Citation
Graduate Cello Recital

Material Information

Title:
Graduate Cello Recital
Creator:
Jimenez, Elise A
Place of Publication:
Gainesville, FL
Publisher:
College of Fine Arts; University of Florida
Publication Date:
Physical Description:
Project in lieu of thesis

Thesis/Dissertation Information

Degree:
Master's ( Master of Music)
Degree Grantor:
University of Florida
Committee Chair:
Thomas, Steven
Committee Members:
Lower, Janna

Subjects

Subjects / Keywords:
Cello sonatas ( jstor )
Cellos ( jstor )
Chamber music ( jstor )
Graduates ( jstor )
Keyboard music ( jstor )
Music education ( jstor )
Musical performance ( jstor )
Piano sonatas ( jstor )
Pianos ( jstor )
Suites ( jstor )
City of Gainesville ( local )

Notes

Abstract:
On March 31st, 2014 at 7:30 pm, Elise Jiménez presented a recital of works demonstrating a contrast of works over their respective time periods and the artistic and technical interpretations required of those works. The program consisted of J.S. Bach’s Suite no. 5 in c minor for unaccompanied cello, Manuel De Falla’s Suite Populaire Espagnole, and Ludwig van Beethoven’s Sonata no. 3 in A Major. Each of these works employed a variety of different skill sets for both interpretation and mastery over the pieces. The fifth cello suite of Bach required both an understanding of the construction of each dance movement and how each dance fits into the suite as a whole. The suite required this cellist to refine her skills of motivic interpretation and overall memorization methods to effectively perform this work. The De Falla incorporated both understanding of the Spanish folk music idiom and technical handling of the notes to portray a sense of vocal ease, as the suite is an arrangement from an earlier work for voice and piano. Finally, the Beethoven sonata for cello and piano required an approach of classical style within the chamber music setting. The sonata required both an understanding of both how each voice of the cello and piano work together harmonically and melodically to achieve a synthesis of style, color, and understanding of how the work is assembled. These pieces have required this cellist to research these works and their styles, and make personal choices within this knowledge in order to prepare a recital of high artistic quality. ( en )
General Note:
Music Performance terminal project

Record Information

Source Institution:
University of Florida
Rights Management:
Copyright Elise Jimenez. Permission granted to the University of Florida to digitize, archive and distribute this item for non-profit research and educational purposes. Any reuse of this item in excess of fair use or other copyright exemptions requires permission of the copyright holder.
Resource Identifier:
1022120860 ( OCLC )

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Full Text

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1 GRADUATE CELLO RECITAL By ELISE JIMENEZ SUPERVISORY COMMITTEE: STEVEN THOMAS CHAIR JANNA LOWER MEMBER A PERFORMANCE IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 201 4

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2 Summary of Performance in Lieu of Thesis Presented to the College of Fine Arts of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Master of M usic A GRADUATE CELLO RECITAL By Elise Jimnez May 2014 Chair: Steven Thomas Major: Music On March 31st, 2014 at 7:30 pm, Elise Jimnez presented a recital of works demonstrating a contrast of works over their respective time periods and the artistic and technical ite no. 5 in c sets for both interpretation and mastery over the piece s. The fifth cello suite of Bach required both an understanding of the construction of each dance movement and how each dance fits into the suite as a whole. The suite required this cellist to refine her skills of motivic interpretation and overall memoriz ation methods to effectively perform this work. The De Falla incorporated both understanding of the Spanish folk music idiom and technical handling of the notes to portray a sense of vocal ease, as the suite is an arrangement from an earlier work for

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3 voice and piano. Finally, the Beethoven sonata for cello and piano required an approach of classical style within the chamber music setting. The sonata required both an understanding of both how each voice of the cello and piano work together harmonically and m elodically to achieve a synthesis of style, color, and understanding of how the work is assembled. These pieces have required this cellist to research these works and their styles, and make personal choices within this knowledge in order to prepare a reci tal of high artistic quality.

