This recording project aims to enrich the expanding repertoire of contemporary compositions for the cello, particularly those designed for solo cello. The North Suite consists of three movements: The Crescent Moon at Midnight, Silkroad, and Shaanxi. Each movement represents different regions with its indigenous music style. Composer Yunfei utilizes extended techniques to evoke the nuances of Chinese folk music skillfully transposed onto the cello. The recording project encompasses two primary components: a recording of the work and a comprehensive written document. This document provides readers with a historical overview, contextual background, and in-depth analysis of each movement. In addition, the original score will be included in the end. By undertaking this recording project, I aim to contribute to the contemporary cello repertoire and foster a deeper understanding and appreciation of the cultural diversity inherent in music. Through the fusion of tradition and innovation, I aspire to create an immersive musical experience that resonates with audiences worldwide.

ABSTRACT This recording and commissioning project was inspired by a concert from The Library of Congress, The Boccaccio Project. Three composers, Shawn Head, Nick Dulworth, and Bill Clay were commissioned to write works reflecting on their experiences during the coronavirus pandemic. The purpose of this project is to expand the repertoire for solo cello, to serve as an artistic response to the coronavirus pandemic, to promote these brilliant composers, and to provide an opportunity to make music with friends during a time of isolation. This written document includes a discussion of the collaborative process of commissioning and preparing these works, and an analysis of each piece. Scores and recordings of these works are provided at the end of the document.

The purpose of this research project is to expand the unaccompanied cello solo repertoire. This composition, Traveler for Solo Cello, was commissioned to South Korean Composer, Eun-Chul Oh by the author in April of 2020. This research project includes a recording of the work to highlight Eun-Chul Oh’s musical creativity. Traveler for Solo Cello is structured in four movements: The Gyeongbokgung Palace, Night Gypsy, A Fiddler in Ireland, and Tango Bar. The four movements each present the musical elements of different cultures while exploring extended musical techniques and rhythms. Eun-Chul Oh uses the cello as a means of transport, for the audience, on a journey through different cultures’ traditional music styles and sounds. This document includes a brief historical background, compositional analysis, and performance recommendations for each movement. The original score of the piece is included at the end of the paper. In addition, there is a recording of the work.

Ernest Bloch’s Suites for Solo Cello (B. 93, 94, 97) contain a melodic-harmonic language unlike any other twentieth-century unaccompanied work, and when transcribed for viola, become meaningful additions to the existing viola repertoire. Each movement within these three works has its own distinct dancelike character, much like J.S. Bach’s Suites for Solo Cello (BWV 1007-1012). The melodies contain a persistent lyrical quality, and the harmonies are modal and reminiscent of folk music. Rather than compose an appropriate ending to Bloch’s incomplete Suite for Solo Viola (B. 101), a transcription of Bloch’s Suites for Solo Cello provides violists with more variety and opportunity for musicianship. These works present technical challenges such as rapid string crossings, sudden and vast register changes, complex rhythms and meter, and offer interpretationally rich passages. The level of these difficulties can prepare violists for more challenging twentieth-century works; thus, transcribing the Bloch Suites provides an opportunity to bridge a pedagogical divide in solo viola repertoire.
This project includes the transcriptions of Bloch’s Suites for Solo Cello, a performance edition, and a recording. Included is an overview of why these works are suitable for the viola, how these arrangements help fill a pedagogical gap in the unaccompanied viola repertoire, and insight into the transcription process. The performance recording captures the accessibility of these works for violists wishing to perform them and shows the integrity and variety of each piece by programming them all on a single recital.

In an interview with the composer Liu Yintong, she shared her thoughts regarding

her inspiration to compose the duet Memorial II. Liu studied under Chen Yi, who is a leading female contemporary composer. She has won many honors and awards worldwide, in addition to performing with major symphonies and musicians, including Yo-Yo Ma, Evelyn Glennie, the Cleveland Orchestra, the British Broadcasting Company (BBC), and Los Angeles Philharmonic. Chen Yi’s Percussion Concerto combines Eastern and Western music styles and also includes Chinese poetry, and elements of Beijing opera. Similarly, Liu uses Chinese poetry and elements of Hebei opera in Memorial II. This document and recording of Memorial II will examine the musical integration of Liu’s educational and cultural experience into her composition. In addition this document will examine Hebei opera styles of singing, imitated in the cello and piano.