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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly fiom the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fitce, while others may be fi-om any type o f computer printer. 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 bleedthrough, substandard margins, and improper alignment can adversely aJEfect reproduction. In the unlikely event that the author did not send UMI 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. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing fi’om left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations tq)pearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell hifinmatioa Con^any 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THE CELLO AND PIANO SONATAS OF EMILIE MAYER (1821-1883) DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the School of Music of The Ohio State University By Marie-Aline Cadieux, M.M. ***** The Ohio State University 1999 Document Committee: Professor William Conable, Adviser Approved by Professor Edward Adelson I (\ f f I f]/ Professor Arved Ashby Adviser School of Music ÜMI Number: 9931571 Copyright 1999 by Cedieux, Marie-Aline All rights reserved. UMI Microform 9931571 Copyright 1999, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright by Marie-Aline Cadieux 1999 ABSTRACT The music of Emilie Mayer has remained neglected since her death in 1883, despite the fact that she was well-known as a composer in mid­ nineteenth century Germany. She was prolific, writing lieder, symphonies, large scale vocal works, string quartets and quintets, piano pieces, violin sonatas, and the ten cello sonatas which are the subject of this document. She was a student of ballade-composer Carl Loewe, and an admirer of Beethoven. Influences of both composers, as well as similarities to the sonatas by Felix Mendelssohn, can be heard in her cello sonatas. Her style is somewhat uneven, and the movements in smaller forms are more successful than those in sonata form, but the sonatas are pleasant and interesting. Very few of her pieces were published, although she organized many private concerts in which much of her music was performed for small audiences. This study discusses what little is known of her life and places it in the context of nineteenth century Germany, and also provides a stylistic analysis of each sonata, along with a more generalized description and analysis of her compositional style. In addition, an un-edited version of the unpublished E minor sonata is included as an appendix. 11 ACKNOWLEDGMENTS I wish to thank the Staatsbibliothek zu Berlin for allowing me to study the manuscripts, and for providing the microfilm. I am very grateful to Thomas Heck for his invaluable assistance in communicating with the Staatsbibliotek, and for purchasing the microfilm for the Music Library. I also wish to thank my adviser, William Conable, and the members of my committee for their many insights, and unflagging editing patience. My thanks also go to my parents, Elsie and André Cadieux, for their loving support, patience, the use of their "Clavinova," and their constant encouragement. Ill VITA January 21,1965 ...................................Bom, Minneapolis, Minnesota 1987 .......................................................B. A., Music, University of Illinois 198 9 .......................................................M. M., Northwestern University 199 0 ......................................................Graduate Certificate of Performance, Northwestern University 1990-1996 ............................................. Assistant Professor of Music, Millikin University, Decatur, Illinois 1996-1997 ..............................................Graduate Fellowship recipient. The Ohio State University 1997-presen t ............................................Graduate Teaching Associate, Music Theory, The Ohio State University FIELDS OF STUDY Major field: Music Performance (ceUo) iv TABLE OF CONTENTS Page Abstract ii Acknowledgments iii Vita iv List of Musical Examples vii Chapters: 1. Introduction 1 2. Biography of Emilie Mayer 3 3. Women Composers in Nineteenth Century Germany 7 4. Emilie Mayer's Compositional Style 12 5. Introduction to the Sonatas 20 6. Duo in F major (No shelf number) 21 7. Sonata in D minor (Shelf number 30) 29 8. Sonata in E minor (Shelf number 31) 37 9. Sonata in A major (Shelf number 32) 49 10. Sonata in B flat major [no. 2] (Shelf number 34) 62 11. Sonata in B flat major [no. 1] (Shelf number 33) 66 12. Sonata in B minor (Shelf number 35) 77 13. Sonata in C major (Shelf number 27) 88 14. Sonata in C minor (Shelf numbers 28.1 and 28.2) 98 V 15. Sonata in C major. Op. 40 (microfiche number 92 052) 106 16. Sonata in D major. Op. 47 (microfiche number 12670) 120 17. Conclusion 130 Bibliography 132 Appendix: Sonata in E minor 134 VI LIST OF MUSICAL EXAMPLES Example Page 6.1 ......................... Duo. Mvtl, mm. 27-34................................................ 