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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

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

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 In addition, an un-edited version of the unpublished E minor sonata is included as an appendix.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. 18-25 ...... 82 viii Example Page 12.6 ...... Sonata in B minor. Mvt. DI, mm. 94-102 ...... 83 12.7 ...... Sonata in B minor. Mvt. IV, mm. 12-20...... 84 12.8 ...... Sonata in B minor. Mvt. IV, mm. 117-124...... 86 13.1 Sonata in C major. Mvt I, mm. 17-24...... 89 13.2 Sonata in C major. Mvt I, mm. 50-51...... 90 13.3 Sonata in C major. Mvt I, mm. 57-64 ...... 91 13.4 Sonata in C major. Mvt I, mm. 120-128 ...... 92 13.5 Sonata in C major. Mvt. II, mm. 191-206 ...... 93 13.6 Sonata in C major. Mvt. ID, mm. 1-8 ...... 94 13.7 Sonata in C major. Mvt. IV, mm. 3-10...... 95 13.8 Sonata in C major. Mvt. IV, mm. 19-22 ...... 96 14.1 Sonata in C minor. Mvt I, mm. 17-29 ...... 99-100 14.2 Sonata in C minor. Mvt D, mm. 1-9 ...... 102 14.3 ...... Sonata in C minor, 28.1. Mvt. I, mm. 81-82 ...... 103 14.4 ...... Sonata in C minor, 28.2. Mvt. I, mm. 83-84 ...... 103 14.5 ...... Sonata in C minor. Mvt. IV, mm. 30-38 ...... 105 15.1 ...... Sonata in C major. Op. 40. Mvt. I, mm. 15-18 ...... 107 15.2 ...... Sonata in C major. Op. 40. M vt I, mm. 61-69 ...... 108 15.3 ...... Sonata in C major. Op. 40. Mvt. I, mm. 118-122 ...... 109 15.4 ...... Sonata in C major. Op. 40. Mvt. I, mm. 158-168 ...... I l l 15.5 ...... Sonata in C major. Op. 40. Mvt. II, mm. 9-20 ...... 113 15.6 ...... Sonata in C major. Op. 40. Mvt. H, mm. 111-125 ...... 114 ix E)

Why Emilie Mayer? Surely all of the good women composers from the nineteenth century have been discovered by now. Why unearth works which have deservedly sunk into obscurity? The answer to all of these questions lies in a question: who decides which works and which composers remain in the repertoire and common knowledge? Why assume that works which are no longer played are necessarily not worth hearing? During her lifetime, Emilie Mayer, though unable to get most of her works published, had a reputation in northern Europe as a talented composer. Younger than Mendelssohn, Schumann, and Chopin, and older than Brahms and Bruckner, she fell in between the generations of the most famous nineteenth century composers, but nevertheless her music had impact on her contemporaries. She was not regarded by critics in the same dim light as many other women who composed music, and she did not limit herself to the genres traditionally reserved for women. Despite her success, however, she was unable to break through the barriers that prevented publishers from accepting her music. It is not known why this was so, but it was probably the one of the most important reasons her name did not survive elimination from histories and encyclopedias. That, and probably the fact that she was a woman, and the histories and encyclopedias (and publishing houses) were controlled by men. In studying the cello sonatas of Emilie Mayer, I have found a set of unique pieces with a compositional style unlike anyone else's. It is tempting to say that they are mixtures of this and that (male) composer, because that is one common way to discuss style, but I think it is a mistake. Although her compositions show the influence of her reverence for Beethoven, and her studies with Carl Loewe, they are highly individualistic, and deserve to be known again. They are in the "Mayer style." Good examples of early Romantic writing, influenced by Classicism, they are not trivial works by any means. Some are more successful than others, but all are challenging and filled with variety. They will be a refreshing addition to the cello repertoire. CHAPTER2 BIOGRAPHY OF EMILIE MAYER

Very little is known about the life of Emilie Mayer.i The only documents known to exist from her lifetime are her unpublished music, reviews from the Neue Zeitschrift fUr Musik and from the Berliner Musikalische Zeitung, and a handful of letters, mostly to publishers, all of which are preserved in the Deutsche Staatsbibliothek, Berlin. She was bom in 1821 in Friedland, Mecklenburg, to an apothecary father who encouraged her musical talent by making sure she received piano lessons from an early age. After her formal schooling, she moved to Stettin, then the capital of Pomerania, to study composition with Carl Loewe. Under the tutelage of Loewe she produced songs, chamber music, overtures and symphonies. Loewe was known as the "north German Schubert" by the Viennese after a successful recital tour there on which he played his own piano pieces and sang his own ballades. His style shows his mastery of the piano, his ability to create short melodic motives, and his "characteristic compression of key-shifts to illustrate the sentiment of the drama of his texts."2 Mayer did not find an audience for her music in Stettin and so moved to Berlin in 1847, where she studied fugue and counterpoint with

1 All of the following information atx)ut Emilie Mayer, unless otherwise specified, was taken from: Martina Sichardt, “"Emilie Mayer (1821-1883), Auf den Spuren einer vergessenen Komponistin,” in Komponistinnen in Berlin, ed. Bettina Brand, Martina Helmig, Barbara Kauser, Birgit Salomon and Adje Westerkamp (Berlin: Foto Oeberg, 1987), 150-178. 2 New Grove Dictionary of Music and Musicians, 3rd ed., s.v. “Loewe, (Johann) Carl (Gottfried)," by Maurice J. E. Brown. 3 Adolf Bernhard Marx and orchestration with Wilhelm Wieprecht, while still maintaining her ties in Stettin, particularly to Loewe. She organized private performances of her works, and her sinfonia in B minor (1852) was given at least eight public performances by Karl Liebig. She spent much of her time trying to promote her music and advertise performances of it, receiving favorable reviews in Brussels, Lyons, Budapest, Dessau, Halle, Leipzig and Munich. She was appointed an honorary member of the Munich Philharmonic society, was decorated by Queen Elisabeth of Prussia, and was also named Associate Director of the Opera Academy in Berlin. Emilie Mayer never married, and spent her life living with various relatives and friends who encouraged her devotion to composition. Among these were her brother August Mayer in Stettin, and Dr. Wilhelm Bertuch, a nephew in Pasewalk to whom she dedicated her cello sonata Op. 38. Many of her pieces are dedicated to family members, and she apparently never needed to worry about making her living, but was supported by her extended family. While in Stettin studying with Loewe, Mayer was admitted to many of the intellectual circles which had regular meetings in the area. Loewe was very prominent among the Stettin intellectuals—he met the young Chopin at one of the circles' gatherings and founded a choral society in Stettin. Because of the fingerings and rehearsal letters found in Mayer's unpublished chamber music, we can assume that much of it was played at these gatherings, and that this is the way she hoped to become established. However, when Loewe left Stettin in 1866, the Stettin Music Society was founded, headed by composer C. A. Lorenz, and no more of Mayer's works were performed. It is possible that Mayer went to Berlin in 1847 on the recommendation of Carl Loewe, who had been in school with Bernhard Marx. Marx had just written a four volume compositional method, and was a well-known pedagogue. After studying counterpoint and fugue with Marx, she went to Wilhelm Wieprecht to study instrumentation. When Loewe died in 1869, the Loewe Society was formed. Two members were the Baron von Seckendorfif from Stargard, to whom Mayer dedicated her cello sonata Op. 47 (after the King of Sweden declined the honor), and Martin Plûddemann from Colberg, a composer to whose sister, Helfriede, she dedicated the cello sonata Op. 40. It is not known how active she was in this society, nor whether or not her works were performed under its auspices. Her works received favourable reviews in Berlin, and her songs were regularly performed in Marx's private music circle along with songs by Loewe and other contemporary composers. Critics praised her "noble style," "fiery melodies," the "spiritual character" of her work, and her "manly energy." Carl Loewe seems to have promoted her works through his praise, and Mayer enclosed a letter from him regarding her B minor symphony in her own letter to the publisher Bote & Bock, hoping to persuade the company to publish it. (Bote & Bock published only four of her ten violin sonatas, two cello sonatas (of 11), and a piano four-hand version of the symphony.) Mayer travelled only very little, taking two trips with her brother for the purpose of promoting her music. Although the date is not given, a concert exclusively of Mayer's works was performed for Queen Elisabeth of Prussia. Mayer also travelled to Vienna in 1856, provided with a letter of introduction, from Queen Elisabeth to Archduchess Sophie, but it is not known what, if anything, came from that trip. While in Vienna, she tried unsuccessfully to meet Johann Nepomuk Vogl, the Austrian ballade poet She was inspired to meet him because Loewe had set several of his ballades, and Mayer wished to do the same. Of all her works, her Faust Overture, a late work, was the most successful: in 1880/81, it was performed twice in Berlin, three times in Stettin, and there were announcements for future performances in Karlsbad, Prague, and Vienna. She was unable to get much of her work published, however. She organized private soirées in Berlin and Stettin, and paid the printing costs of the few pieces published. In her requests to Bote & Bock she always included reviews of performances of her works, or announcements of upcoming performances, and asked to have her concert dztes included in their Neuen Berliner Musikzeitung. Her finances seemed to have deteriorated in later years, but it is not known why. She died shortly after expressing her hope, in a letter to Bote & Bock, that her D Major cello sonata Op. 47 would soon be published. It was, in fact, published after her death, in 1883. Mayer's works comprise 10 violin sonatas, 11 cello sonatas, 11 piano trios, 7 quartets either for strings or for clarinet quartet, 3 string quintets, 2 piano quartets, 22 pieces for piano ranging from small character pieces to four-hand arrangements of her Faust Overture and B Minor Symphony, 10 works for orchestra, 25 lieder, a choir and orchestra piece, a Singspiel, a piano concerto, and some sketches. Most are preserved in manuscript form in the DSB. Her principal publishers were Bote & Bock and Challier. CHAPTERS WOMEN COMPOSERS IN 19TH CENTURY GERMANY

Even from the little that is known about Emilie Mayer, it seems clear that she and her circumstances were unusual for the nineteenth century. During this time, when Romanticism and its idealization of the creative genius flourished, so, too flourished the characterization of women by such philosophers as Jean-Jacques Rousseau as solely the nurturers of such genius, which must be embodied in men. Women were encouraged only in domestic roles, in which "shame and chasteness" were "inseparable from decency." Women were the passive receptacle of art, not creators of it, and women "who attempted creative work suffered societal displeasure." 3 Despite these constrictions, women nevertheless found outlets for their musical urges, mostly in the pursuit of piano and voice studies, which were thought "proper" for women because they were domestic pursuits. Many books, almanacs, dictionaries of music, and music magazines designed for "the fair sex" became popular in the first half of the century, and musical evenings at home in the parlor were common, with the women providing much of the entertainment.4 Fanny Mendelssohn, before marrying Wilhelm Hensel, had many of her compositions performed on the Mendelssohn

3 Nancy B. Reich, “European Composers and Musicians, c. 1800-1890,” in Women and Music: A History, ed. Karin Pendle (Bloomington: Indiana University Press, 1991), 98. 4 Ibid. 7 family's "Musical Sundays" and nowhere else, as her father—who told her that music could only be an "adornment" for her—would not permit her to travel. Later, after she married, she had somewhat more freedom, and was able to rehearse weekly with a choir she established. However, she was still only allowed to have the choir perform on the Musical Sundays.^ Clara Schumann felt that "women are not bom to compose," although she saw her extensive concertizing as "proper" for its re-creative role. Nevertheless, in her sparse free time, she did compose. She performed her own compositions in concerts, and had no trouble getting them published; but this was not the norm.6 As a rule, women of the middle and upper class were not permitted by their familes to appear in public as performers or to publish music under their own names, as it aHected their social status in a negative way. Such women, especially those who received payment for any such activities, reflected poorly on their husbands, who were supposed to be the sole bread winners (and, presumably, artistic people) in the family.^ There was also no standardized educational pattern for women in Germany before 1900. Education was organized by the family, and was usually disorganized, often of poor quality, and narrow in scope. Girls normally attended a private preschool, then an elementary school (sometimes coeducational), and finally a private girls' school. The emphasis was on literature, religion, foreign languages, and history, as contrasted with the science, mathematics, and ancient languages curriculiun for boys.8 Not

5 Beatrix Bochard, “Between Public and Private,” in Women Composers in Germany, ed. Roswitha Sperber (Bonn: Inter Nationes, 1996), 24-26. 6 Ibid., 29-30. 7 Reich, 98. 8 Juliane Jacobi-Dittrich, “Growing Up Female in the Nineteenth Century," in German Women in the Nineteenth Century: A Social History, ed. John. 0. Pout (New York: Holmes & Meier, 1984), 210-213. 8 until the 1870's did conservatories officially admit women as orchestration and composition students—up until that time they had to study privately, and this was not always easy to arrange.^ This lack of opportunity to study composition formally prevented most women from attempting many of the larger genres. So, too, did the prevailing societal attitude that such genres—symphonies, sonatas, chamber music, opera—were "masculine." The art song was considered most suitable for women composers, along with the short piano piece, being associated with home music making.io However, women were in a double bind: If, on the one hand, they composed in the smaller "feminine" forms, such as songs and piano pieces, they were thereby demonstrating their sexually derived inadequacies to think in larger abstract forms. If, on the other hand, they attempted the larger forms, they were betraying their sexual identities by writing "man-tone" music. Sexual aesthetics therefore functioned as a way of keeping female composers on the traditional periphery of composition.il

