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Proquest Dissertations A comprehensive study, descriptive analysis and resulting catalog of opera-inspired repertoire for the cello Item Type text; Dissertation-Reproduction (electronic) Authors Beadell, Mary Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 23:42:56 Link to Item http://hdl.handle.net/10150/280676 A COMPREHENSIVE STUDY, DESCRIPTIVE ANALYSIS AND RESULTING CATALOG OF OPERA-INSPIRED REPERTOIRE FOR THE CELLO by Mary Beadell Copyright © Mary Beadell 2004 A Document Submitted to the Faculty of the SCHOOL OF MUSIC AND DANCE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 4 UMI Number: 3158072 Copyright 2004 by Beadell, Mary All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform 3158072 Copyright 2005 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 THE UNIVERSITY OF ARIZONA ® GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the document prepared by Mary Beadell entitled A COMPREHENSIVE STUDY, DESCRIPTIVE ANALYSIS MP RESULTIRG CATALOG OF OPERA-INSPIRED REPERTOIRE FOR THE CELLO and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts r? ~ i • /T Nancy Green Date //-/ ' -/ / . / // / if //fv ' , Mafl: Rush Date /, A Hong-Mei Xiao Date Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. !j I A.4^ /i -i? / -1 j/ • 1, Director / Nancy Green Date 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to bonowers under rules of the Library. Brief quotations from this document are allowable without special pennission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this granted by the copyright holder. SIGNED: 4 TABLE OF CONTENTS LIST OF FIGURES 5 ABSTRACT 9 L INTRODUCTION 10 II. OPERA-INSPIRED REPERTOIRE AS PROGRAMMING CHOICE 11 III. METHODOLOGY 17 IV. IDENTIFICATION OF OPERA-INSPIRED REPERTOIRE TYPES 20 A. Solo transcriptions and arrangements B. Original compositions C. Ensemble music V. ANALYSIS CRITERIA AND ASTA RANKING 24 A. Key B. Range C. Dynamics D. Tempo E. Fingerings/positions F. Balance G. Special techniques H. Rhythm I. Articulation J. Editing VI. CONCLUSIONS - CATALOG OF OPERA-INSPIRED CELLO REPERTOIRE..83 VII. REFERENCES 114 5 LIST OF FIGURES Figure la. Mascagni, Intermezzo Sinfonico from "Cavalleria Rusticana," facsimile of the original manuscript 28 Figure lb. Mascagni, Intermezzo Sinfonico from "CavalleriaRusticana." ...32 Figure Ic. Mascagni, Intermezzo Sinfonico from ''Cavalleria Rusticana." 33 Figure 2. Weber, Agatha's Cavatina from "Der Freischiitz," Cello I. mm. 6-14 35 Figure 3. Weber, Agatha's Cavatina from "Der Freischiitz," Cello III, mm. 6-14 36 Figure 4. Bizet, Habanera from "Carmen," mm. 4 -12. ..37 Figure 5. Bizet, Habanera from "Carmen," mm. 4-12 37 Figure 6a. Puccini, Quando men vo, from "La Boheme." mm. 5-11 39 Figure 6b. Puccini, Quando men vo, from "La Boheme," mm. 5-14. .39 Figure 7. Handel, Larghetto from "Xerxes," transcription of original manuscript 41 Figure 8a. Handel. Larghetto from "Xerxes," m. 25... .42 Figure 8b. Handel, Larghetto from "Xerxes," m. 44. 42 Figure 8c. Handel, Larghetto from "Xerxes," m. 21 43 Figure 8d. Handel, Larghetto from "Xerxes,". ...44 Figure 9a. Handel, Larghetto from "Xerxes," transcription of ms, m. 41..... 45 Figure 10a. Tchaikovsky, Lenski's Aria from "Eugene Onegin," mm. 1-18 46 6 LIST OF FIGURES - Continued Figure 10b. Tchaikovsky, Lcnski's Aria from "Eugene Onegin," mm.31-38 46 Figure 10c. Tchaikovsky, Lenski's Aria from "Eugene Onegin," second page 47 Figure 11. Wagner, Song to the Evening Star from "Tannhauser," mm. 21-22. 49 Figure 12a. Wagner, Song to the Evening Star from "Tannhauser," mm. 5-8. 49 Figure 12b. Wagner, Song to the Evening Star from "Tannhauser," mm. 29-30 50 Figure 13a. Godard, Berceuse from "Jocelyn," mm. 30-32 51 Figure 13b. Godard, Berceuse from "Jocelyn," mm. 64 51 Figure 13c. Godard, Berceuse from "Jocelyn," mm. 86 51 Figure 14. Puccini, E lucevan le stelle from "Tosca," mm. 1-6 54 Figure 15. Beethoven, Variations on a theme from "The Magic Flute," ram. 1-8 56 Figure 16. Beethoven, Variations on a theme from "The Magic Flute," mm. 4-8 58 Figure 17a. Beethoven, Variations on a theme from "The Magic Flute," mm. 5-9 59 Figure 17b. Beethoven, Variations on a theme from "The Magic Flute," mm. 29-31 60 Figure 18a. Corigliano, Phantasmagoria (on themes from "The Ghosts of Versailles"), mm. 1-9 ....63 Figure 18b. Corigliano, Phantasmagoria (on themes from "The Ghosts of Versailles"), mm. 15-16... ......... 