b I LIBRA R y TH ' This is to certify that the thesis entitled A STUDY OF TWENTIETH CENTURY DUE'I'S FOR VIOLIN AND VIOLONCELLO presented by Daniel Mellado . Jr. has been accepted towards fulfillment of the requirements for Ph.D . _deg1-ee in MK) 5\ C. 39. \ .WL,‘ \ . Major profefl , . Date ’2— ‘ \i 0-7639 OVERDUE FINES ARE 25¢ PER DAY PER ITEM Return to book drop to remove this checkout from your record. A STUDY OF 20TH-CENTURY DUETS FOR VIOLIN AND VIOLONCELLO By Daniel Mellado. Jr. A THESIS SUPPLEMENTARY TO THREE VIOLONCELLO RECITALS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of Music 1979 ABSTRACT A STUDY OF 20TH-CENTURY DUETS FOR VIOLIN AND VIOLONCELLO By Daniel Mellado. Jr. During the twentieth century a sizable number of com- posers have eXplored the possibilities that are inherent in the unaccompanied duet for violin and Violoncello. Although earlier composers did occasionally write duets. hardly anything of significance appeared until composers started using the new musical techniques of the twentieth century. Previous studies of duets for violin and 'cello have consisted simply of listings of all known duets. The present study. in contrast. deals solely with twentieth century duets, and concentrates on works that have enjoyed a measure of success. These duets (by Reinhold Gliere. Maurice Ravel. Zoltan Kodaly. Heitor Villa-Lobos. Ernest Toch. Bohuslav Martinu. Arthur Honegger. and George Rochberg) are analyzed in some detail.while other twentieth-century duets are listed in appendices according to various catagories. A brief history of the medium and a list of recorded duets are also included. ACKNOWLEDGMENTS I would like to thank the many fine teachers at Michigan State University for the help and guidance that they have given me. I am particularly indebted to Pro- fessors Louis A. Potter. Jr. and Theodore Johnson. who have been sepecially generous with their valuable time. Before starting on this project it seemed necessary to perform. or at least play through. the more important duets. In this extremely important task my violinist wife has been most patient and helpful. I would also like to acknowledge the publishers who have allowed me to reproduce portions of published works. These include International Music Company. Durand et Cie. (Theodore Presser. U.S. representative). Universal Edition (European American Music Distributors Corporation. U.S. representative), Editions Max Eschig (Associated Music Publishers. U.S. representative). Editions Salabert. and Theodore Presser Company. ii TABLE OF CONTENTS INTRODUCTION . . . . . . . . . . . . . . . . . . . I. DUETS BEFORE 1900. . . . . . . . . . . . . . . II. NATIONALISTIC AND IMPRESSIONISTIC DUETS . . . m 93935. opus 39 by Reinhold Glie're . . .___Sonate p_ou_r 1.1.ng 2:. W by Maurice Ravel . . . . . . . . . . . . . . 232. opus 7 by Zoltan Kodaly. . . . . . . . Deg; Choros bis by Heitor Villa-Lobos . . . III. NEOCLASSICAL AND TWELVE-TONE DUETS . . . . . Qiyggtimggtg. Opus 37 no. 1 by Ernest Toch 2Q. 1222:. __.aVi°1° 23. W by Bohuslav Martinu . . . . . . . . . . . . W sear; 2.1.9.193 2:5 32.122211; by Arthur Honegger. . . . . . . . . . . . . 232_Concertante by George Rochberg . . . . IV. SUMMARY AND CONCLUSIONS . . . . . . . . . . . APPENDICES Currently Available Duets. . . . . . . . . Out-of-Print Duets . . . . . . . . . . . . Duets in Manuscript. . . . . . . . . . . . RecordedDuets.............. BIBLIOGMPHY O O O O O O O O O O O O O O O I O O O . 1 . 5 17 17 27 52 66 73 73 81 86 96 102 106 111 113 115 116 INTRODUCTION During the twentieth century composers have ex- ploited all the many traditional as well as the newer sounds that can be produced by stringed instruments. This thor- ough use of instrumental technique. along with a renewed interest in chamber music has led to the writing of sig- nificant works for violin and Violoncello duet without accompaniment. This medium was formerly the province of the string player who wrote duets primarily for pedagogical and recreational purposes. In this century. however. the situation has undergone a complete change. Most of the duets written in the twentieth century have been written by musicians who are primarily composers. It can be safely said that the majority of these duets are intended for serious public performance. One indication of interest in the medium is the scheduling of duet recitals by young artists. In 1970 there were three active professional duos listed in the Annual Artists Directory.1 These were the Domb Duo (Carol Domb. violin and Daniel Domb. 'cello). the Schoenfeld Duo (Alice Schoenfeld. violin and Eleonore Schoenfeld. 1 . Annual Artists Director . (New York: The Music Journal. Inc.. 19705. p. 36. 1 2 'cello). and the Deane-Drinkall Duo (Derry Deane. violin and Roger Drinkall. 'cello). The legendary names of Jascha Heifetz and Gregor Piatigorsky might well be added to this list. for they have recorded duets by Martinu. Gliere. Toch. and Kodaly. The number of commercial recordings available is also an indication of recent interest in duets.2 There are eight twentieth century duets that have been recorded more than once or have been recorded by artists of the highest ranking. Although it may not be a totally reliable method. examing available recordings does provide some basis for determining which works are apt to become part of the established repertoire. The duets which are examined in Chapters II and III of this thesis were selected by this process. In recent years serious efforts have been made at compiling a bibliography of duets for violin and violon- cello. The first such effort was made by Alexander Feinland. who was formerly a professor at the National Conservatory of Music and Declamation in Panama. His efforts led to the Without Accompaniment. This book listed a total of 610 items. Feinland's mission was later taken up by Oscar R. 2 . See Appendix D for a listing of recorded duets. Alexander Feinland. The Combination g; LigLin 9.3g Violoncello Without.Accom animent (Barstow. Maryland: Calvert Independent. 1957;. 3 Lotti. who extended the listing to 987 items.“ Lotti tried to grade all available works according to difficulty. using the numbers I. II. and III. with III being the most difficult. Lotti's book is an extremely useful reference tool. but no work of this kind can ever be considered com- plete.5 Lotti's listing includes original works. tran- scriptions. currently published works. out-of—print works. and duets which are in manuscript. It does try to differ- entiate between printed works and works in manuscript. but it does not differentiate between original works and tran- scriptions. This lack of differentiation can become a serious problem. esPecially when one is dealing with works that were written before 1900. Transcriptions are not nearly so prevalent in this century as they were in the past. The idiomatic tendencies of instruments are generally recognized as integral ele- ments of a composition. This maxim applies to the compo- sition of duos as well as to other forms of music. Yet. those duets which have had a measure of success have not relied on novel instrumental techniques. The eight works that have been chosen for discussion in chapters two and a Oscar R. Lotti. Violin and Violoncello in Duo Without Accom animent (Vol. XXV ofD Detroit Studies In Music Bibliography: Detroit: Information Coordinators, Inc.. 1972 5 Since the publication of Lotti's book at least eighteen new duos have appeared in print. These are listed along with other currently available 20th-century duosyin Appendix A. u and three of this thesis use the violin and violoncello in a fairly conventional manner. The primary problem with which composers have had to deal when writing duets is not concerned with the use of unusual sounds. or even with achieving a full and sonorous texture. Since only a limited variation in texture can be produced by two melody instruments. the central problem is one of adjusting and balancing the formal structure so that the musical substance will not seem to be stereotyped and repetitive. This thesis is concerned with the various approaches that have been used to solve that problem. CHAPTER I DUETS BEFORE 1900 The history of the unaccompanied duet for violin and 'cello can be traced with some certainty to the year 1688. In that year. Guissepe Torelli published his twelve Concertino pg; Camera 3 Violing g Violgncelle in Bologna. Italy.1 In many ways these pieces are quite similar to the many sonatas and suites that were written during the Baroque era. The following outline of Torelli's twelve concerti suggests that the primary material was derived from contem- porary dances. l G Major Six sections (5.lO.h.31.5. and 17 measures) 2 D Minor Introdutione. Ballo. Corrente 3 F Major Introdutione. Allemande. Corrente h E Minor Introdutione. Ballo. Gigha 5 Bb Major Introdutione. Allemanda. Gavotta 6 A Minor Introdutione. Allemanda. Correte 7 B Minor Introdutione. Allemanda. Gigha 8 A Major Introdutione. Ballo. Corrente 9 C Minor Introdutione. Allemanda. Gigha 10 C Major Introdutione. Allemande. Gigha II D Major Introdutione. Ballo. Corrente 2 12 G Minor Introdutione. Aria. Aria di Gigha 1 The full title reads: ”Concertina per Camera a/ Violins. e Violoncello./Dedicato/'ALL'ALTEZZA SERENISS./'DI FRANCESCO II/'DUCA di Modena. Reggio &tc./ da' Guissepe Torelli Veronese/ musico sonatore nella perin signe Collegiata di S. Petronio/ di Bologna. et Accademico/ Filarmonico./ Con lic. de sup.“ 2 Claudio Sartori. Bibliografia della musica stromentale italiana (Florence: Leo S. Olschki. 1952). p. sus 5 6 There are two unusual aspects about these works. The first is the use of the word concertino. Since this term was not in common usage at the time. it tells us nothing about the music. except that perhaps Torelli in- tended some sort of opposition between the high and the low instruments and that these are small-scale works. Of more importance is the absence of a continua part. Printed parts to these concerti. Torelli's opus 4. exist in three libraries: the Liceo Musicale in Bologna, the British Museum in London. and the Bibliotheque du Conservatoire in Paris. None of these libraries has a separate figured bass part. nor. in the parts. is there any indication that Torelli wanted a figured bass.3 The appearance of these unaccompanied duets at a time when the continua was an integral part of instrumental music would. at first glance. appear to be a phenomenal occurrence. When the accomplishments of Torelli's contem- poraries are taken into consideration, however. the duos do not seem too extraordinary. The Bolognese cultivated music as assiduously as any group of people ever did. As the home of the oldest university in Italy. the famous Accademia Filarmonica, and one of the largest churches in Italy (the Basilica of San Petronio). Bologna basked in an atmOSphere which was A full discussion of these works appears in Richard Norton. The Chamber Music 2; Guiseppe Torelli (unpublished Ph. D. Dissertat on. Evanston: Northwestern University. 1967) pp. 74-83. 7 critical. intellectual. and experimental. The Bolognese school of composers differed from their contemporaries in that they Spent a greater percentage of their energies on instrumental music. The significant accomplishment of the Bolognese composers was the development of new forms that were suitable for the new instruments of the violin family. A listing of new instrumental forms which were develOped by the Bolognese would include: 1 The concerto grosso and the solo violin concerto. Guiseppe Torelli (1658-1709) and Archangelo Corelli (1653-1713) were pioneers in these forms. 2 The sonatas for trumpet and strings. Maurizio Cazzatti (1620-1713). Giacomo Perti (1661-1756). and“ Guisseppe Jacchini (?-l727) contributed to this form. 3 The trio sonata. Giovanni Bassini (1657-1716). Giovanni Battista Vitale (l6hh-l692) and Cazzati were associated with the develOpment of this form. n The violoncello concerto. Jacchini's "Concerto... con Violoncello obligato.” op. 4 (1701) is thought to be the first work of this type. The solo violin sonata (with continuo). Pietro degli Antonii (1636-1720) was important in this field.5 The unaccompanied 'cello so 0. Domenico Gabrielli's ricercare appeared in 1689. It seems necessary to cite the foregoing examples because it can be argued that the idea of an unaccompanied duet would have been foreign to musicians of this period. u Jean Berger. ”Notes on Some 17th Century Compos- itions for Trumpet and Strings in Bologna.” Musical Quarterly. xxxvrr (1951). pp. BSA-357. Henry Mishkin. ”The Solo Violin Sonata of the Bologna School.“ Musical Quarterly. XXXIX (1953). pp. 92-112. 6 Arnold Schering (ed.). Geschichte g3; Musik in BiesEielen. (Leipzig: Breitkosf'ETfiEEEEi. 19§ITT'#§§B. 8 This point of view is taken by Francesco Vitielli. who states: Enough music was written in the last decade of the 17th century to warrant a discussion of a performance problem which. to my way of thinking will never be solved. We will find. in fact. an indication such as "sinfonie or concerti a violino e violoncello“ without the existence of a part other than that indicated on the title. But even if we see a duet proper for these respective instruments which is to be performed by these alone. instead of one with a cembalo filling in the harmonies. does it not follow that since the other part does not exist. it is actually discretely integrated into the violoncello part? In a portion of his beautiful book Geschichte deg Instrumentalkonzerts Schering has touched upon the question. He proposes that the fact that the numerals do not exist in the violoncello indicates that it was not meant to have the accompaniment of a cembalo. But I cannot avoid raising some objections. Vitielli goes on to discuss an anthology of Bolognese duos some of which have numerals in the 'cello part and some of 7 Francesco Vitielli. Arte g Vita Musicale a Bologna (Bologna: Nicola Zanichelli. 1927). I, p. 127. The original reads ”siffante musiche a violino e violoncello sono piuttosto numerose negli ultime decenni del Seicento de esse importanolo discussione di un probleme de esecu- zione che. per mio conto. e' tutt'ora insoluto. IPNoi le troviamo infatti indicate come 'sinfonie o concerti a violino e violoncello' senza avere impresse altre parti all'infuori de quelle nel titolo segnate. IPMa. si tratta di veri e propre a due per i riSpettive strumenti e che da esse soli dovevano essere eseguiti. 0 non piuttosto deve sottintendersi che esse potevano trovare i1 completamento del I'armonie col clavicembalo che. pur non avendo una parte a se. doveva seguire. discretamente integrandola. 1a parte del violoncello? lPLo Schering ha toccato in una nota del suo bel volumetto Geschichte deg instrumental- konzerts la Questions. Egli propenda a credere che i1 fatto de nonesserce numeri nella parte del violoncello indichi chiaramente che non poteva aver luogo l'accompagnamento del clavicembalo. IPMa 10 non posso esimermi da qualche obbiezione.“ 9 which do not. as an indication that the 'cello part was often shared by the 'cellist and the cembalist. In answer to Vitielli's objections. it can be said that the concept of an unaccompanied dust was not entirely new. Sixteenth-century musicians in Germany and Italy often used the term bicinium when referring to two-voiced instrumental or vocal works with no accompaniment. One study of the instrumental higinia was done by Alfred Einstein. who points out that the bicinia were most often intended for pedagogical purposes.8 These earlier duets differed from the Bolognese duets in that they were written for unspecified instruments or. at times. for instruments and voices. The following list includes some of the more important Italian bicinia listed bymEinstein:9 l Agostion Licinio. de Duo Chromatici g; cantare g sonare. Venice: IBHE'End I356 (two volumes}. Vincenzi Galilei. Canto gg'contra unti g g3; voce. Florence: Giorgio MarescottI. 155E. Various authors. Primo libro della Musics 92, Gastolde g gtAltrI. MiIan: 1398. Grammtio Metallo. Ricercare 5 due voce. 1595. Giorgio Marescotti. Sinfonie. Scherzi. Ricercare. Florence: 158h. There is no evidence to indicate that the bicinia ml-‘w to had any direct influence on the Bolognese. Nor. for that matter. can it be said that the people of Torelli's time were interested in hearing music for two stringed 8 Alfred Einstein. ”Vincenzio Galilei and the Instructive Duo." usic gag_1etters. XVIII. # (193?). Mo: Pa 3630 lO instruments alone. However. the noted historian Charles Burney did write when he visited Bologna some years later that: They speak much of the 'Bravi Orbi' or excellent blind musicians. who were not in town when I was there: but all the masters admire them. in their way. very much. particularly Jominelli who always sends for them when in the same town to play for him. They travel about in summer to Rome. Naples and elsewhere: one plays the violin. the other the violoncello.... A study of the musicians who were active in Bologna during the seventeenth century would undoubtedly show that the violin and the 'cello were favored instruments. 'Cel- lists. for example. who were employed at San Petronio were normally paid more than trombonists even though they both played essentially the same parts.11 The same conclusion can be reached regarding the music that was published. The anthology that Vitielli mentions is very likely a work entitled Sonate per Camera a violino e violoncello di vari autori. This publication contains works by the following: l Giacomo Perti 6 Carlo Mazolini 2 Giuseppi Aldrovandini 7 Giuseppi Jacchini a, Domenico Marcheselli 8 Felipi Carlo Beligi Giuseppi Laurenti 9 Bartolemo Bernardi 5 Bartolemo Laurenti 10 Antonio Grimandi (two entries) 11 Giuseppe Torelli 10 Charles Burney. An Ei hteenth Centur Tour‘s; France a d Italy (ed. by PErcy SchoeIes: on on: Oxford ity Univers Press. 1959). p. 165. 11 Anne Schoenleben. “Performance Practices at San Petfionio in the Baroque.“ Acta Musicologica. XLI (1961). p. 9. 11 Although the two part-books that comprise the an- thology do not give a publisher or place or date of pub- lication. it is almost certain that they were printed in Bologna. The basis for this judgment is that they contain music by some of the most distinguished members of the Academia Filarmonica and because the music is surrounded by by sumptuous engravings by the Bolognese artist Carlo Antonio Buffognotti. who also decorated the plates for Torelli's opus “.12 It appears that the Bolognese musicians were not only interested in writing music for violin and violoncello. but that they were also interested in presenting it in an elegant and appealing format. The Bolognese experiments turned out to be but a promising beginning. Sharp cuts were made in the budget of San Petronio in 1695. and the church orchestra was dis- solved. Some of the musicians left town. and, although the orchestra was later reorganized on a smaller scale. the musical life of the city never fully recovered. One has to look quite hard in order to find other examples of true duets from the Baroque era. Most of the works listed by Lotti are either transcriptions or violin solos with a bass line accompaniment for the 'cello. With the advent of the classical era. however. the situation changes completely. During the 18th and 19th centuries 15 Claudio Sartori. 22. gi3,. p. 554. 