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Viewed the Thesis/Dissertation in Its Final Electronic Format and Certify That It Is an Accurate Copy of the Document Reviewed and Approved by the Committee U UNIVERSITY OF CINCINNATI Date: I, , hereby submit this original work as part of the requirements for the degree of: in It is entitled: Student Signature: This work and its defense approved by: Committee Chair: Approval of the electronic document: I have reviewed the Thesis/Dissertation in its final electronic format and certify that it is an accurate copy of the document reviewed and approved by the committee. Committee Chair signature: A Pedagogical and Analytic Comparison of Auguste Franchomme’s Twelve Caprices, Op. 7 and Alfredo Piatti’s Twelve Caprices, Op. 25 A thesis submitted to the Division of Graduate Studies and Research of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS (D.M.A.) In the Performance Studies Division of the College-Conservatory of Music 2009 by Fang-Yi Shen BM, National Taiwan Normal University, 2001 MM, College-Conservatory of Cincinnati, 2004 Committee Chairs: Dr. David Carson Berry Dr. Jonathan Kregor Prof. Lee Fiser Abstract The etude has a long history in the cello repertoire, evidenced by the volume of pedagogical works in the form of etudes, exercises, studies, and concert etudes available today. The sets of 12 Caprices by Franchomme and Piatti are concert etudes which are studied and performed frequently today. Selected works of these two standard etude books have been examined and analyzed, with regard to technical issues and issues of musicality. This document focuses on the these two books, exploring the history of the cello techniques covered, explaining aspects of the music from a Schenkerian point of view, comparing the similarities and differences in technique and compositional style, and integrating aspects of performance and analysis. Professional players and students can use the information provided in this document to help in understanding the value of the two books, the evolution of cello technique in the nineteenth century, and the different compositional styles. Based on the shift in technical demands that evolved during the second half of the nineteenth century, cello players would be able to know when to study these two etudes. This document can provide the performer with a new analytical perspective, one that can enhance performance. iii Copyright (c) 2009, Fang-Yi Shen Acknowledgements My interest in Auguste Franchomme and Alfredo Piatti stems from first playing their music when I was fifteen years old. Assuming that both composers were from different nations and they spent their life and career in England, little did I realize the extent of their contributions to cello techniques and the cello repertoire. While studying with Prof. Lee Fiser at the University of Cincinnati College-Conservatory of Music (CCM), I was drawn to a variety of cello techniques by Piatti’s Twelve Caprices, Op. 25. Thanks to his instruction and others, I got the opportunity to get a better understanding of the history of the nineteenth-century cello techniques and repertoire. I am very grateful for the opportunity to study in the United States for these seven years, especially pursuing my mater and doctoral studies at the CCM under a full university scholarship. I have learned a lot about music, cello and some other things about life, particularly the last two years of my studies having the second cognate in music theory. Without the help of Dr. David Carson Berry and Dr. Steven Cahn, I could not have finished all the requirements of a cognate within two quarters. Dr. David Berry, who is my advisor, gave unbelievable support and offered his expert knowledge throughout every stage of the process. Before I started to do research for this document, I had very little ability to do the Schenkerian analysis and to use Finale music notation software. With the guide from Dr. Berry, I became very familiar with them. I would like to thank him for his time, patience, excellent teaching and professional knowledge. Prof. Lee Fiser, my cello professor at the CCM, has taught me many things about cello playing, including techniques and musicality. His emphasis on the body iv relaxation has freed me from physical tension, which I have been pursuing for the last ten years. Thanks for his extreme patience, support and wonderful teaching. Dr. Kregor, who is my reader, gave me a different view about performance and analysis, so that I came up the last chapter about integration of performance and analysis. His expert editing and coaching abilities along with his remarkable suggestions about writing broadened my research, in which my benefit extended to combine performance and theory. I also greatly appreciate the friendship and encouragement of my classmates and colleagues during my studies, especially