In the midst of such 19th Century obstacles is the enigma Emilie Mayer, a woman whose family gave her the formal schooling common to girls in Germany but then sent her to study privately with one of the foremost composers of the era, and supported her financially throughout her unmarried life, apparently comfortably. She was a woman critics did not describe in the typical "feminine" terms, nor did they reassure their readers, as was common, that despite her accomplishments she was indeed

9 Reich, 99. 10 Ibid., 102. 11 Judith Tick, “Passed Away is the Piano Girl: Changes in American Musical Life, 1870-1900," in Women Making Music: The Western Art Tradition, 1150-1950, ed. Jane Bowers and Judith Tick (Urbana: University of Illinois Press, 1986), 338. 9 "womanly."12 Instead they described her music as "noble," "spiritual," and possessing "manly energy."13 They refer to her as "Emilie Mayer, the well- known composer."i4 Indeed, she did not limit herself to the "feminine" genres, but excelled in symphonic works—winning her greatest fame with her Faust Overture—choral pieces, and sonatas, all traditional "masculine" genres. She considered herself to be a professional composer, and included that title in her addresses. M ai such as Carl Loewe and Bernhard Marx apparently respected her work in a time when women who composed were frowned upon. Loewe himself said, in a letter of recommendation regarding her b minor symphony, that it was "an outstanding and brilliant artwork of this type, with which the gifted artist has enriched the musical literature."i5 One can only wonder if any conflicts were created by Mayer's determination to compose. We know that despite the support of her fomous teachers she is not mentioned in their memoirs. We also know that her repeated attempts to get her music published were mostly unsuccessful. The neatness of her manuscript copies of the cello sonatas suggests that they were intended as performance copies, probably in one of the salon concerts so common at that time. Ethyl Smith, a composer from later in the century, said If I hadn't possessed three things which have absolutely nothing to do with music, firstly robust health, secondly a pronounced combative spirit, and thirdly—and most important of all—a small independent income: if I hadn't had all that, isolation and discouragement would have defeated me years ago.i6

12 Reich, 99. 13 Martina Sichardt, "auf den spuren einer vergessenen Komponistin: Emilie Mayer (1821- 1883)," in Komponistinnen in Berlin, ed. Bettina Brand, et al., (Berlin: Foto Oeberg, 1987), 150. 14 Bochard, 36-7. 15 Sichardt, 168. iGBochard, 35. 10 This seems dearly to be the case for Mayer as well, for we know that she had to pay the publication costs for what little was actually published. She complains to publishers Bote & Bock, in a letter from 1878, of the finandal losses she has sustained, and of the high cost of publishing "eine so kleine Piece von noch nicht 3 Seiten." She also says she is sure that if the piece could be played just once in public, it would be ordered from the publishers frequently.i7 Given Emilie Mayer's reputation during her lifetime, and the respect with which her works were received, it is astonishing that she is almost completely forgotten today. Were it not for her painstaking efforts at producing legible copies of her works, which are now preserved in the Staatsbibliothek Berlin, we would have almost no record of her, nor the compositions she labored over for all her adult life.

17 Sichardt, 156. 11 CHAPTER4 EMILIE MAYER'S COMPOSITIONAL STYLE

Harmony Mayer's harmonic language is rich with seventh chords and rapid harmonic rhythm. She is especially fond of the diminished seventh chord, as it permits several different resolutions, and can be reached easily by chromatically altering a preceding chord. Often she resolves a seventh chord by moving the notes of one or both tritones, or some of these notes, by whole step rather than half step, which creates a resolution with enough similarity to expectations to be satisfying. She uses the common-tone diminished seventh chord with frequency. She often uses enharmonic spellings to move from one tonal center to another. Her harmonic progressions include more third relationships than circle-of-fifths relationships, and often seem to set up a tonal center with a dominant seventh or diminished seventh only to leave it immediately, sometimes unresolved. The development sections of her sonata forms are especially unsettling in this respect. So, too, are the key relationships between movements, often made more pronounced by an attacca in which she moves by step from one movement to the next.

12 Melody Mayer's approach to melody reflects her ballade-composing background, as all her melodies are easily sung and quite regular in phrasing. She uses simple rhythms, and often the harmonic language supporting the melody is complex. Her melodies are idiomatic for both instruments, which is apparent when each voice alternately presents a theme, as so often happens. The melodies are often haunting and beautiful, or show an impish sense of humor (primarily in the scherzi), but occasionally lapse into the banal.

Rhythm Mayer could be said to be rhythmically "verbose." She writes a profusion of different rhythms—tuplets, dotted figures, asymmetrical runs, etc.—in her piano part, especially in the accompaniment. The tendency to become over-complex is most obvious in her slow movements, where the great number of subdivisions and decorations can easily detract from the melody or burden the progress of a phrase. One imagines that she was fond of clothing with much lace, feathers, jewelry, and many layers, and collected trinkets. However, this rhythmic verbosity, when tempered, often adds interest to her music.

Texture Mayer's approach to these sonatas is certainly as "piano and cello" sonatas, rather than the other way around. The cello is not the star, although Mayer does often write very effectively for the instrument. The texture is

13 dominated by the piano, which has a very complicated part most of the time, and could almost stand by itself. The melody is almost always found in the treble, with accompaniment in the bass. The corrections found in the two sonatas which are both some form of first or rough draftis show Mayer re thinking the cello part only so far as to transpose it up or down a third, to remove a countermelody from it and replace it with a pedal, or to exchange its melody with the material in the right hand of the piano. Only very occasionally will she remove a pedal from the cello part and replace it with something with more melodic interest. Mayer uses dynamic markings to clarify the texture somewhat. She uses crescendo and diminuendo symbols to indicate localized dynamic contours, usually for important motives. She uses the abbreviations "cresc." and "dim.," followed by dotted lines to indicate large-scale dynamic changes. Often the lines extend for eight or ten measures, and will go through passages marked with many crescendo and diminuendo symbols.

Form of the sonatas Mayer's sonatas follow what had become a typical pattern by the mid nineteenth century: a first movement in sonata form, a slow movement, a scherzo or menuet with trio, and a last movement in Rondo form. The keys she uses for each movement are often not part of a circle-of-fifths relationship, but are in the parallel or relative keys, or simply a third apart. Moreover, she does not always adhere to the stereotypical form for each movement.

18 These are the B flat no. 2, and C minor no. 2 sonatas. 14 Nine of the first movements are in Sonata form. The tenth is in binary form in which the A theme does not return in the second half. The movements in sonata form often begin with an introduction marked at a slower tempo, such as lento, or andante. Mayer often uses two themes which are not in the usual tonic-dominant relationship in the exposition, but often a third apart. Her key relationships in the recapitulation do not always follow tradition, either. Her sonata movements are found in the following form:

Sonatas in Major Keys

Introduction A B development A Ë Coda I, ori, orvi I i, orlU, lorV I, orV, orv, I orV, or bVI or VI, or vi

Sonatas in Minor Kevs

Introduction A B development A B Coda i i m orVI i I, orV, orVl i

The slow movements are all organized around the idea of variations. While they are rarely a clear set of variations on a theme, one theme is usually transformed throughout the movement by rhythmic and melodic elaborations in both parts. These movements are typically not harmonically complex, and often stay mostly in one key throughout. The Scherzo/Menuetto movements are in many ways her most successful. All have charming melodic invention, and involve both instruments in dialogues lacking the dense texture of the preceding movements. The trio section of these movements are typically in a key which is in a third-relationship to the tonic, such as the relative major or minor, or iii/vi. Mayer's last movements are mostly in Rondo or modified Rondo forms. She uses this formal structure more loosely than the others. She

15 organizes the movements thematically, using from two to four themes in a typical rondo alternation, and also harmonically, by using different tonal centers. The harmonic organization varies from movement to movement. In the more traditional rondo movements, such as that in the Duo in F major, Mayer uses tonic and dominant harmony for the A, B, and C themes, (She also introduces a D theme briefly in D flat major, which is unusual, but this is short-lived.) Other movements have a melodic rondo scheme, but a ternary harmonic scheme, something like that found in the A major sonata: A S A I in, or iii, or vi I Theme 1 Theme 2 Themes 1,2

Writihg..foi each instrument Mayer herself was a pianist, although she seems to have concentrated more on her compositional studies than on practicing the piano. Her piano writing is certainly idiomatic, but is extremely difficult, mostly due to the rhythmic complexity. Often her rhythmic patterns are too complex—one might even say cerebral—to execute at a tempo which sounds reasonable, and one is faced with the dilemma of either slowing the tempo down or leaving something out. It is doubtful that these sonatas were played much if at all. A few have fingerings, which suggests performances, but there remains the question of how proficient the musicians were at Mayer's soirees, and whether or not everything on the page was played. Perhaps the sonatas were only played once each, and the necessity of revisions was not as apparent as it would be with more careful study of the pieces. Perhaps Mayer herself played the piano part. If so, then perhaps she had spent equal amounts of time

16 practicing and composing, or perhaps she took liberties which are foreign to modern performer's zeal to take every note and marking literally. I think the latter possibility is most likely. The cello writing is very idiomatic, and not at all technically difficult. Harmonically, however, it presents challenges, as the rapid harmonic shifts create unexpected and difficult-to-hear passages. She occasionally writes in the higher range—in limited thumb position on the A string—but for the most part stays on the staff, or up to four ledger lines above, and this can create balance problems with the piano. When the cello line is of primary importance, however, Mayer takes care to make it heard, either by thinning the piano writing, or by putting the cello up in a high register.

Comparison _with Mendelssohn and Beethoven Mayer's style is firmly rooted in the Classical tradition, especially in her use of treble-dominated textures, the traditional movement forms, and diatonic harmony. If the style of these sonatas can be compared to any others, it would be primarily with the cello and piano sonatas by Felix Mendelssohn, written in 1838 and 1843. He uses the cello for color and as textural support more than as a solo instrument, just as does Mayer. His first sonata has three movements: a Sonata form first movement:

Theme I Theme.2 development i 2 Coda BbM Cm BbM FM/BbM BbM

a slow second movement in ternary form: A A On 0/1 Qn

17 and a Sonata-Rondo:

A B A development A S' A B flat M Qn Bflat M B flat M FM B flat M

The second sonata has four movements: the first movement in Sonata form with key relationships between the themes comparable to the first somata, the second a slow movement in A B A form using the tonic and its relative minor as the keys. The added movement is a Scherzo: ABAS Coda Theme 1 Theme 2 Theme 1 Theme 2 Themes 1,2 Bm DM Bm Bm Bm

The last movement is in Sonata form, with dominant-tonic key relationships. These are essentially the forms that Mayer uses, but Mendelssohn writes the forms in a traditional marmer, whereas Mayer modifies them somewhat, as has been mentioned. Mendelssohn uses more circle-of-fifths key relationships, whereas Mayer uses keys a third apart. The similarities are mostly in the texture: treble-dominated, with accompaniment in the left hand of the piano—frequently arpeggiated chords or octaves for each composer—and the cello playing in the middle register for much of the time, supporting the middle register of the piano. Mendelssohn tends to give the cello more melodic writing than does Mayer. Mayer revered Beethoven, and quoted two of his cello sonatas in her own. While it is difficult to point to stylistic similarities between them, Beethoven's influence is clearly felt: many of the opening movements in Mayer's sonatas begin with a slow introduction. Beethoven also included

18 slow introductions in three of his five piano and cello sonatas. For both Mayer and Beethoven, in some cases, this introduction feels like the real slow movement of the sonata, rather than the second (or third) movement. Indeed, in Beethoven's case, none of the three sonatas with slow introductions actually has a formal slow movement. There are slow sections with an improvisatory feeling preceding the last movements, but no more. This improvisatory quality is present in both Mayer's slow introductions and her slow movements. Because her slow movements are so ornate in the piano part, however, they can seem faster both in tempo and character than the introductions. Her use of formatas to stop the motion suddenly is also similar to Beethoven. The similarities to Mendelssohn and Beethoven are, with the exception of the references to themes from the Beethoven sonatas, not self- conscious imitations on Mayer's part. She has clearly absorbed stylistic traits from both men, and used devices and ideas similar to those found in their cello sonatas, but her style is uniquely her own.