12 duets of all types abounded. The most common type was. by far. the duet for two violins. Some of the names asso- ciated with this type of duet were Mazas (1&9 duets). Spohr (1a duets). Rode (9 duets). Stamitz (ll duets). and Viotti (56 duets).12 The sheer number of violin duets by some composers suggests that their overall quality was probably not impressive. In Spite of their shortcomings. they did serve a useful function in that they taught violinists how to play both leading and subservient roles. While the number of duets for violin and violoncello from the same period is more limited. it can by no means be called meager. Only a small percentage of the total number is still available from publishers. Margaret Parish lists the following:13 Luigi Boccherini Luigi Borghi Jean Batiste Breval Giacomo Cervetto Friedrich,Dotzeur Federigo Fiorello F. Josef Haydn Anton Hoffmeister Pietro Nardini Ignaz Pleyel Allesandro Rolla Karl Stamitz Sonate Duet. op. 5. no. 3 Duet no. 3 in D Duet. op. 5. no. 3 Duet. 0p. #, no. 3 Duet in C Duet in.D Duet in.D Duet no. 6 in Bb Three Duets. Op. 30 Duets in Bb. C. & A Six Duos. op. 19 Most of these works have similar musical character- istics. the most prominent of which is the use of frequent 12 The numbers are from Wilhelm Altmann. Kammermusik Katalog (Leipzig: Friedrich Hofmeister Verlag. l9 . pp. 87-99. 13 Margaret Parish. String Music‘ig Print (New York: R.R. Bowker Company. 1965). pp. 22-25. 13 exchanges of the melody and accompaniment in order to distribute the musical ideas evenly between the two instru- ments. This formula is often combined with an overly rigid adherence to the conventional sonata form. an abundance of Alberti bass figures. and frequent passages in parallel thirds. These stylistic features lead to works which would ‘not be of much interest to the average listener. but would seem to be appropriate for students or for strictly recre- ational purposes. An exception to the general pattern is the Boccherini 4 Sonata.l This work utilizes a different type of texture in each movement. as shown in the following outline. lst Movement: Allegro Spiritoso. The melody is found entirely in the violin with motivic ideas interspersed in the 'cello part. which is definitely accompaniment. 2nd Movement: Vivace. Brief canonic passages alternate with sections of invertible counterpoint and passages designed to maximize sonority by arpeggios and double stops. 3rd Movement: Grave. Imitative passages turn into free counterpoint. nth Movement: Allegro Assai. Orchestra-like unisons alternate with imitative passages. It is quite likely that the D Major Duo by Haydn. which has attained some popularity. is a spurious work. It is not listed in any of the catalogs of Haydn's works. and the only reference to it is by Geoffrey Cuming. who notes 1h The editor. Paul Bazelaire. does not identify his source for this sonata. Moreover. Yves Gerard does not list a work for this combination in his Thematic. Bibliographical ppg Critical Catalogpe pghppg works 2; Luigi Boccherini. He does note. however. that Boccherini frequently toured with the violinist Manfredi. and that engravings from the period portray such a combination. In that ”A Duo in D Major for violin and cello. though often reprinted. is ignored by all writers on Haydn.”l5 In this duet. the 'cello is constantly treated as the equal of the violin. and it is frequently called upon to move into the soprano range and take the melody. Although it may be attractive from a melodic point of view. the D-Major Duo is guilty of using the standard formula of exchanging parts every few measures. It may appeal to some performers because of the virtuosity that is required to carry it off. but its musical content does not seem to justify the effort. According to Lotti. Mozart and Beethoven also con- tributed to the genus.16 Mozart's contribution consists of three works which are in manuscript in the library of the Conservatorio Cherubini in Florence. The single duet by Beethoven is listed in.Q§§,flppk Beethovens.17 A special type of duet achieved some popularity in the 19th century. It is only necessary to look at the titles of this type of duet in order to get an idea of what they were like. The following duets. which were probably amongst the first to be performed before audiences. were all written by composers who had active concert careers. Three of the 15 Geoffrey Cuming. "Haydn: Where to begin.” Music ppg’Letfers Vol. XXX. no 4 (October. 19#9). p. 369 17Lotti. pp, gi£,. pp. 31 and 16. Georg Knisky. Das Werk Beethovens (Munich: G. Henle Verlag. 1955): P.-566. 15 following composers were 'cellists. and the fourth was a violinist. Friederich Dotzaur Duo Concertante on a theme of Auber's 'Stumme von Portici“ Duo Concertante on Rossini's “Wilhelm Tell” Duo sur Motive de Bellini's “Le Pirate“ Adrien Servais Three Grand Duos de Concert Two Duos sur Themes de Beethoven Hippolite-Prosper Seligman Serenade de Rossini Henri Vieuxtemps Grand Duo pour Violon et Celle sur des motifs de l'Oper ”Les Huguenots' de Meyerbeer There is nothing inherently wrong with basing a com- position on previously written material. but the foregoing titles do suggest that in the 19th century the duet was but an imitation of the larger works which were currently papular. The unaccompanied duet was not one of the main interests of composers. The history of the duet for violin and violoncello before 1900 has not been too impressive. It is harder to write for a string quartet than for an orchestra. and harder yet to write for smaller string ensembles. It is not surprising. therefore. that the duo format has been so resoundingly unsuccessful. In his discussion of the prob- lem that Franz Josef Haydn had to face when he first started to write string quartets. Sir Francis Tovey noted that: ...when Haydn began his work. his auditory imagina- tion was fed on experiences fundamentally opposed to the whole hypothesis of future chamber music--the hypothesis that written notes completely define the l6 composition. How could the string quartet develop in a world where necessary harmonic filling-out was always left to be extemporized. and where iasingle note might sound in three octaves at once? In the case of the duet. the question might be paraphrased: ”How could the string duet develop in a world where harmonic filling-out was a necessity?” The answer is. of course. that it could not develop until composers dis- carded the musical rhetoric of the 18th and 19th centuries. and began to look for alternatives to the harmonic systems and formal methods of the past. 18 Donald Francis Tovey. ”Haydn's Chamber Music." The Mai stream pi_Music and Other Essays (New York: Oxford University Press. 1959). p. . CHAPTER II NATIONALISTIC AND IMPRESSIONISTIC DUETS The four compositions included in this chapter were written between the years 1909 and 1928. The Nationalistic and Impressionistic duos are being discussed in the same chapter because both schools can be described as reactions against German dominance in music. and because at times the two schools complemented each other by combining elements from the two styles. This tendency is evident in the Kodaly and the Villa-Lobos duets. The Gliére and the Ravel dues are more representative of a single school. Eight more. 92m; 22 m R_____e1nho1d 9.1.2.922 The eight short pieces which make up Gliére's opus 39 were written in 1909 when Gliére was 34 years old. Gliére's interest in the medium was probably a result of his early violin study at the Moscow Conservatory under the celebrated teacher Johann Hrimaly. Although Gliére's epus 39 is written in a 19th-century idiom. it is a signif- icant work because Gliere adopted a format that has not been explored by other composers of duets. It has been said that in writing duets “the question 17 18 is not one of material. but of form."1 Gliere's approach to writing duets was somewhat similar to that used by Baroque composers in their suites of dances. This approach consisted of writing a longer series of short. highly unified movements rather than three or four lengthy movements. Actually. it can be said that Gliére avoided the problem of writing duets in large-scale forms. But by avoiding the problem. he defined it that much more clearly. His opus 39 therefore serves as a useful point of departure. Instead of writing all of the movements in one key as was the custom in the Baroque suite. Gliere used a variety of keys. The following chart shows that Gliére also varied the tempos. styles. and meters. Prelude (3h measures) Gavotte (80 measures) Cradle song (51 measures) Canzonetta (43 measures) Minor Andante u/u Major Allegretto Major Tranquillo 4/8 Major Moderate Intermezzo (50 measures) Minor Andantino 6/8 Impromptu (6# measures) Minor Poco animate 3/h Scherzo (106 measures) B Major Vivace 3/h adumwo>o Etude (51 measures) Major Allegro Molto ¢ In the majority of these short pieces Gliére obtains a high degree of internal unity by basing the movement on a single musical idea. There are two exceptions to this pattern. They are the Gavotte and the Scherzo. both of which incorporate a contrasting subject for their middle section. 1 Scott Goddard. "Ravel." Cobbett's C clo edic Survey pi Chamber Music. Vol. II. London: Oxford University Press. 1929' p. 2720 19 In the Gavotte. which is deliberately made to sound quaint and old-fashioned. the contrasting middle section takes the form of a musette. Since the 18th-century musette was a dance with bagpipe-like drones. this section provides Gliere a rare opportunity to achieve fullness of sound by taking advantage of the open strings of both in- struments. The primitive nature of the musette is emphas- ized by the melody. which epans only a fourth. and by its simple A B A form. Gliere does obtain a certain amount of variety by placing the B part in the minor mode and changing the tonality. The concept of variety is maintainted when the tonic returns with the addition of a countermelody in the 'cello part. This countermelody is similar to the mel- ody of the musette in that it also spans only a fourth. The main body of the Gavotte maintains an 18th-century quality by relying on traditional harmonies which consist of primary triads and secondary dominants plus an occasional submediant. An important difference between Gliere and 18th-century composers of duets can. however. be readily seen in this Gavotte. Earlier composers were eager to move the melody from one instrument to the other for the sake of treating the two instruments as equals. Gliere. on the other hand. starts with the melody in the violin part. and keeps it there through the first twelve measures. The 'cello never plays the melody in its original form. but that is not to say that it always plays an accompanying role. Variants of the melody are assigned to the 'cello in 20 a developmental section that serves as the middle portion of the Gavotte's ternary structure. The 'cello line is interesting even when portions of the original melody are repeated in the violin part. In such cases. changes of harmony and orramentafim provide variety for a 'cello part that could easily become merely perfunctory. Example 1 shows some of the changes that occur in the 'cello line. Example 1 (measures 1ff. 7ff. and 56ff) /". Reprinted by permission. International Music Co.. New York City. Even these simple changes make the Gavotte more grateful for both listeners and performers than the exchange of parts that characterized so many earlier duets. The Scherzo incorporates a contrasting trio section which is defined more by a change of style than by a change of thematic material. Of the following five styles employed in the Scherzo. only the last appears in the trio. melody with punctuating chords cross rhythms and syncopation a single line doubled in octaves pedal tones along with the melody two independent smooth lines \A‘F'WNH 21 The thematic material for the Scherzo consists of an ascending triadic figure in dotted rhythms followed by a hemiola rhythm. This material even dominates the trio section. where the dotted rhythm is transformed into a lyrical line as shown in Example 2. Example 2 Scherzo Trio Reprinted by permission. International Music Co.. New York City. When compared with the Gavotte. the Scherzo is quite similar in regard to its harmonic language. but some- what more simple from a formal point of view. In the Scherzo Gliére does not even use the simple modification of repeating sections as he did in the Gavotte. The main de- vice that Gliére uses to provide variety is the constant presentation of the theme on various degrees of the scale. The following chart shows the progress of the theme through the Scherzo. which is in itself a ternary form. I theme in 'cello measure 1 vi theme in 'cello measure 5 ii fragment of theme in violin measure 9 I fragment of theme in violin measure 11 ii fragment of theme in violin measure 12 I theme in violin measure 14 (repeat of the above) 1 theme in 'cello measure 29 vi variant of theme in 'cello measure 33 ii theme in 'cello measure 37 22 vii variant of theme in 'cello measure #1 (actually V of III) III theme in 'cello measure #5 I theme in ‘cello measure 59 vi theme in 'cello measure 61 ii fragment of theme in violin measure 65 I fragment of theme in violin measure 67 v fragment of theme in violin measure 68 (modulation to Eb) V theme in 'cello measure 81 IV theme in violin measure 82 In spite of Gliére's harmonic efforts. it is not so much the intrinsic variety as it is the vivace tempo that makes the Scherzo interesting. After all. in a piece that lasts about two and a half minutes. not much variety is really necessary. The last movement. entitled Etude. provides another Opportunity to study the way in which Gliere uses a single motive throughout a movement. In this case there is no attempt to create or define a middle section. There is only a continuous development of a single subject from beginning to end. The Etude can be described as a perpetual motion which consists of a series of entries of the subject separated by episodic material. The entrances of the sub- ject are arranged as follows. I subject in violin measure 1 I subject in 'cello measure 9 V subject in violin measure 17 i subject in 'cello (fragment) measure 20 VI subject in violin measure 22 bII subject in both (fragment) measure 26 V subject in 'cello (fragment) measure 30 (dominant pedal in violin) I subject in 'cello measure 35 (dominant pedal in violin) I subject in 'cello measure #6 (tonic pedal in violin) 23 The secondary voice. which frequently takes the form of punctuating chords or movement in parallel thirds. is always varied so that in this movement there is never an exact repetition. Perhaps the method of achieving unity with variety that Gliere used in the Etude would not work on a larger scale. but in this brief piece the result is quite satisfying. The Cradle Song and the Intermezzo may be grouped together because. in each case. the instruments maintain their reapective functions. either accompanying or carrying the melody. throughout the entire movement. The Cradle Song is definitely the simpler of the two movements. It incorporates a contrasting theme which is derived from a portion of the Opening melody by augmentation. as shown in Example 3. Example 3 Original (measure 13) Variant (measures 18-19) Reprinted by permission. International Music Co.. New York City. Throughout the Cradle Song the 'cello maintains a pattern of arpeggiated sixteenth notes. The unpretentious nature of the piece is evidenced by the menas through which Gliére varies the reprise of the opening theme. The most notable change involves transposition of the violin 24 melody up one octave. This is only one of two movements (the other is the Canzonetta) in which. for the sake of variety. the melody is moved up an octave in the reprise. In the Intermezzo Gliere shows that it is not necessary to move the melody around from one instrument to the the other in order to have a viable piece of music. In this movement Gliere again uses one theme as the basis for the entire movement. This theme consists of a two-measure melody that maintains a lyrical quality in Spite of a con- siderable number of leaps. There are two things about the Intermezzo that stand out. These are l) the way in which the harmonic rhythm is used to help define an A B A form and 2) the fusion of major and minor harmonic elements. The rate of harmonic change can be readily observed in the first eight measures. (Example 4) where the chords change twice in every measure. Example h Reprinted by permission. International Music Co.. New York City. 25 In the first two measures the chords are simple enough-~i. iv. V of V. and V. The dominant at the end of the second measure leads to a G-major chord and a restatement of the passage in the relative major. The rapid harmonic changes. when combined with the change to the relative major and the use of borrowed chords (subdominant minor in the third measure and minor dominant in the fifth measure) help create an active mood. In the second eight-measure phrase the harmonic activity is intensified by the addition of non- harmonic tones to the 'cello accompaniment. The contrasting middle section is created by the use of the same melodic material. but with a slower rate of harmonic change. Meas- ures 18 through 21. for example, consist of the following: (in G Major) Measure 18 2 chords I & diminished 7th Measure 19 l chord V Measure 20 2 chords IV & diminished 7th Measure 21 1 chord I The chord changes are later Spread even farther apart. so that by the time that the theme returns in the home key of e minor. it is preceded by three full measures of its dominant. A considerable amount of repetition takes place in the course of this movement. Measures nine through sixteen are similar to measures one through eight. and the first fourteen measures return at measures 3uff. where they set up the movement's ending. In spite of all the repetition. the Intermezzo manages to maintain a feeling of spontaneity 26 because of its rapidly shifting harmonies. The three remaining movements-~the Prelude. the Canzonetta. and the Impromptu-~do not have any distinctive features that set them apart from the rest of the opus. They do incorporate. however. the stylistic elements which are used in all the movements. In a sense. any one of these three movements might be regarded as the norm from which the other movements occasionally deviate in some res- pect. There are differences in meter and key (see chart on page 18) as well as distinctive differences in the type of melody that is used. In the Prelude the melody is motivic and chromatic. while in the Canzonetta and the Impromptu the melodies are thematic and have less chromaticism. Those stylistic elements which tend to appear in all movements are: l a clear distinction between the melody and its accompaniment a tendency to distribute the melodic line between the two instruments a high degree of internal unity. which is achieved by the use of one theme throughout a movement frequent use of secondary dominants and chains of secondary dominants frequent harmonic movement towards the mediant and submediant a tendency to use deceptive cadences a tendency to use a developmental middle section the use of pedal tones. passing tones. and neigh- boring tones for chromatic effect a tendency to use repetition freely. but with variation of details. \0 awn» U: C" U N In the course of Gliére's forty-two years of teaching composition. first at the Conservatory of Kiev and later at the Moscow Conservatory. he must have influenced many students. At least one of these. Heinrich Litinsky. 