22 6.2 ..........................Duo. Mvtl, mm. 83W................................................ 23 6.3 ..........................Duo. Mvtn, mm 9-16................................................ 25 6.4 ..........................Duo. Sdieizo, mm 1-8................................................ 26 6.5 ..........................Duo. Menuetto, mm 1-8............................................ 27 7.1 ..........................Sonata in D minor. M vtl, mm 1-10............................... 30 7.2 ......................... Sonata in D minor. Mvt. I, mm. 166-172.............. 32 7.3 ..........................Sonata in D minor. Mvt H, mm. 43-50........................ 34 7.4 ..........................Sonata in D minor. Mvt H, mm. 80-88 ........................ 35 8.1 ..........................Sonata in E minor. Mvt I, mm. 17-22............................ 38 8.2 ..........................Sonata in E minor. Mvt. I, mm. 22-33 ............................ 40 8.3 ..........................Sonata in E minor. Mvt H, mm. 1-8 ............................... 41 8.4 ......................... Sonata in E minor. Mvt IH, mm 1-20 ........... 42-43 8.5 ..........................Sonata in E minor. Mvt. HI, mm. 199-209 ..................... 44 8.6 ..........................Sonata in E minor. Mvt IV, mm. 1-12......................... 46 8.7 ..........................Sonata in E minor. Mvt IV, mm. 32-39 ......................... 47 9.1 ......................... Sonata in A major. Mvt I, mm 1-8 ..................... 50 9.2 ..........................Sonata in A major. Mvt. I, mm. 196-199 ..................... 52 9.3 ..........................Sonata in A major. Mvt II, mm 1-6............................... 53 vii Example Page 9.4 ........................Beethoven, Op. 69. Mvt IH, mm. 19-22 .......................... 54 9.5 ........................Sonata in A major. Mvt n, mm. 19-28 .......................... 55 9.6 ........................Sonata in A major. Mvt. IH, mm. 1-16.............................. 57 9.7 ........................Sonata in A major. M vt IH, mm. 69-71 .......................... 58 9.8 ........................Sonata in A major. M vt III, mm. 150-159 ....................... 59 9.9 ........................Sonata in A major. Mvt. IV, mm. 16-24........................... 60 9.10 .....................Sonata in A major. Mvt. IV, mm. 67-73 .......................... 61 10.1 .....................Sonata in B flat major No. 2. Mvt. I, mm. 10-17....... 63 11.1 .....................Sonata in B flat major No. 1. Mvt. I, mm. 17-21....... 67 11.2 .....................Sonata in B flat major No. 1. Mvt. I, mm. 35-42 ....... 68 11.3 .....................Sonata in B flat major No. 1. Mvt. II, mm. 16-24....... 70 11.4 .....................Sonata in B flat major No. 1. Mvt. H, mm. 37-44........ 71 11.5 .....................Sonata in B flat major No. 1. Mvt. n, mm. 63-70 ....... 72 11.6 .....................Sonata in B flat major No. 1. Mvt. DI, mm. 1-5....... 73 11.7 .....................Sonata in B flat major No. 1. Mvt. HI, mm. 21-26 ... 74 11.8 .....................Sonata in B flat major No. 1. Mvt. IV, mm. 14-19 ... 75 11.9 .....................Sonata in B flat major No. 1. Mvt. IV, mm 133-135 76 12.1 .....................Sonata in B minor. Mvt I, mm. 1-10.............................. 77 12.2 .....................Sonata in B minor. Mvt I, mm. 31-38 .............................. 79 12.3 .....................Sonata in B minor. Mvt II, mm. 1-4................................. 80 12.4 .....................Sonata in B minor. Mvt HI, mm. 3-11.............................. 81 12.5 .....................Sonata in B minor. Mvt. HI, mm.
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