19 CHAPTERS INTRODUCTION TO THE SONATAS

Mayer wrote ten cello sonatas, of which three were published. The Sonata in D minor. Op. 38, was published in 1873, the Sonata in C major. Op. 40, in 1874, and the Sonata in D major. Op. 47, in 1883, all by Bote & Bock. It being impossible to date the unpublished works, the remaining sonatas will be discussed in the order in which they appear on the microfilm provided by the Deutsche Staatsbibliotek zu Berlin. There appears to be no particular order to the pieces, except by the shelf number for each manuscript book photographed. None of the sources on Emilie Mayer gives any dates for the pieces, except for Sichardt, who says that all of the cello sonatas are "late works," (pg. 164) but is no more specific than that. Several sources incorrectly state that Mayer wrote thirteen cello sonatas.i9 The actual number of manuscripts and published sonatas in the DSB is thirteen, but one is a manuscript draft of the published D major. Op. 47 sonata, another—B flat no. 2, DSB 34—is apparently a rough draft of the A major sonata, DSB 32, and another is a manuscript draft of the fair copy which precedes it on the microfilm: the C minor sonata, DSB numbers E. 28{1} and E. 28 {2}.

19 The Norton Dictionary of Women Composers, 321; Olivier and Braun, 282; Olivier and Weingartz-Perschel, 217. 20 CHAPTER6 "DUO" IN F MAJOR (NO SHELF NUMBER)

This sonata exists only in piano score form, and is not given the title "Sonate" as are all the other cello works found in manuscript. It has four movements. The first page has a staff marked Violino Viola above the staH designated "Violoncello." This staff has an alto clef and nearly the same notes as the cello part below it, written in smaller notes, and lasts for just one manuscript line. Whether this means that Mayer originally conceived the piece for viola and piano and changed her mind, or contemplated writing it for viola after having written it for cello, or perhaps was considering making a viola transcription, cannot be ascertained. However, that this is a draft copy seems clear, when compared to the manuscript quality of her sonatas for which she copied out a separate cello part. There are also numerous corrections and lightly marked-in alternative lines throughout this manuscript which suggest a work in progress. There is no way of telling which of the alternatives Mayer would have chosen or did choose, except in the cases where notes are clearly marked out with "X's" or slashes.

21 The first movement is a sonata form:

Introduction Th.l Th. 2 Transition development IhJ, Th,2 FM FM CM (CM) FM FM The introduction marked Andante has a somewhat martial character, due to the dotted eighth-sixteenth note melodic motive, despite being also marked piano. This section moves into the Allegro non troppo; cantabile section, whose first theme, a soaring melody, is heard first in the piano part, and then is given immediately afterward to the cello with a simple chordal accompaniment [EXAMPLE 6.1].

Cello

•1* 1 *1 :Uefeeeee M 15—2.fEJ-LFLTiLftftTLr Piano m m

r - - r ' r f — A # # Æ Æ m. ■ M f M f -P — = # N

—Î—«-—*— ——Î— »—t 4 j = = l 1 1 # 4:

EXAMPLE 6.1. Duo. Mvt. I, mm. 27-34

After modulating by thirds, she arrives at the surprising key of E major. She

22 then puts fermatas on chords, which lead to the key of the second theme, C major. This theme brings back something of the character of the introduction, not by use of dotted rhythmic figures but by a march-like melody supported by syncopation in the piano left hand [EXAMPLE 6.2].

Cello m

Piano

M'l- I* -

y d ü J J lUJS

EXAMPLE 6.2. Duo. Mvt. I, mm. 83-87

The following development uses rhythmic material from the second theme—the sixteenth note runs and syncopations—and moves through the

keys of D minor, G major, C major, C minor, and Ab major. It then uses a

series of diminished seventh chords that are linked by the vii* tonicization of

23 one note of the next chord (not necessarily the root, and therefore not CT’^ chords), in a chain fashion that leads to a V-I cadence in C major at the repeat. The developmentment section uses mainly first theme material. Again, after visiting remote keys, and hinting at the material of the introduction by the use of some dotted patterns and triplets, she arrives at the recapitulation. There are many crossings-out with smaller notes added, mostly in the cello part, but these always involve developmental material, and are usually either octave transpositions or replacements at the third or sixth. The second movement. Adagio non trofpo, seems to refer back to the slow introduction of the first movement in its use of dotted figures, but not in melodic material. It is in Db major, and after a solemn, almost funereal introduction a Chopinesque melody is given to the piano [EXAMPLE 6.3], and then repeated immediately by the cello.

24 CcUo

Piano

F- ...... - ^

U = F R — !*• — p

------*------#------— f" r F f ------::------5— f ------=_ 2___ # = FF t H j L u

EXAMPLE 6.3. Duo. Mvt. H, mm. 9-16

Five variations follow this, each separated by a dialogue between the instruments which is usually an exchange of rhythmic motives. While not harmonically adventurous, Mayer shows ingenuity in her treatment of each variation. The piano part becomes typically dense and laden with arpeggios, but she places the cello melody over such passages in a register that prevents it from becoming overwhelmed. The result is floridly romantic, often giving the cello part virtuoso passages equal to those of the piano. The third movement is a three-part form, marked Scherzo—Tempo di Menuetto—Tempo I. The Scherzo begins in Bb minor, the relative minor

25 key of the second movement. Like most of Mayer's Scherzi, this one has an impish charm, especially in the way she allows the cello to comment on the piano's opening melody [EXAMPLE 6.4].

Cello I---- p

-0— = ------trh * P m— w m ^ — ------r r - ' - Piano r y ~ f ~ •

EXAMPLE 6.4. Duo. Scherzo, mm. 1-8

The section is short, at only 126 meaures, but there is room for a second theme in the dominant to make an appearance before the final reiteration of the first theme. There is comparatively little chromaticism in this movement, and both parts maintain a rather sparse texture. The Menuetto, with its sweeping melodic opening, has more of the character of a waltz than a menuet. [EXAMPLE 6.5].

26 Cello

—k r 3 1»' p" >— >- L K n -r ^ Piano r"- "p ^ i jrz =' i i

■a #

EXAMPLE 6.5. Duo. Menuetto, mm. 1-8

The key is the parallel major of the Scherzo, Bb, and retains the classically

sparse texture and diatonic harmony typical of a menuet. After 47 measures, the Scherzo returns in a written-out repeat with a 17-measure coda. The Finale, marked Allegro vivace, is in F major, and is in the unusual time signature of 4/8. Despite this time signature, Mayer consistently beams her notes to show two beats in each measure, emphasizing the quarter note. This movement is a modified rondo form which can be represented by the following diagram:

A B. A- C. IDI 3. Coda FM CM CM FM FM [DbM] CM CM

27 The developmental episodes in between the main themes use material from the themes preceding them The episode in brackets is roughly the equivalent of the development section of a rondo-sonata form: the D theme is a transformed accompanimental motive found in the cello part during the A theme, presented here in the unusual key of Db major. It is followed by an extensive episode which uses material from all themes, before the B theme returns in C major. The cello part in this movement is often quite active, and is not as much an obbligato instrument as in some of Mayer's other music. The piano part is not as florid, but keeps the rollicking and joyful character typical of rondos by remaining not very dense but moving continuously. Harmonically, it is very diatonic, and has a minimum of modulations.

28 CHAPTER? SONATA IN D MINOR (SHELF NUMBER 30)

The 12-bar Andante introduction to this sonata gives a taste of the dramatic character of the music following, and is essentially a chromatic progression of chords and arpeggios in the piano and harmonic support in the cello part. The sonata form is typical:

Introduction Theme 1 Theme 2 development Theme 1 Theme 2 Coda Dm Dm BbM Dm DM Dm

The Allegro maestoso which follows, however, begins with the main theme stated in the cello part with a simple—and very sparse, for Mayer—chordal accompaniment. [EXAMPLE 7.1]

29 le CeUo

« * # Piano f V- Sf £

crtsc

•resc

-m-

EXAMPLE 7.1. Sonata in D minor. Mvt. I, mm. 13-22

The eighth note pickup followed by a half note (i.e. skipping material from the first measure) is then used as a bridge to the second theme in measure 50 by a circuitous harmonic route. She moves quickly through the following

30 arpeggiated chords in measures 23-28: i - VI - VU - V^/m - vii’7 - and then

stays on an F#'^ for four measures, which leads to a C#^ by chromatic

movement of each chord tone, and which finally cadences deceptively on a D dominant seventh chord. The seventh is then omitted in a left hand arpeggiation which leads into a brief moment in G minor, which is quickly eroded. This erosion of tonal centers is typical of Mayer's developmental style. She eventually ends up in the key of Bb for the second theme, but this is a short-lived theme, and the motion quickly carries the movement to the repeat in measure 79. The section following the second ending can loosely be called a developmental section, for it uses material from both themes, but it is not extensive. Mayer again moves quickly through many different types of chords, often changing each measure or more often, usually as a result of chromatic alteration rather than harmonic function. However, she does end this section with a very clear A dominant seventh chord (which was reached by a descending chromatic line resulting in the chords B'^, G#^ with a B flat pedal, and E®7), under a fermata. This points directly to the recapitulation in D minor in measure 122. This movement is curious, as the recapitulation contains a section in D major with no counterpart in the exposition, whose main thematic material is a transformed version of Theme 2. [EXAMPLE 7.2]

31 Cello ------^ p jp fp b-tt v ...... 1 k= , Piano r ■ r - " f I ^ j 1

EXAMPLE 7.2. Sonata in D minor. Mvt. 1, mm. 166-172

The piano part is essentially unchanged^ but the cello part is less melodic and more of an obbligato. Fifteen bars before the end of the movement, Mayer adds a coda in D minor, aldiough the section begins with a i - progression: a characteristic step progression at an important place. The movement ends with a driving ascending chromatic passage and a fanfore of triplets. Study of the rest of the sonata is beset by technical difficulties. This sonata was actually published in 1873 by Bote & Bock,20 but the published

20 Antje Olivier and Sergei Braun, Komponistinnen aus 800 Jahren, (Sequentia-Verlag, 1996), 283. 32 version is not in the DSB. It is possible that the sonata survives in its archives. The manuscript version is obviously a performance copy, as are most of those on the microfilm, but the microfilm is missing some manuscript pages. The cello part is complete. The missing pages involve the last portion of the second movement, the beginning of the third, and the last portion of the fourth. At the time of writing, a query as to the missing pages has been sent to the Berlin Staatsbibliotek, but no answer has been received, nor to a query to Bote & Bock. It is possible that the sonata survives in its archives. Nevertheless, much can be learned from what remains of the manuscript score, and from the complete cello part. The second movement. Adagio, is in 3/8 time, and in the key of the Neapolitan. This type of step-relationship is found often in Mayer's cello sonatas at important cadences, or linking movements, as in this case. This movement is centered around one main theme, which is presented in a variation-like sequence, without being formally organized as a variation form. As is typical of Mayer, the piano part becomes more ornate with each variation, but in this movement, she uses the cello in a range which is slightly higher than usual for her, necessitating tenor clef, hi measures 43- 50, the cello has the second of its statements of the theme: [EXAMPLE 7.3].

33 .. .—^c: CeUo R 1.^1. II r- — 3 ^ ^ = # p

S lI>, !l - te|— h ^ = ■ ? _ J ^ — 4 j> m Piano 3

— «— m— m— -4-----i -----W-U 3 «

(7 ^ r - p 5 S ------■ ■ - U e r If

^ ^ j -P ------

-Tif-l— r-^ -f-f-f^ - [ j j j ~J^ — 3—3—3— 3—5— ‘ r

r -g..' : : : f: ,===

^ J

h>‘k h . r - - ...... # u.,_ j

EXAMPLE 7.3. Sonata in D minor. Mvt. II, mm. 43-50

34 The third movement is a Scherzo, although only bars 80 until the end are available in piano score form. The cello part is complete, and from this it seems as if the piano part is missing the trio section. The cello part, however, is not substantial enough to be sure where a cadence might lead into a trio. The main motivic material is a dotted figure which serves as accompaniment to a lilting melody. [EXAMPLE 7.4].

Cello m

Piano

EXAMPLE 7.4. Sonata in D minor. Mvt. n, mm. 80-88

In measure 92, Mayer moves to Eb and then C major. The following circle-of- fifths progression, then, is a surprise.

35 The last movement begins with an Andante six-bar introduction to the Allegro main section, which has returned to D minor. It is a rondo, perhaps a rondo-sonata form, for after stating the A and B themes and returning to the A, Mayer puts a fermata over a C# major chord, which is pianissimo, and begins a development of material from the A theme. The B theme returns again as a recapitulation shortly before the piano score, and the cello score shows a return of A shortly before the end. The harmonic language is clearer in this movement, as it was in the last movment, and Mayer does not fly from one tonality to the next with such rapidity as in the first movement. She does get slightly carried away, however, in the third measure from the end, and gives the cello a D5-D6 octave, which is impossible to play. The top D would be appropriately edited out, so that the cello line could finish its arpeggio easily on the D5.