2? wrote a duet for violin and 'cello.2 Other Russian com- posers who contributed to the medium include Nickoli Lopatnikof. Nikolas Karyinski. Boris Koutzen. Alexander Tcherepnin. and Alexander Znosko-Borowsky. Sonate pppp Violon pp'Violoncelle py_Maurice prpi The Sonate pppp'Violon pp,Violoncelle bears the inscription 9A 1a memoirs de Claude Debussy.“ Ravel began writing this duet in 1920. two years after Debussy's death. and completed it in 1922. The premier performance was given by 'cellist Maurice Marechal and violinist Helene Jourden-Morhange. who has provided some insight into Ravel's thoughts on this work. She notes that Ravel was deliberately changing his style. In works written before the duo. Ravel had emphasized harmony. but henceforth. he resolved to concentrate on melody.3 Ravel's duo is on a totally different level from Gliere's. To begin with. Ravel's is a large-scale work in the traditional four movement sonata form. But even more important is the wealth of originality that is contained within the tightly knit formal structure. This internal order is not just confined to the individual movements: it is an order which links all the movements together into a unified whole. The first movement itself presents. within Heinrich Litinsky. Sepata for Violin app '_piip (Moscow: State Music Publishers. I933 . Helene JourdeneMorhange. Ravel 93_Nous (Geneva: Ed. de ”Milieu du Monde." l9h5). pp. 180-188. 28 a short span of time. the elements which permeate the entire sonata. The sonata begins with an arpeggiated accompanying figure that incorporates both a major and a minor third. Example 5 (measures 1-5) Copyright 1922 by Durand et Cie. Used by permission of the Siglisher. Theodore Presser Company. Sole Representative. This practice of justaposing two forms of a chord plays an important role throughout the duo. On the third statement of the split-third arpeggio the 'cello enters with a Dorian melody built on the tonic. which is A. The violin subsequently takes up the melody on the subdominant. Both the chromatic relation that is present in the split-third arpeggio and the interval of the fourth. which is the pitch distance between the two statements of the melody. are im- portant. because these two intervals keep recurring through- out the sonata. An extension of the opening melody is then taken up by the 'cello (measure 30). but by this time the accom- panying figure has been changed to a seventh chord on G with alterations occurring on both the root and the third. The use of a seventh chord and the extension of the melody to the interval of a seventh (see Example 6) are significant because the seventh. in both its major and minor forms. 29 also plays an important role in this composition. Example 6 (measures 30-32) Copyright 1922 by Durand et Cie. Used by permission of the gugiisher. Theodore Presser Company. Sole Representative. When the violin takes up the extension Of the melody ten measures later. it does so an augmented fourth higher than the 'cello. The tritone is yet another important interval in this sonata. After a brief canon Of three measures (measures 39-41) at the octave. the cello plays. in har- monics a melodic figure based on the major second. which is. Of course. the inversion Of the minor seventh. Any doubt about the importance Of the seventh is removed by the next few measures. which have the 'cello playing a descending pattern Of accented major sevenths (example 7) while the violin plays a Phrygian scale. Example 7 (measures 47-50) .\ Copyright 1922 by Durand et Cie. Used by permission Of the publisher. Theodore Presser Company. Sole Representative. U.S.A. Before the first theme-group ends. extensive alterations Of the Opening theme are used to bring the dynamic level down to a piano. The alterations (measures 61-61) create 3O 1) a major-minor seventh chord. 2) a French sixth. 3) a major-major seventh. 4) a major-minor seventh. and 5) an augmented chord. The second subject (measures 69ff) begins on the the subdominant instead of the dominant. This deviation from the standard sonata form serves. Of course. to em- phasize the interval Of the fourth. The thematic material consists Of scale-like passages in both instruments. These are played in syncopated rhythms. and are based on the Dorian mode. After nine measures. however. an F# is added (again. the altered third) thus forming a Mixolydian mode. At that point the two parts assume a more disjunct character. which creates a pentatonic effect in the violin part. while the 'cello part occasionally outlines an augmented fourth as shown in example 8. Example 8 (measures 82-87) Copyright 1922 by Durand et Cie. Used by permission Of the publisher. Theodore Presser Company, Sole Representative. U.S.A. The pentatonic violin line is then set against a 'cello figure which is made up of three fourths arranged E, A. G. and D (measures 93ff). The second subject is 31 brought to a close by a return Of the split-third arpeggio and a renewed emphasis on the interval Of the seventh. In this case. sevenths appear as suspensions with the major seventh resolving to a minor seventh and the minor seventh to a major sixth. as shown in Example 9. Example 9 (measures 107-108) H“ m ‘_3t . 1 Copyright 1922 by Durand et Cie. UEed by permission Of the publisher. Theodore Presser Company. Sole Representative. U.S.A. The resulting melodic pattern Of a descending half-step followed by a descending whole-step is used more extensively at the very end Of the recapitulation. Although the beginning of the development is not tOO well defined. it can be identified by an increase in dynamic intensity that leads to the marking pp animent. and by the appearance Of a new theme derived from the split-third figure. The derivation includes the rhythmic changes and the four additional notes that are shown in Example 10. (Example 10 A shows the way it appears in the development: 10 B deletes the extra notes.) Example 10 A Copyright 1922 by Durand et Cie. Used by permission of the publisher. Theodore Presser Company. Sole Representative. U.S.A. 32 The new version Of the split-third theme is then moved through the following keys: C in violin part measure 109 B in violin part (repeated) measure 112 C# in 'cello part measure 120 F# in violin part (repeated) measure 12? A in violin part measure 133 C in violin part measure 135 These six appearances Of the theme form the first section Of the development. The original Split-third theme appears throughout the first section of the development with minor modifications. The modifications take the form Of an added seventh. the use of harmonics to expand the chord spacing. and extension Of the concept Of chromatic altera- tion by means of alterations on all three notes of the chord. The second part Of the development uses the synco- pated figure from the second theme along with the penta- tonic idea that appeared near the end of the exposition. The syncOpation is then combined with another variation Of the split-third accompaniment. Just before the end Of the development a three-note quartal motive consisting Of A#. D#. and G# appears. This motive is repeated several times in progressively slower time values,and is used. along with the split-third theme. to lead to the beginning Of the recapitulation. The recapitulation differs from the exposition in a number of significant ways. In spite of the various changes that are effected. the beginning Of the recapitulation and the two subject areas are clearly defined. The following 33 list itemizes the more important changes that are incor- porated in the recapitulation. 1 A pentatonic arpeggio is used in place Of the split-third theme to accompany the Opening theme. 2 A minor-minor seventh chord is arpeggiated to accompany the violin's statement Of the first theme. 3 The second portion Of the first-theme melody is abbreviated. The alternating half-step/whole-step melody which appeared at the end Of the exposition appears before the second subject. 5 The split-third arpeggio is used tO accompany the second subject. In addition. some change Of instrumental color is Obtained by the greater use Of harmonics and the use Of pizzicato chords in the 'cello. The first movement contains a considerable number Of elements which are not normally considered traditional. These elements include modes. pentatonic fragments. disso- nant melodic leaps. quartal sonorities. and split-third chords. Despite this diversity Of material and the variety Of ways in which the material is used. the first movement might best be described as succinct. The second movement. marked Tres vif. has the char- acter Of a scherzo. but incorporates the developmental pro- cedures of a sonata form. Many Of the structurally impor- tant dissonant intervals which appeared in the first move- ment also appear here. but in an intensified form. By combining these dissonances with mixed meters. bitonality. a rapid tempo. and instrumental effects. Ravel produces a movement which is both unusual and exciting. 34 The second movement opens with a four-measure os- tinato which. like the Opening figure Of the first move- ment. uses both a major and a minor third. After sixteen measures of this. arpeggiated pizzicatos are used to pro- duce variations of the ostinato figure. as shown in the following example. Example 9 (measures 17-25) Copyright 1922 by Durand et Cie. Used by permission Of the guglisher. Theodore Presser Company. Sole Representative. Ravel created the variations by placing the notes of the ostinato on accented down beats. while the second and third beats of each measure extend the series Of thirds first to the seventh and ninth. and later to the eleventh and thirteenth. Eventually. all the tones of this tertian series except for the last are altered chromatically. The following chart shows the tertian series across the top and the order in which the alterations take place. F A c E G (B) (D) \ImU'hl-‘UNH O O I C O C I "fl ‘8: 35 The next section. beginning in measure 49. contains the main theme of the exposition. This is a quartal melody played by the violin. The melody itself (A.G.A.D) is placed on the first and third beats of each measure. while the second beat provides another note of the quartal series. E. Another characteristic of the same section is the use of mixed meter. The violin part is notated in the 3/8 meter that was established at the beginning of the movement. but the 'cello takes up 2/8 meter. with two eighth notes of the 'cello being equal to three of the violin. The 'cello part creates a number Of tritones and major sevenths as shown in the following example. Example 12 (measures 49-52) 22 Copyright 1922 by Durand et Cie. Used by permission Of the Englisher. Theodore Presser Company. Sole Representative. The same material is repeated after eight measures. but a fourth higher and with added fifths and sixths in the violin part. which give it a more traditional sonority. The first subject ends with sixteen measures of imitation based on a motive which uses the rhythmic pattern of the quartal melody. but in a tertian setting. (Example 13) 36 Example 13 (measures 65-67) c, Copyright 1922 at Durand et Cie. Used by permission of the guglisher. Theodore Presser Company. Sole Representative. The unusual material used in the first theme-group might be enough to disorient some listeners. In order to prevent any confusion. Ravel provides thirteen full measures of the pitch ”E” in pizzicato. in solid notes. in harmonics. and in different octaves. These sixteen measures establish beyond any doubt the fact that Ravel has moved away from the tonic and has now reached the dominant. E. Instead Of placing the second subject in the dominant as would be expected. however. Ravel places the second subject simultaneously in two different keys. The ‘cello plays. in harmonics. a seventh chord built on D while the violin plays a Dorian melody with a tonal center Of Eb. The effect Of having two roots Spaced a half-step apart is thereby created. The dual nature Of the second subject is emphasized by the use Of 2/8 meter in the 'cello part and 3/8 in the violin. An eight-measure transition consisting Of a stream Of polychords which move around the circle Of fifths leads to the development. which begins in measure 152. An unusual aspect Of this transition is the way in which the roots are arranged in a bitonal fashion. as shown in the 37 following diagram. Violin: B E A D G 'Cello: C F Bb Eb Ab Both instruments finish the transition in unisons. with the pitches C. F. and F#. The development divides itself into five sections. each of which is based on its own Split-third ostinato figure. In the first of these sections the ostinato is in the 'cello part. and is built on C. Extremely long sus- tained notes are played by the violin over this ostinato. If all the pitches in this section were to be arranged in thirds. they would yield the tertian sonority C. E (Eb). G (G#). B. and D#. When examined in this context. the relationship Of this section to the chromatically altered tertian series becomes evident. The vertical sonorities that are created by the two parts are dissonant and em- phasize three major sevenths: C to B. E to D#. and G# to G. In the second section Of the development (measures 120-171). the ostinato. this time built on D. is given to the violin. This section is the same as the first section. but the tertian series consists Of the pitches D. F (F#). A. c#. and c (G#). The third section (measures 172-111) again places the Split-third ostinato in the 'cello. The pitches used in the ostinato this time are C. B (both Bb and natural). and D. Some additional dissonance is provided by the addi- tion Of F. either natural or sharp. every time the G is 38 played. In this section of the development an extension of the motive that was used at the end of the first-theme group of the exposition is set against the ostinato as shown in the following example. Example 14 (measures 180-183) Copyright 1922 by Durand et Cie. Used by permission Of the Englisher. Theodore Presser Company. Sole Representative. By setting this new idea in the key of G# minor. Ravel creates another bitonal effect. The interval between the roots is again the major seventh. The fourth ostinato section (measures 196-211) is very similar to the third. The split-third figure appears in the violin. along with a minor seventh on the first note Of each repetition Of the ostinato figure. In this case. a minor second separates the fundamental note Of the os- tinato from the fundamental note of the melody. This fourth section of the development is brought to a close by eight measures Of a ninth chord built on E. In the last section of the development (measures 312-419) the ostinato is again used along with the motive that was used in the previous two sections. This time. however. an answer to the motive is played by the instrument 39 which plays the ostinato. as shown in example 15. Example 15 (measures 316-319) ./ V Copyright 1922 by Durand et Cie. Used by permission of the guglisher. Theodore Presser Company. Sole Representative. In this example the emphasis is again on the interval Of the tritone. This material appears in different keys and is alternated with a stream Of chords similar to that which preceded the development. In the final presentation Of the stream of chords. both instruments play in the same key and lead to a single F# which is reiterated for twenty-two meas- ures. The development began on C and ends on F#. The tri- tone becomes even more important when seen in this perspec- tive. From a structural viewpoint. the recapitulation of the second movement differs very little from the exposition. Even so. it contains so many minor changes that it sounds like a continuation of the development section. or even like new material. The following chart compares the arrange- ment Of the principal elements. Exposition Recapitulation Ostinato Quartal theme Quartal theme Ostinato Bi-metric Dorian theme Bi-metric Dorian theme 40 The changes that Ravel makes in the recapitulation include: 1) placing the quartal theme in harmonics and in sustained notes instead Of in the rhythmic pattern that was used in the exposition. 2) changing the accompaniment to a major seventh plus an intervening augmented fifth. 3) indicating ponticello for the Dorian theme. 4) adding major-minor seventh chords in the accompaniment to the Dorian theme (with occasional chromatic alteration of the third and the root). and 5) adding double stOps to the ostinato figure. The second movement ends with a brief flash Of parallel major chords played pizzicato (and glissando) followed by various ingredients Of a split-third chord on “A.“ The contrast that it forms with the first movement is noteworthy. because both movements use the same form and similar musical materials. The first movement. however. was succinct. while the second movement might be better described as expansive. The third movement consists Of two-part counterpoint set in the framework Of a ternary form. Ravel's counter- point differs from traditional two-part counterpoint prima- rily in the treatment Of dissonance. The same intervals that were used in the first two movements. the tritone and the seventh. are also used extensively in the third move- ment. Vertical dissonances are at first confined to weak beats. but as the movement progresses. the frequency Of accented dissonances tends to increase up tO the point 41 where the Opening subject returns. An effect of a long slow crescendo followed by a feeling of repose is thereby created. The first section of the ternary form starts with a Dorian melody stated unaccompanied by the 'cello. In the eighth measure the violin takes up the melody while the 'cello provides counterpoint which includes a number of minor sevenths. tritones. and some segments of the main melody. (example 16) Example 16 (measures 8-13) Copyright 1922 by Durand et Cie. Used by permission of the anglisher. Theodore Presser Company. Sole Representative. Derivations of the main melody are then used sequentially to intensify the dynamic level. These derivations include intervals which can be arranged in quartal patterns and tritones. The last four measures of the "A" section con- sist Of an F seventh chord with chromatic alterations on the third and fifth. The middle portion (measures 25-57) of the ternary form has two distinct sections. both Of which emphasize dissonant intervals--the seventh and the second. In the 42 first of the two sections there is an A-major melody set against a constantly repeated Bb. This half-step relation- ship is an important characteristic of the first section. Twelve measures of counterpoint which continously stress the melodic interval of the seventh. as shown in example 18. make up the second section which starts in measure 24 and continues through measure 57. Example 18 (measures 36-39) Copyright 1922 by Durand et Cie. Used by permission Of the guglisher. Theodore Presser Company. Sole Representative. The extremely dissonant second section is followed by a transition (measures 46-57) which leads to the “A“ theme. The transition consists of an extended G seventh chord which spans seven measures. Every note of the seventh chord is eventually subjected to the type of chromatic alteration which is generated by the Split-third concept. The return Of the “A“ section is marked by the appear- ance of the Dorian melody along with a dominant pedal effect in the 'cello. Short segments Of the main melody are worked into the 'cello pedal. however. in order to continue the contrapuntal style. The movement concludes with a 43 five-measure section Of material derived from the 'B' sec- tion and seven measures Of perfect fourths and fifths. Although pure contrapuntal writing might seem like a natural way to solve the problems Of writing chamber music for stringed instruments. most composers have stayed away from the style or have used a blend Of contrapuntal and homophonic techniques. In the third movement Ravel adopted a type Of writing that can be traced back to the vial music Of Elizabethan England.