M767 ORAL EXAMINATION (MM) Graduate Committee:

Dr. Andrew Aziz

Dr. Eric Smigel

ALDO A. RUIZ ALONSO Dr. Kevin Delgado

 All 6 movements are in C Major

SUITE NO. 3 IN C Prelude and 5 baroque dances

MAJOR (FOR
CELLO) BWV Movements II, III, IV and VI are binary
1009 forms (Allemande, Courante,
Sarabande and Gigue)
J. S. BACH Movement V is a ternary form (
Bourrée I and II) and the B part is in c
minor
 Uses 4 old folk songs from Franz Magnus
Bohme’s Altdeutsches Liederbuch (Leipzig,
1877). This monograph is a highly scholarly
collection of over 660 folk tunes with their
texts dating back to the Medieval period

“DER
SCHWANENDREHER” The concerto takes its name from the 4th folk
song “Are you not the swan Turner?” which is
THE SWAN TURNER used in the 3rd mov

PAUL HINDEMITH
The 1st mov is in Sonata form, the 2nd mov is
ABA, and the 3rd mov is a set of variations

Soo Mi Lee, “Musical Borrowing in Four Twentieth-Century Works for Viola by

Hindemith, Bloch, Bacewicz, and Shostakovich,” (DMA diss., University of Cincinnati, 2010).
I. “ZWISCHEN BERG UND TIEFEM TAL”
BETWEEN MOUNTAIN AND DEEP VALLEY [IN C]
Exposition Development Recapitulation
Primary theme Viola solo 1— 60 — Primary theme 130 (N) — Literal Secondary
10 theme
11 (A) — 87 (I) — Broken up folk song? 151 (P) — Primary theme
First appearence
of the folk song
Secondary 34 — 96 (K) — Folk song 163 (Q) — Broken up Secondary
theme Mäßig bewegt, theme
mit Kraft
124 — Secondary theme 184 — Literal Primary theme and
cadenza
193 (T) — Folk song
https://www.youtube.com/watch?v= 205 to the end — The viola has the
wPgmUji_bBM folk song and the orchestra
combines pieces of the primary and
secondary themes
II. “NUN LAUBE, LINDLEIN LAUBE”
NOW GROW, SMALL LINDEN TREE, GROW [IN A]
A B (Fugato – Der Gutzgauch auf A
dem Zaune Saß)
Original theme 73 The Cuckoo sat on the fence 218 Original theme, one octave
fugato higher, with the Linden tree folk
song in the orchestra
35 (Linden Tree) Folk song’s first 195 (O) Linden Tree
appearance
LIMESTONE & FELT, CAROLINE SHAW
Introduction Pizzicatos on pitch class D
A 26, first theme viola
A’ 36, viola
B 19, new theme cello
A” 62, chorale variation
79, hocketing variation
A”’ 85, yet another variation
B’ 105, cello
Transition 120 to 136
C 137, Arco canon
A”” 149
C 152,
A””’ 159,
D 173,
ALLEGRO AND LENTO, SANTOS COTA
•They are both in Sonata form
•They are both very contrapunctual works
•They use imitation extensively, and such devices as augmentation, diminution, fugatos
and canons
•https://youtu.be/7Lsy77WsLyM?t=3138
ALLEGRO (SONATA) [IN C]
Exposition
Primary theme A mm.1—4
Primary theme B mm. 5—8
TR mm. 9—16
Possible Secondary theme m.17
Other posible Secondary theme
m.26 (Closing maybe?)
Development Recapitulation
Starts m. 40 m. 69, Primary theme (like in the
TR)
Uses Primary theme and m. 84 Closing
Transition materials
mm. 97—98 Viola cadenza that
leads to a Fugato on m. 99
The Fugato uses the Possible
Secondary theme 1
LENTO FOR VIOLA (OR CLARINET)
Exposition Development (mm. 26—56) Recapitulation
Primary theme, mm. 1—15 Starts developing Primary theme Primary theme, m.57
material
Secondary theme, mm 16—25 Incorporates more intense Secondary theme, m. 67
Secondary theme material
Key change at m. 45 m. 79, canon on the secondary
Emotional peak of the theme
development
THANK YOU!