Sergey Prokofiev’s Complete Solo Cello Repertory: The Compositional History and Performance Guide A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in Violoncello Performance Studies Division of the College-Conservatory of Music 2019 by Li-Han Eliza Tseng B.M., National Taichung University of Education, 2012 M.M., University of North Texas, 2014 Abstract This document is a comprehensive study of the five complete solo cello repertory by Sergey Prokofiev, featuring cello with piano or orchestra— the Ballade, Cello Sonata, Cello Concerto, Adagio from Cinderella, and Sinfonia Concertante. The study combines compositional background, musical analysis, and performance practice. In the compositional background section, I relate Prokofiev’s life events, his diary, scholarly research, and the political influences to his cello compositions. In the musical analysis section, I categorize the themes and show the motives of each of Prokofiev’s solo cello works in charts, and I compare these to Prokofiev’s own cello compositions. The musical examples, excerpts, and tables illustrate each work’s form. The performance practice section includes an examination and discussion of technical issues as well as the highlights of each piece. In the document, I chronicle Prokofiev’s cello solo repertory. Chapter 1 tells the stories about Prokofiev’s cello compositions—solo and ensemble, how the music aligns with his life stages, and the influence of Mstislav Rostropovich, Prokofiev’s cello friend and partner. Chapters 2 and 3 provide recent scholarly discoveries of Prokofiev’s solo cello works, particularly the Ballade and the Adagio from Cinderella. Chapter 3 also includes my research on Why Prokofiev preferred composing much of his music in C Major. Chapter 4 discusses the Sonata and its motivic connections With his Ballade. Chapter 5 discusses the tWo concertos, the Cello Concerto and the Sinfonia Concertante, through Prokofiev’s compositional background and personality. I expect my research will contribute an inclusive guide that can deepen both performers’ and readers’ understanding of Prokofiev’s cello repertory, and I hope to contribute to the recognition of the value of Prokofiev’s cello music. i [copyright notice] ii Preface This document was motivated by my study of Prokofiev’s Sonata. I found a couple of issues when I was learning the piece. Therefore, I decided to work on this project to address the lack of resources devoted to Prokofiev’s cello repertory. Books on Prokofiev’s life only list his cello works or briefly describe certain works. Neither stand-alone articles nor more substantial research has been published concerning the analysis and performance practice of all of his solo cello works. In addition, resources on Prokofiev are still not completed, especially the resources relating to the cello repertory; for example, there are missing volumes or misarranged volumes of Prokofiev’s collected works in the CCM library. LikeWise, the music encyclopedia by Grove (or Oxford music online) does not provide a detail listing of musical resources on the composer. Since Prokofiev wrote tuneful melodies With witty musical ideas, I still decided to continue the project. I also decided to write a document that could act as a tool for people Who like me, cannot read a tWo-page article or a book, and yet like the music and want to understand it more deeply. It has been a great challenge for me to complete this project because I needed to read it through several times. After studying With Mr. Hanani, I have realized that stories can add the life to the music. Therefore, I decided to work on this document and hope it can be practical for people Who like Prokofiev, especially his works for cello. iii Acknowledgements Thanks to all my committee members Dr. Bunte, Prof. Finkelshteyn, Dr. Joe, and my advisor Prof. Hanani. They have been so patient with me and so encouraging and supportive. A special thanks goes to Dr. Segall, though he is not on my committee board, as he helped me to understand Prokofiev’s compositional theory, to figure out the contradiction of the dates and resources, and to resolve the issues that I struggled with, not only music theory, but also with some Russian documents. His instruction is clear and inspiring. Also, thanks to College- Conservatory of Music librarians, Mr. Sandor and Dr. Doctor. Their guidance and abundant experience alWays found a solution for research issues, especially Prof. Doctor’s instruction, Which added to my knowledge of research methods. A special thanks to Dr. Shaoff, a very detail- oriented and knowledgeable musicologist as well as a selfless friend. He commented on my Writing, proposals, and