36 CHAPTERS SONATA IN E MINOR (SHELF NUMBER 31)

The slow introduction to the first movement provides a dramatic beginning reminiscent of Beethoven. After seventeen harmonically unremarkable measures ending in a decrescendo to the dominant of e minor, Mayer surprises us with a fortissimo C^chord. This harmony lasts with much flourish in the piano, for three bars, and then resolves to the dominant, suggesting the possibility that Mayer enharmonically re-spelled a German augmented sixth chord. [EXAMPLE 8.1].

37 g___ — ^ -f- Ilf 1"— « Cello f t

ë = f = 4 ^ = f e ^ ''f 1 Piano

Ol:| irf ’ III > 1 ' 'iJ~'— : 1' '' "Lr»r W r l t e

dim.

J?8fi f fi — '■ ...... "R— —■fef— f — P r ^ - r — r ------M r - ç # " dim.

9 1 '1 — ------V t V 1

talL J I . J , > P J " * - - = j rail.

V » ■ i i ---

EXAMPLE 8.1. Sonata in E minor. Mvt. I, mm. 17-22

38 The first movement, in E minor and in 6/8 time, is in a slightly modified sonata form, as there is no repeat of the exposition:

lattaductifin Theme 1 Theme 2 Development Theme l Theme 2 Coda Em Em Œ i Etn EM Em

The exposition has two themes, the first in the tonic , ending in a half cadence and a fermata [EXAMPLE 8.2].

39 AiK|to vivace CeUo r f ^ ------^ ^ = r-T 3 cresc ......

IM------jar-arr^B f.~r Piano i L f f 1 * 0 ■TT -- - # r ■» _____ ^ __ ^ w » ___ ^

\~f^— '— ------Tr/ 1 p • i - r M j 3

j t r P f-T r f r Y I- 1 »r-l- r ^ ...... ^ ------m f

I r r r m ' f f l m

m cresc.

dim. e nUeotaodo

w- dim e rallentando

EXAMPLE 8.2. Sonata in E minor. Mvt. I, mm. 22-33 40 The second theme, in the relative major, is more formally indistinct, cadendng on D^, and immediately repeated in slightly varied form with the

melody in the piano. It cadences on a l | in G major, and the motion

continues immediately into the development. When this second theme occurs in the recapitulation, it is in E m ^or and decorated. After the restatement of the second theme in the recapitulation, Mayer modulates back to E minor, and closes with an energetic coda clearly in the tonic. The second movement, marked Un poco Adagio, gives Sichardt's

criticism of the "banality" of Mayer's late works some substance.21 The opening theme in the piano establishes the somewhat cloying character of this movement. [EXAMPLE: 8.3].

Un Poco Adagio

# # i m Piano T 1 f w

W Z' m m f « n f ------h- 1------:------^ I »{t------— -pffl: ------« — 1 ' # -■ » ♦ -• w i V

EXAMPLE 8.3. Sonata in E minor. Mvt. H, mm. 1-8 21 Sichardt. 164. 41 Nevertheless, Mayer makes good use of the expressive capabilities of the cello, rather than relying on excessive ornamentation in the piano, although the piano part is characteristically challenging. In the melodic sweep of this movement, we see Mayer's background in vocal ballade writing, and in her ornamented piano writing, possibly the influence of piano ballades such as those of Chopin. There is no obvious formal organization, but rather a thematic metamorphosis throughout the movement, found mostly in the varied piano accompaniment for each statement of the theme. After having floridly explored her theme, Mayer closes with a return to the chordal style from the beginning . The second movement is followed by a lengthy scherzo in B minor. While the opening theme may be somewhat trite, it nevertheless reflects a charming and innocent sense of humor. [EXAMPLE 8.4].

Cello

Piano P cresc. ------

[p.- . f .=qS- r p 1 f t" f=4L ' g f ~ ' H ^ ------1--- 5— ----1---f-- K—

J J tji j - ji—

42 erne...... r r I r ■ Ü

± - * I F V h ' t ' , K , G ■ T f ! . i s J L _ | ------/ 7 r p_|LI.P.^ pj — 2 — 1------F f ------

______f - — 1------F = ^ = = | f i H pT-g-- g- gH -- M r r r p l>i , J J = -J - - 1 M ^ * €) TJ. zr. ■a-

■w

EXAMPLE 8.4. Sonata in E minor. Mvt. HI, mm. 1.20

The contrasting theme in the trio section ( not actually marked "trio") provides lyrical material which Mayer later brings back in the key of B major, combining it with pizzicato allusions to the first theme [EXAMPLE 8.5].

43 dolce £ A ♦ P - Cello L------L_

î < ^ ^ ' % ------—r ------f ^ 1------'# : < Piano >- |0 .

. 2 •'— F i — z

#*(#i][------C----■---- 1-----F---- F—

9*l'Ar>i 1% -- M : k | ]—1—-^=TT 1 J ^ f f-- >F'— ^ - '

--^ ------dr ■ - ~m-d—--- - i— i—

fit*! 1 —2" ' —* ------

pizz

# ¥ fr^ ^ = r^ L-f.,c/i,c7J - g : K » # ' T ^ » * t-r W p ------H\ t J L J ? j ) f 3 n — = . ^ 4 = t 1

1 ir VCJ^ri ^ F - f~i f~Tiù''- ' —1—:V ■ -4 i J-j ^ d g -j — V P C J » r~ pi g: :#W

EXAMPLE 8.5. Sonata in E minor. Mvt. EH, mm. 199-209

44 Her transition into the final scherzo section, which is again in B minor, is more traditional, for she uses the W common to both keys, thus producing merely a mode shift. The movement closes with an abbreviated scherzo, not by any means a direct repeat, clearly in the key of B minor. The fourth movement. Allegro, is a rondo in E minor, and opens with a martial theme of only four bars in the cello line, which is answered in a more lengthy way by the piano, cadendng curiously in D major. [EXAMPLE 8.6].

45 Cello 3

»■ ■ --T -flil-- -> ■■ -...... ? i f i ) i ------‘ ------= j. - 7 4 ------Piano

h)-:«3j- :r ' ■i------T : f f :"' 1 ' •------

w j è h i| rrr

g ------ir- r r -.., ■ir------

f f ^ 1) - f h ------f T T r r N = ■*— p~ 0 ~ ^ ~ •Uas- - i _ t-Ë « 3

— r - l k ...... V ' I J J i \ t S # = ^ = T---#— M 4 ■■ -.*j ■0 ^ • -'4 ^ # # = = = 1 1

'.AZU

fl ■> j j J il ^ f:: *-- H

4 ------»------Î ------

p P P > « ^ M L r -

^ ' ; i' = 1 * '

EXAMPLE 8.6. Sonata in E minor. Mvt. IV, mm. 1-12 46 Mayer uses rhythmic motives from this theme as material in a modulation leading to the second theme, which is in G major [EXAMPLE 8.7].

CeUo 1 1 .. r : ^

> > m It ■ > - k — ------■g'-* ir * - i^r- - r ------Piano . 3 ^

jit-' jj = -rH 4P * :-=-1F-----^

:% Z T l. rT J - J. --1

r : 2]__ ^ dim.

U? s;-j>s « j^rvLl. g * r f r ' 4 ^ -C—6~6 ~ ^ ^ ~ i R ~ 0 ™ U j ’U j’ L i c f n i ...... —------dim. j t

- f - ^ ------

EXAMPLE 8.7. Sonata in E minor. Mvt. IV, mm. 32-39 47 This second theme is much longer and of a rhapsodic character, and takes on more importance in the movement than does the first theme. After the initial eight bars, Mayer repeats the theme, but expands upon it until it reaches a total of sixteen bars, ending on a fermata over a d sharp diminished

seventh chord, which is simply a chromatic alteration of the chord on

which the theme cadences. This ending chord leads back into the A theme, this time in B minor. It is stated with more drama, punctuated by a fermata in the sixth bar on the dominant. Following this theme is a developmental section in which Mayer uses the rhapsodic turn of the B theme in conjunction with the dotted rhythm of the A theme, and moves through a series of largely nonfunctional harmonies—although there are tonicizations in three pairs of measures, which are quickly eroded by chromatic alterations—building to a climax in the middle and decreasing to another fermata at the end of a rallentando, over a B 7 chord. This leads into a restatement of the B theme in E major. On the expansion of this theme, which begins after a key signature change back to E minor, Mayer gives the piano what amounts almost to a variation of it, and in this way introduces allusions to the A theme, in the form of the dotted rhythms but not using any actual thematic material. She takes the unusual step of closing the movement without having actually returned to the original theme.

48 CHAPTER 9 SONATA IN A MAJOR (SHELF NUMBER 32)

This sonata is the final version of the Sonata in Bb No. 2 (shelf number

34), which will be discussed next. The first movement lacks the slow introduction found in seven of the eleven opening movements. At first glance, it appears to be in sonata form, as there is a repeat with two endings in the middle, but it does not fit neatly into the mold. It is best described as a binary form in which the first section is repeated:

Theme 1 Themed. Ihsm si : development Theme 2 Theme 3 fTheme 1?) AM Am Am EM Rtai FM, dm AM

The first section begins clearly in A major with a sunny theme in the cello, which has one harmonic surprise at the beginning of the second phrase: a G sharp diminished seventh chord, resolving to A major on a weak beat, and then moving quickly through an E^, D minor, and E^ to return to A major at the cadence. [EXAMPLE 9.1].

49 Cello »/

n i f P = f ^------T ' L r J f - ■ t Piano 3 in f ' o i W ^ ------

& m g

sf ». F r- L ^ T L m V m s h

V »»» p- - - ) = 'J i .1 J

EXAMPLE 9.1. Sonata in A major. Mvt. I, mm. 1-9 50 This theme is stated again in a varied and shortened form sixteen bars later, followed by a short developmental section. After this section Mayer changes the key signature to that of A minor, and includes two themes almost in direct succession. These two themes are found in the second half of the movement, somewhat transformed but still recognizable, while the first theme is never heard again after the first two statements. The second half begins with developmental material, moving characteristically through many different tonal centers and using an abundance of seventh chords to erode any cadential feeling. The piano writing is involved, with much tremolo-like writing, but not with the arpeggio flourishes common in other first movements. Finally, the second theme emerges again, in E major in the piano at the end of a rallentando, and then shortly thereafter the third theme returns in F# minor. This seems to be equivalent to a recapitulation although the keys of the themes are not traditional. Near the end of the movement, after a clear chord arpeggiated in the piano, a new theme emerges. It bears a vague resemblance to the first theme of the movement, although "distant cousin" might be a better description. [EXAMPLE 9

51 Cello li, r r-..-. = = .==|

ÿ W ------^ V ¥ — J 111^ — — 1, jy w l— ^

piano

— 6 ------T.------l y - - t ^ 3

-«ffW : ^ Eiritir =

------= 3 d -- ' ------i------'------HP ------

EXAMPLE 9.2. Sonata in A major. Mvt. I, mm. 196-199

It is in F major, moreover, and therefore must not last long if the movement is to close in the tonic. It doesn't: it quickly modulates to D minor where the material becomes sequential, and then A major emerges again. The movement closes on a iv (minor) - I cadence. The second movement, marked Andante cantabile, in D major, begins with a melody containing a reference to the last movement of Beethoven's A Major Sonata, Op. 69. [EXAMPLE 9.3 and EXAMPLE 9.4].

52 Cello

^dante cantabile 1 J 1 j _ t ^ : J ^ ^ — 3 e : . : j - j ' r r Piano P -e-:------•— E - p - p i y - | - f " i / ^ t - - * — " f ----f ---- . M

p * - — 1 —------*----f----- f e ------i f - : : =------—£N—J—-=--- #E =----

1 vÿ " r — # = 1 3"21: Lvj|.-g -p— -6------a, ' ------V =: V-

EXAMPL]1 9.3. Sonata in A ma ijor. Mvt. n, mm. 1 -6

53 AOetro Vivace Cello

Allegro Vivace m m Piano PP

EXAMPLE 9.4. Beethoven, Op. 69. Mvt. m, mm. 19-22

This opening melody in the Mayer cadences in B minor, and by the use of a circle progression, she ends on A major for the next theme, which begins in the piano and is answered by the ceUo [EXAMPLE 9.5].

54 Cello .1 t i 0 #11 ------H-----J-----—■------^ — i . t . : f ■■ - : 11 Piano z=g‘F3jtj~H : i^_j—Y - - -

#a*......

-J.------^ k — - V > ..J ------p m p ^ L_—_——JÎ- = f —

f f ] Mi-jk— - n r j l k = ^ Æ

" — « g e: . . . f L - g , f

1 f i > i à C = : : : ■l> ' - p — • f - - ^ k - f =

f j ^ r = w i = S = # = F # —a.- T F r P - ^ ' F i • f

gt In— f------1------K------—

JP ## 4 - # = = m = ^ — T — r - : P • I f H- = ¥ = =

g% iit— a 4 = ------1 . 1---- | W [ g # g

EXAMPLE 9.5 . Sonata in A maj( 3r. Mvt. n , mm 19-28 55 The rest of the movement is a series of elaborations on these two themes, at one point sending the cello into a very high register in a beautiful use of the expressive capabilities of the instrument. This movement, in fact, contains some of Mayer's best writing for the cello: it is not used merely as a harmonically supportive obbligato instrument, but as a second, equal voice. The third movement Scherzo, however, gives the cello a mainly secondary role again. The opening motive begins in G minor, which is the tonic, and by the end of the eighth bar the phrase is in G major. [EXAMPLE 9.6}.