“ Ravel's counterpoint in this movement differs from the Renaissance instrumental style in the treatment of dissonance and in the amount Of imitation that is used. Renaissance composers unified their instrumental works by using strict points Of imitation: Ravel unified his two-part counterpoint by repeated usage of the same dissonant intervals in both parts. The limited tone colors and dynamic range of a string duet require that musical repetition be handled carefully and adroitly. Those forms which are characterized by a large number of repeated sections present special problems for composers Of duets. Ravel's choice Of a rondO form for *u An interesting aside in the history Of the duet for stringed instruments is the existence of a number of English polyphonic fantasies for two viOls. These pieces were in- cluded in a collection Of materials donated to the British Museum in 1939. The polyphonic duets are discussed by William Coates in “English Two-Part Viol Music. 1590-1640." Music 32g Letters XXXIII (1952). pp. 141-150. The two-part fantasies which Thomas Morley published in 1595 were not included in this group. as they were already well known. Morley also included six two-part instrumental works (which are suitable for viols) on pp. 55-63 Of his Blélfl§.é£9 Essie Introduction.pp gppppippii Musick. 44 the last movement Of his duo therefore stands out as a determined effort to join two seemingly incompatible ele- ments. The approach that Ravel uses does entail some modification Of the traditional rondo form. This modifi- cation consists Of using develOpmental procedures within two statements Of the rondo theme and in all Of the episodes. The organization of the last movement is outlined in the following chart. Rondo theme and development measures 1-64 First episode and development measures 65-93 Rondo theme measures 94-101 Second episode and development measures 102-161 Rondo theme measures 162-169 Third episode and development measures 170-244 Rondo theme and develOpment measures 225-274 Coda measures 280-383 The dissonant intervals which unified the previous three movements are also used throughout the last movement. In the Opening statement Of the rondO theme. which is played unaccompanied by the 'cello. elements which appeared in previous movements can be singled out. These elements include the use Of quartal intervals in the melody. the Dorian mode. and duple meter juxtaposed with triple. (In this case the two meters are used consecutively. not simul- taneously. as in the second movement.) The rondO theme itself consists Of four variants Of a three-measure subject which first ascends a fourth from D to G and then descends from F to C. This initial statement is significant. because the rondo theme frequently cadences on a C-major chord and because the entire movement starts on the Dorian mode on.D and ends on a final C-major chord. 45 Before the rondo theme is subjected to developmental procedures. it is repeated by the violin on the dominant (as shown in example 19) while the 'cello alternates tertian chords with chords made up of the four Open strings. Example 19 (measures 13-18) Copyright 1922 by Durand et Cie. Used by permission Of the guglisher. Theodore Presser Company. Sole Representative. The rondo theme is then broken into segments which are played by the violin while the 'cello plays counterpoint derived from the melody. Throughout this developmental section. which lasts thirty-two measures. the instruments constantly play in two different keys simultaneously. Since only small fragments are used.and these are frequently trans- posed. it is difficult to ascertain the relationship between the two parts. The accidentals do suggest. however. that the violin part is in D minor while the 'cello part is based on G#. The opening rondO section ends with a restatement of the last six measures Of the rondo theme accompanied by pizzicato chords on the 'cello. Since each Of the twO in- strumental parts seems to be constructed according to its own independent system of logic. the vertical sonorities are quite dissonant. These six measures Of the rondo theme 46 (measures 57-63) when combined with the 'cello part create a number Of chords and vertical sonorities which do not produce any functional harmony. Although the sonorities include such items as split thirds. eplit fifths. clusters. and seventh chords with augmented fifths. the over-all effect is not very harsh because the various sonorities appear in arpeggio form. The first episode (measures 65-93) consists Of a Dorian theme which moves at cadence points to an F#-minor chord. Although it stands out‘as a new theme . it does in- clude rhythmic elements that appeared in the Opening rondo theme.and. like the rondo theme. it tends to emphasize the interval Of the fourth. as shown in example 20. Example 20 (measures 63-67) COpyright 1922 by Durand et Cie. Used by permission of the anglisher. Theodore Presser Company. Sole Representative. Ravel's use Of the fourth as a melodic interval de- serves some comment.because the way in which it is used serves to establish a relationship with the sonorities that are Often used to accompany the rondo theme. The fourth frequently appears with an intervening note. such as F. D. C in the Opening theme or C. B. G in the first episode (Ex- ample 20). The outer notes Of these fragments form a fourth. while the inner note forms a third with one of the two outer 47 notes. The sonorities used to accompany the rondo theme consist Of alternating sixths and fifths. which when inverted form thirds and fourths. This juxtaposition Of tertian and quartal elements relates the two sections in a manner that is meaningful. and yet unobtrusive. The remaining portion Of the first episode consists Of fragments Of the theme played in a bitonal setting. These fragments alternate with a brief idea marked ”un peu traind.” The violin part in this instance is an augmented version of the last two beats Of the theme. and the 'cello part is an ornamented version of the violin part. (Example 21) Example 21 (An original melody: B: variant) A B Copyright 1922 by Durand et Cie. Used by permission Of the guglisher. Theodore Presser Company. Sole Representative. In Example 21-B the melody is doubled at the major seventh. Although only eight measures Of the rondo theme separate the first episode from the second. Ravel manages to present the rondO theme in a new context. The new con- text involves setting fragments Of the first episode theme against the rondo theme. While the episodic theme is frag- mented and altered considerably. all the significant 48 elements of the rondo theme. including the characteristic C-major final chord.are present. A twelve-measure C-major melody (measures 101-112) forms the basis for the second episode. Quartal intervals again play an important role. The only thing that appears along with the melody is a long sustained trill on the tonic. C. In this case. however. Ravel carefully notes that the performer is to trill from the written note down a half-step. thus creating a minor second below the root and continuing the emphasis on the major seventh and its inversion. The developmental portion of this episode involves ornamentation of the melody. This is done by left-hand pizzicatos. trills. and arpeggiated ninth chords. One passage. however. ex- plores a relationship that exists between three notes Of the second episode and the split-third figure from the first movement. This relationship can be seen in example 22. Example 22 (A: second episode melody: = segment with split-third theme) Copyright 1922 by Durand et Cie. Used by permission of the publisher. Theodore Presser Company. Sole Representative. U.S.A. 49 The ensuing return of the rondo theme (measures 161- 168) is accompanied first of all by a continuation of the trills that appeared in the previous episode. and later by a series of descending sevenths which are played by the violin along with an Open G. The Open C helps establish the cadential pattern which uses an incomplete dominant ninth chord moving to a C-major chord. The third episode begins (measure 169) with an abrupt movement to the key of F# minor. A prominent leap Of a diminished fifth in the melody emphasizes the tritone rela- tionship created by the abrupt key change. This excep- tionally long melody (eighteen measures) appears first un- accompanied. then along with a fingered tremolo from G to F#. After eight measures of the fingered tremolo. the accompaniment changes to an arpeggiated A-major chord. A substantial portion of the melody is then presented in an- other simple setting. In this case the accompaniment con- sists of parallel descending major chords which are played as fingered tremolos. as shown in Example 23. Example 23 (measures 198-203) s/ copyright 1922 by Durand et Cie. Used by permission of the publisher. Theodore Presser Company. Sole Representative. U.S.A. 50 The third episode ends with an imitative passage which leads to a cadence on a chord made up Of a C#-miner triad plus an augmented D triad. The relationship of the two roots is again the half-step. The rende section that follows is similar to the Opening rende section in that it involves some use Of de- velepmental procedures. As in the beginning Of the fourth movement. the rende theme is played first unaccompanied. In this case it is played by the violin. but it is somewhat abbreviated. and uses double steps to form sevenths with the melody. The only other difference between this section and the Opening rende section is the change Of accompanying passages from area to pizzicato and the lack Of a cadence. The sequential passage. which in the Opening version led to another full statement of the theme is. in this case. ex- tended into a lengthy and well-developed coda. The high degree Of integration that characterizes this due makes it possible for Ravel to unite elements from all four movements in the coda without giving the impression Of a cyclical form. In the opening portion Of the coda. however. melodic sevenths appear in exactly the same sequence as they appeared in the first movement. These sevenths are then combined with the rende theme in a contrapuntal setting. The remainder of the coda consists of brief segments Of various themes combined with others in a matrix of constantly shifting tonalities and instrumental registers. In an or- chestral work a similar effect might be achieved by quick 51 movement of a motive from instrument to instrument. In this case. the instruments must remain the same. so the result is achieved by a constant change Of the motives themselves. Some of the combinations that Ravel uses are: 1 the rende theme combined with the sevenths from the first movement. 2 a portion Of the theme from the third episode combined with the rende theme. 3 the theme from the third episode used along with the sevenths from the first movement. 4 the rende theme again combined with the sevenths from the first movement. but this time in a stretto effect. In addition. the impression of a great amount of activity is created in the coda by the use Of trills. double steps. repeated notes. and numerous vertical dissonances which result from the extremely independent part-writing. The duo ends with a dominant ninth to tonic cadence in the key of C major. When Ravel chose to write in a texture containing only two lines. he eliminated much Of the sensuousness that was so Often associated with his music. and. like Haydn. he was "forced to be original.” The originality Of Ravel's due lies not in his treatment of the sonata form. but rather in the unification Of four very diverse move- ments with a vast variety Of themes and motives by the use Of a few simple dissonant intervals. In that respect. Ravel's handling Of the duet form was ingenious. 52 Due. Opus zwpy Zoltan Kodaly Zoltan Kodaly‘s accomplishments as educator. misicel- Ogist. and composer Of orchestral and choral music have been widely recognized and acclaimed. Kodaly's equally signifi- cant accomplishments in the field of chamber music. however. are less well-known. The Due is a part of a group Of chamber music works for string instruments that Kodaly wrote between the years 1909 and 1920. This group includes the following: First String Quartet. opus 2 (1909) Sonata for 'Celle and Piano. Opus 4 (1914) Due for Violin and 'Celle. Opus 8 (1915) Sonata for SOlO 'Celle. Opus 9 (1916) Second String Quartet. Opus 10 (1918) Serenade for Two Violins and Viola. opus 12 (1920) In his Opus 7. Opus 8. and Opus 12. Kodaly showed himself to be a pioneer. for seldom had composers written works for these particular instrumentatiens. Although the Serenade had a worthy predecessor in Dvorak's Terzette for Two Violins and Viola. and the Sonata for Solo 'Celle was almost surely inspired by Bach's Six Suites. it cannot be said that Kedaly was an any sense a mere imitator. As Bartok said about the 'cello sonata: NO other composer has written music that is at all similar tO this type of work. . . . Here Kodaly is expressing. with the simplest possible technical means. ideas that are entirely original. It is precisely the complexity Of the problem that Offered him the Opportunity Of creating an original and unusual style. with its surprising effects Of vocal type: though quite apart from these effects ghe musical value Of the work is brilliantly apparent. Bela Bartok. “Della Musica Moderna in Ungaria." 53 The Due for Violin and 'Celle also had its roots in Kodaly's Often expressed admiration for Bach. This admi- ration. aleng with Kodaly's interest in two-voiced music.is expressed in the following excerpt from a 1921 article on Bartok. Since Bach we have lost the habit of being able to pursue two voices Of equal importance: ce-ordinatien has been replaced by subordination. We concentrate our attention upon notes sounded below one another and are immediately searching for triads if groups Of notes are sounded simultaneously. But music. melodious in its essence. is not to be listened to in this way. If we succeed in surveying a larger area with our glance. that is to say. if we hear horizontally. the grating dissonances explode like cannon shots. but if they become separated into melodies. they unswervingly proceed towards their goal. When two melodies meet. a stress is created that doubles the energy of movement and legds additional emphasis to one melody or both. The foregoing passage reveals something about the approach Kodaly took in writing the duo. It is evident that he was more interested in melodic lines than in vertical sonorities. From the first measure Of the duo it is clear that Kodaly was not interested in writing a traditional piece Of music. The work Opens with the 'cello playing a miner seventh above the tonic “D“ while the violin plays forte D-minor chords in triple stops. Although the 'cello melody (example 24 A) is based on the Dorian mode. the notes C and G receive considerable emphasis. These two notes occur on downbeats.and have relatively long note values. The 6 Zoltan Kodaly. “Bela Bartok.” Lg Revue Musical. V (1921). pp. 211-212. 54 conflict that is created by the prevailing'D-minor tenality and the ”C's“ and ”G's“ is typical of the way Kodaly cen- trasts the two instruments throughout the due. The outstanding feature of the first movement is the manner in which Kodaly combines a rhapsedic. almost impre- visatienal character with a sonata form. The rhapsedic character is largely the result Of similarities among the three principal themes. Each starts on a high note, and gradually descends to the tonic an octave or more below the starting point. making it seem as if the theme is constantly reappearing in various guises. Example 24 A: first theme (measures 1-4) 3: second theme (measures 20-23) C: closing theme (measures 55-59) 3 'L' rim. 1 B j I a W- a he 5!: C From DUO FOR VIOLIN AND VIOLONCELLO. 0p. 7 by Zoltan Kodaly Copyright 1922 by Universal Edition. Copyright renewed 19 9. COpyright assigned 1952 to Universal Edition (London) Ltd. All rights for the U.S.A. and Canada controlled exclusively by European American Music Distributors Corporation. Used by permission. The similarity of the melodic curves not only contributes to the rhapsedic character of the movement, it also aids in establishing a feeling of unity. 