Senior Thesis Recital: Samuel Walter, cello, HC '17

Track 01 Cello Suite No. 3 Prelude by Bach -- Track 02 Cello Suite No. 3 Allemande by Bach -- Track 03 Cello Suite No. 3 Courante by Bach -- Track 04 Cello Suite No. 3 Sarabande by Bach -- Track 05 Cello Suite No. 3 Bourrees by Bach -- Track 06 Cello Suite No. 3 Gigue by Bach -- Track 07 Cello Concerto in C Major III. Allegro Molto by Haydn -- Track 08 Cello Sonata No. 1 in E Minor Allegro non troppo by Brahms -- Track 09 Cello Sonata No. 1 in E Minor Allegretto quasi Menuetto and Trio by Brahms -- Track 10 Cello Sonata No. 1 in E Minor Allegro by Brahms -- Track 11 Sonata for Solo Cello Dialogo by Ligeti -- Track 12 Sonata for Solo Cello Capriccio by Ligeti -- Track 13 Cello Suite in C Minor Sarabande by Bach.

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Abstract

The term Counterpoint is used to refer to music consisting of concurrent melodic lines. Although it has its roots in early church music going back to the 14th century, it was derived from the earlier theory of descant. Ultimately, the highly contrapuntal writing of the Renaissance became increasingly less popular over the 17th and 18th centuries; however, elements of the style and compostitional technique continue to be used by composers to this day. My thesis “Counterpoint in the Cello Repertoire from the 18th-20th centuries: Performance of contrapuntal works by Bach, Haydn, Brahms and Ligeti” takes a close look at four works from three centuries and four eras, from the Baroque to the contemporary. In the program notes I note the way in which each composer employed contrapuntal techniques within their compositions to achieve certain effects. The performance supplemented the program notes, allowing the audience to both understand and experience the polyphonic effects within the compositions.

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http://hdl.handle.net/10066/19434

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Music

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