56 #> CeUo if > >—i— - —J— --J -fa j ^ ----- :I f tifg Piano w ^ }“ j i J-- : J 15 ^ # f = m

: /

h f T 'P t h 1----- ^ ------i---- 1- ■Is, > - t J -J— ♦ p ^ —

U t f N J^7 — ■ j - Æ f l d

dim. w t h ; È

EXAMPLE 9.6. Sonata in A major. M vt EQ, mm. 1-16

This is the main material for the scherzo section, which passes through the keys of Bb major, Eb major, F major, and then revisits Bb major in order to

arrive at a German sixth chord in D major which resolves to a V by way of a

I t [EXAMPLE 9.7].

57 CeUo

Piano m

EXAMPLE 9.7. Sonata in A major. Mvt. El, mm. 69-71 This D major tonality serves as the V of the key of the trio section, which is in G major. The trio is very brief—only 42 measures—and contains only an eight bar melody which provides rhythmic motives which are developed, mostly sequentially for the rest of the section. Mayer then returns to G minor for what amounts to a bridge section before the scherzo appears again. The return of the scherzo comes after four measures of heavy chordal tonic/dominant harmony in the key of B major (which was a complete surprise after the E flat section preceding it—Mayer makes an abrupt modulation with no apologies). From B major, Mayer descends in octaves chromatically to a D major chord. The transition to the G minor scherzo is as follows: D: vii’/V - V (G minor: V/V) G minor: V - i. [EXAMPLE 9.8].

58 M W W# É i v Piano a—w. H m

- J W — ^ — ------^T-l------d 4------J" ' — h = i k - V m f * j- J--' —— M =: — __ __ y

EXAMPLE 9.8. Sonata in A major. Mvt. IQ, mm. 150-159

The scherzo melody is given to the ceUo initially, but the piano takes over the answering phrase, and the movement finishes much as it began, with one interesting feature: it ends with a half cadence and no attacca, leaving the listener in suspense. The last movment does not even provide a delayed resolution to the ending of the previous one, for it begins in its own tonic, A major. This movement is marked Allegro, and is in 4/8 time. It is in ternary form, but both the themes form the A and B sections are used in the last section:

A m A A major F major A major Theme 1 Theme 2 Themes 1, 2

59 Theme 1 is heard first in the cello and then in the piano [EXAMPLE 9.9].

J- » CcUo li. ! =,f=R=l - - r J 9: g r-...^ , --i r . ------2 —P --- f --ip Piano f NrS=i=f - ^ --j - _[> -i^=sp: ------0- 4 " i *

EXAMPLE 9.9. Sonata in A major. Mvt. IV, mm. 16-24

Theme 2 is introduced at the beginning of the B section, which is of a completely different character. [EXAMPLE 9.10].

60 ^— i ------CeUo p I ' Piano r

sJâ__ m__ s m TT -M__ m__ m__ L a —m_|_m__ #L| t t r r m ------

EXAMPLE 9.10. Sonata in A major. Mvt. IV, mm. 67-73

Mayer modulates back to A major by moving from an F arpeggio In the left 6 hand to an A*, which is almost a chromatic alteration, and then moves in functional harmony in A major. Section I returns again, with the first theme. This third section encorporates the second theme as well. After it is stated twice in succession, the two themes work together contrapuntally in a bridge passage which leads back to a restatement of the A theme. The movement closes with arpeggio string crossings in the cello, and a diminuendo from a mezzo forte, ending in a rather subdued manner.

61 CHAPTER 10 SONATA IN B FLAT MAJOR [NO. 2] (SHELF NUMBER 34)

This sonata is the second sonata in the microfilm sequence in Bb major

(hence the "no. 2 " designation)^ and is only one of two sonatas not to have a separate cello part written out (the other is the "Duo" in F major). It is essentially a transposed version of the A major sonata (Shelf number 32), but with minor differences, and so I have chosen to discuss it before the Bb major no. 1 sonata. It seems as though the A major version is the final draft of the two, for several reasons. First, the Bb has no cello part, and the manuscript looks rougher than the other pieces; second, there are additions lightly written in the Bb sonata which appear as definite notes in the A major, and third, measures not in the A major sonata appear in this one, in places which tended to be somewhat "run-on." It seems more reasonable to suppose they were trimmed out rather than added in, especially considering the other evidence. Movement one is clearly in sonata form in this version. However, because measures 27-48 are completely different from the A major, what was the first theme in that sonata is not present in this one. This first theme is less melodious. It was also present in the A major, as introductory material [EXAMPLE 10.1].

62 CeUo 1 1 1 j j 4 ■*1—1-- )------E*iano ## * 3 | i ------

r =4 ------? J''j hM -| J : -----1------— 1--- 1—1----- p # - i " i — ■iJ li--g---- g— M-- c r r T = ^1 r r F T 1 — r ---

EXAMPLE 10.1. Sonata in B flat major No. 2. Mvt. I, mm. 10-17

Also different in this movement is the absence of the third theme. Mayer makes this section a bridge leading from the secondary key area (which is Db

major and which contains the same material as the secondary key area of the A major sonata) to the development section. The second theme material cadences in Bb by way of ascending chromatic bass movement. The

development section is completely different, and quickly leaves Bb, moving

through a series of sequences based upon the second theme and the opening piano run in augmentation. As is typical for Mayer, this section is very chromatic and establishes no tonal center for more than a few measures.

63 The A major sonata did not have a true recapitulation whereas this sonata does. It is very straightforward, transposing the second theme to the tonic. The ceUo has a different countermelody, which is less of a harmonic filler than in the exposition. Mayer writes a coda for this movement which begins in Gb major and remains in that key for six bars, finally modulating through a chromatic ascending bass line to Bb. The final cadence, preceded by a #ii’-C T ‘7 - i, is a iv - I cadence, identical to that of the A major sonata. The second movement is in the same key relationship as the second movement of the A major sonata—the subdominant—and is almost identical. This movement seems to give clues that the Bb sonata preceded the

A major version, as there are lightly written in notes in the Bb manuscript which are "solid" notes in the A major. The main difference between the two versions is that the Bb version is longer. There are measures missing here and there in the A major version, and the omissions streamline the movement somewhat. Mayer also writes less for the cello in the A major version, and there are several cello notes crossed out in the Bb movement which do not appear at all in the A major. Essentially, however, the form and the thematic material are the same. The scherzo here is longer by some thirty measures, but is in the same key as in the A major version (G minor). The extra measures are mostly extended arpeggios or other figures in the piano part, and not important thematic material. This, too, seems to indicate that the A major version was pared down firom this one. This movement also cadences on V in G minor, and has no attacca.

64 The last movement is only slightly longer than in the A major version, and again, the extra measures are "filler" passages, mostly found in the bridge sections between themes. The rondo form is exactly the same, and the statements of both themes are the same. The only substantial difference is that the ending dynamics are not as clear as in the A major version. Mayer does not write a diminuendo in the Bb version, and the actual dynamic level is ambiguous, due to the "sf" markings on the Bb chords in the piano, which close the movement.

65 CHAPTER 11 SONATA IN B FLAT MAJOR [NO. 1] (SHELF NUMBER 33)

The first movement is an allegro in sonata form, without a slow introduction: Digmsl Theme 2 : development Iheme.l Theme 2 Coda BbM Bbm FM An BbM

Instead of a distinct introduction, Mayer begins with a fon^e like run in the piano followed by a chromaticeilly ascending passage. This sequence is repeated once, and in measure seventeen the first theme is heard in the cello line. [EXAMPLE 11.1].

66 CeUo

Piano $ j é $

T ...... ' 1 L #— ------?* ------^

g 1------&------r :r

EXAMPLE 11.1. Sonata in B flat major No. 1. Mvt. I, mm. 17-21 The first measure of the piano opening is then used as the material for a chromatically ascending sequence, which leads into the longer second theme in the piano part in Bb minor [EXAMPLE 11.2].

67 CeUo ]/fi r 'p :: L ■ f f c r q

11 j ij ......

Piano P w w h - J - 1 15 5 ^

I- $ *

i r k 5É a I È ¥ o"~~

EXAMPLE 11.2. Sonata in B flat major No. 1. Mvt. I, mm. 35-42

The cello part provides an interesting counterpoint to the second theme which is somewhat unusual for Mayer: the piano begins the theme in chordal style while the cello provides two measures of contrapuntal eighth notes below it. The second phrase is more typical, with the cello providing a sustained obbligato. The development begins only twelve measures after the beginning of the second theme, and is not as long or extensive as are some of Mayer's other first movement developments. It is essentially a dialogue between the cello

68 and the piano, using the triplet motive from the bridge between themes and the sixteenth-note motive from the opening fenfare. Mayer also uses ascending chromatic harmony in the development

The recapitulation is preceded by a very clear I 4 -V/V-V-I progression, but Mayer cannot resist a deceptive progression immediately before that, moving from a W chord to a bVI, and then to the V/V. The recapitulation puts Theme 1 in the dominant, and Theme 2 in the parallel minor to the dominant, or F minor, which is highly unusual. The coda is approached by a descending stepwise progression this time—Gb major, F (V),

Bb—and is clearly in Bb major, returning to the fanfare-like quality of the opening. The Scherzo which follows begins with a sixteen-bar introduction in G minor, the tonic; this introduction cadences on V and leads into the first theme which lies entirely in the piano part. [EXAMPLE 11.3].

69 CeUo

Piano

EXAMPLE 11.3. Sonata in B flat major No. 1. Mvt. H, mm. 16-24

After a short bridge, again almost entirely in the piano part, the calliope-like second theme enters [EXAMPLE 11.4].

70 Cello ne

Piano

EXAMPLE 11.4. Sonata in B flat major No. 1. Mvt. II, mm. 37-44

It is then shared by both instruments in a dialogue. The trio begins twelve measures later, with a theme consistent with the circus-like quality of the scherzo, but of a more lilting quality [EXAMPLE 11.5].

71 CeUo

‘4 ------fl' . ^ • -À k» Piano R ^ r til I L "14------— 1-^ = F f ■ I f - r

EXAMPLE 11.5. Sonata in B flat major No. 1 Mvt. H, mm. 63-70

This section is in D major, with a short interlude in the parallel minor. The tonic then serves as V in G minor for the return of the scherzo. The themes from both scherzo and trio appear in the coda of this movement, and it ends with a descending pianissimo chordal arpeggio in the piano. The third movement. Un poco Adagio, is in D major. Its first theme is stated in the piano [EXAMPLE 11.6].

72 ll»» 1 =:B=^

Piano P r r r ^ p —J J J' r y ’'jf •W-3 T ■■ ■■:* ’ J j _m J, J ■qir * _

t " ' /

----- 9------* J jfJ— ------f. *■ ’

EXAMPLE 11.6. Sonata in B flat major No. 1. Mvt. m, mm. 1-5

This and the second theme in the cello line [EXAMPLE 11.7], are varied throughout the movement.

73 CeUo doles *''4 i Piano i m »|*--- - 1» , —

ft, j j -- ;— Lj I _ p = j .... 1 - 3 r — b f - '^9.... f ...... Um„ r*-u- ^ * C i l i

EXAMPLE 11.7. Sonata in B flat major No. 1. Mvt. HI, mm. 21-26

The harmonic language is quite straightforward for Mayer, with tonal centers mainly in D and A. In the brief developmental section in the last third of the movement, the harmonic rhythm speeds up somewhat, moving through B major, D major, F major/minor, and finally cadendng in A with a deceptive step progression: G minor to A major. From A major Mayer moves smoothly into D again and closes the movement softly. The last movement is marked Allegro, and is in Bb, but begins with a

turbulent triplet run in the piano in E flat minor. This is repeated in Db

minor, and then a series of chromatically altered chords leads into a cadence

74 with Mayer's typical non-resolution of a dominant seventh chord: the

harmony moves from an Eb7 chord to an F major triad (instead of to A flat),

which then functions as V in Bb major. The first theme, reminiscent of the

second theme in the previous movement, is ushered in [EXAMPLE 11.8].