63 7 LIST OF FIGURES - Continued Figure 18c. Corigliano, Phantasmagoria (on themes from. "The Ghosts of Versailles"), piano part, mm. 22-24 64 Figure I8d. Corigliano, Phantasmagoria (on themes from "The Ghosts of Versailles"), mm. 47-50 64 Figure 18. Corigliano, Phantasmagoria (on themes from "The Ghosts of Versailles"), piano part, mm. 44-45 64 Figure 19a. Corigliano, Phantasmagoria (on themes from "The Ghosts of Versailles"). mm. 10-15 ......65 Figure 19b. Corigliano, Phantasmagoria (on themes from "The Ghosts of Versailles"), Marie Antoinette's Aria, piano part, mm. 17-24 65 Figure 20. Verdi, Phillip's Aria from "Don Carlos," Cello I, mm. 62- 66 67 Figure 21a. Gershwin, Bess, You Is My Woman from "Porgy and Bess," vocal score, mm. 9-10. 68 Figure 21b. Gershwin, Bess, You Is My Woman from "Porgy and Bess," mm. 9-10 68 Figure 22a. Gershwin, Bess, You Is My Woman from "Porgy and Bess," mm. 19-20...69 Figure 22b. Gershwin, Bess, You Is My Woman from "Porgy and Bess," mm. 23-24.. .70 Figure 23. Offenbach, Barcarolle from "The Tales of Hoffmann," mm. 1-4 70 8 LIST OF FIGURES - Continued Figure 24. Offenbach. Barcarolle from "The Tales of Hoffmann," piano part, mm. I-4..72 Figure 25. Danzi, Variations on a theme from Mozart's "Don Giovanni," mm. 1-4 73 Figure 25a. Danzi, Variations on a theme from Mozart's "Don Giovanni," mm. 25-29..74 Figure 26. Danzi, Variations on a theme from Mozart's "Don Giovanni," mm. 53-62....75 Figure 27a. Danzi, Variations on a theme from Mozart's "Don Giovanni," m. 89 75 Figure 27b. Danzi, Variations on a theme from Mozart's "Don Giovanni," m. 93 76 Figure 27c. Danzi, Variations on a theme from Mozart's "Don Giovanni," vocal score, mm. 19-24 76 Figure 28. Danzi, Variations on a theme from Mozart's "Don Giovanni," mm. 109-116 77 Figure 29a. Danzi, Variations on a theme from Mozart's "Don Giovanni," mm. 138-151 78 Figure 29b. Danzi, Variations on a theme from Mozart's "Don Giovanni," vocal score, 6/8 Allegro section .79 Figure 30. Danzi, Variations on a theme from Mozart's "Don Giovanni," rnm. 152-160 80 9 ABSTRACT Opera-inspired cello repertoire is well suited for performance and educational purposes, but has not been systematically identified and evaluated. Currently, there are neither existing studies on this repertoire nor any published compilations. Through demonstration and analysis, this study will show the performance qualities and pedagogical merit of this repertoire through identification, review and analysis of each piece. The findings of this study will be used to create a catalog that will make this literature more visible and more accessible to performers, teachers and students in the schools and in the private sector. The study and resulting catalog will be limited to music that is currently in print. 10 I. INTRODUCTION Opera-inspired cello repertoire is well suited for performance and educational purposes, but has not been systematically identified and evaluated. Currently, there are neither existing studies on this repertoire nor any published compilations, Through demonstration and analysis, this study will show the performance qualities and pedagogical merit of this repertoire through identification, review and analysis of each piece. The findings of this study will be used to create a catalog that will make this literature more visible and more accessible to performers, teachers and students in the schools and in the private sector. The study and resulting catalog will be limited to music that is currently in print. 11 II. OPERA-INSPIRED REPERTOIRE AS A PROGRAMMING CHOICE Opera-inspired repertoire is an excellent programming choice for a number of reasons. First, in addition to great audience appeal, this music exploits the middle range of the cello, so often likened to the human voice.
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