Stephen Brown. Last but not least, special thanks for my family for unconditional love and support, and for being proud of me, even though so many unexpected life dramas happened in these seven years while I pursued my master and doctoral degrees in music. They have been very supportive for all of my decisions, especially the fact that I got the second cognate (music theory) during my last year of my doctoral study. I could not have accomplished my document without the support and help from these people. I feel very lucky to have these generous people in my life. There is no word to describe how grateful I am. This seven-year American life had made me more complete as a cellist, and as a human being. February 2009 Cincinnati, OH v Table of Contents Chapter One: Etude ……………………………………………………………………………….1 Definition …………………………………………………………………………………1 The Development of Cello Techniques .………………………………………..................4 Types …………………………………….…………………………………….................12 Figures …………………………………………………………………………………...15 Chapter Two: The Biographies of Franchomme and Piatti ……………………………………..16 Franchomme …………………………………………………………………………….16 As a Composer …...……………………………………………………...............16 Association with the Contemporary Musicians ……..……………….………….17 Music ………………………………………….…………………………………18 Piatti …………………………………………………………………………………….20 Life at the Conservatory in 1830s ………………..………………………………21 Connections with the Contemporary Musicians …………………………………22 Orchestra Life …………………………….……………………………24 Performance Life at London from 1847 to 1890s ……………………..25 Performing Piatti’s Own Works ……….……………………………….26 Honorary Diploma ………………….……….………………………….27 Critics ………………………………..……….…………………………27 Music ………………………………..……….………………………….28 Figures ……………………..…………………….……….……………………………...29 Chapter Three: Performance Aspect …………………………………………………………….41 Observation of Advanced Etudes by Franchomme and Piatti ……………..……………41 Techniques of the Right Hand ……………………………..……………………………43 Detache ………………………………………………………………………….43 Legato …………………………………………………………………………...44 Staccato ……..………….………………………..………………………………45 Spiccato ………………………………………….………………………………47 Martele …………………………………………..……………………………….48 Ricochet ………………………………………….………………………………49 Chord …………………………………………….………………………………50 Techniques of the Left Hand ………………..…………………….………..……………51 Fingering ……………………………….…..……………………………………..52 Position Establishment ……………………………………………………………53 Neck Position ……….……………….…………………………..53 Thumb Position ……………………………….…………………53 Double Stops ………………………………………..……………………………56 Harmonics ……………………………………..………………………………….57 vi Pizzicato ………………………………………..…………………………………59 Classification of the Left and Right Hand in the Etudes of Franchomme …….......….…62 Classification of the Left and Right Hand in the Etudes of Piatti ….………………...….64 A synthesis of two Caprices, Op. 7 and Op. 25 …………………….……….……..……66 Conclusion ……........……………….,,,,,,,…………………….……………....…………68 Figures ………………..…………………………………….……………………………69 Chapter Four: Analysis of Selected Works by Franchomme and Piatti …...……………………86 Comparison of Franchomme’s 12 Caprices, Op. 7, No. 9 and Piatti’s 12 Caprices, Op. 25, No. 6 ……………………………………………………………………………….…….88 Franchomme’s 12 Caprices, Op. 7, No. 9 ………………………………….........88 The Relation of the Minor Third – the Relative Mediant ……..………...89 Voice Leading: The Chromatic Descending Line with Motivic Parallelism ……………………………………………………………….91 Some Other Techniques ………..………………………………………..95 Piatti’s 12 Caprices, Op. 25, No. 6 ………………………………………...……99 A Succession of Minor Thirds ……………….…………………………..99 Modal Mixture …………..………………………………………………102 The Relationship of “Leads” and “Follows” ……………..……………..104 The Function of the Neighbor Note ………………………..….………...105 Implied Note ………………………………………………….…………105 Conclusion of Franchomme’s No.9 and Piatti’s No. 6 ...………..……………..107 Comparison of Franchomme’s 12 Caprices, Op. 7, No. 1 and Piatti’s 12 Caprices, Op. 25, No. 1 ……………………………………………………………………………………108 Franchomme’s 12 Caprices, Op. 7, No. 1 ………………………………………108 Omnibus Progression …………………………………………………..108 The Movement of the Kopfton, D/ Register Transfer …………….....…109 Chromatic Thirds and the Relationship of thirds ………………………110 Subordinate Linear Progression with Motivic Parallelism ………….....111 Form: Modified Binary Form ………………………………………….112 Piatti’s 12 Caprices, Op. 25, No. 1 …………………………………………….115 Obligatory Register …………………………………………………….115 Prolongation ……………………………………………………………118 Form: Prelude Form ……………………………………………………124 Conclusion ……………………………………………………………..127 Conclusion of Franchomme’s No. 1 and Piatti’s No. 1 ………………………. 128 Figures ………..………………………………………………..……………….129 Chapter Five: Integration of analysis and performance ………………………………………..155 The Opinions of the Past Scholars ………………………………………………..……156 My Own View ………………………………………………………………………….160 Examples ……………………………………………………………………………….163
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