55 Like Stamitz. Hoffmeister. and other classical cem- pesers Of dues. Kedaly tries to treat both instruments as equals by letting each have a turn at the melody. However. Kodaly does more than just exchange the parts. When the violin takes up the melody in measure 7. the notes C. G. and D occur on successive downbeats. replacing C. G. and C from the 'cello melody at the beginning. In these same measures (7-9) the harmony assumes an even more independent role. moving towards Eb by way Of secondary dominants. only to re- solve abruptly inflD at measure ten. A brief imitative passage based on a pentatonic arpeggio then leads to the key Of A minor and the second theme in measure 19. (Example 24 B) The second theme consists of an A-minor melody accom- panied by a pizzicato broken fifth. The A-minor melody is transposed in its entirety several times. This procedure. which was characterized by both Bartok and Kedaly as being typical Of Hungarian folk music. moves the melody from A minor through G#. and then to B minor. As the melody is repeated. the pizzicato accompaniment is changed from a fifth to a tritone. This interval. also typical Oflhummmdan folk music. will play a significant role throughout the duo. . Since seventeen of the twenty-nine measures that com- prise the second-theme group are devoted to B miner and only five to A minor. the dominant area is not effectively estab- lished. The B-niner tonality is especially strong in meas- ures 40-47. where the theme is extended over a range Of five octaves. from B3 to Great B. 56 The closing subject (measures 48-66) consists Of a rhythmic motive which is passed from one instrument to an- other and a melody (Example 24 C) which appears along with and in between the many repetitions of the rhythmic motive. These repetitions Of the rhythmic motive solidify the pri- mary harmonies by reiterating the pitches A. E. and D. The melodic portion Of the closing subject appears twice. in measures 52ff. and in measures 55ff. Since the first state- ment Of this melody is built on.D and the second on A. these also strengthen the primary harmonies. The closing subject therefore serves an important role in reinforcing the A-minor tonality that was only briefly established by measures 19-23 Of the second subject. Although there are very few differences among the three themes. the background figures provide considerable variety. The background figure for the first theme consists Of punctuating chords: that Of the second. continuous pizz- icato eighth notes: and that Of the third. a four-note rhythmic motive. Because Of the lengthy nature Of the themes. the techniques that are used in the development (measures 67-146) are somewhat limited. For the most part. Kedaly relies on transposing entire melodies several times. Only the rhyth- mic background fer the third theme is an exception--Kedaly separates it from its melody and uses it as a background for the first two themes. One interesting aSpect Of the de- velOpment is the way in which the three themes are presented 57 in their original order. This makes measures 67-146 sound like a variation Of the exposition rather than a true de- velopment Of the three themes that appeared in the exposi- tion. A notable aspect of the development is the manner in which Kodaly uses the technique Of parallelism to create full sonorities which contrast with the prevailingly thin texture. The most notable example uses a series of arpeg- giated major-minor seventh chords with an added tritone. This figure. which starts in measure 114. lasts for eleven measures. while the second subject is played in augmentation by the violin. Another example occurs just before the re- capitulation (measure 146). In the latter case. both instruments play independent versions of the third theme using parallel quartal and quintal sonorities. In the recapitulation the first theme is played only once. At that point Kodaly manages to create a feeling Of eXpansiveness with just two instruments by presenting the first subject in augmentation in the violin part while the 'cello plays a series Of rapidly arpeggiated seventh chords over the four strings. Major-miner seventh arpeggios pre- dominate in this series. but major-minor and miner-miner ar- peggios also appear. The bass notes of these arpeggios start on F and proceed chromatically to the Open C string of the 'cello. The transition to the second theme is accomplished by the 'cello. which plays a short cadenza in the 58 parlandO-rubate style characteristic Of Hungarian folk music. The second theme appears (measures 176ff) as it did in the exposition. but with the violin and 'cello parts presented in invertible counterpoint-~initially in the tonic key. Measures 204-234 are devoted to the closing theme. which in this case uses the notes D. A. and G to reinforce the tonal center. The first movement ends with a nine- measure coda which uses material derived from the closing theme and the opening measure Of the movement. In the second movement. also a sonata form. Kodaly continues the practice Of using non-traditional scales. Tme opening subject is actually a double theme consisting Of a rhapsedic A-minor melody and a four-note (B. E. A. and D) melody which is harmenically somewhat static. These mel- odies are first played separately. then. beginning in meas- ure ten. they are played simultaneously. with the violin en the rhapsedic melody and the 'cello on the counter-melody. When the two parts Of the Opening subject are played togeth- er in measure ten. the original A-miner tonality changes to F major. but only for an instant. Between measures ten and nineteen. the violin melody is extended so that it descends from A3 to small Bb. primarily by means of whole-tom segments. Neither the 'cello. which plays a series of non- functional triads and incomplete seventh chords. nor the violin establishes any tonal center until measure nineteen. where the dominant seventh Of F appears. Even this chord does not resolve as expected. for Kodaly immediately 59 moves into a transitional passage that leads to the second subject in measure 29. The second subject. a 22-measure segment in the key of C. establishes what might be described as a “night msic" character. The somewhat static. nocturnal mood is created by the 'cello. which plays pedal notes and fingered tremolos. While the 'cello is producing these mysterious rumbling sounds the violin plays a parlandO-rubate line which apans four octaves. Although the two instrumental parts seem to be unrelated. the vertical sonorities can usually be reduced to tertian combinations with added pedal tones on C and G. The unusual quality of this section is largely the result Of a reversal of the traditional chord spacing which occurs when the 'cello plays double and triple stops in its low register while the violin plays in its upper register. The develOpment section which starts in measure 51 consists Of three distinct parts. In the first section. there is a new four-measure melody made up Of elements Of the first and second themes. This melody is divided between the two instruments. with twO measures in the violin and two in the 'cello. The new melody is subsequently transposed several times and accompanied by tremelos similar to those used in the “night music“ section. The second part of the development (beginning in measure 69) calls for the 'cello to play a simplified version Of the “night music“ while the violin plays the Opening countermelody. The 'cello re-creates the “night music” by playing saga in the tOp register while 6O sounding the pedal tones with pizzicato Open strings. In the third and final section. the two parts Of the first subject are combined in stretto along with a pedal “D.“ The recapitulation begins in measure 97 with the appearance of the first subject. but new it is in the key Of Ab miner (actually Dorian). and the countermelody is changed into arpeggiated chords. “Night music” elements appear later. but these are also altered considerably by the use Of harmonics and by the incorporation Of elements from the Opening countermelody. By so altering the thematic material in the recapitulation. Kodaly is able to prolong the rhap- sedic mood which he established earlier with non-metrical. quasi-improvisational rhythms. frequent changes Of tempo. and cadenza-like transitions. The rhapsedic feeling is fur- ther enhanced by the failure of the recapitulation to estab- lish the heme key with authority. Even the final tonic is delayed until the last measure. when the root Of the A-miner chord is approached by a pentatonic arpeggio played beneath the third and fifth Of the chord. The final movement consists Of a slew introduction and a presto. The thirty-eight measure introduction con- tains several cadenza-like passages for the violin. These are separated by pentatonic passages played in octaves by both instruments. Most Of the introduction is in G minor but near the end. the tonality becomes quite vague. In this brief and simple introduction Kodaly manages to summarize the stylistic features that are utilized throughout the due. 61 As mentioned before. these include the use of long rhap- sedic melodies. pentatonic and modal scales. and simple transpositions of entire melodies. Example 25 illustrates another trait. In this excerpt the violin cadenza is con- structed on the tonal center “A.“ Kodaly creates bitonality by placing an unresolved Eb seventh chord in the underlying 'cello part. Significantly. the root Of this seventh chord lies a tritone below the tonal center of the violin cadenza. Example 25 (measures 8-12) \\‘__‘,I From DUO FOR VIOLIN AND VIOLONCELLO. 0p. 7 by Zoltan Kedaly Copyright 1922 by Universal Edition. Copyright renewed l9 9 Copyright assigned 1952 to Universal Edition (London) Ltd. All rights for the U.S.A. and Canana controlled exclusively by European American Music Distributors Corporation. Used by permission. One other Kodaly trademark appears in the cadenza that begins in measure nineteen. In this case Kodaly uses a chord with a tritone added above the root. 62 In the final cadenza (measures 25-38) Kodaly Ob- scures the tonality by means of parallelism. The 'cello plays a series of descending major-miner seventh chords while the violin plays its cadenza. which includes a quota- tion from the Opening Of the second movement. In the main part of the third movement Kodaly aban- dons the rhapsedic style Of the first two movements and adopts a very straightforward. aggressive. and dissonant style of writing. When Kodaly's music was first played in public concerts along with that Of his friend. Bartok. critics entitled the two composers ”the young barbarians." It must have been the harmonic boldness Of movements such as this presto that earned Kedaly the ”barbarian” label. Surprisingly enough. the turbulent harmonies Of the presto. with their emphasis on the tritone. appear within a ternary form that uses a simple Hungarian children's song as the basis Of the A section. This A section. which is charac- terized by a continuous stream of eighth notes. contrasts effectively with the middle section. which uses a large num- ber Of sustained pedal tones. Examples of medal and pentatonic writing appear in the presto. as do examples of quartal writing. Quartal ele- ments are especially evident in the final ten measures. where a descending four-note line leads to the quartal chords G-D-C-F and D-G-A. The third movement does differ from the first two movements. however. in that it uses more disse- nances. shorter melodies. and more develOpmental techniQues. 63 These traits. along with frequent sudden key changes and occasional forays into bitonality. make the overall tonality somewhat ambiguous up until the very end. when the final octave 'Ds" are sounded by both instruments. The children's song which serves as the basis for the “A“ section (Example 25) is exceedingly simple. but from the very beginning. Kodaly provides harmonic interest by the addition Of an imitative figure in the violin part. Example 25 (measures 1-8) From DUO FOR VIOLIN AND VIOLONCELLO. 0p. 7 by Zoltan Kodaly Copyright 1922 by Universal Edition. Copyright renewed l9 9. Copyright assigned 1952 to Universal Edition (London) Ltd. All rights for the U.S.A. and Canada controlled exclusively by European American Music Distributors Corporation. Used by permission. In example 25 the 'cello part (which emphasizes the interval of the fourth by stressing the notes G to D and C to G) suggests the key Of G modulating to A. The violin part. on the other hand. suggests the submediant chord in 64 the second measure and quartal sonorities in measures six and seven. The resulting vagueness and the sudden shift to A minor in the ninth measure are typical of the way that strong tonal centers are avoided in this movement. The reprise Of the “A” section in measure 261 provides an example of how Kodaly creates rapid key changes by means of parallelism. In this case. both melody and ac- companiment merely move upward by a step. Moments later. in measure 269. Kodaly creates bitonality by having the 'cello play a B-flat chord while the violin plays in A. Examples Of bitonality occur elsewhere in the presto. a notable place being measures l64ff. where the 'cello plays a Dorian melody built on F# while the violin plays an Open fifth. using the notes G and D. The background figuratiens Of continuous eighth notes in this presto frequently make use Of the tritone (measure four is a good example). either in double steps or in ar- peggiated figures. This same interval is used as a means Of varying the intervalic structure of melodies. usually by changing a melodic perfect fourth to a tritone when the mo- tive is repeated or tranSpOsed. An example Of this proce- dure occurs in measures 24-25 (the original version) and mea- sures 30-31 (tritene version). Augmented triads also play an important role in this presto. with several notable ex- amples occurring between measures 311 and 314. Other dis- sonant intervals occur. but it is the tritone (along with the previously mentioned pedal tones) that accounts for most 65 of the dissonances that appear in the presto. Throughout this due Kodaly shows a predilection for combining dissimilar elements. It might be said that this is typical. for at the center of Kedaly's art is a certain striving for synthesis. His main accomplishment as a com- peser. the combining Of Hungarian folk song elements with classical forms. is a prime example Of this tendency. In this due the tendency tO synthesize serves Kodaly well. for the similarity of the two instruments Offers but limited Opportunity for contrasts in tone color. It has already been pointed out that in the first movement rhapsedic mel- odies are combined with sonata form. Other examples Of Kodaly's synthesizing tendencies include 1) the use Of a dissonant harmonic style along with a simple children's song in the last movement. 2) the use of bitonality. 3) the use Of extreme registers in the ”night music“ section. and 4) the contrast Of continuous eighth notes with static pedal tones in the last movement. Kedaly is frequently regarded as a kind of musical folklorist. His Opus 7. one Of the most successful works in the due format. certainly contains folk elements. But to say that the due is successful because of its use of folk elements would be a mistake. Kedaly's due is successful because it unites these folk elements within a well-balanced musical structure. By so doing. it remains faithful to the principles of chamber music: i.e.. it relies primarily on form and content rather than on gesture and effect. 66 29.9.1; 9.9.9.1129. pie a: ram; Lula-Lama Heiter Villa-Lobos wrote the Qppy,gpppp§ in 1928 while living in Paris. Although it shares the pppppg title with Villa-Lebos' well-known series Of fourteen works. the duo was not conceived as a part Of that series. The 0 indication “bis” may indicate that the composer at one time considered starting a new series bearing the chores title. but if this is true. he did not follow up on the idea. Originally the word ppppp referred to a type Of Brazilian popular music in which one instrument improvised a melody while other instruments played syncopated rhythms within a framework of simple-duple meter. This seleistic style would seem to be somewhat incompatible with the tra- ditional chamber music style which places importance on the distribution Of musical material among the various instru- ments. In the case Of the 222;,Qppppp. however. only small portions Of the work conform to the traditional chore style. The first Qpppp. marked Mpgppé. has a style which differs from the traditional‘ppppp style because it does not consistently use simple-duple meter. In fact. within the first eight measures alone. the meter changes four times. from 2/4 to 5/4. to 4/4. to 3/4. and back to 4/4. In actuality. the measures are not nearly so important to the rhythmic organization Of the piece as are the accents and subdivisions Of the beat. For the first seventeen measures. Villa-Lebes divides the 'cello's quarter note units into triplets. and these he carefully groups into units Of two 6? and three notes by means of accents. rests. and articula- tion markings. These small units he then arranges into larger asymmetrical sets made up of multiples Of two and three notes. Example 27. which is taken from measures six through nine. contains the "improvised” melody in the vie- lin part. Underneath this melody the 'cello plays sets con- sisting of 3+2 notes in measures 6-7 and 2+2+2+2+3 notes in measures 8-9. (The individual sets are indicated by trackets in Example 27.) Example 27 (measures 6-9) Copyright 1930 ESCHIG. Used by permission of the original copyright owner and its United States representative. Associated Music Publishers. Inc.. New York. The initial Presentation of the violin melody is followed by extended versions in measures 10-14 and 15-21. The extensions consist primarily Of passages made up Of three note sequences. These sequences are usually based on the interval Of the sixth. but in measures 18-19. fifths and 68 fourths also appear. Underneath these extended melodies the 'cello continues playing asymmetrical patterns (2+2+3) and 2+2+2+2+3) until measure 18. where its part changes to a series of parallel non-functional seventh chords with roots moving along the whole-tone scale. These chords. which are played pizzicato and glissando. create a guitar-like effect which may help explain why Villa-Lebos chose to call this work a 911931). A pentatonic scale leads to the final unaderned statement of the melody which is played (in measures 25ff) by the 'cello. For this statement. Villa-Lebes simplifies the accompaniment by using repeated quartal chords instead Of the disjunct patterns that prevailed in the first seven- teen measures. For the final statement Villa-Lobos also simplifies the rhythmic patterns. by changing them into quarter-note triplets. The movement ends with a four-”ure coda made up Of quartal sonorities and a final chord con- structed in seconds. For the second gpppp_Villa-Lobos chose a ternary form with a lento for the first and third sections and an imitative gpipé for the middle section. The i222? sections are characterized by a recurring chorale-like subject that appears three times in the first lento and twice in the reprise. (Example 28) Each of the chorale sections is dif- ferent from the others. but the smooth lines. slow rhythms. and characteristic Opening chord (an augmented-major seventh) makes each appearance Of the chorale clearly discernible. 