this document. Instead of merely reading or correcting it, he shared With me his own experiences, and this also encouraged me deeply. A very special thanks to Prof. Finkelshteyn for his contribution to my project, not only on the Russian resources, but also on the performance instruction. Mr. Finkelshteyn patiently helped me to understand Russian topics. All my committee members spent a substantial amount of time assisting with this document. Last but not least, thanks to my family and friends, who have given me the strength to continue my project. They have supported my life in various ways so that I can focus on completing the document. To be honest, it has been a long journey. I am so thrilled when discovering the connection betWeen each cello Work and the stories in Prokofiev’s life. It’s also exciting to write and study about his solo cello repertory in different aspects. Hence, I sincerely appreciate the people who Were involved in my document. Without their help, I would not have been able to complete it. iv Table of Contents Abstract / I Preface / III Acknowledgements / IV List of Tables / VII List of Examples / VIII Chapter One: The History correlated to Prokofiev’s Cello Compositions Prokofiev’s Solo Cello Repertory / 1 The Cello Compositions Align with Prokofiev’s Life / 2 Mstislav Rostropovich’s Influence on Prokofiev’s Cello Composition / 12 Chapter Two: Ballade for cello and piano, Op. 15 Historical Background of the Ballade / 17 Musical Analysis and Comparison with the Sonata / 21 Performance Guide of the Ballade / 32 Chapter Three: Adagio from Cinderella, Op. 97bis Historical Background of the Adagio / 34 Prokofiev’s Use of C Major / 38 Musical Analysis / 41 Comparison with the Cello Section Solo in the Ballet / 42 Performance Guide—Publications and the Music Score / 44 Cello Music With the Suggested Fingerings / 48 v Chapter Four: Sonata for cello and piano in C major, Op. 119 Historical Background of the Sonata / 49 Musical Analysis and Performance Guide / 54 The 1st movement / 55 The 2nd movement / 60 The 3rd movement / 64 Chapter Five: Cello Concerto, Op. 58 and Sinfonia Concertante, Op. 125 Historical Background and the Relationship of the Cello Concerto With the Sinfonia Concertante / 69 Musical Analysis and Performance Guide / 77 Rostropovich’s advises on the Sinfonia Concertante / 94 Conclusion: From the Composer’s Personality to His Music / 96 Bibliography / 98 vi List of Tables Table 1: OvervieW of the Ballade / 21 Table 2: The motives shared betWeen the Ballade and the Sonata / 22–23 Table 3: The Adagio for cello and piano, Op. 97bis / 41–42 Table 4: The Adagio and the Act II, Scene 36 of Cinderella, Op. 87 / 43–44 Table 5: Rhythmic Motives, Prokofiev, the Sonata, Movt. I / 54 Table 6: Prokofiev, the Sonata, Movt. I, Section 1, mm. 1–98 / 56 Table 7: Prokofiev, the Sonata, Movt. I, Section 2, mm.99–135 and Section 3, mm. 135–end / 58 Table 8: Rhythmic Motives, Prokofiev, Sonata, Movt. II / 60 Table 9: Section A, Prokofiev, Sonata, Movt. II, mm. 1–49 / 61 Table 10: Section B, Prokofiev, Sonata, Movt. II, mm. 49–93 / 62 Table 11: Section A’, Prokofiev, Sonata, Movt. II, m. 94–end / 63 Table 12: Section A, Prokofiev, Sonata, Movt. III, mm. 1–101 / 65 Table 13: Section B, Prokofiev, Sonata, Movt. III, mm.102–37 / 66 Table 14: Section A’–Section C, Prokofiev, the Sonata, Movt. III, mm. 137–99 to m. 199–end / 68 Table 15: Comparison of the Cello Concerto and the Sinfonia Concertante / 78–80 vii List of Music Examples Example 1: Motive 1 shared by Ballade and Sonata: B1 & S1 / 23–24 Example 2: Motive 2 shared by Ballade and Sonata: B2 & S2 / 25–26 Example 3: Motive 3 shared by Ballade and Sonata: B3 & S3 / 26–27 Example 4: Motive 4 shared by Ballade and Sonata: B4 & S4 / 28–29 Example 5: Motive 5 shared by Ballade and Sonata: B5 & S5 / 30–31 Example 6: Ballade, mm. 48–50 / 32 Example 7: Ballade, mm. 82–83 / 32 Example 8: Ballade, mm. 104–7 / 33 Example 9: Ballade, mm. 58–59 / 33 Example A-1—A-2: Adagio, mm. 14–15 / 45 Example A-3—A-4: Adagio, mm. 30–31 / 45 Example A-5—A-6: Adagio, m. 54 / 46 Example 10: Adagio, mm. 52–53 / 46 Example 11: Adagio, mm. 39–43 / 47 Example 12: Adagio, m. 21 & 51 / 47 Example 13: Adagio, mm. 1–6 / 48 Example 14: Adagio, mm. 20–21 / 48 Example 15: Adagio, mm. 29–30 / 48 Example 16: Adagio, mm. 40–41 / 48 Example 17: Prokofiev, Sinfonia Concertante, Second Movement, mm. 1–8 / 81 Example 18: Motives shared by the tWo concertos / 82 Example 19: Prokofiev, Sinfonia Concertante, Movt. I, the sixth bar of 18–19 / 83 viii Example 20: Theme 1 for solo cello from the Movt. I, shared by the tWo concertos / 83 Example 21: Excerpt from Prokofiev, Cello Concerto, Movt. I, Theme 2, mm.