Cello

Piano ;

^ j 'jJ» F Y r r

EXAMPLE 11.8. Sonata in B fiat major No. 1. Mvt. IV, mm. 14-19

This entire beginning section comes back in the second half of the movement, giving a binary feel. There are three main themes. Both the first and third themes are diatonic and balanced. The second is unusual in that it has an unexpected cadence a third higher than it began, without adequate

75 preparation, even by Mayer's standards. The movement ends with the

opening triplet passage, beginning in Bb major this time but moving into Eb

minor for four insistent measures before moving for one beat to a v ii* 7

chord, and then two beats of I - V - 1. However, as the cello part arpeggiates

the iv chord over the vii*^, the effect is of a iv - 1 cadence, and is a good example of the modal mixture typical of Mayer's style. [EXAMPLE 11.9]

Cello

Piano

EXAMPLE 11.9. Sonata in B flat major No. 1. Mvt. IV, mm. 133-135

76 CHAPTER 12 SONATA IN B MINOR (SHELF NUMBER 35)

This sonata has a modified sonata form for its first movement, preceded by an introduction marked Andante. This introduction is a Beethovenian recitative for the cello, with piemo commentary provided in the form of chords and an occasional arpeggio during a long note. Its character foreshadows ÜieAllegro vivace which follows. This movement, despite its character indication, begins with a very serious theme in B minor, shared by cello and piano in a question and answer format, in which the second phrase is extended by two bars [EXAMPLE 12.1].

77 Cello

t Piano i 5 i

_, _. _ : i : a ' $ ■ é - é

-----

j t, i,j ' i = i r H j ' t f - h rî'üT^ f- iaJ H i k m . p j —rt------— — -Î------I 1' » [JU lj: r J i* i *_i_« "J." - ■

------C----

g- f j : —i - - ^ — 1------

r r- - ! J L | ' 1#— T.

3 ^

EXAMPLE 12.1. Sonata in B miner. Mvt. I, mm. 1-10

The opening motive of this theme is explored in the bridge following, and

78 the second theme which enters twenty bars later in G major, is marked ben cantando, and of a much more serene nature [EXAMPLE 122].

cello

piano T r r

-, — Y = r f = = =

j ? - { n J T ] J J S — : ' w E l r W f -[ ± f -

â ^

--- _ #1------J— # w L-

A » » r T 7 ^ ♦ -J J -

"■"1— — r * " y ------' i r —

EXAMPLE 12.2. Sonata in B minor. Mvt. I, mm. 31-38

79 The movement's structure is as follows:

Intro Theme 1 Theme 2 Theme 3 ThemeZ devlopment Theme 2 Theme 3 Theme 1 Bm GM EM GM BM Q ka. Bm Bm

The third theme is quite short, but significant because it returns in the recapitulation. The B minor section closes the movement, which cadences with a striking Neapolitan - V - I cadence. Movement two. Un poco Adagio, centers around a hymn-like theme in G major, which is transformed in various ways. [EXAMPLE 12.3].

Î Piano p legato V I

EXAMPLE 12.3. Sonata in B minor. Mvt. H, mm. 1-4

It is not a true set of variations, but rather a dialogue between the two instruments in which each elaborates and comments upon the main material. Mayer includes two interesting instructions for the cello: she requires the opening statement to be played on the D string, and in the closing G major arpeggio on the G string. Undoubtedly Mayer wanted the softer sound of the lower strings. The third movement, marked Allegro vivace, is one of Mayer's most straightforward (and shortest) scherzi. She does not include an introduction.

80 and each section is of a markedly ditierent character, helped by the key scheme, which is as follows:

Scherzo Trio Scherzo Inc. Coda Bn AM Am EM Bn

The scherzo has two main themes. The first is in E minor, and is characterized by a breathless rhythm [EXAMPLE 12.4],

Cello

Piano

— tr tr K : - h n i -J------

EXAMPLE 12.4. Sonata in B minor. Mvt. m, mm. 3-11

and the second, stated immediately afterwards, is in G major, and is sunnier, if still breathless [EXAMPLE 12.5].

81 p------Cello p r ^ - - =

■f—@1" f • r : *CJ U -- -9------a ---- Piano P ------* ----- r » ------

EXAMPLE 12.5. Sonata in B minor. Mvt. IQ, mm. 18-25

The monotonous theme of the trio is relieved by the brevity of the section. [EXAMPLE 12.6].

82 Cello

Piano

f p T T i

J? >— î i i — ) ------f f — =------—— — -— - r ^ : -

J. ' "T - rJ- - - —0 ------“ f r — - t - ^ - r r — - r

EXAMPLE 12.6. Sonata in B minor. Mvt. m, mm. 94-102

As a whole, the movement is not particularly harmonically complex, but is melodious and texturally interesting, as it is more sparse than the other movements. The last movement. Allegro animate, is a rondo in ABACBA form,

with a lengthy coda-like section. The movement is in 6 / 8 meter, and begins with a sweeping B minor introduction. The A theme is begun by the piano and finished by the cello, and cadences in D major [EXAMPLE 12.7].

83 CeUo

j) l>|t B >. > t J - i .— - f — > r - ■ f:': --- 3 - ' f = Piano p j- : -z

rrn—1----^------3------J— H------:-----:------

1) t. J, -I = A = ------^ ; — U f ------4 - ^ — -

- J J —-1----- 1 i r r r i J' J- J- r r r r

EXAMPLE 12.7. Sonata in B minor. Mvt. TV, mm. 12-20

84 The chorale-like B theme is presented in a section with the key signature of A flat major. Mayer reaches this key by first modulating to the relative major, D major, and then moving chromatically to an F#* chord. The bass holds the Eb of this chord as a pedal, establishing it as a new tonal center which becomes

V of Ab major. Mayer then modulates back to B minor in a similar manner, this time reaching an E pedal in the bass which quickly leads to a repeated i - V pattern in B minor. The next section begins with the same sweeping introduction and statement of the A theme, after which some developmental material occurs. The C theme emerges unexpectedly in the midst of this material, moving from cello to piano [EXAMPLE 12.8].

85 Piano

i.* i

, ______1—p-

------' .Jr - _1- J J- ' J—'J _ — # ^ ^ P: ^ — '

EXAMPLE 12.8. Sonata in B minor. Mvt. IV, mm. 117-124

After two more statements of the B theme, a double bar appears, after which it seems as if the movement is returning to one last restatement of the

86 introduction. This section, however, turns out to be a long coda in which the A theme is never really stated, but is instead used as developmental material. This leads to a grand flourish at the end in the piano part, ending in a striking iii - V - i cadence.

87 CHAPTER 13 SONATA IN C MAJOR (SHELF NUMBER 27)

This sonata is one of two in C major, the other being Op. 40. The first movement begins with a Lento introduction in the key of C minor. The main body of the movement, marked Allegro, is a short sonata form:

Intm Theme 1 Theme 2 : dvlpmt Theme 1 Theme 2 Codâ Qn CM EM CM AM/m CM

The first theme, a robust melody in C major, opens the movement [EXAMPLE 13.1].

88 ^ ______""—^ ______» Cello mf ► ♦ ^ r z » ~w •— X *—■— J L Xr J " - - Ü / LU Lfff Piano m f 3

------—«i:------3 ■ 1

r : - I = 1 = [ / [ i f C r C z T

/ 6 - O' rr ^ r r r h» IL.

It?" ■ - j - p -f.- 1

dim.

-tl= — p = — 4 L — vLu [xJ -ii- 3 ^ J ' - T r dim.

------j ------X * ------«______■------L. L i., j .. ■ .. j w

EXAMPLE 13.1. Sonata in C major. Mvt. I, mm. 17-24

89 It is stated twice with bridge passages between, one of which leads to E major

by way of a V^/IV in C major being chromatically altered to produce a V^/B major (with no fifth). This resolves to V/E major. [EXAMPLE 13.2].

Cello i Piano n n i l

EXAMPLE 13.2. Sonata in C major. Mvt. I, mm. 50-51 The E major section—which has a new key signature—begins with the second theme [EXAMPLE 13.3].

90 Cello *i#ii ---- -I l - l 3 3 PvT Piano - " O ■ ^ 1— j H ^— &f-fr F ^

EXAMPLE 13.3. Sonata in C major. Mvt. I, mm. 57-64

It is stated twice, and after the second time a motive from the first theme is brought in, which leads to the development section or the repeat back to the Allegro. The development is quite short, and as a consequence does not venture far afield harmonically. The recapitulation puts the second theme in the key of A major, and in the piano part for the first statement, but is otherwise the same as the exposition. Mayer changes between A major and A minor, and from there makes a smooth transition to C major for the coda.

91 The second movement is a Scherzo, in 3/4 meter and in E minor. The first nineteen bars are introductory material in B major/minor, with the main motive coming from the first theme. This theme is stated in the cello, is perhaps reminiscent of Schubert's Trout Quintet, and is clearly in E minor [EXAMPLE 13.4.].

CeUo

Piano

1 ' ' ' U »r--- 1 = 44b —?- # i—Î-- r Î— i = Mt» ^ = =■■' = = T r T. ; ! ■ ' £ = I f— i H, -

EXAMPLE 13.4. Sonata in C major. Mvt. I, mm. 120-128

The scherzo seems almost monothematic, although there is a weak candidate for second theme, which appears shortly after the first. The entire scherzo simply uses the grace note motive just seen and the three eighths of the main

92 theme in a developmental way. Mayer seems to have been in a playful mood when she wrote this movement. The trio section, preceded by a long rallentando, is marked Andante espressivo, and is in C major. It begins with a chordal introduction, in which the piano has the main melody, and this melody is later taken by the cello [EXAMPLE 13.5]. The return of the scherzo is unremarkable, except that it ends on an E major chord.

Andante espressivo A*

Piano

EXAMPLE 13.5. Sonata in C major. Mvt. H, mm. 191-206

The third movement is written in A minor, creating a fifth- relationship which is unusual for Mayer. It is marked Un pace Adagio, and

93 contains Mayer's typical florid transformation of one main theme [EXAMPLE 13.6].

Piano P

r - r 3 J "......

¥ = î = î î - = : w # 3 «s: &>

EXAMPLE 13.6. Sonata in C major. Mvt. Efl, mm. 1-8

In a D major section in the middle of the movement, Mayer pares down the texture until four measures before the return of A minor, in which she gives cadenza-like runs to the piano. This A minor section is brief and passionate, culminating in a fortissimo VI chord followed by V/V - V - I and ending softly on an A major chord. The fourth movement begins abruptly with a D minor chord, which is the "ii" in the ii-V-I cadential pattern beginning the movement. The first

94 theme heard is a march in the piano. [EXAMPLE 13.7].

II il li Piano

y ip-1 ; * ; ■0— ■— p— ------m—L 3 1- 4^ J

EXAMPLE 13.7. Sonata in C major. Mvt. IV, mm. 3-10

Closely following this theme, after a fermata on V^, is the theme which gets the most attention throughout the movement, despite its less melodically interesting contour [EXAMPLE 13.8].

95 CeUo

\ll‘i J- i ------m------, J. P n - n - n Piano r ■ T - — _ kmtm

OI [ ■ ^-----

( Jg.: — j ------m J l a . ' f i B > ?• r - - T ' - •p_____ . 4 » * . : = "---- Fii---^ ---» - 7^ ---- #- : 1 P CJ CJ *g= l u U ' c J

C - J W —

EXAMPLE 13.8. Sonata in C major. Mvt. IV, mm. 19-22

The form of the movement is ternary: In this case, there are two main themes : B Coda CM AbM CM CM Themel (CM), Theme 2 (GM) Theme 2 (Ab M) Themel (CM)

96 Theme 2 is presented at greater length than the first theme, first in G major, and then after a bridge passage in which fragments of Theme 1 are heard.

Theme 2 is presented in an abrupt key change to Ab major. The third section uses the A theme in fragments, and returns to C major. This section turns into a coda-like passage, with elements of both themes being used simultaneously. This movement is the weakest one in the sonata, lacking melodic interest and harmonic coherence.

97 CHAPTER 14 SONATA IN C MINOR (SHELF NUMBERS 28.1 AND 28.2)

These are two manuscripts of the same sonata. I am assuming that DSB 28.2 is the draft of 28.1 because it is extensively marked up with crossings- out, extra pieces of manuscript taped over or onto the music, and lightly pencilled additions or corrections. Some of these corrections are present in final form in 28.1. There are also rehearsal letters in 28.1, which suggests it was the performance copy, as does the neatness of the manuscript, and the thoroughness with which mistakes were crossed out. The first movement is a straightforward sonata form, which begins immediately with introductory material that foreshadows the theme found in the cello soon thereafter. [EXAMPLE 14.1].

98 CeUo

, 1. 7 ! -

Piano U & i C g - t f a " '

ifc------— rg------J

f '-- '

i> l I-i . r ' ^ hw^------:---- —r T

u ^ . : .;■. - .1%:------i ----- '

99 EXAMPLE 14.1. Sonata in C minor. Mvt. I, mm. 17-29

Both versions are essentially the same in the exposition, with only minor differences: for example, in some places the cello line is higher by a third in the draft, and piano notes are cut out of a florid passage in the final copy. The exposition in the final copy is three measures shorter than the draft, those measures being cut out of a sequence near the middle of the exposition. The closing section of the development, however, is very different between the two versions, as are the development itself, and the recapitulation:

28:1 Themel Theme2 : development Themel Theme 2 Coda Gm EbM Q n AbM Qn.