69 Although there are a few rhythmic changes. it is the har- monies that make each chorale section different from the others. In the first appearance. for example. the chorale starts with the augmented-major chord. then moves to a C-minor chord. and then to a first-inversion ninth chord on F. (Example 28) Example 28 (measures 1-2) Copyright 1930 by EDITIONS MAX ESCHIG. Used by permission of the original copyright owner and its United States representative. Associated Music Publishers. Inc.. New York. In the second version (measure 5) the opening chord remains the same. while the second becomes an Eb ninth chord. and the third. a whole-tone sonority. In the third version (measure 10) the second and third chords are again changed. this time to a diminished-minor seventh chord on C in the case of the the second chord and an E-major chord for the third. In the reprise (measure 52) the Opening chord is tranSposed up a fifth.and is followed by a G-minor chord and two ninth chords. The last appearance of the chorale (meas- ure 60) contains only the augmented-major sonority. Although these chorales are non-tonal and constantly varied. they still serve as points around which the remaining portions of 70 the $3332 sections revolve. The measures between the che» rales contain quartal sonorities (in measure 7. for example) and a large number of minor-seventh intervals. In measures 7-9 these sevenths move in parallel motion (although they are interspersed with rests). The sevenths and quartal sonorities appear along with some very freely constructed runs and arpeggios. The principal subject of the imitative section con- sists of two accented notes (ff?) followed by a descending series Of sixteenth notes (measures 13ff). Unlike the rhythmic patterns. which are very regular. the series of pitches changes slightly with every entry. Although the effect is somewhat fugal. the relationships of the various entries do not conform to the traditional pattern Of the fugue. The first series of entries is followed by a six-measure passage (measures 19-24) which might be de- scribed as being in the ppp;p_style. In this section the leading part. which consists Of continuous sixteenth notes. is played by the 'cello. The violin accompaniment creates a guitar-like effect by means of repeated sixteenth-note pizzicato chords. These chords are arranged by accents and harmonic changes into six-note asymmetrical units. The 92252 section is followed by three statements Of the imitative subject. Although the concept Of imitation is present in this section (measures 26ff). the entries are farther apart than in measures 13.13, and they are accompanied by syncopated pizzicatos. A second 22252 section. similar 71 to the first. and a codetta appear before the return of the $2239 section. The codetta is notable because Of its exten- sive use of parallel fifths in combination with double-stop harmonics. fingered tremolos. and syncopated rhythms (Example 29). Example 29 (measures 44-46) 8vaUCCIOOIOCOO'CDOIIOCICOOOIIIOIOI. A ,-\ HARMONIQUES Copyright 1930 by EDITIONS MAX ESCHIG. Used by permission Of the original copyright owner and its Unived States representative. Associated Music Publishers. Inc.. New York. The combination of all these elements creates a mysterious. Impressionistic feeling that anticipates the quiet mood of the closing i323? section. The four works that have been discussed in this chapter were written within a Span of twenty years. At the beginning of that period hardly any thought was given to the possibilities that were inherent in the duo format. By the end of the twenty years. a large number of dues (see Appendices A-C) had been written. often with the new com- positional techniques of the Impressionists and Neoclas- sicists. Composers managed to utilize a sizable number of these new techniques even in small-scale works such as the 72 13395 Choros. which has only 99 measures. But. by far. the most significant works to come out Of the period were the dues by Ravel and Kedaly. In these two works the composers managed to combine the new resources with large-scale forms. Their success with the duo format is probably one reason for the large number of dues that have been written in the twen- tieth century. CHAPTER III NEOCLASSICAL AND TWELVE-TONE DUETS The four composers that are represented in this chap- ter differ from those in Chapter II in that they do not place as much emphasis on folk elements and non-traditional scales. Although these composers (Ernst Toch. Bohuslav Martinu. Arthur Honegger. and George Rochberg) represent different countries and different styles. each has adapted an approach that stresses the develOpment Of musical ideas rather than the originality of those ideas. This does not mean that these composers wrote unattractive melodies: it merely means that they did not emphasize the colorful and exotic sounds that had been explored by other composers. The four dues that are discussed in this chapter are not lengthy works. The Rochberg duo. with its single move- ment. and the Martinu duo. with its two movements are about as long as the one by Tech. which has three movements and. although Henegger's is the longest Of the four. it does not approach the scale of the dues by Ravel and Kodaly. Divertiment . 9192 31 n2. 1. _by E2391. $322!; Toch's interest in chamber music dates from his student days when he became engrossed with Mozart's “Ten Famous String Quartets.” His interest in chamber music led 73 74 to the writing of nine string quartets. one string trio. one piano quintet. a serenade for three violins. and the two divertimenti which comprise his Opus 37. These diver- timenti. one for violin and viola and the other for violin and 'cello. were written for the members of the Vienna String Quartet. an ensemble that premiered several of Toch's string quartets. The outline of a sonata form is clearly discernible in the first movement of the Divertimento. even though the tonality of the various sections is often obscured by Toch's extreme chromaticism. This chromaticism is the result of chromatic-mediant relationships and frequent use of the half-step as a melodic interval. Both of these elements are present in the opening of the first subject (Example 30). a thirteen-measure phrase that begins and ends in the key of C. Example 30 (measures 1-4) Used by permission of Eurepean American Music Distributors Corporation. Although the tonic is clearly established at the beginning and end of the Opening phrase. the intervening eleven measures are so chromatic that no one pitch can function as a tonal center. Toch re-establishes the tonic 75 in measure twelve by merely repeating the note "C” a number of times in alternation with the tritone F-B. The opening theme is characterized by its pattern of ascending and descending thirds. By the fourth measure. however. the tertian figure starts to evolve (in the 'cello part) into a contrapuntal idea that emphasizes the half-step as a melodic interval. The initial statement of the theme is followed by a free restatement which begins with the four measures that Opened the movement and then develops the har- monic tendencies that first appeared in the third measure. The resulting vertical sonorities (measures 17-20) sound quite dissonant. but the dissonances are mostly the result of a large number of neighboring tones. The eight-measure phrase that makes up the second subject (Example 31) can be identified by its large melodic leaps and by the legato style which contrasts with the detaché of the first subject. Example 31 (measures 22-25) A ' / ’—\ Used by permission of European American Music Distributors Corporation. The second subject is set off as much by its contra- puntal treatment of the instruments as it is by its wide 76 melodic leaps and legato style. These identifying traits are important because there is no clear movement amends the dominant (even though the violin does end the eight-bar phrase with a sustained Open "G”) and because both subjects are highly chromatic. One might question the:naterflfl.in meas- ures 26 and 27. which is similar to portions of the first subject. These measures use a rhythmic figuration (three quarter notes followed by two eighths) which is the rewnme Of a pattern that initially appeared in measure nine. The choral style and the emphasis on the interval of the seventh (the vertical seventh. as opposed to the melodic seventh which pre- dominates in the second subject) makes Mrse two measures seem like variations of material that appeared in measure nine. In the short development (measures 30-50) two Of the ideas that appeared in the first theme receive most of the emphasis. The first ten measures are based primarily on small fragments made up Of consecutive half steps derived from the second part of the first subject. while the sec- ond ten measures focus attention on the tertian portion Of the first subject. This tertian section is developed in a number Of ways. the most prominent of which involves ar- ranging the two parts bitonally. The two parts are set a tritone apart in measures 45ff. a major second apart nimeas- ures 47ff. and a major third apart in measures 49ff. Within these same ten measures. the tertian theme is modified by the use of repeated notes. altered rhythms. and seconds interspersed within the ascending and descending thirds. 77 In the recapitulation (beginning at measure 51) the relative importance Of the two subjects is reversed. The first theme appears only once. and the second twice. with the parts exchanged and tranSposed in the second appearance. (The secondary contrapuntal voice is altered considerably.) Toch does not employ the usual arrangement of keys, and. as stated before. he does not make use of strong tonal centers. It is clear. however. that the Opening of the first subject appears a major second lower than in the original statement and that the second subject appears first a major second and then a miner second lower than in the eXposition. Toch includes a comparatively long coda (measures 77ff) at the end of the first movement. Its length (28 measures) makes it seem more like a second development than a coda. It contains some material that seems new. but is actually derived from the first two measures of the second subject. The tertian portion Of the first subject is also used in the coda in much the same manner as in the develop- ment. with the two instruments playing the tertian theme first a tritone and then a major second apart. In one publication Toch points out that ...any quality is apt to weaken and lose its effect after a while: and the best preventive for that is an offsetting and re-animating intermission. This Obser- vation touches upon the basic 'tension-relaxation' principle Of form....1 1 Ernst Tech. The Shaping Forces of Music (New YOrk: Criterion Music CorpOFEtion. 1948). p. I39. 78 In the first movement of the Divertimente there is almost no relaxation from the constant chromaticism. Toch does establish some contrast. however. by using triadic materials along side Of stepwise motion. and by juxtaposing motion in parallel octaves with counterpoint. A rather significant relationship exists between the pitch centers of the three movements and the chromatic sub- ject matter that is used within these movements. Tech em- phasizes the chromatic nature of the piece by placing the tonal center of the second movement a half-step lower than that of the two exterior movements. A similar relationship is also evident within the theme and variations which com- prise the second movement. As can be seen in the following outline. the first variation is a half-step lower than the B-minor tonality Of the second movement. Theme E minor measures 1-8 Variation I Bb minor measures 9-20 Variation II F# minor measures 21-31 Variation III B minor measures 32-38 The theme itself (example 32. 'cello part). or at least the first portion of it. is repeated in each Of the three variations. Repetition is also evident in the rela- tionship between the first and third variations. Variation III starts out exactly as variation I. but with the two transposed and in invertible counterpoint. After four measures. however. the third variation develops a contra- puntal section which is quite different from and shorter than the correSponding section of variation I. (Example 32) 79 Example 32 (measures 9-11) A L/ Used by permission of European American Music Distributors Corporation. The opening of the first variation (Example 32) might serve as an example of the extreme chromaticism that pervades the Divertimente. All twelve notes of the chro- matic scale are present in the first measure with only two repetitions. the notes G and E. In the second measure a similar condition exists. but with more repetitions and with one note Of the chromatic scale. D. missing. Although Toch was not trying to write in the twelve-tone style. he did. through such chromaticism. write passages which lack a clear tonal center. and he thus came close to writing in the manner of SchUnberg. Although Toch's chromaticism frequently obscures the tonality of the second movement. the coda clearly estabfishes B minor as the fundamental tonality. Toch accomplishes this by six repetitions or variants of the motive that Opened the movement. Since the first three notes of the movement form a B-minor triad. the tonality of the second movement is unmistakably established. The last movement is based on a single two-note motive 80 that does not stop until the very end Of the movement. This movement resembles Bach's two-part inventions in that 1) its texture is imitative counterpoint. 2) there are only two voices. and 3) the developmental process is continuous. Toch immediately begins to expand the two-note motive into a four-measure phrase (Example 33) by inverting the motive. transposing it. and enlarging the interval between the two notes from a second to a third. a fourth. or a fifth. Example 33 (measures 1-4) Used by permission of European American Music Distributors Corporation. Since the same rhythmic motive appears throughout the last movement. the difference between the entries of the main subject and the episodes is not very pronounced. The main subject can be identified. however. by the sustained notes that appear along with the rhythmic motive. while the episodic sections are distinguished by the simultaneous use Of the rhythmic motive in each instrument. Since the final movement of the Divertimente lasts only about two minutes. there is not much time for extensive developmental procedures. The techniques that Tech uses include interval enlargement. up to the seventh (measure 21). 81 and change in the interval Of imitation between the two in- struments from a major third (measure 1) to a major second (measure 5). The rich chromatic style throughout the Divertimente compensates. to some extent. for the thin texture that is normally produced by a pair Of string instruments. Although this type of chromaticism does produce an effective and enjoyable piece of music. it cannot serve for long as a sub- stitute for the fullness that can be produced by larger en- sembles. Realizing this. Toch wisely decided to limit the dimensions Of his Divertimento. 232.222; Vielon.pp Violoncelle py Bohuslav Martinu Bohuslav Martinu wrote two duets for violin and 'cello. The first due. which is the more famous of the two}2 was written in 1927 and was premiered in Paris by Stanislas Novak and Mauritz Frank. At that time. Martinu had already assimilated the various influences--Czech folksong. French Impressionism. Neoclassicism. and Renaissance counterpoint-- that characterize his mature works. In this first duo. cen- trapuntal writing and classical develOpmental techniques take precedence over folk music and Impressionism.' The duo is made up of two movements: a Prelude. marked andante moderate. and a Rondo. marked allegre 222 Egig. The prelude is primarily contrapuntal. Martinu in- troduces an essentially tonal subject (which is reproduced '__'_"1T-_'-—' The second duo was written in 1958 and is in.D major. Neither one bears an Opus number. 82 in Example 34) and devotes the entire movement to developing this theme. Example 34 (measures 1-5) V \_—/ Copyright 1928 by EDITIONS MAX ESCHIG. Used by permission Of the original copyright owner and its United States representative. Associated Music Publishers. Inc.. New York. Martinu starts the developmental process in this movement even before the first statement of the theme is completed. He accomplishes this by adding a countermelody in measure three. The countermelody is actually derived from the principal theme. although the intervals are quite different. The independent course of the two lines is re- inforced by Martinu's use of bitonality. with E minor for the principal melody and Db major for the countermelody. Throughout the course of the movement. the two lines pro- duce sonorities that are quite dissonant. The seventh meas- ure might serve as an example. In that measure the first four intervals form an augmented unison (E to Eb). a tri- tone (Db to G). a second tritone (C to F#). and another augmented unison (E to Eb). The independent quality of Martinu's contrapuntal lines is also apparent in the rhythmic structure of the phrases. These are divided into small units consisting of 83 two. three. or more eighth notes and are frequently arranged in asymmetrical and irregular patterns. A good example of this type of writing occurs in measure seven. where beatin- struments have a series of eighth notes grouped into threes by slurs. The vielin's groups start on the downbeat. and the 'cello's start after the beat. The net result is a rhythmic structure in which the two parts are indepen- dent Of each other and independent Of the bar-lines. The Prelude progresses from a quiet beginning to an emotional peak which occurs about two-thirds of the way from the beginning. During this prolonged build-up. the small melodic intervals of the theme are expanded and the dynamic intensity is increased. As he approaches the climax Of the movement. Martinu abandons the contrapuntal style and adopts a homorhythmic style with double-steps in both instruments. This homorhythmic section (measure 40ff) includes quartal chords. seventh and ninth chords. and chords with split elements. These sonorities lead (in measure 49) to a re- statement ef the opening theme which sounds somewhat like a recapitulation. This section does not. however. satisfy the formal requirements of the movement. because its tonal- ity (Gb) is too far removed from the Opening key. and because the mediant root relationships that Martinu uses at this point are quite unlike anything in the simple statement that opened the movement. A more definite feeling of closure oc- ours in measure 61. where the 'cello reaffirms the original tonality by playing a truncated version of the Opening subject. 84 The Prelude ends with a coda which shifts the tonal center to C minor. This final shift of tonality is not so illogical as it might seem. for in the first important ca- dence (measure 5). the tonality Of the original melody also shifts from.E minor to C major. These changes Of tonality might be compared to the theme itself. which is characterized by a drep of a third (albeit a miner third) and to the cli- max Of the movement (measure 49). where the chords are merely raised or lowered by the interval of a third. It seems as if Martinu. who always had a certain amount Of aver- sion for classical instrumental forms. was trying to create unity by using the third at various levels of the musical fabric. The second movement of the Martinu.Qpp is a tradi- tional rende form with long cadenzas for both instruments. The various sections of the Rondo can be outlined as follows: Measures 1-39 Rondo theme Measures 40-72 Episode Measures 73-102 Rondo theme Measures 103-137 Episode Measures 138-140 Cadenzas (based on Rondo theme) Measures 141-190 Coda. From an analytical point of view. the Rondo is not very in- teresting. for it is mostly a virtuoso showpiece full Of sequences. scale passages. and arpeggiated figures. One of the more attractive features of this Rondo is the manner in which it constantly modulates by means Of these virtuoso figures. Example 35 shows such a modulation. which occurs during the first episode. 85 Example 35 (measures 52-56 Copyright 1928 by EDITIONS MAX ESCHIG. .Used by permission of the original copyright owner and its United States representative. Associated Music Publishers. Inc.. New York. In some of the more rapid passages the Rondo becomes quite dissonant. Usually dissonances occur. as in Example 36. as a result of linear independence. at a rather low dynamic level. Even though the harshness is somewhat tempered by the low dynamic level. a somewhat muddled effect still results. Example 36 (measures 83-86) Copyright 1928 by EDITIONS MAX ESCHIG. Used by permission of the original copyright owner and its United States representative. Associated Music Publishers. Inc.. New York. In 1944 Miles Safranek. Martinu's biographer. wrote that at that time. the Due was more widely performed than any other work of Martinu.3 It should be noted that in Miles Safranek. Bohuslav Martinu: The Man and His Music (New York: Alfred E. Knapp. 1944). p. 31. 86 many performances portions Of the Rondo are cut out. Inter- estingly enough. the parts that are usually cut (measures 54-74 and 124-138) bear a strong resemblance to a syncepated section in the first movement of the Ravel duo. Since Martinu was living in Paris when Ravel‘s due was premiered. it is possible that he heard a performance of that earlier work. For the most part. however. the two dues are vastly different in content. form. and scope. Sonatine pppp‘Vielen‘pp‘Violoncelle py Arthur Honegger Although Arthur Honegger was at one time a member of ”Les Six.