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4 Program Suite no. 5 in C minor, BWV 1011 for unaccompanied cello J.S. Bach (1685 1750) Prelude Fugue Allemande Courante Sarabande Gavottes I and II Gigue Suite Populaire Espagnole for cello and piano Manuel De Falla (1876 1946) El pao moruno Nana Cancin Polo Asturiana Jota Intermission Sonata no. 3, opus 69, in A major for cello and piano Ludwig van Beethoven (1770 1827) Allegro ma non tanto Scherzo: Allegro molto Adagio cantabile Allegro vivace

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5 1723 and no autograph score exists for these suites, only two copies: one by organist J.P. Kellner and another from Anna Magdalena Bach. Two centuries later, these suites gained a wider recognition in the cello solo repertoire thanks to Catalan cellist, Pablo Casals. The fifth suite was originally conceived with a G D G C scordatura, the top string whi ch would normally be A is tuned down to a G. This scordatura not only distinguishes this suite from the others but also provides a uniquely interesting color even for modern listeners. The fifth suite clearly showcases an organ like comparison more so than any of the other suites, due to the insistent pedal point in the longest Prelude of any of the suites, which incorporates a full length fugue. organ: an individu al string functioning much like a separate manual would. The proceeding Allemande and Courante are characterized by the same pedal point and full chords, followed by the Sarabande which provides a linear contrast to the proceeding movements. The Gavottes r ecall moments from the fugue while the Gigue provides a linear link to the Sarabande, though of an entirely different mood. Manuel de Falla, a prominent Spanish composer of the twentieth century, was influenced by French composers such as Ravel and Dukas Suite Populaire Espagnole was originally adapted from his earlier Siete canciones: a collection of traditional folk songs for voice and piano. These songs deal with certain aspects of the human condition: u nrequited love, exuberant joy, jealousy, betrayal and sadness. With richer chord embellishments, modal interplay, and metrical displacement, specifically in the piano part, De Falla adds his distinct flair to these traditional songs. This balance of simpl icity in the voice most famous pieces, for which many arrangements exist. The Suite Populaire Espagnole arrangement exists for cello/piano and violin/piano combin ation. The instrumental suite employs the same folk elements of the original vocal part, while taking advantage of certain aspects of what a cello can do: such as guitar like accompaniment figures that mimic strumming and plucking of a flamenco guitar. Th e Sonata no. 3, opus 69, in A Major is one of five sonatas Beethoven wrote for cello and testament was written: a letter where his own recognition of deafness, feelings of depression and a wish to end his own life were expressed. Chronologically, the Sonata no. 3 is separated from the first two opus 5 sonatas, and the latter of the two opus 102 sonatas. Despite these emotional years in which the third sonata was written each movement is decidedly upbeat,

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6 non tanto, opens with what seems like an introductory passage with solo cello followed by a shared ad lib dialogue between the cello and piano. The introductory idea later becomes an integral part of the movement, appearing in different registers of piano and cello and in unexpected places within the sonata form. The second movement, a scherzo, constantly plays with a sense of me ter with a strong emphasis on either beat two or three. The trio offers a lyrical and metrically stable contrast to the scherzo section. The last movement recalls the first movement with a lyrical cadenza like passage exchanged from the piano to cello, but then quickly develops into an impish allegro vivace that ends in a flourish.

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7 BIOGRAPHICAL SKETCH Cellist Elise Jimenez has been regarded in the musical community as an outstanding soloist, orchestral musician in principal and section roles, chamber musician and pedagogue. In 2012, she was awarded a graduate assistantship as the cellist in the graduat e piano trio at University of Florida, where she is currently pursuing her Masters of Music degree in Cello Performance under the tutelage of Dr. Steven Thomas. ins Allegretto. In recognition of further artistic and academic excellence, Elise was awarded a William E. Duckwitz Talent Scholar and Roepke Endowment Scholar while at Stetson, and was a recipient of the Florida Bright Futures Medallion Scholarship. While at Stetson, Elise Jimenez also served as the cello teacher in the Community School o f the Arts. As a cellist in Gainesville, Ms. Jimenez has held principal, assistant principal, and section cellist roles in the University of Florida Orchestra and serves as a section cellist sub with the Gainesville Orchestra and Orlando Philharmonic Orche stra. As a pedagogue Ms. Jimenez teaches privately in Gainesville, FL and holds a cello faculty


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