28.2 Qn EbM Cm? CM Qn 100 The final copy uses primarily material from the first theme in the development, punctuated by marcato piano chords and tremolo, while the draft development makes a more gradual transition from the second theme, using its material extensively at the beginning. The texture in the draft is much denser, with more slurs and accompanimental patterns than in the final copy, which takes the form of a dialogue between the instruments. The final copy makes a stronger statement, but the draft uses more varied material. The approach to the recapitulation is also very different in the two manuscripts. The final copy approaches with a crescendo over an ascending bass line and triplets, putting the first statement in the piano. The draft approaches the recapitulation with a diminuendo and a fermata, and makes . the arrival of the recapitulation a surprise. In addition, the first theme is not stated in entirity, nor is the key clear, as the opening motive is stated three times in three different keys. The draft also includes a key change to G major for the statement of the second theme, whereas the final copy retains the key signature of three flats but moves into a closely-related Ab major. The change

to the more remote key in the draft necessitates a more involved transition to the coda than is found in the final copy, but both codas are the same and provide an exciting finish. The Adagio second movement, begins with a thoughtful theme in Ab major, presented by the piano [EXAMPLE 14.2].

101 m i Piano P L > - /i n n J J J J J]liU-J). .>---- =J1 fr.— J -e- m r m " J | p ] J JP \ ^ /

EXAMPLE 14.2. Sonata in C minor. Mvt. H, mm. 1-9

It undergoes a series of transformations during the course of the movement, moving through Db major and F minor. The harmonic scheme is basically

the same in both versions, but the draft is considerably more florid. Most of the revisions involve eliminating or abbreviating some complicated piano runs, some cello activity, transposing lines up or down by third or fifth, or exchanging the cello line with the piano right hand material. In the cases

102 where lines are transposed or exchanged, the basic harmonic underpinning remains the same—presumably Mayer was searching for a certain range, or a certain sonority [EXAMPLE 14.3 and EXAMPLE 14.4]

Cello

Piano

EXAMPLE 14.3. Sonata in C minor 28.1. Mvt. I, mm. 81-82

Cello p ~ -

l & , y \ J L j ------4- "1

Piano

niVI. - u r* J**=n ^ '' ^ J r J ' j. J. 4 ^ — ' r - r f

EXAMPLE 14.4. Sonata in C minor 28.2. Mvt. I, mm. 83-84

The third movement is a Scherzo in C minor. Like all of Mayer's scherzi, the texture is relatively thin and the harmonic rhythm moderately

103 slow. The cello and piano often imitate each other, although the cello part is less prominent in this scherzo than in most of the others. The draft and final copies are almost identical except for the transition firom the trio to the scherzo, and the return of the scherzo. In the draft, the transition section has a twenty measure passage that has been crossed out—and which does not appear in the final copy. The material in this section is a theme which had been explored at length previously, and which is used to extend the transition with sequences. Had it been left in, this 20-bar passage would have destroyed the momentum which is present in the final version. The return of the scherzo has similar, though much shorter, passages which have been crossed out and which do not appear in the final version. A tempo indication in the draft. Un poco piu lento, appears as calando in the final version—the result is a more streamlined scherzo, considerably shorter than the first occurence, and this helps bring the movement to a whimsical close. The last movement, marked Allegro, has only a few trivial revisions, affecting approximately seven measures. It is a rondo whose middle section is in A major (although it begins with a theme in E major). For the last section the key changes to C minor. The opening of the movement, despite the C major key signature, is a dramatic fanfare in C minor, with triple stopped chords in the cello part and arpeggiated chords in the piano. Following this is an introductory passage, still firmly in C minor, with thematic motives in the cello part over a triplet murmur in the piano. This, however, comes to an abrupt halt as Mayer changes mode, suddenly cadendng on a C major chord, and then moving directly into the A theme (which cadences in E major) [EXAMPLE 14.5].

104 CeUo

Piano

= # = M ------r M -

— 1— I— ^ 4 ■ -J—* - - J J w ■■J: f -

------1— — i p ------r P - i 0 / r - 3 - 1 - ^ - -1

EXAMPLE 14.5. Sonata in C minor. Mvt. IV, mm. 30-38

. The form is a straightforward A B A B Coda format. The A theme does not come back after the A major section. The coda uses the B theme, and at a tempo change to tin poco piu lento makes reference to the A theme only with the dotted rhythmic motive. This slower section, which lasts twenty seven bars, is clearly in C minor, but is rich with the diminished seventh chords and third-progressions typical of Mayer's style. The last six measures

follow the progression i - vii“7/V - V- i -vii"7/V - i® - V- i, and the

movement closes with fortissimo C minor chords in both parts.

105 CHAPTER 15 SONATA IN C MAJOR OP. 40 (MICROFICHE NUMBER 92 052)

This sonata was published in 1874 by Bote & Bock, and as was

mentioned earlier, is dedicated to Helfriede Plüddemann.22 The first movement begins with an Adagio introduction in which a deliberate arpeggiated pattern in the cello part establishes the key of A minor. This is the main statement of the introduction, for the piano part then elaborates on the cello motive, moving through the tonal centers of F, Bb, and Eb major.

The last three measures include the following series of nonfunctional arpeggiated chords in the piano as a result of chromatic bass motion; A flat

major, E^, F major, D#’^/ and E major. Mayer then uses a drcle-of-fifths progression suggesting the E major just tonicized: IV - 1 - V^. The B^ resolves deceptively to C major at the beginning of the Allegro section. This section, in sonata form, contains the least amount of melodic writing for the cello of all the sonatas. Its form is as follows:

Intro Themel Theme2 bridge : dvlpmt Themel Theme2 Coda Am CM Ab M (CM) GM CM CM

The first theme in C major, first stated in the piano, is four bars long and not particularly memorable. [EXAMPLE 15.1]

22 Sichardt, 173. 106 N I # î Piano I

EXAMPLE 15.1. Sonata in C major. Op. 40. Mvt. I, mm. 15-18.

It is alternated between the two voices for 29 measures, ending when a running sixteenth note pattern in the cello comes at the end of a crescendo. This pattern is doubled by the piano and serves mainly as a bridge into a slower section, which itself is a transition into the Ab section containing the B

theme (again in the piano) [EXAMPLE 15.2].

107 CeUo f . r — F- 1 -P------

J? g = — .....r - = f = = ^ ^ ------i ------Piano P m f ^ *111 ij k- 1" 7 T r ~ > " T r -p ------p -, / r p ------■■ t ±

J u k k - #------' ^ f m 0 ^ C . ------^ ------0— 1 F ' • i l i i f j j - r- -— ■—

P - J l j i

11: r -y " ^ 1 ------T------r------p— ^ ~ ~ '^ r - ] cresc......

fl ------T % ^ ! 1 — 7 = 1 ------1 f ------1— r r

•■’I'll

2 ki'4.L.* -L / i>f-, ______= p ^ ------*t ■ - j j j j : y ------=—

■ ■■ Ü _ r . . L U -

EXAMPLE 15.2. Sonata in C major. Op. 40. Mvt. I, mm. 61-69 108 This section, which contains a minimum of hannonic surprises, is also set off by the lilting quality of the melody and its triplet accompaniment in the left hand. The cello part simply provides harmonic support. Sixteen bars before the exposition comes to a close, Mayer modulates back to C major by moving through the following chords: Ab, Eb^, (for one beat), and then a flourish in the right hand on C major. In the development section the burden rests entirely on the piano, for it is a profusion of arpeggiations, sextuplet figures, and very quick harmonic changes [EXAMPLE 15.3].

cresc.

EXAMPLE 15.3. Sonata in C major. Op. 40. Mvt. I, mm. 118-122

109 Because of the rapid harmonic changes, the tonality is unclear until 8 measures before the recapitulation, where the lilting triplet accompaniment of the second theme returns, along with its lesser degree of harmonic and melodic activity. Even so, the recapitulation is approached by a progression of

third relationships: Eb, G, C, Ab, and finally a leading to C major.

In the recapitulation, the A theme is found in the key of the dominant. The B theme is in the tonic, and is stated in the cello, but over an extremely busy accompaniment which detracts from its character [EXAMPLE 15.4].

110 Cello

m Piano P

^ ^ p____ ^

-?— T - f l - '-'i‘------L T 'L ^ r ------11 :::^ B. l'> M f f f f f j k- . -. . - 1

J i f f :

------^ p - ^ - ...... - f -> e te Lv p — " f - '- » * 1 — i - 4 -J ' f T ^ L L U

■U fw—^ — *----

dim.

i J ^ J J * # * h a-= -n L . Lr>7>-v '--tr i ' ^ t f ^ = ■* J-

_» ------*> ^ ' j 5 r - ......

EXAMPLE 15.4. Sonata in C major. Op. 40. Mvt. I, mm. 158-168 111 This texture continues for the remainder of the movement, except that the cello part quickly returns to the role of harmonic supporter. The movement ends, after a series of non-functional chords—A', G major, E^, A major, and

B major—underneath a stepwise arpeggiated pattern in the right hand, with four bars of clear C major. The second movement, a Scherzo in A minor, is again clearly a piano movement with cello obbligato. It is not as harmonically complex as the first movement, and lacks Mayer's heavyhanded use of the diminished seventh chord. Instead, as can be seen in the opening theme, it is used judiciously for color, and adds an element of surprise (see the fourth measure of the example) [EXAMPLE 15.5].

112 CeUo

f T 7 ] ------f- -*^1 *=*r r 1 r Piano ------.kl . -r H - Ï

\l r — j - - ► '0 ' m “>• r 1 r r 3 ? : ... _ ^h h -c F P

- .j

? —

EXAMPLE 15.5. Sonata in C major. Op. 40. Mvt. II, mm. 9-20

The trio section is very song-like, and gives the cello the first statement of the melody with a relatively simple counter melody in the piano, followed by a non-florid accompaniment [EXAMPLE 15.6].

113 y —______CeUo p i r "g UP L M . . -#— m # r ---- «L _ « # m r - t t J ' L T ' c r t r l r ' i î H Piano » p p . 9- p ' ' t - r

~~ —r . > ### 1 # = f e — ^ i i i

P' ^ - - “ Tr~~F^ r ,r Y P ' P-- >- >- _ Ir^ThJ- a -J--:--- i-'J -^'= ■J , J- J = T f ^ # = */?♦[/çj r — V’l, T-ii: ^ ^ 5 5

EXAMPLE 15.6. Sonata in C major. Op. 40. Mvt. II, mm. 111-125

114 The straightforward return of the scherzo ends on an A major chord at the end of a whimsical pianissimo statement of the main theme. The second movement is in E minor, and is marked Adagio. It begins with a dramatic statement by the cello, supported by only two chords in the piano, and then answered by an equally dramatic arpeggio flourish. This leads directly into the answering statement by the cello. [EXAMPLE 15.7].

Cello

Piano

' F "r , F *r 1 r K f—. —-

At , . — f------4 —- - f- - - jK------— J--- 1~------; ..r m : -*H-i^ * j W— ë 1 LJ_J------— H (5 K ______3 1

EXAMPLE 15.7. Sonata in C major. Op. 40. Mvt. HI, mm. 1-8

115 The entire movement has this urgent character, found in tremolo-like piano writing, a rather disjunct motion coming from the use of melodic motives rather than long singing melodies, and also from frequent punctuations of florid cadenza-like runs in the piano part. It ends, as would a cadenza, on the dominant of E minor and is marked attacca. The last movement marked Allegro, does not fulfill the expectation set up by the B major chord, however. The piano begins with a. forte F#*7 chord which resolves in the second measure to G major. The movement itself is in C major, but this is not reached until the A theme of the movement is stated by the piano after a prolonged harmony. The form of the movement is ambiguous. It is in more of a binary form than a rondo. There is a section that is clearly developmental that occurs before what could be heard as a recapitulation, but this developmental section returns in the second half. Thus, the movement has two distinct parts, a recurring A theme not fitting a rondo pattern, and recurring developmental material. This movement is full of good spirits, and begins with a rollicking theme in the piano [EXAMPLE 15.8].

116 CeUo

Piano

1 ------

i f m j

EXAMPLE 15.8. Sonata in C major. Op. 40. Mvt. IV, mm. 13-16

The contrasting theme is found first in the cello at a piano dynamic, with the piano in a strictly accompanimental role. [EXAMPLE 15.9].

117 I. r-Ti-Tr-F------' ^ T F_, CeUo 1------/— ' III 1 P '

I vh N ^ #—7 i* —#— 1 ^ m ' J 7 7 ^ 1 ® _ Piano < P I ______ML:______

EXAMPLE 15.9. Sonata in C major. Op. 40. Mvt. IV, mm. 39-43

Shortly after the statement of this theme, Mayer stops the motion with a fermata over octave B's in the piano and cello, and then the developmental section begins. This section uses melodic motives from both themes, and has much more harmonic variety. At times, she transforms the motives in such a way that a new theme seems to be present, but run-on nature of these places—one at letter P lasts for twelve bars, using the same rhythmic motive over and over, but in different tonal centers—detracts from their being able to

118 stand alone as themes. The second half of the movement lacks a clear repeat of the second theme, but does repeat most of the developmental section, including the somewhat ambiguous 12-bar passage mentioned above, and adds a coda with largely dominant-tonic harmony at the end.