“ he did not fully sympathize with the doctrines Of Cocteau and Satie. and. as a result. he became the first to break away from the group. There must have been a serious vein in Honegger's personality that made him feel uncomfort- able with the light-hearted style that was espoused by the leaders of “Les Six." Honegger did feel at home with chamber music. however. and his early training as a violinist under Lucien Capet helped him write effectively for string en- sembles. The Sonatine pppp Violon pp Violoncelle has achieved a certain amount Of popularity. having been recorded at least four times by major artists. Its popularity is due to its attractive melodies. effective forms. and clever mixture Of tonal and non-tonal elements. The term sonatine usually refers to a simplified sonata form. In the case Of the first movement. this de- scription seems apprOpriate. since the develOpment section 87 does not exist. This does not mean that the movement is simple and straightforward like the classical sonatinas of Clementi and Kuhlau. for Honegger has a tendency to start elaborating on his themes as soon as he presents them. A good example of this tendency occurs in the E-majer melody that starts in measure twenty-eight. At that point Honegger expands a four-measure tonal melody (Figure 37) into twelve measures Of melody plus development. Figure 37 (measures 28-31) Copyright 1932 by EDITIONS SALABERT. Used by permission Of the publisher. This melody. along with another equally simple melody in E major (measure 14) and the opening melody (which ap- pears in Figure 38) make up the first-theme group. Two of these themes are unified by their common tonal center. and all three are unified by the flowing rhythmic figures that appear throughout the first-theme group. The opening mel- ody differs from the other two melodies in the first-theme group because of its medal feeling. The first five meas- ures of this melody suggest the Lydian mode. and the fol- lowing five suggest the Dorian. Modal elements also appear later in the movement. but only for very brief moments. as 88 a means of varying the tonal melodies. Example 38 (measures 1-5) \— Copyright 1932 by EDITIONS SALABERT. Used by permission of the publisher. It has been stated above that there is at times an atonal feeling about this work. In the exposition this feeling is not the result of any modern harmonic practice. but rather' of the composer's tendency to extend his mel- odies by restating fragments in different keys. The mel- odies of the first-theme group start out in a definite key. but tend to wander away quickly so that there is no feeling of closure. Also. the modulations do not lead to the tonal center Of the following sections. at least not in a deci- sive manner. Root relationships at important structural points often involve the interval of the third. as in meas- ures 13-14. where the E—minor melody is preceded by G# chords: and measures 27-28. where the E-major melody is preceded by G chords. The second-theme group (measures 4lff) is quite tonal and traditional. It consists of two sections of imitative counterpoint (one in C and the other in C#) which alternate with a C-major melody that is played first by the violin 89 (measures 44-51) and then by the 'cello (measures 60-64). In these C-major sections. Honegger makes use Of full sonorities which contrast effectively with the surrounding texture. The recapitulation makes a tentative beginning in measure 72 with an extremely shortened version of the theme that opened the movement. It is actually not until two measures later. when the E-minor theme (from measure 14) reappears. that a feeling of a reprise and a return to the fundamental tonality is established. As if to compensate for slighting the first melody of the first-theme group. Honegger then devotes a large section (measures 84-111) to this theme. In these measures. the modal theme appears five times. transposed to different keys and set against various ceuntermeledies. It might be possible to hear these measures as the develOpment. but that would not take into considera- tion the fact that no section in the movement re-establishes the tonic as well as the section that begins in measure 74. In the recapitulation the second-theme group (measures 124-142) is somewhat shortened. because only the first imitative section is represented. Portions of the distinctive melody of the second-theme group (which originally appeared in measures 44-53 in the key of C) do reappear in the coda. how- ever. as a countermelody to the modal theme that Opened the movement. Although the coda. which is marked ppipp,tr - guille. is based on the key of E major. it moves in the final chord to E minor. 90 For the second movement of the Sppgpipijonegger uses a modified ternary form with an andante for the first and third parts and a section marked gpppip,ppyppgppp for the B section. The Opening A section. in D major. is made up Of two parts: a lyrical first section with irreg- ular phrase lengths (measures 1-13). and a chordal section (measures 14-19). These are followed by a six-measure tran- sition that leads to B miner. the tonality of the B sec- tion. Although the transitional section is quite brief. it does play an important role. because its elements reappear both in the reprise and in the coda. In the lyrical section which appears at the beginning of the second movement (after a one-measure introduction). Honegger again presents a rather simple. tonal melody which he almost immediately starts to develop in a free and irreg- ular manner. The section can be divided into phrases Of four. three. four. and two measures. but these divisions are somewhat arbitrary. because there are very few solid ca- dences. It is quite clear. however. that the second phrase starts in measure six because the rhythmic structure Of measures two and six is identical. The third phrase can be identified by the minor subdominant chords which appear at its beginning and end. Even though the last phrase (meas- ures 12-13) lacks the distinctive rhythm (frr) that appears in the first measure of each of the previous phrases. it is really no less melodic. for the three-note rhythm is the only element that reappears with any consistency within 91 these thirteen measures. The chord changes in these first thirteen measures often involve mediant relationships. as do the chord changes in the ensuing chorale. which is re- produced in Example 38. Example 38 (measures 14-19) Copyright 1932 by EDITIONS SALABERT. Used by permission of the publisher. In the middle part of the ternary form a five-note motive serves as the generating force for the entire section. This motive. which is inverted and tranSposed in the second measure. is subsequently extended and modified until an eight-meaSure phrase is formed. The materials from this phrase are used throughout the five distinct parts of the B section“ The five parts can be outlined as follows: Part I (measures 26-41) three statements of theme: one by violin. two by 'cello Part II (measures 42-58) transition based on material from measure 29 Part III (measures 59-72) theme combined with material from part II Part IV (measures 73-78) transition. similar to part ' II Part V (measures 79-94) ascending version of original theme. 92 It should be noted that a secondary line. which first appears in measure five. is also derived from the five-note Opening motive and that in section III the two instruments play alternating measures Of the theme. The reprise involves more than a simple restatement of the A section. It includes altered versions of the chordal subject. sections based on the transitional material from measures 20-25. and the harmonic structure that appeared in the lyrical section which comprised measures 2-13. Aginst this harmonic structure Honegger has set portions Of the theme from the B section (in measures 105-112) so that the ternary form Of the movement becomes an.A B A1 form. with Al consisting of elements from both A and B. The Opening four notes Of the lyrical subject also appear in the reprise (in measures 105. 109. and 113) but the rhythm of these four notes is somewhat altered. In the short coda that begins in measure 11?. medal elements again appear. In this case. the entire ten meas- ures are set in the Phrygian mode. The final movement of the Sonatine is cast in a tra- ditional rende form. Example 39 shows the first four measures Of the main theme. which is used as the basis for the first forty-three measures of the movement. The quartal melodic intervals of the first two measures give the rende theme a distinctive flavor. but these intervals occur only at the beginning of the movement and in subsequent appearances of the rende theme. 93 Example 39 (measures 1-4) Copyright 1932 by EDITIONS SALABERT. Used by permission of the publisher. The rende subject is actually a compound subject con- sisting of a parallel period. eight measures of contrasting material. the original phrase extended to twelve measures. and a second contrasting eight-measure phrase. Since the two contrasting phrases are not much more than repeated chords (IV in the first case and V in the second). they tend to function somewhat like extensions of the main subject. In between the rende theme and the first episode there is an attractive seven-measure melody that leads to G major. the tonality of the first episode. Although this melody functions primarily as a transition. it stands out because its legato quality contrasts sharply with the short notes of the rende theme and the first episode. The first episode (measures 51-96) is made up of a violin solo which is accompanied by repeated triple-stop chords in the 'cello part. Although the violin part is set in the minor mode. the 'cello part uses only G-major chords throughout the first sixteen measures. The two instruments finally agree on a mode in measure 71. where the chord 94 changes to the subdominant. The violin solo continues until the return of the rende theme in measure 87. Measures 87-108 are devoted to elaborations of the original rende theme. This section includes three variants of the theme: one starting in E major and two in A. The third variant leads to a transitional section which starts in F major. but changes in measure 113 to F# major. the to- nality Of the ensuing episodic section. The F# major episode is based on a motive that uses exactly the same five-note rhythmic pattern as the first measure of the rende theme. This rhythmic pattern (QT? L! ) is also the reverse of the pattern that was used in the ”B“ section Of the second movement ((J‘ L37). The motive first appears in the violin part and is imitated by the 'cello in the second measure a minor sixth lower. The imitative pro- cess continues throughout this section. there being only four measures that do not use the motive or a portion of it. In measures 147-177 Honegger makes extensive changes in the original rende theme. The first change concerns the initial eight measures, and involves moving the tonality to Bb major while adding rhythmic interest to the accompanying 'cello part. In the second part of the section. the first four measures of which are reproduced in Example 40. Honeggmr sets small portions of the theme in the 'cello part. Aginst these segments. the violin plays repeated notes that create what might best be described as an orchestral sonority. The parts Of the theme that are used in this section always 95 involve the second. or consequent. part of the rende theme. This practice is similar to that of the original four meas- ures. where the violin plays the antecedent and the 'cello the consequent part of the phrase. Example 40 (measures 155-158) Copyright 1932 by EDITIONS SALABERT. Used by permission of the publisher. The rende section ends with repeated chords. first Cb major and then F minor. that lead to the ensuing episode. The final episode (measures 179-210) correSponds to the episodic section that appeared in measures 51-86. In this soloistic episode the 'cello plays the leading part while the violin plays the repeated chords. Although there are some minor changes in the solo line. the only significant difference between this episode and the first is the change of key which makes the second version start in C. and then end by leading to E major in preparation for the final statement of the rende theme. The final rende section. marked prestissimo. is devoted almost entirely to the opening five notes of the rende theme. The only additional material that appears in this section is the melodic passage (measures 231-238) 96 that originally served as a transition between the initial rende section and the first episode. Beginning in measure 239. the five-note motive is develOped into a stretto fig- ure that leads to a quartal chord (measure 250) composed Of the first three notes of the rende theme. A final pizzi- cato “E" in octaves ends the Sonatine. The rende is unlike the first and second movements in that it does not portray a feeling Of constant develOp- ment. Its straightforwardness is due to its predominantly eight-measure phrase structure. easily recognizable motives. and predictable harmonic progressions. In its simplicity. it resembles the finales that sometimes appear in Haydn's string quartets. The analogy between this work and Haydn's quartets might be carried even further. for Haydn frequently used a reduced two-part texture in his quartets. Beth com- posers seemed to recognize that one does not always have to use complex procedures when writing for small groups. Qpp Concertante py,Qpppgg Rochberg George Rochberg wrote his Qpp_Concertante in 1955. the same year that he published his theoretical work on the hexachord.” Although the duo was later revised. it still exemplifies the theories that were discussed in the 1955 treatise. Rochberg's basic theories can be deduced by an examination Of Example 41. which lies at the center of the Due Concertante. The observations regarding Example 41 are a George Rochber . The Hexachord and its Relation.pp the Twelve-Tone Row. Bryn Mawr. Pa.: Theodore Presser. 1955). 97 eSpecially noteworthy not only because the entire composi- tion is based on these four measures but also because Rochberg's ideas are embodied in these same four measures. Example 41 (measures 126-129) I If III IV Copyright 1960 by Theodore Presser CO. Used by permission of the publisher. 1 A complete row is stated in each of the two instrumental parts. (Two notes of the 'cello line. A and Ab are repetitions.) 2 Each row divides itself into two hexacherds using the pitches E. F. F#. A#. B. and C for one hexacherd and C#. D. Eb. G. G#. and A for the other. 3 Hexachords I and IV use the same pitches. while hexacherds II and III share another set of six pitches. 4 Hexachord IV is a retrograde of hexacherd I. 5 Hexachord IV is an inversion of hexacherd II. 6 Each hexacherd can be divided into two groups of three pitches with the pitches arranged so that the second half of each hexacherd is but a trans- position of the first half. 7 The second group of three notes in each hexacherd lies a tritone above the first. These observations have an importance that transcends the theoretical. for these small units of three. or even six notes are easily recognized by most listeners. Since small 98 groupings are much easier to recognize than a series of twelve pitches. the Due Concertante should make more sense to the average listener than the usual twelve-tone compo- sition. Although a few sections of the duo use the tone rows or hexacherds rather freely. Rochberg usually uses a com- phfle hexacherd at a time. Often with the two hexacherds played by different instruments. Combinations of the two hexacherds. such as shown in Example 42. where the two hexacherds are not clearly separated either in a vertical sense or in a horizontal sense. occur mostly at the endings of large sections. Example 42 (measures 248-251) Copyright 960 by Theodore Presser Co. Used by permission of the publisher. Rochberg uses fermatas of varying lengths (pp short. fF medium.t3= long) to identify the endings Of musical units. Frequently. the fermatas are placed at the end of four meas- ure units. but this does not mean that there is a great deal of regularity in the phrase structure. for the time signa- tures change very frequently. In the first twenty-five meas- ures alone. for example. there are eleven time-signature changes. 99 A certain amount of repetition also contributes to the formal organization of the 2pp,Concertante. In fact. this work could be seen as a sonata form with the following organization (even though not every measure can be accounted for in the outline): Theme I Measures 1-20 Angular theme with irregular rhythms Theme II Measures 21-45 Use of recurring rhythms Theme III Measures 46-69 Lyrical melody plus transition Development Measures 70-167 Theme I Measures 168-181 Same pitches as expo- sition: minor changes Theme II Measures 208-224 TranSpesed (at the tritone) Theme III Measures 208-224 Lyrical theme with same pitches as in the devel- Opment: also transposed Coda Measures 242-end Mostly constant sixteenth notes. It can also be argued that the Qpp,Cencertante is not a sonata form because every measure can be seen as a development of the central four measures (Example 41) and also because the key relationships which are associated with the senate form are not present in this work. In either case. the hexacherds and the repetitions provide a consid- erable amount of structural unity: All the discussion that has taken place so far has focused on the aspects of the duo that produce a sense of unity. However. there are sections. sepecially in the 100 development. where hexacherds are handled quite freely. Such a case is illustrated in Example 43. where three state- ments of hexacherd II are combined with a three-note group of notes (Bb. B. and C) from hexacherd I. plus the note P. which also belongs in hexacherd 1. Example 43 (measures 100-101) Copyright?igggb: Theodore Presser 00. Used by permission of the publisher. The lyrical melody which makes up the third theme (Example 44) might also be cited as another case in which the materials are handled rather freely. In the latter instance the melody does not form an entire row by itself. even though it is clearly derived from the original row. In this case. the similarity of the melodic lines establishes a relationship that is as effective as any statement of the complete row. Example 44 ./'\ Copyright 1960 by Theodore Presser Co. Used by permission of the publisher. Like other twelve-tone composers. Rochberg enjoys 101 using special string effects such as pizzicato. eel legno. non-vibrato. harmonics. flautando. glissandi. and quarter tones for the variety that they afford. Unlike others. Rochberg successfully combines variety with a type of order that is discernible by the listener. The Qpp,Concertante unites these qualities with occasional flashes Of lyricism which bring out the singing qualities of the string instru- ments. CHAPTER IV SUMMARY AND CONCLUSIONS The foregoing examination of eight duets has not really touched on the question of what makes a good duet. It has. however. shown that creating big sonorities with a violin and a 'cello is not the way to write effective duets. Kodaly and Honegger occasionally use the two instruments to create large sonorities. but these are isolated instances. A few composers. most notable of which is Emmanual Moor. have concentrated on producing full sonorities. but their works have not enjoyed much success. The most important dues. those of Ravel and Kodaly. are effective simply be- cause they employ a wide variety Of ideas within logical and effective forms. Since the main body of this thesis has concentrated on works which have already achieved some success. less successful works by well-known composers such as Milhaud. Tcherepnin. and others have been left out. Since most of the successful duets were written before 1932 by composers born in the 19th century. it may seem as if the interest in the dust was but a temporary phase--a reaction to the ex- cessive bigness of the 19th century. This concept is con- tradicted. however. by the number of duets written by 102 103 composers who were born after 1900. A partial list might include the names of Honk Badings (1907). Halsey Stevens (1908). George Rochberg (1918). Ezra Laderman (1924). WIUUam S. Sydeman (1928). and Phillip Rhoads (1940). Perhaps at first. the interest in the duo was largely the result of a general reaction against the bigness Of Romanticism. New. interest in the due (and other small ensembles) is influ- enced by sociological considerations at least as much as by aesthetic ones. For evidence of the increased interest in small ensembles one need only look at the many different types of instrumental combinations that are being used. These range all the way from woodwind quintet plus violin and 'cello]' to duets for flute and string bass.2 his current interest in chamber music has at times been ascribed to the fact that professional orchestras seldom program new music and most non-professional orchestras are not capable Of playing the new music.3 As a result. many composers have turned to other types Of music. including chamber music. The situation is not really as lamentable. however. as some cem- posers would have us believe. It seems only preper for a l Isang Yun. Music for Seven Instruments (Berlin: Bets ang Beck. 1959). The well-known bassist. Bertram Turetsky. has collected works for flute and base by William Sydeman. Alvin Epstein. Eugene Martin. Ben Johnston. M. William Karlins. Peter Pindar Sterns. and Donald Erb. 3 This viewpoint is stated by David Hamilton in "Current Chronicle--New York.” Musical Quarterl . (January. 