. http://hotmusic.org/1298/teirstein- restless-nation-excerpts.

Teirstein, Andy. The world of Andy Teirstein: composer, performer, producer. Accessed on September 8, 2015. http://www.andyteirstein.com.

Teirstein, Andy. Theater without Words: Music for Movement Theater by Bartók and Milhaud. Maramures, for Solo Viola and Orchestra. Order No. 3402676, City University of New York, 2010. http://search.proquest.com/docview/305190279?accountid=4840.

Teirstein, Andy. Open Crossings. Naxos CD 8.559617. 2009. Liner notes

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.

Wachsmann, Klaus. “Folk music.” The New Grove: Dictionary of Music and Musicians. Edited by Stanley Sadie. London: Macmillan, 1980. vi: 693.

59 BIOGRAPHICAL SKETCH

Mihai Razvan Berindean was born in Baia Mare, Romania and began his studies of music at the early age of six. He received his Bachelor’s and Master’s degrees in 2010 and 2012 respectively, both in Viola Performance from Bowling Green State University. While at Bowling

Green State University, Razvan studied viola with Csaba Erdélyi, Meghan Yanik (Fergusson), and Matthew Daline. He was the recipient of the Bernice Coulon Special Achievement Award, the Music Talent Award, and held the viola position for the Bowling Green State University

Graduate String Quartet for the duration of his graduate studies.

He is currently pursuing a Doctorate in String Performance at Florida State University

College of Music as a student of Dr. Pamela Ryan. While working on his doctoral degree,

Razvan receives the Harsanyi Scholarhip and is also part of the Eppes Quartet – the Graduate

String Quartet at Florida State University. Razvan has participated in many master classes for pedagogues such as Paul Neubauer, the Penderecki String Quartet, Badke Quartet, Caroline

Coade, Peter Slowik, Ralph Fielding, Misha Galaganov, Michael Larco, Daniel Strba, and

Randolph Kelly. An avid performer, Razvan Berindean has had the opportunity to perform in venues around the world, including extensive tours in China, Japan, Spain, France, Germany,

Greece, England, and Romania. He is also a passionate orchestral player and he currently holds an assistant principal position with the Mobile Symphony (AL), and performs with Pensacola

Symphony (FL), Sinfonia Gulf Coast (FL), and Tallahassee Symphony (FL) orchestras.

Berindean has also performed with the National Repertory Orchestra, Toledo Symphony, Toledo

Ballet Orchestra, Ann Arbor symphony, and Jackson Symphony.

60