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Introduction
The violoncello has existed for over 450 years. At first the violoncello was mainly used as a basso continuo instrument or as an accompanying instrument, but today the violoncello is recognised as one of the leading solo instruments (Cowling 1983: 194). It has become a very popular instrument amongst contemporary composers because of its wide range which stretches from c2 up to at least A2 (a five-octave compass). This, as well as the wide variety of different playing techniques – such as pizzicato, glissando, sul ponticello (playing at the bridge), playing behind the bridge, col legno (playing with the wood of the bow), Bartók pizzicato, flautando, natural and false harmonics, vibrato and non vibrato – offers many possibilities to composers. Perusing existing catalogues of solo violoncello works (Homuth 1994; Markevich 1989) one cannot help but be struck by the need for further research into compositions composed from 1980 onwards. References in catalogues to works composed since 1980 are incomplete. Markevich (1989: 19), for example, lists “Ager, Klaus. German (b1946). Karamahe (1977), 3’ Modern, no. 1889”, but does not refer to Ager’s Solo Sonata (1983 to 1989). Ager is a composer living in Austria and at present the president of the European Composers’ Forum.
Aim of the study
The aim of the study is to compile a catalogue of selected solo violoncello works composed between 1980 and 2010. The purpose of this catalogue is to enlighten cellists to the existence of an interesting, extensive and challenging repertoire of contemporary works written for solo violoncello after 1980. In 1989, Markevich (1989: 15) could state: “Cellists cannot say that they have no repertoire”; this is even more true today.
Research questions
The main research question of this study is: How can the information on solo contemporary violoncello music currently available from Australia, Austria, Belgium, Canada, France, Germany, Italy, the Netherlands, New Zealand, South Africa, Spain and the United Kingdom best be organised into a catalogue?
In order to answer the main research question, the following secondary questions need to be answered:
How can information on solo contemporary violoncello music be obtained, especially the pieces that are not published by a major publisher?
Which music catalogues can be used as models when compiling a new catalogue?
What kind of information would be valuable to composers and performers of solo violoncello music in a catalogue?
Problems during the course of the compilation of this catalogue
Websites of the music centres of the countries included in this research differ widely in the quality and quantity of information that they provide to the user. Germany does not list the works written for a specific genre, but list only the composers registered with their own music information centre with their website addresses. There are 995 composers registered. This meant that every composer’s individual website was entered in order to search for solo violoncello works. This was a very time-consuming and cumbersome way of getting information about works written for solo violoncello. Australia’s music centre is well organised, and by accessing Works for Violoncello the works written for violoncello by composers registered with their music information centre were easily found. Through surfing the internet so intensively the computer was vulnerable to viruses. Information was twice lost through these viruses.
Acknowledgements
Abstract
CHAPTER 1: INTRODUCTION
1.1 Introduction
1.2 Aim of the study
1.3 Background to the study
1.4 Research question
1.5 Research methods and literature review
1.5.1 Research through internet resources
1.5.2 Conventional research resources
1.5.3 Layout of the catalogue
1.6 Problems during the course of the compilation of this catalogue
1.7 Delimitations of the study
1.8 Contributions of this study
CHAPTER 2: HISTORICAL BACKGROUND OF THE INSTRUMENT A BRIEF SUMMARY
2.1 Introduction
2.2 The development of literature for solo violoncello
2.3 An investigation into solo violoncello works between 1980 and 2010
2.3.1 New contemporary violoncello techniques
2.3.2 The contemporary styles from this period
2.3.3 New violoncellos for different effects
CHAPTER 3: CONTRIBUTIONS FROM THE COUNTRIES REPRESENTED IN THIS CATALOGUE
3.1 Australia
3.2 Austria
3.3 Belgium
3.4 Canada
3.5 France
3.6 Germany
3.7 Italy
3.8 Netherlands
3.9 New Zealand
3.10 South Africa
3.11 Spain
3.12 United Kingdom
CHAPTER 4: CONCLUSIONS AND RECOMMENDATIONS
4.1 Answering the research questions
4.2 Recommendations for further research
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Solo violoncello music: a selective investigation into works composed between 1980 and 2010 and the compilation of a catalogue