1966): PP. 90-93. 104 composer to prove his ability with small ensembles (even though it is Often more difficult to write for small groups) before trying to write for full orchestra. Beethoven cer- tainly followed this course (by publishing thirty-two cham- ber works before his first symphony). as did Haydn and countless other composers. The phenomenal growth of chamber music has resulted in a wide variety of compositions for violin and 'cello duet ranging from the most esoteric to compositions which are suitable for amateur players. A partial list of the latter type would include works by Abraham Daus. Charles Lichter. Michael Bielski. Erdhard Karkeshka. and Siegfried Borris. The duos by Halsey Stevens and Alexander Tansman are in a special category. for they are among the very few duos that have been written for young students. In spite of all the activity on the part Of com- posers. the number of performances of violin/violoncello duos does not come close to the number of performances Of works for unaccompanied violin or unaccompanied 'cello. A sizeable number of solo performances are. however. commaned with the unaccompanied works of Bach. in contrast with the performances of dues. which most Often comprise twentieth- century works. One Of the difficulties that duos face is that they are about as demanding on the performer as are unaccompanied sole works and. in addition. they require more effort in solving ensemble problems and problems that arise as a result Of differing views on intonation. One 105 might well wonder who is going to take the time to work out the many technical and musical problems that are involved in playing duos. Most of the performers who have been active in the field are related to each other by blood or marriage. The outstanding exception has been the Heifetz-Piatigersky Duo. These two performers have created considerable in- terest in the dust form. even though their concerts have not been made up entirely of dues. Instead. the dues have been interspersed amongst other chamber works for which ”guest" musicians have been invited. A similar approach might be of great value to some of the colleges and universities that can only afford to have two string players on their faculty. These could serve as a nucleus around which a chamber music series could revolve. The repertoire could include dues and. as in the Heifetz-Piatigorski concerts. other musicians from the community could help in performing larger works. In this way. the string faculty might both inspire and help community musicians as well as promote contemporary music by performing some of the many worthwhile twentieth-century duets. APPENDICES APPENDIX A CURRENTLY AVAILABLE DUETS Absil. Jean. Images Stellaires. Opus 161. Brussels: Belgish Centrum veer Musiekdocumentatie. 1974. Andriessen. Hendrik. Three Inventions. Amsterdam: Donemus . 1937. Badings. Henk. Sonata veer Viool en Violoncello. Amsterdam: Donemus. I927.- Bazelaire. Paul. Cache-Cache. Paris: Salabert. n.d. Bentzon. Jorgen. Drei Expressive Skizzen. Oslo: Wilhelm Hansen. 1928. Bielski. Michael E. Six Moods. Philadelphia: Henri Elkan Music Pu5.. I939. Bielski. Michael E. Three Sketches. Philadelphia: Henri Elkan Music Pub.. I9 Borris. Siegfried. Partita fur Violins und Cello. Opus 27. no. 3. Berlin: Sirius Verlag. n. Bozza. Eugene. Ricercare pour Vielon.pp Violoncello. Paris: Leduc. I959. Brown. Richard Earl. Serenata for Violin and Vioiencello. Hamilton. Ohio: Composers —Autograph Pub.. 1975. Capdeville. Pierre. Sonata de Camera rViOlon et Violopceile. Paris: Routert-e silo & Cie.. 1941. Chulba. Oswald. Spnayg. Opus 22. Prague: Hudebni Matice. 1950. Clark. Henry Leland. Game That Two Can P1aay.Los Angles: Essay Music Corp. —n.d. Daus Abraham. Four D ale es. Tel.Aviv: Israeli Music ' Publications. NEIL-9 . David Johann Nepomucene. Due Concertante. fur Vipline ' pp%.Vipiopceilo. Leipzig: BreitkOpf— & Harte . 9 106 107 Driessler. Johannes. “23g ffir Violine‘gng Violoncello. Opus 1. Kassel: BareanIter VerIag. 1953. Eisler. Hanns. Duet. opus 7. no. 1. Vienna: Universal Edition. I972. Evett. Robert. Duo. New York: Composers Facsimile Edition. 19 Fitelberg. Jerry. Due for Violin.§gg,Ce;;o. New York: Omega Music CO. n d Franco. Johan. Three Inventions. New York: Pioneer Editions. 1937. Cal. Hans. Divertimente £2; Violin and Violoncello. Opus 90. London: N. §Imreck. l9 9. Guerra-Peixe. Cesar. Pegueno Duo ra Vie n y W. Montevideo: Ed ter a COOpera iva e Interamer cana de Compositores. 19h7. Ghedini. Giorgio Federico. Canzoni pg; Violino‘g Viglgncellg. Milan: Suvini ZerbonI. I957. Giannini. Walter. Sonata. New York: American.Music Edition. 197 . Gliere. Reinhold. Eight Duets. New York: International Music Company. 1922. Harsanyi. Tiber. Duo. Paris: Senart. 1929. Heussenstamm. George. Plexus. New York: Seesaw Music. 19 7. Honegger. Arthur. So atine pour Violon.gt,Viglgnce;1 . Paris: Sala ert. 93 . . Jeubert. J. 222 for Violin and Cello. Opus-65. London: Novella and-Co. 1972. Jongen. Joseph. Duo Sonata. opus 109. Brussels: Belgish Centrum voor MusIck documentatie. 1958. Karkosha Robert. Duet far V Oline und Violoncello. Regensburg: Bosse Ediéion. 1933. Kodaly. Zoltan. Dug. Opus 7. New York: Universal Edition. 192 Keutzen. Borris. Sonata. New York: General Music Publishing CO.. 1952. 108 Krachenbueul David. Variations for V in and Cello. New York:' Associated Music PuEIIsKers. 1933. Kroeger. Alfred Karl. Due Concertante for Vie in and Violencel 0. New York: Composers Pacs le t on. 1963. Laderman. Ezra. Duo for Violin and Cell . New York: Oxford UniversIty Press. I937. Lichter. Charles. Pour Hebrew Canons. Philadelphia: Henri Elkan. I972. Lopatnikoff. Nikolai. Duo. Opus 8. New York: MCA Music. 1930. Macenchy. Elizabeth. Theme and Varlatiens. London: Alfred Lengnick & Co.. It .. l9 . McBride. Robert. Take-Off. New York: Composer's Facsimile Edition. 1935. Maganini. Quinta. Canonéc ESpressivo. New York: Edition Musicus. Inc.. n. . Marckhl Erich. Duo Sonata ffir Viollne und‘xlglfigggllg. no. 1. Vienna: I. DOinnger erIag. 195 . Marckhl. Erich. Duo S nata ffir Violins und V O ce 0. no. 2. Vienna: . DOSIinger VerIag. 9 . Martinu. Bohuslav. Duo pour Vlolon.g£'Violoncelle. Paris: Max Eschig. I927. Martinu. Bohuslav. Q22 _i_ l96h. Migot. George. Sulte l_r_: Three Movements. Paris; Leduc. n. . 2 Major. Paris: Max Eschig. Mihalovici. Marcel. S ata. opus 50. Paris: Editions Amphion. n.d. Milhaud Darius. Sonatina pour Véolon‘gt Vigioncell . Paris: HeugeI et Cie.. 19 . Moor Emmanuel. Suite pour Violon.33.Vigloncelle Opus 109. ' Paris: SaIaSErt. n.d. ' Osieck. Hans. Sonata for Violin and Cello. Amsterdam: Donemus. n.d. “:6 . 4 7 “ rm. 1 3n “w- _.PZ1L' 109 Pergament. Moses. Duo opus 28. Stolkholm: A. B. Nordiska Muskagrlaget. n.d. Pinkham. Daniel. Duo for Violin and Vloloncello. New York: Composer's FaosImile Edition. 19 . Pisk. Paul. Vgriations and Fugue on American hemes. New York: Composer's FacsimIle Edition. 1932. Ponce. Luctor. Due. Amsterdam: Donemus. n.d. Raphael. Gfinter. Duo lg §_ffir Violine Egg Cello. Opus #7. Heidelberg: Willy Muller. 1959. Ravel. Maurice. Sonata our Violon.gl Violoncello. Paris: Durand et CIe.. 1925. Rhoads. Phillip. Duo for Violin and Violoncello. New York: Rivier. Jean. Sonatine pour Violon gt Violoncello. Paris: Editions SaIabert. 1933. Rochberg. George. Duo Concertante for Violin and Cello. Bryn.Mawr: Theodore Presser Company. 9 O Schauss. Ernst. Duo lg Drei Satzen ffi Violine und Cello. Berlin: Afas Musikverlag. 19 O. Schwartz. Elliot. Graffiti. New York: Carl Fischer Facsimile EditIon. 1974. Seiber. Mathias. Sonata g2 Camera for Violin and Cello. London: J. & W. Chester. Lt3.. I953. Sharvit. Uri. Andante Scherzando. Tel Aviv: Israeli Music Publications. 1955. Shifrin. Donald. Duettino. Bryn Mawr: Theodore Presser Company. 197 . Shulman. Alan. Duet for Violin and Cello. Bryn.Mawr: Theodore Presser Company. 197 . Skalkottas. Nikos. fl,Duetti per Violine g,Violoncello. London: Universal Edition. 1933. Siegl. Otto. Gartenmusik nach alter Art. Opus 19. Leipzig: Doblinger. 1925. Simons. Netty. Duo for Violin and Ce 0. New York: Composer's FacsImIle Edition. 19 4. 110 Sprongl Norbert. Duo no. 1 Opus 101. Leipzig: Doblinger. 1935. . Stevens Halsey. Seven.Duets for Vi n and Cello. Los Angeles: HelIes MuEIE’ .. 9337 Sydeman. William. Du go; Violin d Vloloocello. New fork: C. F.-P%ters. I937.‘2E' Tansman Alexander. Neus Jovens oour Mamao. Paris: Max Eschig. 1935. ' Tcherepnin. Alexander N. Duo fur Violine und Violoncello. New York: Bote and-FOcE. 19 . - Toch. Ernst. Divertimento. Opus 37. no. 1. Mainz: B. Schott'm. ' Van Vactor David. Duettino for Violin and Violoocell . New'York: Roger Rhodes MusIc. I973. Villa-Lobos. Heitor. Deux Chogos (bis). Paris: Max Eschig. 1930. Wagner Joseph. Preludes and Tocatta. New York: Lyra .Music Company. n. . ’ Wildgans. Friedrich. goo Sonatina 3.9.2 Violine l1_n_d_ Vloloncello. Vienna: Doblinger. I933. WisXOcki. Leszek. g,Miniature er Vfiolino o,Violoocello. Warsaw: PolskIe Wydawnic uo uzyczne. 9 . Wolf-Ferrari Ermanno. goo fur Vi line und Violence lo opus 33b. Munich: FT. .c-‘h. uc a??? EST—3b ' Wolf-Ferrari. Ermanno. Introduzione & gollooo. opus 35. Munich: F.E.C. LeucEart. I933. Zbinden. Julien-Francois. Partita. Opus 21. Leipzig: BreitKOpf & Hartel. 1933. Zich. Otakar. Czech.Sulte. Prague: Huedebni Matice. 1927. APPENDIX B OUfl-OF-PRINT DUETS Bachrich. Ernst. Duo. Opus 5. Vienna: Universal Edition. 1953. Binet. Jean. Gavotte. Paris. Durand. Brink-Pothius Annie van der. Sonate. Amsterdam: AMie fiank ' 191‘70 Clarke. Rebecca. Grotesgue and Lullabx: New York: Carl Fischer. Fairchild. Duo for Violin and Cellg. London: Augner. Gerschefski. Edwin. Duet for Violin and Cellg. New York: Pioneer Editions. Inc. Ibert. Jacques. l§,gardlniere g2 Samos. Paris: Leduc. Jemnitz Alexander. Duo for _lglln,andc ell . Mainz: 1'3. Schott's $613713. Karyinsxy. Nikolaus. S nate pour Viglon.g;,Vlgloncelle. Paris: Max Esc g. Leonbro Leo. Sonate rViOlon e Violggcelle. Paris: De Cource 1915. J Perilhou Albert. Trois Pieces. (Bouree Musette Minuet). Paris: Heugel et . . Persfelt. Beor. Passacaglia. Berlin: Stahl Verlag. Pochon. Alfred. Etude: Theme and Varlations. New York: Franco Colombo. Razigade. George de. Petit Piece. Botdeaux: Razigade. Reuter. Fritz. Spielmusik. Leipzig: Kister und Siegel. Rosseau. Samual Alexander. Gavotte. Paris: Huegel. Rougnon. Paul. .Aria. Da ze. Passpled. Toccata. Paris: Costallat. Sanders. Paul F. Duo. Curacao: De Stoep. 111 112 San Pietro. Carlo. Sonata Fagtastica. Milan: Ricordi. Schulhoff. Erwin. 222. Vienna: Universal Edition. SOchting. Emil. 8 Duos. opus #9. Leipzig: BreitkOpf & Hartel. Troschin B. M. Sonataf Vio in and Cello. Kiev: State Music Pubw s ers. oI933. Szekely. Zoltan. P h ‘35 HomOphone. Vienna: Universal Edition. 19 Vomaka. Boheslav. 222. Prague: Hudebni Matice. 1928. Anosko-Borowsky. Alexander. Sonata for Vlolln andC ellg. Opus 9. Kiev: State Music Publishers. I9 32. APPENDIX C DUETS IN MANUSCRIPT Busch. Adolph. Sonate. Copy in library of Alexander Feinland. Contreras Salvador. Sonate. Copy in library of the composer (Mexico CIty). Dekker. Gerard. Duo. Copy in library of Alexander Feinland. Eimert. Herbert. Varlationen. Copy in library of Alexander Feinland. Eller. Daniel. Duo. Copy in library of the composer (Claremont. —California). Engels. Christian Jose h Hendrius. Duo. COpy in library of Alexander Fe nland. Freitas. Frederico de. Sonata en Quatro A dame tos. COpy in library of the composer ILIsbon). Giarda Luigi Stefano. Duos f r Vio in and Cellg. Copy ’in library of Alexander eIHI%53. Gordon. Hugo. Three Pleces. Copy in library of Alexander Feinland. Hedwall. Lennart. 1Sogata de Chiesa for Viglln andC ellg. Copy in.StOl we en momposer 3 Union). Hijman. Julius. Duo. Copy in library of Alexander Feinland. Lolefia. Hans. Duo for Violin d Cello. Copy in Stolkholm. Sweden (Composer's UnIoni.* Hoeck.W .1 es dDeux Voix. COpy in library of Alexander Fe n Klerk. Albert de. Sonate. Copy in library of Alexander Feinland. Kreal. Ernest. Duo. Copy in library of Alexander Feinland. Kremenliev. Boris. Dlveztlgegtg. Copy in library of the composer. UCLA. Los.Angeles. 113 11h Nanatsuya. Hiroshi. Sechs Kanonische ffir Geige 22d Cellg. COpy at Lenin State rary. Moscow. Scherber. Ferdinand. Sonata. Copy in library of the Composer. Vienna. Schrieber. Fritz. Suite for Viol and Cello. Copy in library of Alexander Fe and. Spring Glenn Ernest Jr. Three Dances to; Viglinflggg Cello. 'COpy in library of the Composer. Walla Walla ColIege. College Place. Washington. Swift. Richard. Elegy. Copy in llbrary of the composer. University 0 alifornia at Davis. Wilson Richard. Mus c 22; Violin and Ce; 9. no informa- .tion availa e. see AppenEIxIDT APPENDIX D RECORDED DUETS Gliere. Reinhold. Eight Duets. Columbia Records : (Heifetz and Piatigorsky) M 33uu7. Honegger. Arthur. Sonatine pour Violon.g§‘Violoncelle. RCA Records: (Heifetz and Piatorgorsky) L50 2250. Everest: (Schoenfeld Duo) 3203. Elite: (Bas and Krabansky) 7063/3. Vox: (Lautenbacher and Varga) 3-Vox Su Bx-560. Kodaly. Zoltan, 222, Opus 7. Orion: (Schoenfeld Duo) 7257 Period: (Eidus and Starker) SPL 602 RCA: (Heifetz and Piatigorsk ) LSC 2250. Vox: (Lautenbacher and Varga 3 Vox-Su Bx 560. Martinu. Bohuslav. Duo pour Violon et Violoncelle. RCA: (Heifetz and Piatigorsk57'LSC 2337 Ravel. Maurice. Sonate pour Violon.g§ Violoncelle. Amphion: (Schumsky and Greenhouse B Classic Editions: (Urban and Herbert). 1005. Columbia: (Laredo and Parnas) 33529. Everest: (Schoenfeld Duo) 32h3. Rochberg. George. Duo Concertante for Violin and Cello. Advance: (Kobjalka Duo) SE. Composer's Recordings. Inc: (Sokol and Fischer). Toch. Ernst. Divertimento. Opus 37. no. 1. Orion: (§choenfeld Duo) 7267. RCA: (Heifetz and Piatigorsky) L80 3009. Villa-Lobos. Heitor. Deux Choros (bis). Columbia: (St. Maio and MagET-707lh. Victor: (Bergerth and Gomes-Grosso) 12203. Everest: (Schoenfeld Duo) 32h3. Wilson. Richafd. Music for Violin and Cello. Composer's Recordings. Inc. (Matsudera and Sherry). Wagner. Joseph. Preludes and Tocatta. Orion: (Schoenfeld Duo) 7033. 115 BIBLIOGRAPHY BIBLIOGRAPHY Altmann. Wilhelm. Kammermusik Katalgg. Leipzig: Friedrich Hofmeister Verlag. 1955 I Annual Artists Directogy. New York: The Music Journal. InC.. 19700 Bartok. Bela. ”Della Musica Moderna in Ungaria."ll Planoforte. II (July 1921). l95-l98. Berger. Jean. ”Notes on Some 17th Century Compositions for Trumpet and Strings in Bologna.” luslcal Quarterl . XXXVII. 3 (July. 1951). 35u-367. Burney. Charles. 55 Eighteenth Centur Tour 9; France and Italy (ed. by Percy Schoeles). Lonaon: Oxford Un versity Press. 1959. Coates. William. ”English Two-Part Viol Music. 1590-1640.” M BLd m. XXX. 2 (April. 1952). I‘d-157. Cuming. Geoffrey. ”Haydn: Where to Begin.“ Music and Letters. xxx 4 (October. 1949). 36u375 Einstein. Alfred. ”Vincenzio Galilei and the Instructive DEC." Music agd Letters. XVIII. 4 (October. 1937). 1 1.151. Parish. Margaret. Strlgg Muslc lg Print. New York: R. R. Bowker Company. 196 . Feinland. Alexander. The Combination of Violin agd Vi loncello Wlthout Accompaniment. Barstow. Maryland: Calvert Inaependent. l9 7. Gerard. Yves. Thematic. Bibliographical and Critlcal Catalogye g; the Works 2; Lu 1 Boccher n . Trans. ndreas Mayor. London: Oxfor University Press. 1969. Goddard. Scott. ”Ravel." Cobbett's Cyclogedic Survey 2; Ch be Mus c. Walter CoBbett. ed tor. Lon on: Oxfora Un versity Press. 1929. Vol. II. 270-276. Hamilton. David. ”Current Chronicle--New York.” Muslcal angteyly. LII. 1 (January. 1966). 90-93. 116 117 Jourden-Morhange. Helene. Rave £3,Nous. Geneva: Ed. de ”Milieu du Monde.” 19 . Kinsky. Georg. Das Werk Beethovens. Munich: G. Henle Verlag. 1935. Kodaly. Zoltan. ”Bela Bartok.” La Revue Musical. II (1921). 210-21“. Lotti. Oscar R. Violin and Violoncello in Duo Without Accom animent. VoI. XXV of Detroit StudIes in Muslc Biblioggapgy. Detroit: Information Coorainators. InC.. 19720 Mishkin. Henry. "The Solo Violin Sonata of the Bologna Sghool.” Muslcal Qua terl . XXIX. 1 (January. 1943). 9-11. Norton Rochard C. The Chambe; Music g;,Guiseppi Torell . 'Unpublished Ph. D. d ssertation. Northwestern University. Evanston. 1967. Rochberg. George. The Hexachord and its Relatlgg 32 tge Twelve-Tone Row. Bryn Mawr. Pa: Theodore Presser COO. 19350 Safranek. Milos. Bohuslav Martinu: The Man and His Mgslc. New York: XIfrea E. Knapp. 1955? Sartori. Claudio. Bibliogyafia della musica Strgmentale italiana. Florence: Leo S. Olscth. 19 . Schering..Arnold (ed.). Geschichte der Musik lg Biespieleg. Leipzig: Breitkopf & Hartel. 1931. Schoenleben. Anne. ”Performance Practices at San Petronio in the Baroque." Acta Musicolo ica. XLI (January. 1961). 37-55. Toch. Ernst. The Sha i Forces 2; Music. New York: Criterion Music Corporation. 1953. Vitielli. Francesco. Arte g Vita Musicale a Bologna. nICHIGnN sran UNIV. LIBRARIES \HWWH|||||||N|||UWHIMWIIHHIWWI 31293100626542