119 CHAPTER 16

SONATA IN D MAJOR, OP. 47 (MICROFICHE NUMBER 126701

The Sonata in D Major, Op. 47, was published in 1883 and dedicated to the Baron von Seckendorff, one of the members of the Loewe Society.23 The first movement begins with a slow introduction in which no clear tonality is established. It moves rapidly through a series of diminished seventh chords and instrumental flourishes, which often serve to tonicize a chord which will follow—but as a diminished seventh chord—until the main body of the movement begins. Allegro con spirito, with a spirited cello melody in D major. The movement is in sonata form, treated in the classical manner. The B theme, in the key of the dominant, is somewhat more introspective than the A, and is carried by the piano, complete with a small variation on itself in which it is split between the two instruments. The development section is highly motivic, making extensive use of the dotted eighth-quarter rhythm of the first theme, and adding triplets to the mix as well, with straightforward harmonic language. The recapitulation begins with the voices switched: the piano carries the first theme, and the cello carries the second in its entirety, without a variation. The second movement, a scherzo in G minor, is more motivic in nature than the first movement, and lacks full-blown melody. Instead, it

23 Sictiardt, 173. 120 relies on a two measure running eighth note motive (Theme 1) to give the movement its playful character [EXAMPLE 16.1]

CeUo

Piano

EXAMPLE 16.1. Sonata in D major. Op. 47. Mvt. II, mm. 9-13

The structure of this movement is as follows:

Scherzo Trio Scherzo Trio Scherzo Qn DM Qn DM Gm

The two contrasting trio sections—typical of Romantic era scherzi—are more lilting and less driving [EXAMPLE 16.2].

121 CeUo

k :— 0 \ T- ■ ------4 - ^

Piano

\ $ = A If- lift ill r^~ —

W F--[ t j W n C r C f T 1— jL I—: : :. j n n

EXAMPLE 16.2. Sonata in D major. Op. 47. Mvt. H, mm. 89-96

The second scherzo section uses a slight variation on the two measure eighth note pattern of the first, and introduces a small development of the dotted eighth-sixteenth pattern found in the second theme of the section. The third scherzo section encorporates more dialogue between the two instruments. This repetition is significantly shorter than the middle one. The two trio sections are not quite as obviously different, but the second is set in a slightly higher register—although still in the key of D major—and has a more ethereal piano part as a result. The movement ends with a resounding and unexpected G major chord.

122 The third movement. Un poco Adagio, is the least successful of all the movements. It has an almost Fantasia-like quality. The piano part is seemingly a series of improvised complex rhythms, set against a slowly moving cello part, which never really graduates from the role of counter melody for a melody that doesn't exist. The piano part overwhelms the cello part with its complexity, and the fast harmonic changes make the movement sound like a long, improvised, virtuosic toccata or frmtasia with a cello obbligato. Nevertheless, it is not without interest. Mayer's harmonic language, while not as extended as that of her contemporaries Strauss and Liszt—whose music we do know she heard—is full of surprises without being arbitrary. This movement is reminiscent of the introduction to the first movment in that way, and must be listened to without expectation of form. The fourth movement is a rondo, somewhat thin in a melodic sense, but with plenty of harmonic activity. The opening statement of the rondo theme demonstrates the rapid harmonic changes which characterize this movement. She begins with a French Sixth chord in D major, and moves th ro u ^ a series of secondary dominants to a cadence in f sharp minor. [EXAMPLE 16.3].

123 CeUo

@ Piano

ft ------

i g : :

r u r r j ~ - ' W

EXAMPLE 16.3. Sonata in D major. Op. 47. Mvt. IV, mm. 1-6

The rhythmic motive found in the fifth measure reappears, after the second statement of the theme and the subsequent developmental material, in a reference to the last movement of Beethoven's Fourth Sonata for Piano and Cello, Op. 102. No. 1. [EXAMPLE 16.4, and EXAMPLE 16.5].

124 Piano

EXAMPLE 16.4. Beethoven Op. 102 No. 1. Mvt. DI, mm. 18-24

Piano

EXAMPLE 16.5. Sonata in D major, Op. 47. Mvt. IV, mm. 43-44

Although it is not a direct quotation, the reference is clear, given her devotion to Beethoven and the texture in which it is written. Another surprising reference is to Schumann's cello concerto. Again, this is not a direct quotation, but its isolated character, coupled with a rltenuto, make it stand out unmistakably. [EXAMPLE 16.6 and EXAMPLE 16.7].

125 Cello b " T ~ = 1 ' — ' - y -

------1 — Piano r 4 N ------

‘X » " - ^

EXAMPLE 16.6. Schumaim Cello Concerto. Mvt. I, mm. 15-16

CeUo

Piano

EXAMPLE 16.7. Sonata in D major. Op. 47. Mvt. IV, mm. 17-18

Schumann's concerto was published in 1854 and probably premiered in 1869 in Oldenburg.24 It is not known whether or not Mayer heard the piece, but the musical reference seems clear. She wrote this sonata shortly before her

24 Robert Schumann, Cello Concerto Op. 129, with a preface by Joachim Draheim (Weisbaden: Breitkopf & Hârtel, 1987), 2. 126 death in 1883.25 The rest of the movement consists of the development of the various motives found in the rondo theme—including the Beethoven motive—and of those found in the B theme, which has a sweeter character [EXAMPLE 16.8].

CeUo Z—is—f r

L— 4 — •—— Piano 1 irniCT 1

EXAMPLE 16.8. Sonata in D major. Op. 47. Mvt. IV, mm. 55-56

The form is typical of the rondo until the motion comes to a sudden stop and a recitative reminiscent of the Finale to Beethoven's Ninth Symphony is inserted, before Mayer resumes the lively development of the Beethoven rhythmic motive found earlier. [EXAMPLE 16.9].

25 Sichardt. 157. 127 adtibéL Cello ad libit,

Piano

4 ^ -

• W

i J j \ , : Y -^-\ 1^ ÿ r r

l-'klzg' ' " , n ■ p . * . * f | i , ^ - - s l !" ! HI g - - - - j ...... T lÿ-p..-. ...F.^ f ."p. .. F p,p — p ^ #|j^---...... P ' - - -^ - ■— r = — ^ ------—^----f ---- "■'■i......

EXAMPLE 16.9. Sonata in D major. Op. 47. Mvt. IV, mm. 143-156 128 The movement closes after one more statement of both the A and B themes, with a fanfare of doublestops and apreggiated chords.

129 CHAPTER 17 CONCLUSION

The ten cello sonatas by Emilie Mayer are not inconsequential pieces better left in obscurity. While sometimes lacking in imaginative texture and harmonic coherence, the pieces contain melodic and rhythmic invention and variety, and are a refreshing new addition to the repertoire. Her shorter forms, such as the Scherzi and the Menuets/Trios, are the most musically successful. The music with lengthy developmental material, which is often convoluted and too thick, is the least successful—the second movements, and the sonata-form movements. The E minor (shelf number 31), A major (shelf number 32), and B minor (shelf number 35) sonatas are the most compact, and in my opinion the most worthy. Why these were never published, and two of the less successful sonatas were is a subject for speculation. It is possible that Mayer offered only those two sonatas for publication, perhaps feeling that they represented a more advanced compositional style. She constantly tried to get large publishing houses such as Bote & Bock to publish her material, however, so it may be that Bote & Bock chose only to publish the Op. 40 and Op. 47 sonatas. These two are more abstract in the sense of having less melody and more motivic development. Mayer perhaps overestimated her

130 developmental capabilities and the importance of developmental material in composition (because she revered Beethoven?), and underestimated her melodic gifts. It is interesting to note that Mayer's most publically successful piece, the Faust Overture, was not a large form, such as a symphony or opera. Perhaps audiences during her lifetime supported her smaller works more than her larger ones. Her inability to write completely coherent larger forms may reflect her lack of formal musical education, and the teaching of the men with whom she studied. Perhaps, despite their support of her talent, they were unconsciously influenced by prevailing attitudes about "masculine" and "feminine" genres. The E minor sonata (shelf number 31) was chosen for the appendix of this document because it is one of the more successful sonatas. It is somewhat shorter than many of the others and more compact as a result, with shorter developmental episodes and a greater concentration of melody. While Mayer's cello and piano sonatas may not be as great as those by Mendelssohn and Beethoven, they nevertheless deserve an audience again. Perhaps more of her music will find its way into the repertoire of singers, violinists, orchestras, and cellists.

131 BIBLIOGRAPHY

Bochard, Beatrix. "Between Public and Private." In Women Composers in Germany, ed. Roswitha Sperber. Bonn: Inter Nationes, 1996.

Citron, Marcia J. "Women and the Lied, 1775-1850." In Women Making Music: The Western Art Tradition, 1150-1950, ed. Jane Bowers and Judith Tick. Urbana: University of Illinois Press, 1986.

Jacobi-Dittrich, Juliane. "Growing Up Female in the Nineteenth Century." In German Women in the Nineteenth Century: A Social History, ed. John. C. Pout. New York: Holmes & Meier, 1984.

Ledebur, Carl Freiherm von. Tonkiinstler-Lexicon Berlin's von den dltesten Zeiten bis aus die Gegenwart". Berlin: Ludwig Rauh, 1861.

Mayer, Emilie. Sonate, Op. 47 for violoncello and piano. Bryn Mawr: Hildegard Publishing Company, 1995.

Olivier, Antje and Karin Weingartz-Perschel. Komponistinnen von A-Z . Düsseldorf: Tokkata-Verlag, 1988.

Olivier, Antje and Sevgi Braun. Komponistinnen aus 800 fahren . Sequentia-Verlag: 1996.

Olson, Judith E. "Luise Adolpha Le Beau: Composer in Late Nineteenth- Century Germany." In Women Making Music: The Western Art Tradition, 1150-1950, ed. Jane Bowers and Judith Tick. Urbana: University of Illinois Press, 1986.

Reich, Nancy B. Clara Schumann. The Artist and the Woman." Ithaca: Cornell University Press, 1985

Reich, Nancy B. "European Composers and Musicians, c. 1800-1890." hi Women and Music: A History, ed. Karin Pendle. Bloomington: Indiana University Press, 1991.

132 Sichardt, Martina. "Anf den spuren einer vergessenen Komponistin: Emilie Mayer (1821-1883)." In Komponistinnen in Berlin, ed. Bettina Brand, et al. Berlin: Foto Oeberg, 1987.

Tick, Judith. "Passed Away is the Piano Girl: Changes in American Musical Life, 1870-1900." In Women Making Music: The Western Art Tradition, 1150-1950, ed. Jane Bowers and Judith Tick. Urbana: University of Illinois Press, 1986.

133 APPENDIX

SONATA IN E MINOR

134 Sonata in E M inor for piano and violoncello

Emilie Mayer (1821-1883)

1 1 tf ^ CeUo f " L- Andante j j U . J___ ^ J. J J 1 - - - = P L - Z ----- : j ^ , tp r t Piano a_____^

T t f r *c!r'i

J ^ ^ p y — -y----- ^ J ^ |-

1* , /?T!r. 1'rrT T f

-eL—2...---- f1------.!jig ------, 'r] 01 f f 3 r ^ l r f l

f ( 1 1,, . p - r ^ f # S# /> joj

1 i.r r 1^ ------l | " W =

1 3 5 _ __ ^ -,__ .. Ft--» 1 r==i J r t s c

Si i f . -hM---- L_ -f—«T]\~f f — f h - r cresc. / ' dim. — p n:# ,U------i—4---- r jr--- f - , f , L i — U^.------M

(i® u _^^TT5i'—T L 0 r p f ? f ^ (m^ J r *r r~»rf»r BMW r Tipu f ------P—F---- 1------j ,j j J ■• - '' i '1 i 1 ...

1» * ^ ^ ^ A t fi f fi f ti ^ r — r M j y f If# # # —# j— PM fHr N ^ g ^ t p - H- L zff--:-- : 9 « î i f l a = ___ Mlefronvics ______= k p

p r ^ Him talleo.

i * l i t — 1------M - i f : - II I § T r i # ^ : ittf tallen. dim.

- * n - f — ^ — ------f i j — — li rm n riT R N 1 j --4—J--J — é------J - —6 ------1— ------H - | l ■ 6 - i - — #

136 cresc.

m m

/? \ awapo

a ten DO

nülentando

1 3 7 h£-—

9 1 ^4^--- rfT^f^rrTr------fTT- j n Riffll ■rr.| -rçr*fh4 UlbU

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