The Ensemble Étude for Violins: An Examination with an Annotated Survey of Violin Trios and Quartets and an Original Étude for Four Violins by Eva Lundell A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2011 by the Graduate Supervisory Committee: Jonathan Swartz, Chair Jody Rockmaker Nancy Buck Frank Koonce Kay Norton ARIZONA STATE UNIVERSITY May 2011 ABSTRACT Études written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo études. These works rarely go by the title “étude,” and have not been the focus of much scholarly research. Ensemble études have much to offer students, teachers and composers, however, because they add an extra dimension to the learning, teaching, and composing processes. This document establishes the value of ensemble études in pedagogy and explores applications of the repertoire currently available. Rather than focus on violin duets, the most common form of ensemble étude, it mainly considers works for three and four violins without accompaniment. Concentrating on the pedagogical possibilities of studying études in a group, this document introduces creative ways that works for violin ensemble can be used as both études and performance pieces. The first two chapters explore the history and philosophy of the violin étude and multiple-violin works, the practice of arranging of solo études for multiple instruments, and the benefits of group learning and cooperative learning that distinguish ensemble étude study from solo étude study. The third chapter is an annotated survey of works for three and four violins without accompaniment, and serves as a pedagogical guide to some of the available repertoire. Representing a wide variety of styles, techniques and levels, it illuminates an historical association between violin ensemble works and pedagogy. The fourth chapter presents an original composition by the author, titled Variations on a Scottish Folk Song: Étude for Four Violins, with an explanation of the process i and techniques used to create this ensemble étude. This work is an example of the musical and technical integration essential to étude study, and demonstrates various compositional traits that promote cooperative learning. Ensemble études are valuable pedagogical tools that deserve wider exposure. It is my hope that the information and ideas about ensemble études in this paper and the individual descriptions of the works presented will increase interest in and application of violin trios and quartets at the university level. ii ACKNOWLEDGMENTS Thank you to Dr. Jonathan Swartz, whose smart and timely advice always clears things up. I am grateful to Nancy Buck for many years of friendship and encouragement, and to the other committee members for their support. Many thanks to my friends and neighbors who have opened their homes to my children for hours on end, and to Sarah and Hazel, whose love and affection make me grateful every day. And everlasting gratitude to my husband Tim, who has helped more than he knows, even from thousands of miles away. iii TABLE OF CONTENTS Page PREFACE ................................................................................................................viii CHAPTER 1 THE ÉTUDE: HISTORY, MOTIVATIONS, AND CHARACTERISTICS ..................................................................... 1 I ntroduction........................................................................................ 1 Definition, History and Evolution of the Violin Étude Genre .......... 1 Definition....................................................................................... 1 History and Evolution ................................................................... 6 Motives for Composition and Benefits of Study............................. 15 The Philosophy Behind Étude Composition .............................. 15 The Benefits of Étude Study and Teaching................................ 19 2 ENSEMBLE ÉTUDES: MOTIVATIONS, GROUP STUDY, AND COOPERATIVE LEARNING ..................................................... 26 Introduction ...................................................................................... 26 History and Motivations for Ensemble Étude Composition ........... 26 Benefits and Drawbacks of Group Study ........................................ 34 Cooperative Learning Groups and the Ensemble Étude.................. 40 General Definition and Benefits of Cooperative Learning......... 40 Cooperative Learning Applied to Ensemble Études .................. 43 Five Essential Elements of Cooperative Learning ..................... 47 iv CHAPTER Page 3 AN ANNOTATED SURVEY OF WORKS FOR THREE AND FOUR VIOLINS WITHOUT ACCOMPANIMENT.................. 54 Introduction ...................................................................................... 54 Survey............................................................................................... 61 Leopold Auer and Gustav Saenger: Graded Course of Ensemble Playing................................................................... 61 Jacques Barat: Trois Trios........................................................... 64 Herman Berlinski: Canons and Rounds ..................................... 65 Joseph Bodin de Boismortier: Six Sonatas, vol. 1...................... 67 Charles Dancla: Ah! Vous Dirai-Je Maman: Variations............ 68 Charles Dancla: Le Carnaval de Venise ..................................... 70 Charles Dancla: Le Départ, L’Arrivée, Le Retour...................... 71 Karl Ditters von Dittersdorf: Notturno ....................................... 73 Erich and Elma Doflein: Progressive Pieces for Three Violins, vol. 1.......................................................................... 74 Erich and Elma Doflein: Progressive Pieces for Three Violins, vol. 2.......................................................................... 77 Erich and Elma Doflein: Progressive Pieces for Three Violins, vol. 3.......................................................................... 78 Jakob Dont: Larghetto and Scherzo............................................ 80 Antonin Dvořák: Gavotte............................................................ 81 Margaret Farish and Don Owens: Shapes and Sounds............... 82 v CHAPTER Page Friedrich Hermann: Capriccios and Burlesque .......................... 84 Richard Hofmann: Quartett ........................................................ 87 Alexandru Hrisanide: Music for One to Four Violins ................ 88 Hiroyuki Itoh: Xagna .................................................................. 90 Robert Klotman and Mark Walker: Four Violins in Concert .... 91 Julius Kowalski: Husl’ové kvartetino ......................................... 93 Ignaz Lachner: Sonatine.............................................................. 95 Witold Lutosławski: 4 Silesian Melodies ................................... 96 Andreas Makris: Scherzo ............................................................ 98 George Frederick McKay: American Panorama ..................... 100 Tilo Medek: Soirée im Hause Gontard..................................... 102 Claudio Monteverdi: Three-Part Canzonettas ......................... 103 Johann Joachim Quantz: Sonata for Three Flutes.................... 104 Steve Reich: Violin Phase......................................................... 106 Walter Rein: Spielbuch ............................................................. 108 François Rossé: Globe............................................................... 109 Istvan Szelenyi: Kleine Suite..................................................... 110 Yuji Takahashi: Six Stoicheia ................................................... 112 Georg PhilippTelemann: Concertos in G Major, D Major and C Major .......................................................... 113 Laurence Traiger: Biotrio.......................................................... 115 Jean-JacquesWerner: 3 Pretextes.............................................. 116 vi CHAPTER Page G. Zanger: Twelve Very Easy and Progressive Quartets......... 118 Conclusion...................................................................................... 119 4 VARIATIONS ON A SCOTTISH FOLK SONG: ÉTUDE FOR FOUR VIOLINS: AN ORIGINAL COMPOSITION................ 122 Introduction .................................................................................... 122 Description ..................................................................................... 125 An Originial Étude ......................................................................... 130 REFERENCES ....................................................................................................... 154 Bibliography of Works for Three and Four Violins .............................. 154 Sources Consulted .................................................................................. 158 vii PREFACE The violin étude is the consummate tool for music education, presenting numerous and varied challenges to both students and teachers. When composed and studied with clarity of purpose and depth of understanding, the étude is a lesson conveyed through the language of music. Great pedagogues and virtuoso violinists have composed études since the eighteenth century in order to address the specific technical demands of communicating musical ideas through a physical medium such as the violin. Other great pedagogues and virtuosos have adopted these études